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По умолчанию Collection of Nicholas Khardzhiev



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FATE unique collection NICHOLAS Khardzhiev: FIVE YEARS BEYOND THE LAW

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text: Grigory Kozlov
Text: Konstantin Akinsha

Nikolai Khardzhiev - one of the leading scholars of Russian vanguard beginning of the century - in 1993 went to Holland, as it turned out, forever. His renowned archive, collected them for many decades and includes not only documents, but also masterpieces of fine art, has been illegally exported from Russia.

Timeline

Autumn 1992 - the famous Dutch Slavicist Willem Veststeyn comes to Moscow and met with Nikolai Khardzhiev. Scientific Requests Veststeyna help him emigrate to the West.
Spring 1993 - Veststeyn turn to galeristke from Cologne Gmurzhinskoy Christine and brings her to Moscow to Khardzhiev.
September 30, 1993 - Christina Gmurzhinskaya signed a contract with Khardzhiev and Chagoy to pay them on arrival in Amsterdam, 2.5 million dollars.
November 8, 1993 - Khardzhiev and Chaga travel from Russia to the Netherlands at the invitation of the University of Amsterdam.
February 22, 1994 - at Sheremetyevo airport detained Khardzhiev part of the archive.
April 19, 1994 - begins a series of publications in the newspaper "Izvestia" on the illegal export of archives and collections Khardzhiev from Russia.
September 2, 1994 - signed contract for the sale Khardzhiev and Chagoy Gallery Gmurzhinskaya "6 Malevich's paintings of the 2.5 million dollars.
September 9, 1994 - in the newspaper "Izvestia" about the merits of the gallery "Gmurzhinskaya" in the popularization of Russian avant-garde. Gmurzhinskaya said that she bought paintings Khardzhiev in Amsterdam.
July 27, 1995 - Khardzhiev is a testament, in which appoints his successor Boris Abarova.
November 7, 1995 - Lydia Chaga killed in a house on Olympia Plain.
November 9, 1995 - registered fund Khardzhiev - Chaga "
November 1995 - the newspaper "Moscow News" begins a journalistic investigation.
December 8, 1995 - Khardzhiev gives his last interview.
June 10, 1996 - Khardzhiev died.
September 1996 - new head of fund Khardzhiev - Chaga Michael Privat Charter change fund. November 1997 - at the stand of the gallery "Gmurzhinskaya" at the Cologne Art Fair appear gouaches Lisitsky sold her stock.
January 1, 1998 - Boris Abarov hiding from $ 5 million. Early April 1998 - on the recommendation of the Dutch government during the reign of the Fund introduced former government officials.
In the West, these values have become the subject of greedy interests of various art dealers. Mysterious and dramatic fate of the archive Khardzhiev spawned an incredible array of journalistic speculation.
After the death of 93-year-old scholar of his story finally became a tangled mystery.

We have tried now as much as possible to provide all of the presently known facts and evidence.

The most important of them - was never published until now Nikolai Ivanovich's last interview he gave six months before his death. In it he describes what happened to the archives, the creation of which was the purpose of his life.



Twenty-second in February 1994 the customs Konstantin Kovalenko drew attention to the passenger, who was at the counter customs at the airport "Sheremetyevo" accompanied by two policemen. The passenger with the guard, who was an Israeli citizen Dmitry Jakobson, was somewhat bulky suitcases. Kovalenko decided to inspect them and found many old manuscripts and photographs. Having one of them Mayakovsky, the customs duty has caused art critic Irina D..

That has determined that the suitcases are manuscripts of the poet Velimir Khlebnikov, letters of Kazimir Malevich, the paper Osip Mandelstam and Anna Akhmatova and rare materials on the history of Russian Futurism.
All of this was confiscated. Jacobson, who claimed that the bags do not belong to him, and he only asked to take them to Germany, was released and flew to Dusseldorf.

After inspecting the papers revealed that they originate from the archives of literary critic and art historian Nicholas Khardzhiev. In November 1993, this famous scientist had left with his wife Lydia Chagoy in Amsterdam at the invitation of the Institute of Slavic Studies, University of Amsterdam. Khardzhiev was 90 years old, and his wife of 83 years.

Among the papers seized from Jacobson, was found agreement in which Christina Gmurzhinska (owner of one of the world's largest galleries, "Gmurzhinska" selling Russian avant-garde, which she had inherited from the mother Antonina) promised to pay Khardzhiev Chage and 2.5 million dollars after arrival in Amsterdam. Agreement was drafted on Sept. 30, 1993 in Moscow and signed Gmurzhinskoy, Chagoy, director of the gallery Gmurzhinskoy Mathias Rastorferom and professor of the Institute of Slavic Studies, University of Amsterdam Willem Veststeynom.

From other documents found there, it was possible to conclude what Gmurzhinska promised to pay so much money. It was a rough draft of the contract, which read: "I H.N.I. (Khardzhiev Nikolai Ivanovich. -" Results ") is transmitted to the eternal storage K.G.B. (Christine Gmurzhinskoy-Bsher. -" Results "), six Manuf. Kaz.M. (Kazimir Malevich. - "Results"). " Here are schematic drawings of the six works by Malevich: 4 Suprematist paintings and gouaches 2.

For reference: the lowest price one Supremacist Malevich painting worth on the global art market for more than 2,5 million (as, indeed, even today). And then 6 first-class products.
April 19 newspaper Izvestia published an article about the illegal export of archives and collections Khardzhiev of the country. A certain "German from Cologne, was named the organizer of the" unprecedented in its scale smuggling operation. Started a bitter controversy in the press about whether the law is valid, according to which even such a famous scientist, as Khardzhiev has no right to take out my archives from the country and forced to resort to a "prohibited methods".

At that time no one knew exactly which were the values in question, even though everyone knew that the value of documents, manuscripts and works of art collected Khardzhiev, very large. The quality and size of the archive gave the idea that part which was delayed by Russia's customs - 3,5 thousands of documents. Composition is the art collection was completely unknown.

Only three years later, in November 1997, a Dutch journalist Hella Ruttenberg published in the Volkskrant newspaper excerpts from the collection Khardzhiev. It contains 1,355 titles of drawings and paintings: dozens of works leading Russian avant-garde artists, Larionov, Goncharova, Matyushina, Filonov, Tatlin, Lisitsky and many others. Including 7 of Malevich's paintings, 140 drawings and 20 of his gouaches.



Khardzhiev

Nikolai Khardzhiev born in Kahovka in 1903, studied at the Odessa University Law School. However, he did not become a lawyer, and began writing and visual art. In 1928 he moved to Moscow, where he soon became known in the circles of the avant-garde artists and poets as a kind of chronicler of the movement. Khardzhiev friends with Malevich, Harms, Zabolotskii.

In the early 30-ies he proceeded to create a "History of the Russian avant-garde." After the "formalism" has been officially condemned, Khardzhiev minimized his contacts with the outside world, but continued to collect and study materials on the Russian Avant-garde.
Occasionally, he still managed to publish their research. For example, in 1940, he prepared a collection of unpublished works of Khlebnikov. As the biggest connoisseur of creativity Mayakovsky Khardzhiev actively participated in the preparation of the collected works of the poet. During the thaw Khardzhiev as curator of the Museum of Mayakovsky in Moscow organized a series of exhibitions of avant-garde artists. For the first time after 20-ies viewers saw pictures of Tatlin and Malevich, Matyushina and Filonova, Guro, Ender, Chekrygin and Larionov. This was the beginning of international glory of Russian avant-garde. Overseas Khardzhiev considered the best expert on this flow.

Khardzhiev had the talent to survive in any conditions. He was extremely suspicious and mistrustful. Its archives and collections were legends, but nobody ever saw them completely. Flats Khardzhiev visited a very limited circle of people. At his door was written in chalk: "Please do not disturb". Once, even a kind of Moscow professor, one of the best specialists in the vanguard, was forced to talk to Khardzhiev through a door chain, standing on the landing. He never managed to convince the owner to let him.

Khardzhiev was not a collector - he was a researcher. Archives and collections have been useful to him as a working tool. He never bought from artists of their works: they gave their best work a man who understood their work as anyone else.
As a researcher, rather than the usual art collector, much less a salesman on the art, Khardzhiev could not assume that the drawings and paintings, which he collected all his life, ever become so important to the art market. By early 90-ies on the art market exploded with a series of scandals proddelkami works of Russian avant-garde artists (see "Results" № 21, 1996). It became more valued undisputed works. Academic reputation Khardzhiev was impeccable, and the origin of things from his collection was no doubt. The painting of Khardzhiev "was considered absolutely" clean ". And the price of "pure" paintings by Malevich, for otsekam Espert, can now rise to 10 million dollars. His drawings are about 100 thousand, gouaches - from 300 thousand dollars to a million. In hardzhievskoy collections there were hundreds. It is obvious that those who offer this collection for sale, will be master of the world market of Russian avant-garde.


The position of the Federal Security Service:
Investigation Department of the Federal Security Service of Russia criminal case, brought up on charges of attempted smuggling from Russia of the literary archive of the famous Moscow art critic and collector, NI Khardzhiev. During the investigation of the criminal case being investigated all the circumstances connected with the fate of the vast collection of art and literary archive of the collector.
The objectives of the investigation of this criminal case is a complete, comprehensive and objective disclosure of the crime, the establishment of all those involved in its commission and to bring them to justice and return to Russia contraband removed from her creative heritage Khardzhiev. In this regard, Russia's FSB has been working in close contact with the Ministry of Culture, Ministry of Foreign Affairs of Russia, as well as mnterpolom and law enforcement agencies of Germany and the Netherlands.

The extended solution of the above tasks primarily driven by the reluctance of the Fund "Khardzhiev - Chaga" in the Netherlands to return cultural property belonging to Russia.

The very course of a criminal investigation and established him in the circumstances and the person at present constitute the secret of investigation. However, its completion we will be given full information about its results.



Check out

For many years, scientists have wanted to go to the West. But he could not leave his papers and take him by the law was impossible. Although precedents. For example, the largest collector George Costakis received permission to export to Greece part of its collection of Russian avant-garde. For this he had to "donate" the Tretyakov Gallery many valuable works. Khardzhiev believed that he do not get: he was a foreigner, as Kostaki. In addition, the scientist did not want to give the State, which for many years pursued the avant-garde artists, none of them works.


Several times Khardzhiev trying to find someone prepared to take the archive and collection of the country. But it was dangerous. One of his friends, who had the opportunity to organize Khardzhiev move to the West, openly told him that none of the people, respecting and valuing the scientist does not assume responsibility for such an adventure.
Khardzhiev not receded. In an effort to leave his wife supported Lidiya Chaga. A relative of the famous artist Dmitry Mitrokhin, herself an excellent sculptor, she knew what an outstanding role played her husband in the study of Russian avant-garde. Strong-willed and energetic man, Chaga believed that aims to protect Khardzhiev from social ills, and saw in the move to the West a unique opportunity to create a scientist normal working conditions.

