On the correctness of the list of "12 most expensive Russian artists"

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Reporting. Picasso, Gris named in this book by the Spanish artist, Modigliani - the Italian, but they went Duchamp's attention.

If I understand the logic of the drafters, they are guided by - product of a culture is primarily the work of an artist. In this light, it is clear that the Poles and Lanskoy - the French and Germans Kandinsky and Jawlensky. But, I agree, there are more complicated cases. For example, Chagall. To define it myself wandering Jewish artist or another, a Jewish artist, born in Russia and lived, mainly in France.

[fross]

Something I had not realized already, and your logic, about Lansky You wrote:

Сообщение от ranzher

The drafters did not include in his book nor Lansky, ...

And why the drafters of the German only allowed Chagall to name a Jewish artist ?

[LCR]

Сообщение от ranzher

to report. Picasso, Gris named in this book by the Spanish artist, Modigliani - the Italian, but they went Duchamp's attention.

If I understand the logic of the drafters, they are guided by - product of a culture is primarily the work of an artist. In this light, it is clear that the Poles and Lanskoy - the French and Germans Kandinsky and Jawlensky. But, I agree, there are more complicated cases. For example, Chagall. To define it myself wandering Jewish artist or another, a Jewish artist, born in Russia and lived, mainly in France.

All right, indeed, necessary to define what culture is a product of the artist's work, only I do that, apparently, is not easy: if Kandinsky and Jawlensky - Germans (I would not be so categorically, but it does not matter), the Picasso and Gris - the most genuine French artists.
On the other hand, Nicolas de Stael, who, presumably, your German scientists also identified as a French artist (if they did not pass it to their attention), was far less confident confident in his "French" than researchers of his work (I quoted where some of his words), although, of course, they know better, then, they and historians to tell stories
And here's another interesting: Polyakov, Lanskoy, Steel - a French artists - as well the second School of Paris. But Vieira da Silva? Also the French? No, I do not think the Portuguese offended!

Chagall am not alone - more Row, take the entire first School of Paris, where everything came from Russia (Sutin, Zadkine, Flint, Kikoin) are considered by the French "native", and decent citizens - in Russia now seems to say "civilized" - countries with which to understand nobody wants - Spanish, Italian, Portuguese artists. Do not you think that all this sort of bias in sight?

Well, in conclusion - the inferiority complex from which you started the story: do not see, do not say not to protest, finally, against the silence and belittling the role of Russia in world culture - that's where I see the manifestation of this complex. Get rid of it quickly, gentlemen, this is not normal, to protect the honor of Russia and the Russians engaged in a freak Pavlik

[NATA NOVA]

Сообщение от LCR

As they say, without a half liter here can not tell
     

No palette, pa-lit-ry!
(palette is shtuchka this-which paints are mixed, for those who do not know)

[Pavel]

Ranzher Bravo!

[ранжер]

Сообщение от LCR

On the other hand, Nicolas de Stael, who, presumably, your German scientists also identified as a French artist (if they did not pass it to their attention), was much less convinced convinced of his "French" than scholars of his work (I quoted somewhere in his words), although, of course, they know better, then, they are historians that history to tell

Indeed in the compilers have been difficulties with regard to the nationality of some of the artists. In looking at some they are not so distinct.

Nicolas de Stael (subtitled - in a vain search for the optimal mode of expression) - artist, born in Russia.
Chaim Soutine (Workshop massacre) - artist originally from Belarus.
Willem De Kooning (The appeal of the flesh) - Dutch-born.
Victor Vasarely (Founder op-art) - an artist of Hungarian origin.

So what was said. There are cases which fall from the product concept of culture - or rather, one culture.
I retreat to the side. Nabokov - both the great Russian and American writer.

All lists biased, because pursuing any goal, sometimes petty, selfish.

Regarding the so-called "Second School of Paris", then, in my opinion - is a fully commercial project. As "Beaujolais Nouveau". No such schools do not have any, but there are quite a large quantity of talented immigrants mainly of Jewish origin. What they were really united because almost all bedstvovanie and humiliating existence of an immigrant.

I remember a dozen years ago sold atelier Exter. One of the best lots is not got the man to offer the highest price. French museum, using its right, bought this lot. At that moment occurred on the French denied citizenship artist who lived his last years in terrible need.


And a warning. The forty wine drink can!

[LCR]

Сообщение от ranzher

Indeed in the compilers have been difficulties with regard to the nationality of some artists. In looking at some they are not so distinct.

Chaim Soutine (Workshop massacre) - artist originally from Belarus.

But this is pure revisionism)))
Soutine could not - and no one could - to be "a native of Belarus, as a public education, either before his birth, nor in his time did not exist. For German historians note: there was no such country, even at the time of his death. Perhaps, if there is an imperative not to mention Russia, you need to write: "a native of Smilavichy"

Сообщение от ranzher

With respect to the so-called "Second School of Paris", then, in my opinion - is a fully commercial project. As "Beaujolais Nouveau". No such schools do not have any, but there are quite a large quantity of talented immigrants mainly of Jewish origin. What they were really united because almost all bedstvovanie and humiliating existence of an immigrant.

I think you are talking about the first of the Paris School. I can not judge fully whether it is a commercial project - must be combined on a basis of artists from many different backgrounds, working in Paris.
But I have said in the Second School of Paris - De Staël, Polyakov, Lanskoy - French painter, born in Russia, and Maria Helena Vieira da Silva - Portuguese painter (though they are right, declared Silva Frenchwoman - and all the concierges of Paris and the Paris region refuse to make the garbage bin!).

All the rest - and about the existence of immigrants, and about the wine - no objection is: Beaujolais Nouveau - a horrible vile

[Кирилл Сызранский]

Сообщение от LCR

Maria Helena Vieira da Silva

We are pleased to remind the subject of this remarkable artist:
http://forum.artinvestment.ru/showthread.php?t=20455

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Under the Paris School of merchants, and after them, and Russian buyers does not mean only the four artists that you named, but of all Jewish immigrants (most) arrived in France between the wars. Kikoin, Mane-Katz, Volovik, Lubich, Naidich, Kolnik, Feder, Dobrinsky, sand, Mishonts, L. Schulze, Sendel and t.d.i etc., the list is long, even Katya Zubchenko there attributed to commercial motives. There are absolutely illiterate labor Nadine Nishaver, which is called "Artists of the Paris School. Despite the fact that this book does not sustain any serious criticism, Nishaver now almost a senior specialist on the subject. In any case, it appears an expert on these artists in many auctions, including Artkyurial.

But the real Paris School, as understood by many historians, ends for me 1914. And the unifying feature of all the many ways quite different, but extremely talented artists to me is their artistic revolutionary, radical innovation.

[LCR]

Сообщение от ranzher

A real Paris School, as understood by many historians, ends for me 1914. And the unifying feature of all the many ways quite different, but extremely talented artists to me is their artistic revolutionary, radical innovation.

Well, as you like.

But usually distinguish between first and second Parisian school to me, this distinction is easy - just chronologically.
And since you are absolutely right, "School of Paris" - is as "non-conformism, there is, as the French say, and drink and eat