Myra Krasnopevtseva. The best picture in the museum art4.ru
ARTinvestment.RU   30 ноября 2007

There is beauty so fragile, indefinable, ephemeral, which must be enclosed in a rigid frame, in direct and figurative sense - the frame shape, otherwise it uskolznet and dissipated as the precious perfume of outstanding bottle

 

There is beauty so fragile, indefinable,
ephemeral, that must be entered in
rigid frame
to the direct and figurative sense -
frame format otherwise it
uskolznet and evaporates,
as precious perfumes
from unfinalized bottle.

D. Krasnopevtsev.
From the notes of different years

DMITRY Krasnopevtsev
Receptacles on a pedestal. 1967. Orgalit, oil. 68 x 57. The collection of Boris and Marina Molchanova. Moscow

In Moscow, Hlynovskom deadlocked, 4 (museum of modern art Art4.ru ) before 1 December 2007 Exhibition of paintings last Dmitry Mikhailovich Krasnopevtseva (1925-1995), arrived in the exhibition from private collections. Fans of the artist can see 67 paintings by one of the most interesting artists «another art». Designer Classics, the value of creativity that has long been undisputed.

Russian art market knows many examples of accomplishments «crowbars prices». Of recent: more than a million dollars, paid for dripping Yevgenia Chubarova, four million - for the large canvas by Ilya Kabakov and sensational two millionth Sots Art of Eric Bulatov. Each such price leap raises short-term surprise. Why? For that kind of money? What are the special merits of authors and works of a particular innovation? About six in each record the conversation begins with a discussion justifying the price of type «imagine what came before ...» But Krasnopevtseve about this for some reason did not hear, how much would it cost to work either. Even when the collector Alex Lakhman in May 2006, bought the meter canvas «Still life with three jugs» for one million dollars (15 times more expensive estimeyta) surprised even the choice of candidates. Doubt of the merits of the object was not, and the event was discussed as the first bridge millionth mark for non-representative art - and not Kabakov (superuspeshnogo work in the West ideologue conceptualism long ago overcome millionth milestone).

DMITRY Krasnopevtsev
Still life with jugs and an iron wreath. 1970. Oil on canvas. 78,1 x 88,3. The collection of Boris and Marina Molchanova. Moscow

He lahmanovsky, a million, by the way, has not yet made a total Krasnopevtseva «Millionaire». This is the destiny of things is not just good but exceptional. And no secret that sotbisovsky «Still life with three jugs» was distinguished by its decorative properties. Over the past three to four years painting the artist of comparable quality, went five times, but without the price snobbery. Paintings «Metaphysics», you can buy in the range of conditional 100 thousand dollars, depending on the quality (contrary to popular belief, not all work, even a valuable period of his equally well-managed) and size. Still Lifes level above the average may cost, for example, 350 thousand dollars (the price was hanging on one of the good works from the collection of Markina). For comparison: the matching money in the market is requested for the landscape, for example, Nicholas Krymov. Some pass things «Russian impressionist» Konstantin Korovin can be assessed and five times more expensive than high-still-life Krasnopevtseva. But growth potential for things Krasnopevtseva - at times, but for those of competitors, maybe tens of percent in the medium term. A striking example of imbalance Russian art market.

Grade Krasnopevtseva creativity is a rare variant in our latitudes, a consensus of critics, connoisseurs and collectors. Is useless to seek a formal explanation. Indeed Krasnopevtsev did not invent some new theoretical directions in the art of sound. But as it happens, it's worth a go at any exhibition in the Museum of Private Collections, a walk-walk, but still then okazheshsya and long delayed in the memorial room Krasnopevtseva. Prityanet not some kind of force (which is really the expression of energy in the metaphysical and still life), and not even a particular color, but rather placatory harmony. And the simple beauty of clear - нечастый guest in modernism, but the latter is yet another phenomenon of Krasnopevtseva. «The main thing is the essence of painting, is not subject to analysis and explanation - this is her secret, her soul, mysterious to the end and to the artist» (D. Krasnopevtsev). It would seem, a pitcher, smithereens, stick with the shell - not the fact that the still life, figurative, and even so, however, «Metaphysics» Krasnopevtseva bear on its ability to compare the nuances of abstraction or abstract expressionism. And many other advantages. Krasnopevtsev very recognizable, it is difficult to look past. «Philosophical still life» the artist in general is decorative, but it does not suffer from pretty-salon interior. They are clear and eyes do not run in search of contexts and meanings - and the owner is not suspected of excessive eccentricity. Modern and solid. This Bacon, Hurst Tselkov or require special seats hanging. A still life Krasnopevtseva fit almost any interior.

