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That's an extremely interesting article by A. Nakova of the history of the Society of Alexandra Exter, Exter about life, its archives, as well as commerce and forgery. Quite long, but worth reading.
Andrei Nakov It was the only one who admitted Malevich in his studio
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Alexandra Exter, like many Russian artists who left Russia after the revolution. She was born in 1882 in Bialystok, studied in Kiev. Came from a noble, wealthy family, and died in Paris in dire poverty in 1949. In Exter no heirs, and all of its horrible legacy to America. She, like many of her colleagues - artists-emigrants - disappeared from the national cultural horizons for many years. In Russia only in 1987 Theater Museum Bakhrushin organized in Moscow the first monographic exhibition of Exter. I specifically when visited Russia for its preparation. This was the first exhibition of its motherland.
At the beginning of last century, she worked at the Chamber Theater with Tairov. In 1917 she decorated "Salome" by Oscar Wilde was in Moscow is absolutely sensational performance. But Exter wrote and original kubofuturisticheskie, and abstract paintings. And when I came to France, again earned theatrical scenery. And taught at the Academy of Leger. Actually, she had many French friends, she was the figure of the Paris-Russian.
Talent Exter allowed to stand next to Malevich, Tatlin and Rozanova ... In modern parlance, this conditional rating Exter ranked fourth. In 1915, when Malevich wrote his first Suprematist paintings, he was not allowed into the studio, because he was afraid that this will be known ahead of time. And he wanted to prove that opened up entirely new art. And only one person came to him freely. It was Alexandra Exter. It was an excellent education, well-known French Cubism, Malevich and talked with her for hours. I read the letter in which he describes these meetings. In addition, she was friends with Tatlin and Burliuk Popova and Rodchenko.
I have her letters, of which it is clear that she literally starved to death. But at the same time, has restored his tireless work and packed in boxes to send it all over the ocean - in New York. Sorry for the pathos, but it is - a feat. The feat of the Creator, who knows what he has done something important, and this "something" must be left for all living. In New York he lived it long ago, Kiev familiar - artist Simon Liss, Exter was friends with him in Paris. Before the occupation of France, he saw that the Jews in Europe for advancing the terrible times, went to the States. It was a Russian Jew, the son of a banker in Kiev. The man is very intelligent, smart, smart. And he took the legacy of Exter, realizing its noble mission to preserve her creativity. He constantly spoke to the American Museum of requests for displaying works Exter, he gave them to them, because there was no other choice. Then they do no one bought.
I met with Simon Lissimom in December 1969. At that time I taught art studies at the University of New York, but he also taught painting. And when I came home to him, he began to show me the legacy of Alexandra Exter. He removed the paintings from the boxes, took out portfolios of costumes, then got out themselves, these costumes ... I was literally stunned and said that it was a sensation, and something must be done. He replied very cleverly: "Mr Nakov, I'll wait for 20 years. This is - at your disposal. When I made my discovery in America, nobody wanted to do it. Then I turned to the private gallery in Paris, where he organized in 1972, the first solo exhibition of Alexandra Exter, with the publication of the catalog - the first after her death.
In 1981, Simon Lissy left a will, which gave me the archive Alexandra Exter, and his personal archive. There - documents, correspondence, photographs, lists of all the works ... In short, it is - a full archive of Exter. I started this calmly and systematically addressed. But the prospects for publishing a monograph at the time was not. Only after the adjustment, starting work in the archives of Kiev and Moscow, I discovered a huge amount of material relating to Exter. But to begin work still could not. While the main theme for me was Malevich, I worked on the systematization of his career, he wrote a great book about it.
Now on the antiques market there is a need in the works of well-known, famous names. Begun a monstrous buzz around creativity and Alexandra Exter. Began to appear questionable rough work and absolutely brazen forgery. In the late 1990's friends approached me with a proposal to organize a "Society of Alexandra Exter. It was established in 2000. It is time for more serious attention to her creativity. I was a very valuable archive. It is a unique key to its creation. I have even her palette! Come to me for U.S. and Canadian museums, researchers from Spain, Greece, Germany and other countries. But the legacy of Exter scattered around the world, so there is plenty of work. Now there is a huge attraction to the market and the Russian avant-garde works of Exeter in particular. It is necessary to distinguish between market interest and research, because if the criterion or momentum is money and commerce, it spoils the artistic and moral perspective. I remember when I first came to Lissimu, it was, of course, a young art historian, an idealist. I asked him the same question about money. Here's what he told me: "Most people understand little about art. One thing they know is always: if it is expensive - it was good. For them, everything will automatically be interesting and good only because it costs a lot of money. And only then they will look at the painting .
Then I realized that he was absolutely right. This is elementary, the most primitive life arguments, but they are quite real. Because until Lissy gave all of the museums, few people took them. But when it was expensive, everything began to speak: Exter expensive, so it's an interesting artist. Serious researcher will never confronts a commercial purpose, but his works are convincing argument for the art market. Work on systematizing creativity Kazimir Malevich was done not only in difficult times, by itself it was a difficult topic, it is clear field. I myself have created its methodology. But the experience now gives me the opportunity to actually engage in creative Exter.
