- How well lately you're able to realize the main purpose of GKF, which is to enhance the study of ceramics and collecting activities, support museums and scientists? What are the most interesting exhibitions (shares) you are organized and what are planning to organize in the coming years?
- We shall now preparing one of our annual working meetings which are held alternately in Germany and abroad. Last year we traveled to St. Petersburg this year, our members and guests will meet in Schwerin. Here we become acquainted with public and private collections. In addition to meeting participants will be made by scientific reports on ceramics.
As mentioned above, our association publishes a series of thematic compilations, which are published in prominent scientific papers, which are important for the study of ceramics. This year in this series will come next three volumes dedicated to Italian majolica and Frankenthal porcelain manufactory. This extremely time-consuming preparatory work takes a lot of time and effort.
In addition, we plan to create a search engine on the Internet, which will provide access to all released to date numbers (notebooks) Journal KERAMOS to use them for scientific purposes.
We are looking for sponsorship funds for the project, since the creation of such systems is associated with very low cost.
Our Association maintains an extensive correspondence, every day we answer many questions coming from the museums, from art historians and collectors. Thus, we support a live contact, and outside the circle of our members.
- What would you like to say about yourself, your activities in GKF, about your academic interests? What role do they play in your life?
- Every day I devote a lot of time working in the GKF.
Actually, I live for ceramics and pottery - with me ... and so with seventeen years. My wife once put it very simple formula: "My husband wakes up in the morning with porcelain, and at night sleeps with porcelain.
As far as time allows, I am working on various research projects related to ceramics. In particular, now just completed a German-language version of one of the works of the Imperial Porcelain Factory in St. Petersburg and is now preparing an article for Art Encyclopedia (Allgemeine K? Nstlerlexikon). Along with this I was just exploring the possibilities of more precise dating of porcelain by the Imperial Porcelain Factory in St. Petersburg marked «NI» (the era of Nicholas I, 1825-1855. - Notes. Ed.) Based on the type of stamps. Then take the preparation of two reports for the November conference in St. Petersburg ( "Vinogradovsky Readings - 2007". Notes. Red).
- Is it a big role today, the European associations of professionals in the field of study and promotion of ceramics (porcelain), collectors and enthusiasts. How well you interact with other similar organizations? Which of them you would like to mention?
- Despite all the predictions in modern society remains a keen interest in classical ceramics. We must realize that we are talking about an elite (in the positive sense) of the disk, which has a special passion for ceramics. However, in recent years there has been some deviation from this, which is especially noticeable at prices lower and middle categories. However, in this case, we do not have in mind works of Meissen porcelain manufactory. So for the novice collector, now is the best time to replenish the collection.
In particular, German porcelain, particularly manufactures Hoechst, Furstenberg, Berlin and Ludwigsburg, which can sometimes be purchased at a quite low compared with previous years price. This applies to companies outside Germany, such as Capodimonte.
In every field of art dominate their trends. While the press publicized modernism - is now considered good form to post on the wall of any work by Gerhard Richter (Gerhard Richter), or Neo Rauch (Neo Rauch), - there are still collectors who do not obey the dictates of this and are able to understand the beauty, for example, porcelain or earthenware. Many porcelain things XVIII century it was impossible not to appreciate their historical background. After several years of modernism, of course, falling by the wayside, and the XVIII century, with its classic porcelain will again become a favorite.
The most impressive act of our association should be considered as an exhibition "Commedia dell'arte - a holiday comedians: ceramic treasures from the museums of the world» (Commedia dell'Arte - Fest der Kom? Dianten - Keramische Kostbarkeiten aus den Museen der Welt), organized in 2001 in Schloss Charlottenburg in Berlin in connection with the 50 th anniversary of GKF. For three months there were 400 works on display more than 45 factories in 61 museums around the world. Never before in one place does not collect such a number of works on this subject and did not unite all these things in a three-volume catalog.
- Seriously dealing with European and Russian porcelain, whether you are a collector yourself?
- If every day for many hours doing ceramics, then, of course, you find one or another thing, bought for themselves.
- Is there a difference between the collector and collector? Who, in your opinion, to a greater extent is you?
- No difference: in both cases it is about an amateur in the true sense of the word, those who out of personal interest or bias enjoys some things unrelated to his professional activities, while seeking to expand their knowledge and abilities. In this sense I consider myself a dilettante.
- Artworks what era you prefer and why?
- My preferences have changed or expanded over the years. Initially, and for nearly 35 years, I was interested in German porcelain of XVIII century, especially porcelain Ludwigsburg. Now occupy the entire European ceramics XVIII-XXI centuries. In this case, to a lesser extent, I am interested in the period of historicism second half of the XIX century with its meaningless for me, "plagiarism", which is understandable only in historical context.
