Armenian artists

[Евгений]

At the forum there are many useful informatsii.Chast, I have collected in this commentary (the authors have forgotten, but not the point ....)
Investing in art, it seems, are so complex that only a manageable art critics. Should I start, if he does not understand, and knowledgeable friends do not?

In fact, among collectors and investors almost no professional art critics or people with specialized education.
.. Collecting never taught.
No university, where he teaches how to understand the sixties, "Paris School" or the impressionists, where they teach to bargain and to understand the value of periods.
There is hardly any textbooks, which lists the names of "correct" experts, galleries and customs brokers. The road to explore the subject of collecting all about the same: read the profile of literature, visiting exhibitions, meeting with art dealers and independent shopping experience ..

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One rule: do not fully believe the papers, a variety of expert opinions. In fact, the expertise, there is now reputational.
Legal liability expert shall not be, that is, has every right to make mistakes with impunity.
Therefore, market expertise was compromised "of paid" conclusions.
How then to cope? There is a narrow circle of experts (specializing in one or two artists), whose opinion is highly valued in the market.
Experienced collectors it is enough alone their words.
And vice versa: Well-known experts whose positive conclusions about the authenticity of the disadvantage attributed their works.
Can you imagine that? And the thing is some sort would no doubt, and the conclusion of a positive, but signed as "incorrect" expert, that sell work with such a paper would be more difficult. Knowledgeable buyer would be expected to catch.
Examination, of course, necessary, especially for expensive works, but you need to take responsibility for the choice of nominee (for promotion may apply, for example, in the profile picture).
It should also be borne in mind that for most of the first names are registered funds, the conclusion of which is final and the only recognizable - such as Marc Chagall Committee, funds Yavlensky, Kandinsky, Pyotr Konchalovsky, etc. However, this is not the field for new investors. We also know that one of the most frequently counterfeited directions is a Russian avant-garde of the first third of XX century, especially the revolutionary vanguard (Suprematism, etc.) - things have global significance.
Collecting them is already first-class collection, which requires the highest professional competence and flair, so newcomers to the pores on the forefront of the better and not to dream.
Why take the risk, fearing for the authenticity, if you can buy work at prestigious auctions? There's something for sure all the checks ...
Auction does not guarantee against "falshaka. Such transactions are not uncommon, though they are not intentionally. Auctions are trying to protect consumers from surprises as they can. And they can? After all auctions in the same way based on the documents, the official expert opinion. About the difficulties associated with it, we have just described.
Even before conducting the auction of the exhibition, where you can come with their expert. But also do not guarantee. Episodes of "puncture". Thing bought in a decent place, brought to Russia and here - a failure on examination. Severe cases.
Back auction house will be beset with painful formalities.
We'll have to prove that their experts were wrong, and your attributed correctly. Moreover, the burden of collecting admissible evidence spuriousness things also have to bear the unfortunate owner.
General Board-Do not make a purchase at the slightest doubts.
Better greatly overpay for the real thing than the "advantageous" to buy a fake.
Even too much bought the original one day catch up and surpass its price, becoming even more expensive.
---------------------------------
Walk to museums, long look at the originals of your beloved artist. This will help you understand many things.
Trust your eyes, taste, and the first impression.
Do not overestimate the value of certificates: not based on persuasive arguments is confirmed only assurance expert, if not its uncleanliness.
Go to the sellers themselves, to plan the presentation of them. Do not wait for you to bring "just what you love, it is now discovered in the attic.
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For the most part, collectors - people who are willing to pay large sums, because they believe that so they can get into the story.
The collection is a gleam of immortality. Man has always wanted and dreamed to overcome death. There are several options. I'll write a book, it will issue - I would die, and she left. Or head of a lot of children, they grow up to be like me ... Collection Collection is a way preodaleniya death.
Here's Tretyakov - ordinary industrialist, which was much in Russia. But he was more collected, and therefore remained in our memory and will remain after us.
That's why the price of a work of art can be anything. Faust was willing to appoint any price for immortality - and collectors for some things that can become the history of art, are willing to pay for a ticket to eternity.
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The investor must always remember that investing in art - long-term. In addition, you must only buy high-quality work.
It is always better to buy a top-end thing is the artist of the second row than the checkpoint, even the great mastera.Obyasnenie this is simple: poor performance simply does not reflect the qualities of the artist, for which he valued.
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Investing Basics: liquidity, profitability and reliability of purchased goods ..
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 Collecting is knowledge, and this knowledge is always work .....
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Добавлено через 17 минут
The forum has a lot of useful information.
Let's start with the most interesting.
User forum under the nickname (qwerty) (one of the most interesting and experienced collectors, who are present at the forum, sorry stopped writing ...):
Ideas are the following. (And collecting).
To build a decent collection that must be met four conditions:
1. The market should be provided a sufficient number of the selected areas.
2. These works should be high enough quality.
March. They must cost a reasonable price.
4. There should be a concept, combining a selected work in a single whole.
I agree 100%, an example of a thematic collection: "Tiflisskaya School", a collection of A. Piradova. (EA)
--------------------------------------

Ten tips from Dudakova Valeria .. (One of the best collectors in Russia).
1. Only buy what you like and listen to your intuition.
2. Do not buy a job only because it is expensive.
March. Get eyes, not ears. Poor score collector - "swine eyes.
4. Bringing up their vision for the unconditional standard. Explore the subject of his collecting as much as possible: to collect books, directories, memoirs. Avoid fakes, but do not blame them in another meeting.
5. Artistic value and cost of items often do not coincide. Do not yield to rarities because enchanting prices: they are priceless.
6. Do not give short-term conditions. Know how to evaluate prospects. Pay more than other, it is very rewarding.
7. Do not be greedy, let's work on the exhibition, to be published. This will bring additional benefits and will make good collector's glory.
8. It contains his collection in perfect order: it will pay off triple.
9. Try to get even trivial work favorite author.
10. The measure of the quality of the collection are the best and the worst thing. Freed from the worst, raises the bar top. The main value of the collection - its wholeness.

Читать дальше... 

