Examination of works of Russian and foreign painting and graphics XVI-XX centuries.

[Евгений]

Discussion at the forum site ARTinvestment.RU, a lot of useful information for collectors, art dealers. (EA)
Fake Russian avant-garde ...
Conducted within six months of ARTnews study showed that the counterfeit works at the moment more than the original.
In March, was closed unexpectedly show 192 paintings Russian avant-garde, three days before its scheduled closing time, after a well-known expert said that 190 of the works presented fakes. The exhibition, held in the castle town of Tours (France), was devoted to Alexandra Exter, a leading figure of the avant-garde. Exter was born in Ukraine, settled in France in 1924 and lived there until his death in 1949.
Whistleblowers Nakova was Andrew, who was himself at the center of a scandal in 1980 when he was accused of awarding more than 1,000 questionable authenticity of images in pastel and pencil, the other Russian avant-garde luminary Mikhail Larionov. The court ruled that his goal was not intentional promotion of fakes .....[/QUOTE]
Read more: http://forum.artinvestment.ru/showpo...5&postcount=15
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... As a rule, the work of Russian avant-garde artists in a small auction houses such as Nagel go for lower prices than large auction houses. Many of the works attributed Shovlenom and other experts, have been analyzed by scientists Dzhegers Elizabeth (Elisabeth Jägers), deputy dean of the faculty culture at Cologne University of Applied Sciences, and her husband Dzhegersom Erhard (Erhard Jägers) in Bornheim, Germany. Their examination of a large number of Russian avant-garde works proposed in the small auction houses and galleries across Europe [/QUOTE]
Read more: http://forum.artinvestment.ru/showpo...5&postcount=19

[U_Z]

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[Евгений]

Interesting and useful article, with the attribution of paintings by Russian avant-garde (EA)
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V. Kireev, SA Pisarev

Studying technological features paintings of the past with nearly a century, made an invaluable contribution to the study of history painting. To date, paintings by old masters studied from this aspect quite well. Therefore, their attribution and expertise, if not always, it is often preceded by a technology research, including chemical analysis of materials. The chemical composition of materials to determine the chronological framework of the painting: it is impossible to create a masterpiece of the XVII century. pigments, first obtained in the XVIII century. as well as the artist could not use paints, made in the XIX century., being a contemporary of the XVIII century.
But this is the case with works of masters of the old school.
A completely different situation when the object of study - painting beginning of XX century. The bright and original works of artists - representatives of the direction of Russian avant-garde today is the object of attention. Paintings by these artists are exhibited at various exhibitions of their work - the subject of art history research, they are restored, and are subject to sale, and as everyone knows, the cost of these works is very high. The latter led to the fact that the art market flooded with huge number of fakes, some of which are masterfully executed.
This, in turn, causes difficulty in their attribution and examination methods of art criticism the analysis. Therefore, the study of material constituents Russian avant-garde artist is able to present additional information which may shed light on the history of their creation, to help in unraveling the fundamental question of attribution and expert scrutiny - the establishment of the artwork. Process data, nor in any way substitute for analysis of art criticism, provide a basis for further search, narrowing its borders. Just as the painting is inconceivable without the knowledge of the technology of painting, and authentication of art can not be based on a study of all of its material constituents.

[SPOILER] First, even the question of the possibility of using data on the material of this time for attribution or examination aroused skepticism among the researchers. This is explained by the fact that the colorful palette of preceding centuries almost completely changed in the XIX century. - Century of rapid development of chemical industry. But the same range of artistic materials continues to be made in the next, XX century, and now also in the XXI. It seemed logical to assume that the composition of the pigments used in order to distinguish the painting of XIX century. from the pattern of XX can not. This is a priori bias - one of the reasons why the technology art school of Russian avant-garde to the present moment, at least in our country, not systematically studied.

Indeed, most often made in the XIX century. pigments continued to be made and in XX, and some continue to be made now. But there are certain pigments that appear only in the XX century. This is - red cadmium, first produced in 1905 [1], titanium dioxide - 1916-1918. in a mixture with other inert fillers, and in pure form - in 1923, in Russia they began producing in 1930. [2], blue and green phthalocyanine pigments are synthesized in 1935-1936. [3].
Currently, a number of pigments replaced by cheaper and less toxic compounds. Thus, significantly decreased production of white, yellow and red pigments based on lead. More and more is available various organic pigments, and the mineral - yellow and red range, as before, are cadmium compounds.

At the same time to obtain reliable information about how and what materials are written works by artists of Russian avant-garde, can only be referring to the original works.
Altogether some 70 works by artists such as Kandinsky, Malevich, Popova, Udaltsova, Rozanova, Exter, Larionov, Goncharova, Shterenberg, Kliun, Morgunov, Strezheminsky, Shaposhnikov, Ender, Lentulov, Konchalovsky, Falk, dated 1908-1921 years.
And although the number of these works are not so great as to make far-reaching conclusions, yet the study revealed some peculiarities in the use of pictorial material.

Soils. Studies had shown, the picture painted as a factory-primed canvas, and on canvas, primed by hand. The common thread of all the soils studied group - is white.
As fillers soils identified lead, zinc oxide, chalk, gypsum. In addition to the monolayer, artists have used two-layer soils, as well as mixtures of two components.

