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Старый 18.09.2010, 11:13 Язык оригинала: Русский       #10
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По умолчанию Vladimir Petrov about fakes in the Russian art market ..

Interview of a little old, but there is useful information for novice collectors. (EA)
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(Interview T. Markina)
And admitted, and that itself gave a positive opinion on such work.

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- I just started to talk of it - and of course, from their mistakes, but how else? I did not start with the fact that almost the majority of these works, as well as many other forgeries had by that time, when I watched the examination of the Tretyakov Gallery and other museums and organizations, sometimes several at once. Now I have picked up some materials for 130 pseudo-works, with their actual authorship, origin and the original price. In fact, I do that, thank God, found only about 20 of its errors of this kind, although not rule out that there are more, and among them there is no Korovins nor Aivazovsky. - Who are fake?

Landscapes, still lifes, portraits, genre scenes, interiors, nude. Until that historic picture of the life of the Vikings to be works of Sergei Gribkova in ancient story. Alexey Bogolyubov and Lev Lagorio - in many - from the British, German and Scandinavian marine painters. And there is already one of the first pages of such a thing. This unnoticed?

Then the joint severe pollution and a special lacquer, which quickly gives a crack. And under the microscope signature looks like an old.

And then, there is a variety of approaches. Provenance falsify - write any accompanying picture of the paper, on the back of strong inscriptions. Postcard worn, yellow. I overstrain her - she is inside is completely white, new. And all this is simulated.

- And they all can be discerned? If for all these technical matches and tweaks technological examination gives nothing?

- Can. After examination consists not only of technology. Technology, as a blood test, only an aid to the diagnostician. Technological scheme - canvas, the nature of soil, drawing palette, general methods of constructing the paint layer is very similar in many artists, especially - academics XIX century that the German, that the Danish, that Russian. Radiograph is not always without a range of other studies, may give the correct result. For pictures Levitan, for example, is characterized by several types of radiographs. So if you rely only on it, all our Surykova have a museum pass. But some artists - such as Kuindzhi and Vasily Vereshchagin - almost all are signed, and signature on any etude not so much convincing as alarming.

And then you will not make mistakes such as those admitted and when I saw some work only in the field of the history of Russian landscape painting, which I know very well, and which is really just a designated signature on bogus artist, for example, Schultze and Schilder, very similar some of the Scandinavians, could write such a picture. - But this means that the counterfeiters are very educated people, very knowledgeable and Russian, and German, and Danish art.

- I think it makes people very familiar with the history of art and, so to speak, is not alien to the art-restoration and the museum environment. Some forgeries are created with great flair. The artist was staying at the estate near Chernigov - few people do know about this, so also the inscription was obviously copied from one job Makovsky of the funds of the Russian Museum!

- Have there been cases of such fraud in the history of the art market?

- The very situation that has provoked an extraordinary game. What would give the French for the English or vice versa? For the first time in the national market national artists in a hundred times more expensive than the foreign masters of the same school and age. It must be emphasized that not all the artists whose pictures are used as the basis for a fake, weak and little known. Some used the Danish, German, Czech (Adolf Praise) and Hungarian (Aurel Naray) artists are highly esteemed in his homeland, sometimes, like the Danes and Aagaard Myulsted (not to be confused with Myunstedom also very prominent Danish landscapes, not just Or, for example, Louis Gurlitt, a Danish-German artist, classic late Biedermeier. He is very well known in his homeland, but in France and England, it is unlikely to buy. Therefore, it is inexpensive. And our customers sweep all that with a Russian name. Converted it into a hierarchy - and the price jumped almost 50 times. Or did some of William Porsta Russian Fyodor Vasilyev - and the price rose from € 1 thousand, for which this same William sold in Munich in 2003, to € 300 thousand

For the first time schemers behave with such disrespect for art. A painter Alexei Trankovsky, unprofessional, but distinctive. This is not just a scam, it is murder names.

I studied the history of Russian landscape painting of the XIX century, including painters circle of Moscow Society of Art Lovers and the Moscow Association of Artists. They had more than one hundred masters, who were grouped around Savrasov Polenov, Levitan, and to imitate them. Many members were in the St. Petersburg Society of Artists (range Konstantin Makovsky). Yes, some of these are not too well-known artists have come to the market. But what happened to the others? They were very prolific, but Levin - Levitan, and Yartsev or Zaretsky - Polenov. In the Soviet era fakes, too lacking. But there was some measure. Last year, I was terrified for the fate of art. I know that pictures of these artists were, but now they are not. - But this year established the Association of antiquarians and art dealers with a strict code of ethics, the guild of experts, where you enter. Rosokhrankultura plans to introduce compulsory certification of experts.

- I am a pessimist. Over all this is a social situation, all have a piece, all conveniently. A meeting of the Guild of Experts, which I occasionally participate, become tyagomotnuyu chatter. In the early 1990's, when negotiated and adopted the law on import-export, I wrote a draft, how to rebuild the Institute examinations, certify experts. Then there was the problem of dirty money and conscience, and restructuring was indeed possible. Then we, the experts happy to go to each other at home, sharing information, conducting joint attribution advice, arguing about the truth. Now this speech is not.

- So what can we do? How to fix what is happening on the art market? Yes, and Northern Europe on top.

- The situation really can change only with society, with social changes. If you exaggerate a little, pereatributsiya these things is possible only after the nationalization and redistribution of property for all of rubles. Bring all these paintings in a museum, and an independent, honest and knowledgeable critic as much as possible to restore the truth, but at the same time and clear away the rubble accumulated foreign material information technology, a reference base of the Tretyakov Gallery and others. Only then it can be corrected. In the meantime, collectors collect abandoned art. And corporations, too - bought fakes at one time, now put in the closet, well, everything, they say, the Sabbath, no longer want.

Source: Kommersant publishing house http://www.kommersant.ru
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