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Michael Perchenko. (collector, the gallery owner "Old Masters")
".... In the world there are many collectors - the great saint, they shovel the vast amount of material, looking for some kind of value. And sometimes you see - a wonderful man, a huge number of objects and collections as such does not exist. Collection - this layer, and level. Quality, quality, and quality. A man is weak. He had to buy some things related to a whole bunch of memories, joy. And he does not want to part with things. The result - the collection is littered with. We must clearly realize that's hanging on the wall of your favorite image, emotional explosions associated with its prey, and next - even three. And if the favorite does not stand comparison with them on quality - get rid of it mercilessly. Anyone who was able to overcome it in a gathering, hoarding - and he becomes serious collector. And another. unsociable me Chekhov said that you need to squeeze a drop of a slave. The collector should drop by drop squeezed from a buyer. The excitement when you buy a piece of art - a sense that you want to pull themselves out with pliers, scalpel, a corkscrew. What please. because it lies 99%of errors collectibles. Gust, you want to buy something - fine, but the excitement is lost on such priorities. And you can buy a whole slew of useless junk, instead of a crush it 99 times, but one - buy something really serious for the collection. And the whole world seduces you purchase. You have come to the gallery and see two or three dozen objects. It takes the first boom - you know, yes, those three dozen would suit you to a collection, but none of the They are not raised nor would it up a notch. So you do not need it. The ability to leave low-quality things - what makes a collector of the collector and, as we say, dustman.
Within the clan there is some division?
- There are different types of collectibles. There are instances when a powerful urge for collecting, plus an incredible brain power, plus the money and understanding that you can not be a buyer, and should attract experts, do a very good, strong collection. For example, a collection of the Thyssen-Bornemisza, which is demonstrated today in Madrid, in a separate building and competing with the Prado on the number of visits. This Frick Collection in New York, rival the Metropolitan. I was tempted by another type of collectible - if you rely only on their strength, knowledge, taste. If you do not have enough knowledge, of course, you kontaktiruesh with those who have them in this area anymore. But experts determine your collection - you yourself.
But it is an endless journey?
- Absolutely. Moreover, the vertices of this path is not never reach. They have already formed. This - Gathering of the Medici family, which founded the world's most brilliant Uffizi gallery. Never one private collector not reach this level. This collection of Rudolf in Vienna Gallery, Pitti, Munich Pinakothek. Their level is unreachable - no such money, and no such works. Most of the paintings, which are stored in these museums, buying from the machine, from the author. Still, there is one area where you can try to keep the level of these sobraniy.Eto - quality. You have 20 things, and not 20,000, as in the Uffizi, but any one of your paintings would hang out there. This is a very big goal. Elusive, but possible. And the longer you have pieces that do not compete with the world's masterpieces, but are their friends, the higher your collection ......
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Vladimir Bogdanov (member of our forum, one of the best journalists of Russia on the theme "Investing in Art" (wrote on this subject for over 10 years ...):
 

.. "Investing in an antique painting, as indeed in the postwar modernist, was sufficiently predictable. This is an advantage. On the side of a collector of antique collection of investment - sales statistics, the history of auction prices, literature, catalogs, reasoning exhibitions, museum exhibitions. The value of artworks held in the history of art has been defined, studied his works, especially valuable during periods marked by successful, innovative was his assessment. The risks to the investor are that you can buy a fake thing or mediocre quality. But the risk of spending money on thing with the looming prospect of investment is almost there. Accents in the works held "antique" the artist has placed securely ...."
"... And here, actually, we got to the point. For Investment Success requires knowledge and luck - a combination of them. The only option that allows to gain confidence on investment ..... learn to understand yourself: read a lot, ask experts interesting topic to study, attend exhibitions, digging into the Internet, communicate with collectors.
Investing in art is a serious and sometimes nervous intellectual work. But the rewards for it are not only money but also a special pleasure from owning a work of art - fun, which does not give any other investment vehicle ... "
-------------------------------------------------- -
: old masters - a concept usually refers to the masters who worked in the Renaissance (roughly XIV-XVI century), but in the international bidding in the auction include art by old masters and those who lived and worked in the XVII-XVIII centuries. It appears on the site Sotheby's - from Giotto to Goya, which is about the beginning of XIV century to 1800.
Modern and contemporary art - these English words are found in the names of Western auctions and translated as "contemporary art". However, the term «modern» means the art of early twentieth century, and the «contemporary» means what is happening in art in recent decades.

[Евгений]

Continues the theme of collecting, investing in art, antiques ...
-------------------------------------------------- ---
User forum under the nickname (qwerty) (one of the most experienced collectors who attend the forum, sorry stopped writing ...):
"... The idea is the following. (And collecting).
To build a decent collection that must be met four conditions:
1. The market should be provided a sufficient number of the selected areas.
2. These works should be of sufficient quality.
3. They must cost a reasonable price.
4. There should be a concept, combining a selected works into a single ... "
I agree 100%, an example of a thematic collection: "Tiflisskaya School", a collection of A. Piradova. (EA)
--------------------------------------

Ten tips from Valery Dudakova .. (One of the best collectors in Russia).
1. Only buy what you like and listen to your intuition.
2. Do not buy a job only because it is expensive.
3. Get eyes, not ears. Poor score collector - "swine eyes.
4. Bringing up their vision for the unconditional standard. Explore the subject of his collecting as much as possible: to collect books, directories, memoirs. Avoid fakes, but do not blame them in another meeting.
5. Artistic value and cost of items often do not coincide. Do not yield to rarities because enchanting prices: they are priceless.
6. Do not give short-term conditions. Know how to evaluate prospects. Pay more than other, it is very rewarding.
7. Do not be greedy, let's work on the exhibition, to be published. This will bring additional benefits and will make good collector's glory.
8. It contains his collection in perfect order: it will pay off triple.
9. Try to get even trivial work favorite author.
10. The measure of the quality of the collection are the best and the worst thing. Freed from the worst, raises the bar top. The main value of the collection - its wholeness.

Читать дальше... 