Very often the work of claiming authorship of the Russian avant-garde artists, and are not, contain an ingredient soil recrystallized calcite, that is the product obtained by processing the chalk or limestone. Recrystallized calcite, also known as lime whitewash, and used in wall paintings as a primer and as a white pigment, in the grounds of genuine works of art studied was not found.

In addition to the lime whitewash counterfeiters also use a mixture of titanium and white lead.

Pigments. Consider the three color groups of pigments, whose identification may significantly affect the results of an examination.

White pigments. As the white pigments, the most common in the studied group are zinc and lead oxide. In works

issued for the avant-garde, we have identified white lead, which at the same time different from the original palette of white lead: modern white lead is a large single crystals in the form of tetrahedrons and other geometric shapes.
In the 70 studied the paintings created before 1921 are not detected titanium dioxide or mixed with inert fillers, either in pure form. Very often in paintings, falsify Russian avant-garde, we find titanium dioxide, which are present either in pure form or blended with zinc oxide or as a triple composition: zinc, barite and titanium dioxide.

Blue pigments. In the studied group of original paintings often used artificial ultramarine, Prussian blue and cobalt blue. All these pigments are produced now and can be used in the forgery, but most often occurs in non-genuine paintings phthalocyanine blue pigment, first synthesized in 1935

Often, when studying patterns of unknown origin found a blue pigment, the beginning of use in painting which has no information and no data on how, when he was first received. This is a cobalt spectral - this is the commercial name of pigment, which is the composition of silicate of cobalt and zinc. In 1971, the chief technologist Dulevo porcelain factory Alevtina Ivanovna Glebychevoy was defended thesis on technology of a number of pigments villemitovoy group that applies the specified connection. It is known that the pigments produced in Dulyovo for porcelain painting sold to factories for the production of decorative paints. In the study of original paintings by Russian avant-garde artists of the pigment was not found. The catalog company Lefranc in 1930 [4] of this pigment composition is also absent. Analysis of the same materials of paintings, questionable on several grounds, not just bringing to light the presence of the cobalt spectrum.

Green pigments. Presented in the original papers studied emerald green and green shveynfurtskoy; in one paper was found green cobalt. Emerald green continues to be made today. Shveynfurtskaya green because of its toxicity is no longer produced in the mid 1920's., On other sources - it continued to be made in Europe and the United States until 1960., In the early 1980's. it continued to produce as an insecticide.


For fakes often use a phthalocyanine green, phthalocyanine blue, or a mixture of pigment with a yellow pigment.

Despite the fact that the number of original works by artists studied Russian avant-garde is sufficiently representative, the study of pigments in 70 scenes can make some conclusions.

1. A set of identified pigments rather uniform for all artists. An analysis of the specific author of pigments shows that the artist, as a rule, remains true once selected pigments in the transfer of a color. It should be noted that Kandinsky's palette is somewhat different from a palette of other artists. Perhaps this is due to his habit of working paints manufactured in Germany.

2. Also revealed a combination of pigments, characteristic of the work specified period. For example, in the paintings of Kandinsky 1916-1917 years., Discovered a red organic pigment and red lead, and in earlier works (1909) - Red
organic pigment and cinnabar, as in the paintings discovered in 1909 Naples yellow, which is absent in the paintings 1916-1917 years.

3. Not found materials, the beginning of industrial production, which does not correspond to the time of writing patterns, ie, titanium dioxide and phthalocyanine pigments.

4. All studied works painted factory colors. Opinion on the possibility of creating new pigments because of the nature of creative experimentation Russian avant-garde artists not confirmed in the study of this group of reference works. This is - a myth.

Environment prevailing in the art idea that artists can avail themselves to the synthesis of some pigments, are without basis in reality. In particular, you can hear that phthalocyanine pigments could be obtained at home. Such a representation is a complete illusion based on ignorance on complex processes of organic synthesis, which requires special equipment and special conditions - pressure, high and low temperatures, the use of corrosive agents, ie, all that is impossible to create otherwise, except as laboratory or factories, conditions.


Binders. For the period covering the end of the XIX and XX in the whole., Characterized by the use of both traditional oil binder, and various composite compositions based on oil. During the identification of oil paintings in colorful layers researchers can determine these parameters it is directly related to the time of painting.

First, the degree of polymerization, or the degree of aged oil. Roughly based on the chemical properties of the oil film can be divided into three age-gradation of oil binder - whether fresh layer of paint, ie, deposited about a year or two ago, then - 30-50 years, the latest figure - 100 years. Next, determine the age of oil would not be possible.

Secondly, the chemical analysis of paints containing oil, objectively demonstrates, how the aging process of oil bonds: a natural way, over time, or it was accelerated, adulterated, ie, artificial.


Third, to dilute oil paints traditionally used organic solvents or resin varnishes on organic solvents or oil. Do so, as a rule, on the palette, and the tar content in different paint layers was different, as confirmed by chemical analysis.

