Alexei Petrovich Bogolyubov

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Ah, the maestro, still folded!
And I was hoping that we, together, together we turn to the kind Vladimir Aleksandrovich proposal to leave the banal lesson - drawing reference to the dubious pictures, not to introduce more of a temptation, and not only Russian speculators. Not this writer's work. It is better to return to the belles-lettres, to continue to make up his not bezynteresnye book.
Well, no, no way. Maybe next time with someone else.

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You, Master, do not be angry at me very, perhaps too glibly put it really. The idea is simple. Do you have a fleeting predawn impression was that considered a marina is a piece of another picture or you sure? If the second, then talk about the composition is not necessary.
As for pictures give time, I will build a test, not leisure now. In the meantime, let's ask the person who said that in a book published about Bogolyubovo are weaker sketches, lay something out of this.
A bit strange to hear from you, a Democrat and dushelyuba that the talent of the painter measured high social status and an enviable financial position. Some sort, my dear fellow, you define the vast majority of artists in mediocrity. In creatures mainly this was and is vnestatusen, destitute and poor as a church mouse, but definitely not talentless polls.
I want you, no doubt a professional of the highest sample caution against excessive credulity to all kinds of myths, created by the persona, and even more of their descriptors.
In France, not to talk to each other filth. The tradition of this.
If you know a few phrases in French, a Frenchman you will notice what you have good French, if a little play on any musical instrument, sure to compare you with a famous musician, well, etc. etc. They proceed from the fact that people from the communication should enjoy, but do not buy from him unpleasant truths, the uterus in the eye. In ordinary Ca va? should respond with a smile Ça va bien!, or Ça va tres bien!, even if you're near death. This is not hypocrisy, but by centuries a national custom. Today, artists working in France with the post-Soviet area could share their experiences. With great difficulty arranged bride are invited to the appropriate people. They come, smile, praise, say many nice things ... and no purchases, no papers, no further interest.
If the Parisian banquet someone gave a toast to dear's close to the court the actual privy councilor, who would not have said, this is so and should be read as a polite compliment to a guest and not create the myth of the high appreciation Russian seascape great French artist.
When you, the undisputed scholar, talk about the recognition of hierarchy colleagues barbizontsami, then, of course, mindful of the fact that under this tentative title is more than 300 artists of various levels and even nationality. Among them were immigrants from Russia. The point is not even that is not given any particular document confirming that message, I can not believe that C. Corot somewhere and spoke commendably of Russian artist, now that humanitarian reasons put his signature on the paintings of his imitators, but in the that such statements, whether even they are honest, do not matter in determining the true importance of the painter's art, as well as the Legion of Honor ribbon in his buttonhole, different medalki and other trinkets. His contemporary, Courbet was nothing like this, but his powerful creativity shifted, set up the momentum of European painting.
Maestro, I am impressed by your lawyers' agitation in defense of Russian art. But it does not need. For him no one is attacking. Moreover, from a certain point, many, including the major museums of the world, take on a mission to acquaint them with humanity, to show what the Russian contribution to the treasury of world culture. It is necessary not only to exaggerate the size of this contribution. Mentioned that there was in Russian art, as indeed in others, the authors, without whom the world culture can easily be dispensed with, but there are those, without which the works in it (world culture) any gaps.
You are brilliantly highlighted in his speech the names of Russian artists, without which the art world would be poorer. Repin Kuindzhi, Polenov, Marxism, Levitan, Nesterov, Vereshchagin, Kramskoy Savitsky, Vrubel .... The list goes on even within that show, where you have so aptly quoted from the welcome of the organizers. «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». That is, the exposition in compliance with its name sought to show the original, his Russian, which although not much, but enriched the fine art world. Imitators imitator her place was not.
Now that you are important statements of authorities, giving an excerpt from the work of Russian painting of the 19 th century, in my opinion, one of the best Russian art critics, Alexander Benois.
On the other artists of the "Düsseldorf", sweet and charming, but stilted and false, direction to stop nothing. None of them, neither Socrates Vorobyov, nor Erassi (another venetsianovets, deserted to the enemy camp) or Frick or Goravsky or decorator Bocharov, nor Lagorio, nor Count Mordvinov nor Bogolyubov, NN Makovsky, nor, despite his, sometimes decent, technical skill and dexterity, said not one word of the living, never trembled and touched the face of nature, but thus wonderfully pleasing her just the same as they are empty and purposeless fans.
Among the Bogoliubov sketches, performed by them in France under the influence of works Isabey, and Dupree, recently, Budena come across very beautiful in tone and pleasing to the letter pastichchio of these artists.
Remember not too long, but very revealing story of scandals about fakes with authoritative Inquiries their authenticity. You do not think about why reputable people, who have spent dozens of years of professional study of the work of artists who have published many papers on them, were unable to distinguish the works of these artists from their western counterparts? Yes, because all the same - the work of Russian authors is precisely those most beautiful and pleasant pastichcho.
General and the main problem of Russian art is that it has no foundation, while the Western European art rests on solid foundations of Greco-Roman culture. It is well understood the great Russian artist Dmitry S. Stelletsky. His creativity he wanted and tried to overcome this contradiction. And this task but certainly not equal to one, albeit an extremely talented artist, and fellow guild did not understand and did not support.
So we continue to live, reproducing countless imitators, the manufacturers of modern pastichcho, but unlike the ancestors quite ugly and unpleasant at all.