In his letters to his friend in Moscow, written in the summer of 1994 and subsequently published in the newspaper Moscow News, Chaga told how Khardzhiev find people who have agreed to arrange his departure from Russia.

"In the autumn 92 года came to us, Professor W. (Willem Veststeyn from the Institute of Slavic Studies, University of Amsterdam. -" Results ") with a proposal to publish all the material for the anniversary of Mayakovsky and asked if I would come NI (Nikolai Ivanovich Khardzhiev. - Summary ") for a visit. NI said that the age of the guests ride it was too late, as well as the life of our labor and its print forever with distortions, it would have arrived for good, leaving his collection to museums, archives and institutions, and he would have edited his work, how many have time. VI twice came to us with the Dutch museum and found that all of this. In the spring (1993. - "Results"), they brought us Christine (Gmurzhinsku. - "Results") was found that Bukharin knew the deceased mother of Christine, which was a decent man - hence the trust arose. entered into an agreement, it is very advantageous for them: they have 6 best kept things so that 2 of them we sell them, the remaining 4 are transmitted (of the same. - "Results") in "everlasting possession", ie without the right to sell, but with the obligation to convey to the museums. For this was promised to guarantee the safe delivery of the archives and several more pictures, less preserved ... The professor came to VA regularly and helped to pack and align NI Archive - 280 folders, where the manuscripts have been invested, and drawings and watercolors, and precious books. Incidentally, V. compiled a list of the contents of folders ... part of the library, too, promised to bring and took a lot of luggage. .. " (MN, 1996, № 30)

According Khardzhiev, Gmurzhinska and director of its galleries Mathias Rastorfer personally carried the value of the apartment elderly scientist, not trusting anyone. First, archives and collections located in a specially equipped apartment-safe on Tverskaya Street in Moscow, and then parts were sent abroad.

Khardzhiev agreed to leave Russia only if he receives the news that the archive and the collection has arrived safely in the West. He assured that the transport was successful, and in November 1993, he and his wife arrived in Amsterdam at the invitation of the Institute of Slavic Studies.
Unfortunately, the old scientist and his wife did not know what they could legally take and archive pictures in Holland and use them until they die. In April 1993, came into effect a new law of Russia on the import and export of cultural property. Under the law can be taken out archival documents and works of art abroad for any length of time on the condition that they return to Russia. And to find people in Russia who would pay for six paintings by Malevich 2,5 million dollars to ensure that elderly Csete tranquil old age in the Netherlands, it would be much easier than access galeristke from Cologne. But surrounded Khardzhiev not find anyone to explain it to him. However, many close to Khardzhiev people believe that, even knowing of the existence of such a law, it would not be trusted to Russia's government, much domestic business even more.

Christina Gmurzhinska-Bsher
was born in Breslau. Grew up in Cologne. She studied art history in Paris. He said in Russian. Now - one of the most influential figures in the market of Russian avant-garde. Her mother, Antonina one of the first realized the commercial significance of the Russian avant-garde and established a gallery in Cologne, Gmurzhinska. Starting in the 60 years, practically from scratch, she made a fortune in trade works by artists who were in the USSR contemptuously dubbed "formalists. Christina Gmurzhinska started working in the gallery mother in 1973. Family or Kids business passed to her after her mother's death in 1986.

Amsterdam. Hilton Hotel and a house in Olympia Plaine, 55
November 8, 1993 the two old men for the first time in his life left the country. The first unpleasant surprise was that, despite the promises, pictures and archive in the Netherlands was not there. According to the fungus, published in the same Moscow News, books and paintings were the Germans, and the entire archive in Moscow remained safe-house where all ransacked, and shared - that someone is now not prove ... " (We can assume that in this moment of the archive and split off the part that was later detained by the Customs.) NI in Amsterdam to discover that nothing has arrived, became ill with jaundice and started shouting: "Where are my papers and cried all the time. "

Khardzhiev chaga and settled in the Hilton Hotel, expensive and of little to people who do not speak any foreign language. Financially, older people were depending on Gmurzhinskoy: "... we opened the account and offered to spend as much as possible (and Christina will clean up his paintings and drawings).
Only after the Moscow customs officials impounded part of the archive Khardzhiev and found a paper on the agreement with Gmurzhinskoy, the remnants of collections and archives were transferred from Germany to Amsterdam.

By this time, an elderly couple - at the expense of those same 2.5 million, of which agreed with Gmurzhinskoy in Moscow - bought a house on a shady street Olympia Plain. But moving to Olympia Plaine not made the life of two elderly people had difficulty walking easier. Khardzhiev and Chaga need of care, the people who could provide them with basic contact with the outside world.

A communication was not. It seemed that Khardzhiev and his wife live in an impenetrable wall. First settled with Russian family Yegorov, who had nursed spouses. But soon Egorovs were expelled, as Khardzhiev and Chaga believed that they were related to Gmurzhinskoy. That Cologne galeristku mature wife accused in all their misfortunes.

Nicholas Ilyin
A descendant of Russian emigrants of the first wave. Lives in Frankfurt. He said in Russian. Previously - General Manager of Public Relations German airline Lufthansa. He took an active part in organizing the largest exhibitions of Russian avant-garde, for example, "Great Utopia", shown in Europe and America. He has extensive contacts in the Ministry of Culture of Russia. In 1996, a respectable German magazine "Focus" Ilyina accused that he was using his official position, through front companies in Finland has sold rights to the exhibition of the Tretyakov Gallery and the Pushkin Museum in Museums United States and Western Europe. In early 1998, this theme was continued by the magazine "Der Spiegel". Now Ilyin - European Representative for Public Affairs American Foundation Solomon R. Guggenheim.

No sooner was shocked by the news that part of the archive delayed at customs, as in Russia's press published the sensational publication of "case Khardzhiev." Then it turned out that the visa for which Khardzhiev and Chaga have arrived in Holland, is overdue and necessary to obtain a residence permit from local authorities. To make matters worse, when the couple took up parsing of archives and collections, which arrived in Amsterdam, they have the impression that the folders that are packaged them in Moscow, the lack of many valuable documents, drawings and books. Guilty of "misappropriation" the archives and collections they considered Gmurzhinsku.

The remaining papers and pictures were placed in one of the banks in Amsterdam. Here, according to Khardzhiev, there was another loss. Later, he said that Professor Veststeyn, who had access to a bank safe-deposit box, subscribed to the name Khardzhiev, giving some valuable materials, including manuscripts Klebnikov.
Khardzhiev and his wife realized that they were pawns in a strange game. Once in the Netherlands without a residence permit, without money, the archive and collections, they also accused Russia of violating the law. Lydia Chaga has given an interview respectable Dutch newspaper NRC Handelsblat. A few days later she excitedly phoned the newspaper and prohibited from publishing their own words. In the newspaper staff had the impression that the elderly woman refused to be interviewed by someone's pressure.



negotiations

Elderly Couple had to lead complex negotiations, and at once with two partners: the gallery "Gmurzhinska and the Ministry of Culture of Russia.

The talks preceded by a violent campaign in the press. In "The News", told about the illegal export of collections, attacked Russia's intellectuals. They all came to the defense Khardzhiev, arguing in the pages of Russian Thought "and" Literary Gazette "that he had every right to take their collections and archives. (Intellectuals did not notice that in defending Khardzhiev, they helped Christine Gmurzhinskoy.)

Negotiations Gmurzhinskoy to pay 2.5 million for the paintings of Malevich complicated by the ambiguity of the situation of archives and collections. According to the lawyer Gmurzhinskoy now, the collection was taken in Amsterdam in full, and in June 1994 was its inventory.

However Khardzhiev and Chaga believed Gmurzhinska returned not all. The couple could not openly accuse galeristku, without going into details of the illegal export of treasures from Russia, part of which, moreover, was detained by Customs and did not get to Amsterdam. Gmurzhinska is sought as soon as possible to formalize in Amsterdam purchase of paintings by Malevich, already all 6, with no conditions for transfer of 4 of them on an everlasting possession. "

Negotiations with representatives Gmurzhinskoy lasted several months. After another round of Chaga wrote to her friend in Moscow: "The meeting took place, but complicated by the new shit, which suggests that either they think we are quite survivors from the mind or exceeded all the limits of audacity ... Even this Ilyin, with its strong ties."
Nicholas Ilyin elected as its mediator in the negotiations with the scientist and his wife, the Ministry of Culture of Russia. A descendant of Russian emigrants of the first wave, the nephew of the famous philosopher Ilyina, while he was general manager of Public Relations Lufthansa and was responsible for sponsorship of cultural projects. Thanks to this Ilyina were extensive contacts in the ministry. The old men, terrified by the possibility of criminal prosecution by the Russian authorities in connection with the illegal export of values, agreed to use the services of people close to the ministry. Moreover, according to Khardzhiev, energetic person Lufthansa introduced him ill-wisher Gmurzhinskoy.

Willem Veststeyn Professor, head of Russian literature mnstituta Slavonic Studies, University of Amsterdam. Specializes in works of Velimir Khlebnikov. He said in Russian.

Ministry of Culture insisted on "the immediate transfer of the archive Khardzhiev the Embassy of Russia in the Netherlands" in exchange for ending the criminal investigation of illegal export of cultural property. In addition, the Ministry called on the scientist to give the archive, a detainee at the Sheremetyevo customs office, Rossiyskomu State Archive of Literature and Art (RGALI). Confiscated archive already belonged to Russia, but the fact of donation was needed to calm passions. (In the end Khardzhiev made this gift, stipulating that "closes the archive to researchers for 25 years.)

From correspondence with the Ministry Khardzhiev Chage and it became clear that it is a strange way binds the outcome of negotiations with the position of spouses in relation to their current environment.

(In one of his letters to Khardzhiev then Deputy Minister of Culture of Russia Mikhail Shvydkoi stressed: "I must be sure that those people that helped you recently, did not suffer." Perhaps the vice. Minister had in mind Veststeyna, Gmurzhinsku and its assistants.)
September 2, 1994 in Amsterdam, was issued a contract for the sale of the notorious Malevich Gallery Gmurzhinska. Prudent galeristka included in the contract item about the possibility of "selling the future of these papers in the collection - museums and private collections - with the necessary condition that the buyer can appreciate the cultural and historical value of items purchased. Price for all 6 pictures remained the same - 2.5 million dollars!