In the second half of XX century. composition of the oil binder radically changed - in the production of paints by adding considerable amounts of resin. For today's oil paints characterized the prevailing content of the resin in relation to oil, which is also quite unusual for oil paints the first decades of XX century. and, consequently, is also indicative of the fact of the examination. Since the second half of XX century in artistic practice firmly established diluents containing artificial polymer materials.


Alkyd polymers were invented in 1930, acrylic polymers - in 1935, vinyl - in 1937, these polymers were used initially in the form of solutions in organic solvents, and since 1949 in the form of aqueous dispersions. Introduction in manufacture of decorative paints happened later. In domestic practice, it falls at the end of 1950 - early 1960.

In addition to the traditional techniques of oil painting, there were variations on its basis. Thus, the desire to make an oil painting it does not have a matte surface has identified the introduction of lipstick, consisting of resin, usually dammar, and wax. Lipstick mingled with oil paints on the palette, and its amount allowed to reach different degrees of mat painting. Different ratio of these additives in the paint layers can also be installed analytically. Such a composition tie says that it is not industrial paints. They have been used since the XIX century.


Important information concerning the dating of the paintings, can give such a resin as dammar. Open for European artists in the middle of the XIX century, dammar firmly part of the oil paints in the second half of XX century. As evidenced by studies of painting. Dammarie in colorful layers of ten years ago is different than dammar in colorful layers of newly written works. As shown by experimental studies, three years later in oil paint containing dammar, appears whitish coating. The absence of such a raid shows slight age of the paint layer.

Since the XIX century. there are various versions of tempera painting, imitating the brilliant surface of oil paints. In the last quarter of XIX century. Some artists have tried to create new kinds of tempera. This technique has several advantages compared to oil: tempera colors do not darken, instantly dry, but the impression of oil, and if used as a diluent water, you can get the effect of tempera painting. Experiments on modification of the old tempera been extremely successful, resulting in several new species of. Due to the different set of organic components, and hence different mechanisms of aging, a colorful layer of such products has a different craquelure or do not have it at all. Another type of tempera was added to oil paints in the form of wax emulsion in water. It was also a way to make oil painting uncharacteristic for her matte surface. However, new and old wax-oil tempera can be distinguished from one another: for the old tempera characterized by intermittent mixing ratio of binder in the various layers of paint, for a new same temperature, on the contrary, this ratio is constant.

Production of various types of tempera, casein, except oil, lasted until the mid 1940's. Until they gradually have not replaced the paint on a variety of polymeric binders, the date of production which have already been identified.


Study of 15 original paintings 1908-1921 years. from the collections of provincial museums showed the following: soils mainly oil, less often - emulsion, only one case detected emulsion primer with the addition of starch. In the paint on the canvas has been detected only in which of the need to add synthetic varnish. Among the studied pictures new temperature (oil, resin, gum) found only in one picture L. Popova (collage - Still № 62, x., 1915, Nizhny Novgorod).
In practice, a study binder, in some cases may be decisive in determining the time of creation and the authenticity of works of art.
Defining only the composition of soil, pigment or binder, as a rule, does not give the desired result.






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Interesting article on the attribution, I would recommend. (EA)
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Puzzles pastels V.E.Borisova-Musatov.
EN Belonovich, I. Proletkin. Saratov State Art Museum named after AN Radishcheva.
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The artist VE Borisov-Musatov bed occupies a special place. By pastels VE Borisov-Musatov addressed before the end of his life. Line up this series of works by the artist, to specify the time and circumstances of their creation - all the same, that lay a complex mosaic. In fact, the artists, not always signing and dating their own work, unwittingly create for future research these puzzles. And the clue to, the nomination based versions dating works depicted on them places and people, in something akin to detective fiction with an essential element of time travel.
XXI century gave us a wonderful tool for finding relevant information - the Internet. This search does not replace or supersede the traditional meticulous work in museum collections and research archives, but the results, sometimes give rise to interesting research topics and scientific contacts. (1)

In late 2005 the site was found www.artsalon.ru unknown to us hitherto image works VE Borisov-Musatov, which we are sincerely rejoiced, expressing different ideas and assumptions. After six months on the site of the famous Sotheby's work has been put up for sale with more detailed information about her, but her image is translated was much larger. The canvas was acquired directly from the artist in 1904, B. Napravnik, the son of Russian conductor and composer Edward Napravnik, and since then remained in the family collection. (2)

from the collection of Chuvash State Art Museum, where the young woman depicted on a background of pastel VE http://www.culture21.ru/News.aspx?orgid=385&id=96447
The painting entered the museum in 1979, and its main mystery was caught in her persona, the original attribution of which turned out to be incorrect. On the question of identification, shown in the portrait of the museum staff returned in 2003, and largely re-passed the necessary research path. During his version was born, that is a portrait of Mary Georgiyevna Napravnik, the wife of one of the sons of the composer Vladimir. This version has become final, and complete attribution after they became aware of the auction Sotheby's catalog.

