"When I was an art dealer"

[K-Maler]

Сообщение от LCR

of time was created a certain image Vollara, and art historians cherish his "clean", without checking, but as far as it corresponds to the truth.

Thank you. Delightful!
 
In ed. Aurora St. Petersburg, in 1991, was released reprint reproduction of the book in 1934: Ambroise Vollar Cezanne, превод E. Malkin, Poetry in lane. M. Kuzmin and Vs.Rozhdestvenskogo, foreword by I. Ginzburg. Also not weak ...

[Pavel]

LSR has decided to debunk Vollara ?

[LCR]

For half a century, I talked with the artists. Some were very popular during his lifetime, but were forgotten almost the day of his death. There were others - critics berated them, the buyers of their disdain, but after the death of his fame came. Finally, there were long-forgotten artists who are suddenly "discovered" - in their fashion whims. Monitor this swing of the pendulum of justice (do not forget that justice blindfolded!) Very funny, especially after some time. It should be encouraging Marchand to a certain modesty in their judgments.
As for me, I never took artists with whom I communicate, nor for the buffoons, nor for the demigods, because they were talented, even brilliant. It was not in my nature. I always believed that artists - the same people like you and me, and they should thank me for this attitude.

I will not list all the artists that I knew. Limited to those whom I knew closely, even if the relations between us were not always idyllic. For example, I will not tell any of Raoul Dufy, Fernand Leger, nor of, nor Dunoyer de Segonzake. I want to tell about Rouault, Van Dongen, Marie Laurens, Maillol, Derain, Matisse and Picasso.

Rouault, forever tormented by doubts

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Vollar noticed a constant visitor of their first show, it was a young man of small stature, who attentively examined exhibited canvases, and then turned around and left without saying a word.
But slowly this young man and began to share Vollar replicas, and then they met. Silent boy's name was Georges Rouault.
He roilsya in 1871, during the Commune, in Belleville ( The peripheral area of Paris ). In a neighboring house exploded shell, and his mother went to hide in the basement, where he was born - so that we can say that he came into life as a cannon-shot!

His father was a cabinetmaker and worked for the Pleyel ( manufacturer of piano ), mother painted porcelain, and my aunt decorated fans - the good fairies, patroness of arts and crafts bent over his cradle. Rouault never tried to downplay the importance of this influence.
In fourteen years, after leaving school, he went to apprentice to a molder of glass. For ten sous a week, he took care of the furnace. Soon he learned the technique, and he entrusted the restoration of stained glass windows in churches. Presumably, this environment has strengthened his piety, which determines and his creativity and his very life.
In 1891 he entered the Academy of Fine Arts, the studio of Gustave Moreau, who said of him: "It's obvious that he is - my student - he creates jewels" - thus the maestro made a compliment to himself. At this time the young Rouault with a rare creative force and energy of the scene depicted in the brothels, they were painted in bright colors, whores on his canvases were like puppets.


In 1903 he participated in the base of the Autumn Salon, finally, in 1910 in the gallery Drouet was organized his first personal exhibition. He was about forty years, and he was always a loner, did not care about fame. Over the years he became more talkative.
"He replied in monosyllables - Yes or not - spoke Gustave Moreau - but investing in these Yes and not so much passion, that if he would write, as said, it will go far ... "
Rouault has always treated his teacher with great reverence. After his death, Rouault became the curator of the museum Gustave Moreau.

However, it was not always so succinct. It is said that one day he came to Degas, who at that time was already virtually blind. When it was dinner time, Rouault was about to leave. Degas took him to the door, and there they began to talk about painting with such passion that ... they said goodbye to five o'clock in the evening! ..
In 1910, in Rouault was a mystical revelation, in which he stopped writing whores and began to portray Christ. Unfortunately, this revelation pobudile it also destroyed a significant number of his early works.
In 1917 he became Vollar official Marchand. He gave orders for the Rouault painted ceramics - plates, dishes - and the illustration of books.
So, Rouault did illustrations for King Yubyu Jarry in 1918 In 1932, he illustrated the text of the Vollara Reincarnation dad Yubyu. In 1938 he released the flying circus star with his text and illustrations, then he Pogotova engraving by Flowers of Evil, where the project was soon abandoned, and finally to Circus Andre Suarez but this latest project remained unpublished. Usually Rouault did gouaches, which are then reproduced on the stencil. Personally, I much appreciate his painting higher than its graphics ...