Boris Abarov
The nephew of the famous Moscow Art actor Boris Petker. A graduate of the Directing Department GITIS. Assistant props on the set of "Stalker Tarkovsky. Then the Department of Culture Krasnopresnensky District Komsomol Committee. In 1980 he emigrated from Russia. Became acquainted with Chagoy in 1994. Since 1995, becoming the main "domoupravitelem" in the family Khardzhiev - fungus. Bequest Khardzhiev became his heir. After the death of Khardzhiev headed the fund in his name. According to the Dutch press in early 1998, fled with $ 5 million. At present, presumably living in New Zealand.

Rather Khardzhiev was forced to sign a contract, as it told us the head of the Department of Conservation of Cultural Property to the Ministry of Culture of Russia Valery Kulishov: "We have a copy of the contract between Khardzhiev and Christine Gmurzhinskoy committed on Sept. 2, 1994, ie after removal of the spouses in the Netherlands. The subject is 6 works by Kazimir Malevich totaling $ 2.5 million. Because of its content, we can conclude that Gmurzhinska already paid for all costs associated with furnishing the spouses in the Netherlands (house in Amsterdam, legalization, through a bank, etc.), which amounted to approximately 600 thousand U.S. dollars ... The balance of $ 1.9 million was to be transferred to the Khardzhiev, after he had a handwritten signature to authenticate each of their paintings sold. Consequently, the couple could not independently manage their own money so far, has not fulfilled the conditions Gmurzhinskoy.

A week later - the first time since the scandal with the collection - Gmurzhinska silent on this in the press. In that same newspaper Izvestia, which began a journalistic investigation of the "unprecedented smuggling operation and Gmurzhinskoy role in its organization, September 9, published an article by Eugene Bovkun" Khardzhiev presents its own archive of Russia. " But it it was not so much about Khardzhiev much about the merits of the gallery "Gmurzhinska. (Ministry of Culture announced elderly Couple that article Bovkun was the result of his efforts.) Owner of the gallery itself hastened to declare that it had bought paintings from Khardzhiev only after his move to Holland.

How to assure those who communicate with Khardzhiev and Chagoy while old people have the impression that Moscow officials blanch Gmurzhinsku and Ilyin was with her in the conspiracy.
They did not trust him with their letters. Further negotiations had to the Ministry and Russia's diplomats in the Netherlands.

Gradually, the negotiations reached an impasse. Khardzhiev not agree to return to Moscow his collection. He was ready for a symbolic gesture - a gift of two or three paintings. Ministry of similar turn of events is clearly untenable. Ministry reminds the scientist and his wife about the "seriousness of the situation" and even the possibility of connection to the investigation of Interpol. It is hard to imagine how long the war would last letters, but at this time in Amsterdam, the tragic events occurred.


Jan Buze
Amsterdam businessman and adviser on pension issues. Financial Advisor Khardzhiev was due to his partiality for water transport. In house Khardzhiev fell during the life of Lydia fungus. (Her father, a sailor took his baby daughter in swimming. Since then, it dreamed to buy his own boat and asked Abarova help her. He readdressed the request Buze. Yacht purchase failed, but the old couple became advisor to the person's face, knowing nothing about art in general and the Russian Avant-garde in particular.) Nov. 9, 1995 completing registration fund behalf Khardzhiev and in January 1996 became an authorized Abarova. According to press reports, at the present time, earning at the history of archives and collections Khardzhiev million dollars, bought a villa in France on the Cote d'Azur and went there.



Accident or murder?
In 1995, the Museum Ludwig in Cologne, organized the exhibition of Kasimir Malevich. It was organized in cooperation with the State Russian Museum, which provided the lion's share of the exhibits. However, the curators of the Russian Museum were not notified of one picture, which their German colleagues have included in the exhibit. It was "Supremacist Arrangement Malevich, bought by Christine Gmurzhinskoy Khardzhiev.

Shortly before the opening of the Cologne exhibition galeristka resold "Supremacist track" to his loyal customer - "chocolate king" Peter Ludwig, the creator of the museum in Cologne. Painting was not only incorporated into the exposition, but also graced the cover of the exhibition catalog. Only after the dramatic protests of the staff of the Russian Museum has finished cover was put under the knife. However, the picture of hardzhievskoy collection remains on display, and the indignant members of the Russian Museum refused to take part in the opening day.

Friends Khardzhiev and the fungus talk, that those painful the news of the sale of "Suprematism composition" Ludwig. The old men for some reason thought that, while they are alive, Gmurzhinska hesitate to sell items from their collections, which she inherited.
The scientist was difficult to reconcile with the fact that his treasure would pass from hand to hand on the international art market. But he no longer had the legal possibility to prevent it. Immediately after the Cologne scandal Lydia Chaga, which supported all family contacts with the outside world, has agreed to give an interview to one of the authors of this article and tell the truth about the Khardzhiev. Interviews took place. At a time when ticket to Amsterdam has already been bought, there came the terrible news - November 7, 1995 Lydia Chaga died.

The circumstances of her death, and today it is unclear. In recent months the fungus lives in the house at the Olympia Plaine appeared Boris Abarov, a former Moscow director, with 70 years living in Holland. He became secretary, major-domo, and indeed the guardian of an elderly couple. It was he who called emergency doctors, who found the bloodstained chaga with his head smashed. Abarov claimed that his wife Khardzhiev fell down the steep stairs - the compulsory affiliation of any of Amsterdam's house. In the press have suggested that Abarov he pushed an elderly woman down the stairs during an argument. However, the Dutch police was satisfied with the version of the accident. 92-year-old scientist was left alone.

Michael Privat
Amsterdam notary. Until April 1997 he worked in a notary's office, "Lubbers and Dyke", which carried out all legal transactions Khardzhiev and fungus. July 27, 1995 in the will Khardzhiev instill in their appointed executor. Summer 1996 Abarova replaced as head of fund Khardzhiev - fungus. Currently, reports on the activities of the fund to finance police and the new board members appointed on the recommendation of the Dutch pravitelstvaIlin engaged in "shuttle diplomacy" and began to send letters to the Ministry of Khardzhiev and Chage and their responses Moscow officials.

meeting

After the death of fungus remained a possibility to learn the truth - get a meeting with Nikolai Khardzhiev.

It was not easy. Access controlled scientist Boris Abarov. Before you allow the interviewer to Khardzhiev, Abarov, he said, was to negotiate with his colleague, co-chair of the newly created fund Khardzhiev - fungus, a consultant on pension funds by Ian Buze. There could not arouse suspicion that the fund was registered just two days after the death of fungus - November 9, 1995.

Agreeing to establish a fund, Khardzhiev wanted his suffering was finally collection accessible to the public. Buze helped to register the fund. His head was very Khardzhiev. According to the statute, the Fund should have lead at least three members of the board, among them - one a politician and an art critic.
Finally, permission to meet with Khardzhiev was received, and December 8, 1995, he told stories about his departure from Russia and the events that followed. (See below an interview with Khardzhiev.)



"Selection of the best"
This was the last interview the scientist. A few months later, June 10, 1996, he died. On the testament of his property was divided between the Fund and Boris Abarovym. At this time there is a new player - notary Michael vaccinated.

Privat appointed executor Khardzhiev. Coming from a humble notary offices Lubbers i Deik becomes almost the main actor in the drama with hardzhievskim heritage.

Fund abruptly changes its policy. Instead, recorded in the Charter provisions on the "preservation of the collection as a whole" decision "to choose the best." Desire Khardzhiev put his collection to public view is forgotten. It is interesting that Abarov, and instill begin giving interviews in which he tried to convince the press that in fact, archives and collections are worth nothing. As stated Abarov in the newspaper Volkskrant, is "just a pile of old papers, filthy dog feces and eaten by mice." But it is for the public. Meanwhile, the "best choice" is already underway, and buys the best, as we are assured all the newspapers, Christina Gmurzhinska.

And Abarov and Buze, and instill aware of the feelings that nourish Khardzhiev and Chaga to its Cologne "benefactress. Nevertheless, the original drawings for "A Tale of about two square" El Lissitzky and more than two dozen of his works, 4 small paintings of Malevich and his Supremacist composition "White Cross" is sent to Cologne.
In this "second wave" of works from the collection Khardzhiev who got Gmurzhinskoy, and was a big picture of Malevich's "Peasant Woman". Last summer, one of the authors of this article, I saw a picture in the New York office of his new owner - a former U.S. ambassador to Austria and the owner of one of the largest perfume companies of Ronald Lauder (son of Estee Lauder). At the same time "king of beauty and a passionate collector is the chairman of the board of trustees of the Museum of Modern Art in New York and manages the team dealing with the problems of abducted during the war of artistic works created by the International Jewish Congress. In the figure, Lauder purchased one of 6 paintings by Malevich, who Gmurzhinska bought in bulk for 2.5 million. According to British newspaper The Art Newspaper, the picture Lauder cost 7 million dollars. To the remark of the author's most scandalous stories associated with the masterpieces from the collection of Malevich Khardzhiev, millionaire silent. Then the author did not know that the famous collector received an invitation to join the Foundation Council, which could serve as a grave cover for further sales. But the former diplomat, was careful and refused.


(Ronald Lauder became famous in Russia that recently in New York, he gave the Deputy Minister of Culture Pavel Khoroshilova Kiprensky painting "Portrait of the Basin", which belongs to the Russian Museum and the missing in the Crimea during the war. The painting was sold in 1996 at a charity auction organized by the Government of Austria, together with the auction house Christie (see "Results"#14, 1998). Unfortunately, this philanthropic move clouded by the fact that the collection Lauder are still two works by Malevich, illegally exported from Russia.)

While the "best" end up quietly from Amsterdam to Cologne and then across the ocean, the fund has been active in negotiations with the new Deputy Minister of Culture Pavel Khoroshilova of "softening" with Russia. Agreement was eventually reached.
Privat promised to restore Russia's archives, three pictures (Malevich, Rozanova, Tatlin), and two drawings by Malevich. But this time the scandal broke unplanned.

Christina Gmurzhinska showed work Lisitsky purchased from the fund, at the Cologne Art Fair, and then, as newspapers, sold them to the buyer, whose name is still unknown. The German and Dutch press showered Fund Khardzhiev - fungus hail of questions about his right to sell the collection.

At this time in the Stedelijk Museum in Amsterdam was an exhibition of 79 paintings from the collection of Malevich Khardzhiev, organized by the fund. During the press conference devoted to this event, Priva had to explain the policy of "preserving the best." The hall was and the Deputy Minister of Culture Pavel Khoroshilov, which for the sake of that cut short his vacation. Khoroshilov said that participates in a press conference as a private person. According to press reports, he struck all the two statements. The Deputy Minister said that he could not assert that the collection Khardzhiev was removed from the country illegally. In addition, he announced that in future Russia's claims to the fund will not.



exchange?

