Conversations with Ernst Beyeler

[LCR]

9 Again Thompson.
Following Klee and collection - Giacometti


Christophe Maury: Deals with Thompson were not over. After selling lots of one hundred and Klee collection in the 340 paintings he called you ...

Ernst Beyeler: Two years later, Thompson decided to sell all of its Giacometti. He had the biggest collection of the sculptor, it consisted of ninety works. He had talks with people from the film industry, Los Angeles - Actor, prolyusserami - but they in no way finished. Then he called me. I am again - for the third time - was the second, it was a comfortable position, because I knew that he was disappointed and in a hurry. This collection was impossible to miss. I spoke with two Zurich collectors, brothers Hans and Walter Behlerami, who believed that in Switzerland shamefully little works of this great artist. They found a partner, which included their friends, the municipality of Zurich canton and the Confederation, and have confirmed directly to Thompson, that buying this collection: Shvaytsariya, who could not make Giacometti at the beginning of its activity, was determined to catch up. But the president of the museum and one of the largest banks in Zurich did not like Giacometti and talked Behtlerov buy it. Behtlery refused, and this meant that the operation is not feasible. Despite the fact that I was heavily in debt, I made him an offer for the same amount minus the fee. He agreed.

Читать дальше... 

You already know it inside out, so that the operation probably was painless? Your relationship with Thompson already smell cooperation, right?

It is not without difficulties, can not do ever ... When the sculptures, paintings and drawings arrived in Basel, I discovered that the lack of three works of the most significant. For me it was like a blow to the groin - in fact I was acting on instructions from his lawyer and paid as much to me demanded. My lawyer suggested I file it in court Pittsberge, but plead with him in his hometown, knowing that Judge O'Brien - one of his closest friend? In the end I will refund 35,000 dollars and got all three missing work - it was the only and certainly at least the quickest way out.

as it relates to the artists?

He loved to win, all the time to invent new games. Once we met in Paris, we dined with the Alberto and Annette Giacometti. Thompson booked a table at a fancy restaurant near the Champs Elysees. Talking was not easy: Thompson spoke neither French nor Italian, and Alberto did not know English. But once we got out of the situation, I turned straight to Giacometti. Suddenly, Thompson interrupted our conversation and asked me what kind of wine I drink.
- Same as Giacometti.
- No, this wine is only for the artist!
- Then I'll drink more, I do not care ...

Alberto, who more or less understood what was going on, said he will drink the same wine that I am. Thus, to satisfy everybody, I poured two glasses. Dinner lasted. By the end of dinner we drank a lot, and Alberto put his head in his hands, his eyelids stuck together, it was evident that he is struggling to stay awake.
- Are you tired? - Asked Thompson. Why are you so tired?
- I worked hard.
- If you're too much work, I'll help you. I'll give you money, so you could relax.

Thompson took out a checkbook and began to write a check. Dzhakonetti immediately woke up:
- Stop! Wait! Under what conditions?
- When you're too much work, you get tired. I offer you two hundred fifty thousand dollars, that you only worked for Beyeler and for me. OK?
- It is impossible, I have a contract with Pierre Matisse and Megom ...
Giacometti leaned over to me and asked to transfer 250 thousand dollars in Swiss francs. I paused and replied that it would be more than a million.
- It is not enough - he whispered to me Giacometti.
- Judging by how you live, you have enough of that in abundance.
- What should I do with that money?
- Well, for example, round trip ...
- No, I do not care ...

Thompson picked up my check, m more than we in this topic did not return. When we parted, I decided to go to the Lippe drink beer. Annette went to bed, and Alberto went with me. Thompson's proposal it very intrigued, because the amount was still very large. We continued to talk about this proposal, when the pub went Tristan Tzara. Giacometti waved to him, and then told what had happened. Are you sick? The conversation was finished, the more we talked about it ever.

And why Thompson did it offer?

I said, he liked to win, he was a player. He told me a few days. He knew that he did not agree, he did it to rouse the dozing Giacometti. However, it is well calculated risk, and if Alberto took the check, then Thompson would have stayed in the win: Giacometti stop working - Thompson's collection will be valued many times more expensive, do not stop - we have to Thompson will become its exclusive customers. Thompson felt incredibly quickly and correctly assessed the situation.

When you buy these works by Giacometti, must have been pleased that his work back to Switzerland?

I exhibited in the gallery all acquired works by Alberto and said that he intends to sell them only in Switzerland. Charming - a flirty response. But we managed to implement my idea. After two years of intense negotiations start Behtlery Zurich and their friends saved collection. Fund was established with the participation of Hans Grether. Now three-quarters of the collection are in the Kunsthaus Zurich, a little less than a quarter of Kunstmuzeume Basel, and several works in the museum Winterthur. Three years later, in «Neue Zürcher Zeitung» noted that New York's public auction sale of a single large sculptures by Giacometti brought as much as the cost Zurich museum of the whole collection.

This is the last chapter was translated by me, at least not yet. I do not know, maybe I'll translate further, has not yet decided.

[Yurko]

Dear LCR ! If you'll continue to translate it, it will only bring pleasure to read ... if you refuse, it seems this hard work tire you out. - ~ 1 ~ ->!

[Маруся]

[QUOTE=\\

[fross]

Giacometti leaned over to me and asked to transfer 250 thousand dollars in Swiss francs. I paused and replied that it would be more than a million.

Now would be a little more than 253 thousand Swiss francs.

«But it's very big money, who can say today that after fifty years of my sculptures will be worth fifty thousand francs?»

Simply made a mistake - more than 2,000 times, rather than 50 thousand dollars a record 104 million.

[LCR]

The total Hi! Here is the translation the following chapters.

9 The search for truth - Giacometti

«Giacometti works not for his contemporaries and future generations, and he makes statues, admire the dead. /... /He said there are already about this? Every picture, every picture of Giacometti offers us, sends us the most druzhklyubnuyu, very welcoming thought. »

Jean Genet, Workshop of Alberto Giacometti


When you purchase these works by Giacometti, must have been pleased that his work had returned to Switzerland. Thanks to Thompson you were able to get the most important collection of Giacometti. Do you understand its value?

I was already familiar with Alberto and he knew what he was doing before he met with Thompson. I sold a few papers, particularly the Americans, who were very young to appreciate his work.

Читать дальше... 

What kind of man he was?

Immediately felt that this extraordinary man, a cross between a monk with the Highlanders. He had a sonorous voice and a strong Italian accent: Valley Borgonovo, where he was born, is located near the border, is one of the most remote provinces in the south of Switzerland. He retained the Italian warmth and liveliness. In Paris he had a very poor shop, gray and dark. All his eizn concentrated in his work, only work. His work is little understood: just remembered elongated shape, which seemed monotonous. He exhibited little, so a complete picture of this exceptional and brilliant wizard people can make themselves only after many years. Only then will the opportunity to penetrate his work. Grey canvas contributed to his fame. But very quickly his life has become a legend of the unsatisfied, the artist, which destroys their works. He kept returning to his work, rearranging them, was never satisfied with his work. It really destroyed a lot of work.

Was his desire for suicide?

Yes, and sometimes he talked about it. He destroyed his work is not of depression, this was just his way of working, he sought the truth, knowing that he finds it never. But he was not moody, at our meetings, he showed warmth and involvement in life that made him extremely likable. However, all focused on the work that he wanted to create, he did not pay any attention to their health or living conditions, or for comfort.

And what was Annette, his wife?

She was very in love with Alberto. It was quite similar to each other. They met in Geneva at a meeting of artists and writers. Giacometti was then completely unknown, but he is chained to his total attention to his speeches, his charisma. She immediately fell under his influence, and was confident that he will be famous. But she knew that it expects: a life with a man, fully concentrated on his work, the absolute egoist. She had to be very patient, tireless hours to pose Alberto. Then they drifted mapping each other, he had his own life, and it, too - about his understanding.

You know them well. What was Giacometti Altberto home in intimacy?

No, I met with them not so often. I did not want to take away his precious time. He is often surrounded by friends. During the war he moved from Paris to Geneva. In 1945, he was going to return to Paris, in his studio on the street-Hippolyte Mendron. It all poproshalsya, in particular, with Skiri, who asked him how he intends to move all of his sculptures. Alberto pulled out a box of matches, within which were three or four sculptures. He has reduced his work to mininmuma, never to part with them. Actually, it was strange desire to become a national artist, he went his own way in the world, starting from scratch. Intimate life Giacometti - it was this constant concentration on his work.

