Alexei Petrovich Bogolyubov

[ранжер]

Wonderful! The abundance of material is impressive. Number already be transformed into quality. Let us move from theory to practice. You feel that you are deeply in the material.

Would it not be so kind as to comment on this picture?
It has already been discussed at the forum, but would like to know the opinion of an experienced person.

Oil on canvas, 39H18, 5

[Тютчев]

Сообщение от ranzher

Would it not be so kind as to comment on this picture?

ranzher, those advances have been made to me and forced me to seriously come to put your question. I'll try to deal with this picture. First, try to understand what would make us think that this work hierarchy? First, a signature-like hand of the Master. Secondly, some colouristic similarity with the works of the artist. Thirdly, spelling out rigging, as it was proper to Bogoliubov and his disciples Begrovu.
      Now the details on each of these items. But with prejudice.
      Signed. In our case, the signature is not very similar to the signature hierarchy. Alexei Petrovich signature firmer, more confident. This - some not so. But to say first that I myself do not think the signature key element in proving the authenticity of the painting. As the absence of a signature does not prove that the work does not belong to the brush of an artist, and its presence can not be absolute proof of its authenticity. Moreover, even the presence of a false signature proves that the work was not written by the master, to whom it is attributed.
      Palette is similar to the palette hierarchy (how to judge picture). The predominance of ocher and the presence of two bright - green and red - the spots (center of picture), with the overall color of restraint, are characteristic of this wizard. But even the presence of these signs does not convince us that this work is hierarchy. The fact that the overall impression of this work does not correspond to the impression, which is produced by the work of Bogolyubov. No characteristic hierarchy picturesque harmony. Colored spot in its combination does not form a scenic integrity, and disintegrate and there as if by themselves.
       Indeed, rigging registered in Bogoliubov great detail. But written carelessly and in combination with the color divisions, as discussed above, reinforces the impression of total disharmony exercise.
      If we talk about composition solution, it is generally not the case for hierarchy. Alexei Petrovich, working on sketches, have always tried to picture, even a tiny sketch (with all its picturesque conventions) or a drawing - it's always a little picture with a perfect composition. In our own work and cut off the ship and boat, without any kind of composition has been substantiated. In short, the impression is that the picture is cut off or cut from another, or the artist wrote podsmatrivaya nature through a fence. Below I have given the work that is vaguely reminiscent of songs before us. But, believe me, I had to work hard to find it, and applies it to the 80 th year (it's years of creative maturity of the artist), as purports to Bogoliubov our image, and the 50-m. That is, to the very beginning of the creative ways the artist. Even so, it looks much more advantageous than ours. What confirms the fact that the artist has successfully solved the complex, similar compositional tasks at the dawn of its creation.
      In addition to pictures of 50's. I bring in proof of his innocence, the two works (similar in size to that proposed by you sketch), which depicts Havre. And each of them, and especially the French ship in Le Havre ", give this idea of the highest skill of the artist.
      It can be assumed with a very large stretch of the imagination that the work of someone from the students Alexei Petrovich Bogolyubov. For the hierarchy of the sketch is too weak. Do not forget that during the lifetime of Bogolyubov was recognized not only in their homeland (which in itself is not enough), but also among the masters of French painting at that time. But that's another story.



1. Antwerp. 1854 Oil on canvas on cardboard, oil. 32.5 x 40.5 cm
2. French ship in Le Havre. 1880-1890-e Wood, oil. 41 x 27 cm
3. Havre. 1880 - 1890 - e Oil on canvas. 27 x 41 cm

[Тютчев]

Notes of a sailor - artist

under the shadow Radishcheva

On the road from Petersburg to Moscow
   
Do not sold my grandfather pancakes
In the princes did not jump out Khokhlov
No singing in the choir with the sexton,
Do not polish the king's boots,
And he was not a fugitive soldier ...
 
Pushkin

  Was Alexander Radishchev that gives me the right to take their origin is not servile. His daughter, Thekla Alexandrovna Radishcheva, married my father right out of the Smolny Convent, which was given to the orphan's upbringing, along with his elder sister, Anna. His son, the youngest of them, Athanasius A., was admitted to the Second Corps, where he graduated from the training. In 1816, released an officer in the Guards Cavalry Regiment.

