Connoisseurs - endangered species

[Евгений]

Znatochestvo - The term multi-faceted, but has a very clear definition of encyclopedic. Suffice it to recall one of the most popular and famous: "Znatochestvo - Section of Art, formed in the late XIX - early XX centuries., Which aims to determine the value of the product through attribution. Znatocheskaya examination was seen as part of research work at the same time recognized the activities directly related to the art market.

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The reality is not too much at odds with the definition, because when people talk about works of art, as a rule, experts in this field believe art historians, art historians, art critics, museum professionals, artists, and knowledgeable in any area of art and above all - constantly in its practitioners. However znatochestvo typical of those for whom art is not the main job - to collectors. In short, the experts - these are the people whom the head of the Russian artistic colony in France in the XIX century, a remarkable landscape painter Alexey Bogolyubov said that they have a "nose for a good thing."

It should be understood as applied force for the development of znatocheskih abilities, because in addition to talent, the desire for "beauty" and the skills required constant exercise of thought and eye for exhibitions and museums, not to mention the reading of special literature. Is important to visit the workshops of artists, familiarity with their heritage, knowledge of minor works, ie ferial of creativity.

Enumerate connoisseurs of previous generations can be very long. Those who today believe luminaries of art history, in time to emerge as experts. Among them, foreign compilers of union catalogs of works of artists-impressionists father and son Vildenshteyny, specialists in old masters, Friedlander, Bernson, outstanding domestic scholars Igor Grabar, Alexei Fedorov-Davydov, Boris Whipper, Viktor Lazarev. The artists themselves often play the role of experts, for example, members of association "World of Art" Alexander Benois, Konstantin Somov, Yevgeny Lancere, well versed in paintings, drawings and prints by Russian and Western European masters.

Sometimes, of course, that znatochestvo not confirmed by scientific investigation, led to well-known "classic" mistakes - witness the incorrect attribution Ostroukhova or Chernogubova. These failures would be confirmed as the utterances of the German artist Max Liebermann: "Critics are to ensure that after our death to declare our weaknesses of counterfeit".

Experts were many employees of public museums, since the constant work with the originals - part of their profession. However, the museum expertise, often reducible to a minor phrase about the museum or antique value of work, with all abundant technical means can not replace true znatochestva. Often, outside the official examination remains the rarity works, its significance in the artist, the history of appearance, provenance - all this deprives examination reliability.


Today, the true connoisseurs can be counted on the fingers. Among the staff of museums and art practitioners are only three or four people who deserve not only respect, but confidence. They were headed by Dmitri Sarabyanov - the only member of the Academy of Sciences of the common man, of course, authoritative, knowing the art of the late XIX - the first third of XX century, it is practical, not only from a theoretical point of view.

Most modern art is not simply listed as experts. And, despite the fact that many emit a large number of books and monographs, with their opinion no one is. The situation is complicated by the fact that the examination of all without exception, major museums and museum corrupt judge is losing credibility. Anyone who constantly has to deal with counterfeiting, simply loses qualification - each an expert must constantly train the eye, as a pianist, which should play every day scale. And if he is false, it only leads to the loss of even the most basic skills.

To grow a new generation of experts, will need a lot of time, since the island is only a problem of education. There is no doubt in need of special university courses to be introduced to znatochestvu. But so long as the work of a professional evaluator does not bring the relevant dividend, expected to improve the situation is not necessary.

Fifty years ago, a connoisseur and collector of Academician Alexei Sidorov described one of the most acute problems of examination and gathering, which, in general, is applicable to today. He said: "As a result, benefit forger, whose skill at the present time, it seems, knows no limits. Speculator, for which the collection of collections - intrigue, and the goal - profit, primarily the victim of the counterfeiter. For, in order to distinguish the original from a copy or a forgery, we need first of all eyes, then the experience, but above all, a good knowledge of the subject. Where is a businessman? "
Valery Dudakov.
http://www.openspace.ru/art_times/co...s/details/937/

[Admin]

Eugene, thanks for the interesting material. I moved the topic to the "Survey", here, I think, for her more suitable place.

[Meister]

Dmitri Sarabyanov, no doubt, a great expert .... but his examination made in recent years, should be treated cautiously.

[Евгений]

Сообщение от Meister

Dmitry Sarabyanov, undoubtedly, an excellent expert

I only know from books .., by avant-garde like the best, but it's not my opinion specialists tema.Interesno listen.

[ACG]

Eugene,
Dmitry Sarabianov - excellent judge and a man, I think the only real Academician (in the industry of art). He has taught virtually all of today's art historians. About Dmitry can talk a long time - sorry, he is not young.

[nikola]

The true value of art can not be on the surface
sheet or canvas. Spirituality is at the bottom (if the artist had this
gift be beautiful and eternal) But if the viewer has the ability to see
and feel these values and because of these qualities like work,
then he does not need an expert. Copy can be outside of the work
and what is called inspiration nor when. Therefore, all games with copying
is the life of the profane. Expertise they need not in order to confidently
enjoy the Divine, and to sell when tired.

[Евгений]

Сообщение от nikola

then he does not need an expert.

You're wrong, here discusses the serious problems, spiritual discussed in other posts ... While your opinion, too interesting to read ..

[nikola]

I am here and look what a conversation. What is the point to take a report for your attention.
He walked me through the galleries around the Kremlin enough, a lot of pictures of art zero.
In the CHA, about the building and in the transitions, too, that the building only the prices above.
What most of Moscow "galleries" is different from the Chinese market?
Hang the same cloth only izrisovannye colors. Do not speak so rudely
the pictures drawn with love, it is always visible.
Remarkable text (znatochestvo). There is the notion of visual
art. The value is measured not in money.
Although they, too, and it is very important, but in relation to other principles and rules
game. And then I do not understand how I can give a copy of the original?
I even convinced that the author's repetition of it will be easy to distinguish.
Unless of course the conversation is a serious work.
And when they say - "even the experts can not distinguish a copy from the original"
it speaks not of the quality copy, but the quality of professionals.

[Евгений]

Сообщение от nikola

And when they say - "even the experts can not distinguish a copy from the original"
it speaks not of the quality copy, but the quality of professionals.

You are mistaken, the subject discussed in the section of experts, carefully forgery, etc.

[Meister]

Eugene, well, you are very harsh for the beginner, we must be tolerant and to explain why it is so new participants can not be)

and the difference nikola, is that the copies are nothing compared with the original, and I assure you that none of the world's best expert is not immune from mistakes, because the fake, so that he would be an artist said, "Wow!" saw this thing. You can admire the thing, not even realizing that before you fake. And they cost different money because the originals were created by a painter who invented it, who introduced the idea, inspiration, etc. Copies are not worth the money, because it's just pathetic (and sometimes not) attempt to imitation.