In 1997, history took a new Khardzhiev unexpected turn. In October, the then Prime Minister Viktor Chernomyrdin visited the Netherlands on an official visit. During the visit, he expressed concern regarding the collection and archive Khardzhiev. As written by Dutch newspaper, the prime minister made it clear that the only solution to this issue will break the deadlock over talks on the fate of the collection of the banker Koenigs. (Drawings by Durer, Holbein and other old masters of this collection, purchased by Hitler in Rotterdam in 1945, fell into the hands of Stalin's trophy brigades. Now they are in the Pushkin Museum of Fine.)

On the recommendation of the Dutch authorities to the Board of the Fund introduced new members: former Minister of Justice Jacob de Router and former director of the Stedelijk Museum Henk van Os. Dutch financial police launched an audit of the Fund. However, Dutch authorities have clearly overdue.
By that time, Boris Abarov, taking, as the newspaper Volkskrant, about 5 million dollars, was in New Zealand. Jan Buze with far less impressive sum of one million went to France. Only notary Privas stayed in Amsterdam and is now responsible for issues of new members of the Fund and Dutch officials.

Interesting that at the beginning of the investigation and collection of archives were not in bank vaults and in museum stores, and in stock, posted on the territory of Amsterdam Airport Schiphol. What are they doing there - remains a mystery.

Now legacy Khardzhiev is in the Stedelijk museum's storerooms. Perhaps there it will remain. At the moment the Dutch side is ready to return to Russia archive, but no collection. Many believe that the fate of the collection Khardzhiev now linked with the fate of the collection of Koenigs. Fate hardzhievskogo legacy will be defined not only in the offices of The Hague, but also on the board of fund Khardzhiev - fungus, which continues to be the estate of a scientist and his wife. The Dutch authorities, of course, have an influence on the board, but it is unlikely they can dictate their will. One way would be to hand Russia's proposal to exchange a collection of Koenigs hardzhievskie treasures. But it is doubtful whether Russia officials would dare to violate svezhepodpisanny president of the Law on Restitution. The law declares all "trophy art treasures, including a collection of Koenigs, the inalienable property of Russia.

With the participation of Dina Goder and Marina Golubovska

Source: "Results", № 19, 1998, we published October 4, 2007
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Most of the Russian avant-garde works from the collection comes from the gallery Batliner Gmurzhinska. In search of information about the history of this gallery, I came across an article in the Literary Gazette. What a bitter contrast to such different fates of collectors and collections:

Цитата:
desecration of monuments

Marauders can sleep calmly. Until they do not care neither Moscow nor the Hague. But there are people who have been faithful to the Russian scientist to the end. Their cause FSB will not forget.

When people can not find a logical explanation of a phenomenon that captures their imagination, they are inclined to the two interpretations of the causes: either divine, or criminal. Divine restrict flying saucers, fluke fishing, but do not let the money. Money should be explained. Money unexplained is money stolen.

Never tell anyone explain Nikolai Khardzhiev methods, which he collected his outstanding collection. And already, of course, not explain. But since no one (with a few known cases) did not dispute his ownership, it is assumed that the writer had amassed a modest art treasures is unclear how, but legally.

End. Home See "LG", № 39

Vladimir Nadein

COMPETITION AMONG A MILLION!

Surprisingly, for 93 years of his life Nikolai Khardzhiev a minute had not served in the Soviet state institutions. Before 1939 it somehow it got away, but with the 40 th, when he joined the Union of Writers, he skillfully secured the right to nothing to participate, no sign, no one to invite me for months and generally does not leave his housing. Reclusive reputation has contributed deep specialist Mayakovsky, which Khardzhiev has an extremely rare publications, and intolerance of all interpretations of the first years of the poet - except, of course, own.

This arrogance costly to the hermit in the fanged MTP, but then played a role like a breeze, but in the Soviet about writing a very important detail. Khardzhiev specialized in the first place, the most trivial, with the official point of view, futuristic years Mayakovsky. They tried to speak more quietly, as a youthful sins. But highly valued all these "I sing my fatherland," "a gentleman with a white tear, narkomprostsy ..." and "my police to Watch Over Me." Khardzhiev disgust overlooks the choicest stages of the founder. He made it a rule never to participate in the bickering because circulations and laureatstv. In addition, he had his own opinion about the bodies.

Noble but not very profitable.

But then again: how the money for the priceless acquisition? As agreed in the shack writer not of this world, millions of dollars? And on the back if this fascinating mystery to anyone except the already very different, but in his heart all the same organs?

Читать дальше... 
However, before authorities prick up their brown-eyed Shepherd, take a look at some exceptions. For example, a gift Sophie Lissitzky. Original avant-garde photomontage, which 30 years will appreciate the hundreds of thousands of dollars. Sophie forwarded the Khardzhiev a sign of gratitude, but the generosity of the gift then there could be no question.

In the early 30's a young German woman in love with no memory of the talented and brilliant passer of the artist from Russia, and followed him into the country, which she had no idea. The country was originality. Unlike native Germany, where fascism was blossoming, her husband Lazarus Lisitsky not planted for Jewish blood or passion formal art. (Both were serious crimes in Germany.) In the USSR, her husband put most of the other. For that had lived in Germany and had married a foreigner.

First, from the printed editions disappeared by El Lisitski. And then he vanished in the phases of the gulag and snakes Lissitzky Lazar. Sophie repeated the bitter path of the beloved, but not until the very end. Survived, it is to late 50's, when Stalin became tangled in Novosibirsk. However, her home, her food and clothing - all these differed little from the camp. But not stamped on the sides of the convoy, did not burst, biting his soul, Shepherd and late at night could be a long look at the survivors of the husband.

Sophie made several attempts to somehow make your life easier by offering local museums that some of the heritage. But museums flatly refused - not for money, nor even for the case.

And here, imagine - to call on the telephone office. Says Moscow. Dear kind voice. Member of the Writers' Union. Head, possibly large. And he said that her husband - a genius. And what will soon be his show. And people remember him. And what work it is not garbage, not delirium Mazilu, and the pride of Russian art.

These metropolitan exhibition at the Museum of Mayakovsky, Nikolai Ivanovich organized in the early hours of the thaw. Its Fortunately, the museum then sent the new director of the lady, which until then was in charge of anything military: either the choir junior sergeants, either party organizations Garrison kitchens. Stressing the fact that the great proletarian poet had different illustrators, Khardzhiev organized in the museum one-, two-day exhibition.

No advertising, no reviews, conducted in one or two unsuitable rooms, these exhibitions have become and shock, and present cultural Moscow. The first, dedicated to works of El Lisitski, was held in 1960. It was then the widow of the artist will present work Khardzhiev, which is destined to become an ornament of the congregation, and the apple of judicial discord, and the special subject collection Khardzhiev, where most things as it has no history.

Followed the exhibition G. Klutsis, the forgotten masters of avant-garde photomontage, then Kazimir Malevich, Vladimir Tatlin, M. Matyushina, Filonov, E. Guro, B. Ender, V. Chekrygin, M. Larionov, Natalia Goncharova, and then the jubilee exhibition Velimir Khlebnikov.

As recalled by witnesses, all these exhibitions Khardzhiev not contributed a penny of public money - just allowed to use the premises. Director of the museum was looking to the Great Soviet Encyclopedia, searched there name Guro or Malevich, of course, is not found, and, reassured, had given her permission. Gennady Aigi, now a famous poet, and in those younger years at the museum who helped Khardzhiev devotedly and selflessly, later recalled that all the exhibits show, sometimes from one end of Moscow to another, they carried on public transport - a taxi there was no money.

Feast of Russian avant-garde broke Marc Chagall. First, the headmaster has led to anger that Khardzhiev deceived her: Chagall Mayakovsky practically illustrated. Secondly, the Chagall were glorious bodies. The exhibition was closed without explanation. Invitations destroyed by the act. Enraged Khardzhiev (nature of something unbearable) dumped on the mountain the director of its fury, slamming the door shut than a brief chapter of tolerance of the authorities to the Russian avant-garde.

But the scandal had other unpleasant consequences. In all modesty vital needs Khardzhiev, he could not exist at all without the money. The brilliant editor, he almost did not get from publishers. Tossed for examination of rich-collector Kostaki. But Khardzhiev openly despised that his employer for the ignorance and greed, and therefore advised him reluctantly and only in extreme need.

"Inventory of the Museum of Mayakovsky's books demonstrate that he (Khardzhiev) ... had something to sell from their own collections: letters, photographs, lithographs and watercolors. For lithography Goncharova in the early 60-ies the museum had paid 125 rubles for Chagall lithograph - 100 rubles, for the original photomontage E Lisitski - 20 rubles. And then the following phrase, which makes reading the book Helly Rottenberg so funny: "With this Khardzhiev supplement their income."

Of course, it is ridiculous to talk about two hundred, which, supplemented income "the greatest collector and custodian of Russian avant-garde. But what is true is the value of modest sums for Khardzhiev. He had long since trained myself to live luxuriously at 1 ruble per day. But when no choice and the dime on the bread, he forced himself to sell the original photomontage Lisitski for 20 rubles.

Today, the price of the original on the western auctions measured by many hundreds of thousands of dollars. Khardzhiev could not know in the early 60's the dollar value of what he parted. He felt only the pain of parting, which was intolerable.

February 22, 1994 Kovalenko vigilant customs officers confiscated in the airport "Sheremetyevo-2" baggage Israeli citizen Dima Jakobson. The three suitcases will be based on old photos, old handbills, old letters, old manuscripts. Khardzhiev say about it immediately. By the time he had a house in Amsterdam, bank accounts, millions of dollars.

On the confiscation of the archive, largely consisting of letters himself Khardzhiev, Nikolai Ivanovich say no immediately. But in the end they will have to report.

He was told this morning. He cried all day and all night.

They still got it ...

 

THE ROUTE OF DREAMS

Khardzhiev big robbed twice, and both times it is done by foreigners. One took the picture, very expensive to sell, but said that demand was not and is not, and that he threw it as unnecessary. More on the eye was not.

Another took two jobs, one left me in reimbursement hassle. But trouble, as he said, were empty. Case, as it turned out, not burned.

And it consisted only of one thing: Khardzhiev rushed to the West.

And not just to the West, namely in the Netherlands.

And not just in Holland, and its largest, although not the capital city of Amsterdam.

According to available documents and eyewitnesses I know exactly what Nikolai Ivanovich dreamed. In Amsterdam, a museum Stedeliyk "where the fates decreed accumulated the world's largest collection of paintings by Kazimir Malevich. He visited hundreds of thousands of people annually.

Hopes Khardzhiev as it consisted of two closely related parts.

The first deals with Malevich. For adored artist Khardzhiev craved more sonorous world fame. He imagined a holiday reunion of almost all of Malevich by a remarkable museum roof Stedeliyka.