     My father, Colonel Peter Gavrilovich Bogolyubov, was a disciple of the First Cadet Corps. Issued to officer in 1800 and immediately made a trek through the quarkonium. Then, in the course of the entire French campaign until 1816, remained in the body of Count Vorontsov. In France, in Nancy, was seriously wounded. After that I was searching for a late service, and finally, in the service, died from the effects of wounds received in the stomach.
  
     1824-1830

     Children from father and mother were two of them: a brother Nikolay and myself. Service father was at the St. Petersburg-Moscow highway, where there was a military-working team of several battalions. He commanded the third, located in Chudovo, Tosno, Luban and Pomerania, where I was born March 16, 1824, and where my early childhood was spent almost unconsciously. I remember, however, that there was wonderful for a child's imagination coaching house with a big yard, with directions for imperial rooms and Innkeeper Elizabeth I. Minushkoy with her daughter who drowned in a pond. Next was our house. It fits to the garden post office. There were swings, curtain with currant, strawberry ridge, and deep - a pond where drowned Minushka and sauna. Our house was a two-story, a peasant, with a large yard, where the crane go, turkeys, chickens, ducks, and every dog. Sometimes it was brought up immediately bear.

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     He loved animals and was a kind of artistic, drawing badly, loved the pictures on its funds, prints, engravings. Repaired watches all his friends, sharpened with angelic patience finest wheels clockwork. Built their own means sleigh, carriage and all those engaged in business with the utmost love. He was a kind and honest, and therefore was not rich and at death left a family of small little money, which our good mother has kept for us, but not increased, because, although she lived poorly and humbly, but it is, however, did not prevent her help your neighbor and help yourself all his friends. About her, I kept the highest and lovely memories. And if me is that a decent and kind, they are all reared its sensitive intelligence and high morals. It was the first we have to our knowledge, because the other teachers before joining the Corps we did not have. As a ward of the sixth issue of the Smolny Convent noble half, she was raising quite fundamental, though not extensive. Well known languages, arithmetic, history and geography, but God's Law. But this small program has been developed it in detail and digested with a rare knowledge, and with regard to aesthetics and love of beauty, all this was evolved cognition literatures have his intelligence and taste. Being an orphan, my mother stayed at the Institute of retired, and then the year great lady. At this time she met near the old Frenchwoman, French teacher, who had a great influence on its development. Together they read Diderot <Diderot.>, Voltaire, and so on.

     How memorable to me her face, it was nice to old age. Straight nose, lovely blue-gray eyes, brown hair, good growth, lovely mouth and some neuhvatimaya smile of kindness made her a pretty woman. Coquetry was not here, but with whom she was flirting, and living in the Smolny Convent in the circle of old widows of poshiba. I will say that the widow of this house was the lot of widows of distinguished people.

     It was then that she herself is fully devoted to our education and not keeping under their skirts, talking about everything that was decent in our age, so that by engaging in life, we all knew, but in a form that can be intelligent and moral woman. There was no topic about which we would not allow themselves to talk to his mother. Complete frankness and suggestion credibility was her moral principles and our payment to her for all her kindness and prevention. So later, when she was gone, I have often told his brother: "Let one of us is more loved?". And both, thinking, answered: "I never noticed that you preferred to me".

     1831

     On his father's death (1) we have been orphaned deserved rights, which gave the right to enter the Corps of Pages, so it was done. My brother soon came time income Alexander Tsarskoselsky juvenile case, where he was and took his mother, placing fourth in the Marine company. At the bedside of his ticket bore the "The page". But soon the fate of our variables and, on the advice of AA Kavelina, a former teacher of Alexander II, his father's friend, we were transferred to the Sea, on the de basis that without the means to serve in the Guard badly. In the Marine corps give the same mathematics education and director of the IF Krusenstern - a learned man and intelligent. So I shew this mother, and then testified that she was an intelligent woman, went not out to us for a prominent career officer of the Guards penniless with aristocratic appetites, to the satisfaction of which the young man unwittingly drawn the rich partnership.

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     As said above, my mother taught us all that is befitting our age. I was always very frisky, but because she often had to do my suggestion, but all the while teaching her active love for us, she never let me flogged and slapped, that would then be entirely in the spirit of the times, because I shall give an example, in Alexander's juvenile case I flogged 17 times yes 2 - in the Sea. But this I will say more later. I remember that one of the actual punishment it was - thread, tie me to a chair, in order to tame my excessive speed. In such cases, I always sat smirnehonko, not daring to break my heavy fetters.