It is very important evidence about ownership family pictures Napravnik brings us the nature of a source of well-known monograph of NN Borisov-Musatov. She has all the best features of the artist: the harmony of man and nature, lyrical mood, total lack of fuss. The very stylistic system works provides food for the production of various research questions. Bed is dated 1903. But how do we know? Signed by the author himself, or whether this kind of long an established dating work? If the artist himself signed the work, then we are faced with the problem more accurately determine the time and place of its establishment in the overall number of works by the artist, written in 1903. Nostalgia Is it on the Saratov Zubrilovka estate, home Saratov sketch before the upcoming trip in the summer of 1903 in the town Khvalynsk or just the author's imagination, nothing or anything not related? But if the author is not dating? Then the question of time and place for the creation of this work becomes even more urgent.

Comparison of images from other works of the artist can speculate that the bed could be written later - in the next 1904. In mid-summer 1904 Borisov-Musatov stayed with the family estate near Moscow Vvedenskoe. At the same time there were about artistic company close VE Borisov-Musatov. For descriptions of Vedenskiy known that from the main manor house began a long descent to the river, and we can assume that its bank two ladies strolling in the hour of sunset. And to the river from a minimum of 200-300 meters. Study the terrain is still not given us a definitive yes, soon made the move in our search for more. And, of course, the bright saturated fruitful days spent by the artist in Vvedensky, do not exhaust all the impressions of 1904.

1904 Musatov and his wife Elena Alexandrova met in the town of Podolsk, where the artist moved from Saratov. Podmoskovnie land rich in beautiful park-like ensembles, and not far from Podolsk in the river is Pakhra estate Ivanovo, in which the artist and his companions repeatedly visited. It should be noted that researchers have the artist's life, for whatever reasons, did not notice those visits, probably also because among Musatovskogo heritage, works created in the Ivanovo also escaped the attention of researchers.
The luxurious palace ensemble estate Ivanovskoe now there are two museums: the Museum of the federal vocational education and local lore. Again, finding: on the Internet site of the museum vocational training in the materials on the history of the manor Ivanovskoe we found one more unknown to us Musatovsky sketch. Museum staff kindly told us that their exposure is picture the scene, made from the negative, which is stored in the collections of the Tretyakov Gallery. But, unfortunately, by whom and under what circumstances is unknown. A characteristic common sign in both works - the presence of the stone grotto. Very similar to the path along the river, passing through the natural slope of a river. Even lower and closer to the water stretching band of dense shrubs and trees. These two works represent almost mirror each other. What can you suggest in this regard? Not if the estate Ivanovo region is depicted in these works?

As in terms of the estate, and at a very detailed space images shows that the manor house is located quite close to the river Pakhra. Along the river can be traced not a wide road. It is possible that in the planning of the architectural ensemble was originally based on the principle of symmetry and the grotto, which is well captured in pastels, of course entered in relief of a steep bank. This cave could be the spring, that is co-opted yield of groundwater.

Finally, we once again see that the true work of art is not only a considerable financial value, but the historical value, bringing to us interesting evidence of a bygone era.

In conclusion I'd like to add that the era of the Internet in many ways - time to gather stones. Transparency of information allows you to connect the threads, by force of circumstances to explode a hundred and more years ago.

New York. But this is how we think, be quite different internet history.
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This article is already in the section, duplicated here .. there is a lot of interesting information on the creativity of a remarkable artist. (EA)
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On the topic interesting (EA): V.E.Borisov-Musatov World Library Network http://www.sgu.ru/ogis/bogo/mat11/mat11-1.html

Footnotes:
1. Eleventh Annual Conference ADIT, Saratov, 2007, Abstracts.
2. ]
by V.E.Borisov-Musatov.

[Евгений]

Interesting article on the attribution, I would recommend. (EA)
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"Last Day". Puzzles pastels V.E.Borisova-Musatov.
EN Belonovich, I. Proletkin. Saratov State Art Museum named after AN Radishcheva.
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The artist VE Borisov-Musatov bed occupies a special place. These pearls of museum collections Russia pastels Romance, 1900 Archangel Art Museum, "The Sleeping Girl, 1901 Astrakhan Picture Gallery," Lady in crinoline, 1901-1903, the Kirov Regional Art Museum, "Lady in the tapestry, 1903, "Under the shade of the pines, 1904," Alley Park, 1904, State Tretyakov Gallery.
  By pastels VE Borisov-Musatov addressed before the end of his life. Line up this series of works by the artist, to specify the time and circumstances of their creation - all the same, that lay a complex mosaic. In fact, the artists, not always signing and dating their own work, unwittingly create for future research these puzzles. And the clue to, the nomination based versions dating works depicted on them places and people, in something akin to detective fiction with an essential element of time travel.
XXI century gave us a wonderful tool for finding relevant information - the Internet. This search does not replace or supersede the traditional meticulous work in museum collections and research archives, but the results, sometimes give rise to interesting research topics and scientific contacts. (1)
  At the end of 2005 on the website www.artsalon.ru was an unknown to us hitherto image works VE Borisov-Musatov, which we are sincerely rejoiced, expressing different ideas and assumptions. After six months on the site of the famous Sotheby's work has been put up for sale with more detailed information about her, but her image is translated was much larger. So we learned that this pastel titled "Last Day", it has dimensions 43h57 cm, which, incidentally, is characteristic of several well-known pastels Borisov-Musatov.
Naturally, such an event as an international auction of first-class works of Russian painting has caused wide discussion in the press: "Extremely rare in the sale of the famous symbolist-goluborozovets V. Borisov-Musatov. His painting "The Last Day" (43h57, 1903) first put up for sale. The canvas was acquired directly from the artist in 1904, B. Napravnik, the son of Russian conductor and composer Edward Napravnik, and since then remained in the family collection. (2)