You, the Swiss Marchand, must have been a special relationship with him?

He was not tied to the Swiss: he was born in Switzerland, but lived in Paris. He sold his work in the United States and said in Italian ... It was a citizen of Switzerland, but has always refused to be a Swiss artist. However, he often returned to their homeland, in Stump, where his mother lived. His family had close contact with many Swiss artists, friends of his father, Alberto, Giovanni, who was also an artist. Alberto very early distanced himself from it. Even his early work is marked by his personal accent, very intense. He chose his own way, but sozraniv great respect for the work of his father. In 1922 he came to Paris, where he enrolled in the sculpture studio of Antoine Bourdelle at the Academy "Grand Shomer." Ten years later, he first showed his work at the Pier Kohl, in Paris. His brother Diego, and helped him. He got up early in the morning and watched that Alberto made a night. Then one made plaster casts of what he felt good, so he saved a lot of sculptures that Alberto would rather destroyed, waking up around noon.
He was impressed by syurrealischzma and joined the movement in 1927 after an acquaintance with Miro, Arp, Ernst, of course, Picasso, and, of course, Breton.

Again, Picasso ...

You see, the acquaintance with Picasso was a very dangerous thing! It was a huge force that distract you from your goals. Some resisted - as, for example, Fernand Leger. Others froze - as Derain, who spent more time on women, luxury cars and gourmet dinners than to development of its absolute talent. But listening to Picasso, Alberto Giacometti, who was younger than him, exactly twenty years. Despite their diversity, they are tightly communicated over a decade. When Alberto told the truth, Picasso replied: "Truth does not exist, there are a hundred different possibilities." Truth is he was not interested, it seemed boring thing. Similarly, when he became bored with the woman he left her - he delved into the metaphysical questions.

A Giacometti's reaction?

This stubborn mountaineer, frantic sculptor always went his own way. His fantasy, dreams of his youth fused into one, and he was helped by a very, they led him to explore new artistic possibilities - an example to his palace at four o'clock in the morning.

He opened the Americans?

First, they are interested in some French and some Swiss friends. Pierre Coll exhibited his work in 1932, thirteen years later, Pierre Matisse organized his first major retrospective at his gallery in New York. Giacometti was timed to her collection of reflections on his work, in which he formulated his search for the reality of inner truth: to capture the essence of living, knowing that this goal is not feasible ... The search for inner truth of his fascinated, pursued, and he put into it all his strength, all its persistence up to the destruction of their health. He had enough sense to admit the futility of such a path, but something compelled him to continue those efforts. "The distance between the ear and nose, my model is more important than a trip around the world," - he said. The exhibition in New York was a turning point. But you can not say that Americans have a career Giacometti. In 1950, the Kunsthalle Basel, organized a large retrospective exhibition, Maya Sacher, and bought from her sculpture Area (1948-1949) for Kunstmuzeuma. Then, in 1961, Pittsburgh-Caneghem Institute has awarded the Grand Prix Giacometti sculpture ... Hence, living in Paris, he has always divided his time between Switzerland and the United States, depending on the procurement and exhibitions. In the summer he ezzhil rest in his family home in Malodzhii between Stump and St. Moritz.

It seems that family background has helped him find a second wind.

This holiday was it necessary, he kontrestiroval with his Parisian life. They commanded his mother. It was a very kind woman, she lives in Alberto Try playing a very important role. In one of my visits, she asked him: "Why do you always paint gray paint, and why women, who do you lepish, deprived of the female form roundish ...?". He replied with a wink: "At first, my sculptures are all these women circularity, but in the end for some reason they become anemic, and in his paintings, I am pleased with colored inks, but then they have me sereyut." His goal was to express the essence of human existence. Now, sometimes there is an impression that he was always portrayed the same character - especially his brother Diego, and Annette. But that Annette and that Diego - symbols of every woman and every man, character of human existence today. They became actors in the new mythology.

Added after 3 minutes
10 Material: Dubuffet and Tapes

«You have to be careful so as not to destroy the freshness without losing the openness of mind"
Jean Dubuffet, stifling culture

For art dealer to sign an exclusive contract with a major artist - and a prestigious and profitable. But despite your numerous contacts with artists, you have only worked with Dubuffet. How did that happen?

If you're working with artists on an exclusive contract, you do not have time to properly deal with a unique collection, which features works from the Impressionists to artists of our day. I've always tried to remain free and to buy from artists and sculptors only work that I like. I was interested in a very different artists: Cézanne, Van Gogh, Klee, Mondrian, Leger, Picasso, and, of course, modern American and European artists. Hit me and the whole collection ... range is so wide that no gallery in Europe or in Sshedinennyh States could not compete.

Читать дальше... 

How did you meet with Jean Dubuffet?

We were introduced to Jean Plank. They are often seen. Initially Planck was greatly influenced by the artist and would like to buy a dozen of his works in Paris Augustin. I did not agree - I thought it was too much. In the end, Planck persuaded me to get acquainted with Dubuffet, and we met in a cafe in Montparnasse. He was associated with their contracts, and Marchand could not sell anything directly to us, except for lithographs. But he was going to move away from the Pierre Matisse. He was unhappy that he was holding his canvases, instead, to immediately sell them. In fact, he blamed Matisse in the desire to speculate on his work: to gather a significant number of canvases, wait until prices go up, and then sell them. I am treated with respect and Matisse knew that he was not looking for profit at any cost, but he could not sell their stocks. Matisse was a classic Art Marchand, who worked at his usual pace. For their part, I realized that our exhibitions should be provided by contemporary artists. I suggested to Jean-Francois Zhegeru from the Paris gallery Jeanne Byushe Dubuffet to do together.

What attracted you to work Dubuffet?

His early work, and most of all his portraits. Subsequently Systematism "Urlup" I have a few boxes. There was some dryness. Still later he told me that he could not reverse the povrenut that he has neither the strength nor the courage to look for something new. And then you realize the utter genius of Picasso - instead of copying their own work, he simply changed his style, and accomplished this great work!

What was he, Jean Dubuffet?

Interesting. He is very much reflected on the relationship between painting and literature, and studied philosophy. He liked to talk about what he was doing and porobno describe their search, in particular, the search for the material - is looking for him were very important, especially early in his career. He took up painting late, at first he worked in the family business was wine merchants. He traveled a lot. Therefore, he maintained a certain distance in relation to art, but at the same time was obsessed with a passion for it.

It's hard to - to be the exclusive Marchand hudozhnikp? We have to deal with and works that do not really like that you would not have bought?

With the sculpture "Urlup", for example, really, it was difficult. They were successful, but fine - for Marchand, of course, not too bad - what to do with them? I was not prohorliv, to discern in them the answer to my demands quality. I'm hoping that will come to the apotheosis of Dubuffet.

on how much time a contract was signed with Dubuffet?

A few years after the signing of Dubuffet canceled it because I decided to buy in Germany, several of his canvases, which to me seemed more finished, more recent] He did not want me to buy his own canvases and accused me of, as earlier he had accused of Matisse, to speculation on his works.

This story raises the question of the artist to the money.

Artists have always made it appear that are not interested in money, but I can tell you that they are strictly watch over their interests. They tell an anecdote about Chagall, one American, came to him to buy his work. Marc Chagall absently explained to him that does not sell, trade, and that should be his wife. Then the collector was to discuss the price with his wife Chagall, and saw in the mirror, that he shows signs of his wife, what prices should be appointed. There is nothing reprehensible. The issue of money is very worried about all the artists, except for Giacometti, Bacon and Picasso, who was so productive that the issue price seemed to him of secondary importance. After his death at his home were found bundles of bank notes, which have long been withdrawn from obrazheniya and unsigned his bank checks. Picasso did not care for money, because he knew that he hit the coin, as a state. This has contributed to what he felt God ... Dubuffet in the prices of their work was very aware of the value of strog.On his work and was afraid that the benefit from it at the expense of it will draw others.

gave it a contract with Dubuffet you an opportunity to buy masterpieces?

I managed to buy only the work of "Urlup." Unfortunately, I missed the pictures, but they remain on Dubuffet. When we met, all the portraits have already been sold, and then I have not had time to look for them. Take a look at a lost traveler. It provides all the raw material that was in his possession. And besides, this type of stray, the image of modern existence - his version is found in the isolated figures of Bacon and Giacometti. We have three distinct types of post-tsunami images of Picasso. How to draw a person after a Picasso? Dubuffet found a fresh and original solution had to be capable of it!

