Examination of works of Russian and foreign painting and graphics XVI-XX centuries.

[Евгений]

One of the best collectors, experts (in Soviet painting) in the U.S.. (EA)
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Only in America, Museum of Russian Art is now one of the main attractions of the city of Minneapolis. He created on the basis of the richest collection of Raymond Johnson - a tireless enthusiast, philanthropist, a dealer, the ascetic, endlessly in love with the variety of fine art afar, it is my duty and calling as much as possible to show and tell their compatriots about living and living in Russia and the former Soviet Union artists and their creative achievements.
This collection of Russian realistic painting of the twentieth century, art historians consider the largest outside Rossii.V collection of more than 15,000 artworks, a collection of updated and now (EA).
Site Museum http://www.tmora.org/index.html
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Info.s Forum http://forum.artinvestment.ru/showthread.php?t=5785
1.Kollektsioner Raymond Johnson

[Жар-птица]

Another organization: Research and independent examination of the name of Pavel Tretyakov, "its website http://art-expertise.ru/.

I've seen her opinions on DTR - a renowned expert from the museum, all skillfully and beautifully.


Someone from the members of the forum was doing there examination of picturesque works?

[Тютчев]

Сообщение от Firebird

Another organization: Research and independent examination of the name of Pavel Tretyakov, "its website http://art-expertise.ru/.
I've seen her opinions on DTR - a renowned expert from the museum, all skillfully and beautifully.
Someone from the members of the forum was doing there examination of picturesque works?

Organization comfortable. Had with them. Take the imputed money for their services. Work mainly with experts Grabar and the Tretyakov Gallery. Generally, the larger organizations in the market expertise, the better for consumers of these services. There is a choice, and hence there is competition, which guarantees quality and relatively low prices.

[Евгений]

Italian art historian Silvia Danezi Skuartsina An unknown painting by Caravaggio.
According to the researcher, the picture may be represented by Augustine of Hippo, also known as St. Augustine - a philosopher, theologian and holy Catholic and Orthodox churches. Danezi Skuartsina described through the work of Caravaggio as a fairly large, but stressed that information on the canvas is now quite a bit. The fact that the painting is in private collections, where the owner lives in Italy.
The existence of this painting art learned through archival documents pertaining to the collection of an Italian nobleman Vincenzo Giustiniani. He lived in the XVI-XVII century, that is, was a contemporary of Caravaggio. That Dzhustiani one of the first began to collect works by the artist.
According to documents examined by Silvia Danezi Skuartsinoy, considered the canvas was on the meeting Dzhustiani a signed work of Caravaggio.
http://lenta.ru/news/2010/09/28/caravaggio/_Printed.htm

[Евгений]

Interesting article (2000., Journalists. "Our Heritage") on the works of a talented artist (EA)
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Weisberg is one of those artists who, as their removal from our present day are becoming more and more significant. Since the death of Vladimir Grigorievich thirteen years, but these years have shown that this artist has a strong place in the whole artistic culture of the twentieth century - not only Russian but also global. It seems to me that among our artists Weisberg has the strongest position in the twentieth century. He never hurried fashion, did not apply to those stylistic directions that have come and gone (they were in our century, especially a lot), and himself - from the very beginning - develop their own creative system that was extremely thorough. Starting from the creative concept of Cezanne - this cornerstone of the whole art of the twentieth century, he went his own way, consistently improving his technique. Anyone who watched the work Veisberg for decades, knows how difficult, how stubbornly he was moving in this direction, without deviating from it even a step, as he was faithful to his idea, and as consistently - a step by step - approaching the goal .

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VG Weisberg seems to me such an artist that organically comes in various contexts of the artistic culture of the twentieth century. You can not, for example, recall the facts Veisberg participation in exhibitions of so-called "Nine", which in the early 60's were among the most notable phenomena updated in those years of Soviet art. Weisberg was at the center of this movement, though markedly different from his adherents. At the same time formed non-conformist direction, which was later name the "other art". The exhibition under this name, held a few years ago, part Veisberg perceived as quite natural and obligatory. Just as naturally as possible to pass from our Russian measurements to the global. I quite clearly see Veisberg in a number of artists of the middle and second half of the twentieth century, which focused on the plastic values. In this series - Morandi and De Style, Rothko and Fontana and many other masters, as if pushing off different versions of the updated expressionism, pop art, conceptualism.