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Another finding in our online search was not previously known to us "picture in picture" Zinaida Serebryakova "Portrait of Maria Georgiyevna Napravnik" 1908-1917 years. from the collection of Chuvash State Art Museum, where the young woman depicted on a background of pastel VE Borisov-Musatov "Last Day".
Fascinating history of the attribution of this portrait we have learned from an article by the employee of the museum Anastasia Grigorieva "Mysteries paintings ZE Serebryakova "site" Cultural provider Chuvashia. http://www.culture21.ru/News.aspx?orgid=385&id=96447
The painting entered the museum in 1979, and its main mystery was caught in her persona, the original attribution of which turned out to be incorrect. On the question of identification, shown in the portrait of the museum staff returned in 2003, and largely re-passed the necessary research path. During his version was born, that is a portrait of Mary Georgiyevna Napravnik, the wife of one of the sons of the composer Vladimir. This version has become final, and complete attribution after they became aware of the auction Sotheby's catalog.

It is very important evidence about ownership family pictures Napravnik brings us the nature of a source of well-known monograph of NN Wrangel "Borisov-Musatov" 1916 S.-Petersburg, where in the attached list of works of the artist mentioned: "1903" Last Day "(VE Napravnik, Petrograd).

Bed "Last Day" as I can judge, a beautiful finished product VE Borisov-Musatov. She has all the best features of the artist: the harmony of man and nature, lyrical mood, total lack of fuss. The audience seemed immersed in the aromatic freshness of a summer evening, could not help thinking: "prolong, continue the charm ...".
The very stylistic system works provides food for the production of various research questions. Mysteries lurk in the very title of "The Last Day", and its date of its creation.
Bed is dated 1903. But how do we know? Signed by the author himself, or whether this kind of long an established dating work? If the artist himself signed the work, then we are faced with the problem more accurately determine the time and place of its establishment in the overall number of works by the artist, written in 1903. Nostalgia Is it on the Saratov Zubrilovka estate, home Saratov sketch before the upcoming trip in the summer of 1903 in the town Khvalynsk or just the author's imagination, nothing or anything not related? But if the author is not dating? Then the question of time and place for the creation of this work becomes even more urgent.

Comparison of images from other works of the artist can speculate that the bed could be written later - in the next 1904. In mid-summer 1904 Borisov-Musatov stayed with the family estate near Moscow Vvedenskoe. At the same time there were about artistic company close VE Borisov-Musatov. In Vvedensky artist created the painting "The reflection of the sunset, and later, working on sketches for painting murals mansion Mrs. Derozhinskoy in the sketch" The Dream of the deity "used the same landscape. Story of two girls walking, their clothes: a yellow dress with ruffles and blue hoops with a cape picture "The reflection of the sunset" and the sketch "The Dream of the deity" is very close to the pastel "Last Day". "Last Day" and "The light of sunset, in spite of the different techniques of pastels and tempera, are similar in overall color scheme: the reflection of the setting sun vyzolotil tops of trees on the lawns there are cool green shades of the earth rise up the deepening purple twilight.
The main theme of "Last Day" may well be considered a favorite theme of the artist - on the estate. For descriptions of Vedenskiy known that from the main manor house began a long descent to the river, and we can assume that its bank two ladies strolling in the hour of sunset. Thus, considering all the details, could be most likely to stay at a very nice version of that bed "Last Day" was also created under the impression estate Vvedenskoe.

To confirm or refute this version, we have attracted very popular now in the online system for Google Earth - "Earth", which allows you to see through detailed satellite images of virtually any corner of our planet. Careful examination of the area Vvedenskoe estate near Moscow, has allowed us to make sure that the place where the picture was painted "The reflection of the decline" does not end at the Moscow River, and adjoins a large floodplain lakes. And to the river from a minimum of 200-300 meters. That is, stylistically similar work "Last Day", apparently written within a different landscape.
Study the terrain is still not given us a definitive yes, soon made the move in our search for more. And, of course, the bright saturated fruitful days spent by the artist in Vvedensky, do not exhaust all the impressions of 1904.