Can I draw a parallel between the work of Dubuffet and Tapesa material?

Tapes deeply rooted in Spanish soil, in Catalan history. It defined his attitude to the world, to reality. Following MiroTapes brought something new to the art while remaining associated with the Textiles, which he created, all the while realizing the danger of a chain by the material itself and overcome the danger. He was freed in sovemu, as if by stealth, invisible, but it is certain that he can not go back to oil painting - this would lead to a return to the stage already passed in the expression. But no matter! He created and continues to create masterpieces.

You have been with him a personal relationship?

Yes, I go to him, and he sometimes travels to Switzerland. I dream one day to organize a retrospective of works from carefully selected. Believe me, many will be surprised.

What is the best issue of Tapesa?

No need to add material to the material. To preserve the purity of the material picture, it is better to do without frame or take a simple baguette. Tapes lot of experimenting with wood and fabrics - a lot of materials that do not allow heavy frames. Exactly the same problem with the works of Miro. I had to be more vigilant with regard to the materials used to avoid, as far as possible, problems with the storage and restoration work. Artists do not think about these issues, as if at a time hen they were writing now, its continued existence they were not interested. How strange: Dubuffet, now that we have talked about it, using ink that fades with time and eventually will just disappear. He knew it, but continued to use it.

may be a feature characteristic of modernity?

It is so with regard to Cythera, the destruction of the work and time limit of its existence are part of his philosophy. In his canvases he uses lead, or sand, from this, these canvases, especially large-format, becoming very fragile.

you admire part of the creative Dubuffet. Do you regret that it signed an exclusive agreement?

There is, apparently, this work is different from mine. It suggests a different way of thinking and acting. I have cousins ​​who love this type of contract, and who follow the careers and work of an artist. Some interfere with his work, even require, that he changed the details in the picture to suit your taste clientele. It is impossible for me. Work either accept or not.

Added after 6 minutes
11 In the Gallery

How is everyday life gallerist?

Much time is spent on phone calls, the confirmation by fax, by e-mail. Walking on a masterful huozhnikov to collectors, museums, look for documentation, engaged in historical research and compare the works, hosting people, show pictures, draw up work - that's everyday life gallerist. I am most worried about hanging: make the work that form for a while - the exhibition - a single work of art.

Читать дальше... 

listen to you, it is primarily a creative profession. But it seems that it includes a very significant financial and administrative aspects of ...

These aspects are essential. Like all businessmen, working with a wealthy clientele, gallery owners are very difficult to make purchases] Many wealthy collectors blow job, and then engaged in fun activities: make us wait. Inog this situation it is difficult to be solved: we can not afford to quarrel with the client, though, of course, it would be preferable that immediately it is fully paid for his purchase, as we do, the marshal. I realized early that you need to be patient ...

How many people rayuotaet with you?

About a hundred of the Fund, five in the gallery. The fund was established recently, and I'm still not quite manage such a huge machine. In the gallery we all know perfectly well with each other and communicate among themselves without equivocation. I love that cases were made without delay. We do not lose time.

What matters most in your work?

Exhibitions. Previously, we spent much time in search of work. In the gallery was not its current reputation, and I was very exacting quality standards. Requiring all quality increased, so we were constantly under stress. I often envied my colleagues in Paris, which at the time of the day reading the newspaper - with me it happened only once, during the oil crisis in 1973

You are organized around two hundred fifty exhibitions, thirty of which have been themed and sometimes very unusual stories. As you have an idea born of the exhibition?

I was repelled by stating: what can we show? Then ask yourself: how to excite the viewer? Then you lay out the pattern on the floor, look, and the plot can be found by itself. It sometimes happens that an idea comes to mind in the train, for example, or in the mountains - in the mountains all easy, because you are surrounded by air. So, after we picked up bright and fresh work, then we determine the name of the exhibition: "The joy of life." But our greatest success is the «Magic Blue» («The magic blue», 1993-1994), «Who is afread of Red ..?» («Who's Afraid of Red ..?" 1995) and «I love Yellow» ( "I love the yellow ', 1996), the catalogs of these exhibitions snatched from each other. We also organize a retrospective (Cezanne, Matisse, Fauvism, Cubism, Mondrian, Bacon, Burri, Lkzhk, Dubuffet, Chagall, Klee, and several exhibitions of Picasso, of course ...). I especially like to organize a dialogue between two artists, both Laroinov /Goncharov, Miro /Calder, Liechtenstein /Stella, Arp /Miro, etc. It always surprises, and every job proyavnyaet another. Just look at dalog Matisse /Picasso, the most important in the twentieth century, to see what works speak to each other and are mutually enriched.

When the subject is found, you go on the hunt for konnektsionerov, which would be loaned to you to work?

We almost always get what asked for, and in museums is well known that important to me is not prestigious names as quality of work. For their part, I have always lent pervokachestvennye works. This requirement has always led to excellent results. Unfortunately, I see that at the present time, individuals borrow more and more reluctant to work: the cost of insurance, transportation, fear that the work will hurt, fear of the tax authorities - because of all this, they fluctuate. It's such a pity - other significant works from private collections could be a highlight of the exhibition.

And then you do what you love most - exposure. How did you do?

In the gallery we can hang ninety works. Twenty years ago, I have arranged in the basement space for large-format works. With the exception of issues related to the size of the works, we have formed ideas about the exposure, because we know the walls of the gallery, all its corners. However, everything is always solved in the hands of the original. Weighting may take several days. We always start from the historical data, they help visitors understand the evolution. Within a chronological grid formed a mini-themed sites. How to hang pictures so that each of them decorated with the other? Picture of the need to place it needs to breathe. This goes against the current trend of young conservatives who are looking for historical truth sometimes to the detriment of art. They hang mixed masterpieces and minor artists. It is hard to understand something in such expositions: greatness is lost, the meaning escapes. The large number of mediocre works by killing the quality. Unfortunately, this is what we see, for example, the Musée d'Orsay in Paris.

And after hanging - lighting ...

The gallery is located in an old house. Our lighting equipment is not perfect, but it is sufficient to properly illuminate every job. If necessary, give a picture window, the light of day. Extensive experience shows us a very helpful and when we developed the concept of the Museum Foundation, and when we settled in it. This is a large building we are very encouraged.

Do you have any regrets about kakih-nibud exhibitions?

It happened that we could not put the work that we wanted to show. I can not say that we have had a bad show - except that the exhibition of the artist, who faded not overcome the obstacles of time. For example, our exhibition of the Paris school has not fulfilled the promises: Buffet, Mannes, Bazin ... We are sometimes wrong, but from these mistakes, we have learned.

Artists always refer to the exhibits with great attention - you think it's because of the quality of the exhibitions or sales because poslevystavochnyh?

In the sixties, Max Ernst lent me a lot of work, of which I managed to sell only a very small format, so I was ashamed to meet him. His painting was important for me, and I organized a retrospective of his in the gallery. "This is the best retrospective of Iho has ever organized in the gallery," - he said at the opening. His enthusiasm has prompted me to tell him that I was uncomfortable in front of him because of the failure of the sale of his works. "It's perfectly normal - he said - sell the work was hard!". Such a state of mind, and his great talent deserved a special place in the Fund. Now, I am proud that Ernst presented there.

Your gallery is involved in contemporary art. Were you tempted to take a photograph that is so in vogue for the past several decades?

In 1998 we organized an exhibition of Cartier-Bresson, in part to his friendship with Henry. But it was the only exhibition of photographs. Photography - is an independent universe with its network, its audience. This is not my repertoire.

Catalogues greatly contribute to the success of the gallery - you feel it in the beginning ...

It is an instrument of distribution, which leaves a trail to a point. I must say that I dreamed of being a publisher, and I'm very fond of the design and publication of directories. They are printed in an edition of a thousand or two thousand copies. When they reprodutsiirovany works never before exhibited together, they can become important documents. Artists are always very impressed with our catalogs. And it is very important this art prdvizheniya character.

And every year the Basel Fair also gives you the opportunity to exhibit.

