Press conference on the topic: "rigged in art: Russian experts to protect creative work by Natalia Goncharova," in connection with the release of new foreign editions of the works of the painter, graphic artist, theater Natalia Goncharova. In 2011 in England and France saw the light of two books devoted to the works of Russian artist-avangardistki Natalia Goncharova (1881-1962). Authors of monographs entitled "Natalia Goncharova" and "Natalia Goncharova: her art between tradition and modernity" - Andrew Parton and Ms. Denise Bazetu. According to Russian experts, these publications brush Goncharova attributed to a large number of works of unknown and sometimes dubious origin. On what issues raised in the expert community edition of these volumes will be discussed at a meeting with reporters.
The press conference will be attended:
- Acting Head of Rosokhrankultura Viktor Petrakov;
- Director General of the State Tretyakov Gallery Irina Lebedeva;
- Deputy Director of the State Russian Museum Evgenia Petrova;
- Well-known collector Aven;
- London-based collector and gallerist James Butterwick;
- Representatives of the museum community, experts and collectors.
Последний раз редактировалось Artem; 24.04.2011 в 23:54.
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Andrew Sarabyanov wondering where British counterpart found so many hitherto unknown works of the great Russian avangardistki
Let us imagine: in Moscow, goes a monograph on the great English painter William Turner, written by famous Russian art historian N. In this monumental edition published many works by artists from various museums in the world. But the book carries a sensation: it has played dozens of new works of the great Englishman. Yea, they were unknown not only to the general public, but even the experts. Today - thanks to the publication - they were made public, which, of course, was delighted with the amazing discoveries. After all, most of them - and there are real masterpieces, revealing new aspects of the works of the great masters - for many years was kept in private collections (mostly Russian) and did not appear at numerous monographic exhibitions of the artist. Some of these works belongs to the William Turner, located in the city of Little Ovsyansk and registered in Switzerland. It is difficult to imagine the wonder and the joy brought out books from the British critics, and connoisseurs of Turner. One can assume some fierce competition arose between the British museums just for the opportunity to purchase newly discovered works.
Sensation! However, jokes aside.
This fantasy was born on real events. In London, published a monograph on the great Russian painter Natalia Goncharova. Written by Anthony Parton, professor of art history at the University of Durham. Dr. Parton - a renowned expert in the field of Russian avant-garde. In 1993 he published a book "Mikhail Larionov and the Russian avant-garde." And now - after eighteen years - yet another monumental edition.
Book by Dr. Parton is attractive for its seriousness and breadth of creativity Goncharova. The author poses a challenge - in its entirety to explore the legacy of the artist's touch all aspects of its activities. Therefore we find in the book sections devoted to not only painting and drawing (and they prevail), but also to the theater, as well as book illustrations. Approach a true academic.
But our attention was drawn to another aspect of the book. Affects the abundance of "new" works by Russian artist. All of them - and there is "masterpieces" that reveal new aspects of the works of the great masters - for many years kept in private collections (not Russian! Russia are known to us) and did not appear at numerous monographic exhibitions of the artist. Some of these works belongs to the fund "Russian Avant-Garde", located in Berlin - Zurich and registered in Lucerne (Switzerland).
Of course, in the monograph include other paintings by Natalia Goncharova, time-tested and do not cause any problems. Reproduced 36 paintings from the Tretyakov Gallery (although in the museum's collection of more than 400), 5 from the Russian Museum (and they are there 34), more than 30 museums from Russia, Europe and the USA. With this clear.
But the paintings from private collections? In the book, they number a few dozen, but there is no information about the meetings themselves (written simply - private collection), and there is nothing about the provenance of the paintings. Of course, this is not a catalog-Raisonné for which such data are necessary, but still sensational publication of unknown works, and even in such a quantity is self-explanatory.
The most amazing thing that these paintings date back to the time before 1915, ie belong to the Russian period of creativity Goncharova. Where did they come from?