1904 Musatov and his wife Elena Alexandrova met in the town of Podolsk, where the artist moved from Saratov. Podmoskovnie land rich in beautiful park-like ensembles, and not far from Podolsk in the river is Pakhra estate Ivanovo, in which the artist and his companions repeatedly visited. It should be noted that researchers have the artist's life, for whatever reasons, did not notice those visits, probably also because among Musatovskogo heritage, works created in the Ivanovo also escaped the attention of researchers.
The luxurious palace ensemble estate Ivanovskoe now there are two museums: the Museum of the federal vocational education and local lore. Again, finding: on the Internet site of the museum vocational training in the materials on the history of the manor Ivanovskoe we found one more unknown to us Musatovsky sketch. Museum staff kindly told us that their exposure is picture the scene, made from the negative, which is stored in the collections of the Tretyakov Gallery. But, unfortunately, by whom and under what circumstances is unknown. Now for us it is important to compare the sketch, written in the estate of Ivan's pastel "Last Day".
A characteristic common sign in both works - the presence of the stone grotto. Very similar to the path along the river, passing through the natural slope of a river. Even lower and closer to the water stretching band of dense shrubs and trees. These two works represent almost mirror each other. What can you suggest in this regard? Not if the estate Ivanovo region is depicted in these works?

To answer this question we found the old plan of the estate and, again, have also introduced Google Earth - "Earth" and explore with their help on today's spaceshots estate Ivanovo region under Podolsky.
As in terms of the estate, and at a very detailed space images shows that the manor house is located quite close to the river Pakhra. By the river is wide clearing, which local lore called "central parterre. Along the river can be traced not a wide road. The two modern photographs that local photographers tied to the system Google Earth compositionally almost repeat study of Ivanovo and pastel "Last Day". It is possible that in the planning of the architectural ensemble was originally based on the principle of symmetry and the grotto, which is well captured in pastels, of course entered in relief of a steep bank. This cave could be the spring, that is co-opted yield of groundwater.

So, all of our online tour can be completed in two findings that bed "Last Day" could be created precisely in 1904 and most likely in the estate Ivanovo.
Restore is the true story of a pastel "Last Day" for many years, dropped out of sight of researchers Musatovskogo creativity can be only in the presence of all known information about it, and also for comparing the facts of the biography of the artist.
Finally, we once again see that the true work of art is not only a considerable financial value, but the historical value, bringing to us interesting evidence of a bygone era.

In conclusion I'd like to add that the era of the Internet in many ways - time to gather stones. Transparency of information allows you to connect the threads, by force of circumstances to explode a hundred and more years ago.

So in "In the world of art» № 10-12 for 1909 on page. 15 in the text of the article A. Fedorova "Borisov-Musatov" published by landscape artist with the remark "was killed with an exhibition in America."
The site of the State Russian Museum, information about passing now from 14 February to 12 May 2008 Exhibition "Time to collect ..." from private collections around the world and put up this "happily resurrected" landscape is really in America, a collection of Maya and Anatoly Bekkerman, New York. But this is how we think, be quite different internet history.
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Footnotes:
1. More information about the museum's permanent monitoring of Internet resources, see Belonovich EN, Proletkin I.V World Borisov-Musatov XXI Century "//Museum, № 6, 2007; Proletkin IV, Belonovich EN "Artist VE Borisov-Musatov through the prism of the Internet ". Eleventh Annual Conference ADIT, Saratov, 2007, Abstracts.
2. From an article by Dmitry Butkevich "Will Aivazovsky again the most expensive artist" //"Nezavisimaya Gazeta", column "antiques", May 26, 2006 for a House Sotheby's auction of three specialized in the Russian week in London on May 31, 2006

Website (manor-museum), "World Musatov" .. http://ogis.sgu.ru/ogis/newsrad/musatov/a_m_u.html
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1. The Last Day. " by V.E.Borisov-Musatov.

[Евгений]

One of the best collectors, experts (in Soviet painting) in the U.S.. (EA)
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Only in America, Museum of Russian Art is now one of the main attractions of the city of Minneapolis. He created on the basis of the richest collection of Raymond Johnson - a tireless enthusiast, philanthropist, a dealer, the ascetic, endlessly in love with the variety of fine art afar, it is my duty and calling as much as possible to show and tell their compatriots about living and living in Russia and the former Soviet Union artists and their creative achievements.
This collection of Russian realistic painting of the twentieth century, art historians consider the largest outside Rossii.V collection of more than 15,000 artworks, a collection of updated and now (EA).
Site Museum http://www.tmora.org/index.html
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Info.s Forum http://forum.artinvestment.ru/showthread.php?t=5785
1.Kollektsioner Raymond Johnson

[Жар-птица]

Another organization: Research and independent examination of the name of Pavel Tretyakov, "its website http://art-expertise.ru/.

I've seen her opinions on DTR - a renowned expert from the museum, all skillfully and beautifully.


Someone from the members of the forum was doing there examination of picturesque works?

[Тютчев]

Сообщение от Firebird

Another organization: Research and independent examination of the name of Pavel Tretyakov, "its website http://art-expertise.ru/.
I've seen her opinions on DTR - a renowned expert from the museum, all skillfully and beautifully.
Someone from the members of the forum was doing there examination of picturesque works?

Organization comfortable. Had with them. Take the imputed money for their services. Work mainly with experts Grabar and the Tretyakov Gallery. Generally, the larger organizations in the market expertise, the better for consumers of these services. There is a choice, and hence there is competition, which guarantees quality and relatively low prices.