Two years ago in Paris, was published a large book on Exter, which is given deliberately distorted information about its heritage. In this way, trying to justify the strange work and irregular signatures. In Spain, appeared a large, simply gorgeous commercial catalog - also full of strange activities ... In this "advertising" Exter, of course, does not need.
Already several people have announced that they are supposedly working on a "catalogue raisonne". It looks ridiculous, because no one except me, did not work with archival materials heir Exter - Simon Lissima. In such controversial statements - short life. How can we seriously address the artist, even if you never saw his archive? But in this sense, Exter, alas, not alone, this happens with some other Russian artists of that time: the demand for their work is automatically accompanied by the demand for documentation. Today, many think that such documentation easier to create from scratch, of course, with one purpose - to sell counterfeit, which, unfortunately, in recent years has divorced a great variety.
But serious people, and large museums to be relevant in another way: I have direct contact with them. They treated me with questions, and I always try to assist them in documenting the work that they are. Some of these works were donated by him Lissimom.
It's not that somebody makes money on false papers, the existence of forgeries distorts the image of the artist's work. To me recently requested some art historians to urgently something to print, publish, explain. They just say: we often do not know what is this Exter, and that - fake. But if distorted or false information, work documents will continue to rotate in cultural circulation, will be printed and sold, then the next generation will get a distorted view of the artist's work. And this is wrong and totally unacceptable. Therefore, such cases must be seriously addressed.
In France - a country in which she died Exter - copyrights are protected for 75 years after his death. There is a law under which the heirs have the right to destroy the work that they consider false, and this, of course, only in order to maintain an exact image of the artist's work. This has repeatedly happened in the art of XX century, because the false work very quickly die "natural death" because do not reflect the creativity of an artist, but the idea of some kind of accomplice, who superficially understood it. This is not just immoral, it is abominable ... Fakes always distort the original, they are always far from the originals, and never with the truth of the artist's work can not be compared.
I consider it my duty to Simon Lissimom and, of course, before the works of Alexandra Exter save it from the fakes and forgers. And this does not make a career, she has already done. But the legacy left by these people should be in undistorted form become the property of the cultural community.
(The newspaper "Culture" № 44 (7503) 10 - 16 November 2005.)
Эти 16 пользователя(ей) сказали Спасибо Art-lover за это полезное сообщение:
Yesterday I saw this scene on YouTube to his unloaded. and here did not work. Kind of like this format html is not supported. She took in Google "Tours Exposition Alexandra Exter". Try it.
About what had brought from the Soviet Union - is nonsense. They work, and "early" and "Soviet" and later, "French". Signature, which is featured in the video-awful. Some, if you have time to consider, entirely compilation.
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"Most people understand little about art. One thing they know is always: if it is expensive - it was good. For them, everything will automatically be interesting and good only because it costs a lot of money. And only then they will look at the painting ".
Absolutely true.
Sam noticed how even change facial expressions have interviewed, when they learned the amount of recent departures at the pictures of one or another of the author.
It works, yes.
The price of pictures and being in a well-known museums.
Эти 5 пользователя(ей) сказали Спасибо Кирилл Сызранский за это полезное сообщение:
For some people declared that they were supposedly working on a "catalogue raisonne". It looks ridiculous, because no one except me, did not work with archival materials heir Exter - Simon Lissima. In such controversial statements - short life. How can we seriously address the artist, even if you never saw his archive? But in this sense, Exter, alas, not alone, this happens with some other Russian artists of that time: the demand for their work is automatically accompanied by the demand for documentation. Today, many think that such documentation easier to create from scratch, of course, with one purpose - to sell counterfeit, which, unfortunately, in recent years has divorced a great many.
I think this addresses an important problem.
Very often in the market to describe works of art indicates that this work will be included in the union catalog of the author, prepared imyarek. For the inexperienced is like a pledge of authenticity, selling things.
Meanwhile, even the existing catalogs do not give 100 percent guarantee. Cooking is such a publication is not automatically mean that it ever will. Can decade, the number of authors intended publication,
Acquire the authority among the uninformed expert, specialist and even the expert. God be with him, with lzheavtoritetom if this work had no commercial motive.
For example, one can often find a message that is a product of O. Rabin and Y. Annenkov will be included in the catalogue raisonné.
In the first case the author is alive and could compensate for ignorance of the compilers, if declared many years ago, the intention was not only a cover for infiltration by collectors with commercial intent and expanding clientele.
The second case is so blatant that the plan of the entrepreneurial brothers will never come true, because R. Guerra, owner of the archive of Yury Annenkov and extensive collection of his works had categorically stated that he would never give them the disposition of the drafters. Their competence and decency may signal "expertise" of one of the brothers at the Russian sales of auction «HAMPEL», where he is an official expert.
Nevertheless, they continue to hang safely categorical labels: "This Annenkov," This is not Annenkov. And for many market participants nebezboleznenno these things.
Examples are given only to illustrate the problem. They could continue in the non-Russian subjects.
Healthy core art market could, do something, to work out against the activities of such impostors.
