Odessa artist Lucien Dulfan

[Tana]

Сообщение от VYACHESLAV

ABOUT AL Dulfana solo exhibition in Odessa in 1987 http://art-otkrytie.narod.ru/muzei1.htm Article in the third part of the book online. Way to sell the painting in this exhibition.

Hm with an interesting little book, especially that the author writes about Malevich, and about Vrubel:
"Rehabilitate" Silver Age "RUSSIAN ART"
IN RUSSIAN MUSEUM in April 1990
"Flat-eye" pattern in the dull Vrubel Hall?
VYACHESLAV where you "is" dug up ?????
In general, interestingly, by its opinion has not changed, because he writes in this book that "the time will judge"?
There is simply "pearls" and not a notebook:

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"Intrigued by the ability of my erudite companion (the Manege) to explain something in kalyakah Belutin, I asked him what he can say about the famous black square of Malevich."
the black square of Malevich here:

http://art-otkrytie.narod.ru/muzei5.htm: confused:

"A fashion for surgery blows: to claim that the avant-garde - like it."

and this is just what is the phrase:
"Or let's say: not necessarily a range of reading create by trial and error. Can you, from reputable sources to know what to read, and what is not."
Oh, VYACHESLAV just reminded me of school childhood ...
about Degas Seated Dancer. in 1879 "... with a flat face, awkward figure, and short neck is difficult to recognize the beautiful. However, the bed, like the unique combination of color spots, beautiful. "
And nothing beautiful in a dirty pink spot is not ... "

Yes, the author of the studio:
S. Volozhin "" Notes of a grateful viewer "".
VYACHESLAV if we take the feedback of this author on the art: the Hermitage exhibition, 1995. "Unknown masterpieces.
Volozhin wrote: (and this is something in 1995 !!!!!):
"I was grieved and, remembering the only help available to me to publish, wrote angry minitraktat the book reviews, was filled with unsubstantiated praises to the organizers of the exhibition and in honor of its exhibits.
Here is the text.
"I am amazed that in the main annotations (large size, hanging in the hall prior to the actual show) are sensitive to the prudence not to disclose his ownership of patrons who purchased the product degenerative - defined by the Nazis - art, and do not understand the authors of the same annotations that and we have no sin to join the opinion of the Nazis.
Did not recognize any impartial spectator, that by the end of XIX century painting ill particularly strong aversion to reality, to its people, its scenery, everything.

Compare Fantin-Latour still life (on the same show) with still-life by Renoir (1880, 1896, 1910), Cézanne (1890, etc.). Tusklyatina fruit negligence colors - love the Impressionists and finish, shine apple skin, even a pock-marked, or just shine it (another picture), even glare - a Fantin-Latour.

Saying And, to speak and B. On Fantin-Latour in prikartinnoy annotations written: embodied the joy of life. And about sezannovskoy tusklyatine decided not to write the opposite. Wrote diplomatically: "He tried to get to first principles, identifying the primary, primordial form" and "prostranstvennomaterialnye value of nature in the simplest examples.

Shame hypocrite! Cezanne just a pessimist. And the art of his sore because. And the Nazis were right. And the same can be proved in any of these art work abroad centuries.
Yes, well, you and the sources "!!!