I - one of its founders. This fair was created after Cologne. At first she was not very interested, because I do not like any vulgarization of art, nor banal trade. Organizers and co-owner of two galleries have given me to know that if I did not participate in this endeavor, they abandoned the project. But I had to admit that such a demonstration would go only to the benefit of Basel - the city gradually began to be known in the international community of art lovers. Now I do not regret his participation, on the contrary! We had to do something: competition with the auction houses became tougher. Until the auction bought almost exclusively by the marshal and professionals: it was necessary to understand that buying as the auction house did not give such a guarantee of authenticity, as a gallery, but then the auction houses have managed to interest private buyers. Creating a fair in Switzerland allowed to stand apart from the auction houses and attract an international clientele. But where? Basel quickly reacted to this idea and created his fair. And it was an immediate success! Gallerists be thought of at the fair and classic and contemporary works of art. Beyeler Gallery snala at the fair booth in the first year. I soon realized that the fair allows you to expand our activities, because the public prezzhala from all over the world - these were people who attended a prestigious auction in New York, London or Paris. Voltage during the fair very much: we do not have any rights at about, much less room for error. Each year we are putting a selection of works of an artist or a theme - ten large or twenty-five small canvases. It is important not to put one sheet too often, it is devalued, it will be ignored. The fair attracts an incredible number of visitors from all countries. This annual event, attended by all professionals and many amateurs. After thirty three years of existence, in 2002, the Basel fair was first organized with a brilliant success in the United States, in Miami.

Do you have work that you never expose at the fair, because you are afraid that they are worthless?

There is work that needs to sell more private, so they are not lost in the eyes of customers its freshness, so they surprised them. For example, to show at the fair by Van Gogh - a rather delicate matter.


show the work requires, Jatoba you have chosen them to design. What are your tastes?

Many of the works must be pereokantovany. Usually people, including professionals who wish to make the work of significance, okantovyvaya it in a heavy, impressive frame, which is almost always kills the job. The most significant and expensive paintings were placed in a massive gilt frame. From this frame have been hit hard and the Impressionists and modernists such as Picasso and Leger. Generally it is best to frame the work in a simple frame, as zhto often do the artists themselves, but on the other hand, commercial considerations dictate other requirements: you need to give a picture of significance.
We were the first to export from Spain and Italy, the frame of the churches and monasteries. I bought a large number of frames - their carriage took two or three of the truck - and thus created a reserve for many years. These frames also have contributed to our success. They clearly reflect our vision, our style: we firmly rejected, "Marie-Louise" from the tissues, which were then in vogue. We were special. Our frames were later copied, especially in Paris. We used them for decoration of paintings by Picasso. In general framing of pictures - it is their interpretation, which requires freedom. Frames for paintings by old masters should be the same age. But in the field of contemporary art is not the doctrine. An old frame - Spanish or Italian - can emphasize the value of some of Picasso. Thus, the Cubist paintings that are so hard to read what was then the public, benefited from a frame, which brings rigor and even gave some surovost.Oni canvas completeness. They are chained to her eyes. Look at this landscape of Marriage. Black and gold frame maintains the picture. At the sale it will be important. But if these pictures were hung with me, I would have framed simply in a baguette. It is a matter of personal taste. A collector who wants to put a Picasso above the fireplace, probably will choose a prestigious frame to give significance to his property. Let's not judge him, if only the picture was not recessed in the frame.

In the gallery you must pay attention to the issue of security. Have you ever stolen paintings?

We are not obsessed with safety, although we are robbed twice. We stole a little of Cezanne and a Chagall. Cézanne found in Basel. Stolen monotype walked disappeared without a trace.

Like any Marchand, you're trying to find out the origin of art and you know where the pictures that you sold. Is there a pattern, the track that you've lost?

Srezh paintings that I sold, schedevry is located in Iran. Shaheen was in love with modern art, and in 1975 I postetil her minister-secretary. He has bought for her canvases by Picasso, as well as the work of Leger, Pollock, Tapesa, Max Ernst, Giacometti, and "Woman III», written by De Kooning in 1951 - only about fifteen canvases. She wanted to open in Tehran Museum of Contemporary Art, in my opinion, this museum was under the influence of a bad style of the New York Guggenheim. What happened to these works after the revolution? Many significant works are stored in the basement of the museum. In 2003 we tried to organize an exhibition of these works, but Iranian officials insisted that in this exhibition were shown, and works by contemporary Iranian artists, but as part of our project it was totally inappropriate.

[iside]

LCR, Thank you very much for your work and for being engaged in a noble cause of education.

P.
S.
But it is wrong, what do you do it for free, I am ready to pay, surely there are others who will support my idea - it must somehow arrange it.

[Маруся]

Thank you very much!

With such a pleasure to read everything from the beginning!

[K-Maler]

Сообщение от LCR; 1991831"

I'm most worried about hanging : make the work that make for a while - the exhibition - a single work of art.

Thank you so much for the translation . His remark about hanging me fascinated . I have always understood this issue hanging , and I know that most, even the artists who often do not give it much importance. Especially when it is " carpet " ... Also , his remarks on the frames.

[LCR]

13. Job buyer

Have you ever had to deal with fake pictures?

In 1951 I sold to George Schmidt of the Basel Museum of one of Matisse and Cezanne's Bathers. Both paintings are very large. Suddenly, in New York, I see these Bathers at Roschenberga. I asked the price. I answer, that the picture has been assigned to a museum. Okay, so be it. After a while I pass by a London gallery and vazhu the same picture. But it is kind of strange. I do not like. Maybe because I was not involved in this transaction? But no, the picture I really do not like it. I went to the gallery and asked to show it to me. It turned out that this is a copy made by a famous Florentine, Edzhisto Fabbri, an amateur painter, who amused himself by making a very strict style with a copy of his works owned by Cezanne. Only after his death these copies of the originals were taken by Cezanne.

Читать дальше... 

However, the expert, Ventura, announced the job real. So it was not just a fake picture, but the certificate of review ... In the end I managed to buy a New York real Bathers, which I then sold in the Basle Museum.
Marchand, who claims that he never poadalis fake, disingenuous soul. Nevertheless, I must say that I'm very lucky. Yes, I came across a fake, but very rarely. Of the large number of canvases that have passed through the gallery, very few people have been deceived. We always check the documents and background papers, sometimes we give them even more important than the opinion of the artist.
So, once I bought one of the two collector Vlaminck in 1912, in principle, I was only interested in the work of his Fauvist period (1905-1907), when he and Derain dominated by his contemporaries. Relationship with Van Gogh was obviously very stressed. I resold those of two Marchand, who worked together, and they immediately showed their Vlaminck. He looked at it and declared it a fake. One of the paintings depicted gladioli:! 'Flowers, which I hate more than anything else! "- He was indignant, scored on the red paint brush and wrote on the reverse side of each of the" fake ". My clients have taken offense at me. What to do? And then I remembered that prior to 1914 have Vlaminck was an exclusive agreement with Kanvaylerom. And that led to the strictness of the German perfect ochetnost. Both the canvas had been played in it with the inscription: "purchased from Vlaminck." This document is discredited artist. "Nelzyapozorit an old Vlaminck - said Konvayler - but you have to show that they guarantee the authenticity of the report documents the work one hundred percent. Duplicate them and sell. " Nothing else I had not.
The artists themselves may err.
Thus makes it possible for a gouache by Picasso created many problems. Shortly before Christmas, was held in Geneva auction. Jean Plank told me about it, and although I decided not to buy anything until the end of the year, but still went up for auction. There was a lot, consisting of beautiful canvases and gouaches a young Picasso, Woman in a toilet, a beautiful but not very convincing. I knew little about this period and gave up the gouaches. The seller insisted that either took the whole lot or do not take. He guaranteed the authenticity of my gouaches, which he got from a friend of Picasso. We had a deal, but soon became convinced that the gouache was a fake. The poster, which we then applied, and promised that in the very near future will provide us with proof of its authenticity. A year later he brought us a certificate signed by Picasso, so that we can settle down on it and resell gouache. However, I was convinced that it was fake. I brought it to Picasso. His reaction was bezapellatsionna: "This is a fake!". I was surprised: "So why do you have certified its authenticity?"
- So what could I do? The owner came to me with a photograph of a pretty secretary, and ... Well, I signed. " He wanted to immediately destroy this gouache. "Beware, this is the case a lot of money!" - I said.
Then he wrote that he saw the work itself, not the photo, he is able to assert that it is a fake. This document has led to a happy ending: the former owner was forced to withdraw gouache. Well, that Picasso was still alive: despite the fact they signed certificate of authenticity I could not sell the girl for the toilet or keep it.

These counterfeit and fake originals ...

