[Тютчев]

Сообщение от ranzher

Success, Tjutchev,! You have worked nicely. Just right to issue concerned (owners of the site?) Account. But we're not here for personal gain, and the Holy art for. Not so, maestro?

Besides the fact that communication with forumcanam for me nice and helpful, I have had some, as you put self-interest. By the way do not see anything wrong.

Сообщение от ranzher

However, if you are ready to transform his impression of a certain proposition that this landscape - carved out another piece of the picture, then and there we have with you is a consensus. But in this case, your entire argument about the composition is no longer itself.

Not see the need to transform their experiences in what - whatever judgments you to achieve a consensus. And not because they do not respect your opinion, but because they do not see any reason to change their own. What exactly do you feel weak in my reasoning? Give the part of my reasoning, which appeared to you in error. And only then can I explain you my point of view in greater detail. Otherwise, I'll be forced to recognize your non-constructive criticism. Kindly colleague, specifically.

Сообщение от ranzher

I do not see in this marina is no color disharmony. It worked competently, confidently and soundly, not art, of course, but very professional. Stylistically very similar to the hierarchy of the French period. Precisely to say so - that his paintings of that period stylistically trudnootlichimy of equal talent with French colleagues. There is still time, but if need be to lay out the test anonymous pictures of several artists. Let the experts and specialists will determine which of them Bogolyubov.

Your picture is very weak. If you do not see in it the color disharmony, I hardly can tell you anything to help. To put it the same level with the original works of Bogolyubov's ridiculous. Compare, for a start, your picture with the work that I put in my post. Pay attention to the fact that they are similar in size to head lice, and they depicted Havre (http://forum.artinvestment.ru/showpo...mp;postcount=9). It is strange that you do not see the difference.

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Speaking of this work, a job which could belong to brush hierarchy, and that it is made "with knowledge, confidently and soundly, not art, certainly, but very professional", you give an assessment of creativity A. AP Hierarchy. (Give at least one similar. Unless of course you do not want what I would have thought you were unfounded.) It turns out that he was a mediocre artist, craftsman, good technician, does not stand out among the "equal talent with French colleagues"? I am very glad that this view is not shared with you the many fans of the artist among his contemporaries, and among the living. From your words imply that everyone who has ever said about his work with admiration, and all those who praised his work, which was reflected in the fact that he has received during the life of a high social status and has an enviable financial position that all these people - donkeys, nothing smyslyaschie in art? Of course, everyone is free to have his own opinion, but let's not forget that Alex Petrovich - winner of the first and second gold medals of the Imperial Academy of Arts, at 34, he became an academician of the same Academy, and three years later became a professor. Let's not forget that he was recognized as their French counterparts barbizontsami, artists, whose creativity, and hence the views respected throughout the world. That is, all these people with some strange to say, and did not like that thought? Then we must admit all of them dishonest or not versed in the art of people. Do you have this courage?

Сообщение от ranzher

Without great achievements AP Bogolyubov to Russian culture, yet it must be admitted that all the superlatives in the determination of his creative contribution, given in your text, just loosely with one important reservation - only to Russian art.
In the context of European art of the 19 th century he was an artist medium capacity.
Art world can do without his work, without losing its integrity. Here, for example, without his disciples Polenova and Pohitonova can not.
He has not, so to speak, his coloristic person. Especially in the so-called Vel'skii period, while at the named students or have Kharlamov, who also worked at the Wehle, that person was, the color in their paintings immediately recognizable.
No accident that the curators of a major exhibition of Russian Art 19 th century in the Paris Museum d'Orsay are not included in this exhibit no product hierarchy. The museum represents the French art of the second half of the 19 th century, with its outstanding landscape painters, paintings and hierarchy would look at all homely.

Apparently, you do not belong to the admirers of Russian art. Otherwise you would not say that Bogolyubov great artist only in the context of Russian art. Discussion on the role and place of our art in the global long maintained on this forum. I will say about a few general observations. In my opinion, this is totally unprofessional separate Russian art from Europe. Discussions about the secondary even more unprofessional to the extent that all the art in a somewhat secondary to something that occurred earlier. Do not forget also that Russian art, historical reasons, all 70 years of Soviet power is practically not been submitted to the international exhibition venues (or was presented in a very limited form) and, hence, could not be seen and informed world community. (By the way I have shown in the following quotation confirms Serge Lemoine.) This, incidentally, is not the case with music and literature by the fact that familiarity with the arts do not need to contact directly with the original. Keep in mind the fact that the national art has always been the most venerated in the country of origin. It's stupid because hope that the French with all his undeniably great poetry, will appreciate Pushkin!