Since 1937, he stopped to sign and date their work, perhaps out of humility and desire to return to the traditions of medieval craftsmen companion. And perhaps because he was not fully satisfied with the results of their work.
Vollar introduced me to him around 1925
It was a stocky man with a very lively character, despite its reputation as unsociable, he was very courteous and willing to participate in conversations. He and his wife (who was the daughter of the artist Le Sidane) and her daughter were measured and quiet life in a small apartment on the square of Adolf Sheriu. Sometimes Rouault did not want to go into the studio, which Vollar equipped for him on the street Martinyak, while he worked at home.
Rouault was never satisfied with his painting, so he wrote down his work, puts all the new layers of paint. The thickness of the paint layer at its kartinazh was incredible! His palette consisted mostly of dark tones, and his friend Leon Bloy said in this connection: "Poor is repelled by Rembrandt and rushes into the darkness ...."
In any case, "poor thing" worked like a monk, surrounded by the love of his daughter Isabel, who cared about him as a faithful housekeeper. She always reminded me of a nun. After his father's death, she devoted herself to his heritage and was definitely the biggest expert on painting Rouault.
Relations between Rouault and Vollarom were pretty special.
Frankly, any psychiatrist would have been happy to watch them!
Rouault, whose life was established, as a metronome, taciturn and wildly, in fact, had a restless spirit, constantly tormented by doubts. Vollar his phlegm, laconic, with his carelessness in dealing with people who could not hurt Rouault, who always seemed that Vollar behaves with him as an unfeeling and selfish people. Besides the power and might Marchand, dispose of the results of the artist's further complicate their relationship.
Rouault wanted Vollar valued him not only as an artist, but as a person. He was looking for some human warmth, the sincerity of relationships - but he sought them from a person who just avoided that heat, or at least leave an impression. At the same time, Rouault understood that Vollar - uncommon person, and treated him with respect and even admiration, but the frustration it (used the buzzword) will only aggravated!
All this led to the fact that Rouault was considered Vollara his executioner, but the executioner, who was his neohodim ...
Despite the fact that they had seen very often, before each meeting Vollaru Rouault wrote endless letters. Sometimes, they numbered twenty pages, covered with tiny handwriting! Written the letter, Rouault finishing it on the fields, and sometimes even on the envelope ...
What he wrote in his letters? And their technical problems and human. Here are some examples:

«You are on the take it into account nor my sick eyes, nor my nervous exhaustion, you give nothing for my purposes, and use methods that just are contraindicated in communicating with me. I do not capricious, but I would like to see me treated with respect /... /. You will never understand and never will understand what the work ... engraving, paint, artist's model, studio ... I have you in no way blaming you, but I can not meekly let kill himself. Again, you would long ago have received a lot of pictures, if you set the conditions do not crush me ... ».

«... I have no reason to throw the book, and if I do not do them, so this is purely your fault. You want to get everything at once, I just die with vexation! And when I try to find a way to arrange and organize everything, you destroy everything. Since you are so foolish - just incredibly foolish - this letter budlet last, which you get from me. The whole story runs and runs, and it seems that you and this is what you want, you want me to despair, and threw everything but and here you are wrong. Well would you say to me frankly, because I can offer you a solution ... ».

Rouault kept asking for "frank explanations, suggesting that Vollar for its part did not make a special effort to improve their relationship, and this further annoyed the artist!

«I assure you, you should treat me with great respect, someday you verify this. I know you well enough to understand that in fact you are much more saddened by what you show it. Goodbye, my dear sir, and try to read my previous letter between the lines, not focusing on it a few unrestrained form ... ».