[Евгений]

Italian art historian Silvia Danezi Skuartsina An unknown painting by Caravaggio.
According to the researcher, the picture may be represented by Augustine of Hippo, also known as St. Augustine - a philosopher, theologian and holy Catholic and Orthodox churches. Danezi Skuartsina described through the work of Caravaggio as a fairly large, but stressed that information on the canvas is now quite a bit. The fact that the painting is in private collections, where the owner lives in Italy.
The existence of this painting art learned through archival documents pertaining to the collection of an Italian nobleman Vincenzo Giustiniani. He lived in the XVI-XVII century, that is, was a contemporary of Caravaggio. That Dzhustiani one of the first began to collect works by the artist.
According to documents examined by Silvia Danezi Skuartsinoy, considered the canvas was on the meeting Dzhustiani a signed work of Caravaggio.
http://lenta.ru/news/2010/09/28/caravaggio/_Printed.htm

[Евгений]

Interesting article (2000., Journalists. "Our Heritage") on the works of a talented artist (EA)
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Weisberg is one of those artists who, as their removal from our present day are becoming more and more significant. Since the death of Vladimir Grigorievich thirteen years, but these years have shown that this artist has a strong place in the whole artistic culture of the twentieth century - not only Russian but also global. It seems to me that among our artists Weisberg has the strongest position in the twentieth century. He never hurried fashion, did not apply to those stylistic directions that have come and gone (they were in our century, especially a lot), and himself - from the very beginning - develop their own creative system that was extremely thorough. Starting from the creative concept of Cezanne - this cornerstone of the whole art of the twentieth century, he went his own way, consistently improving his technique. Anyone who watched the work Veisberg for decades, knows how difficult, how stubbornly he was moving in this direction, without deviating from it even a step, as he was faithful to his idea, and as consistently - a step by step - approaching the goal .

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VG Weisberg seems to me such an artist that organically comes in various contexts of the artistic culture of the twentieth century. You can not, for example, recall the facts Veisberg participation in exhibitions of so-called "Nine", which in the early 60's were among the most notable phenomena updated in those years of Soviet art. Weisberg was at the center of this movement, though markedly different from his adherents. At the same time formed non-conformist direction, which was later name the "other art". The exhibition under this name, held a few years ago, part Veisberg perceived as quite natural and obligatory. Just as naturally as possible to pass from our Russian measurements to the global. I quite clearly see Veisberg in a number of artists of the middle and second half of the twentieth century, which focused on the plastic values. In this series - Morandi and De Style, Rothko and Fontana and many other masters, as if pushing off different versions of the updated expressionism, pop art, conceptualism.

Touch and some other problems, put forward the art of the twentieth century, and every time especially in their own way, refracted in the works Veisberg. One of these problems - much valued in our century existentialism of artistic activity. Recently, the newly nominated thesis: the artist instead of a picture. At the forefront of imposed identity of the creator, not as works of his hands, an original creative concept. This is an old idea. Let us recall the Russian Symbolist poets beginning of the twentieth century - Andrei Bely, Aleksandr Blok, who sought to turn their lives into works of art. Recall how block primarily seen in the dignity Wrubel, serves as a model of creative existentiality for poets symbolist generation. But remember also that, and Block and White, and Vrubel not only worked out of his life a work of art, but also to create these works, which embodied the identity of the creator. Weisberg, perhaps like no other in our art, embodied as a personality in his works. Not an artist instead of a picture, and the artist in the film. Who knew Weisberg, who has watched him for many years, he could make sure that it has merged into a sort of personal integrity, fate and the arts.

In its own way embodies Weisberg that craving to conceptual art, which so obsessed the twentieth century. Conceptualism, as a trend, rather fruitfully past now completes the cycle of development, has been entirely focused on the concept as such, leaving aside the principles of traditional plastic expressiveness. Meanwhile, these two seemingly forever torn material trends, in fact quite compatible. In a fairly traditional hard plastic Veisberg lives its own concept. But she was not exposed, as in conceptualism, and fused with plastics, it is embodied. His concept - in the understanding of peace, world order, in the knowledge of the mysteries of human life. Weisberg is involved in the comprehension of the world, letting the endpoints being. It is as if there is in the process, which has no end.
The very nature of this process, knowledge of the world have Veisberg remarkable. In the Russian philosophical tradition, there is such a thing - "integral knowledge". This knowledge, which combines logic and intuition, insight and rigorous rational calculation. In an ideal point of this piece of knowledge converge science, philosophy, religion and art. On this solid piece of knowledge thought Kireyevsk and Vladimir Solovyov, Florensky Vernadsky and Losev. I think that Weisberg his artistic intuition approached this idea. Of his art he has made a science. His method had the features of pronounced rationalism. However, his artistic discovery is the fruit of almost a mystical revelation. Therefore, the deep mystery covers those creative processes that have resulted in higher achievement Veisberg and that seemed to have been so logically explained verbally by the artist.