As you know, Larionov and Goncharova, at the invitation of Diaghilev left Russia to Switzerland in June 1915. Painters did not expect this trip will turn into exile. Therefore, the picture Larionov and Goncharova left Russia. They were kept in their workshop under the supervision of Leo Zhegin. An essential part was in the early 1920's sent through museum office in the provincial Russian museums (that's where the work of Goncharova appeared in Ufa, Penza, Omsk, Perm and other cities). A certain amount of work Zhegin managed in different ways to smuggle Larionov in Paris, but in this case we are talking about units, not the dozens of paintings.
Thus, the question of the origin of interest to us, work is still open. Somehow, miraculously (or otherwise?) They materialize outside of Russia and became the property of Dr Parton. Interestingly, the process of materializing is sometimes documented. Thus, the painting "Wrestlers" (1910-1911, ill. 124) "attached" photo fighters made in St. Petersburg in 1910 (ill. 125). From this comparison it follows that Goncharov almost literally sketched from a photograph of two wrestlers.
By analogy with the known compositions Goncharova, new urban scene with cabbies, winter landscapes, religious songs, peasant scenes, and numerous still lifes.
Have any pictures of doubles (the famous "Rabbi with cat" from the Scottish National Galleries in Edinburgh (III. 80) - "The Rabbi with a cock" (III. 171)) and picture-opposites (in the picture "Cyclist" from the timing - two " car "(III. 185, 220), who go, judging by the showcase, along the same street!).
Do graphics appear picturesque counterparts: for vyaschey credibility picturesque "airplane over the city" (III. 224) is reproduced on one turn of the famous lithographic sheet "Angels and Airplanes from Goncharovskiy cycle" Mystical Images of War. "
Examples are many, they are diverse, but to enumerate all makes no sense. Just to say that they have in common a deliberate tailor, stilizatorstvo and rough taste.
What is the subject of the book Dr. Goncharova Parton?
It is no longer Natalia S. Goncharova, known to us by the museum collections, exhibitions and catalogs (especially after the publication of the complete collection of her works, AK Tomilina transferred to the Tretyakov Gallery). This Goncharova another, strange, invented. It is a pity that it could mislead a renowned expert on Russian art, as Dr. Parton
Discussion on the channel "Culture"
In the noble family of textbook, and therefore very expensive art museum, there was a scandal: in England and France in this year's monograph, dedicated to the works by Natalia Goncharova. And it turned out that most of the works which are published in these books and are attributed to the well-known habit Russian avant-garde, her hands do not belong. In solid form in editions of works of great artists are given a fake, with all the ensuing
the consequences, including the market. On this April 26 art experts and representatives of the museum community was announced at a press conference, the theme is: "rigged in Art: Russian experts to protect creative work by Natalia Goncharova. They say "News of Culture". At a press conference presented a book which caused a scandal in Russia's cultural community. French and British editions of works by Natalia Goncharova - pravnuchatoy niece of Pushkin, a student sculptors Volnukhin and Trubetskoy, painter Korovin. Here - directories, which is proposed to study the Russian avant-garde modern experts abroad. "For many years, Russian avant-garde has not been studied in our homeland, in this sense, the Western people ahead of us. We are a long time they have learned. And the output of such a book as a book about Andrew Parton Goncharova - it is not just disappointing, it is, in fact, caused some shock reaction "- is confident senior fellow at the State Tretyakov Gallery Irina Vakar. If Andrew Parton in art criticism among famous man, who is a Frenchwoman Denise Bazetu - Russian experts do not know. But the claim: the fact that more than 60 percent of the paintings presented in the French directory - forgery can be proved without a special chemical analysis: Natalia Goncharova never been involved in replicating his work on the same topic. Another interesting point - the Tretyakov Gallery, in the collection are a huge collection of paintings by Natalia Goncharova, the authors have not been accessed. "How can you discuss the work of the great Russian artist, if you were not in the Tretyakov Gallery - it's just ridiculous," - said a collector, gallery owner James Butterwick (London). "When out such publications, when no one contacted us, not consulted, did not apply to us, then one is even raises questions about the professionalism, the quality of what is published" - CEO believes the State Tretyakov Gallery, Irina Lebedeva. This action Russian art differently as a massive attack on the Russian avant-garde Russian art and culture is not known. "We need to somehow respond to that because that has long captivated the Russian art" falshaki, especially Russian avant-garde, but such a massive campaign was not yet ", - says critic Andrew Sarabyanov. Government structures are already preparing a special letter to the publisher. Reaction from our country should follow immediately. "We intend to support and on behalf of the State address to the competent authorities of France, so that the subject was given a course and to those people who are trying to mislead the public, are prosecuted under criminal law", - says the acting head of Rosokhrankultura Viktor Petrakov . In Rosokhrankultura and the Tretyakov Gallery to the authors of monographs set of claims, including, and copyright infringement. While they gather the necessary documents. But it is already understood: it is proved that the paintings attributed to the brush Goncharova - fakes have more than one decade. http://www.tvkultura.ru/video.html?id=248588
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April 26, the Russian News and Information Agency RIA Novosti press conference on the theme: "A rigged in Art: Russian experts to protect creative work by Natalia Goncharova. The reason for the meeting served as a fake work included in the publication of the life and work by Natalia Goncharova.
