Updated rating of the most expensive living artist

[Vladimir]

After the record of Freud became clear disposition of the three most expensive paintings by living artists (only auction results):

1 Place: Lucian Freud. Sleeping inspector benefits. 1995. Oil on canvas. 151,3 x 219. Estimate: 25-35 million Selling price: 30 (33.6) million Lot 37. Christie's. 13/05/2008
Now the number 1. Painting tops the ranking of 13 May 2008.

2 Place: Jeff Koons. Hanging Heart (Magenta Gold). 1994-2006. Installation: metal, brass, colored coating. 101.6 x 296.2 x 215.9. Estimate: $ 15-20 million Selling price: 21 (23.6) million Lot 14. Sotheby's. 14.11.2007.
Now the number 2. Work tops the ranking for the period from November 2007 to May 2008

3 Place: Damien Hirst. Sleepy spring. 2002. Installation: steel, painted plaster casts of tablets and others 10,2 x 182,9 x 274. Estimate 3-4 million pounds. Sale price: 8.6 (9.7) million pounds. Lot 36. Sotheby's. 21/06/2007
Now number 3. Work tops the ranking for the period from July 2007 to November 2007

ISSUE 4. Jasper Johns. Figure 4. 1959. Oil on canvas, see Vol 51,4 x 39,4. Sale price: 15.5 (17.4) million. Lot 25. Shristie's. 16/05/2007

ISSUE 5. Gerhard Richter. Candle. 1983. Oil on canvas. 95x90. Estimate: 1,8-2,5 million pounds. Sale price: 7.1 (7.97) million pounds. Lot 8. Sotheby's. 27/02/2008


That actually looked like the model of Freud (the fourth picture - photo). This is a picture of Bruce Bernard, a friend of Freud, made in the workshop in 1995. Found at Sotheby's. Here are details: Bruce Bernard. Sue Tilley, posing lusianite Freud. 1988. Photography. 30,5 x 45,7. A copy of the 13/25. Estimate: 1,5-2 tys.funtov. Price: 6 tys.funtov. Lot 522. Sotheby's. 19/06/2006

[qwerty]

In my opinion, our good health of the sixties is much more interesting. Wonder to what numbers they dorastut? I am sure that many of them made the seven-digit numbers, but the above will or not?

[Vladimir]

qwerty,
whether other local markets tracked this trend? For example, as a growing national Finnish art? Or Polish? Perhaps the numbers will depend on our involvement in the Sixties international process. No, I understand, in the international market from this time forth, there are two obvious name (Kabakov and Bulatov), which raised international concern. Part of Rabin. To some extent, Bruskin (thanks sotrubnichestvu with Marlborough). And who else? Who else of our resonates in the global trading?

[LCR]

Vladimir,

Сообщение от Vladimir

qwerty,
whether other local markets tracked this trend? For example, as a growing national Finnish art? Or Polish? Perhaps the numbers will depend on our involvement in the Sixties international process. No, I understand, in the international market from this time forth, there are two obvious name (Kabakov and Bulatov), which raised international concern. Part of Rabin. To some extent, Bruskin (thanks sotrubnichestvu with Marlborough). And who else? Who else of our resonates in the world trading?

You can track trends in national markets, but international reputation certainly created in the U.S., and very few exceptions to this rule only confirms it. This is logical, as the market arts in the United States differs from all other markets: voluntaristic created in the 50's, so to speak, has already entered the industrial era (there are primary and secondary markets with its own laws) and do not allow any artisanal activity . Should also take into account the extremely favorable tax conditions that exist in the U.S. for trade in art.

Kabakov and Komar and Melamid (which is whirled in the United States under the guise of Russian exotic), and - to a much lesser extent (simply because they have invested much less money, and besides, not the Americans - posloednyaya exhibition at the Municipal Museum of Modern Art in Paris was more than confidential, as if the organizers of the exhibition was embarrassed for her) - Bulatov aroused interest outside the Soviet Union, for example, before the fall of the Berlin Wall.
Currently, there is an interesting phenomenon: at the last auction of their work exhibited by western vendors and purchasers acquired Russian (see work KV and MV, sold in the autumn MacDougall, very interesting provenance), which is Russia's revival of modern art market has enabled the Western Museums and collectors to get rid of "obsolete" works for more than reasonable price.
Bruskin - this is not serious :-)
Neither Rabin nor Nemukhin nor Tselkov and his comrades did not raise in the Western museums absolutely no interest, and can not cause it - for aesthetic reasons. In my opinion, there is a very small number of artists (2-3), who can claim some significant place in the world of art, but this is my subjective opinion, and to develop it, I will not.