Some artists are sometimes falsified the date of their creation. Mondrian and Léger "old" my pictures, so as not to look like Picasso's followers, who was a pioneer in all. Thus, Mondrian signed his Eucalyptus (1912), "P. M. 1910. " Nina Kandinskaya also showed a watercolor of her husband, marking the beginning of abstract art, signed and dated 1910 Based on the date that water could be considered the first abstract work. In fact, she was signed in 1936, and was written in 1914. Paris Pompidou Center has corrected the dating.

For the fakes are unscrupulous brokers ...

A good conscience is always a winner. More I have nothing to say. Nothing is going to tell you. Each of us in the memory of the history of dishonest people.

When you buy a large lot, you are always assured that the price is advantageous compared to the price of each work?

One day I was approached by a collector from St. Louis in the United States, Mr. Weil. At one time I sold him some work, and now makes it possible for his wife's illness, he wanted to sell a significant part of his collection. I bought it, inter alia, a Chagall and a Marriage, which I could not sell because they paid too much. I got carried away, because work was really good. But the owner left me good memories ... After the death of his wife, he decided to completely sell his collection.
He called me, then, and I promised him to come. I decided to combine this trip with the New York trading. Of course, he turned to other Marchand. Once again he called me and asked me what I can offer him a big Monet, two boys in a boat. I rated it at four million dollars. «I think we've a deal» («I think we'll get together") - he replied. This alarmed me, I suppose, I invited him to too high a price. In New York, I talked about this work with a colleague and rpedlozhil buy it together. When I came to him in St. Louis, Weill met me at the door. I knew that he had other buyers, but he did not sell before my arrival - I caught him by the bait with his insane proposal to Monet.
- We have time - he said - I have just returned from a walk, I want to eat, but other buyers have to come tomorrow. If you prefer, you can choose one or two of work in addition to Monet ...
- I am afraid that I was mistaken when praised Monet's four million.
- Oh no, we agreed!
I went into the house, looked at the pictures hanging on the walls and began to assess. Several times he came up to me and asked why I was doing the recording. "You have to pick and choose" - he kept repeating. I continued to work and told him:
- I buy it!
- No, no, I told you, I promised some of the work. Other buyers have to come.
- We have agreed on a price. Having bought everything, I deliver you from trouble. You're in a hurry to sell? So let's udapim on his hands.
- My lawyer in the next room. Go and talk to him.
The lawyer thought my offer coherent and acceptable. He too was in a hurry and was goloden.Kogda Weil joined us, the lawyer said:
- Beyeler wanted to take everything with you at an agreed price.
- Let's think about it over dinner.
- No, I decide now, - said the lawyer - I have a date.
- Well, well.
So I bought the entire collection, including Monet, at a discount.
We had lunch the three of us. With joy I drank too much. When I returned to New York City, my colleagues called me, they were furious: their plane tickets to St. Louis lost!

You came to Monet, which you overestimated, and left with a whole collection. How do you sell this Mona?

I sold it after a while for the four million dollars. Later he was put up for auction, but appreciated too expensive, and the buyer was not found on him, so he was removed from the auction.

then you have it overrated, but now you can not deny its value.

New York colleague, who claimed that he was not worth the money, in a sense he was right. In his diary, Rene Gimpel rasskazvaet about how he once visited a Monet. He saw this painting on the easel, and wanted to buy it. Monet said: "I need a day to finish it." "No way! - Gimpel said, - I take it! She's so ... fresh! ". And he took the picture, not allowing even the time of Monet to sign it. I did not have to regret buying the entire collection Weill.

What are the criteria for you when choosing a picture, what is her power?

First of all, it should excite me. It should fascinate my mind, my mind, my whole being. I have always trusted his instincts, which in time became more and more accurate - in fact I spent all my time looking at paintings: harmony, play of colors ... I'll leave comment on the possibility of scientists and art historians. I have no preconceived notions. Something happens inside of us. The picture finds its reflection in you, and you can enter into it. For me the fundamental two criteria: originality and freshness. A huge part of the artistic production of "aging badly", it becomes boring. If the product is developed with you, it will remain. Time - the best judge. The freshness goes out of fashion. It is oriented to the future.

you were hunting for "treasures of the commercial" is not the one you helped other people - for example, Jean Plank. How do you have to work?

Planck introduced me to Walter Shyupfer, Basle painter, who lived near Beymlyayngasse. Planck was Swiss, but he lived in Paris, and he had time to look for a picture. In general, Jean-Planck was an inventor, he started painting very - first of his paintings are interested in, and then the artists themselves. Life had been difficult, but it does not matter. We had such a peasant Planck vein, it would not let him break away from reality. Ironically, this self-taught was an unmistakable flair for good work. I offered him a 5%commission for every job he finds for the gallery. It seemed also that he will make a great salesman, as he always had wonderful arguments! But he was so talkative that either tired clients, or they begin to think that he is insincere.
When it approached the buying, he was seized with a kind of naive exaltation, and he became quite unpredictable. But he never oschibalsya in quality. It was a matter of honor for him, because he devoted himself fully in this work. It so happened that we bought too much work Zhyubyuffe. But what do you want? In Jean-Planck was a physical connection with the painting, almost epidermal. It is worthy of admiration and respect. Our collaboration lasted for about twenty years. We became friends, and friendship can not be explained. We talked for hours. He gave me a feeling of confidence which I lacked, he was absolutely committed to our cause. Yes, we have with him is something to remember!

What kind of work he had bought for the gallery?

Impressionist paintings, as well as Dufy and Miro, which he found in Paris, Picasso - in particular, a beautiful cubist painting in 1909, which is now in a museum in Stuttgart. He had a lot of talent to enter into friendly relations. Thus, he became friends with Marie Kuttoli, a collection which was exhibited at the gallery in 1970 and sold out. In this collection were collages of Picasso, Leger, Miro, Braque, Arp. With the consent of the artists she ordered collages of these tapestries of the highest quality. We are, incidentally, exhibited these tapestries and carpets in 1961 and Jean introduced me to Max Pelke, Picasso's agent, and then with Picasso himself, as well as Dubuffet, with whom he was very friendly. Planck understood painting and did not keep his mouth shut, and it cheered artists, and disposed them to him, he had the exact look and in addition to all the phenomenal enthusiasm. However, this enthusiasm is sometimes wound up too far, especially later when he wrote his memoirs. But no matter!

What happened to him?

He was killed in a traffic accident Aug. 27, 1998 He created a fund that now owns the paintings, collected by him during his lifetime. This is a wonderful collection - there is a Picasso, Dubuffet, Oberzhonua, Klee, Leger, Toby, and many others. Jean has been an eye.

And you, have you ever be too expensive due to an excess of enthusiasm?

Yes, of course. In Los Angeles, I kindled a passion for Monet's Cathedral, and paid him two million dollars, which was horrendously expensive at the time. For three years I could not find buyers at him, but in the meantime I have come to the conclusion that such a large cloth is best left in their collection. This decision was not so stupid, because many years later another council was sold for twenty-two million dollars. I managed to buy about thirty late Monet, including the large triptych pool with water lilies, which I also could not sell and decided to leave myself - I knew that would never be able to get a job. One day, Baron Thyssen went to the gallery on the occasion of a wedding trip with his fifth wife. His wife so admired this triptych that he decided to give it to her and asked me about the price. I replied that this work is not for sale. He rpodolzhal insisting: "Name your price!". I refused. Since then I've never seen it - but because from the beginning I warned him that the Monet is not for sale.

Is the right to override an obstacle to the purchase of a professional buyer, how are you?

In France, a pre-emptive right is really too much. Gradually they begin to use in Germany, Spain and the UK. In Italy, it has been around for a long time. It cuts the wings of the market, it undermines the market: a ban on the export of works means for Marchand's inability to export. He can only try to offer something in return or to achieve some other special arrangement. For example, in 1977 I bought in Italy Gardener Van Gogh. The ban on its export was based on a law passed under Mussolini, he was about to be canceled. When buying, I relied on the impending abolition of the law. However, it was delayed. So, I was the owner of the most valuable work that I could not bring himself to or in the gallery. This state of affairs lasted for about ten years. One day, dining with Messer, director of the New York Guggenheim, I talked about this situation and asked him to buy a Gardener for his museum in Venice for half the price - so he will be able to put this van Gogh in New York. Messer, a shy person by nature, hesitated. In the end, we agreed to meet in Venice to see the work. The Italians who are aware of the possible sale of paintings Guggenheim, afraid that she will slip away. Work confiscated by the police. I protested and sued. A total of five trials, four of which I lost. When I expressed surprise at his lone victory in one of the processes, I was told that the judge it was "professional" and not "political." In what court I had to turn to my right to property has been recognized? In the Strasbourg Court: seventeen judges, sixteen of which ruled in my favor. This is an example of protracted litigation arising from the excessive zeal of the state apparatus. I repeat: even if the preferential purchase right to have legal grounds when it is applied too frequently, then it undermines the dynamism of the market and prevents access to the works of art. Therefore, to avoid encroachments by the state, the Italian collectors keep their work in Swiss banks.