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since 1981. Nakova is a whole archive Exter "But the prospects of publishing a monograph at the time was not. Only after the adjustment, and started to work in the archives of Kiev and Moscow, I discovered a huge amount of material relating to Exter. But to start work still could not. At that time, the main theme for me was Malevich, I worked on the systematization of his career, he wrote a great book about it ", is already 2009. and .... nothing, he only advises museums and other experts ... imagine how many treasure! reminds me of a story and another archive ...
Posted by 46 minutes
I decided to still lay here all publications "Kommersant" on a topic that all in one place was. First article "Avant-garde in custody," published April 27, 2009, interview with Andrew + Nakova "Falsifiers just do not understand what they are doing" in the same issue. And then today's publication of "Avant-garde custody-2, containing, including an interview with Jean Shovlenom + comment Kovalenko" This is a problem for attribution. "
Vanguard custody
"Vlast» № 16-17 (819-820) on 27/04/2009
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The gap in the auction value of "Women with birds» - € 850 thousand - and "non-objective compositions" (pictured) - € 12,9 thousand - only confirms that the market price of Russian avant-garde is not an exponential
In France, broke another scandal involving counterfeit works of Russian avant-garde - the most expensive commodity which Russia supplies to the world art market. Suspicion got pictures "vanguard of the Amazons" by Alexandra Exter.
A fake Russian avant-garde began to appear on the western art market back in 1960. And by mid-1990 the volume grew so rigged that destabilize the Russian department of Sotheby `s and led to a crisis in this market segment. The general opinion of experts in Russian avant-garde, is as follows: Forgery - thousands, and they are in the most respected private and even public collections.
Examples abound. Works Lyubov Popova and El Lissitzky, Gustav Klutsis removed from the auctions, the reasons are not explained, but it is no secret that, as a rule, the suspicion is the authenticity of lots.
Indicative in this sense, the story of the works of Nina Kogan. She was a student of Kazimir Malevich, but, according to a major expert on the works of Malevich Alexandra Shatskikh, hobby artist, Suprematism was very short: in the archives found no more than three of her works of this period. But does not pass a single modest auction of Russian art, which would not have been submitted to the work of Nina Kogan.
Another example: in 1989, auction house Christie `s sold for $ 83 thousand" Self-Portrait "Aristarchus Lentulova. And although it is believed that such a large auction house is not auctioned works by Russian avant-garde without an absolute guarantee of origin, the daughter of Marianne Lentulova insisted that "Self-Portrait" - pure fabrication.
Another scandal involving counterfeit works of Russian avant-garde broke out in France earlier this year and did not subside until now. At this time under suspicion were paintings by Alexandra Exter.
Exhibition "Alexandra Exter and her Russian friends" opened in the exhibition hall in the city of Tours on January 30. Two-thirds of the submitted works are the property of the curator of the exhibition, the Paris expert on the Russian avant-garde, Jean Shovlena, author of books about creativity Exter. March 19, three days before closing, the exhibition suddenly visited by the police and sealed all the exhibits - paintings, graphics, documents the life and work of Alexandra Exter, and other Russian avant-garde. The cause of keen interest to the police was the vanguard of the case brought by local prosecutors on the application of the Parisian art historian, chairman of the Society of Alexandra Exter, and the holder of the rights to her legacy of Andrei Nakova. He argues that virtually all the works shown at the exhibition are fakes.
The scandal was followed on March 29, when the auction house Chevau-Legers Encheres in Versailles auctioned two sketches by Alexandra Exter. Both works were accompanied by expert opinion of Jean Shovlena issued in November 2005. Both works appear in the catalog-reason Alexandra Exter, Jean released Shovlenom. But at the request of Andrew Nakova they were withdrawn from the auction also because of doubts about the authenticity.
> Jean Shovlen was born in 1934. The handbook of the French National Syndicate of experts works of art appears as an expert on Russian avant-garde art and the 1920's. He, however, is not an expert, accredited to the French customs office or the Court of Cassation, which could be evidence of special competence in their field. Shovlen has no special university education in the field of art history. With Russian avant-garde, he met with his first professional dancer. In 1950-1960-ies Shovlen entered the Society of Russian ballet dancers, and then close friends with the Secretary of Sergei Diaghilev, Boris Kochno. That brought him into the circle of Russian artists. The site of Jean Shovlena can find the information that he was friends with George Annenkov, with the widow of Ivan Puni Xenia, Alexandra Tomilina, widow and executrix of Mikhail Larionov Mikhail Larionov and Natalia Goncharova. In 1968, Jean Shovlen opened his own gallery, which presented the work Annenkov, Boris Grigoriev, paintings of Malevich's work Baranova-Rossini. In 1972, the Gallery held a retrospective of Jean Shovlena works by Alexandra Exter. The author of the catalog was Andrei Nakov. In the early 1980's Shovlen closed the gallery and began to engage only the independent examination. In 2003, together with Nadia Filatova, John Boult and Dmitry Gorbachev issued a monograph on Alexandra Exter.
