Collection Grigoryants in Tsaritsyno

[Сергей Григорьянц]

Unfortunately, today only seen comments to the show on your site and I'm very sorry that I could not even comment on some of the reviews before. Almost all of them are explained by two main reasons. The first of these - the elementary illiteracy authors, the second - a complete ignorance of the vaults of museums and numerous private collections in Russia over the past 50 years. There are, however, a third, random - a direct lie. This, for example, refers to the person who wrote that was in my house and none of these things not seen. A collection of our family, a big, maybe he was in the other room and did not see everything, but it did not seem likely. For the first two explanations sharply critical, but rather the abusive reviews, most of them are not specific, but some things are mentioned and I can not quite say about them.

"The Annunciation" by Fra Angelico world-known thing, which was on exhibition Beato Angelico in the New York Metropolitan Museum seven years ago, reproduced in the exhibition catalog, famous throughout Europe, but many in Russia. Italian art at a conference in Florence suggested that the monks with candles Fra Angelico at the National Gallery in London (the same size) are fragments of the same side, cut, apparently, back in the beginning of XVI century altarpiece. Two close to my angel in the worst condition, on permanent display in the Louvre. And the Hermitage Museum and the Museum of Fine Arts asked me to give the "Annunciation" for a short-lived show. Metropolitan Museum proposed to strengthen the tree is quite shabby on this "Annunciation", if I agree to give a picture of them on the show for a year. But disagreed Ministry of Culture of Russia, which demanded the return things back to the same period ended Lloyd's insurance.

"Khlyst banners" Borovykovs'kogo long been known in the art world, a major monograph on BOROVIKOVSKY the only specialist in this area Alexeeva included in the catalog of the artist and the work of indisputable indicated that they belong to our family. This signature is quite recent work of the artist is really different, but not for the worse, from his Orthodox icons. In his correspondence, he complains that Tatarinov - khlysty community leader in the Mikhailovsky Palace, forcing it to all members of the community to write, it seems like the image. However, apart from my other are not known, the only pretty close analogue, as mentioned Alexeyev, is in the museum at the Trinity Theological Seminary Sergius Lavra - the phenomenon of Christ Borovikovsky, apparently, in rooms Tatarinov.

Aroused widespread indignation portrait Kachalova work of Malevich in fact well known to all professionals as the Library of them. Lenin has a copy of the booklet issued by the Art Theatre then, with a very close version of my portrait, but my signature is somewhat larger and located differently. All reproductions of this booklet reproduced in the catalog and cuts Kazimir Malevich. And because it's registered, it is a documented work for the theater, it is not one but ignoramuses, there is no doubt.

Black and white in the gray, not brown tones, as before, Roerich's work is indeed very rare, apparently, it's a short period in his work - 1905-1906 year. However, in a museum in Nizhny Novgorod is, donated to the museum by the artist himself, meter painting is of such a nature and is dated 1905. My great-grandfather Alexander Akimovich Sanin was a friend of Roerich in Theater Museum. Bakhrushina kept their correspondence over forty years, becoming the first performances of Diaghilev in Paris in 1908-1909, with the decorations Roerich. It was just "Prince Igor" and "Havanschina" - before Diaghilev's ballets moved.

Causing such a surprise greyhound Sverchkova actually, according to the English department staff of the Hermitage, is a copy of the famous painting by Stubbs, long considered the original Stubbs before the revolution was in the collection of the Marble Palace in St. Petersburg, then in the collection of Abram Markovich Schuster (the father of Solomon Abramovich) and from the 68-year fell to me. Unfortunately, the staff of the Hermitage doubt that this is the original Stubbs. In the lower right corner of the painting was signed Sverchkova that was applied over the paint and was considered late, made an intermediate between the owner of the Marble Palace, where she was in the catalog and Abram Schuster for the convenience of the sale because the crickets in the 30s was in Russia significantly more famous George Stubbs. Crickets really began with copies of the English animal painters and the current assumption of the Hermitage staff looks to me sad, but pretty convincing.

