Collection Grigoryants in Tsaritsyno

[Николай Левенко]

Сообщение от Sergei Grigor'yants; 2703101"

Here you are making quite a common mistake - do not look at the date. After graduating from the Academy of Fine Arts Aivazovsky wrote often simply monochrome paintings, such as blue-gray, remarkable beauty and landscapes of Venice and a giant light brown harbor view in Nikolaev with many sailing ships (after the war in the collection of Vera Slonim, then at Dmytro Hnatiuk, it now seems , in the St. Nicholas Museum). In the 40 years he carefully puts into his landscapes the color, but it is still far from being the romantic rapture that seizes them in the 50s and later. By the way, it's early paintings, first of all, very beautiful, secondly often better drawn and almost never false. As for the bright and romantic landscapes Aivazovsky, then the stories, he came with five apprentices in Paris, locked up for a week in a hotel, producing paintings with them 40-50, where it was not known who wrote what. He put on an exhibition, they sold out and went somewhere else. From this Ayvozovskih worldwide have accumulated more than ten thousand. When you write about my stuff Aivazovsky and compare it with later versions, you forget that my is, apparently, the first in this series and belongs to the 40th year, they wrote in their expertise and Churak Gladkov, and all those that you mention it, this is the 50s and, indeed, other colors. My picture before the war and during the first decade after it had been in the collection of the artist Resetnicov, but for some reason it had a small, albeit very crude recording, just a scratch, probably, XIX century. They misled Gerashchenko and she did not understand that it is quite the real thing. Records were deleted restorer Shulgin, but due to an error Gerashchenko I had to take a closer examination of its deal and I gave her an exception to compare in the Tretyakov Gallery. As I well know who's in what there is professional, asked to do her guardian works by Aivazovsky in STG and the author of a monograph about him Natalia Nikolaevna Mammoth. Not the slightest doubt about the authenticity of things when compared with fifty canvases Aivazovsky TG neither the Mammoth, no Churak have arisen, which was written in the examination.

I'm thirty years studying art I.Ayvazovsky and heard stories similar to yours abound, all those stories to people away from creativity Aivazovsky, although sometimes legends such as these help build out clearly weak falshak.
In the case of your work is not even a faint hope that the present canvas you one of those that wrote in Paris Aivazovsky apprentices and, of course, it goes without is not a work of Ivan Konstantinovich . The story of the apprentices is just another legend. In the 40 years of the young Aivazovsky had no helpers, as well as in more recent years (not to be confused with the students who signed their work their own names.) I do not know what their reasons Churak Gladkov and wrote something, I would like to see this expert opinion. I agree with Gerashchenko - to take the painting for "quite the real thing" does not.
I am very sorry that this involved professionals such as Mammoth and Churak would not want to be disappointed in their professionalism, reputation expert opinions Tretyakov already for some time lost trust.

[Кирилл Сызранский]

Sergey Grigor'yants, you have come to nothing about it.

You are my long-winded explanations and exhortations dig yourself deeper.

[Коллекционер-любитель]

Сообщение от Sergei Grigor'yants ; 2703101 "

The difference between us is that I have gone through many different periods of the existence of the collection of the world , and my family still infinitely more than I do. And you , with greater or lesser success live in the present day with little knowledge of what happened yesterday and not worrying about what will happen tomorrow .

Already more visible desire to engage in dialogue. But do not put yourself more knowledgeable than those present at the Forum art .
Besides all previous exhibition presents your collection - as a collection of masterpieces. In my understanding - this is a unique masterpiece of quality and content of work - at different times it is quite different in execution of work , you can not compare the work uniquely Roslin Argunova and artists Makovsky , Perov , and later Lentulova , Mashkov , Konchalovsky.
All this to the fact that it is impossible to cheat far from visitors to your art exhibition. This is not a collection of masterpieces , but simply exhibition of the work of a private collector .

[uriart]

Сообщение от amateur collectors

This is not a collection of masterpieces , but simply exhibition of the work of a private collector .

This is an exhibition of bad work that wish to pass off as masterpieces.
And I am sure that this exhibition carried the commercial value initially .
In Kiev , about 3-4 years ago there was an exhibition of works DD Burliuk .
There were a lot of works in the exhibition. Even the catalog was released. The subtext was the same. Put up , and then long to sell the entire collection
With other people's words to say that there were a lot of questionable activities .

[REM]

So how did this story ended?
Those in the know?
May be it is showing this collection in the halls HIS Tsaritsyno led to the resignation in late 2013, the Museum Director, Mr. Khudyakov?