Develop Please doubts

[mark4445]

What do the debate?
Uniquely by the letter "T" there is no "F" is not visible.

[OlegTsi]

Сообщение от Cyril Syzransky

If the thing does not" settle "in Russia from the new owner, you can see it in the future at Sotheby's /Christie's at 200.000.
Thing is, in my opinion, authentic and museum level.

How quickly time flies, huh? Just we have been discussing this now, as it has in London on resale. Hence, while in Russia is not settled. But it can be settle at the second attempt ...

Makdugalls, London, Lot 394. 190-250 thousand pounds.


394. BRONNIKOV, FEODOR (1827-1902)


Abandoned. The Vatican and Sin, signed, inscribed "Rome" and dated 1872. Oil on canvas, 88 by 114 cm.

190,000-250,000 pounds


Authenticity has been confirmed by the expert V. Petrov.

The picture Abandoned. The Vatican and Sin is an autograph copy of one of the best-known compositions of Feodor Bronnikov, a history painter popular in the last third of the 19th century.

Painted in Rome in 1872, it is a splendid example of the genre based on themes relating to the Eternal City. Bronnikov, following the classical canons, composes his painting like a stage set, on which he places his heroine in a striking and expressive position. The artist, always scrupulously accurate in his handling of detail, meticulously delineates the masonry of the parapet, the flare of distant fireworks, the ring on the heroine's finger and her white cuffs. Beneath a surface restraint and sobriety in the portrayal, much is hidden in this painting, stemming from the contrast at the heart of this dramatic situation.

Both in the technique used and in the treatment of the subject, we can detect a curious fusion of the academic tradition with the aesthetics and themes of the Itinerants. For when Bronnikov graduated from the Imperial Academy of Arts, he left Russia in 1854 on a study placement and then spent the rest of his life in Rome, rarely visiting Russia. Only in 1863 did he travel to St Petersburg, to present to the selection board of the Academy a large painting on a subject from Roman history, The Quaestor Reading the Death Sentence to Senator Thrasea Paetus for which he was named Professor of history painting.

However, having arrived in Russia via an academic route, Bronnikov was quick to pick up new "populist" tendencies in the art of his native land. The artist became close to the Itinerants and, under their influence, felt an urge to do social good via his art. In his paintings a taste became apparent for portraying life in the lower strata of society, for themes and motifs "laying bare the festering sores of contemporary life". But unlike the Russian colleagues in his studio, Roman sybarite Bronnikov had lost his basis in Russian life and could not develop such themes, instead settling for "Italian" subjects. So he painted a series of genre pictures: Poor Family Being Driven from Their Lodging, An Old Beggar, Golden Wedding Anniversary, Distribution of Food in Front of the Monastery Gates, Sick Man Outside a Catholic Monastery, Artists in a Rich Man's Parlour and Abandoned .

The Russian critics, understandably, thought that Bronnikov belonged "to the earlier, 'idealist' school, which holds back this artist, a sincere lover of justice, from portraying the unsavoury traits of his subject". But it was precisely that academic prettiness and a certain pathos and sentimentality, not at all detrimental to an understanding of the "unsavoury position" of his heroes, which allowed Bronnikov to create his own type of genre painting "on the topics of the day" .

Soon Bronnikov was admitted to the Society of Itinerant Art Exhibitions. From 1873 he showed his works at exhibitions in Moscow, St Petersburg, Kiev etc, alongside the greatest Russian masters. Bronnikov even painted an autograph copy of our painting, Abandoned. The Vatican and Sin, dated 1873, specially for the Society's third exhibition. Reproduced in the exhibition catalogue, it made a great impression on his contemporaries and was soon bought by the mayor of Irkutsk, Vladimir Platonovich Sukachev. It is now housed in the Irkutsk Museum of Art which bears his name.

As for the present, earlier version of this composition, its history is most probably associated with art collections in the West. At least, according to the Brockhaus and Efron Encyclopaedic Dictionary, "most of Bronnikov's works are in Russia, but many have also been acquired by connoisseurs in England, America, Hungary, Italy and Denmark. Among his last works, Abandoned is worthy of note . This painting is owned by the Queen of Denmark ".

[Артём]

Сообщение от sergejnowo; 1145991"

Follow up question please

Sergejnowo, the first impression is always right, notice? And expertise would make the canvas. On view there exists synthetics. Then use the flax or hemp. And I agree with NATA NOVA.
Still have doubts. Subframe is not native! Any competent restorer confirm. Craquelure - mechanical and not "age". And yet there are technical nuances. Pictures Bronnikov deeper in tone and color, as he did not use "Mars" and used "Asphalt", which eventually must darken.
Artwork featured Cyril Syzransky - sample the magnificent art and fine writing a talented artist and master of Bronnikov Fedor Andreevich.
Oh, and what sort of signature? Analogue to eat? Please show if there is, very interesting. Especially the word Roma.
In my opinion a strange job.

[sergejnowo]

Сообщение от Artem; 1402341"

Sergejnowo, the first impression is always right, noticed?

Yes, noticed.
If in doubt early, but now sure he is not.
And most of all surprised me a job description for Makdugalls, London:

Сообщение от OlegTsi; 1402051"

The picture Abandoned. The Vatican and Sin is an autograph copy of one of the best-known compositions of Feodor Bronnikov, a history painter popular in the last third of the 19th century.