I can keep comments but, frankly, I do not see a big need. At the exhibition, and in my collection were things at the level of the best museums in Russia and the world, and much weaker, since there is only a very small number of artists completely smooth and great in each of his works. Usually each of the artists is the worst thing and the best, early and late, sometimes random. The general public, tend to show the best that there is in the museums and the most characteristic of each artist. But other than that in all the vaults of museums and private collections in all things there is always a less typical of the artist, now seemingly less important, but, in reality, they only give an idea of ​​the fullness of life and every culture.

Finally, I want to say some purely factual circumstances of the device show that seems to be particularly interesting savages, writing on the website and have little understanding of the painting. The exhibition took place at the initiative of the Tsaritsyno Museum and the Dutch Department of Culture, as there was only one room for the Dutch, the Netherlands and in Russia it is not only the largest Dutch experts have discovered, but was released on the Dutch separate catalog devoted only to this audience - it was not on sale. A large catalog of freely sold until it was, but it was not large circulation. All things were, of course, covered the museum, otherwise I would not have given up on the show. No financial considerations with the exhibition I was not connected and none of the things that did not sell. In January 2013 the staff of the Moscow Department of Culture I was asked to create a "public-private" museum collection Grigoryants from which I refused.

[Кирилл Сызранский]

Сообщение от Sergei Grigor'yants

at the exhibition and in my collection were things at the level of the best museums in Russia and the world

Yes, especially this:

[zarajara]

Сообщение от Sergei Grigor'yants

there is only a very small number of artists completely smooth and great in each of his works. Usually each of the artists is the worst thing and the best , early and late , sometimes random .

That's right : every artist is the worst and the best work and even weak , but for him they are weak, and not for " vernissage Izmailovo" .
Here no one wrote that the collection of all the low-level and probably fake , but obviously - they are.

[Сергей Григорьянц]

It's a pity that I have learned about your debate so late, but I will answer and some previous observations and the last two replicas. And, most importantly, what I want to say - it is humiliating low as cultural and simply related to the terms of home education level of the dealer community. And this, of course, the problem is the state of Russian culture, not to mention the collector world. However, by this I shall return. The notes after my letter mentioned only as a portrait of Mussorgsky's undeniable forgery. I regret to note that Galina Churak does not think so, like many other critics, visited me at home. Although, really, there are people in whom this sketch is not credible.

But since by itself, this exhibition, which had great significance for almost all of the museum world, had as its goal not trade, as decided at the best of their abilities Russian dealers, and the publication of important Russian art world is quite a lot of things. And thus in the process of preparation of the exhibition was attended by five staff members of the Tretyakov Gallery (and from the department of drawing and painting department), about the same from the Museum of Fine Arts, the three members of the Hermitage, of which two department heads, no mention of European experts. In this case, the Dutch specially came to a scientific conference, which was held in Tsaritsyno in March based on my show, and Elena Sharnova specially went to France, and only with the help of French art was established authorship "cook", which, as it turned out, belonged to a rare in France Limoges school. There were a lot more things that cause different issues than you think, but only one of you was able to ask those questions.

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"Noah dividing the world between the sons" - this is the only currently known in Moscow and St. Petersburg, the so-called monastic pattern - early Russian art scene XVII-XVIII century, was once quite popular in Russia, but not collected by any of the museum and the exhibition "Holy Russia "in Paris, and Moscow monastery picture had to be brought from Novgorod. Even the term was forgotten. But we were hoping that there will be more similar pictures. Not found.

A huge caricature of the judicial system, which is attributed as Boklevsky was in question and that no one of you for many years did not buy either in St. Petersburg or Moscow for the salons, indeed, very reminiscent of the "Gogol types" Boklevskogo and some splints that can be ascribed to him (he belonged to the famous lithograph), but not a single picture of any Boklevskogo THG, or in Russian museum there, compare the picture with his painting is not possible, even though he graduated from the Academy of Fine Arts in the class of painting.

A large portrait of an old man Attributed as Leonid Andreev in question and Wrobel in question. On the one hand, it is almost identical to the description of Konstantin Korovin in the chapter of memories "Chaliapin and Vrubel" about Vrubel picture that was found in his studio, and no one knows where the disappeared. It is not very close to Moscow things, but it is close to the large "Agony in the Garden," Wrubel, located in Kiev museum and also comes from a family Shechtel where things were Vrubel. But, nevertheless, the question remains, and I was hoping that at least one of you will be able to say something useful.