Lawyer Herve Keruredan auction house declined to give comments. However, he noted that Mr Nakov not provide any legal evidence that he is the official heir to the creation of Alexandra Exter. And concluded that "most likely, it simply disassembling the two experts, who only destroy the market".
In other words, the biggest experts on Russian avant-garde in general and in particular the creation Exter Andrei Nakov and Jean Shovlen have diametrically opposed views on the authenticity of works. It seems all the more strange when we remember that more than 30 years ago they spent together in Paris, one of the first major exhibition of Alexandra Exter. However, nothing surprising in the conflict there, he shows how the market is flooded with falsifications. Also worth remembering, as increased in recent years, prices for works of Exter. In November 2006, at the Russian bid Christie `s her job" Picnic on the beach, went for an amount exceeding € 1 million (the price of "hammer" € 857 thousand). In June 2008 Russian auction Sotheby `s her painting" Woman with Bird "was sold for slightly less than the amount - € 850 thousand (the price" hammer "€ 737 thousand).
However, recorded, and much more modest sales: So, 9 February 2009 at a small Parisian auction Massol SA "Pointless Arrangement signed by the author left for only € 12,9 thousand, however, all this only confirms the idea that, in the case of the Russian avant-garde nor the highest price or the lowest can not serve as proof of authenticity.
In the past two years in Moscow, published "Catalog of counterfeit paintings. This edition is filled by Rosokhrankultura, devoted exclusively painting XIX century. On the issue of "government" that would not be a similar initiative undertaken for the Russian avant-garde publishers directory explained: "They have not found an expert willing to cooperate with us in this area."
At the same time, museum curators are united in the opinion that the Russian avant-garde - the arts, most affected by disease counterfeit works. But as no one else wanted to assume the role of "last resort", so there is no legal reason to call one or another of the fraud: no case has a formal court decision is not made public, and sentenced by the courts.
Correspondents Vlast Jean Shovlenom contacted and asked to comment on the case of closure of the exhibition in the city of Tours and a criminal case. However, he re-addressed them to his lawyer, Mrs. Marie-France Pestel-Debord, who refuses to talk.
Andrei Nakov agreed to share their reasoning.
BACKGROUND Andrei Nakov was born in Sofia in 1941. After studying in Warsaw in 1963 for political reasons he emigrated to France. Doctor of Art (1969). He taught at the University of New York, Montreal, Paris, London and Poznan. Wrote a book about creativity Alexandra Exter, brothers Steinberg, Nina Kogan, Alexander Bogomazova, Kazimir Malevich. In 1987-1988, organized in Frankfurt and Geneva, an exhibition of works by Mikhail Larionov. Swiss art dealer Francois Dolt, which owns part of the legacy of Mikhail Larionov and its archives, has accused Andrew Nakova counterfeiting in the fashion show, but was unable to provide any evidence. Provoked a scandal Journal de Geneve, after a five-year trial Nakov was forced to pay compensation for moral damages. Andrei Nakov going to ever again hold an exhibition of these works.
"Falsifiers just do not understand what they do"
"Vlast» № 16-17 (819-820) on 27/04/2009
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- Why do you think you are entitled to bring charges against an exhibition?
- I seriously took up the art of XX century in the early 1970's, and my first book, which was released in 1972, was on Exter. I must say that while the topic entirely nobody was interested. At that time I became acquainted with the heir of Alexandra Exter, who lived near New York. It was a very intelligent, elegant and worldly man, a friend of the artist to Paris time, Simon Liss.
His testament Alexandra Exter gave him all the rights and all that was in her Paris studio. This was done cleverly compiled inventory. Lissy with difficulty obtained permission for the export of works from France, while cultural values are not released. He helped friends with whom he was involved in the Resistance.
For him it was a friendly act, and not a commercial - then that nobody was buying, he is also the duty had to pay. He gave the product Exter museums, has exhibited the work of the artist. I opened his legacy Exter and gasped.
I prepared a book and exhibition. We Lissimom would like to hold an exhibition in a good museum, and he was ready after all this museum to present. I am after rushing for some well-known museums me - no one wanted to do it, anyone that was not interesting. I had to look for a private gallery, and I found a gallery in Paris, Jean Shovlena. I made this exhibition, she was in the gallery Shovlena. Of course, it is the merit of Mr. Shovlena that he understood how it interesting.
- You have continued to cooperate with the gallery of Jean Shovlena?
- As Exter, this our relationship ended. A year later, in front of me opened wide road to the museums, and I never returned to the commercial world. Since then, I was a curator of exhibitions around the world, in the best museums. In the 1980's and 1990's I was seriously engaged in creative work of Kazimir Malevich and it took me all the time.
In 1981, Simon Lissy died. By that time, parts of it gave me almost the entire archive, and even palette Alexandra Exter. The rest of its archives (photos, lists of works, to whom and what he was selling, inventory of the artist's studio), he also bequeathed to me. All this gave me his widow in the mid-1980. In the late 1990's to the art market began to appear fake Russian avant-garde - Russian buyers have got some money, and these works there has been great demand.
- You often have to deal with counterfeit works by Alexandra Exter?
