Develop Please doubts

[uriart]

On the Mac Dugals also Repin exposed to serious doubts.

"Walk" this Repin in Kiev five years ago.

200 000 U.S. asked for and not found wanting in this masterpiece.

Many people laughed at this job.

Now here's the paper has been written on it.

And now for more than a lemon pound delivered.

[SAH]

Сообщение от Artem

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.

You're there all the photo can be seen, the right not to know.

[Кирилл Сызранский]

Сообщение от Artem

On the form there exists synthetics.

But I've been there no synthetics, of course, is not seen, not that I eyed, but high-quality expensive European art canvas yet discerned.

Posted 42 seconds

Сообщение от Artem

The subframe is not native! Any competent restorer confirm.

I do not know, I do not know ... There just have to look at Givet.

Added after 2 minutes

Сообщение от Artem; 1402341"

and used the "Asphalt", which eventually must darken.

When the asphalt, we would have nothing now, his work would not see the whole asphalt "came out" would have scored all the painting, but now things Bronnikov and shine.

Posted 7 minutes

Сообщение от Artem

Why, and when he managed to make two similar paintings ???

Сообщение от Cyril Syzransky

The thing is, as shown sergejnowo, dating from the 1872 year and author's name written in Latin.
One can assume that it Irkutsk work-repetition.
It was at 1873 m, the Bronnikov returned from Italy.

"Irkutsk work" - this is the one that was on TPHV III exhibition in Russia in 1874 upon arrival Bronnikov in Russia.

The Abandoned. 1873
Oil on canvas. 89 x 113 cm
Irkutsk Regional Art Museum. VPSukachev. Came to the museum in 1920 from the collection of VPSukachev.
Ref. down.: Bronnikov Roma 1973.
Exhibited at the exhibition TPHV III in 1874

[Артём]

Сообщение от Cyril Syzransky

It was at 1873 m, the Bronnikov returned from Italy.

This is where it is written?

Сообщение от Cyril Syzransky; 1402631"

There just have to look at Givet.

At the time, and therein were written on the so-called "frames", and here the stretcher with the crossbar and wedges, later.
He wrote to the asphalt - that's for sure (in podmalevkah).
Canvas is too light, a stretch of slack, I wrote once that the linen is not so natyanesh, yet firm as you say (grounded).
Signed incomprehensible.

[Кирилл Сызранский]

[QUOTE="Artem; 1402701]This is where it is written?[/QUOTE]

Well, somewhere says, look, I do not remember what book I read this.

[size="1"]Added after 1 minutes[/size]
About the stretcher I liked this explanation:

Сообщение от OlegTsi

I think I see traces of a paper that was glued around the perimeter of the back side of the frame. If so, it protected the back of the picture of the impact of external factors. The dust did not penetrate to any front or rear sides. Stretcher itself (if it is pine) has acquired a natural reddish tint. And yet, is very important factor in saving (constant relative humidity and temperature), and the degree of care for the picture.

[psix75]

Very strange looks stretcher on the reverse side (photo 4) if it was plastered with paper, then had to darken the tree is not glued paper, and then vice versa.

[Артём]

Сообщение от Cyril Syzransky; 1402721"

in a book I read this

  "That's the thing. Now I decided to see the use of asphalt in an amount of literature is not quickly found. Where to read something . I only know that the asphalt - an organic dye, and artificial Mars, so supporters of academic painting is not broke Process technology, used asphalt. Now everything has changed - artificial colors make things easier.
Paper is not very convincing at OlegTsi. Apparently pasted is not so long ago.
Okay - this is just my opinion.
PSInteresno would see the reverse side pictures of the Irkutsk museum.

[OlegTsi]

Сообщение от psix75

Very strange looks stretcher on the reverse side (photo 4) if it was plastered with paper, then had to darken the tree is not glued paper, and then vice versa.

I understand it so - the darker edges on a stretcher (external) were formed by impregnation of wood glue, and glue was probably liquid. Plus the same visible remnants of the previously glued paper. But again, it's based on what he saw in this photo.

[psix75]

Сообщение от OlegTsi

I understand it so - the darker edges on a stretcher (external) were formed by impregnation of wood glue, and glue was probably liquid. Plus the same visible remnants of the previously glued paper. But again, it's based on what he saw in this photo.

I agree, very similar to what is seen and the remnants of the glue (or glue), but in my opinion more than the dark inner part of the subframe, which had been under the paper, although in this situation, the tree will darken.

Very interesting, who could seal the reverse (back) side of the picture, and why (or when) artists began to sign the back of the picture?

[OlegTsi]

Сообщение от uriart

The Mac Dugals yet

In order not to load the topic digressions about Makdugallse wrote again to the theme of "Fakes Fakes ... ..."

http://forum.artinvestment.ru/showpo...&postcount=543

Added after 14 minutes

Сообщение от psix75; 1402871"

Very interesting, who could seal the reverse (back) side of the picture, and why (or when) artists began to sign the back of the picture?

Could close with anyone - from the owners of a painting or in the studio, which put the frame.
Could not find a relationship between your second question, and the rear side of the picture. Or your question does not apply to this topic?