Touch and some other problems, put forward the art of the twentieth century, and every time especially in their own way, refracted in the works Veisberg. One of these problems - much valued in our century existentialism of artistic activity. Recently, the newly nominated thesis: the artist instead of a picture. At the forefront of imposed identity of the creator, not as works of his hands, an original creative concept. This is an old idea. Let us recall the Russian Symbolist poets beginning of the twentieth century - Andrei Bely, Aleksandr Blok, who sought to turn their lives into works of art. Recall how block primarily seen in the dignity Wrubel, serves as a model of creative existentiality for poets symbolist generation. But remember also that, and Block and White, and Vrubel not only worked out of his life a work of art, but also to create these works, which embodied the identity of the creator. Weisberg, perhaps like no other in our art, embodied as a personality in his works. Not an artist instead of a picture, and the artist in the film. Who knew Weisberg, who has watched him for many years, he could make sure that it has merged into a sort of personal integrity, fate and the arts.

In its own way embodies Weisberg that craving to conceptual art, which so obsessed the twentieth century. Conceptualism, as a trend, rather fruitfully past now completes the cycle of development, has been entirely focused on the concept as such, leaving aside the principles of traditional plastic expressiveness. Meanwhile, these two seemingly forever torn material trends, in fact quite compatible. In a fairly traditional hard plastic Veisberg lives its own concept. But she was not exposed, as in conceptualism, and fused with plastics, it is embodied. His concept - in the understanding of peace, world order, in the knowledge of the mysteries of human life. Weisberg is involved in the comprehension of the world, letting the endpoints being. It is as if there is in the process, which has no end.
The very nature of this process, knowledge of the world have Veisberg remarkable. In the Russian philosophical tradition, there is such a thing - "integral knowledge". This knowledge, which combines logic and intuition, insight and rigorous rational calculation. In an ideal point of this piece of knowledge converge science, philosophy, religion and art. On this solid piece of knowledge thought Kireyevsk and Vladimir Solovyov, Florensky Vernadsky and Losev. I think that Weisberg his artistic intuition approached this idea. Of his art he has made a science. His method had the features of pronounced rationalism. However, his artistic discovery is the fruit of almost a mystical revelation. Therefore, the deep mystery covers those creative processes that have resulted in higher achievement Veisberg and that seemed to have been so logically explained verbally by the artist.

Like many other great masters of the twentieth century, Weisberg was concerned about the problem of a new harmony. Has long been clear that this new harmony can not be like the old one. It is complicated by the unprecedented tragedy, precariousness of existence, severity and social and individual human contradictions. Veysbergovskie paintings leave an amazing impression of unity and inviolability of the fluctuation. Immutability - in the sense of the laws on which rests all the creativity, the stability of the method in blindly moving towards the goal. Fluctuation - a fragility to create a design, in an almost unreal purity of form. The harmony which arises at the intersection of these paths, exposed to the destructive forces, easily vulnerable. This harmony is on the brink. And the harder it is to achieve. And the more valuable achievements. The difficulty of this new harmony of the twentieth century also wrote Wassily Kandinsky. It was available a few artists of our century - thus, who appreciated the plastic tradition, albeit radically reinterprets them. Among these masters is VG Weisberg.

I want to touch upon another issue that is highly relevant for the future of art of the twentieth century - the problem of easel paintings. Today - for the umpteenth time over the past decade - re-sentenced the painting as a living art form, to achieve artistic progress. After the Russian Constructivists in 1921 solemnly vowed not to return more to easel art forms, painting fell under siege many times. Today, she threatened objects and installations, as previously threatened to design, assemblage or performens. But each time the efforts of world-class artists continued painting his life, revived, although many continued to seem an outdated form of creativity. Weisberg - one of those artists that pattern did not change and which prove their creativity its viability. It seems to me that the painting still lives and will live as a visual as well as in non-objective form, embodying the idea (again recalling Kandinsky) "great abstraction" and "the great reality." And it makes no sense and the need to oppose each other. Of course, the artists' right to choose and defend their own vision, rejecting the rest (as it did Weisberg). The right of the viewer - to choose one or the other, and perhaps both simultaneously. But the duty of art or criticism - to objectively consider the possibility of an artistic movement, letting them overlap and seeing each its value (if, indeed, this value occurs).
And finally, another quality art Weisberg, which I would like to mention. This art is highly moral and strict. In an age when many temptations of the artist's gone over the brink of good and evil, when such a path has already been explored and tested, it is not so easy to guard the moral purity of art. Weisberg is always kept strict rules. He never allowed any game giveaway with the audience, not trying to flatter him or to facilitate access to the empathy and he was not looking for easy victories in the works, choosing the most difficult and most arduous journey. This - a rare gift - especially in the artistic perspective of the twentieth century.