     Prior to joining the mother in the house Widow we lived together with his uncle Athanasius Aleksandrovich Italian manor house Struchkov. The room was modest. The furniture was paternal, and his homemade taste. After his death, she was very worn out, so that the mother herself and bought Gudulu obila svoeruchno it, but I also tried to help her as best he could, so that earned her praise for consideration in the work and artistic taste. He saw it in me long ago, but because the holidays are no other gift is not made, except for pencils, paper or paint, so I was a painter, almost from the age of four. Drawing herself she did not know how, but always seen in the figure wrong and it could provide. In the ill-fated first hour of cholera in St. Petersburg's mother took away our village, in Kushelevka that some of the Forest Institute, hired a peasant hut in the 25 p. banknotes; here we stayed until the autumn. I vaguely remember the stories about the horrors of cholera, a scourge of humanity, from the cook of our Darya.

  1) PG Bogolyubov, died July 8, 1830

[Meister]

but he did this on sale there? I think very rare.

[Тютчев]

Сообщение от Meister

and he did this on sale there? in my opinion is very rare.

In the market of this work, AP Bogoliubov, indeed, appear very rarely. This has always been: in Soviet times, and in 90 years. Now nothing has changed, his work still rarely offered by dealers and are rarely at auction. As before, many fakes passed off as the work hierarchy. Those undisputed work, which still appeared on the market, leaving behind a very good money.
For example, three fake pictures of those that were sold at auction, and genuine, the most expensive work of the artist from ever marketed at auctions (currently):
 
1. 24.5x35 cm, 1883, oil on panel, EUR 7,200 (Auktionshaus Stahl)
2. 30h43, 5 oil on board 2.121 $ (Miillon & Associes 29.05.2009)
3. 38h18, 5 oil on canvas not sold (ArtCurial 23.03.2009)
4. Moscow 1878. 73h92, 3 3.305.033 $ (Shristies 28/11/2007)

[ранжер]

Bravo, Tjutchev,! You have worked nicely. Just right to issue concerned (owners of the site?) Account. But we're not here for personal gain, and the Holy art for. Not so, maestro?

But agree with you only one item. This - not Bogolyubov.

  However, if you are ready to transform his impression of a certain proposition that this landscape - carved out another piece of the picture, then and there we have with you is a consensus. But in this case, your entire argument about the composition is no longer itself.

For your considerations in favor of this version is that there was also no logical necessity from the left side in the background to depict what a small part of Toli Toli ship port facility. In addition, I shall pay attention that the dimensions of this work does not conform to the standard format of the French, that when writing this etude, it would be quite natural and comfortable.

I do not see in this marina is no color disharmony. It worked competently, confidently and soundly, not art, of course, but very professional. Stylistically very similar to the hierarchy of the French period. Precisely to say so - that his paintings of that period stylistically trudnootlichimy of equal talent with French colleagues.
There is still time, but if need be to lay out the test anonymous pictures of several artists. Let the experts and specialists will determine which of them Bogolyubov.

Without belittling the great achievements AP Bogolyubov to Russian culture, yet it must be admitted that all the superlatives in the determination of his creative contribution, given in your text, just loosely with one important reservation - only for Russian art.
In the context of European art of the 19 th century he was an artist medium capacity.
Art world can do without his work, without losing its integrity. Here, for example, without his disciples Polenova and Pohitonova can not.
He has not, so to speak, his coloristic person. Especially in the so-called Vel'skii period, while at the named students or have Kharlamov, who also worked at the Wehle, that person was, the color in their paintings immediately recognizable.
No accident that the curators of a major exhibition of Russian Art 19 th century in the Paris Museum d'Orsay are not included in this exhibit no product hierarchy. The museum represents the French art of the second half of the 19 th century, with its outstanding landscape painters, paintings and hierarchy would look at all homely.

With regard to the signature on the marina under consideration, then, in my opinion, it is made of solid professional hand, well reproducing the incertitude and the uncertainty of the hand hierarchy. Among the numerous signatures of the artist in the databases of specialists and there is.

When this picture was seen on the forum for the first time, I expressed doubt that the AP Bogolyubov, who has lived in France for many years, could be so grossly wrong to show the place - HAVRE. If local residents to ask how to get to Havre, you simply do not understand. In French, the name of this city inseparable from the article Le. Correctly only LE HAVRE. Someone replied that he had seen similar inscriptions on his paintings in museums. If so, then the general hierarchy in France had problems not only with artistic self-identity, but also with the French.

