Alexei Petrovich Bogolyubov

[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