1. The track "Seven pillars. 1984. Oil on canvas.
2. Composition "Tanagra, columns, ball." 1983. Oil on canvas.
3. Composition "of six cubes. 1977. Oil on canvas.

[Евгений]

Vladimir Roshchin: Rosokhrankultura released five directories fakes, where it is mentioned almost one thousand paintings. On many of them public expert agencies to issue documents that are allegedly the work of Aivazovsky, Shishkin and this, or hierarchy, or Lagorio and so on. In fact, All this is not so. And now arrested one of those who engaged in sale of fakes. Half of these vendors is on the run. A lot of them impoverished, and, of course, hurt consumers, because the money to them will not return. "
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Rosokhrankultura released (in 2009) next, the fifth volume of the Catalogue of forgery. " There includes 900 works of art, 100 of which were not mentioned in previous editions. One of the major surprises was the inclusion in the catalog of the painting "Odalisque", attributed to Boris Kustodiev. In November 2005, this work was the top lot of the "Russian Trading» Christie's. Estimé 180-220 thousand pounds it earned 1.69 million (2.93 million dollars at the then exchange rate).
According to the publisher of the catalog counterfeit Vladimir Roshchina, there is no doubt that the "Odalisque" is bogus. This was confirmed by specialists of the State Tretyakov Gallery, State Russian Museum and the GRC them. Grabar, as well as the independent expert Vladimir Petrov.
At Christie's auction catalog states that "Odalisque" was written by a famous artist in 1919. It bears the signature of the Cyrillic alphabet "B. Kustodiyev, 1919.. " The basis for the film, according to legend, served as a charcoal drawing 1915 "Reclining Nude". The first owner of the paintings was a Leo Maskovsky, who lived in 1920 in the Baltic.
Representatives of Christie's said that they were aware of the examination center, and Grabar, Vladimir Petrov, but in order to cancel the transaction, they need to conduct their own due diligence. But so far, according to them, to picture them are not allowed.
The auction house gives buyers a guarantee of 5 years. If during this time, two experts recognize the product of false and their conclusions will be approved by the buyer and Christie's, the money paid for the work will be returned.
In the "Catalogue of fraud" was still a work sold at Christie's, - the landscape "Winter sun in the pine woods, supposedly painted by the artist Andrew Schilder. Landscape was sold for 8,5 thousand pounds at auction, held in July 2000. Shortly after the auction from the new owner in doubt the authenticity of the paintings, and he turned to the experts. May 30, 2001 Christie's withdrew the sale.
Among the other forgeries - "Summer fishing lake in the woods" Ilya Ostroukhov, sold at Sotheby's in May 2002. Representatives of the auction house said that over the attribution of the painting to him no one spoke.
The problem facing the majority of counterfeit dealers dealing in Russian art. "Every month I am asked to see the 10 paintings and 9 of them turn out to be false - lamenting London dealer James Batteruik (James Butterwick). - Many of the Russian collectors make purchases without consulting with relevant experts. If the work is credible, then it has a provenance that can be easily verified.
Julia Maksimova

[Кирилл Сызранский]

Newspaper: the owner of the Latvian gallery, perhaps, has sold over 270,000 Russians fake Ls
Russian law enforcement authorities are suspected of fraud chairman of the Latvian Association of experts in art and antiques Veiherte writes Latvijas Avīze.

Case is connected with the picture of Charles Guna "Gypsy with a child," which one of Moscow galleries have sold a German citizen Alexander Belikovsky. The painting was common property and Belikovskogo Veiherte.

The deal amounted to 520,000 dollars. It later emerged that the same pattern in 2006 was sold at an exhibition in Paris Massol. However, as there's little-known works was given Carl Adolf Gugel. Moreover, the price pattern was only 5,000 euros. Painting was called "Italian with a child." In the lower right corner has been left as a signature of the author.

Meanwhile, Belikovsky known in Europe as a trader knockoffs of expensive works of art. His interest in the activities of even the Interpol, the magazine writes.

As stated by the owner of the Moscow gallery, she saw a picture in the gallery Veiherte. Later, she asked for the conclusion of the Association of experts in art and antiques. The document stated that the examination has confirmed the authenticity of the work. True, the buyer thought it strange that a number of experts included myself Veiherte. Nevertheless, the transaction took place.

