Russian avant

[Grigory]

Сообщение от Maroussia

Now if the "evil administrator" again would be good, and they turned, eh?

Go on, have to overturn that.
Anger in the work only helps ...
Outside of work I'm very good!

[Маруся]

Now, when it began the very least should be, what to discuss - depending on participants:
You can - some areas and groups and their manifestos (platforms), we can talk about why Suprematism and Constructivism emerged at a time, but it turned out so different (as an example), we can talk about individual artists - the world-famous and unknown, we can discuss individual work themselves become a phenomenon in the history of art.
Qwerty promised to help ... And I still have that publish ...

Qwerty, thanks for the "Organic"! I confess, just today read.

[Маруся]

I do not want to leave the subject, so try again:

I quite agree with Qwerty - Russian avant-garde is our invaluable and has not yet evaluated the contribution to world art. Not evaluated, strangely enough, it is with us - there is no prophet in his own country.
Apparently, about the Russian avant-garde is not to say interesting, because very few people on the forum sees the potential for investment ...
I assure you that Kostakis and Gribanov collected after the war is not everything and everyone, although collected "on the list. And except for their names public, our art history expands the circle very slowly, and mostly "tramp has beaten track".
Here's an example:
Vitebsk group UNOVIS at the time of its creation, there were a dozen members.
After a triumphant return from a conference in Moscow in June 1920, at which UNOVIS held an exhibition of his works and a rally in Vitebsk, in her "studio Chagall came in full force"
What are the teachers: Chagall, Malevich, Lissitzky, Ermolaeva, Kogan, Yakerson ...
And what are students - they were just 16 - 18 years, and Museum Narcompros Bureau (headed by D. Schr) bought at an exhibition of their work, along with their own teachers - the sum of paid quite comparable (in RGALI have bought lists of works).
As a result, we have: talent talent X = unknown.
Here, for example, now Nikolai Mikhailovich Suetina all considered to be pillars of the Russian avant-garde, but his whole life he did not have any! solo exhibition, and he started as one of the rank and file members UNOVIS.
In UNOVIS Malevich, were still "Zorved" Michael Matyushina, students Kandinsky, Tatlin ...
In my opinion - the field is not godfather to work, but only of material goods, it will still return from obscurity the names of good artists. Many of them do not even set the dates of life!

[Кирилл Сызранский]

Сообщение от Maroussia

In UNOVIS Malevich, were still "Zorved" Michael Matyushina, students Kandinsky, Tatlin ...

And Filonov.

[fross]

Сообщение от Maroussia

I do not want to leave the subject, so try again:

I quite agree with Qwerty - Russian avant-garde is our invaluable and has not yet evaluated the contribution to world art. Not evaluated, strangely enough, it is with us - there is no prophet in his own country.
Apparently, about the Russian avant-garde is not to say interesting, because very few people on the forum sees the potential for investment ...

The potential certainly exists, but entry is very expensive. Plus a lot of fakes. Plus, besides the need for decent condition have, if not the most extensive and deep knowledge, you know the trusted experts.
Alas, daughter, for the majority of the forum Russian avant-garde interesting, but totally unavailable.

[Маруся]

Сообщение от fross

Plus a lot of fakes. Plus, besides the need for decent condition have, if not the most extensive and deep knowledge, you know the trusted experts.

Plus the desire to seek and find something new, and this, of course - is not easy. At the auction is much easier, but not so interesting.

Sorry, fross, but in my opinion, you do not have read my long message to the end.

[fross]

Сообщение от Maroussia

plus the desire to seek and find something new, and this, of course - not easy. At the auction is much easier, but not so interesting.

Sorry, fross, but in my opinion, you do not have read my long message to the end.

Maroussia course finished reading. I just tried to explain, perhaps not entirely successfully - to seek and find the necessary knowledge and time, a lot of knowledge and almost all the time.
I confess I have not yet all the pages you have so generously laid out, read. But this does not mean that I'm not interested. Interestingly, believe me. Given my ignorance of this topic, I hardly find myself interesting for you companion. If only you will not patiently and gradually share their knowledge.

[Tana]

Maroussia, agrees with fross, I personally very interested in Russian avant-garde, but as a fross "entry is already very expensive," so personally, it frightens me and, besides, I think, well when you can be in the right place at the right time, and I'm far from Russia but it does not mean that the subject uninteresting (even if not available), but Still want to know more, so read with great pleasure your messages! write!

[qwerty]

Crystallization of the picturesque Russian avant-garde began in the winter-spring 1908, when the brothers emerged expo association Burliuks "Wreath - Stefanos", larionovskoe "Golden Fleece" and "Triangle" Kulbin.
Exhibition "Stephanos" (Crown in Greek) was opened on 27 December 1907 to 2 February 1908.
In addition to the many exhibitors at Blue Rose "in this exhibition, attended brothers Burliuks, N. Goncharova, M. Larionov, A. Lentulov, G. Yakulov, V.Baranov-Rossine, L. Survage.
How to describe what it was billed, it is better to bring the press comments:
"Never has a dead, cold and dull Technical did not act so laid bare in Russian painting, as it is now in the works of family Burliuks.
To the family Burliuks adjacent g.Lentulov with his craft painting and g.Shtyurtsvage with impressionist signs.
Near convinced technicians at the exhibition are representatives of the vague manner of colored spots and short lines, the spineless, which is especially typical for Larionov. The essence of this manner is reduced to the search for a light of beauty, and this trait is particularly noticeable, and particularly troublesome in Natalia Goncharova. "(N. Muratov. Exhibition of paintings" Stefanos "., Russian word, January 4, 1908).
Two months after the "Wreath" opened the exhibition "Beauty of the Golden Fleece", organized by the means of N. Ryabushinsky, which was attended by French Van Gogh, Cezanne, Gauguin, Matisse, Pissarro, Signac, Denis, Roden and our Larionov with Goncharova Fonvizin (then spelled von Wiesen). And the French, and our assessment of the press have earned roughly the same: "less gifted squalor, despair impudence, the terminally ill, ugly daub, daub meaningless" (N. Zenitsyn. "Salon of the Golden Fleece.", The Voice of Moscow, April 19, 1908).

[fross]

Iskala illustrations and stumbled upon a site: http://www.russianavantgard.com/index.html