Do you think if the situation has changed compared to the beginning of your activity in the auction rooms?

At some auctions, I turned out to be the largest buyer. For contemporary art auctions are an important barometer. It is noticeable that the marketing of auction houses professionalized. Clients around attention, send them to directories ... Now auction houses specializing in art around the globe. Between the individual networks emerged synergy, sellers keep in touch with customers in the most remote corners of the earth. We have to recognize that these networks can be done, what is not in a position to make any Marchand, is that all come together and create Marshal antenna or even branches in major centers - Paris, London, New York, Tokyo, but it seems to me undesirable This ... would significantly increase its annual turnover, but it would lead to a loss of time - after all it would be necessary to control. I've always preferred to be himself and to maintain direct contact with artists, collectors, museums. I do not know how I would have done today if I had to start again. We have always paid attention primarily to preparing exhibitions and catalogs. We have always had a lot of work, but there were a year and a respite, allowing us to just think of the look.

What motivated collectors?

In many senses. Sometimes it is difficult to determine. A passion, speculation, intuition (we've already seen this when I spoke about the buyers of the Winterthur) Collectibles - this way there socially. None of these things should not be criticized. Marchand should determine what is guided by his client.

Have you had any difficult cases?

Rather vague. I remember a charming Englishwoman, Lady Hulton. Nick Hulton, of Russian origin, was the wife of a newspaper publisher. Sir Edward Halton, and lived in London. Her husband loved her very much and always gave her clothes and jewelry. But she was keen on art and refuse from all these gifts, to buy cloth or skklptury. She has assembled a remarkable collection of Picasso, Braque, Giacometti, Modigliani, Brankushi and others, and the fifty works of Klee. She asked me to evaluate the collection for your insurance company. She asked me about what to get rid of and what to leave. I advised her not yet sold anything, but asked her to warn me one of the first, when she decides to sell his collection. She later complained that Marshall did not give it a rest, saying that their endless supply tire and suppress it. Finally, she decided to sell their work. I proposed to her in all fifty Klee, and she accepted it. I was notified that she would come to the gallery at the beginning of January to conclude the contract. I started waiting for!

from the counselor in become a buyer. How to control himself so as not to seem overly intrusive?

The situation was delicate. From my point of view, the deal was done, and I went to rest in the Algerian desert. But despite the beauty of the scenery, I was not quite satisfied, and was afraid that Lady Hulton change his mind. I reproached myself that was not persistent, and at the same time understood that in such a case requires more restraint. Nights spent under the canopy in the desert fascinated me, I want to paint yourself. We went to see the cave paintings Hoggar, captivated me with its freshness. The lunar landscape that surrounded us, was so impressive that I decided to continue our journey south. We had a few provisions. Our guide riding on a donkey went for help, and we were left alone. He then returned and took us to a friend Tuaregs, who received us royally, and gave us tea ceremony. Because of all this I forgot that I needed to return to Basel, and their concerns about Klee.

You're late for a day ... I guess it sold another Klee Marchand?

No, no! Despite the fact that Lady Halton in a hurry to sell, and warned me that it was only one day. We made a deal with fifty Klee. Later, she sold the remnants of his collection of my competitors. I was not able to participate - it was their revenge. Later I met her, she was absolutely charming.

Added after 3 minutes
14. America: William Rubin, New York, Marshall, artists

among museum directors with whom you were closely related, we have already mentioned Georg Schmidt in Basel. Let's talk about William Rubin in New York.

William Rubin became the director of MoMA paintings, succeeding Alfred Barr. He bought me the work of Picasso in 1908, comes from the collection Frua de Angeli, and was hoping to get some more in the gallery of works. But his most urgent predstvlyalas buying sculpture by Picasso! But it was not so simple: attempt to Penrose, Malraux, Alfred Barr virus were unsuccessful. [SPOILER] Kanvayler himself could not get a single sculpture, even for the museum. I doubted that I could do it, despite my good relationship with Picasso. And then I got the idea (others did not think) and I told her about Ruby:
- If you are able to offer a Picasso, Van Gogh's work - this is his most cherished dream - maybe he will agree to give you a sculpture that you need.
- We do not have Van Gogov. But we have a small landscape by Cezanne, which should interest him less.
- I do not know if it will work, but let's try.
After some time I met Picasso, offered him such an exchange, and showed a slide with Cezanne. He carefully examined it. It seemed to me that the work he liked, but he said he can not decide on the slide and wants to see the original. I called Rubin, who came to the picture. He was accompanied by Walter Bareys - Rubin thought that his presence will avoid disagreements with the trustee, who could then appeal this exchange. We came to Picasso, and I was present at his first meeting with Rubin. At first, Picasso looked silently at the picture, then he asked me to help him bring the two works Cézanne, which he owned, Estak Bay and Mount Sainte-Victoire (Picasso's paintings are traded at the Vollard Suite of etchings at the Vollard), and we put them on both sides of small canvas from a lap neighborhood looked like a postcard, and caused a laugh. We remained silent, but each of us, it was clear. Picasso said that, and Georges Braque, and he is always very much appreciated this work: "We have swallowed every square inch of the canvas ... This was our father ..". It was moved by the fact that MoMA is ready to part with Cezanne canvas to buy one of his sculptures - they did not have any famous or reproduced. Then the conversation turned to art. Rubin asked him about cubism, the beginning of the movement, the creative ideas. The dialogue has turned out dense and rich, and happy Picasso suggested that we go into the basement. We entered a room cluttered with sculptures, like the child, lying on the floor where unharvested toys. We were amazed. Rubin asked Picasso why he never offered his sculptures. "I do not want them to stagnate in Marchand, they are too fragile." Carelessly at first sight, made in the basement, the work was extremely important to him, to them was known only to him the secret of creating kazhdots of them. Rubin looked at them, he was particularly interested in the Guitar (1911), the world's first "built, made" sculpture after centuries of creating sculptures from a single block. Picasso appreciated the depth of erudition Rubin and his almost instinctive ability to determine the place of art in its historical perspective.
- Well, - he said. - Today we have a Saturday, is not it?
- Think a little. We will return on Monday afternoon.
On Monday, we came to him, as was agreed, by 17 hours. Picasso was an empty table in a solemn pose, as if he had to announce something very important to us.
- I thought - he said - I give MoMA guitar, and you can pick your Cezanne.
In parting, we asked Jackie to take a picture of us all to perpetuate the gift. It was February 15, 1971
In the taxi, and Rubin Bareys happy as children, and thanked me excitedly. They wanted to give me a commission, but I refused, explaining that I just offered his friendly assistance, and did not act in his role as Marshal. I asked them to warn me, if they suddenly decide to sell his Cezanne, and that the sale took place with my participation. "Well, of course! It's the least we can do ... "
After a few weeks the situation has changed. A considerable amount of work by Picasso from the collection of Chrysler, Morgue, vybat offered for sale. This work was inspired by photographs of concentration camps, and seemed to me the completion of Guernica. It was necessary for me, but asked for it very much. I had only one competitor: William Rubin of MoMA. On hearing this, I called him. He said that the museum did not have the amount needed to purchase paintings. I thought that I have time to try to persuade the seller drop the price and to finance this purchase. We had to find some European museum, which would have bought the painting. I have started talks with Dusseldorf, but the museum's director, Werner Shmalenbah, underestimated the importance of the Morgue. Then I turned into a museum in Munich. And then a trustee of the Museum of Munich, who was also a trustee at MoMA - it was Bareys in person! - Rubin informed of my actions. Rubin bought Morgue, traded him to Kirchner and "my" Cezanne landscape! Now the picture is in the MoMA, it was worth it, but I lost in the story of two, who were, one might say, are reserved for me.

You've probably been on Rubin in the wild rage?

William Rubin has remained my friend until his death in 2006 sebedovali We have a lot to each other. He was one of the most informed and most profound of directors of the museum. He was an extrovert, had a business instinct, but do not compare in temperament Rubin and Thompson. One was a great scholar, the other - a great lover.