Of course, you can find historical examples of what the artist home market "breaks" in the world, do not have far to go - Schiele and Klimt, even somewhat more in the 70 years ieteresovali mostly Austrian collectors, Buffet was "created" by the Japanese. But in general, you are absolutely right in saying that only the involvement of Russian artists in the international process can change the situation.

[Vladimir]

In the last post does not fit one more picture. This Richter, "The Candle", the work closes the top five.

Gerhard Richter. Candle. 1983. Oil on canvas. 95x90. Estimate: 1,8-2,5 million pounds. Sale price: 7.1 (7.97) million pounds. Lot 8. Sotheby's. 27/02/2008

[Vladimir]

Сообщение от LCR

Vladimir,



In my opinion, there is a very small number of artists (2-3), who can claim some significant place in the world of art, but this is my subjective opinion, and to develop it, I will not.

Who are these three? Agree at all subjective, in order, and communicate.

[LCR]

Сообщение от Vladimir

Who are these three? Agree at all subjective, and to communicate.

Let me just say that one of them - Vladimir Yakovlev, the other two will be my secret (I have no particular reason to dwell on their personal taste)

[qwerty]

I can not agree with the esteemed LCR a lack of interest of the West to contemporary Russian art in general and in particular to Nemukhin, rubles, Rabin - enough to see a list of foreign exhibitions of these artists, which surpasses one hundred. I am sure that their work, and Sitnikova, Schwartzman, Sveshnikov, Rukhin, Veisberg, Steinberg (surely someone forgot) is waiting for a bright future. Leaders, however, in my opinion, will Krasnopevtsev and Plavinsky (I would venture to suggest that it is their "concealed" from the public LCR).

[LCR]

Сообщение от qwerty

I can not agree with the esteemed LCR a lack of interest of the West to contemporary Russian art in general and in particular to Nemukhin, rubles, Rabin - enough to see a list of foreign exhibitions of these artists, which surpasses one hundred. I am sure that their work, and Sitnikova, Schwartzman, Sveshnikov, Rukhin, Veisberg, Steinberg (surely someone forgot) is waiting for a bright future. Leaders, however, in my opinion, will Krasnopevtsev and Plavinsky (I would venture to suggest that it is their "concealed" from the public LCR ).

You should know better, so I will not argue, however, categorically refuse to Krasnopevtsev and Plavinsky - or de Chirico's "second freshness, nor ohristianivshiysya Dubuffet for the poor did not attract me.

P.S. Rukhin and Weisberg - this is certainly artists.

[Vladimir]

LCR,
so too harshly. His De Chirico, Fontana, Morandi, Cezanne was among many artists, under this reasoning can be "slaughtered" half of the 20 th century Russian art, including the vanguard of the 1910-ies, sezannistov, and even more so our post-war art, including securities of the metaphysicians. If the intention to build a comparative series, then everybody has to do: and Nemukhin, and anyone, including Veisberg.

In my opinion, de Chirico at Krasnopevtsev ended in the early 1960's (approximately 1962) and if the ideas can be found consonance with someone (I can not name from memory), then at least the technology, according to the methods by kropotilivosti much does one can hardly find the analogue.
Or those same big things Plavinsky ... everything. And the astounding scale with delalizatsii so high, and cold, and decoration. Watch live - quite impressive.

Of the several proposed qwerty, the success of the west I would put more on the ruble and Nemukhin (not being a fan of their beliefs). Argument: their works are at the junction of decorative arts and design, the series of images are recognizable, there is irony and aggression that makes them still today. I kazhdetsya for the Western audience, they understand. As understood by the same E. Steinberg. But Krasnopevtsev may not understand - he was too handsome in a literal sense, though not of our century. Deeply loved by me Yakovlev - an innovator, but, again, very Russian painter.