[Mark]

Сообщение от Tjutchev

quote from an interview with Saatchi magazine "Journal des Arts" in 2004:

Good article, giving the keys to understanding the driving forces of the art market, sent the market-makers and curators, feeding them with his hands. However, such an approach, with a fair amount of healthy cynicism, was to determine the market in the second half of XIX century. Here is what this old man Livshits in his book "The Crisis of Ugliness" back in 1960:

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<...> As for the economy, it should not be forgotten that Cubism was at the very beginning had its business relationships. The independence of the young Picasso was supported Vollarom, behind Braque was a German businessman Wilhelm Uhde. But the main finance minister Cubism was Daniel Henry Kanveyler. after the war gave place to Leonce Rosenberg. The case was fairly widespread. Already outlined during the Durand-Ruelle possibility of speculation in rising fashion trends for the first time adopted here is quite real forms. Private Galleries, then there are shops for the sale of paintings, exhibitions of "abroad (from 1909 to 1914, Picasso had several solo exhibitions in England, Germany, Spain, America, not to mention his participation in a joint exhibition Cubists in Russia), promotional material such series to be released by Rosenberg, the seizure of a group of artists-Cubists advantageous position in the Salon of Independent by this "pronunciamentos 1911 - all these little resemblance to sacrifice.

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What was the real underside of painting at the very beginning of the century, shows evidence of good knowledge of life and customs of their environment Camilla Mockler - art critic, is quite sympathetic to the first generation of innovators, but not beyond. Speaking of that open unknown geniuses became the fashion and business is acquired as a sporting interest, Mockler lamented the consequences of such intrusions into the world of art "counterfeit coin". Opened a real opportunity to declare someone an artist regardless of his actual talent, wrote Mockler. The success increasingly depends on the play of forces, and a work of art has ceased to be himself oboe - it becomes a function, an echo of the external activity of the artist, or rather, a certain group, can make their people.

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The value of the work here has a lower priority than perfect methods of creating fashion for the artist. We see the masterpieces of this kind, as a trader paintings works wonders and its system is a magnificent organization. Thus, the invasion of capital in the history of art, so noticeable in recent decades, began in the era of Cubism.

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The scandal associated with the emergence of a new painting, it was inevitable not because it is far superior to the average human understanding, but because without it there would not be the most modern painting. She is and was not so much in the arts, but in particular the behavior of the actor. Human activities with a palette has become a symbol of negation of all accepted norms. In short, it was not so much paintings as a program for a scandal.

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Concept of "revolutionary" has any meaning only if it concrete content. And this is especially true nowadays, when the abuse of such concepts occur at every step

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Incidentally, the recently deceased was quite well-known artist Yves Klein expressed the same idea, but without words, practically. By the end of his life he no longer selling artwork, and the net share of innovation without translating it to the canvas. In receipt of money Klein gave a receipt, which the lover of painting could hang in his living room ... .... Magical gesture Klein is the culmination of a long series of such gestures, which are gradually released "contemporary art" from the obligation to be the real thing related to drawing, chiaroscuro and color, that is, freed from the obligation to be art in the old sense of the word. Here begins something else.

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Erotic, pathology of the nervous system, the political allusions, the criticism of civilization, the latest scientific discoveries, space, all possible kinds of strong stimuli, always new and unexpected, all external symbols, but not painting!

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It is crowd trampled praises of the new criterion for their own value products, attributing the art of completely extraneous purpose. We saw above that Impressionist painting is attributed to the proof of "conditional nature of color, and Cubist painting -" conditional nature of space. " Such phraseology is walking, the system of words accompanying the triumphant march of new artistic techniques. These explanations make the artist in the half-educated art historian who writes his dissertation on the canvas in order to prove something or other

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