- For the past ten years, come to me for colleagues from around the world and say: we need to do something, because soon our young people can not understand what is Alexandra Exter. Friends (who created the committee Kandinsky) advised me to do something - I in 2000 created the Community of Alexandra Exter. I thought it would help. To me constantly address those who are interested in creativity of the artist - a student from St. Petersburg, people from Spain and Cuba. But no commercial activity does not lead society, it helps only the information and contacts. In 2006, I issued a report that appeared on the market a huge number of fake works by Alexandra Exter, but no one paid attention to it. But in general it is not my business - to monitor the fakes to Exter. I can not waste time on it - this would have left my whole life.
- What made you so seriously oppose the exhibition in Tours now?
- Last year I felt that something was being prepared. But I was busy with a book about Kazimir Malevich (Andrei Nakov released projected four Malevich - absolute artist ".-" Power "). Then he planned to return to other works - I'm writing a book on Dada. And then e-mail from a friend from London: "Do you know about the exhibition of works of Exter in Tours, and you be on opening day?" I immediately realized that if I do not know about this show, so I wanted to beat. I went to the Tour the day after opening day, two hours by car south of Paris. Well, I expected that there will be, for example, about thirty of these works and ten fakes. And the exhibition was not in the museum - a large exhibition hall next door, in an ancient castle. There, on two floors of the 180 works supposedly by Alexandra Exter, with 99%of works, if not 99.5%, subscriptions. Most of the works - large gouaches and oil. Most things are dated from 1910 to 1924. One work of the 180 seemed to me this. I was blown away. On the third floor - 80 works of friends Exter, in six or seven rooms. Call whoever you want from the avant-garde - Malevich, Kandinsky, Rodchenko, Lentulov, Larionov, Goncharova - and amidst all this is only one true picture Rodchenko. Understand that there are artists whose work I know thoroughly - or Larionov, Malevich.
- What in the exhibition seemed suspicious to you in the first place?
- I'll start from the beginning. The exhibition was accompanied by storefronts, which exhibited "archive Alexandra Exter. This is a big joke, because I have the original archive. And there katalozhiki, books, and Xerox. I realized that this is also a falsification. Later, when police asked me to inspect the work (I am speaking as an expert), I asked them to open these windows. It turned out that all they bought for various second-hand bookshop: books on the inscriptions of the Hungarian language to someone, Scandinavian bookplates and more on some of the stamp Shovlena.
Things on the third floor were without directory or even a list of works, but things pseudo-Exter a publication. Like the catalog, but the list does not, the work played haphazardly, so that people do not get them to compare. And the two texts. All this is also an element of fraud. For example, most of the photos in this "catalog" copy of my books. But clumsily! There, on a turn reproduced photo of Alexandra Exter, decorative panel with the figure standing beside a young woman, her pupil. This picture was published in 2007 in the second volume of my book, Malevich. But they do not even know who it is, and wrote that it Exter! And this is her pupil.
Then, 180 works - is a vehicle, you must explain where they came from. And in the "catalog" invented a story that not even lying, and stupidity. In 1924 the artist left Russia to the West. The passport she did Anatoly Lunacharsky, and she and her husband went to do their work hanging in the Biennale in Venice. It was just an excuse, Lunacharsky just helped her to leave. I even have a passport in the archive.
And in "directory" you explain that, when leaving Russia, Exter took with them the chests with the work, and all stored at her Paris pupils. This fact is not mentioned in any papers, nor in one letter. And when I was writing my book on Exter, in 1971, I was with this student (his name Colucci). He told me about the artist and showed that he had survived. When in 1974 this man died, was the sale contents of his studio. And in the catalog about any matters Alexandra Exter is not mentioned.
- And yet, probably not easy to convince people that they face forgery? Especially when it comes to the prosecutor's office or the police?
- Of course, we need irrefutable proof. Therefore, exhibition remained open for over a month. About a week I thought: what can we do? And only then went to the prosecutor of the city of Tours. At the exhibition were sent to graphology, which examined the signature. The examination lasted three weeks, graphology decided that the paintings did not sign, and calligraphy: they are made like a stencil.
Then, there is work, which simply can not be, and I can prove it. For example, there are projects to the fantastic scenery of the film Jacob Protazanov 1924 "Aelita". However, we know that Alexandra Exter did for this film just costumes. Scenery project Victor Shem did Sergei Kozlinski and Isaak Rabinovich. Take a monograph on the Sims, it was published 25 years ago, everything is written. I have a booklet and the exit of this movie is. And here gouaches scenery.
Or there - a project of costumes for "Romeo and Juliet" (1921 Exter created sketches of scenery and costumes for Shakespeare's "Romeo and Juliet" for the Moscow Chamber Theater under the direction of Alexander Tairov .- "Power"). They are monstrous in style. But well, that the police did not understand. But they are oil on canvas, in three variants. Such a Exter never was. In Bakhrushin Museum in Moscow is kept 120 costumes for this play. I worked there. They all - gouache on cardboard, no oil projects costumes did in those days.