----------------------------------------------- ----------

Michael Perchenko. (collector, gallery owner "Old Master")
".... In the world there are many collectors - the great saint, they shovel the vast amount of material, looking for some kind of value. And sometimes you see - a wonderful man, a huge number of objects and collections as such does not exist. Collection - this layer, and level. Quality, quality, and quality. A man is weak. He had to buy some things related to a whole bunch of memories, joy. And he does not want to part with things. The result - the collection is littered with. We must clearly realize that's hanging on the wall of your favorite image, emotional explosions are associated with its prey, but close - three more. And if the favorite does not stand comparison with them on quality - get rid of it mercilessly. Anyone who was able to overcome it in a gathering, hoarding - he becomes a serious collector. And another. unsociable me Chekhov said that you need to drop squeezed from a slave. The collector must squeeze a drop of a buyer. That excitement when you buy a piece of art - a sense that you want to pull themselves out of ticks, with a scalpel, a corkscrew. What please. because it lies 99%of errors collectibles. Gust, you want to buy something - are nice, but the excitement is lost on such priorities. And you can buy a whole slew of useless junk, instead of a crush it 99 times, but one - buy something really serious for the collection. And the whole world seduces you purchase. You have come to the gallery and see two or three dozen objects. It takes the first boom - you know, yes, those three dozen would suit you to a collection, but none of the They did not look up to her either on the step above. So you do not need it. The ability to leave low-quality things - what makes a collector from the collector ......
Within the clan there is some division?
- There are different types of collectibles. There are instances when a powerful urge for collecting, plus an incredible brain power, plus the money and understanding that you can not be a buyer, but should attract experts, do a very good, strong collection. For example, a collection of the Thyssen-Bornemisza, which is demonstrated today in Madrid, in a separate building and competing with the Prado on the number of visits. This Frick Collection in New York, rival the Metropolitan. I was tempted by another type of collectible - if you rely only on their strength, knowledge, taste. If you do not have enough knowledge, of course, you kontaktiruesh with those who have them in this area anymore. But experts determine your collection - you yourself.
But it is an endless journey?
- Absolutely. Moreover, the vertices of this path does not reach than ever. They have already formed. This - Gathering of the Medici family, which founded the world's most brilliant Uffizi gallery. Never one private collector not reach this level. This collection of Rudolf in Vienna Gallery, Pitti, Munich Pinakothek. Their level is unreachable - no such money, and no such works. Most of the paintings, which are stored in these museums, buying from the machine, from the author. Still, there is one area where you can try to keep the level of these sobraniy.Eto - quality. You have 20 things, and not 20,000, as in the Uffizi, but any one of your paintings would hang out there. This is a very big goal. Elusive, but possible. And the more you have works that do not compete with the world's masterpieces, but are their friends, the higher your collection ......
-------------------------------------------------- ----------

Vladimir Bogdanov (member of our forum, one of the best journalists of Russia on the theme "Investing in Art" (wrote on this subject for over 10 years ...):
 

.. "Investing in an antique painting, as indeed in the postwar modernist, was sufficiently predictable. This is an advantage. On the side of a collector of antique collection of investment - sales statistics, the history of auction prices, literature, catalogs, reasoning exhibitions, museum exhibitions. The value of artworks held in the history of art has been defined, studied his works, especially valuable during periods marked by successful, innovative was his assessment. The risks to the investor are that you can buy a fake thing or mediocre quality. But the risk of spending money on thing with the looming prospect of investment is almost there. Accents in the works held "antique" the artist has placed securely ...."
"... And here, actually, we got to the point. For Investment Success requires knowledge and luck - a combination of them. The only option that allows to gain confidence on investment ..... learn to understand yourself: read a lot, ask experts interesting topic to study, attend exhibitions, digging into the Internet, communicate with collectors.
Investing in art-is a serious and sometimes nervous intellectual work. But the rewards for it are not only money but also a special pleasure from owning a work of art - fun, which does not give any other investment vehicle ... "
-------------------------------------------------- -
: old masters - a concept usually refers to the masters who worked in the Renaissance (roughly XIV-XVI century), but in the international bidding in the auction include art by old masters and those who lived and worked in the XVII-XVIII centuries. It appears on the site Sotheby's - from Giotto to Goya, which is about the beginning of XIV century to 1800.
Modern and contemporary art - these English words are found in the names of Western auctions and are translated as "contemporary art". However, the term «modern» means the art of early twentieth century, and the «contemporary» means what is happening in art in recent decades.

[Евгений]

Continues the theme of collecting, investing in art ...
------------------------------------------
Author: Vladimir Bogdanov.
-------------------------------------------
Artists "Russian Abroad» - a collective term. They are now taken to compile the post-revolutionary generation of artists of emigration, whose fate is in one degree or another been associated with Russia and the Russian Empire. At the same time in Russia today, they are regarded by Russian artists in France - French, Poland - Polish, Germany - German. Regardless of nationality, but rather, by the criterion of contribution to the culture of the country. Who was Picasso: French or Spanish artist? A Modigliani? And so does this matter?

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After all, at the level of cultural exchange Europe differed cosmopolitanism since the Middle Ages. Interestingly another. Not been for World War II, then the revolution and re-division of the world - many from the Russian "French", which subsequently became a world-class artists, would not have to re-select the way of life. Took to the brush Russian Count Andrei Mikhailovich Lanskoy? Infected, he would by his example of Baron Nikolai Vladimirovich Stal von Holstein? And would not have found a more indolent classes than the work of the painter, the son of konezavodchika Sergei G. Polyakov? It is not a fact. And does not the fact that in other circumstances they would have discovered a talent artists. But history, as we know, does not know the subjunctive mood. Any "be" in it - the subject of fantasies for researchers. Fatally shot in Sarajevo plunged Europe into a "time of change," played into the hands of "the builders of communism" created a huge wave of emigration, to level of rights and opportunities for the former count and a former commoner, was awakened dormant fascism. And in the history of French culture were inscribed with such names as "Andre Lanskoy", "Nicolas de Stael", "Serge Polyakoff" and many others, "pronunciation" which still feels indestructible Russian accent.
Read morehttp://www.elysium.ru/articles.asp?f...beb1167d0ff350
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Useful links:
Art Russian emigration in Europe
Tolstoy AV Russian Art emigration to Europe. Twentieth century. Abstract of a dissertation for the degree of Doctor of Arts. , Moscow: Russian Academy of Arts. (Many interesting infrmatsii)
http://nature.web.ru/db/msg.html?mid=1187419
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Dear friends, if there is information about Armenian artists in foreign countries (between 19-mid 20 th century, famous, interesting from the standpoint of collecting) write, share information, I think many will be interesting ... (EA)

Добавлено через 3 часа 53 минуты
Interesting information for collectors, art dealers. (EA)
-------------------------------------------------- ----------
Lugin LN
NNIRTSU, Kiev
Tsytovich VI
Combining "CMC-Judge, Kiev