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The claim that the hierarchy "is not a coloristic person, again leads me to believe that you are not very familiar with the works of this artist. Works Alexei Petrovich completely recognizable and have their own, but it is inherent, color harmony. Comparison of Kharlamov, Pohitonova and hierarchy, no doubt, said that the Bogolyubov more significant artist than they are. It is even a strange explanation!
       Now about the exhibition. The full name of the exhibition of Russian art in Paris is as follows: "Russian art of the second half of the XIX century: in search of identity». And the concept of the exhibition's curator says the following:
"" We admire the novels of Tolstoy and Dostoevsky, adore Chekhov's play, happy listening to music by Tchaikovsky, Rimsky-Korsakov and Mussorgsky, and the plastic work of their compatriots, who worked in the same era, are still for us terra incognita », - said at the opening of the exhibition director of the Musée d'Orsay Serge Lemoine. Exhibits for the four-month exhibition were selected more than one year. «We have deliberately rejected the Russian Impressionists and European trends in Russian painting, - explain the curators. - We had a very interesting fact that came out of the walls of the Academy of Fine Arts, where they brought the world classics, and then visited the centers of art - Italy and France, your artists eventually turned to national, religious and literary sources and folk traditions ».
Organizers tried to address all areas of art: painting, drawing, sculpture, crafts folk art, photography, while making no claim to comprehensiveness. Ambition of the project was to show works that have never exported from Russia is not, therefore, such attention has been paid, for example, Repin's picture "Religious Procession in Kursk Province. Russian realism presented in the exposition of the best works of the Tretyakov Gallery and the Russian Museum, including landscapes Kuindzhi "Birch Grove" and "Moonlit Night on the Dnieper," "Eternal Rest" Levitan and "Moscow court yard" Polenova. The historical and religious themes appear on the canvases of Nesterov's "Vision lad Bartholomew", "Christ in the Desert" Kramskogo and "Apotheosis of War" Vereshchagin. Demonstrated Repin's famous painting "The Unexpected" and axiomatic of the Wanderers "Life Is Everywhere" Yaroshenko and "Repair" Savitsky. Special place took the world of Russian fairy tales ( "Prince Ivan on the gray wolf" Vasnetsov and Bogatyr Vrubel). Mikhail Vrubel generally given special attention, he acts in two ways: as an artist-mystic, founder of "Demon" - sitting and flying, and "Swan Princess" and as one of the Abramtsevo active participants in the circle. "
http://www.ng.ru/culture/2005-09-29/7_francuzy.html
      As you can see, using the name of the exhibition and its concept, it originally could not be represented creativity hierarchy, because the artist while remaining deeply national, worked in the tradition of Western European art. In addition to the hierarchy, at this exhibition were not represented and the other not less than the great Russian artists. And from the fact that they were outside the scope of the concept of French curators, they have not lost their relevance. Understand that the French wanted to see "the original Russian art. Something new for themselves.

Сообщение от ranzher

With respect to the signature on the marina under consideration, then, in my opinion, it is made of solid professional hand, well reproducing the incertitude and the uncertainty of the hands of hierarchy.

This is generally a strange read. It seems as though Bogolyubov your personal enemy. Why such hostility? Why these attacks? What he done to you?

Сообщение от ranzher

When this picture was seen on the forum for the first time, I expressed doubt that the AP Bogolyubov, who has lived in France for many years, could be so grossly wrong to show the place - HAVRE. If local residents to ask how to get to Havre, you simply do not understand. In French, the name of this city inseparable from the article Le. Correctly only LE HAVRE. Someone replied that he had seen similar inscriptions on his paintings in museums. If so, then the general hierarchy in France had problems not only with artistic self-identity, but also with the French.

As to your assumptions about lack of education hierarchy, it has finally convinces me that you are unfamiliar with his work and biography. Alexei Petrovich was one of the most educated men of his time, knew several languages. And I think, certainly, in perfect command of French. Otherwise, it would be difficult to provide on the lapel of his coat the Order of the Legion of Honor, Chevalier of which he was (by the way apart from him this honor was awarded a Russian artist Aleksandr E. Yakovlev). Also remind you that Bogolyubov was well received in the imperial house (level of education of members of the royal family, I hope not cause you doubt). I think you realize that friendship with a man like Ivan Turgenev, also spoke in favor of his exceptional scholarship. Friends, this, at least, be an interesting conversationalist. It is unlikely that Ivan Sergeevich endured side by side with an incompetent and ignorant.

Сообщение от ranzher

What remains for us, my friend Tyutchev? As a not-hudozhnecheski inflicted by the signature and name of the place, but the assumption that if a piece of another picture of hierarchy, it is unlikely that this would be a marina, he was putting on a special frame and sign it.
  (According to the French mind stretcher and canvas and nails more than 100 years, ie, as they say, all native. I think, an expert on this fact had its effect).

      My friend, ranzher, all the arguments presented by you, though, and confirm my words that this picture is not the work of Bogoliubov, few are significant. At least I look at my nails, frame and signature. More important argument for me is the very painting. Because if the painting is not convincing, it does not matter what the nails hammered into a stretcher, and what signature is on the product.
 

Сообщение от ranzher

Yes, a colleague, is obliged to warn. Negative atributiruya online this picture, we are with you take out of public distrust of the well-known specialist Bogolyubov - VA Petrov.
Say leniently - put him in appearance.
Well, you, master, look man, not timid, not pasuyuschim to authorities. You yourself own authority!
In this regard, I have an idea to speak with the appeal to Vladimir Aleksandrovich, now that the dispute about the authorship of the three marina we are with you in the majority.
Still wait for your consent. Suddenly you change your mind.

Dear colleague, forming an opinion on this or that work, I of course its relation with the views of their colleagues. Sometimes these opinions are very important to me, more so in the event that material I did not know. Petrova, I agree, at least, respect him, he often consulted with him. But that deals specifically with this picture, I do not agree with him (if it indeed confirmed). I take this opportunity to say that Petrov, of course, a specialist in Russian painting of the XIX century. This questioning, at least, strange. The fact that he can not go wrong, like any other person, too, it seems to me quite natural. Do I need to make a demarche to Petrov? Personally I have big doubts about the appropriateness of the action. We are certain you understand that this is not Bogolyubov! Well, thank God!

Sincerely, Tiutchev.