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Later, the new owners had a re-examination at the Tretyakov Gallery, which houses a number of works Gouna. Experts acknowledged that the picture was painted in the second half of the XIX century, but the author's signature forged. The work was painted by another author, possibly because of the environment Gouna.

Veiherte refuses to comment on the situation. In turn, her lawyer Alois Vaznis said that early to draw conclusions, as it is necessary to reassess the comparative examination.

[Евгений]

Acquisition of fakes

Pyotr Aven, a member of the Supervisory Board of Directors of Alfa-Group »: When a purchase is made in the hype, often believe the seller's word, which do not in any way. During my life I have bought three or four fake stuff. All of them were expert at the Tretyakov Gallery. Unfortunately, there are dishonest experts who say the money for anything, including the Tretyakov Gallery. Although the bulk of it, of course, you can unconditionally trust. But who can and who can not begin to deal only with the years. When I assert that a thing "from a good collection," I ask of what, and I respond that it can not tell, all negotiations shall be terminated immediately. Stories about that thing from the collection of the city of Yerevan and "get me from my grandmother, listening to categorically impossible. This will protect from errors.

Kantor, president of the European Jewish Congress,:

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When the market comes a new collector, it becomes a target for how many honest and dishonest operators. Several times I nearly became a victim. Came to see me once a very well-known French expert in the field of serious shagalovedeniya aged under 80 years old, and offered a picture of Chagall, who had some kind of magic history. Chagall's sister allegedly kept it under his bed and left a legacy to his son. She attributed the all the way up to the Committee Chagall (there is such at Paris). It was a self-portrait of Marc Chagall, and its reproduction has brought me to this expert, whose name I do not call out of respect for his age. And then he began to tell, how could bestow upon me for $ 30 million one it seemed to me suspicious: why he brought me his wife? She sat across from me and drilled me with his eyes. And I began to think: if this is such a good picture, why was take his wife with him, which clearly verifies that I believe her husband or not? It was quite a lot of work around 90h65 cm, the young Chagall with a palette, standing before the canvas, and the images just jumped from the palette onto the canvas. Here's a direct compilation from other works of Chagall. So subjective time pushed me to think: why I check? Because the collector is easy to check: to pay or not pay. And I said to him: bring - we'll see. 2-3 days she appears in my Geneva; a beautiful picture, good frame. By Chagall painting accompanied by a letter to his sister, sister's son, the letter of the son. I thought: this is all real people, and some of them probably still alive. And, still smiling, and the seller is not paying attention to the certificates Chagall Committee, I have become, through its security services to find out where all these people now. They quickly found, we have met, and they said that it is all nonsense: they never did not write those letters. After receiving such evidence, I began to look closely to the very portrait. After all Chagall was a man who adores his appearance - the picture was written so ugly! So it should always be wary.

Vladimir Semenikhin, chairman of the board of directors of Group companies Stroyteks »: Fraud in the attribution of works of art - is a global issue. After all, the expert is not liable for this false assessment. It's his personal opinion. Therefore, trust can only imagine. I once sold a genuine work of the famous artist, just forged on it a year - and this has greatly changed its price. True, I quickly figured out fraud and scams made the money back. But this case has forced me to become more attentive to detail when buying paintings.
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http://www.forbes.ru/taxonomy/term/637

(In the photo - Portrait of Ivan Shchukin, brother of a famous collector Sergei Shchukin. He gathered a large collection of paintings, and when it was revealed that 90%- fake shot.)

[Евгений]

Scandals and revelations of art fraud - is not new in the art world. One of the latest revelations - a sensational statement of the Polish art Qaysi Pisarek (Kasia Pisarek) in the British journal «ArtWatch». She argues that a recognized authority among connoisseurs Rubens German scholar Ludwig Burchard (Ludwig Burchard) - forger.
It turns out that the paintings attributed to Rubens Burchard, in fact, belong to the wrist of his students or followers - painters of the XVII century. Random whether such a mistake? Many critics believe that the mistake here is quite acceptable: the authorship of works by Rubens always recognized more or less likely. The problem is that the studio of Rubens in his life was a "belt" on which the collective efforts of the master and his students created hundreds of paintings. The issue here is the degree of participation of the wizard.
Qaysi Pisarek believes that Burchard knowingly signed the controversial expert advice available to them to private collectors and museums. As one of the proofs of the researcher leads Burkhard correspondence with friends. For example, in a letter written by scientists to his friend in 1954, stating that the film "Gideon, who overcomes madiamityan» («Gideon Overcoming the Midianites»), in his opinion, is the product of the XVII century. Not owned by Rubens.