In the end, America was very important to you.

Need to be aware that New York in the fifties became what Paris was to this: the diversity of art, a large number of Marchand and artists who moved from Europe (Léger, Duchamp, Chagall, Dali, Mondrian, Beckmann ...) encouraged American artists in search of his own language.

What was the range of your communications in New York?

Sidney Janice, Pierre Matisse, Leo Castelli, Bill Akvavella and others. We saw in the opening days, although I no longer met the artists. It was a very lively, fun evening, they often ended up in Harlem.

Tell me about Leo Castelli?

Very lively, very intelligent Italian, a polyglot, a great ladies' man. He began with the Drouhin in Paris, on Place Vendome ploschali. Thanks to his first wife, Ileana Zonnabend, he managed to open the gallery and develop it, opening new artists: Jasper Johns, Rauschenberg, Serra, Oldenburg, Lichtenstein. Prior to that he worked with Sidney Janice. Castelli was very flexible and agile man, these qualities enabled him to strike up numerous contacts in Italy, Germany and, of course, in France.

A Sydney Janice?

He was passionately fond of art and his collection. Initially, he had a workshop on sewing shirts. Soon he became interested in art. His gallery is located next to the Betty Parsons Gallery, which was first put Rothko and Jackson Pollock. Janice was carried away by these artists and managed to persuade them to withdraw from the Betty Parsons and start working with him. Then he began to move to New York, Mondrian, Schwitters, Arp, Brankushi, De Kooning, Dadaists and Surrealists. This man was really fascinated by art. Incidentally, he wrote a very good book about Picasso, Picasso, The Recent Years. He died when he was ninety-three years, and according to his will his entire collection passed into the MoMA. He wanted to uvpimey artists kortoryh he valued, were exhibited in one of the most famous museums in the world, or at least participated in the major exchanges between museums.

guess I need to mention the Peggy Guggenheim ...

When she held her first gallery in New York, it advised Duchamp. Every first Saturday she exhibited the work of young artists and invited three experts - Barr, Sweeney, and Mondrian. If any work of Mondrian did not like, he exclaimed: "Oh, it's tragic!". He once said admiringly: "For the first time since I came to America, I see something extraordinary!". It was Pollock. Peggy Guggenheim was a very rich imagination. Her collection, fund, and a charming little museum in Venice, wonderful. Many times I met her in Venice, then she has moved away from the activity.

you belonged to Pierre Matisse, whom we mentioned, in speaking of Dubuffet, with great respect.

Pierre Matisse gave the impression of a dry and hard man - the same, and spoke about his father. For Henry this dryness and stiffness were the means of self-defense. He was selfish and fiercely defended their freedom and independence. He had two sons, Jean and Pierre, and a daughter who married the art historian Georges Dyutyui. Jean became a sculptor, and Pierre opened in New York City gallery. Of course, he had his father's paintings, but he managed to diversify their tastes. He was friends with Baltyusom, Chagall, Miro, Giacometti, Dubuffet later with which he opened. Some of the canvases Dubuffet, he showed his father, who believed that Dubuffet - one of the few major artists of the postwar period.

You said that in New York you met mostly with artists. What are the artists?

I was heavily influenced by Klee, Mondrian, Picasso, so it was hard to take them to an empty, flat event-free picture. After these large format Mondrian I have not been impressive. Maybe they were too big for me, a European. And I did not know to whom you could sell them: it is necessary that the ceilings were very high ... But pretty quickly I sensed in them the opening of the new world, saw an explosion of freedom. For years I've been busy with the history of Thompson and missed quite a few New York shows. However, I became acquainted with De Kooning and, more importantly, with Barnett Newman - we often dined together in a typical American seafood restaurant. Newman argued that this restaurant was the only "typical American" place in New York. He took me to boxing matches. We treat each other with sympathy. He had his own, deeply thought out views on European art, and he was sure that we live in an era of great American art. The dollar did not help us, I would even say that he was the most serious obstacle. Pay for any canvas for twenty-five thousand dollars - is equal to one hundred and twenty thousand francs, to resell it was virtually impossible. Rare Europeans, collecting American art, preferring to buy directly in the United States.

About what year did you say?

About 1959. At this time I met Rothko, Lichtenstein, Rauschenberg Robert Rauschenberg ... personified this thirst for freedom and space. The photographer, dancer, choreographer, painter, it was a versatile, fun, expansive artist, especially after a glass of whiskey. I remember how he came to Basel on the opening day on which a Marchand from Los Angeles always wanted, so I introduced them. Rauschenberg did not pay any attention to him. After some time, Marchand said, "But I - private dealer (private dealer)."
- Yes, yes, I understand - Rauschenberg said, - «but I will keep it very private! (But I'll keep it a secret) "- and turned away.
Until his death in 2008 he lived in Florida, Captiva, and worked all the time changing his technique - it would be very nice if it was not such a player for whom everything is - a joke, and so much less deep than his friend Jasper Johns.

How is the canvas, he is represented in the Fund?

Windward («lee"), a work of art for the U.S. remains a very significant and very modern, despite the fact that it was created in 1963! Rauschenberg allows it dilemma between figurative and abstract. He komponiruet images podcherpnutye from advertising, and creates explosive art, giving the impression of randomness, accident, and full of freshness, but that balance could be achieved only through glubokoih thought! Painting it dramatizes the effects of a collage.

This is Pop Art?

Pop Art brought into everyday life beautiful new vocabulary, new grammar and the new syntax. After Warhol and Oldenburg it is impossible to write in the old way. Rauschenberg I put a few circumlocutions, but not below, not at all! Roy Liechtenstein, with its brilliant series of paintings, mirrors, too, stands somewhat apart. The idea of ​​Pop Art - put on a level of Rembrandt and Mickey Mouse. Society and media are neutralized, and thus the artists could not afford it. Liechtenstein used the hackneyed image of society in which he lived. Then, in the seventies, he turned to the older generation, to the Surrealists (Dali, Ernst, Picasso), he reconsidered and quite brilliantly appropriiroval. A girl with a tear III with its transformation of hours, already transformed by Dalí, refers to this period. In my opinion, is a masterpiece, and I am glad that she is in the Fund.

But I think, among the artists with whom you met in New York, you most admired Rothko. You are going to attach to your Pavilion Fund, fully dedicated to this artist. How did you meet him?

I had a few paintings of Mark Rothko, I was fascinated by his work. One U.S. Marshal Glimhner called me to say that Rothko agreed to sell both of us lots of canvases. It was not that that Marchand would make me a gift, and misrepresented that Rothko wanted his work became better known in Europe. It should be remembered that Rothko in a sense, burned the public reaction to the canvas, ordered him to office Sigrema built in New York, Mies an der Rohe. Indeed, people believed that his painting purely decorative, while the artist sought to the effect of contemplation - he managed to do it in a chapel near the University of Houston (alas, these works have been hit hard from time to time).
I went to the Rothko in his New York studio. He received me kindly, and said that he likes the way I work, sometimes it gets my exhibitions catalogs, etc. I explained emuprintsipy their work and said that he was ready to buy what he wants to show me. "I can not, - he said. No, I would like to sell you a job, but I can not. " And he repeated it several times. I did not insist, and returned to his hotel. Two days later Glimher called me, "Mark Rothko wants to see you." I was surprised: "But why? He said he did not sell. " But Glimher insisted, so I again went to the Rothko. He opened the door for me. His face was tense. I again told him that I wanted to buy him anything he would agree to sell me. He invited me to enter. On the mezzanine sounds of Beethoven's Ninth Symphony. Rothko poured me a glass of schnapps. We sat in the kitchen. And then he wept and began to explain to me what he wanted to sell me his canvases, but it is not possible. I tried to comfort him: "Mr. Rothko, do not worry. We can not make a deal, well so what? "But he could not calm down. So I left him, crying, depressed.
The reasons for his behavior, I realized later. The fact that Rothko was associated with the Marlborough Gallery. This gallery ran Lloyd, who enlisted the collaboration of Bernard Reiss, friends with many artists] That Reiss worked all their problems, until the filling of tax returns - an unbearable burden for the artist and an incomparable storehouse of information on the sources of his income for the marshal. Lloyd was appointed vice president of Reiss Gallery, and thus put him in a dilemma: friendship with the artists or the interests of the gallery ... Rothko opened a Swiss bank account. Learning that Rothko talks with other Marchand, he made it clear that he puts himself in the uncomfortable position and goes to great risk, because if the information about Swiss bank accounts will be made public, break out a monstrous scandal. Subsequently, the Marlborough Gallery has used the same tactics and Bacon. Such a strategy poschvolyala them to keep artists on a leash, not signing contracts with them. Bacon did not care to blackmail, he was a British citizen. But for a Rothko, a Russian Jewish immigrant who took ten years to get U.S. citizenship, such a scandal was unthinkable. Thanks to America, he and his family were able to live peacefully and be realized. He wanted to be at odds with his country and sheltered from the federal government. These difficulties were imposed on his depression. He committed suicide.