The discussion was attended by director of the Tretyakov Gallery (TG), Irina Lebedeva, a senior researcher at the Department of Painting of the first half of the twentieth century GTG Irina Vakar, Acting Head of Rosokhrankultura Viktor Petrakov, an art historian, director general of the publishing house "Russian Avant-Garde" Andrew Sarabyanov, the financier and collector Pyotr Aven, collector James Butterwick.
Forgeries were discovered in two editions, published in 2010-2011: "Goncharova" Parton, Anthony (Anthony Parton Goncharova: The Art and Design of Natalia Goncharova) and Natalia Goncharova: her art between tradition and modernity "Bazetu Denise (Denise Bazetoux Natalia Gontcharova: son oeuvre entre tradition et modernité).
This story is not new, it started about 10 years ago, when the market began to appear fake pictures of Russian avant-garde early twentieth century with the expert opinions of three people: Anthony Parton, Denise Bazetu and Jean Chauvelin (Jean Chauvelin). Sometimes the conclusion of both signed two of these experts.
Output of two large books dedicated to the works by Natalia Goncharova, in itself, caused a real shock to the expert community of Russia, and the amount of gross, if not to say primitive imitations of them, beyond all imaginable limits: experts believe that 60-70 percent of the pictures in these books - forgery.
The mere fact that when working on any books Parton or Bazetu never came to the Tretyakov Gallery, which contains the largest collection of paintings by Goncharova in the world, speaks volumes.
More about the incidents. Counterfeits are usually equipped with unimaginable Provenance: they all come from the collections of the NKVD generals with fictitious names and addresses on the territory of Kazakhstan. Why there? Well, probably thought that quite Tmutarakan.
And where the provenance too lazy to write, were treated with the phrase: "from a private collection."
The reasons for such large-scale hoaxes are clear: high cost of Russian avant-garde art in general, and Natalia Goncharova, in particular (it owns the most expensive in the world of painting, written by a woman ("Spanish Flu", approx. 1916, 6.43 million pounds. - AI.), The average cost her paintings of millions of dollars).
A press conference was held with great emotional incandescence, and appeals to the experts to do something, responded P. Aven, who announced that all we all know (who would doubt his knowledge!): And who makes a fake, and who sells. He said that there is a stable group of international crooks who are in France and Switzerland, and that their names he now does not name for legal reasons. These criminals have hired Parton and Bazetu to legalize their counterfeit. The publication of these books - one of the steps in this direction. Ebenezer himself checked false provenance of paintings and personally made sure that all out. Verify the authenticity of fake paintings will not be difficult: they are all painted in our time, and any technological expertise immediately identify it. Aven says that it is considering the issue of initiating criminal prosecution of fraud in France, where the laws in this area are very strict, and suggested that the state represented by Rosokhrankultura and the Ministry of Culture to participate in this matter.
This initiative was immediately supported by the acting head of Rosokhrankultura Viktor Petrakov.
Present at the press conference, James Butterwick, said that rang a publisher who published these books, in order to inform about the situation, but the response was: they trust Professor Parton.
This reaction, unfortunately, reflect the situation. Why did this become possible gross fraud? Why they are not afraid of the reaction from Russia? Because the credibility of our expertise in the West too is not perfect.