The value of studying the artistic heritage IKAyvazovsky, in particular, its technical and technological aspects, for the expert and the attribution of work does not require special explanation. After all, during the lifetime of the master under the influence of his works stereotype marina, which was followed for more than a century, many artists. At the same time because of this general parameters of technology and equipment are in this case is clearly insufficient (because they are specific to a wide range of artists of the era IKAyvazovsky), and is particularly important to identify and in-depth study of the truly nuanced individual characteristics of technology and technique of the artist .
Study of the pigment composition of the painting IKAyvazovsky on the basis of the reference collection Feodosia art gallery IKAyvazovsky (FKGA) passed two phases (1997-1998, 1998-2000.), And to date has not yet finished. For assistance in conducting research are grateful to staff the gallery - especially the director TS Trubnyakovoy and chief curator IM Pogrebetskoy. The second stage substantially complement the overall picture, since the samples were taken at this time is not on display, and in the process of restoration, which provided the necessary representativeness of samples (both in scope of image elements, and colors). Relevance of the topic led us to present the results of studies on this intermediate stage - the more so since the publication of the pigment composition of paint layers of paintings IKAyvazovsky based on the physico-chemical investigations, we do not know.

Читать дальше... 

In these years, a total study of the structure of paintings and fifty works from different periods of the artist (the earliest painting dates from 1839, the most recent - 1900 m, the year of his death).
From the selected microsamples paintings produced Microsections who suffered a complex physical and chemical research.
From the white pigments in the painting IKAyvazovsky is dominated white lead, are present in almost all the works of the artist. There were no single case of a copyright colorful layers of any other white.

In the group of blue pigment cobalt blue predominates, but around mid-1840 to mid 1850. there is also an intensive use of ultramarine.
Among the yellow paint in a quantitative sense prevail ocher and close to them brown earthen colors. However, their use in painting XIX. is more general than the individual features. Therefore, for the examination of problems of particular importance is the active application IKAyvazovsky yellow, cadmium (which, like cobalt blue, is found, since 1839, throughout the career of the artist). However, in the mentioned above period (mid 1840 - mid 1850's.) Yellow cadmium in some cases accompanied by the use of lead crown. This anomaly is the synchronous application of the two groups of colors suggests the presence in the work IKAyvazovsky of a relatively long "pilot" period.

List of green paint found in the film opens in 1839 the factory mixture is paint (a mixture of cobalt blue and Neapolitan yellow). Then, apparently, for 20 years IK Aivazovsky gets green shades predominantly by mixing blue and yellow colors. In 1858, simultaneously with the beginning of the industrial production of emerald green (hydrated chromium oxide), she always gets in the palette IKAyvazovsky.

In mid-1870. With a difference of one year, fixed the date of application IKAyvazovsky copper-arsenic green (or green Scheele shveynfurtskoy green) and green cobalt, the latter immediately becomes the favorite green paint IKAyvazovsky.
In the group of red pigments in all periods of creativity IKAyvazovsky prevails cinnabar (often mixed with cadmium yellow or whitewash). Less commonly used natural kraplak (light and dark), also mostly in the mixtures.

Purple pigments are purple cobalt, which appeared in the palette IKAyvazovsky in 1859 (ie, when the pigment became known).
In some scenes visually (by the presence of the typical "floating" craquelure) recorded use of asphalt, but, apparently, in most cases the skillful use of the paint could prevent its devastating effects.

The study of painting IKAyvazovsky identified paint, not previously known from literary sources (in particular, the fundamental book by NS Barsamova and AN Luzhetskyy): yellow euros, copper-arsenic green, cobalt green, cobalt violet . It also emerged that took a yellow cadmium in the artist's palette is much more important role than previously thought.
At the same time, some pigments, confidently attributed IKAyvazovsky, were not detected, and this - lead-zinc white, Naples yellow (as a separate paint), indigo and Prussian blue. Without denying the fundamental possibility of the presence of these dyes in the entire volume of the picturesque heritage of the artist, we nevertheless can claim that they are atypical for its creativity.

In conclusion, we note that IK Aivazovsky apparently exposed every newly emerging relatively short time, but extensive testing, and favorite colors always remained in his palette. Inherent to the artist to experiment in the field of painting technique was extremely rational, subordinates achieve maximum artistic effect and durability of painting.
----------------------------------------
On the topic (in addition, it is interesting).
The composition of soil microsamples paintings by Aivazovsky.
http://www.hermitagemuseum.org/html_...1_15_0_14.html
--------------------------------------------
A lot of useful in the book: avt.Barsamov NS
IK Aivazovsky. On the skill of an artist /NS Barsamov. - M.: Art, 1967. - 111 pp.: Ill., Portr.

[Евгений]

Continuing the theme, investment in art ...
Interesting information for collectors, art dealers. (EA)
-------------------------------------------------- ----------
Lugin LN
NNIRTSU, Kiev
Tsytovich VI
Combining "CMC-Judge, Kiev

The value of studying the artistic heritage IKAyvazovsky, in particular, its technical and technological aspects, for the expert and the attribution of work does not require special explanations. After all, during the lifetime of the master under the influence of his works stereotype marina, which was followed for more than a century, many artists. At the same time because of this general parameters of technology and equipment are in this case is clearly insufficient (because they are specific to a wide range of artists of the era IKAyvazovsky), and is particularly important to identify and in-depth study of the truly nuanced individual characteristics of technology and technique of the artist .
Study of the pigment composition of the painting IKAyvazovsky on the basis of the reference collection Feodosia art gallery IKAyvazovsky (FKGA) passed two phases (1997-1998, 1998-2000.), And to date has not yet finished. For assistance in conducting research are grateful to staff the gallery - especially the director TS Trubnyakovoy and chief curator IM Pogrebetskoy. The second stage substantially complement the overall picture, since the samples were taken at this time is not on display, and in the process of restoration, which provided the necessary representativeness of samples (both in scope of image elements, and colors). Relevance of the topic led us to present research findings at this interim stage - the more so since the publication of the pigment composition of paint layers of paintings IKAyvazovsky based on the physico-chemical investigations, we do not know.
In those years, a total study of the structure of paintings and fifty works from different periods of the artist (the earliest painting dates from 1839, the most recent - 1900 m, the year of his death).
From the selected microsamples paintings produced Microsections who suffered a complex physical and chemical research.
From the white pigments in the painting IKAyvazovsky is dominated white lead, are present in almost all the works of the artist. There were no single case of a copyright colorful layers of any other white.
In the group of blue pigment cobalt blue predominates, but around mid-1840 to mid 1850. there is also an intensive use of ultramarine.
Among yellow paint in a quantitative sense prevail ocher and close them brown earthen paint. However, their use in painting XIX. is more general than the individual features. Therefore, for the examination of problems of particular importance is the active application IKAyvazovsky yellow, cadmium (which, like cobalt blue, is found, since 1839, throughout the career of the artist). However, in the mentioned above period (mid 1840 - mid 1850's.) Yellow cadmium in some cases accompanied by the use of lead crown. This anomaly is the synchronous application of the two groups of colors suggests the presence in the work IKAyvazovsky of a relatively long "pilot" period.