Alexandra Exter in the early 1910's, when she worked in Moscow, was cubistic monogram (as Natalya Goncharova, it was very popular then). At one of the works in the collection Lissima have this, I have it in his book published. And - this is how the monogram stamp on abstract works of 1918-1920-ies. It makes no sense, so there could be. In 1921, the artist illustrated books by Alexander Tairov "Notes producer. So the exhibition is copied from there illustration of the set of her early cubist monogram. Falsifiers just do not understand what they do.
All works in the exhibition - a subscription of variation (they're called "sketches", "sketches", "options") oil known works. In my archive there is a photo of the lost works of abstract Exter made in the Kiev workshop. But it's not them. This is a variation of those pictures that were printed in color throughout. Moreover, the originals are not subscriptions, for example, work in 1915 at the Stockholm museum. And the exhibition poorly executed version - subscription.
Another example: the composition in 1914 - a collage, which was at Lissima and which is now in the Thyssen collection in Madrid (I had also published in his book). Incredible rarity. Since the exhibition of his oil painting made. When I reviewed it - there pasted French newspaper in August 1915 (for natural). Ridiculous. In those years, from the artist's style changed every three months, she went to abstraction. Later repetition? But why? In 1915, she lived in Kiev, there was a war where it there this newspaper?
And city prosecutors Tura realized that a serious matter, and reacted to my statement carefully. For me it is a huge nasty job: I spent two days sitting with the police, every job he took in his hands. There is another side to fake.
- Against whom are drawn to your statement? Against Mr. Jean Shovlena, which owns 130 works from two of hundreds that were shown at the exhibition?
- I opposed the city of Tours, and not some kind of lord. City Tour organized the exhibition, the mayor wrote a triumphal entry. For them, of course, scandalous closure of the exhibition - a terrible slap in the face. But it's not, I paid her, I tell them the service rendered. Because the prosecutor's office instituted criminal proceedings, demanded in the first place my personal guarantee as an expert and has a second priority - as chairman of the Society of Alexandra Exter. But I could not otherwise. When I saw the exhibition, I had a moment of horror, because it is killing the artist.
- But Mr. Jean Shovlen - a renowned expert, specializing in Russian Avant-garde. He is author of a monograph on Alexander Exter ... ( "Alexandra Exter's" co-written with John Boult, Dmitry Gorbachev, Nadia Filatova, published in 2003 .- "Power").
- The book is very chic, but it is very dangerous. Some things, there is published, I seem to be the undisputed forgeries, and now some of them are already in public collections. I saw the pictures published in the book, the same calligraphic signature, that the paintings from an exhibition in Tours.
- What other ways are available to experts to combat counterfeiting?
- In 2006, I gave a palette of Alexandra Exter, which I gave Liss, London-based technologist, I have a complete chemical analysis of pigments, which she enjoyed. So what can I do any work with them to compare. And besides, when you have a palette, you take any work of the artist and to hold the palette. This, of course, is subjective, but if you have eyes, you immediately see, the real work or not. I love the palette, I would like to someday make an exhibition of palettes. In addition, we have to work with X-rays, but I, unfortunately, not very much. Because earlier work Exter little interest to museum researchers.
- How do you think I could handle the influx of counterfeit Russian avant-garde in general?
- In case the exhibition in Tura police, I think, sort out fairly quickly. I think that this story could have an impact on the whole situation on the market. I see fake artworks of Natalia Goncharova and Mikhail Larionov at auctions, not to mention Malevich. When the money appears, you can buy people and their silence, to fund fake books. Now, with computer technology, forgers go very far: I've seen fake photos from the old show, when installed in an old photo allegedly hanging a picture on the wall. I even showed how easily it is done. I saw cut up to 4 x 5 cm negatives, which were not in the 1920's. But the real story of forged works of art can not be built. This is a dangerous infection.
Interviewed Tatiana Markina
Vanguard custody-2
"Vlast» № 50 (853) on 21.12.2009
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Hand Alexandra Exter seen even in scenes that are just kept in her house. So it was with "Composition" Esther Shimerovoy (pictured) and "Still Life" Amelia Pelaez
The scandal over the arrest of two hundred works by Alexandra Exter took place in the French city of Tours in March 2009. The exhibition, opened in January with great fanfare with the participation of the Mayor, March 19, three days before closing, was arrested, the exhibits are sealed.
The reason for his arrest was going to court Nakova Andrew, founder and head of the Association of Alexandra Exter, who claimed that the lion's share of works in the exhibition - forgery. Andrei Nakov described himself as the owner of the archive of Alexandra Exter, having the right to dispose of its heritage, and the chief expert on the creativity of the artist.
Told Vlast itself Andrei Nakov (see material Vanguard under arrest "in the N 16 this year), the archive got him from Simon Lissima, which the artist bequeathed the contents of his Paris studio. Finding the legacy of Russian avangardistki have Lissima, Andrei Nakov in 1972 with the Parisian art dealer Jean Shovlenom arranged an exhibition of her works. By 1981, when Simon Lissy died in the United States, Andrei Nakov, he said, managed to obtain from him the list of sold works of the artist, an inventory of her studio, photographs, and thought himself entitled to dispose of its heritage.