Small Vlaminck, who doubt you, there is no doubt at Valery Mishin from the Museum of Fine Arts.

Big oil Derain subscription for the publication of which just pushed the French and Russian art, and which, perhaps, is the first half of a rewrite, but fovistkoy thing Derain be my twenty years, but it is not known when it was copied in St. Petersburg. I Sharnova hoped to find traces of this copy, but, as in other cases, to no avail.

I, like my ancestors, interesting art, not trade, so we consciously with Svetlana Stepanova gave the exhibition church desyudeport beginning of the XVIII century, "The meeting of Mary and Martha." In contrast to all other pictures of this type in the Russian Museum and the Tretyakov Gallery to its rich carved cartouche he only dates from the time of Peter the just and can be assigned to one of three churches built under Peter. And known artists who were engaged in their finery - it Gzel, Matveev and Nikitin. Gzel, judging by his portraits, working all the same way, but these things Matveeva and Nikitin, available in museums, yet distinguish with great difficulty, and TG no expert on Russian painting of the early XVIII century. We were hoping that maybe someone in the audience to say or write something reasonable, based on my own experience, but it never came from dealers in any case - it is not interested in painting.

They are concerned the opportunity to sell something quickly, so they are forced to adapt to the new Russian who know the fifteen artists, and even with their most typical things and accordingly dealers also are not interested in anything else and do not know anything. What's worse, corrupt traders that part of art that lives by issuing examinations for sale. I'm not talking about direct rogue, fake pictures and fake examinations, but in theory it is a decent start to take an interest in art, writing books and articles about was what they wrote before the examination that is, only that you can sell quickly. All this dramatically narrowed the space under study Russian art, and indeed the Russian culture, even in comparison with the years of the sixties and seventies.

In the painting in general is not much indisputable answers to various questions, as it seems to merchants. I for his half-century collectibles met, and indeed all of you, with so many things to attribute again, with so many discarded ideas that I can safely take this. Hermitage's catalog filled three, four various attributions of old masters, let us at different times and by different experts. As a result of the tragic fate of Russia we know about Russian painting is much smaller than the painting of the XV century Italian and Dutch XVII century. Catalog TG XVIII century painting is now republished or just because its circulation is already sold out, but also because dozens, if not hundreds of attributions had to change, and it's only eight years old.

My collection exists with a variety of gains and losses in our family for at least a hundred and fifty years old and I'm doing everything to make her life continued. Like all old collectors I do not buy things in order to invest the money and do not buy them to sell - for that, I just do not have the time or the desire of my life, there are other, more important lesson for me.

Visitors to the exhibition in the Tsarina were lovers of art, there were many art historians and museum professionals, and, unfortunately, dealers said. Based on the book reviews, and the number of visitors to people who love art, it was a great pleasure. Critics are not just held a scientific conference and are going to have to publish a collection of scientific articles, but some were able to answer questions. Russian dealers (with the rare exception of those with whom I already know) were the most helpless and vulgar part of the visitors. As it turned out, nothing except of no interest to them. Well, they are also part of the Russian society. I can only regret that did not soothe their minds excited immediately as soon as the controversy began.

[Кирилл Сызранский]

Сообщение от Sergei Grigor'yants ; 2698241 "

I'm sorry to see that Galina Churak does not think so , like many other critics, visited me at home .

Ms. Churak or one of the " other art ", who used to come to your home, give a written opinion on this product ?

[Коллекционер-любитель]

The dissenting opinion of Mr. Grigor'yants of forum members who expressed an opinion about his collection.