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But soon, one of the London gallery receives a certificate signed by Burchard that the undoubted author of the picture is a Rubens. Such expert opinion helps low-selling "Gideon" at the Art Museum of North Carolina (North Carolina Museum of Art). At the request of Qaysi Pisarek the repeated analysis of the paintings at the Center for Flemish art in Antwerp (Centre for Flemish Art), And now, almost 50 years later it was proved that the painting was painted by "follower of Rubens."
Suspicion is also the most famous "discovery" Burkhard - picture of "Samson and Delilah» («Samson and Delilah») - fabric, based in over two hundred years in the collection of Princess Liechtenstein. Burkhard predecessors - the scientists, describes the collection in 1767, 1780 and 1873., Recognized author pupil of Rubens paintings - Jan van den Hoek (Jan Van Den Hoecke). Thanks to a sensational "discovery" Burkhard, announced in 1929 by the author of Rubens' Samson and Delilah ", the painting was purchased by the London National Gallery, where it is now.
The result of this "discovery" disappointing - author of nearly 60 paintings by Rubens, are in the best museums and galleries in the world in doubt.

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Fakes painting, reflecting their age, have always existed, as symbols of wealth and culture, tastes and preferences relevant period. The history of forgeries originated during the Roman republic, when the masterpieces of Greek art were copied and sold by the Roman patricians as the originals. In medieval times, the treasury of the churches and abbeys were replenished fake relics. Renaissance spawned numerous fake antiques. For example, the sculpture "Sleeping Cupid of Michelangelo, to the effect of aging was buried in the ground, and then again" unearthed "and sold to an Italian cardinal, for 200 ducats. In the same era were the first forgery in the field of graphics - the fake prints by Durer signed his monogram.
Painter and connoisseur of art Vasari-collecting the most successful forgery, had in its collection a copy of the painting by Tommaso della Porta, which is valued for its high quality.
In the sixteenth century, some fakes created by "highest" order. For example, a copy of Raphael "Portrait of Pope Leo X», was executed in 1524 by the artist Andrea del Sarto commissioned by Pope Clement VII. The original of Raphael liked the Duke Federigo Gonzaga II. However, Pope Clement VII, not wanting to give a picture, but also afraid to refuse, devised a trick by sending a copy of the Duke.
In the seventeenth century copies of paintings by artists considered as a fun and proof of their professional skills. Extant forgery, executed by Pietro della Vecchio - a copy of Giorgione, Terence da Urbino - Raphael, Hans Hoffman - drawings by Durer, and Luca Giordano - the most famous forger of works by Titian, Tintoretto, etc. Interestingly, he won a court case brought by fans Art, who cheats execution and the integrity of his fakes.
The first in the history of the author, the authenticity of his works, was Claude Lorrain. He prepared a book of drawings and prints from their paintings, to stop the flow of fakes, extended even during his lifetime.
Historical painting of the XVIII century. almost never copied, unlike the genre scenes and gallant festivals that have become the subject of role models in the nineteenth century. In Italy at this time of popularity enjoyed numerous fake Pompeii paintings that appeared in the Neapolitan master Giuseppe Hera.
In the XIX century - the "golden age" of fakes, art has become highly visible commercial nature. Moreover, not only tampered with the works of old artists, but also works of major modern masters such as Courbet, Millet and Corot, etc. are sometimes signed his name pictures of their students who needed or friends.
Unlike previous eras, today's forgers do not falsify the picture antique. The most famous fakes in our time are copies of Van Gogh's painter Otto Wacker (1930), a fake Utrillo (1950), as well as meeting Meadows, consisting of "false" Matisse, Picasso and Modigliani.
In the field of ancient art can note a fake medieval frescoes in St. Mary in Lübeck, written by Lothar Malskatom and died in 1950, as well as fake Vermeer, by Hans van shrews. He created a copy of the painting "Christ at Emmaus," which confirmed the authenticity of authoritative experts, was bought in 1937, the Museum Boijmans Van Beuningen in Rotterdam. Moreover, it is fraud revealed only in 1945, becoming the subject of lively debate.
From site Maricevic Fine Art & Antiques http://www.maricevicfineart.com/new-...tion/story.php

[Wladzislaw]

Сообщение от "Eugene

Polish art Qaysi Pisarek (Kasia Pisarek)

Kasia - this lady.
Reduction of Katarzyna /Katerina.