Two months ago I wandered through the malevichskim the halls of this museum. Not at all tuned to the delight of all that I learned in Amsterdam, I still could not help but note that the paintings of Malevich in Stedeliyke "very good. Best location in the spacious halls. Perfect light. And most importantly, people. Adults - is itself. In all languages of the world. But the main thing - dozens of boys and girls age ten to fifteen, sitting on the floor, in complete silence listening to half-whisper of their mentors.

However, besides the beautiful light "Stedeliyk" struck me more and deaf indifference to the memory of Nicholas Khardzhiev. A spokesman for the museum, with which I agree in advance to discuss in detail the types of Russian investigator to life in Amsterdam, was initially set up quite favorably. However, as soon as I start talking about what the museum wanted and could do for Nikolai Ivanovich, as the tone became drier. A spokesman said that the museum administered by the city government of Amsterdam. It and it alone could make a decent salary and Khardzhiev small office at the museum, as he had so long dreamed of in Moscow.

However, orders of this kind of government have been reported. That is why there is no reason that this Russian scientist, even if he felt better, it would find in "Stedeliyke" coveted office.


We are easily deceived, when we want to be deceived. Khardzhiev believed that he has something to combat the famous Amsterdam museum. No, not even paintings of Malevich. In reserve was a surprise that he was preparing his entire adult life.

60 Khardzhiev tirelessly gathered the biography and career Malevich. For Nikolai Ivanovich there was no detail. Specifically, almost all of them to collect - trifles. But together they created a picture. World about it knew nothing. Nobody in the world, from "Stedeliyka" to the KGB, did not even suspect the existence of hundreds of sketches and sketches in pencil and watercolor drawings of fragments of known works in different versions, and rare pamphlets, typewritten copies of read and unread lectures on the manuscripts of compositions , on the theory of light and color of the notes, where two or three trifling words, but which to some precious casket of knowledge - the lost key.

60 years, all this lay in his suitcases, they wandered for him to evacuate, hid at the sound of steps on the stairs. Even the last, relatively prosperous quarter century, when the refuge was the cardboard door, two-room "hruschoby", was full of the usual fear - but also the tireless work. In the 60 years he secretly from all studied, systematized, the emerging picture of the pieces, searching for the key to the unique logic of genius.

Not by right of possession, and because of this secret half-century of work was at Khardzhiev and thought about myself. He was previously comfortable with the enthusiasm of the greetings, kissing and other congratulatory tinsel, which in such cases can not be avoided. But the dream he saw not the point.

Need a small cozy room in Stedeliyke. Position - Consultant. You can still modest: Consultant Kazimir Malevich. With a decent salary, a mass of free time and opportunity to come to grips with the fact of what he dreamed all my life - Velimir Khlebnikov.

How many hours he spent on Khlebnikov's line, which was included in several editions. In the poem "Uchemitsy" was taken to read the expression "blue gaze." Analyzing the originals, comparing with other methods of the poet, Khardzhiev came to the firm conviction that it is inaccurate, that should read "sineemy gaze," a neologism formed by analogy with "reservoirs". He rejoiced in solitude, he was proud of himself.

Meanwhile, his Khlebnikov Archive, the most precious to him in the world, avidly read the woman he despised, it is not tolerated. I read in the tightly-guarded warehouse, a receipt that records not be disclosed and will not do. Read to oblige the Federal Security Service of Russia in a quandary. That is: to prove that the letters written Khardzhiev, he does not belong.

 

HOW STIRLITS, BETTER STIRLITS

This is described many times, so - a run on the facts.

February 22, 1994, an Israeli citizen Dima Jakobson, accompanied by two policemen guarding him close to the customs desk airport Sheremetyevo-2 ". When checking luggage, the customs Konstantin Kovalenko saw a photo of Vladimir Mayakovsky, became suspicious, called "the duty of art critic." Duty alone is enough look at the letter, signed by Velimir Khlebnikov, to immediately confiscate bags. Meanwhile, Kovalenko "split" Dima, who willingly abandoned his original assertion that removes your family archive, and said that it "was asked."

Who asked, why and for how much - reply Jacobson did not have time, because the plane was in a hurry. Police also seemed vanished. Prosecutors opened a case on the smuggling attempt. FSB willingly climbed into the details, which smelled of the millions.

Thus began the quiet phase of the struggle for the precious literary archive. She was almost a half years. Nikolai Ivanovich, and those who acted on his instructions, carefully pulling suitcases themselves. In this they secretly helped the voluntary and hired assistants from different departments of the Ministry of Culture to the customs.

The positions of assistants Khardzhiev were simple and did not contradict the laws of Russia. Suitcases and their contents, no doubt, belonged Khardzhiev. It was his literary archive, they are assembled, they are systematic, with traces of his pencil marks on almost every piece of paper. Among the subjects there was no one who would be included in directories or rosters of registered values of national culture. At least one simple reason that until the opening suitcases customs official Kovalenko nobody in the world of the existence of these items are not suspected.

However, the position of those who opposed the extradition of suitcases to their owner, too, were simple and did not contradict the legislation of Russia. Well, let's say, the fact that Anna Akhmatova - Russia's greatest poet. The fact that Khardzhiev supported her in the most difficult months and years - details of their biographies. But the letter the poet Nikolai Ivanovich's views on poetry - this is our national property. And as long as the Ministry of Culture of Russia will not issue a document under which the letter Akhmatova is not our glory and pride, bound for the letter will remain at the castle.

But if the two are mutually exclusive positions are legitimate, then which of them the law?

Ta, which approved the bosses. Extraditing K. Kovalenko $ 50 prize for vigilance, the power shown on what is and will stand.

 

Catch-22, 23, 24, 25, 26, 27, 28 as well as long as it takes to continue

Thanks to the famous novel by Joseph Heller and transfer of my late colleague "Crocodiles" Mark Vilna in our speech included the phrase "Catch-22".

I remember that Mark was suffering from the translation of the title of this novel. "Catch 22" - however there were only numbers. In the Russian translation is not priblatnennosti aroma that permeated the original. Where precisely would be "head-dress-22", "stuck-22". Very nice sounds simple Russian obscenity, but before that in Literaturnaya Gazeta yet, it seems, is not ripe.

Of course, the "trick" now sounds familiar. Yet somehow ridiculous, as if "she" when referring to a professional prostitute.

Recall the essence of "catch-22. It's just a number on the order of the American air units of World War II. Allied Pilots have terrible losses during the raids on Bologna. This Italian city has a wonderful anti-aircraft defense. Each flight is like a suicide.

The pilots, of course, do not want to die. They are inexhaustible in evasion. But the boss creates and publishes a universal order-22. From flights can be released only lunatics. But the fact of non-flight shows sanity pilot.

It is surprising why the phrase "Catch-22" has become international. Well, welcome to the quiet Swiss or bacterial Norway. But our life - and in the Soviet times, and in those days - the whole consists entirely of tricks-22.

Pension legislation, tax law code, local budgets, the right to alternative service, house registration - all of this catch-22, in turn, woven of the tricks-22, 23, 24, 25 -, and so on.

Oh, if Khardzhiev was law-abiding citizen! He would have acted as a well-known collector of modernistic art Kostaki. Not only a collector but also an experienced businessman, Kostaki did not shake their rights. He just rolled back the share of power, a tribute or, as is now said to roll back. State, then Soviet, has rolled back, releasing a collector with his treasures beyond the socialist camp.

Khardzhiev could not go to the "rollback". And here it is not greed. For Costacis separation was too painful - some of his fingers cut. But Khardzhiev more serious. For him it was - someone from the beloved children to kill.

All my life I lived here, Nikolai Ivanovich, and for a moment did not allow recourse to the Ministry of Culture for permission to export. He knew this ministry, his boundless venality, casuistic slippery and slavish dependence on the FSB. Half a century has lived in an atmosphere of secrecy that not even dreamed of glorious Stirlitz, he knew that he alone has never and will never break through the fence "tricks-22.

Rare Russia's law is not mined "Catch-22. Their application has the age-old tradition. All this makes life unbearable citizen, and the existence of the bureaucracy, as if the poor and downtrodden - true prosperity. In this situation all the more true of all the officials of the officials - the apparatus of the FSB.

Knowing that belongs to the archive Khardzhiev and dear to him as life itself, the FSB unceremoniously climbed into private life. This was not invited "duty judge" with knowledge of the provincial guide, and a connoisseur of the avant-garde, as the author of Malevich E. Shatskikh.

All in the narrow world of Russian avant-garde connoisseurs knew what a devastating criticized Khardzhiev book Shatskih, especially the chapter on Malevich. However, you remember, what was the nature of a Khardzhiev? For example, the assessment was too cantankerous. But the mutual hostility. Shatskikh also responded very unflattering and the famous hardzhievskoy editing, and the knowledge of avant-garde.

Three months, day after day, froze the art in the cold basement, without the right to record or disclose the essence of their work. FSB has never officially recognized this expertise and do not disclose the results. But, I dare to suggest that even from Shatskih security service was unable to obtain the desired output. Is becoming increasingly evident that the archive will have to return to the owner.

And then in "Izvestia" published an article Kovalenko. Not Constantine, customs, and Yuri, own correspondent in Paris. their hearts are warm. Export Khardzhiev his artistic property and attempted exportation of the literary archive assembled them were called crime of the century. And, of course, a direct rebuke was thrown by the FSB.

'Anything like such reproaches. From this cooler heads and hands, of itself, - cleaner.

Responding to criticism of the angry public, the FSB announced piarovtsy such that the restatement is difficult. The position of the FSB is based on several "Catch-22", each of which in turn is based on "Catch-22".

FSB does not deny that the archive owned by Khardzhiev and only Khardzhiev. She does not deny that he had left Russia on his own. However, removal of ownership of the property the security service confidently describes as "contraband", but from the Dutch authorities want to "return the cultural property belonging to Russia" as "the creative heritage of the famous Moscow art critic and collector, NI Khardzhiev.

And one more important task confronts a security service: "The establishment of all persons involved in it (crime) the commission, and bring them to justice."

That is necessary to find and imprison those who helped Khardzhiev escape from the hated his company is not naked, but better yet plucked a falcon, but with no doubt of his property.

 

Elusive "GMURZHINSKA"

The famous red cube on a quiet street in Cologne - is an art gallery "Gmurzhinska, most Russian space on the banks of the Rhine.

Here reigns the vanguard, mostly Russian. Antonina Gmurzhinska, late mother of the current owner, as they say its enemies and not too deny friends, made his name and fortune on a secret buying Russian avant-garde. Very sociable and binding, it opened a lot of friends among the heirs of the early twentieth century Russian avant-garde artists, buying expensive that the Soviet museums refused to buy cheap.