Сообщение от Sergei Grigor'yants; 2698241"

concerned the opportunity to sell something quickly, so they are forced to adapt to the new Russian who know the fifteen artists, and even with their most typical things and accordingly dealers also are not interested in anything else, and nothing know. What's worse, corrupt traders that part of art that lives by issuing examinations for sale. I'm not talking about direct rogue, fake pictures and fake examinations, but in theory it is a decent start to take an interest in art, writing books and articles about was what they wrote before the examination that is, only that you can sell quickly. All this dramatically narrowed the space under study Russian art, and indeed the Russian culture, even compared to the sixties and seventies

Added after 7 minutes
At the level of low-quality collection voiced by many participants in the forum -

Сообщение от Artem; 2483531"

This can be compared.
Ilya Repin, who once wrote a super portraits and now this.
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Added after 9 minutes

Сообщение от Guriev, Igor; 2482331"

The exhibition Sapunov had several fakes, creepy, kind of like from Comrade. Grigoryants.

I wonder: in his collection there is one not falshak?

The album "Petrov-Vodkin" ed. Art-spring (the author of the text is some Stepanova) also slipped his falshak collection of Comrade. Grigoryants, some watercolor.
But compared to the Tsaritsin show that watercolor - almost shadevr.

Another view of the level of work in the collection, which in my opinion is not "... a unique collection of masterpieces. ..", a collection of sketches, drawings or copies of student work with teachers.

Added after 13 minutes

Сообщение от Nicholas Levenko; 2479981"

Speaking about the exhibition and Aivazovsky.
Yes, I met this job online at the radio "Echo of Moscow" December 23, 2012. The work was presented at the opening in Tsaritsyn, as the product of a collection of Aivazovsky Sergei Grigoryants.
Painting nothing to Aivazovsky has not.
Subject bathing in Feodosia Aivazovsky popped up more than once, only in my catalog, there are three reproductions.
These are: 1 - "Theodosia. Moonlit Night" (29h36) 1852 Freq. Works. USA
2 - "Moonlight. Bathing in Feodosia" (94h143) 1853 Taganrog Art Gallery. Formerly in the collection of M.A.Beztsennogo. St. Petersburg.
3 - "Bathing in Feodosia" (27.8 x 24) 1862 Private collection.
Despite a very weak color solution contained reproductions, comparing it can be concluded - which the work has no chance to be recognized as a work of Aivazovsky.

http://echo.msk.ru/blog/tatiana_pelipeiko/974848-echo/Thumbnails
 

How do you like this comment.

Сообщение от dabbler; 2479851"

Now - discussion about the show. To be honest, such a number is not just plain unprofessional, curves, skew, poor craft, brazenly issued for the works of famous artists, plus to that - in the halls of the museum, I have not seen even once in his long and joyful life. Even in the meeting, A. .. on a no-no, and came across the original work. Even though the auction Shapiro occasionally, but there are good things. And that's it! Not even funny somehow. Even scoff got sick.

Or Mr. Grigor'yants You can call all "members of the forum" illiterate, uncivilized, and other bad words:

Added after 9 hours 12 minutes
How interesting it was to re-read the introductory article for the exhibition: "... Sergei Grigor'yants - famous person, collector, scholar, journalist and social activist, the owner of a unique collection of masterpieces.
And then his art Amateur - "... show need for legalization " masterpieces ".
Read the introductory article on - "... are more than 400 rare works of ...", "... the first collector can be considered another biblical Noah - the organizers of the exhibition. Collection Sergei Grigoryants same - it is a pure source that brings flavor and gives people to join the beautiful ... "
Do not drink from the source - will become a kid !
And here at the Forum is a discussion of the level of a collection of works "follower of November. Sorry Mr. Grigor'yants if something had insulted your self-esteem, but also bear in mind that the level of your collection - in any case, all for the Russian part of the collection - novice amateur level, which vparili sketches, sketches, forgery - and given out for masterpieces, and now when you yourself understand this - you have decided to legalize their masterpieces, but not passed - what response specialists Forum (it is still present and experts ), collectors, and dealers, which you so hate - and it is clear that the level of the works presented at the exhibition.

[Сергей Григорьянц]

You should not think that I hate dealers. As with all other parts of Russia is the world in which I live. At first, I was truly saddened by your reviews, but now most grateful that you have dragged into a debate in which I think through some important things for me is not written in the introductory article directory, but that may be useful for the upcoming conference in the Pushkin Museum of collecting and museum business.