Читать дальше... 

The list of green paint found in the film opens in 1839 the factory mixture is paint (a mixture of cobalt blue and Neapolitan yellow). Then, apparently, for 20 years IK Aivazovsky gets green shades predominantly by mixing blue and yellow colors. In 1858, just as they started industrial production of emerald green (hydrated chromium oxide), she always finds himself in a palette IKAyvazovsky.
In mid-1870. With a difference of one year, fixed the date of application IKAyvazovsky copper-arsenic green (or green Scheele shveynfurtskoy green) and green cobalt, the latter immediately becomes the favorite green paint IKAyvazovsky.
In the group of red pigments in all periods of creativity IKAyvazovsky prevails cinnabar (often mixed with yellow, cadmium or whitewash). Less commonly used natural kraplak (light and dark), also mainly in the mixtures.

Purple pigments are purple cobalt, which appeared in the palette IKAyvazovsky in 1859 (ie, when the pigment became known).
In some scenes visually (by the presence of the typical "floating" craquelure) recorded use of asphalt, but, apparently, in most cases the skillful use of the paint could prevent its devastating effects.
The study of painting IKAyvazovsky identified paint, not previously known from literary sources (in particular, the fundamental book by NS Barsamova and AN Luzhetskyy): yellow crowns, copper-arsenic green, cobalt green, cobalt violet . It also emerged that took a yellow cadmium in the artist's palette is much more important role than previously thought.

At the same time, some pigments, confidently attributed IKAyvazovsky, were not detected, and this - lead-zinc white, Naples yellow (as a separate paint), indigo and Prussian blue. Without denying the fundamental possibility of the presence of these dyes in the entire volume of the picturesque heritage of the artist, we nevertheless can claim that they are atypical for its creativity.
In conclusion, we note that the IK Aivazovsky apparently exposed every newly emerging relatively short time, but extensive testing, and favorite colors always remained in his palette. Inherent to the artist to experiment in the field of painting technique was extremely rational, subordinates achieve maximum artistic effect and durability of painting.
----------------------------------------
On the topic (in addition, it is interesting).
The composition of soil microsamples paintings by Aivazovsky.
http://www.hermitagemuseum.org/html_...1_15_0_14.html
--------------------------------------------
Very much useful in the book: avt.Barsamov NS
IK Aivazovsky. On the skill of the artist /NS Barsamov. - M.: Art, 1967. - 111 pp.: Ill., Portr.

[Peter]

Very interesting topic of kollektsionirovanii.Tema big and shirokaya.Mozhet be worth it to put it in a separate category? "

Added after 11 minutes
Arthur, Thank You once again emphasized how strong and interdependent relationship between our truly fraternal (without pathos) narodami.Prichem now and throughout the history of our states (and even in one state, we composed

[Евгений]

Continuing the theme, investment in art, history of collecting ....( EA)
Galust GYULBEKYAN - the very first Armenian billionaire ...
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In 1912 the British government with dismay found at the scene of a new "player". It was "The Turkish Petroleum Company. Armenian millionaire Galust Gulbenkian within the direction of all activities "of the Turkish Petroleum Company. He owned 30 percent of the shares of the Turkish National Bank, which gave him a 15 percent stake in Turkish Petroleum Company.
Galust Gulbenkian was the son of a wealthy Armenian oil magnate and banker who made his fortune in the import of kerosene from Russia to the Ottoman Empire. As a reward for this effort the Sultan appointed him manager of the port on the Black Sea. In fact, the family lived in Constantinople, there Galust and made his first financial transaction: the age of seven he was given a Turkish silver coin, the boy brought it to market - not to buy toffees, as one might expect, to be exchanged for an old coin. Later, he collected one of the world's largest collections of gold coins and a special pleasure gained a magnificent collection of Greek gold coins and JP Morgan.

