Цитата:
Сообщение от Maroussia
Drogo Tiutchev, I can not agree with you: first, the trust has to call someone who keeps the work in hand!
You, too, I think you'll not trust the opinion of the first comer ...
Therefore, probably the fifth time I ask, who is of Russian experts has researched and studied the work of Natalia Goncharova after her departure from Russia?
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Maroussia I do not understand you well. I was talking about everyday practice and the abstract. The fact when you have to filter out questionable pictures on the stage of study on photography. If we talk about the formation of fundamental knowledge then, of course, I agree with you, the idea of the artist or a certain period of creativity should consist of a direct study of his work. But is it in Russian museums do not work Goncharova Paris period? These works appeared in Russia during the Soviet Union. Maybe not all that could be, but still. And then, we have twenty years, can move freely around the world and look at pictures of different meetings. Even the pictures were both bought in Russia. And who is a specialist in Russia, you ask? Who will appoint the museum, dealer and the collecting community that is. And not necessarily a single person. There is a difficulty, it is true, but the situation is not static. Scientific understanding of the artist's working hours and skills to identify the 'wrong' work. It is a process. And the process goes. A revelation of forgeries, including the directories published in the West, this is part of the process.
And yet, the study of Russian heritage Goncharova period provides many opportunities for the understanding of his French period. It is a powerful artist, and so solid (it is possible and vice versa). It was during the Russian artist asked his subsequent development, and not vice versa. It is in Russia to its roots. Who knows Russian Goncharov, that is not difficult to understand and with the French. But who does not know Russian period, he will "flounder about" in all its artistic heritage.