DMITRY Krasnopevtsev
Still Life with flower pots, tied with black ribbon. 1984. Orgalit, oil. 58,3 x 56,5. Collection of Ekaterina and Vladimir Semenihin. Moscow

He remembers how alone esthete, immersed in their own world and focused on the beauty of the world of things. Even the appearance of Krasnopevtsev stands out in a circle of colleagues in the «non-art». In looking through is not the Soviet sadness, he recalled Don Quixote - by understanding that will save the world is not a sword, but the beauty, fragile and eternal. By the way, preserved memories that Krasnopevtsev was frankofilom. Nikita Alexeev wrote that, deprived of the possibility of going to kapstranu, Krasnopevtsev with deep sympathy with the culture of France, and was hanging in his shop one hundred years old city plan inaccessible Paris. Studied detachment from his time creates a special aura around the artist's paintings. Rather, this was a quiet riot Krasnopevtseva his personal protest - refusing to dive into the history imposed on reality. If a man unfamiliar with his work, to show a number of works Krasnopevtseva and ask to determine the time (even if not decades, and about the era), it is not the fact that he will turn out. Soviet times, the still life, nothing is. Stars - just offshore. Bottles and jars - both 100 and 200 years ago. A more ancient amphoras ... candles, skulls, favorite «chicken gods», yarn, twigs, scrolls - all out of time. For «Reklamfilma», where he worked for 20 years, certainly, and had to draw something «conscious», but not in their personal world, not to the exclusion area.

As to a certain extent a «other art» (his still life adorned the cover of one of the two volumes of the same edition of the famous), Dmitry Krasnopevtsev not associated with a desperate creative underground. There were, of course, emblematic group of (young artists in 1957, VDNKh in 1975-m, and group in the City of graphs in Malaya Georgia since 1976). But even if they were not in the biography, the record of the artist in the history of the place and belonging to a bright nonconformists this would have no effect. Let deliberately in circulation Krasnopevtsev political struggles did not participate, manifests not issued with the Soviet regime did not butt. Suggested, as many informal, «legalized» City of schedules in 1976 - became a member. Now you can in 57 years to be taken to the Union of Artists - joined the Union. And do not worry - most importantly, in his own head still did not put.

DMITRY Krasnopevtsev
Still life with God and a black chicken feather. 1977. Orgalit, oil. 69 x 55. Private collection. Moscow

Krasnopevtseva connoisseurs have noticed quite early - in the first place, Svyatoslav Richter and George Kostaki. Works of young artists began to buy. It is difficult prikinut that some in their thirties, in the age it came recognition. It is clear that «formalist» way to long of a road to gospremiyam were ordered. Getting ahead, it is probably well that the State did not understood, but it would be most things were not on hand, and in storerooms of museums, in the mysterious «funds». For the same talented artist's inability to official exhibitions could not become an obstacle on the path to financial well-being, even in Soviet times. A let is not wide, but the range of Soviet collectors, it is providing people: scientists, creative intelligence. Were the publication and if not great, but it is known in the West. Krasnopevtseva taken with foreigners. Thus, in the catalog shows that dozens of the best, most valuable period, end of the sixties - seventies ended up in private collections in the United States and Brazil. It is only those cases that catch the eye, and generally work Krasnopevtseva dispersed in a dozen countries.

By the way, even when talking about the dozens of foreign works Krasnopevtseva, you will need to give a report that there is a significant part of the heritage of the artist. And it turns out, is quite small. It is estimated (probably based on the analysis of diaries and records the artist), the legacy of Krasnopevtseva has approximately one thousand paintings. In doing so, half of them written before 1963. So that part, like it or not, can be attributed to the experimental period, the search for his identity. These things are more interesting as an illustration of evolution of creativity and its chronology. They are important as a complement to the collection, but, alas, are not comparable in quality to the later work. The exhibition, prepared in accordance with the chronology, it is clear that in 1962-1963 there was a fracture in the creative style Krasnopevtseva. Felt, that he finally has found its muted colors, cleared and turned to still life unobtrusive surrealism in song. Loyalty to these findings, it became a business card from the mid-1960's, Krasnopevtsev preserved until the end of life. When it is warmer when it's Cool, the increasing diversity of color, the return of nearly MONOTONE - but overall, the artist has not deviated from its trunk lines in the metaphysical, philosophical, surreal still lifes. «impossibility that any change without affecting the whole: just as there are, the only solution, the other is impossible, inconceivable» (D. Krasnopevtsev).

DMITRY Krasnopevtsev
landscape on a platter (theatrical layout). 1977. Orgalit, oil. 69 x 65. Collection K. Grigorishina. Moscow

Well, so here. In assessing the legacy revealed that this valuable work period (conventionally 1963-1995) also had about five hundred - for an incomplete 31-year-old in 1992 Krasnopevtsev did not work. Moreover, the location of about a quarter of these works is unknown. One day there will be. Five of valuable time. Very little. And not every thing - a masterpiece. Let at least one in five has an exclusive picture quality, it is still in the circle will be no more than hundreds. Here goes, even arithmetically any hard work Krasnopevtseva today strongly underestimated. Even at current levels a lot. All is not enough. It can be assumed that the 200 thousandth still lifes, which are now no place is organized, very soon will be a fight just to go for other money.

About Krasnopevtseva know that he worked a lot, and passions. Unlike many Sixties zagulnym vice did not suffer. Why is it such a low average productivity - a total of three paintings for two months? The exhibition, which scan the picture at close range no less interesting than the distance, and suggests the answer to this question. At the mature paintings traced every millimeter. At the boundaries of color, the lines move orgalit like a chisel protochen. Jewelry, piecework. Come on, such things are not done. And the reason so anxious attachment Krasnopevtseva to the texture of the orgalita understand.