What remains for us, my friend Tjutchev? As a not-hudozhnecheski inflicted by the signature and name of the place, but the assumption that if a piece of another picture of hierarchy, it is unlikely that this would be a marina, he was putting on a special frame and sign it.
  (According to the French mind stretcher and canvas and nails more than 100 years, ie, as they say, all native. I think, an expert on this fact had its effect).

Admittedly, not many.
However, there is intuition. In such a delicate case like ours, gentlemen, we must not ignore our intuition.

Yes, a colleague, is obliged to warn. Negative atributiruya online this picture, we are with you take out of public distrust of the well-known specialist Bogolyubov - VA Petrov.
Say leniently - put him in appearance.

Well, you, master, look man, not timid, not pasuyuschim to authorities. You yourself own authority!

In this regard, I have an idea to speak with the appeal to Vladimir Aleksandrovich, now that the dispute about the authorship of the three marina we are with you in the majority.

Still wait for your consent. Suddenly you change your mind.

[Евгений]

RUSSIAN PAINTING XVIII - early XX century. Full academic catalog Saratov Chersonesus Museum im. Radishshev

The catalog, training which lasted for many years, includes all 1,051 works of Russian artists, stored in the museum collection.

Format: 22х28 cm, 560 pages, illustrated., Hardcover, M., 2004
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Very useful book for art dealers, collectors.
In the catalog of more than 200 works of Bogolyubov AP
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Сообщение от Tjutchev

For the hierarchy of the sketch is too weak. Do not forget that during the lifetime of Bogolyubov was recognized not only in their homeland (which in itself is not enough), but also among the masters of French painting at that time. But that's another story.

In the catalog of studies introduced are weaker studies ...

[Тютчев]

Сообщение от ranzher

Success, Tjutchev,! You have worked nicely. Just right to issue concerned (owners of the site?) Account. But we're not here for personal gain, and the Holy art for. Not so, maestro?

Besides the fact that communication with forumcanam for me nice and helpful, I have had some, as you put self-interest. By the way do not see anything wrong.

Сообщение от ranzher

However, if you are ready to transform his impression of a certain proposition that this landscape - carved out another piece of the picture, then and there we have with you is a consensus. But in this case, your entire argument about the composition is no longer itself.

Not see the need to transform their experiences in what - whatever judgments you to achieve a consensus. And not because they do not respect your opinion, but because they do not see any reason to change their own. What exactly do you feel weak in my reasoning? Give the part of my reasoning, which appeared to you in error. And only then can I explain you my point of view in greater detail. Otherwise, I'll be forced to recognize your non-constructive criticism. Kindly colleague, specifically.

Сообщение от ranzher

I do not see in this marina is no color disharmony. It worked competently, confidently and soundly, not art, of course, but very professional. Stylistically very similar to the hierarchy of the French period. Precisely to say so - that his paintings of that period stylistically trudnootlichimy of equal talent with French colleagues. There is still time, but if need be to lay out the test anonymous pictures of several artists. Let the experts and specialists will determine which of them Bogolyubov.

Your picture is very weak. If you do not see in it the color disharmony, I hardly can tell you anything to help. To put it the same level with the original works of Bogolyubov's ridiculous. Compare, for a start, your picture with the work that I put in my post. Pay attention to the fact that they are similar in size to head lice, and they depicted Havre (http://forum.artinvestment.ru/showpo...mp;postcount=9). It is strange that you do not see the difference.

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Speaking of this work, a job which could belong to brush hierarchy, and that it is made "with knowledge, confidently and soundly, not art, certainly, but very professional", you give an assessment of creativity A. AP Hierarchy. (Give at least one similar. Unless of course you do not want what I would have thought you were unfounded.) It turns out that he was a mediocre artist, craftsman, good technician, does not stand out among the "equal talent with French colleagues"? I am very glad that this view is not shared with you the many fans of the artist among his contemporaries, and among the living. From your words imply that everyone who has ever said about his work with admiration, and all those who praised his work, which was reflected in the fact that he has received during the life of a high social status and has an enviable financial position that all these people - donkeys, nothing smyslyaschie in art? Of course, everyone is free to have his own opinion, but let's not forget that Alex Petrovich - winner of the first and second gold medals of the Imperial Academy of Arts, at 34, he became an academician of the same Academy, and three years later became a professor. Let's not forget that he was recognized as their French counterparts barbizontsami, artists, whose creativity, and hence the views respected throughout the world. That is, all these people with some strange to say, and did not like that thought? Then we must admit all of them dishonest or not versed in the art of people. Do you have this courage?