I know too little detail of a specific business Antonina Gmurzhinskoy, although I read a lot about it. Undoubtedly, it was a person of words and harmony. In case of conflict she preferred to pay a premium rather than underpaid. Even Nicholas Khardzhiev, suspicion which needs no exaggeration, readily admitted to Antonina such virtues as honesty, dedication and skill at all times keep his word.

In this paper, Antonina were two main difficulties. No, not a purchase of Russian avant-garde turn of the century - here for her at first did not lined up a little queue of sellers.

The compound, which all have guessed, was trans-shipment of works across the border. Who were they - sportsmen, diplomats, and a hole in the wall of the customs, pilots, courier? Antonina died several years ago, is not disclosed their secrets, but perhaps by transferring them to his daughter and heiress Christine.

The second difficulty, more serious, was the complete ignorance and misunderstanding of the western public perfection Russian avant-garde. Therefore, Antonina, though it was self-taught businessman, dispatched a solid part of the proceeds to publish. Albums Matyushina, Filonov, Malevich, Ender, Larionov and others, published a richly and elegantly, softened the ground for the cream of Russian avant-garde. Or, simply, have contributed to a sharp rise in prices for its products.

As written in the prospectus of the gallery, Christina Gmurzhinska (by her husband - Bsher) in contrast to the self-taught mother specifically studied the history of avant-garde (with a focus on Russia) in Bonn and the Sorbonne. Her approach in scale - however, and maybe more. We have written about the plays on sketches by Malevich and music Matyushina. This statement of the gallery. Return invite young Russian artists working in the genres of artistic abstraction.

Among the papers in the three arrested at the customs suitcases found intriguing handwritten poluobryvki. For example: "The Treaty. I H.N.I. convey Kr. GB, for perpetual storage six works Kaz. M. "That's all. No stamps instead of signatures - facsimiles flourishes.

Or: "I, Christine G. Bsher, pledge to provide Mr NI Khardzhiev and his wife LV Chaga after their arrival in Amsterdam check in the amount of 2 500 000 (two and a half million) dollars as a means of livelihood.

The last document is dated September 30, 1993, almost on the eve of departure Khardzhiev in Amsterdam. Everything converges, and some researchers point directly to the heads of the gallery as the organizers of departure Khardzhiev in Amsterdam.

Gallery masterful fight charges in the organization of departure Khardzhiev along with his collection. Her lawyers have already proved in court that found insufficient evidence to accuse Christine of contraband.

But there is one piece of evidence from which the gallery Gmurzhinska "could not get out. Rather than throw (literally and figuratively) of the two helpless in the Hilton Hotel, throwing them out of pity, which some polmillionchika, "Gmurzhinska" do the following:

1. Opened on 2,5 million accounts in the name Khardzhiev and fungus in Amsterdam and Zurich.

2. Paid a number of their medical expenses.

3. Systematized and published the surviving archive Khardzhiev.

4. Published in Moscow in two volumes of works of NI Khardzhiev.

5. Prepared in the English language monograph on Khardzhiev.

6. Has Khardzhiev prize for the best research about Velimir Khlebnikov.

And, perhaps most importantly in the chain of evidence: refuses to discuss their participation in the work connected with the memory Khardzhiev.

Hella Rottenberg calls the names of dozens of looters, who were separated from their holes legacy of the great Russian intelligentsia, with honorably fulfill his vow to preserve and maintain the miracle Russian avant-garde for posterity. Stolen differently: Who furniture, pictures of people who have money from your bank account. Marauders worked skillfully and does not betray yourself.

If the FSB is determined to find someone who helped Khardzhiev fly to the city of his dreams after a century of famine, fear, deceit, betrayal, hypocrisy, the gallery "Gmurzhinska" - the surest mark. In the end, its owners - the only ones who could deceive the elderly with huge profits - but do you go ...

© "Literary Gazette, 2000



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Старый 23.08.2009, 20:13 Язык оригинала: Русский       #3
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fross,
Thank you very interesting information.



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Старый 24.08.2009, 13:49 Язык оригинала: Русский       #4
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The latest issue of Art Auction, too, was an article on the future of private collections here, and none too happy example.
Interestingly, while the fly as you are happy example?



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Старый 24.08.2009, 14:41 Язык оригинала: Русский       #5
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Interestingly, as you happy example of the fly?
When collections survive its creator and remain intact, become public and preserve the name of the creator. I think a good example of collection Batliner (will be part of the famous museum), even better, Thyssen-Bornemisza (own museum).



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Старый 24.08.2009, 15:12 Язык оригинала: Русский       #6
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One can only hope that the practice of nationalization of private collections gone forever, and part of the assembly, which today may only pledge, will be one piece of museum exhibits.

[color="# 666686"]Added after 5 minutes[/color]
In search of the first part of the article in the LH, stumbled on an interesting material about its author:

In February 1957, began working the creator of the newspaper "The collective farm labor" Cheremisinovskogo Kursk region. The staff consisted of me, grooms and Sergei gelding Vaska.
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The first impression of journalism - a terrible stench, which emit a tiny sugar factory in the vicinity of the editorial board. Stinking pulp - if you do not know what it is and is not necessary. In the same year moved to the Donbass. In the "Voice of the miners, factory newspaper mine them. Egor Abakumov, wrote his first satirical piece. Few years later re-read - disgusting horrible. In the Lviv oblast newspaper "Vilna Ukraina" has published hundreds of satirical articles. Was mastered singing in Lviv Ukrainian Mova. By chance was taken in "crocodile", but seven years later, naturally expelled - a satirical piece "So to whom are we?" According to Ukrainian Central Committee, I cast a shadow on the Regional Party Committee of the Poltava region. Another quarter of a century he wrote satirical articles for the "Izvestia", unaware that the service will conclude our own correspondents in America. After the collapse of the old "Izvestia" good Americans invited the director of a tiny television radiofirmy called WMNB. Service exploiters confirmed that the whole world - a huge Soviet Union, simply parthozaktiv in each country called in their own way. Ordenonenosets. Recipient of several prestigious awards of the now existing states and creative unions. In the ledger Who is who in America to me six years in a row devoted four and a half lines bold nonpareil. He returned home with joy, which gradually grew into disgust. The impression is smoothed by the fact that my wife - Olga, daughter - Olga, and granddaughter - Olga, too.
http://www.ej.ru/?a=author&id=45



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Старый 24.08.2009, 15:30 Язык оригинала: Русский       #7
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And here is the first part of the article! The same number 39. Admins, help me, please, if fross no objection, to put everything in order. Thank you.

Desecration of monuments
Nicholas Khardzhiev - pride and glory of Russian culture. Who and why it seeks to present a greedy scoundrel
Vladimir Nadein
Only at the end of the 60-ies Nikolai Khardzhiev allowed himself to break purdah. His name became famous among connoisseurs of Russian avant-garde.

 

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In the most recent years of his long secret life of the eternal and the poor beggar struck many millions of dollars. Not that the clear sky, but - almost.

He is so trusted them! In it, who despised money, suddenly awakened premonition of rest and will have only two possible outcomes - when there's no money at all or when they are enough.

When he appeared many millions, he was sure - enough. But the incredible happened. His millions rebelled. They betrayed the master. These millions taken away from it all. First - the essence of life. Then - joy of life. Then - the life thing.

Now these big money to finish off the memory of his life. The fact that he only managed to do. One of the whole of Russia. One of the world. For this case, he sacrificed love, fatherhood, siblings, friends and girlfriends. For the sake of Russian avant-garde, the great artistic movements, which in the early twentieth century saw hooliganism, vypendrivaniem and heroism of feeble mind, he without hesitation sacrificed all the joys and benefits that may be bestowed upon his long and 93-year-old life.

And now the money finished off a good memory of him. Why are there good! Just memory. Just the information that was, say, on this earth Russian intellectual Nikolai Ivanovich Khardzhiev. What is he starving and freezing, but saved for posterity the memory of the incomparable Miguet Russian culture. Today no one to grieve at the abandoned Russian graves in Amsterdam. And former erased in the public consciousness without a trace, if an electronic eraser on a computer sketch. It remains only something about the millions and something about customs.

However, and this notoriety quickly fades. The main reason is that the memorial wreath Nicholas Khardzhiev though looked evergreen, but the suites, he was not the laurels. Of the bucks.

But less greenback rustling in his wreath, more recently, such a lavish and lush. Too many people stroked this coveted green sticky hands. Art critics, ministers, well-wishers, notaries, professional provocateurs, close friends, experts on Russian avant-garde, the robbers, the bankers, merchants, journalists, housewives cute, thinking about his future, customs officers, officials on both sides of a "cultural curtain" ...

Together, they soon raznesut recent flyers on their bank accounts, and then the name of the martyr Russia's culture forever rest in piles of fossilized dung information.

And if anyone in koi ever touch a shovel in disgust this sintered product secondary, and then appear before the descendants of the righteous, not a hero, whom we all owe, but very, very bad man. Predator and ignorant. Psychopath with a thieving proclivities. Ham, a coward and insufferable braggart. Slacker. Moaner and rogue. Army deserter, or, at best, a clever malingerer.

And, stroking his conscience on the wool, will repeat the fastidious historians almost gnomic curse that sent the famous widow, Nadezhda Mandelstam slightly less famous victim was the poet, his once-fearless savior: "Nikolai Khardzhiev (SOB), a eunuch and loot."

This image is advantageous to almost all who were involved in the last years of his life. But to allow such a development history can not. And not just because the curse of their Nadezhda Mandelstam sent in some years, when he had to hurry with the manuscripts to please the keen interest that erupted to her husband, the publishers of the West.

And then, immediately after the arrest of Osip, when it proceeded on behalf of the chilling horror of belonging, who gave her his bachelor rookery in Shabby komnatuhe? Kohl Khardzhiev. He fed her sausages, otpaival tea and slip into chocolate. And she was every chocolate, which, choked with tears, not feeling taste, swallowing his future oblichitelnitsa, just worth a hungry young writer a week - without work and without income, without friends, though a little richer or more influential than himself.

Marina Tsvetaeva and Anna Akhmatova met only once, as they say, himself. And it is all in the same squalid lair Khardzhiev, one of the few places in Moscow, where there lived a quiet courage.

But no, not at all why the name of Nikolai Ivanovich should be assigned to the most esteemed in Russia of the twentieth century. Fate sent him a historic mission, and he did it brilliantly. He more than any other man in the world, is obliged to Russian avant-garde for their salvation.

And only when it became clear that his beloved avant-garde out of mortal danger, Nikolai Ivanovich Khardzhiev began to think about his salvation.