DMITRY Krasnopevtsev
vessel with water, stones and shells, closed top of a large sink. 1978. Orgalit, oil. 45 x 35. Collection of Tatiana and Alexander Romanov. Moscow

It is clear that alternative Canvas - the material more predictable in terms of conservation, more professional. But the historical perspectives of pressed cardboard extremely vague. It seems that the question of preservation can disturb the collector - and so, for example, that all orgality spouses Semenihin (fund «Catherine») were put under the glass. You see, that wonderful thing, and the glass is not simple - antiblik. But the impression is hopelessly bad. Cover antiblikom industrial cardboard leaves precious invoice. Prominence, strictly speaking, hampered the work of jewelry butter. But is it overcome, and a stunning effect, impossible for the plane canvas. True, and on a canvas does not lose Krasnopevtsev technical credibility. And paintings in his works, more precisely, in a particularly valuable from mid-1960's pretty much a rarity.

Getting ready to march on the exhibition, looked old reviews. What praise is understandable, but that criticism? It turned out that a common position - a comparison with the Italian painter Giorgio Morandi (1890-1964) of type «Krasnopevtsev -" our Morandi "», in what appears to be a hint at the need to borrow ideas. Morandi - this is a carryover «reproach» for many of metaphysics. Not only for Krasnopevtseva, but also to Vladimir Вейсберга, for example. Stamp this. Turned out the similarity is limited to early terminology (Morandi - by metaphysical still life, a representative of magic realism), and the choice of texture (bottles Morandi - classic «metaphysical»). The rest is ... Well, yes, the Krasnopevtseva too many bottles. Well, after Morandi bottles do not draw? And why Morandi, not Falk, for example? In general, it is better to pre-view of the Morandi, so that more of these experiences are not suffering.

DMITRY Krasnopevtsev
glass jar with water and sinks. Libra. 1967. Orgalit, oil. 49 x 60. Museum of modern art Art4.ru. Moscow

May the best torment classics of surrealism, as well as otherworldly fantasticality songs, the fragility of equilibrium - is yet another vivid impression of the work Krasnopevtseva, which is closer to the growing number of works 1970 - 1980. Article critic Nikita Alexeev has an interesting reference that Krasnopevtsev wrote not still lifes from life. Boxes with stones, root and shells - it was all necessary material for inspiration, but the amazing design stood at the head of the artist and not on the table in his studio.

Significance of the November exhibition at the museum Markina is not limited to the rare opportunity to see 67 of «krasnopevtsevyh», including rare works made not on orgalite, and on canvas. This event is timed out the most complete to date set of all original works by the artist, for the most part, which contains illustrations. The catalog was prepared by Alexander Ushakov, with the assistance of the Foundation «Catherine» museum Art4.ru on the basis of previously acquired the archive Krasnopevtseva. Luxury trehtomnik worth 7.5 thousand rubles, a more democratic addition to trehtomniku - «fourth volume», refers to him as the originator, in soft cover, with articles, graphic overlapping of the third volume, but supplemented by a further lot of work, not included in the trehtomnik , sold for 400 rubles.

In general, compilers and trehtomnika, and «soft» additions done, still far from being sensitive to take its publication in the aggregate list, reason: «Of course, this is not a complete catalog of paintings by D. M. Krasnopevtseva, and not even half of what an artist for fifty years of creativity. Too unusual fate of his paintings, razletevshihsya around the world, that someone was able to for several years to collect them all together under one cover ».

DMITRY Krasnopevtsev
Still Life with rolls of paper - white and blue. 1980. Orgalit, oil. 65 x 60. Collection K. Grigorishina. Moscow

Compilation of reasons - a serious and important work. In fact, this directory makes a point, fixes the amount of heritage and, consequently, the size of the market. Reason becomes an obstacle in the way of imitations, make many transactions practically safe, and that in itself has increased the market capitalization of the artist for a few percent. In the case of the directory Krasnopevtseva task was simple: the artist meticulously recorded the movement of his works - and that when he wrote, who had sold or donated. These details are preserved in archival records, thus ensuring completeness and accuracy of the information. But no one is taken to argue that they take into account all the work - from first to last.

In general, the reason the Russian artists of XX century can be counted on the fingers. From the Sixties - perhaps the first (I repeat, is not reason, but the most complete of the available catalogs). And it is unlikely that the re-establishment of a complete catalog of possible mass. Few artists of informal care for the protection of such information - and lived hard, and often one day. But some «Chronicles» all there was. For example, an extensive archive of unofficial art brought Mikhail Grobman (known from the memoirs of his particularly anxious to the work of Vladimir Yakovlev - friend). It is also known about the existence of the archive Volfovich, including about three thousand slides 1970 - 1980. Both of these archives, by the way, bought the museum Markina and are already under way. So the history of creativity «informal» continues to grow and gradually shape the facts, as befits this significant period in the national post-war art.

Vladimir Bogdanov