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He went to school the second stage in Marseille. There he was to perfect the French language. Then he studied mining engineering at Imperial College in London and they wrote a thesis of the new technology of the oil industry. Gulbenkian graduated in 1887 at age 19 with a degree of engineer first class. Professor King's College, invited talented young Armenian students go to France and to complete the course in physics there, but his father rejected the idea, deeming it "academic nonsense. Instead, he sent Galust in Baku. There, young man "sick" oil industry, which faces the first time. Once it has sent oil fountain that he found even enjoyable - oil was "a great and thick." However, after leaving Baku, he never visited the "country of oil."
In 1889, the Gulbenkian published in a leading French magazine series of articles on Russian oil, are highly appreciated. In 1891, he combined them into an ambitious book. At age 21, Gulbenkian was considered world-class experts in matters of oil.
Around this time, two officials of the Turkish sultan asked him to explore the oil resources of Mesopotamia. He did not go there - as usual - but prepared a competent report, based on materials collected and provided by others. In his view, the region has vast oil potential. His words convinced the official Turkish people. It took "engagement" Galust Gulbenkian with oil of Mesopotamia, and "marriage" this was life long. Mesopotamian oil demand from the Gulbenkian extraordinary sacrifices for more than sixty years.
He was incredulous. "I never met anyone as suspicious - said Sir Kenneth Clark, art critic and director of the National Gallery in London, who helped in his later Gyulbenkyanu matters related to collecting. - I never saw anyone reached such extremes. He always had a staff of spies. " Gulbenkian made two or three experts evaluate the work of art before you buy it. It seems that over the years Gulbenkian surpassed in distrust of his grandfather who lived to 106 years to the end of life contains two groups of doctors to be able to check one by another.
Perhaps this suspicion was a necessary survival mechanism for the Armenians, who in the last years of the Ottoman Empire, constantly surrounded by both great opportunities and harassment. In 1896, during one sanctioned by the authorities of the Armenian massacre Gulbenkian fled by boat to Egypt. There he became the indispensable man at once for two powerful Armenians - oil millionaire from Baku and Nubar Pasha, helps manage Egypt. These connections have opened doors for him both oil and financial businesses and allowed to become a sales representative of the Baku oil in London. In London, Gulbenkian met with his brothers Samuel and Henry Deterding.
One of the first deal offered to them were Persian concessions, inherited in the end D'Arcy. In 1907, he persuaded Samuel to open office in Istanbul and headed it. Anti-Armenian sentiment at that time in decline. With many commercial interests, Gulbenkian was a consultant at the same time the Turkish government and its embassies in Paris and London, as well as a shareholder of the Turkish National Bank. With this support, he managed to reconcile the competing interests of Britain and Germany, as well as the Royal Datch /Shell, a structure called the "Turkish oil company. This task required the greatest delicacy, and in no case "was not among the nice."
Since 1912, when the Turkish oil company was born, the British Government has made every effort to get it together with the Anglo-Persian syndicate D'Arcy. In the end, the Government of Great Britain and Germany agreed on a strategy of association and forced its implementation. In accordance with the Agreement of the Ministry of Foreign Affairs "on 19 March 1914 in the joint interests of the British team dominated. Anglo-Persian group had a 50 percent stake in the new consortium, while Deutsche Bank and Shell had a 25 per cent. But there was still Gulbenkian. Under the agreement, Anglo-Persian group and Shell gave him a 2.5 per cent of total assets as the "interest of the beneficiary." This meant that he had no voting rights, but could use all the financial benefits of this separation of assets. So was born the nickname "Mr. Five per cent.
From 1942 he lived in Portugal. He brought more than 3000 exhibits, organized fund im.Galusta Gulbenkian. He died in 1955 and so specify came to Portugal at the age of 73 from England. Why Portugal? But I must say the grateful descendants (Portuguese) rewarded him. Around (in almost all cities of Portugal) are named streets in honor of his name even in places where I live. The Foundation is known for his talents and helped in every way, even more ... "Galust Gulbenkian was a man who all his life trying to make each type of activity are a work of art." Galust Sarkis Gulbenkian, who was born in a family of Armenian merchant in a small Turkish town of Scutari near Constantinople (since 24 March 1930 officially became Istanbul), continued its "university" in France and England. After graduating (with honors!) Engineer at Imperial College (Kings College), University of London, Galust Gulbenkian in 1922 published a book on the history of the development and exploitation of oil resources in the Middle East. The publication was seen by the Turkish government, to offer cooperation young researcher in the development of oil deposits of the Ottoman Empire. As subsequent events showed, the connection is Middle Eastern oil fields, located on the territory of modern Iraq and Saudi Arabia, with many talents Galust Gulbenkian helped not only the Turkish government to replenish its coffers, but also made the Gulbenkian one of the richest men of his time. It will be interesting to note that the Gulbenkian did not feel any broker or trader. An artist at heart, he remained to them in their business life. As he himself once had defined themselves in negotiations with a U.S. partner, calling it "oil trader": "I do not oil trader, young man! I consider myself a business architect.

Unlike many other major collectors of the twentieth century, began to collect works of art after they have "collected" the first million dollars, Galust Gulbenkian was a collector since childhood. He made his first major purchase in the bazaar of Constantinople at the age of fourteen and spent on it is 50 piastres - a fortune for the student, his father rewarded for their success in school. My father did not approve such an investment. Himself Galust his choice was satisfied. And bought old coins began one of the most brilliant collections, in which the most remarkable are the numismatic and sections of the medal. "Collection Gulbenkian today: is the undisputed world's most important collection of Greek coins" - says a renowned expert. Over time the collection has replenished oriental rugs XVII-XIX centuries, Iranian and European illuminated manuscripts XII-XVI centuries, the pottery of the East, the sculpture of Egypt, Ancient Greece and Rome, painting, sculpture and decorative arts of Western Europe from the XI to the early XX century. And in each of these categories collector Gulbenkian acquired, as he liked to say, works only first-class. Reflecting this approach, a collector for collecting was the name of the exhibition of masterpieces from the Museum of Gulbenkian Foundation in New York's Metropolitan Museum in 1999-2000, «Only the Best» («Only the best"). Despite the fact that Galust Gulbenkian in 1902, took British citizenship in 1927 he lived in his palace in Paris, on the Prospectus Yen (avenue Iena, 51). Here was posted the most significant part of his growing collection, previously kept in the galleries of various antique dealers in London and Paris. It was at this time in the West are beginning to spread rumors that the Soviet government intends to sell works of art from Russian museums, including the Hermitage. It was the finest hour collector Galust Gulbenkian, is already exerting services Bolshevik government, promoting, in particular, sales in the western market of Baku oil. For it was he was the first who has access to the Hermitage collection, beating, and A. Hammer, and professional dealers, whose links with Russia were established before the revolution, and other collectors. Last but not least, has played his high professional ethics (the other is called the secrecy in business dealings). Enough to read his memorandum addressed to GL Piatakov, with which it is bound more closely, we can say, trust, relationships, than with other representatives of Soviet power. It provides, in part:.

"I have always adhered to the thesis that the objects that are in your museums for years, should not be sold, as they not only represent a national treasure, but is also an extensive educational foundation and at the same time of great national pride, and if to information about their sale penetrated the public, then this would prejudice the credit of your government ".