Сообщение от ranzher

Without great achievements AP Bogolyubov to Russian culture, yet it must be admitted that all the superlatives in the determination of his creative contribution, given in your text, just loosely with one important reservation - only to Russian art.
In the context of European art of the 19 th century he was an artist medium capacity.
Art world can do without his work, without losing its integrity. Here, for example, without his disciples Polenova and Pohitonova can not.
He has not, so to speak, his coloristic person. Especially in the so-called Vel'skii period, while at the named students or have Kharlamov, who also worked at the Wehle, that person was, the color in their paintings immediately recognizable.
No accident that the curators of a major exhibition of Russian Art 19 th century in the Paris Museum d'Orsay are not included in this exhibit no product hierarchy. The museum represents the French art of the second half of the 19 th century, with its outstanding landscape painters, paintings and hierarchy would look at all homely.

Apparently, you do not belong to the admirers of Russian art. Otherwise you would not say that Bogolyubov great artist only in the context of Russian art. Discussion on the role and place of our art in the global long maintained on this forum. I will say about a few general observations. In my opinion, this is totally unprofessional separate Russian art from Europe. Discussions about the secondary even more unprofessional to the extent that all the art in a somewhat secondary to something that occurred earlier. Do not forget also that Russian art, historical reasons, all 70 years of Soviet power is practically not been submitted to the international exhibition venues (or was presented in a very limited form) and, hence, could not be seen and informed world community. (By the way I have shown in the following quotation confirms Serge Lemoine.) This, incidentally, is not the case with music and literature by the fact that familiarity with the arts do not need to contact directly with the original. Keep in mind the fact that the national art has always been the most venerated in the country of origin. It's stupid because hope that the French with all his undeniably great poetry, will appreciate Pushkin!

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The claim that the hierarchy "is not a coloristic person, again leads me to believe that you are not very familiar with the works of this artist. Works Alexei Petrovich completely recognizable and have their own, but it is inherent, color harmony. Comparison of Kharlamov, Pohitonova and hierarchy, no doubt, said that the Bogolyubov more significant artist than they are. It is even a strange explanation!
       Now about the exhibition. The full name of the exhibition of Russian art in Paris is as follows: "Russian art of the second half of the XIX century: in search of identity». And the concept of the exhibition's curator says the following:
"" We admire the novels of Tolstoy and Dostoevsky, adore Chekhov's play, happy listening to music by Tchaikovsky, Rimsky-Korsakov and Mussorgsky, and the plastic work of their compatriots, who worked in the same era, are still for us terra incognita », - said at the opening of the exhibition director of the Musée d'Orsay Serge Lemoine. Exhibits for the four-month exhibition were selected more than one year. «We have deliberately rejected the Russian Impressionists and European trends in Russian painting, - explain the curators. - We had a very interesting fact that came out of the walls of the Academy of Fine Arts, where they brought the world classics, and then visited the centers of art - Italy and France, your artists eventually turned to national, religious and literary sources and folk traditions ».
Organizers tried to address all areas of art: painting, drawing, sculpture, crafts folk art, photography, while making no claim to comprehensiveness. Ambition of the project was to show works that have never exported from Russia is not, therefore, such attention has been paid, for example, Repin's picture "Religious Procession in Kursk Province. Russian realism presented in the exposition of the best works of the Tretyakov Gallery and the Russian Museum, including landscapes Kuindzhi "Birch Grove" and "Moonlit Night on the Dnieper," "Eternal Rest" Levitan and "Moscow court yard" Polenova. The historical and religious themes appear on the canvases of Nesterov's "Vision lad Bartholomew", "Christ in the Desert" Kramskogo and "Apotheosis of War" Vereshchagin. Demonstrated Repin's famous painting "The Unexpected" and axiomatic of the Wanderers "Life Is Everywhere" Yaroshenko and "Repair" Savitsky. Special place took the world of Russian fairy tales ( "Prince Ivan on the gray wolf" Vasnetsov and Bogatyr Vrubel). Mikhail Vrubel generally given special attention, he acts in two ways: as an artist-mystic, founder of "Demon" - sitting and flying, and "Swan Princess" and as one of the Abramtsevo active participants in the circle. "
http://www.ng.ru/culture/2005-09-29/7_francuzy.html
      As you can see, using the name of the exhibition and its concept, it originally could not be represented creativity hierarchy, because the artist while remaining deeply national, worked in the tradition of Western European art. In addition to the hierarchy, at this exhibition were not represented and the other not less than the great Russian artists. And from the fact that they were outside the scope of the concept of French curators, they have not lost their relevance. Understand that the French wanted to see "the original Russian art. Something new for themselves.