Painted in Rome in 1872, it is a splendid example of the genre based on themes relating to the Eternal City. Bronnikov, following the classical canons, composes his painting like a stage set, on which he places his heroine in a striking and expressive position. The artist, always scrupulously accurate in his handling of detail, meticulously delineates the masonry of the parapet, the flare of distant fireworks, the ring on the heroine's finger and her white cuffs. Beneath a surface restraint and sobriety in the portrayal, much is hidden in this painting, stemming from the contrast at the heart of this dramatic situation.

Both in the technique used and in the treatment of the subject, we can detect a curious fusion of the academic tradition with the aesthetics and themes of the Itinerants. For when Bronnikov graduated from the Imperial Academy of Arts, he left Russia in 1854 on a study placement and then spent the rest of his life in Rome, rarely visiting Russia. Only in 1863 did he travel to St Petersburg, to present to the selection board of the Academy a large painting on a subject from Roman history, The Quaestor Reading the Death Sentence to Senator Thrasea Paetus for which he was named Professor of history painting.

However, having arrived in Russia via an academic route, Bronnikov was quick to pick up new "populist" tendencies in the art of his native land. The artist became close to the Itinerants and, under their influence, felt an urge to do social good via his art. In his paintings a taste became apparent for portraying life in the lower strata of society, for themes and motifs "laying bare the festering sores of contemporary life". But unlike the Russian colleagues in his studio, Roman sybarite Bronnikov had lost his basis in Russian life and could not develop such themes, instead settling for "Italian" subjects. So he painted a series of genre pictures: Poor Family Being Driven from Their Lodging, An Old Beggar, Golden Wedding Anniversary, Distribution of Food in Front of the Monastery Gates, Sick Man Outside a Catholic Monastery, Artists in a Rich Man's Parlour and Abandoned .

The Russian critics, understandably, thought that Bronnikov belonged "to the earlier, 'idealist' school, which holds back this artist, a sincere lover of justice, from portraying the unsavoury traits of his subject". But it was precisely that academic prettiness and a certain pathos and sentimentality, not at all detrimental to an understanding of the "unsavoury position" of his heroes, which allowed Bronnikov to create his own type of genre painting "on the topics of the day" .

Soon Bronnikov was admitted to the Society of Itinerant Art Exhibitions. From 1873 he showed his works at exhibitions in Moscow, St Petersburg, Kiev etc, alongside the greatest Russian masters. Bronnikov even painted an autograph copy of our painting, Abandoned. The Vatican and Sin, dated 1873, specially for the Society's third exhibition. Reproduced in the exhibition catalogue, it made a great impression on his contemporaries and was soon bought by the mayor of Irkutsk, Vladimir Platonovich Sukachev. It is now housed in the Irkutsk Museum of Art which bears his name.

As for the present, earlier version of this composition, its history is most probably associated with art collections in the West. At least, according to the Brockhaus and Efron Encyclopaedic Dictionary, "most of Bronnikov's works are in Russia, but many have also been acquired by connoisseurs in England, America, Hungary, Italy and Denmark. Among his last works, Abandoned is worthy of note . This painting is owned by the Queen of Denmark ".

If you look in haste, biographical information on Bronnikov on the Internet, in a generalized form of these expressions and sentences are laid out in the network (copied from one site to another). Not a word more, not less speech. And not the words, no hint of the history of this particular work.
A similar breadth of information it was possible to observe and at the first sale, as the source of the work, has been named a gallery in southern Germany. It is true that in google for this gallery and a hint there.

 
If someone from the interested parties wanted to prove otherwise, let the spit out decent photos of the face, hands, Crazing and canvas.

[критик]

Not misleading.
(See above)

[sergejnowo]

Сообщение от critic, 1402401

Not to be misleading.
(See above)

 



a, you just ignore my opinion, then errors will not.

Assuming that you interested.

A decent photos we do not?

[Кирилл Сызранский]

Сообщение от Artem

the first impression is always right, noticed?

I'll say to myself: My first feeling - something author, original.

Now, after time, his opinion has not changed, but argued that it is right I will not possibly be wrong, and wrong I'm not afraid.

[критик]

I am a professional person ...

[sergejnowo]

Сообщение от critic

I am a professional person ...

I'm sorry, but what does this mean?
By the way, if the photos will be seen that order - will take their views back.
That is what has been written about the history of the first trade:
Provenance: The Castle of Baden-Baden, Baden-Baden Brosius gallery, private collection.

[Артём]

Сообщение от critic; 1402401"

is not misleading.

Simply discussing the picture, no one disputes, try to reason with a cold look at it.
Firstly it is clear that a purely subjective opinion, since Above all, remember that there is no single analytical method that would provide comprehensive information both about the nature, composition, structure, origin, material, technique and authenticity of the artwork. Answers to these questions can only be obtained by comparing and analyzing data from different methods. Therefore, the scientific study of art should be complex, and its members should be experts of various laboratories, restoration workshops, and art historians.
But for something common efforts can and come. For me, the question arises.
Bronnikov Wanderers was fascinated and wanted to join their members. He is preparing a series of paintings for the third mobile exhibition. One of the paintings presented here. Pictures of all the complex and not small in size. For Bronnikov is not just an exhibition but a kind of test, because it is the concept of the Wanderers with his sweet Italian themes.
   And he has not become members of the PVC. Upset in the 4-th exhibition is not involved.
Why, and when he managed to do two similar pictures??
And anyway, the picture shown Cyril Syzransky want to buy, just going out in it, and now under discussion do not want to buy. You see the difference when they are next.