Sometimes Rouault repented and apologized, but continued to defend:

"... Sorry for rambling, insolent and rude of my comments and believe in the sincerity of my friendship and my gratitude. But you can derive from even a saint yourself this is not suspecting it ....

After the death of Vollara, when I was engaged in section canvases, Rouault appealed to me.
He was concerned about the fate of his works belonging Vollaru. And indeed, they Vollarom signed a contract in which it was stipulated that "Mr. Vollar is the owner of the above canvases, and listed 870 works.
Consequently, these works belonged to the heirs Vollara who could dispose of them at their own discretion - to sell, store in a safe, never let them set, and even destroy, if such was their desire! They were completely inaccessible to their creator!

- You know, - said to me, Rouault, - canvas, owned Vollaru not finished. I would like to finish them. And besides, some of them fail, and I refuse to accept their authorship! Therefore, I would like to look at all the work and decide which ones are really my works and may be sold and return to the world, and which should not appear ...
- I very well understand your position, but you signed the contract, and all of these works now belong to the heirs Vollara. Only they can decide what to do with these pictures ...
- Do not be! - Stubborn Rouault, - no one can solve, instead of the artist, whether a certain picture to be shown the audience or not!
And he began to plead with the heirs.
The court decision was rendered in his favor, as it was agreed that the artist has the right to decide the fate of their works.
After the process Rouault came to me.
- Let's look at the work stored on the street Martinyak - he suggested.
So we did.

Rouault picked up every canvas, looked at him.
- This canvas should be thrown in hell it! - He declared.
We threw rejected work in the corner.
- And that - in paradise!
Recognized the work took its place among the paintings that remained in the possession of the heirs.
- Here is - in purgatory!
Purgatory was in the studio, which I have arranged it in my gallery on Avenue Matignon.
There Rouault finishing work, avoid the death penalty, after which they were returned to the heirs Vollara, where they united with the paintings, the inhabitant of Paradise.
With regard to the damned pictures sent to hell, they were burned in the presence of the bailiff 5 th November 1948 Such canvases were 315 ...
This Auto de fe completely satisfied Rouault, but at the same time, it is forever deprived of all interested in the creativity of the artist and art in general elements of the study and comparison ...

Followed by other trials, in which it was established following the artist's right to their works. Now each time selling the work of Rouault's a small part of its price is the family of the artist (at least in countries that use it right).
/... /
Fortunately, my relationship with Rouault were not as loud as their relationship with Vollarom.
I have arranged his studio at Avenue Matignon. When he moved to the Champs-Elysees, he often came to me.
Once, when he saw my portraits painted by other artists, he also wanted to write with my portrait, immediately threw it on a piece of paper, thanked me and said goodbye.
Two weeks later he brought me my portrait, painted in gouache. On the back he wrote a dedication in the form of the sonnet:
"Colorful portrait Martin Fabiani, made from memory, Paris, 1942
In our time, some politicians promise people more butter than bread.
The humble artist with unparalleled Rembrendtom, no promises - it does not even promise that the portrait will look like, how it can make any stray photographer ... »( as you see, I translated this sonnet, prose, deciding that poetic translation available me as a good likeness - Rouault ).

Sonet it was not so fortunate, as his paintings. But I was pleased that such attention.
I frame the portrait of him in such a way that we could see both sides karttona.

In Conversation with Georges Rouault most simple things become difficult ...

[K-Maler]

Сообщение от LCR

There Rouault finishing work, avoid the death penalty, after which they were returned to the heirs Vollara, where they united with the paintings, the inhabitant of Paradise.
With regard to the damned pictures sent to hell, they were burned in
the presence of the bailiff 5 th November 1948 There were 315 canvases ...
This Auto de fe completely satisfied Rouault, but at the same time, it is forever deprived of all interested in the creativity of the artist and art in general elements of the study and comparison of ...