First, in mid-November 2010, in light of a book Parton, and almost immediately on the forum ARTinvestment.RU signal appeared about how terrible it is packed full of fakes. http://forum.artinvestment.ru/showpo...&postcount=306
In the near future, we, the editors AI, will post all the fake pictures of these monographs.
Moscow is talking about fake Goncharova
April 26, the Russian Information Agency RIA Novosti press conference on the theme " rigged in Art: Russian experts defend the work of Natalia Goncharova ." The reason for the meeting were the fake work included in the publication of the life and work of Natalia Goncharova.
Continuing the theme of the site ARTinvestment.RU Letter from Director General of the Tretyakov Gallery in publishing «Antique Collectors Club» on the book by E. Parton , " Natalia Goncharova »
International Confederation of antique and art dealers in Russia and CIS ( MKAAD ) to protect heritage Natalia Goncharova
ARTinvestment.RU - 28.06.2011, 10:26
International Confederation of antique and art dealers in Russia and CIS ( MKAAD ) in this special report comes out in defense heritage of Russian avant-garde artist Natalia Goncharova in connection with the publication of controversial studies of her work.
According to the Confederation of the book by Anthony Parton and Denise Bazetu damage the reputation of the artist and can lead to distortion of its role in the history of art . Continued here
It is interesting events unfold , we are on the "advanced" .
Now translate the article about the exhibition Goncharova in the Czech Republic, where the police came after they read the article of our site.
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Natalia Goncharova: The war for truth or for money?
In all well-known "cold" war, in which foreign and grabbed our homegrown experts, supported by influential officials such as Director of the Tretyakov Gallery, the result of a long wait, if at all.
In words, both parties are opposed to fake Russian avant-garde works, sweeping the art market. In fact, Western authoritative experts "on Goncharova" make a real and strong steps, producing a monograph for the other.
And what museum workers have answered? TG announced its fund works Goncharova hundreds of oils and many thousands of works on paper published several local exhibition catalogs - or in conjunction with Larionov, or together with other Russian avant-garde Amazons - Exter and Rozanova.
In announcing the presence of the directory Bazetu "60-70%falshaka" Irina Lebedeva put itself at least embarrassing, but rather - in a ridiculous position. Accusing the authors of both directories to non-professional approach to the attribution of the published pictures, Lebedev has identified itself is not perfect professionalism, not based on proven research and objective evidence but on unfounded allegations, for which it in the West along with other members pristnopamyatnoy press conference can be quite easy to pull to court. I assure you that before you take a book into print and the authors and the publisher have undertaken a thorough legal review of its potential liability in the event of lawsuits. I know it well from my own experience, including by not sweet. And for sweet, too.
Especially considering the many revelations of so-called Russian so-called expert critics, whose authority in the West is close to no. And we have new rich who buy masterpieces, Western experts often do not know and need to "give me Rybakov," or "give me Sarabianov with Pospelov."
It is a pity that the participants of this action hurry, not separated "flies from cutlets" that is, the real work, published in catalogs, on the work that EVIDENCE not real, and has run a fever, spoiled his demagoguery and suddenly manifested diletanstvom noble and supported by all sane professional operators of the art market - to identify "golden fund" Goncharova, that is its real work.
This problem is well up in the air. Even highly respected by me and Peter O. Andrei Sakharov, apparently came to a discussion of this issue between the two methods, because their views were correct offset incorrect examples and emotions.
Andrew Sarabyanov argues that works with the same subject, published in Parton, such as "Car," "Cyclist", "Ravine" and the other in Goncharova can not be. But most of the paintings Shishkin called "Forest", while Malevich - "Suprematism." And the fact that artists before his death working with one story, altering it, seeking a new meaning, it is well known. I'm not talking about the copyright of their reps most successful works - or for a client on his specific request and at its specific funds or for exhibiting at the show, if the earlier work is gone.
Unfortunately, Andrei Sakharov, like many other critics, did not have access to the original works, and because they include a picture and confirmed by his father - Academician DV Sarabianov.
That is not yet known works Goncharova appeared and will appear in the market, known to many serious collectors, auctioneers and art dealers. It's ok if the appearance of each "new" (not re-done!) Work is available in a clear and demonstrable explanation.