What are you so attracted to his work?

The transformation of color in the light. This is the greatest challenge nonfigurativnogo art. Rothko - its top. His art needs no comment, it is impossible to convey in words. His works are asking the viewer and encourage him to meditation and contemplation: in search of forms, we roemsya in color and find the light. But of course, it requires effort! Rothko knew what he risked creating paintings that could be mistaken for decorative panels.

Added after 6 minutes
15. Marshal

We talk a lot about the artists. What did you tell us about Marshania? What is your relationship with them?

I was not familiar with Ambroise Vollard, he died in Paris in 1939, but Marchand, whom I respect more than anyone else. With great respect I have belonged to Konvayleru, with all the others I have very good relations. We are bound by the market, our interests are often divergent, often slips envy - envy not the people, and things that each of us has, so it does not interfere with personal contacts.

Читать дальше... 

I was lucky: I lived in Basel, far from Paris or New York's gossip - these rumors are doing, or vice versa, destroy reputations, sometimes in the rush of love or in a fit of irritation - vdelake from the artists and their families. I once had dinner at Nina Kondinskots. We agreed that I will be the legacy of her husband. Befstroganovym excellent supper, and after drinking a few glasses of vodka, she made me a real examination of contemporary art. She wanted to know who in my opinion, was the greatest artist of the twentieth century. I replied, "Picasso."
- Picasso - the great Spanish painter, Franz Marc - German, etc. But Kandinsky - with all the greatest.
Over time, we treated each other with growing sympathy. She said that I - "the most grand marshal." I was rather amused when I thought of the greatest Marshania past - Ambroise Vollard, Henri Kanvaylere in Europe, Sidney Janice, Pierre Matisse and Leo Castelli in America, because from the very beginning, they have attracted great artists, Vollard - by Cézanne, Renoir, Gauguin and the young Picasso Cubist Kanvatsler gained recognition, Janice worked with Mondrian, Brankushi, Dadaists, even with the greatness of Rothko ... Marchant is determined by the greatness of artists with whom he works. I do not put myself on their level, because I was not a pioneer, a discoverer. It was important to gain recognition is not new, but the quality, so my range of artists was wider than in any other Marchand, from Impressionists to Warhol. A lot of artists with the same demanding quality, is the motto of my gallery and I hope that we realized.

Does attitude toward money be dangerous?

Money began to worry me when I realized that money gives me the opportunity to realize their projects. And the first of these projects - an exhibition, I dream about: to collect about a hundred works to create a great work of art of the highest quality. I'm sure to be a real Marchand, we must first organize exhibitions and publish high-quality directories that reflect the superiority of these exhibitions.

Have you never had remorse, related to money? Because the margin Marchand compared to the price he pays for the painting the artist is very significant.

Resell the painting, it means defending painting, the artist. A little exaggeration, we can say that the selling job, Marchand involved in its creation. As for me, I was not always possible to buy masterpieces, because I had insufficient funds. Deciding to stay in Basel, I had to pay for something I did not choose New York or Paris, where I could work with the richest art collectors and buyers. Now I have no regrets about his decision, as I managed to succeed because of my energy, and thanks to my wife and my staff.

you still get a hefty come! For example, you tell that the price of a particular fabric you double or triple. You do not think this is easy money?

You can triple the price of the fabric, provided that this painting is a rare, high quality and you held it long enough. And money is not easy, even if the sale is carried out quickly (if we ignore the time during which the work was frozen). For fabrics, the price of which reaches astronomical heights, rarely pay immediately. Often the money has to wait a few months. And during this time may have an opportunity to buy other works ...

How do you explain the rise in prices?

When I started in 1946, prices rose by 5%per year. After the war there were many large states. "German miracle" that is supported by the United States in the fifties and sixties because Germany has raised the economic level that some people just do not know what to invest their money. They pounced on contemporary art. In the seventies, American art flooded the art market, prices have been fantastic, and I had to pay in hard currency. On the market since the eighties, a large Japanese customer was the last straw - it has led to price increases by 100-150%. But do not think that the prices on the art of growing all the time. Events such as, for example, international tensions, war, terrorism may slow or even invert the trend. Over the years, prices have increased, giving us the opportunity to eliminate our old drains at incredibly high prices. This allowed us for the first time the existence of a gallery out of debt, create a fund, finally, to pay for the construction of the museum and to purchase significant works by Van Gogh, Monet, Cezanne and other artists to enrich the museum's collection.
Need to be aware that when selling a mediocre product is never short of expectations. Profitable to sell only high quality fabric. We recently sold a very good picture of Picasso's 1932 portrait of his girlfriend, Marie-Therese Yaalter because I realized that half of the face in the portrait depicted a profile of the Picasso, and therefore, it was, so to speak, disbud double portrait.

Do you have the feeling that you were an actor and this rise in prices for works of art?

How it all! Attended by all, first individuals, then the marshal, all prices are pulled from the ceiling, and all very well to make money. Note that the highest prices reached a product purchased by private collectors. Of course, prices have grown incredibly, but do not forget: the price is a work of art. I am always comforted his conscience that I sell high-quality work. You can be frank with the prices, but not with the quality - it speaks for itself. Buying a mediocre job, you are away at the possibility of future exchanges, enriching all senses of the word.

Have you always been a commercial vein?

Yes, but my interest waned trade. Now I no longer need to hunt for commercial paintings, which are easy to sell quickly. The gallery runs a few people, in particular, Pictures Couturier, who sails the world, as once the Planck toured the gallery. I try not to give up work, which has a place in my collection - a collection of the Foundation. Selling some of my work upset - I would prefer to leave them. But our life was in the pursuit of money. My wife and I are always glad when they could leave yourself some work, hang it at home, we lived with the pictures. But the debts piled up, because I could not refuse to purchase large canvases, when I offered them.

In his memoirs, "Marshal Arts" Vildenshtayn Daniel writes: "Every morning, wake up, I asked myself the question:" How much longer we hold out? "I'm not talking about himself. I'm talking about a profession that I love. " Do you also think that this profession is doomed?

Previously, it was easy. All believed in each other naslovo, and commercial relations are not complicated by all sorts of administrative tricks: faxes, letters, e-mail ... Everything was kept on parole. My deal with J. David Thompson, was made without coaxial whatever written form - I bought a large lot Klee, as well as did many other minor purchases. Of the six paintings, which I received from him, the contracts were signed only by half. In our profession, the word meant a lot. Let me give you an example: I once visited a friend in Ascona in an elderly German artist. We ate and drank, and then I said to him: "You probably have friends after all." He listed the names of my friends and I visited them. One of them was Bonnard, whom I could buy. And he was fovistsky Matisse, which he bought at major auction Fischer in Lucerne in 1939 I wanted to buy the canvas, but I did not have money, you had to wait three weeks. For him it was too long. One of my friends gave me the desired amount of loan, and I again went to the owner of Matisse. But he changed his mind to sell his painting, at least at the agreed price between us. Then I asked him to name the new price. After much persuasion - it was a shame - he told me the amount, almost twice as old. I agreed and returned to Basel, where I managed to take another missing money. All these transactions were carried out without written confirmation. Now, this Matisse hangs in the Basel Museum.
The fact that I sought at the time, now is not feasible, because the prices were simply unavailable. Fierce competition auction houses, their global marketing, the rivalry between artists and tax supervision over exposed for sale in the works - all this leads to the fact that the art market is dying. The whole administrative control kills aesthetic pleasure, and trade used to be fun.

But collectors will never run out. What will they do without Marchand?

Job Marchand does not disappear, it is necessary, because the world is always a supply and demand, or in other words a market in which the take-off periods will alternate with periods of decline. No need to be clairvoyant to say this, it is quite obvious.

[Евгений]

Liana, thank you for the interesting stuff ....

--------------------------

In the picture: art dealer Ernst Beyeler

http://artinvestment.ru/news/auctnew...t_beyeler.html