Like many other great masters of the twentieth century, Weisberg was concerned about the problem of a new harmony. Has long been clear that this new harmony can not be like the old one. It is complicated by the unprecedented tragedy, precariousness of existence, severity and social and individual human contradictions. Veysbergovskie paintings leave an amazing impression of unity and inviolability of the fluctuation. Immutability - in the sense of the laws on which rests all the creativity, the stability of the method in blindly moving towards the goal. Fluctuation - a fragility to create a design, in an almost unreal purity of form. The harmony which arises at the intersection of these paths, exposed to the destructive forces, easily vulnerable. This harmony is on the brink. And the harder it is to achieve. And the more valuable achievements. The difficulty of this new harmony of the twentieth century also wrote Wassily Kandinsky. It was available a few artists of our century - thus, who appreciated the plastic tradition, albeit radically reinterprets them. Among these masters is VG Weisberg.

I want to touch upon another issue that is highly relevant for the future of art of the twentieth century - the problem of easel paintings. Today - for the umpteenth time over the past decade - re-sentenced the painting as a living art form, to achieve artistic progress. After the Russian Constructivists in 1921 solemnly vowed not to return more to easel art forms, painting fell under siege many times. Today, she threatened objects and installations, as previously threatened to design, assemblage or performens. But each time the efforts of world-class artists continued painting his life, revived, although many continued to seem an outdated form of creativity. Weisberg - one of those artists that pattern did not change and which prove their creativity its viability. It seems to me that the painting still lives and will live as a visual as well as in non-objective form, embodying the idea (again recalling Kandinsky) "great abstraction" and "the great reality." And it makes no sense and the need to oppose each other. Of course, the artists' right to choose and defend their own vision, rejecting the rest (as it did Weisberg). The right of the viewer - to choose one or the other, and perhaps both simultaneously. But the duty of art or criticism - to objectively consider the possibility of an artistic movement, letting them overlap and seeing each its value (if, indeed, this value occurs).
And finally, another quality art Weisberg, which I would like to mention. This art is highly moral and strict. In an age when many temptations of the artist's gone over the brink of good and evil, when such a path has already been explored and tested, it is not so easy to guard the moral purity of art. Weisberg is always kept strict rules. He never allowed any game giveaway with the audience, not trying to flatter him or to facilitate access to the empathy and he was not looking for easy victories in the works, choosing the most difficult and most arduous journey. This - a rare gift - especially in the artistic perspective of the twentieth century.

1. The track "Seven pillars. 1984. Oil on canvas.
2. Composition "Tanagra, columns, ball." 1983. Oil on canvas.
3. Composition "of six cubes. 1977. Oil on canvas.

[Евгений]

Vladimir Roshchin: Rosokhrankultura released five directories fakes, where it is mentioned almost one thousand paintings. On many of them public expert agencies to issue documents that are allegedly the work of Aivazovsky, Shishkin and this, or hierarchy, or Lagorio and so on. In fact, All this is not so. And now arrested one of those who engaged in sale of fakes. Half of these vendors is on the run. A lot of them impoverished, and, of course, hurt consumers, because the money to them will not return. "
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Rosokhrankultura released (in 2009) next, the fifth volume of the Catalogue of forgery. " There includes 900 works of art, 100 of which were not mentioned in previous editions. One of the major surprises was the inclusion in the catalog of the painting "Odalisque", attributed to Boris Kustodiev. In November 2005, this work was the top lot of the "Russian Trading» Christie's. Estimé 180-220 thousand pounds it earned 1.69 million (2.93 million dollars at the then exchange rate).
According to the publisher of the catalog counterfeit Vladimir Roshchina, there is no doubt that the "Odalisque" is bogus. This was confirmed by specialists of the State Tretyakov Gallery, State Russian Museum and the GRC them. Grabar, as well as the independent expert Vladimir Petrov.
At Christie's auction catalog states that "Odalisque" was written by a famous artist in 1919. It bears the signature of the Cyrillic alphabet "B. Kustodiyev, 1919.. " The basis for the film, according to legend, served as a charcoal drawing 1915 "Reclining Nude". The first owner of the paintings was a Leo Maskovsky, who lived in 1920 in the Baltic.
Representatives of Christie's said that they were aware of the examination center, and Grabar, Vladimir Petrov, but in order to cancel the transaction, they need to conduct their own due diligence. But so far, according to them, to picture them are not allowed.
The auction house gives buyers a guarantee of 5 years. If during this time, two experts recognize the product of false and their conclusions will be approved by the buyer and Christie's, the money paid for the work will be returned.
In the "Catalogue of fraud" was still a work sold at Christie's, - the landscape "Winter sun in the pine woods, supposedly painted by the artist Andrew Schilder. Landscape was sold for 8,5 thousand pounds at auction, held in July 2000. Shortly after the auction from the new owner in doubt the authenticity of the paintings, and he turned to the experts. May 30, 2001 Christie's withdrew the sale.
Among the other forgeries - "Summer fishing lake in the woods" Ilya Ostroukhov, sold at Sotheby's in May 2002. Representatives of the auction house said that over the attribution of the painting to him no one spoke.
The problem facing the majority of counterfeit dealers dealing in Russian art. "Every month I am asked to see the 10 paintings and 9 of them turn out to be false - lamenting London dealer James Batteruik (James Butterwick). - Many of the Russian collectors make purchases without consulting with relevant experts. If the work is credible, then it has a provenance that can be easily verified.
Julia Maksimova