The difference between us is that I have gone through many different periods of the existence of the collection of the world, and my family still infinitely more than I do. And you, with greater or lesser success live in the present day with little knowledge of what happened yesterday and not worrying about what will happen tomorrow.

You have already ceased to mention BOROVIKOVSKY, Malevich, Roerich's cricket, Fra Beato, but you still take a very Aivazovsky. Here you are making quite a common mistake - do not look at the date. After graduating from the Academy of Fine Arts Aivazovsky wrote often simply monochrome paintings, such as blue-gray, remarkable beauty and landscapes of Venice and a giant light brown harbor view in Nikolaev with many sailing ships (after the war in the collection of Vera Slonim, then at Dmytro Hnatiuk, it now seems , in the St. Nicholas Museum). In the 40 years he carefully puts into his landscapes the color, but it is still far from being the romantic rapture that seizes them in the 50s and later. By the way, it's early paintings, first of all, very beautiful, secondly often better drawn and almost never false. As for the bright and romantic landscapes Aivazovsky, then the stories, he came with five apprentices in Paris, locked up for a week in a hotel, producing paintings with them 40-50, where it was not known who wrote what. He put on an exhibition, they sold out and went somewhere else. From this Ayvozovskih worldwide have accumulated more than ten thousand. When you write about my stuff Aivazovsky and compare it with later versions, you forget that my is, apparently, the first in this series and belongs to the 40th year, they wrote in their expertise and Churak Gladkov, and all those that you mention it, this is the 50s and, indeed, other colors. My picture before the war and during the first decade after it had been in the collection of the artist Resetnicov, but for some reason it had a small, albeit very crude recording, just a scratch, probably, XIX century. They misled Gerashchenko and she did not understand that it is quite the real thing. Records were deleted restorer Shulgin, but due to an error Gerashchenko I had to take a closer examination of its deal and I gave her an exception to compare in the Tretyakov Gallery. As I well know who's in what there is professional, asked to do her guardian works by Aivazovsky in STG and the author of a monograph about him Natalia Nikolaevna Mammoth. Not the slightest doubt about the authenticity of things when compared with fifty canvases Aivazovsky TG neither the Mammoth, no Churak have arisen, which was written in the examination. Can you explain the same thing with Repin and Mussorgsky, but it is all very boring. In general, the paper with the stamps I'm interested in a little - I do not collect paper and painting. Of the fifteen critics, to a greater or lesser extent took part in an exhibition, and no one I asked for at least some kind of a written conclusion. The majority of Russian paintings - BOROVIKOVSKY, Argun, Tocco and other mine or from relatives or from old collections. In the last twenty years, well, if I buy a Russian painting every five years, and I do it only in cases where it seems to me, otherwise it will die. So it was with Boklevskim that no one was buying a lot of years, so it was with Shesterkin - completely forgotten, which calls Hodasevich first Russian Symbolist painter and describes how his paintings hang in the office of Bryusov and in the magazine "Balance." The artist, who not only do not have any reason to THG, or in Russian museum, but that is not even mentioned in any book of Russian symbolism - some critics, apparently, read a little. So it was with the interior of Fyodor Tolstoy or monsters Elizabeth Florenskaya. And that's about all that I accidentally bought in recent years. My paintings are usually from the collections of Baron Wrangel or Delyarova, Nicholas I of items excluded from the Hermitage collection or Popov, Vishnevsky Costacis, Sanovich, Schuster, Mankowski. But I myself will no longer take part in this debate. Excuse me, please, if someone hurt, but it is indeed a shame not just on what they say about you on a good show and rare things, but the main thing that I have to explain to you that, in fact, you need to know yourself and I would love to hear from you this - after all it's your profession, not mine.

[uriart]

Sergey Grigor'yants, empty talk shop!

Even in the photos that were displayed on the site could be seen the horror of your masterpieces!

You should be ashamed if you are a decent man who loves truly an art!

I have nothing more to say.

[Барвиха]

What this battered murderer (Wrangler), and even dabbled in painting??

[Кирилл Сызранский]

Сообщение от Barvikha

What this battered murderer (Wrangler), and even dabbled in painting??

Meaning the father of "Black Baron" - Baron Wrangel Zhukovsky (1847-1923) - scientist and art historian.