- Please tell us about the sources of replenishment of your collection. By what criteria do you choose the items in your collection?
- The collectors are so resourceful, that does not miss a single opportunity to supplement their collections, whether it be auction or purchase at the antiquary.
- Did you take part in any auction, you have a relationship with antiques salon? Which of them you would like to emphasize in connection with the subject "Russian porcelain"? Is the objective today is estimated Russian imperial porcelain?
- Personally, I like working with auction houses, they are often interested in my opinion about ceramics, but in recent years - and about the Russian porcelain. I happen to write the foreword to the auction catalogs.
Just in recent months in addition to the two major auction houses of England to the Russian porcelain show interest in others, especially the German auctioneers. It is in Germany is a large number of Russian porcelain, due to long dynastic ties between the two countries.
It would be too bold to say that the quality of Russian porcelain in the XVIII and XIX centuries, examples of best match of porcelain factories in other European countries, Meissen and Sevres in the XVIII century, the Royal Porcelain Manufactory (KPM) in Berlin or Vienna in the XIX century remained in the sense unattainable. But we should not underestimate the fact that porcelain by the Imperial Porcelain Factory has particular historical significance because, as far as we know, the enterprise produces products only for the imperial court, but that the whole of Europe XVIII and XIX centuries, only a few porcelain factory worked for the imperial or royal houses . This should lead to higher prices in the near future.
Can think of Chinese porcelain from the Imperial label, which is also very quickly received a high rating. Therefore, Russian porcelain Imperial Porcelain Factory, of course, will be evaluated more highly than those of other European porcelain manufactories. So far underestimated porcelain of XVIII century, the time of Elizabeth and Catherine the Great. Porcelain this time because of its antiquity and the extreme rarity should be valued much higher than the works of the XIX century.
Besides, he made only for the Imperial house. However, I am convinced that more collectors will discover the Russian porcelain and then will move to the adjustment of prices.
- Does Europe antagonism between the antique dealers, collectors and museum staff?
- In general no, although there is a strong sellers' competition, as the rather narrow circle of collectors. In any case, in our Association during our annual workers' meetings are a lively exchange of views among all its members.
- How do you think of the early copies, or the most famous works by famous porcelain factories? In particular, to those who performed at the same factories at a later time (in the XIX - early XX centuries)?
- In fact, all European porcelain factory from the XVIII century were in the broad sense imitators (followers): Kandler was first to introduce a completely new subjects Meissen porcelain in the plastic. And all the subsequent manufacture copy them to a greater or lesser accuracy, or regularity, while often not trying to rig. Of course, the little factory in the XVIII century began with great backup samples, which partially led to what became adopt and brands to increase sales of products. Porcelain was a luxury, and the company totally dependent on subsidies - not for nothing that the porcelain in the XVIII century was called "white gold" and is sometimes valued higher than gold.
Ambiguous and, in my view, unacceptable is the production of those factories, which, like a factory "Samson» (Samson), backed up the china to order, that is doing just fakes. This did not escape and the product of the Imperial Porcelain Factory: There are remarkable imitations, for example, porcelain era of Catherine the Great, made in a factory "Samson". But they also reveal. This will be discussed in my post at the conference ( "Vinogradov Readings - 2007". - Comm. Ed.).
- What is the extent this problem is counterfeit?
- Fakes have always been a serious problem, and not only in china. There is so remarkable falsification that they could be identified only by highly experienced experts.
But nowadays you can easily recognize counterfeit works of the Imperial Porcelain Factory in St. Petersburg: falsifiers still can not play so characteristic of this type of porcelain gilt, and all the imitations I have ever seen, and later revealed it was on this basis.
- Do you participate or GKF in charity?
- Our association is not commercial but rather a public organization and strives to provide both moral and material support to the scientific study of ceramics by publishing papers, research support and publication of their results, as well as joint visits to exhibitions of ceramics, as I mentioned at the beginning. Moreover, all the board members are volunteers, that is, without their pay, while ensuring that the overall contribution of the association members in our projects.
- In autumn 2006 as part of a large group of members of the GKF you visited St. Petersburg and its suburban residence. What impressed by your museum collections north of the city?
- First of all, I am pleased that there was tremendous response this event in our association. Many participants believe our trip working meeting in St. Petersburg, the most impressive in more than half a century of our society, although, unfortunately, we were unable to visit the foundations of the Hermitage and its affiliates. During the preparation of this working meeting, we were very warmly accepted in all the museums and palaces. Treasures of ceramics in St. Petersburg and its environs, of course, must be assigned to the most valuable in the world.