Many thanks for the translation of this important observation, because I read the interpretation of this act in the sense that if a large number of works prices of artist and fall, they say, so Rouault agreed to destroy some of their paintings. (quote this, I think, somewhere on the forum privela.Iz "Kidnapping of Europe" by A. Medvedev). Thus, there is a competent explanation of the act.

Posted 10 minutes

Сообщение от Pavel

LSR has decided to debunk Vollara?

Paul, this is impossible! In the book, which I quoted above, Vollar colorfully describes the audience's reaction to the work of "new hudozhnikoa light painting. Interesting. Nobody was willing to advance a radically new era, new morality ... Ordinary citizens were in disarray, it was not even a conviction, the reaction was so guileless that she and misunderstanding do not call ... There was some sharp change of life, in which the artist as a very sensitive people just fit ...

[LCR]

Сообщение от K-Maler

Thank you very much for the translation of this important observation, because I read the interpretation of this act in the sense that if a large number of works prices of artist and fall, they say, so Rouault agreed to destroy some of their paintings. (quote this, I think, somewhere on the forum privela.Iz "Kidnapping of Europe" by A. Medvedev). Thus, there is a competent explanation of the act.

I remember, here in some sort of story touched the topic and lead you quoted version. I then brought an article from which it followed that the paintings were destroyed and not because of podntiya prices. In general, this story is very well known.

As for Pavlik, you have to know that for him nothing is impossible. It must either accept this as he is, or deal with them as Marat Gelman (strongly, it becomes all the more likable to me) went to his LJ with irreverent stranger, as described in the next Posav branch.
Personally, I recommend the second option

[Pavel]

Сообщение от K-Maler

Many thanks for the translation of this important observation, because I read the interpretation of this act in the sense that if a large number of works prices of artist and fall, they say, so Rouault agreed to destroy some of their paintings. (quote this, I think, somewhere on the forum privela.Iz "Kidnapping of Europe" by A. Medvedev). Thus, there is a competent explanation of the act.

Posted 10 minutes


Paul, this is impossible! In the book, which I quoted above, Vollar colorfully describes the audience's reaction to the work of "new hudozhnikoa light painting. Interesting. Nobody was willing to advance a radically new era, new morality ... Ordinary citizens were in disarray, it was not even a conviction, the reaction was so guileless that she and misunderstanding do not call ... There was some sharp change of life, in which the artist as a very sensitive people once fit ...

I once read that, not all of course, but there was not so simple (France), and very interesting. Matisse said that during this period France has artists ready to achieve more. It seems to me that this was the result of a fairly long period of development and discovery.

[Seriy]

I met an interesting collection of clowns in the work-Rouault Rouault + photo.
http://www.liveinternet.ru/users/2010239/post65629429/

[ABC]

LCR, If only we could all read the whole book) of my French for a full reading is not enough .. and you do not want to publish it?) podischem publishing house, it buys the rights, will assign you translate, the book will be in demand at 100%, as recently reissued Vollara .. and buy ..

p.s. y Vollara 3 books. Memoirs art dealer. Cezanne. and Renoir. everything is in Russian.

[Pavel]

Сообщение от Seriy

meet interesting collection of clowns in the works-Rouault Rouault + photo.
http://www.liveinternet.ru/users/2010239/post65629429/

How tightly written, and it seems bright. This is because the paintings are constructed. This applies to all the pictures Rouault

[LCR]

Сообщение от ABC

LCR, If only we could all read the whole book) of my French for a full reading is not enough .. and you do not want to publish it?) podischem publishing house, it buys the rights, will assign you translate, the book will be in demand at 100%, as recently reissued Vollara .. and buy ..

Yes I am, actually, so I translate the whole book (but do not say this out loud to yourself know why ), only sometimes when I get tired of translating, throw some uninteresting or clearly out of date small paragraph.
That search for publishing I did not ready - not long ago I live in Moscow, the situation with printed works do not know. With the same rights to communicate itself will not - can not.
So go ahead, if not laziness

P.S. At the forum there are at least two people associated with the publishing house, and possibly more. Let's see, maybe they will respond?