ESCAPE Amsterdam

No matter how hard I try, I can not avoid this painful vision. Sheremetyevo-2, Monday, November 8, 1993-th. Khardzhiev 91 per year. He was tall, his back almost straight. From under the broad, shrubs vrazlet eyebrows somewhere forward directed unblinking gaze. Lidiya Chaga, wife of 84 years, flexible and agile, a former ballerina, casually chatting with Willem Vistshteynom. Professor of Russian Language and Literature, University of Amsterdam. The professor is young, but because hardzhievsky suitcase gets heavy to carry him.

They stand, waiting for landing, waiting for the flight to Holland, the city of Amsterdam.

Why in Amsterdam - more on that later. We are checking passports. 'll Do not come? .. Khardzhiev invited to a congress, but this is just an excuse. In the hands of an elderly couple's passports with temporary visas. But both know that in his Moscow apartment, they will not return ever.

This "never" tortured them. About life abroad, they dreamed of for decades. Twice plans disrupted. Twice robbed. As Europeans: kindly, smiling, shamelessly and brutally. Is this not the third time? If so, then if they wanted to return they will simply nowhere. All that they had already loaded into boxes, Sveza somewhere in the not known to them the place. From this point, surreptitiously breaking the boundary, which has the world's largest castle, the unique collection should again come to them in Amsterdam in all its splendor invaluable.

And if you see? Maybe not too late to return everything to their seats and try to squeeze into this new and terrible life in Russia? Just out of the tanks fired at the Duma. They killed hundreds of people. Or thousands? The door of their apartment, which stores an invaluable, easy to knock out arm bandit average fatness. Where to look for protection, if only forces left here on this bag with drugs? That's why I standing next Willem Vistshteyn. The young professors nice smile, but such a terrible Russian pronunciation that thought Khardzhiev dvoyatsya. When a word is uttered - no, like a decent, for the abomination of long-term view would have found a villain without an accent. How grinned gentle smile of encouragement - well, typical European thief, even with a half-way to return home.

But here, life will not. The apartment is still there, but not at home. So far, their salvation was obscurity. But in recent years, news of the collection Khardzhiev, about his collection of rare paintings and manuscripts of Russian avant-garde is becoming increasingly common in Moscow, Russia, around the world. Visions of one another all the more horrible haunt Nikolai Ivanovich. The thought that his precious treasure, so masterfully uberezhennye more than half a century, from the Cheka-OGPU-NKVD-MGB-MVD-KGB, that all these rotten leaves, yellowing photographs, drawings and frayed strewn across paintings that for decades he cradled in his hands, cover of darkness of loneliness may become a thing even vile bureaucrats from the Russian Museum, and the stupid bandit ... No, even the thought is intolerable ... Better hurry to board the plane, and then go into a clean European terminal and clear: "Fraternal greetings to you, ladies and musyu!"

Well, then, after "musyu? In the articles on the forefront, which are sometimes published in the West, Nikolai Ivanovich, as befits a scientist, made numerous footnotes to the English-, French-, Germanic-, Italian-and God knows what is multilingual sources. But could speak only in Russian. This is not a fraud case. Among the scientists is very common special knowledge of foreign languages: reading and common sense to know how to catch, but say a word or a rumor that some perceive - the problem simply unbearable. Nikolai Ivanovich was just such.

His wife was a child in France, but retained in memory only "sorry".

But they yearned for a life without fear that would leave Europe and with this pitiful vocabulary. Especially since the arrival of the collection of hope remained strong. A collection too ... Yes that there the whole collection, even a small part of it ... This ensured the life of the well-fed, gentle, respectable.

Both spouses were not too young, and yet driven by the thought of death, realized how little suited to them the concept of "long". And so it happened. Khardzhiev died in Amsterdam with the same temporary visas. Nikolai Ivanovich - two years, Lidiya - six months earlier. People are very old age, nothing unnatural.

Estestv otherwise contrary: after a magical dream come true, after the appearance of abundant bank accounts in Switzerland and the Netherlands, after buying a three-storey house in a quiet part of Amsterdam, Nikolai lie on the bed in his room on the second floor in disgust, turn away from the window (from Holland? From Europe? from non-country?) face to the wall and so prolezhit until his death.

House on Olimpiyapleyn, 55 chose Lidiya. She, a former ballerina with rostochkom vershochek, flexible, like a cat, liked the steep spiral staircase between floors, making the elevator (been there and your home elevator), it is almost never used. With this ladder and it falls on Nov. 7, 1996 and died at the hands of the first kind, and then the suspect and her scampish immigrant from Russia. She squandered untold money and hours talking on the phone with the Moscow acquaintances, and they remember it well-directed review of Holland, from which emanate anger and anguish: "Much like a shallow plate with tulips, tulips and tulips again."

This point of departure from Sheremetyevo - as the peak of Greek tragedy. It seems to choose their own future, but everything is predetermined by higher forces.

After six hours they were in the coveted Amsterdam, the best room in the Hilton. Vase with fruit, wine, chocolates, of course, a bouquet of tulips, dinner in the room - all paid for. And so it is now and go. Henceforth and forever for them - all paid for.

Whom? Why? For what?

WHY Harjit?

The last two and a half years of Nikolai Ivanovich Khardzhiev, since he became a foreign millionaire, describes almost every minute. Russian newspapers and magazines, foreign newspapers and magazines, television, books.

Ordeals and suffering Nicholas Khardzhiev throughout most of Soviet rule remain in impenetrable darkness. The impression is, if anyone is seriously interested. Though I must say immediately that any, to choose a week in Amsterdam Khardzhiev easier to describe and explore, than any of the nine decades he spent in the Soviet Union.


His biography is easy to fit in a paragraph of medium size. Born Kahovka in 1903. His father was an Armenian, his mother - a Greek from the Turkish city of Smyrna. They met in Odessa, where Nicholas in the 21 years of age came and trained as a lawyer (in what institution - it is not clear). Lawyer did not work a second, dreamed of literature, but make sure not to have a special talent, gave himself (and, as later turned out, the rest of life) study of the Russian avant-garde. In the literature of his idols once and for all become Khlebnikov, torsion, Harms, in art - Malevich, Tatlin, Larionov.

But the main shield against the ills of life in Soviet times was Mayakovsky. We Khardzhiev, generally a very stingy on the written word, about Mayakovsky wrote the most books and articles. But it is doubtful whether he liked Mayakovsky as ardently and tenderly as he adored and admired Mr. Klebnikov Harms. After 1935, when a letter from the poet's mistress Lili Brik appeared the famous Stalinist resolution: "Mayakovsky was and remains the best, most talented poet of our Soviet epoch, around each row of the recent futurist crowding is a dense ring of commentators that the non-partisan and socially passive Khardzhiev break a number of literary generals still would not have succeeded. And all interpretation Mayakovsky was given at the mercy is the highest literary rank.

Once to Victor Shklovsky (one of these generals) had left his wife Sophia Khardzhiev Narbut, his lot for many years to become loneliness, poverty, dirty shirts, thin boots. Most likely, this time should include the beginning of his collection on the history of Russian avant-garde - art and literature during the early twentieth century, which by the end of this century ascended to the heights of commercial triumph in the West.

But then the end of the century was still almost a century. In the 29 th year, Kazimir Malevich made a step which, experts believe, made him the most expensive later Russian avant-garde artist. Asked to go to an exhibition in Warsaw, he went to Berlin and left there about a hundred of his best works. Hoped to return, but the Soviet Union were on Malevich's other plans. Six years later, just sat there, Malevich died in incredible poverty. The government has denied a former professor in a modest increase in pauper's pension and blocked from traveling abroad to try to escape from cancer.

If in Berlin Malevich offered $ 20 for the painting, he thought it would be a deal happier. Most recently, one of the abandoned works in Berlin, "Supremacist composition", was sold at auction for 21 million dollars.

With all the fantastic ingenuity and virtuosity of the work of the great Russian avant-garde Filonova auction value of his works is not close to the paintings of Malevich. According to one art critic for The Washington Post, here affected by the fact that Filonov was a little more understandable to the Soviet arts bureaucracy, making it more likely to buy in domestic museums, and, consequently, fewer were exported to the West. Kazimir Malevich in the Soviet Union feared less, why he does not dwell in the vaults, and became available for the world. Almost half a century hung Suprematist works by Kazimir Malevich in the walls of the famous Museum of Modern Art (MoMA) in New York and the Museum "Stedeliyk" in Amsterdam, before they reached the current price exorbitant figures.

In 1933, when Malevich, already banished from teaching, is still enthusiastically worked in his Leningrad studio, his paintings were affordable for the average employee.

Then I bought them Khardzhiev? Let us say at once: no one knows. Khardzhiev never tell anyone, as he became the owner of eight paintings by Malevich and many of his drawings and sketches. But we know that it was at the request of Khardzhiev Malevich wrote his only surviving (alas, unfinished) autobiography. We also know that at the beginning of 30-year Khardzhiev with two of his equally young colleagues took to write the history of Russian avant-garde, which became involved in a lively and not a futile correspondence with the key witness for the avant-garde events.

From artists and poets, their relatives and friends of active participants and random events, three young researchers have received many notes, afishek, clippings from newspapers all perished, memories. All this would have cost nothing, and indeed about the commercial side of the project once it would be ridiculous to stutter. Khardzhiev friends picked up the fact that everything felt almost no debris, but they - and only they - the priceless evidence of history. But to capitalize on this "debris" could perhaps only trouble.

Death of Kazimir Malevich coincided with another straightening artistic policy of the Party and government. Mayakovsky forgive his youthful pranks, but other futurists strongly driven out of "multinational soviet art". Genius Klebnikov not even studied at Faculty of Philology. Name Malevich was not in the most detail encyclopaedias. Larionov (left Russia in 1914) until the end of the Khrushchev "thaw" ceased to be a traitor. Ender, Guro, Matyushin, Goncharova, Chekrygin (the first illustrator of Mayakovsky) - all of this constellation of talent was reflected in the official mirror dimmer than realism Reshetnikova or obedient innovation Saryan.

Nikolai Khardzhiev official ecstasy had no effect. Stiffness estimates and invariance in deep worship of the same creators were inherent in him still in a very young age. Later, by the end of the 60's when he becomes very famous among the elect, and completely unknown to the general public, it would be called intolerance, hysteria, anger.

Indeed, the list of those to whom Nicholas Khardzhiev denied in his artistic sympathies, was very extensive. These included not only treated kindly by the authorities Soviet realists. Khardzhiev, for example, denied a famous Kandinsky innovator of belonging to the Russian avant-garde, stubbornly believing it "German". Chagall was for him too rational. Rodchenko had no relation to art.

Although the 37-th year is traditionally considered the peak of Soviet repression, Khardzhiev tried to distance themselves from the authorities as far as possible in the early 30's. His passion for collecting old papers and absurd mazilok that have recently been the essence of the youth revolution in art, while the NKVD was not interested.