However, in spite of advice Galust Gulbenkian, nor the protests of the staff of the Hermitage, the Soviet government began to sell the Hermitage collection. And as noted above, the first buyer became Galust Gulbenkian, who was sold works of art valued at about 3,7 million rubles. Products which are currently decoration and pride of the Museum of Galust Gulbenkian in Lisbon, located in its permanent exhibit, which I was able to see for myself during a visit to this museum in March 2004.
Purchase History Galustov Gyulbenkyanom fairly well covered both in domestic and foreign publications. Therefore, only recall that it was sold from the Hermitage Galust Gyulbenkyanu in 1929-1930, respectively. Among the 28 works of art set Gyulbenkyanu the Hermitage collection were 24 items of French silver, and executed the largest French masters of the XVIII century on the orders of Russian Empresses Elizabeth and Catherine II; three pictures (two - Hubert Robert, they depict scenes of cleaning up the gardens of Versailles affected by the hurricane, the third picture - it is "Annunciation" Flemish artist D. Bouts), table-secretary of Louis XVI furniture maker of the famous Parisian Rizenera. The Soviet government received from this first sale of the Hermitage, including packaging and transportation costs from Leningrad to Berlin, 54 150 pounds sterling. As pointed out in his book Jose de Azeredo Perdigao, a contract of sale, it was stated that the silver and painting Boats come from the Hermitage collection. At the subsequent sale of such item on the "origin" is no longer contained.
A few months later, in March 1930, the Hermitage collections declined by a further 16 works of art: 15 silverware, as well as 54-year old masterpiece by Peter Paul Rubens - a full-length portrait of his 17-year-old wife Helen Fourmen. Of the total 155 000 FS had 100 000 for silver and 55 000 - Rubens.

The subject of the third purchase, the perfect Galustov Gyulbenkyanom in mid-1930, by five paintings (two of Rembrandt, Watteau, and Terborch Lancret) and one sculpture, a masterpiece of French neoclassicism - carved in marble, "Diane" Jean-Antoine Houdon. All had been paid 140 000 FS, of which 120 000 - for paintings and 20,000 - for sculpture. However, in accordance with a prior agreement Gulbenkian yielded four pictures of famous Parisian antique dealer Nathan Vildenshtaynu per 100 250 FS, leaving himself only by Rembrandt (Pallas Athena, or Alexander the Great ") and a marble" Diana "Houdon, which cost him a £ 39 750 . with.

In October 1930 Galust Gulbenkian made its latest purchase - but what? - "Portrait of an old man" by Rembrandt, which Andrei Ivanovich Somov, "the largest art historian, who raised the art studies in the Hermitage at the level of Western science", which from 1885 to 1909 he was chief curator of painting galleries of the Hermitage, called one of the best paintings. For this picture link in the contract for the origin was unnecessary: it was reproduced in the catalog of the Hermitage, published in 1923. It cost Gyulbenkyanu 30 000 FS Thus, in April 1929, when it completed the purchase of the first batch of works from the collections of the Hermitage, and until October 1930 when it was completed last deal, that is one and a half years, 51 of the former Imperial Hermitage masterpiece ever left Russia and came back to where it was created - in Europe. More specifically, in the Palace Museum Galust Gulbenkian on Avenue Yen in Paris. As noted above, four paintings were sold Gyulbenkyanom Vildenshtaynu. 47 remaining products have cost the Armenian collector and the head of Iraq Petroleum Company in the 278 900 FS and to this day are the adornment of European section of the Museum Galust Gulbenkian.
 Shopping Gulbenkian opened the way to the Hermitage American collector E. Mellon, the former at that time, U.S. Treasury Secretary. In 1931 he acquired through his 21 antique dealers canvas for 1,400,000 FS, which is almost five times more than was paid Galustov Gyulbenkyanom. And in the first and second case, both the collector, using the combination of circumstances made a bargain, which had no parallel in the past. A pioneer study of the world market of antiques Gerald Reitlinger commenting on the purchase of E. Mellon, wrote in 1960: "If the Russian government sold a collection of today, there is no private buyer could not buy it." In 1970 the equivalent of the amount paid Galustov Gyulbenkyanom 40 years ago, would be equal to 1,394,500 FS, and E. Mellon - 7,000,000 FS
In 1965, "Titus" Rembrandt was sold at auction Christie's for 798,000 FS, in 1990 prices amounted to 13,950,000 dollars Accordingly, the equivalent of 278 900 FS (1930) in 1990 would amount to 25-26 million, which would suffice for the third part of "The Portrait of Doctor Gachet" Van Gogh sold in the same year for a record price for that time of 82,5 Ten million years later, in 2000, at auction Christie's in London, "Portrait of a Lady" Rembrandt was sold for 28,7 million dollars, which is only slightly greater than the amount paid Gyulbenkyanom for the whole of the Hermitage collection, which , we recall, were two wonderful Rembrandt.
By the beginning of the 30th annual meeting Galust Gulbenkian mainly formed, and the collector is increasingly thought about how to gather under one roof and make available to the general public to what he has devoted his entire life - Collection. In 1930 - 50 years. parts of it for a long time exhibited in the British Museum in London (works of art of the Ancient World and Middle East), the National Gallery in London and later at the National Gallery in Washington (the masterpieces of European painting). From the directors of the last two museums - K. Clark and J. Worker - Galust Gulbenkian since 1934 and over the next twenty years, he negotiated the transfer of their collections in these museums. The first ten years of negotiations were conducted with the London museum. The last decade - from Washington. But neither the first nor the second case, the parties in different circumstances to arrive at a mutually acceptable solution could not.
Умер Галуст Гюльбенкян 20 июля 1955 года в Лиссабоне, где он проживал с апреля 1942-го, выбрав своей резиденцией отель «Aviz». Рассказывают, что за несколько лет до кончины, Галуст Гюльбенкян выразил желание построить музей в Ереване и построить дорогу от Еревана до Эчмиадзина, а также создать фонд содействия Армении., но договориться с Москвой не удалось. В оставленном завещании коллекционер распорядился о создании в португальской столице Фонда, носящего его имя.
"То, как на протяжении своей жизни Галуст Гюльбенкян использовал свое состояние, и то, как он им распорядился в своем завещании, демонстрирует его понимание социальной функции богатства и соответствующие ей обязательства», — напишут в Португалии в 1975 году об армянине от рождения, английском подданном по паспорту, гражданине мира по образу жизни, знатоке искусства практически во всех его проявлениях и коллекционере по призванию в связи с 20-летием со дня его смерти.
Одной из первоочередных задач Фонда было собрать по всему миру — от Парижа до Вашингтона многочисленные коллекции Галуста Гюльбенкяна, находившиеся на хранении в различных музеях, у антикваров, в принадлежавших ему домах. На это ушло пять лет. Еще пять лет ушло на приведение коллекции в порядок. С 1965-го по 1969 год часть коллекции была выставлена во дворце Помбаль в Ойерас, пригороде Лиссабона. В октябре 1969-го состоялось открытие Музея Галуста Гюльбенкяна в Лиссабоне, где «под одной крышей», как об этом мечтал коллекционер, были собраны наконец более 6 000 произведений искусства, тысяча из которых находятся в постоянной экспозиции, разбитой на два основных раздела: первый включает восточное и классическое искусство, второй — европейское искусство. Экспозиция является отражением дихотомии самой личности коллекционера, рожденного на стыке европейской и восточной цивилизаций. Временная дистанция, которую покрывает собрание музея, измеряется пятью тысячелетиями — от египетских древностей до изделий ювелира и дизайнера рубежа XIX-ХХ веков Рене Лалика.
Галуст Гюльбенкян был бы доволен своим музеем. По сравнению, например, с судьбой коллекций американских собирателей Фрика и Барнеса у Музея Галуста Гюльбенкяна есть несомненные преимущества. В отличие от музея Фрика, построенного как особняк, в котором размещена коллекция, собрание Гюльбенкяна размещено в здании, задуманном и возведенном португальскими архитекторами Р. Атугиа, П. Сидом и А. Пессоа по последнему слову музейной науки и техники, где все сделано для того, чтобы наилучшим образом представить как коллекцию в целом, так и ее отдельные составляющие части. В отличие от коллекции А. Барнеса, современника Гюльбенкяна (наследие доктора Барнеса на протяжении последних лет находится в центре юридических, финансовых и административных баталий, исход и последствия которых для целостности коллекции в данный момент трудно предсказать), Музей Гюльбенкяна управляется Советом попечителей в полном соответствии с последней волей коллекционера, выраженной в его завещании. Свою роль в этом сыграло и то, что во главе Совета попечителей Фонда с самого начала и на протяжении многих лет стоял личный юрист Гюльбенкяна Хосе де Азередо Пердигао, автор не раз цитировавшейся выше книги о Гюльбенкяне-коллекционере. Будучи финансовым гением, «архитектор бизнеса» Галуст Гюльбенкян оставил Фонду 2,6 миллиарда долларов и годовой бюджет в 102 миллиона долларов, создав последний шедевр своей жизни — Fudacao Calouste Gulbenkian, составной частью которого является музей. Он расположен наряду с Центром современного искусства, административным зданием Фонда, концертным залом и открытым театром на берегу небольшого озера в живописном парке. Ансамбль, как корона, венчает столицу Португалии. К Лиссабону обращены «взоры» бронзовой скульптуры основателя музея, фоном которой служит каменное изваяние египетского бога света и солнца Гора, представленного в виде сокола В любимой собирателем Древней Греции этого бога отождествляли с Аполлоном, покровителем искусств. Преданным служителем этого культа и был, пожалуй, всю свою жизнь Галуст Гюльбенкян.
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13.10.2009 Премьер Армении высоко оценил вклад фонда "Галуст Гюльбенкян” в дело сохранения армянства