Hand Alexandra Exter seen even in scenes that are just kept in her house. So it was with "Composition" Esther Shimerovoy and "Still Life" Amelia Pelaez (pictured)
By filing suit in court, Nakov led many arguments showing unoriginality presented at the exhibition. Owner of a large part of them, as well as the curator of the exhibition was the same gallery owner Jean Shovlen whose ways with Nakov long gone.
Andrei Nakov These facts have caused doubts among Russian experts on creativity Alexandra Exter. Maria Valyaeva, Ph.D., a specialist in Russian art of the late XIX - early XX century, wrote an article for the exhibition catalog Turska "Alexandra Exter and her Russian friends," says: "At the exhibition there were things from different countries, they come from different sources, they years were stored in different collections. How can you say that they are all united to fake? "I very carefully considered the work submitted by Mr. Shovlenom. The work of most of the other collections I feel good and have long been known. My opinion is clear: these works are original." Doctor of Art George Kovalenko also raises arguments Andrei Nakova doubt: "It is true that there are no real work. There were a few things that I knew before, and I think the real.
The fall of Jean Shovlen and six people who belonged exhibited in Tours, and was then arrested and has asked the investigative ward of the court of appeal of the city of Orleans (in whose jurisdiction the Tour) with a lawsuit, which requested clarification on the legality of the civil suit and Andrew Nakova Association Alexandra Exter, which entailed the arrest of the exhibition.
The court ruled: "Challenges to the legality of the civil plaintiffs claim was for good reason ... If, according to the testament of Alexandra Exter, Simone Lissi was in the estate property of her works, this does not mean that he was willed moral rights relating to her creativity. Lissy Simon never had a right to intellectual property of Alexandra Exter, and therefore could not pass moral rights to Andrei Nakov. From this it follows that Andrei Nakov can not declare himself pravonaslednikom Alexandra Exter and arbiter of contentious issues - his opinions have equal rights with the views of other experts.
Spring Jean Shovlen declined to comment on the situation around the exhibition in the Tour. But now he agreed to answer questions of the Paris correspondent of "Power" Surii Sadekova.
Jean Shovlen: all that is on the market, the real
Jean Shovlen was born in 1934. Specialist in Russian avant-garde art and the 1920's. Without special education in art history, with the Russian avant-garde, he met with his first professional dancer. In 1950-1960-ies Shovlen was entree into society of Russian ballet dancers, and then made friends with the secretary of Sergei Diaghilev, Boris Kochno, who introduced him into the circle of Russian artists. In 1968, Jean Shovlen opened his own gallery, which presented the work Annenkov, Boris Grigoriev, paintings of Malevich's work Baranova-Rossini. In 1972, the Gallery held a retrospective of Jean Shovlena works by Alexandra Exter. The author of the catalog was Andrei Nakov. In the early 1980's Shovlen closed the gallery and began to deal only with the independent examination, but so far has the accreditation to the French customs office or the Court of Cassation, which is in France, confirming the high competence of an expert. In 2003, together with Nadia Filatova, John Boult and Dmitry Gorbachev issued a monograph on Alexandra Exter.
What you take, when works by Alexandra Exter, presented at the exhibition organized by you in Tours, was arrested?
I was born in the countryside, my father was an ardent Communist. During the war we were in occupied France, and he taught me: "If you arrest the Germans, never once do not tell the truth." You say you the truth or not, they are still beaten you. " Therefore, when the exhibition closed, and the picture Exter was arrested, I followed the advice of his father's long. I said that all of them bought 40 years ago in the USSR. But you know that nothing of the Soviet Union was impossible to remove. I began to collect Russian art of the first, when nobody was interested in them. In the 60-ies of the Russian artists were sold without a directory for pennies. Then I started to buy them.
You provided evidence of these purchases the police?
Well, what are you talking about! You do not keep checks on their dresses?
Some say that you, together with Andrei Nakov acquired the rights to works by Alexandra Exter for her heir Simon Lissima.
No, neither Nakova, no I have no inheritance rights to Exter. Any legal documents nor I, nor Nakov not possess. Nakov general in this story at anything. Just when in 1972 I was preparing an exhibition of Exter his gallery, Nakov, whom I had previously met and knew as a student of Titian's works all the time had come to me and complained of poverty. I gave him odd jobs - asked to write a preface to the catalog Exter. A Lissima I met in 1970, his address gave me Guido Colucci, an old friend of Alexandra Exter. Lissy gave to the exhibition several works Exter, but as I neither asked for documents to show it to the archive, I have received nothing. Neither I nor any Nakova archive no.
And where is he?
I do not know. Executor after the death of Mr. Exter was Inno Ezratti. He had to pass Lissimu all works and archive Exter. But as far as I know, to Lissimu got smaller part of the work of the artist and almost nothing from the archive. Where is the archive, I just do not know. I Lissima I got no more than two dozen works Exter. Rest for many years, I was looking at different collectors, bought at auctions. I know, began to treat me as an expert. For example, in 2000 I was contacted by one auction house, I prepared to sell the entire collection of 50 works by Exter. I spoke as an expert and he bought some lots in this sale.