Сообщение от ranzher

With respect to the signature on the marina under consideration, then, in my opinion, it is made of solid professional hand, well reproducing the incertitude and the uncertainty of the hands of hierarchy.

This is generally a strange read. It seems as though Bogolyubov your personal enemy. Why such hostility? Why these attacks? What he done to you?

Сообщение от ranzher

When this picture was seen on the forum for the first time, I expressed doubt that the AP Bogolyubov, who has lived in France for many years, could be so grossly wrong to show the place - HAVRE. If local residents to ask how to get to Havre, you simply do not understand. In French, the name of this city inseparable from the article Le. Correctly only LE HAVRE. Someone replied that he had seen similar inscriptions on his paintings in museums. If so, then the general hierarchy in France had problems not only with artistic self-identity, but also with the French.

As to your assumptions about lack of education hierarchy, it has finally convinces me that you are unfamiliar with his work and biography. Alexei Petrovich was one of the most educated men of his time, knew several languages. And I think, certainly, in perfect command of French. Otherwise, it would be difficult to provide on the lapel of his coat the Order of the Legion of Honor, Chevalier of which he was (by the way apart from him this honor was awarded a Russian artist Aleksandr E. Yakovlev). Also remind you that Bogolyubov was well received in the imperial house (level of education of members of the royal family, I hope not cause you doubt). I think you realize that friendship with a man like Ivan Turgenev, also spoke in favor of his exceptional scholarship. Friends, this, at least, be an interesting conversationalist. It is unlikely that Ivan Sergeevich endured side by side with an incompetent and ignorant.

Сообщение от ranzher

What remains for us, my friend Tyutchev? As a not-hudozhnecheski inflicted by the signature and name of the place, but the assumption that if a piece of another picture of hierarchy, it is unlikely that this would be a marina, he was putting on a special frame and sign it.
  (According to the French mind stretcher and canvas and nails more than 100 years, ie, as they say, all native. I think, an expert on this fact had its effect).

      My friend, ranzher, all the arguments presented by you, though, and confirm my words that this picture is not the work of Bogoliubov, few are significant. At least I look at my nails, frame and signature. More important argument for me is the very painting. Because if the painting is not convincing, it does not matter what the nails hammered into a stretcher, and what signature is on the product.
 

Сообщение от ranzher

Yes, a colleague, is obliged to warn. Negative atributiruya online this picture, we are with you take out of public distrust of the well-known specialist Bogolyubov - VA Petrov.
Say leniently - put him in appearance.
Well, you, master, look man, not timid, not pasuyuschim to authorities. You yourself own authority!
In this regard, I have an idea to speak with the appeal to Vladimir Aleksandrovich, now that the dispute about the authorship of the three marina we are with you in the majority.
Still wait for your consent. Suddenly you change your mind.

Dear colleague, forming an opinion on this or that work, I of course its relation with the views of their colleagues. Sometimes these opinions are very important to me, more so in the event that material I did not know. Petrova, I agree, at least, respect him, he often consulted with him. But that deals specifically with this picture, I do not agree with him (if it indeed confirmed). I take this opportunity to say that Petrov, of course, a specialist in Russian painting of the XIX century. This questioning, at least, strange. The fact that he can not go wrong, like any other person, too, it seems to me quite natural. Do I need to make a demarche to Petrov? Personally I have big doubts about the appropriateness of the action. We are certain you understand that this is not Bogolyubov! Well, thank God!

Sincerely, Tiutchev.

[Тютчев]

Сообщение от Eugene

In the catalog of studies introduced are weaker sketches ...

Thank you, Eugene, for being reminded of this useful book. She, too, I have. I would be very interested to know what studies you believe weaker than the one who introduced the ranzher. Just name the numbers of these images in the catalog.

[Евгений]

Сообщение от Tjutchev

what studies you believe weaker than the one presented ranzher. Just name the numbers of these images in the catalog

№ 45,53,56,62,64,69,90,112,124,133,154,184,204.