/PanARMENIAN.Net/Премьер-министр Армении Тигран Саркисян принял делегацию фонда "Галуст Гюльбенкян” во главе с директором фонда, главой армянских общин Ирландии и Великобритании, правнуком благотворителя Мартина Есаяна.
Подчеркнув важность деятельности благотворительного фонда "Галуст Гюльбенкян” в деле сохранении армянства и арменоведения, Тигран Саркисян отметил: "Между созданным при сотрудничестве общественного и частного секторов Советом национальной конкурентоспособности и фондом "Галуст Гюльбенкян” необходимо создать возможности для развития сотрудничества, в частности, в сфере реализации образовательных программ”.
"Этот визит придаст новый стимул развитию двухстороннего сотрудничества и деятельности фонда "Галуст Гюльбенкян”, направленной на сохранение армянства”,- выразил надежду премьер-министр Армении Тигран Саркисян.

[Евгений]

Arpi Vardanyan Karlenovna

[Nara]

Сообщение от Eugene

Arpi Vardanyan Karlenovna
Armenia, Erevan.Rodilas June 12, 1984 in Yerevan.
In 2007 graduated from Yerevan State Academy of Fine Arts.
Lives and works in Yerevan
http://paint.artonline.ru/artist_gallery/arpivard-----------------------------------------------

I do not know whether you can change the name of the post?
At one time Samvel posted information about Arpi, but under the name Bekaryan and not Vardanyan

http://forum.artinvestment.ru/showpo...&postcount=112

(Ara Bekaryan Arpi's granddaughter and daughter Seda Bekaryan)
Very interesting and also challenging personality, and an artist with a very peculiar view of the world.

[luka77]

Grigor Aghasyan was born April 13, 1926 in Yerevan. Talent in the seven-year old boy was among the first notice an outstanding artist Vahram Gayfedzhyan, and on the recommendation Saryan young Aghasyan entered the State Art School. P. Terlemezian, from which he graduated in 1944.
In 1950 he graduated from the Moscow Art Institute. Surikov (workshop Gerasimov).
Since 1951, consisted of the Union of Artists of Arm. SSR.
In 1961 he received the title of Honored Artist Arm. SSR.
He has held senior positions in the Union of Artists of the ASSR in 1956, an active faculty activities in 1960

His works are in museums in Armenia, Russia and Kazakhstan, also in private collections in Armenia, Russia, France, USA, Canada, China, Greece, Lebanon, England.

I really liked the work of the artist, the talented and good, however, as the artist himself, on which all the people I never met, both speak of the incredibly kind, humble and a talented man.
Unfortunately, no time to get acquainted with the creativity of the artist during his lifetime, in November will be the year as he was gone.
Daughter of the Artist, Tigranuhi Aghasyan, kindly provided the opportunity to visit his father's workshop and make a photo essay specifically for our forum (for which her many thanks!).

Добавлено через 2 минуты
The daughter of artist told me that his father did not like to complain about health and burden others with problems, especially in recent days when he could not move independently. Aghasyan could not live without work and his studio (which is across the house). The daughter and granddaughter shortly before his death brought out the studio easel, paints, brushes and other materials, which he woke up and was so happy that I forgot about everything and began to work tirelessly ...

[luka77]

The daughter of artist told me that his father did not like to complain about health and burden others with problems, especially in recent days when he could not move independently. Aghasyan could not live without work and his studio (which is across the house). The daughter and granddaughter shortly before his death brought out the studio easel, paints, brushes and other materials, which he woke up and was so happy that I forgot about everything and began to work tirelessly ...