The project to create the history of Russian avant-garde, for which the 30-m was enthusiastically seized upon by Nicholas Khardzhiev, Vladimir Trenin and Theodore Gritts, the beginning of 30's played out perfectly. Collaborators Khardzhiev considered it necessary to wait until better times. Gritts soon lost interest in the idea, but with the death of V. Trenin in 1942, all of them has collected personal archives Khardzhiev, which he tirelessly filled up one of his well-known methods.

Care (or exile?) First wife ever formed deeply secretive, reclusive Khardzhiev. He never amounted to an inventory of his collection, entirely relying on a brilliant memory. He never anyone, under any pretext, never let the collection thing. He developed the habit of clear-cut: in the presence of strangers (and strangers were all without a single exception), he had read any book, pressing her to his chest and covering his hands title.

Hella Rottenberg Dutch journalist who wrote an action, rather controversial, but so far the only book on Khardzhiev, argues that bad character Khardzhiev even saved him from arrest in 1937.

In general, the intolerable nature Khardzhiev all researchers have devoted much attention. Or too much. Rottenberg, who has long been Moscow's own correspondents prominent Dutch newspaper, describes the "hruschobnuyu" 2-bedroom apartment on the street Khardzhiev Kropotkin, now Prechistenka as "hole, in which he lived like a rat." On the walls of this "hole" hung works by Malevich ( "Red Square"), Rozanova, Guro, Filonov. "Red Square" hanging in front of a desk Khardzhiev always and always. Other images yielded their place to new. At one time over the door hung "Three bather Malevich, then they changed lithography El Lissitzky.

When the house manager's office conducted throughout the house renovated for apartments Khardzhiev exception was made. "Khardzhiev rolled such a scandal that the neighbors, house management and even the authorities did not dare to touch him and persuade," - wrote Hella Rottenberg. I believe that, despite its solid experience in Moscow, a Dutch journalist still can not imagine the level of the kindness of our neighbors, our house managements of humanity, and the actions of our authorities (including other key episodes) attached to them is not peculiar to humanity. Based on the description Rottenberg, everything was simpler. By the early 70's Khardzhiev was already in a position to give a bribe - a bribe for him and not evicted from the apartment during the overhaul.

But all this happened much later that tragicomic episodes, which H. Rottenberg presents a seriously fun for us. She writes that in 1937 Khardzhiev was ordered to appear in the secret service. He behaved ... very self-confident and brought out the patience of those few who questioned him. " Can you imagine Chekist late 30's, which "enraged" interrogated? Or, more precisely, imagine how would look the person questioned, that their self-confidence derived from the Cheka itself?

Held whether the two scandal - is doubtful. But no doubt not is the fact that from the mid 30's to late 60's, Nicholas Khardzhiev formed the basis of its archive on the history of Russian fine and literary avant-garde, the archive, which cost the majority of experts assesses the way: from $ 150 million to -- "priceless.

But the Soviet state to the archive had no relation. "Despite his (Khardzhiev) passion for the forbidden art of the Soviet authorities as a whole did not touch Khardzhiev" - wrote Hella Rottenberg. This assertion is more than any inaccuracy or stupidity. This is a complete misunderstanding of the role of the Soviet law enforcement agencies in the system of Soviet art. Khardzhiev not be touched because he was invisible, inaudible, that not for one moment relaxed for half a century - from Yezhov repression through Khrushchev's struggle with "pidirasami" to the lazy, but always greedy of Brezhnev's stagnation.

In short, the Soviet authorities did not impose a paw on the archive Khardzhiev only because unaware of its existence. Missed. Stukach goof. For all this, our government will get more from conservative journalists, who need to remove, disrupt epaulettes, to deprive the chairs of all, who could not take away from Khardzhiev Khardzhiev.

So many millions of lost, so necessary for our people in the industrialization of ... that is, ugh, retired unfortunate elderly.

MAKE A MILLION

In fact, from the poor to become rich is easy. This requires a bit of money, a lot of patience and infinite faith.

Start collecting leaves. Every day in the rain and a bucket, when heat and frost collect leaves near Moscow. Read poltyschi best books on the theory drevesnyh crowns. Gently in the scientific and lay them on a daily basis in a herbarium. Describe the changes, analyze the causes. Do not miss a single day for 60 years. Then put his herbarium with a description of the exhibition. You - a millionaire.


Or buy the "Moskvich" - a machine whose world is worthless never seen. Dismantle it and enter it in pieces in a room of their two-room "Khrushchev" apartment. Daily wipe, twisted, lubricate. Fight with every spot on the varnish. Turns away, wrap the nuts in order to achieve a compliant smoothness. After 75 years, taken at an auto show. You - a millionaire.

Do not believe me? So you're not from Khardzhiev.

He lived a long life, many important points which is almost impossible to explain. Leave aside the Cheka, which allegedly discouraged Khardzhiev their ugly behavior at the interrogation. But the war ... My father, the same age Khardzhiev, also a member of the Writers' Union, also a literary critic, but also the dean of the University of Odessa, but also a PhD, was mobilized on the second day. And, of course, soon died.

Khardzhiev, healthy young man without a definite occupation, was not even sent to dig trenches, because (illustrated by his friend) "suddenly fell ill with pneumonia." Pneumonia - a disease no boy, but the explanation once again sound like something too as Europeans. "In the trenches" chased even pregnant mothers of families - who would have thought it dismiss the young athlete's growth under the ninety-meter?

More - more. Throughout the war Khardzhiev quietly sat consultant to some of the capital's film studios, evacuated to Alma-Ata. So says his biography, but in this explanation I did not believe the letter. In Alma-Ata, as in other cities, often rounded up. Covered their even those who are accidentally left in a different jacket ( "But it's here, just around the corner") his "book". I immediately sent into the fiery maw of the front.

Why Khardzhiev not get into it - a mystery. What exactly did the "Studio" - a mystery. Where at that time was his archive (then still mostly literary, but still hefty) - also a mystery that has no one to reveal to anyone.

I do not think that Khardzhiev in this regard had any pangs of conscience. This was a man of integrity flint. He was firmly convinced that the very fate appointed him to be a guardian angel Russian avant-garde. And more to fulfill this mission, just anybody.

Therefore Khardzhiev cruelly interrupted in everything that prevented this historical mission. And tenderly cherishing even those features that everyone around him seemed loathsome (and often were such), but could prevent the preservation of all these leaflets programmok recordings on napkins, the outline on the back of the envelope.

"I hate wives"

Khardzhiev was an inexhaustible storyteller and a witty, charming conversationalist, affable host - well, just flavor. That's when he thought it necessary to someone like.

Khardzhiev was unbearable insolent, debilitating extortionists, impudent, a boor and despot, to whom do not reach the simplest and most compelling arguments.

By the end of life he no longer friends - it all their hurt and dispersed. He had no family left - he refused even to those without whom it may simply would not have survived in its difficult years.

About once a month, he brought his sister, Helen laundry. And it was not incidental postirushka, remembers his nephew Khardzhiev. It was hard work, as worn clothes in need of repeated evaporation, otherwise it will remain dirty. At the same time Khardzhiev frosted from her sister's house something edible, even though he knew that the family and that she did not get out of need.

When Helen died, her son telephoned Khardzhiev. Tube took Lydia Chaga, by the time his wife and mistress of external relations of her husband. "The younger sister? - Asked in surprise Chaga. - Nikolai Ivanovich no sisters.

Khardzhiev masterfully suck up to those who have discovered something more or less significant for the history of Russian avant-garde. "Well, why do you? - Friendly rebuke he holder. - You're still losing. It is better to give me, and I'll give you the first sign. If persuasion acted Khardzhiev stayed nice and polite - but only up to the seconds, until the owner has requested his property back. At this point Khardzhiev gave vent to my liking: quarreled terribly beat backhand, played all sorts of scenes - but did not return a borrowed item.

Merely Nadezhda Mandelstam managed to return the manuscript of her husband, which she gave Khardzhiev for the preparation of a compendium. This year it took a humiliating correspondence and mobilization of three muscular young fellows, who promised Khardzhiev smash all his lair and break his neck. Khardzhiev terribly frightened, brought out all at once, in his arms and folders - but at the same time managed not to return about a third of the most valuable manuscripts.

"I hate women" - he admitted in one of the very rare interviews. Khardzhiev was convinced that it was his wife prevented him recreate a complete history of Russian avant-garde. The word "wife" he was talking very broadly, including here, except their wives and widows, and all those who insist on the possession of objects of art only on the basis of biological closeness to the Creator. Khardzhiev easily come to the anger of this injustice, when the outstanding works fall into the hands of relatives, nothing in the arts do not understand.

According to one legend, to which he Khardzhiev may put his hand up, the daughter of Kasimir Malevich Una, one of the indisputable heirs to the now endless number of applicants, she asked naively Khardzhiev: - Well, my dad really was a good painter?

- The greatest! - Answered Khardzhiev inspiration. He was very fond of Unu. But if she wrote a book about her father with an analysis of his work, he would have criticized her in tatters.

For it was not successful works of Malevich and Khlebnikov, if their author was not himself. But it did not matter until he was bezvesten. With fame came enemies. True.

(To be completed.)
Миниатюры
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Allena вне форума   Ответить с цитированием
Эти 14 пользователя(ей) сказали Спасибо Allena за это полезное сообщение:
dedulya37 (24.08.2009), fross (24.08.2009), Jasmin (24.08.2009), LCR (24.08.2009), Ninni (27.08.2009), qwerty (26.08.2009), Samvel (24.08.2009), spigo (24.08.2009), Tana (25.08.2009), uriart (28.08.2009), Вивьен (26.08.2009), Тютчев (25.08.2009), Ухтомский (26.08.2009)
Старый 24.08.2009, 15:40 Язык оригинала: Русский       #8
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Сообщение от fross Посмотреть сообщение
become a public and preserve the name of the creator. I think a good example of collection Batliner (will be part of the famous museum), even better, Thyssen-Bornemisza (own museum).
  I agree with you, unless Russia's museum.
In the west it is clear where the funds, big money, exhibitions and so on. in Russia is stolen, let rot in the reserves.
In Russia, in the museum community is rife with poverty, lawlessness and neglect collection.



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Старый 24.08.2009, 15:44 Язык оригинала: Русский       #9
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Сообщение от Eugene Посмотреть сообщение
in Russia is stolen, let rot in the reserves.
In Russia, in the museum community is rife with poverty, lawlessness and neglect collections
But what about the Department of personal collections in the Pushkin Museum?



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Старый 24.08.2009, 15:47 Язык оригинала: Русский       #10
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Сообщение от Allena Посмотреть сообщение
But what about the Department of personal collections in the Pushkin Museum?
This minuscule .. that arrived in Russia's museums ...



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Эти 2 пользователя(ей) сказали Спасибо Евгений за это полезное сообщение:
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