- What works for companies and private factories in Germany from the collections of the St. Petersburg museum led you have a special interest and may have been totally unexpected for you?
- I was aware of the various publications of Ms. Genera Soloveitchik, especially in our magazine KERAMOS, that the St. Petersburg Hermitage is the largest collection of German porcelain of XVIII century. Thus, I knew that I was there waiting, and in no way was not disappointed. This collection, among other things is full of small German porcelain factories, which are rarely seen in many other museums. In the circles of specialists and collectors Hermitage've always had a fantastic reputation.
- Will you do for yourself any opening, reading the collections of Russian porcelain? How do you feel about the works of the Imperial Porcelain Factory (IPE) in St. Petersburg and private factories in Russia? What do you think most interesting?
- I particularly look forward to meeting the huge reserves of Russian porcelain. Prior to that he was devoted to a very few publications, so that I could not draw on the products of Russian porcelain full presentation. I do not know exactly what awaits me here, but given the huge number of German porcelain, hoping for a similar richness of Russian. And that my expectations were completely justified. The most impressive and truly unique in the world can be considered large scale gala dinner sets, which are displayed in the various palaces, for example gold or Stamp service in Pavlovsk or Gurevskiy service in Peterhof. Such nearly complete ensembles in the best preserved here than anywhere else, and quite as charmed members of our working meetings, held last year in St. Petersburg. To this must add "power" of the Imperial Porcelain: it fascinates typical of Russian porcelain gilt, from the glitter and wealth of which the mass of tableware items for meal at the table in the audience catches his breath. Undoubtedly, during the appearance of these ensembles in the XIX century the goal was the same: to visit the imperial court felt the power and wealth in Russia.
- How useful was to visit the IPE, its art laboratories and galleries, where before modern china?
- The basis of understanding the essence of an art work of art is viewing, contemplation: the more you see, the better you'll understand. I saw the china is in order to understand the "handwriting" of the factory in order to better distinguish it. Only in this way, for example, can distinguish the original from a fake, for example, tsirovke for gilding, for the manner of artists of different eras, whether they work under a label «AI» (the epoch of Alexander I. - Notes. Ed.) Or «NI» (epoch of Nicholas I. - Notes. ed.), etc. Only the direct examination can give the appropriate response.
We, the inhabitants of western Europe, it was interesting to trace the evolution of a porcelain company, which of the elite of the Imperial factory eventually transformed into "national enterprise". This change, of course, caused a drastic change in wording. Characteristic of today's Lomonosov Porcelain Factory, I also believe a typical Russian folk direction, notably in decor products, which differs substantially from the decorative works of Western European enterprises.
- The program of study visit members of your organization in St. Petersburg was provided for a small seminar in which you have heard several reports of Hermitage on the IPE. Have you found yourself to something new?
- Many participants of our working meeting of Russian porcelain was completely unfamiliar, so in that sense, our event can be considered above all learning. Still, I must say that thanks to my many years of work with this material most of it I was already known.
- GKF is one of the organizers and the media sponsors of the first international conference farforistov in Russia "Vinogradov Readings in St. Petersburg - 2007". You personally to address it with the message. Why did you decide to participate?
- Until recent years, Russian porcelain is in serious need of in oriental analysis, publications about it are rare even today. Personally, I was particularly interested in is the pottery, which is not sufficiently investigated. So for some time I studied the Russian porcelain. On the other hand, because of political difficulties had not been able to exchange opinions with Russian specialists. I therefore welcome this event, which I hope will lead to new results for both sides.
- will gather in St. Petersburg not only museum curators and researchers, but also antique dealers, collectors of porcelain, auctioneers. It is promising a multilateral and internationalist approach to this problem of study, positioning and promotion of European (including Russian) porcelain? What results do you expect from this conference?
- Collectors, museums and sellers (auctioneers) are interconnected, although each of them engaged in their work. It is believed that knowledge of the material first and foremost characteristic of the collector and the quite different - museum curator. Often underestimated the knowledge of the auctioneer, it is instinct that makes it able to find a rare or unknown porcelain. In fact, all three - passionate enthusiasts, what do I so often had to make sure during the discussions at the windows to our working meetings. I think that the joint work of all participants, representing such diverse interests, will be fruitful.
http://www.antiq.info/glass/7705.html
13.03.2009, 16:09
Questions expertise porcelain, earthenware (Interview with Reinhard Jansen)
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