How often do you meet the false work of Alexandra Exter, and general Russian avant-garde?
Many talk of fake works of Russian avant-garde. And I would argue that virtually all products in the market are authentic. In one of his recent visits to the USSR in the late 80's I was able to visit the repository of the Russian Museum. For one day they showed me the hundreds of works by artists that I am fond of life. These things have spent their lives in storage, in ideal conditions. Never seen the light, not exhibited. Colors in these works - as new, it was even impossible to believe that they wrote decades ago. And you say - fake. All that is on the market, true. They say that a lot of fakes of Natalia Goncharova. Do not be fooled. I was friends with Tomilin. Even helped her in recent years. So she had thousands and thousands of works Goncharova. They were scattered everywhere. She offered to take me all that I want, I'm shy, but now regret it. After all, when all were taken out of the shop on the street Visconti, it paid off with the carriers - and a few boxes left in the company's carrier. Her paintings dismantled drivers - would be better to get me. And now someone says: a lot of fakes. I do not know who benefits from talking about fakes. Nakov just wrote a denunciation. During the war in our village, too, was an informer, so he was hanged in 1944. That's how they treat the informers.
And why was Nakov write a denunciation?
Why? He asked for their expertise mad money, and no longer needs his services. Well, unless you can take the examination for € 10-20 thousand? I have a very modest request, so I always turn to. For example, I was asked to make a collection from the examination of Russia. There were 200 works by Exter, all original, excellent quality. I asked myself as a reward some modest pictures. Of course, Nakov me envious.
This is a problem for the attribution
"Vlast» № 50 (853) on 21.12.2009
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At the request of "authorities" history with an exhibition of works by Alexandra Exter in Tours commented head of the department of art of the twentieth century Russia Research Institute of Theory and History of Fine Arts, the chief researcher at the State Institute of Art, the author of two books and over 70 articles on the works of Exter George Kovalenko.
Andrei Nakov appears as the owner of the archive Alexandra Exter. Something is known about this archive?
I am 30 years of creative work of Alexandra Exter, and therefore closely monitor all related publications. Andrei Nakova was a series of interviews in the Russian press, where he constantly repeated that keeps the archive Exter. But for all these years, for 30 years, this archive is not published a word. The man, who claims to accuracy and knowledge of the facts, only one small book about Alexandra Exter - in essence, a catalog of the very first exhibition in the gallery of Jean Shovlena in 1972. At the end of her curriculum vitae Exter - and a lot of mistakes, starting literally from the first line. List of works, which Exter passed them Lissimu, no one saw. It is strange that Nakov, repeating about it, its not published.
Is the origin of the work from the collection of Simon Lissima confirmation of its authenticity?
It is not clear that this heritage was. I have not seen any of his list. I can only say that Simon himself Lissy sincere attitude to Alexandra Exter, cared for her during the war. But he is not very well versed in her work, many do not know.
This work of art Lissima, which sold at Christie `s the name of Exter. But it is known and published the work of Esther Shimerovoy 1931, donated it to Alexandra Exter. When I showed the auction catalog Esther Shimerovoy, she said: "I am honored that I was accepted for Asya.
Second example - the work of Amelia Pelaez, Cuban student of Alexandra Exter. Sold as the work of Exter. This is not fake - this is an incorrect attribution. This work is now in Moscow. She has a certificate and a certificate Lissima Nakova that it Exter.
In Exter was a lot of students in Kiev, Moscow and Paris. All stated that she was severely affecting the artist. All perceived her ideas, and many of her students was eksterovsky period. Therefore, there are things that are difficult to distinguish. This is a problem for attribution.
Последний раз редактировалось Allena; 21.12.2009 в 13:09.
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Эти 15 пользователя(ей) сказали Спасибо Allena за это полезное сообщение:
Yes, both experts are good, but more Shovlen like: - "Many people are talking about forged works of Russian avant-garde. And I would argue that virtually all products in the market of the original."
- "All that is on the market, true. They say that a lot of fakes of Natalia Goncharova. Do not be fooled."
at all easy! once offered beautifully preserved paintings, unsigned Goncharova, but with his expertise, I see one of those boxes, which drivers dismantled
and so modest about himself: "Well, unless you can take the examination for € 10-20 thousand?" I'm very modest requests, so always refer to me. For example, I was asked to make a collection of expertise from Russia. There were 200 works by Exter, all original, excellent quality. I asked myself as a reward some modest pictures . "(probably the most modest )
Senior Researcher, National Institute of Art George Kovalenko: "Andrei Nakova a series of interviews in the Russian press, where he constantly repeated that keeps the archive of Exter. But for all these years, for 30 years, this archive is not published a word." Here I am on the same thought, strangely.
Thank you, Allena, interesting articles.
Эти 2 пользователя(ей) сказали Спасибо Tana за это полезное сообщение:
27.03.2009, 19:30
once offered beautifully preserved paintings, unsigned Goncharova, but with his expertise, I see one of those boxes, which drivers dismantled 
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