Цитата:
I do not agree that the artist can draw a first-class and working with color. In each figure I have something annoying - then the heel, then waist, then chest incomprehensible, everywhere some flaws. In Rubens and Caravaggio such defects do not exist, not to mention Michelangelo or Da Vinci. More precisely, they can also be slightly wrong, but understand art, it's all leveled out, fits into the overall picture is harmonious. The same with of the light-anywhere some strangeness.
With the color, everything is just as well-that is bad. Neither picture is not like the color
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It is generally without comment.
Цитата:
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the public has cooled to academicism in the mid-19th century
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Tovarisch hudozhnicheg, leave the audience alone, speak for themselves. The public (in large numbers) is going to look at Tintoretto, which hangs in the main pavilion at the Venice Biennale and her unaware that she had long to something "lukewarm", but Picasso's hanging there, and even those who work in style of Picasso, Van Gogh and the Fauves. Of course the public see the primitive, otherwise rushed to buy your creations for millions. But the artist works
"not for critics, and on demand" , on the other hand, without criticism and the demand will be at the level of
"look at what sells best on Artnau" . So before you make loud statements towards those who work in this style, which you do not get, even at high voltages of all the muscles, allow for a dilemma, what it is you never have enough attention to himself critics, serious public or the ability to draw, because for all the others present, the answer is obvious.
Apart from anything else out there (WB) and there was a picture in an ordinary hall.
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