An example of occurrence of "sudden" about 20 canvases and 60 works on paper was a collection of Daniel Vildenshtayna, which for decades was kept in a Swiss vault, but until then departed from the house of the widow Larionov - AK Tomilina an exhibition in the Russian Embassy in Paris. I bought it fully known Russian collector. At one point in the deal itself, I was close because the seller knew, and was struck by the quality of pictures of Russian (and not Paris!) Period of the artist.
Goncharova as an artist was extremely prolific. The exhibition in 1913-1914 she exhibited 750 paintings (of course, it was just part of her work at the time). Artprays points on sales of 821 works on paper and 307 oil paintings. In the TG are more than 400 oil paintings and thousands of drawings. In other museums, we counted yet (still have not stolen them from there), several hundred papers, and more - many decades of work in France.
How many thousands of works performed by Goncharov?
Nobody knows, but clearly only one thing - many thousands!
This is the origin of the work that is not already known to art historians from the Tretyakov Gallery.
And finally, about the money.
Can not be a specialist in Russian art (VA Petrov was - yes splyl!), Elapsed time Stasov. Now, as all the rest of the world of art has become highly specialized. Only an art historian who has studied specifically a particular artist, who has written about him work, and then a monograph, and as the pinnacle of his specialization, a catalog of the artist, it is reasonable, may be virtually the only authoritative expert for this artist. Often such a person is a child, the heir to the artist, and if not available, then an art critic who has devoted the study of his art throughout his life. In some cases, the Committee is aware, and a special case - Institute Vildenshtayna, producing catalogs, it is reasonable for almost all the Impressionists, and many, many other artists before and after them.
The important point is that since the first volume of the catalog, it is reasonable to ALWAYS dovypuskayutsya subsequent volumes, so as always there are previously unknown works by the artist.
In practice, these committees, etc. can not be avoided in order to sell the picture without her opinion and no one will buy on any auction it will not be accepted. And that means only one thing: if you want to sell Soutine - go to Tachmanu, you want to sell Kandinsky - Blow by Vivian Barnett, do you want to sell Goncharov - hurry because ..
And to whom a hurry? No one to hurry, because there is no such committee is "independent experts". In Russia alone who would not respond, but in the West - are others who are responsible for their word. The truth of the monetary sense, too limited, but for them more money reputation, which, however, is also well worth it.
And this is certainly the most important and defining moment of the story - it seems that "our" Goncharova pulls the blanket from "theirs" for themselves. The fight for the feeder? Very similar - a lot of money at stake!
That is only needed to "straw podstelit" and then fall will hurt.
Finally, I would like to quarrel began to open a dispute between two parties, in which we could get as the result of "filtered" folder, reasonably authentic works of great Russian artist.
And I do not rule out that the leadership of the State Tretyakov Gallery, if they need to accurately determine the authenticity of paintings by Goncharova, will need to go to Paris or New York "Natalia Goncharova Comité".
Последний раз редактировалось advokat; 15.07.2011 в 01:16.
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strange that this topic is not a hot debate. in fact, Western experts are trying to prove that they know the Russian artists who are better than they are known in Russia. If the answer to this challenge will not be loud , then followed by Goncharova for many other artists and art market will be greatly undermined.
До меня мир рисовали таким, как его видят. Я рисую так, как его мыслю. (с) Пикассо.
strange that in Russia react to small that define Western books that almost nobody saw , and the activity Jafarova , Turchin, Basner, Valyaeva etc. do not pay attention .
When Russ put on display "In terms of Malevich's " fake Lissitzky, outraged the public is an art ?
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I really wonder how all came to public discussion.
Well, got a book with fakes, someone protested , he replied, " What prove ? Do you own one ?". And the discussion goes smoothly to a standstill. Who is going to seriously discuss the examination of a photo? A consultation with a research question has fallen hard for a picture , and are expensive and large nobody wants (the owner of the picture is not necessary because, without consultation , he published the original owner of the work, the author of books even more so not necessary, but criticism is not necessary, because public scandal troublesome , expensive technological research thing , and that he ? most want? he warned friends and that's enough ).
So I really wonder who was the initiator of this conference?