International Confederation of antique and art dealers in Russia and CIS (MKAAD) to protect heritage Natalia Goncharova
ARTinvestment.RU   28 июня 2011

International Confederation of antique and art dealers in Russia and CIS (MKAAD) in this special report comes out in defense heritage of Russian avant-garde artist Natalia Goncharova in connection with the publication of controversial studies of her work

According to the Confederation, the book by Anthony Parton and Denise Baseto harm the reputation of the artist and is able to distort its role in the history of art.

Introduction

Natalia Goncharova — pride of Russian art, bright innovator, an artist of world importance and according to the statistics of open auction sales, the author most expensive work when-либо written by a woman. Creativity Natalia Sergeyevna is a constant subject of research in our country and abroad.

In 2010 and 2011 came out two dedicated to Russian artist foreign picture books: "Goncharova. The art and design of Natalia Goncharova" by renowned art historian Dr. Anthony Parton1 (hereinafter: the book (vol.) Parton) and the first volume of "Natalia Goncharova. Her work. Between tradition and modernity" is not familiar to the scientific community as a specialist in Russian art Denise Baseto2 (hereinafter: the book (vol.) Baseto).

it would Seem, one can only welcome the growing attention of foreign authors to the creation of "Amazons of the avant-garde" and promotion of its heritage. But unfortunately, even the first acquaintance with published in these books the illustrations are a disappointment and an unpleasant surprise from the members of the MKAAD, Russian art experts, collectors and connoisseurs of the art of Natalia Sergeevna. It turned out that in the books of Parton and Baseto the indisputable masterpieces of Museum collections and private collections are combined with reproductions of works, at least questionable from the point of view of authenticity (let not deceive you the legal care of that phrase). Such "additions" appeared, in particular, among the works of the most valuable, groundbreaking period of creativity Natalia Goncharova — works created during her stay in Russia. It should be noted that we are not talking about the one-двух "updates", which can be attributed to the misconception of a specialist, and about one and a half hundreds of bizarre works, cause confusion among art historians. In particular, in the first volume of the catalogue Denise Baseto placed about 430 paintings (until 1915)3, of which about 150 works — things of the world Museum collections. Only about 130 works are given a more or less detailed provenance (history of life)@the semicolon thus, a simple calculation shows that in the book Baseto published about 150 paintings from private collections without provenance4.


1 Anthony Parton. Goncharova. The Art and Design of Natalia Goncharova. Suffolk: Antique collectors' club, 2010.
2 Denise Bazetoux. Natalia Gontcharova. Son oeuvre entre tradition et modernité. Neuilly-sur-Marne: Artprint, 2011.
3 the book lists Baseto 1529 paintings and graphic works, of which about 820 are created by the artist before his departure from Russia, that is, until 1915.
4 the Lack of convincing information on the provenance means that the item is located in a private collection, for a hundred years never party-вовала in exhibitions and information about it was first published after the year 2000, when there was a mass emergence of the fakes.

the Number and movement of works by Natalia Goncharova, created before 1915

to Exclude the existence of original works by Goncharova created before 1915 with obscure provenance, of course, impossible — but it is extremely unlikely: the period is fairly well understood by historians of art, the artist actively exhibited and recordedin the catalogs. There is also an authorized list of works by Goncharova published in 1913 in the pamphlet Eli Eganbyuri (I. M. Zdanevich)5, and also a partially preserved list of works, drawn up by the architect N. D. Vinogradov (see about him below). The art is known, and the fate of works by the artist remaining in Russia after the emigration of Larionov and Goncharova.

in the Spring of 1914, Goncharova and Larionov brought from Russia to Paris about 50 paintings of Natalia Sergeevna for her and Larionov's exhibition in the gallery of Paul Guillaume 17-30 June (in the exhibition catalogue provided 55 paintings Goncharova). After the exhibition of 36 works was planned to show in the Berlin gallery "Storm", but the exhibition was canceled from-за the beginning of the war, and sent to Berlin paintings returned to the authors not before 1921 (the list of January 27, 1921 is in the archive of the state Tretyakov gallery). On the back of all these there are special labels in German.

In 1915, Larionov and Goncharova finally went abroad, most of their paintings remained in the apartment in Trekhprudny lane. In 1918-1919, the number of paintings was acquired by the Department of fine arts Narcompros and deposited in the Museum of painterly culture, where later was transferred to the Tretyakov gallery and provincial museums. Another significant part of the heritage of the architect N. D. Vinogradov moved out of the apartment in Trekhprudny in Moscow he founded a repository of works of contemporary art. On the back of the canvases were made stickers with the words "MCPSI" and "G. L." and numbered. In the years 1925-1926 the artist L. F. Zhegin on behalf Larionov organized the shipment of works in Paris. "Before sending on the back of the canvases of both the Larionov and Goncharova were made of the inscriptions (presumably hand Regina): "Ларионов" and "Lario-now" that is not meant to the author and the addressee", — writes in the catalog GTG6 Irina Vakar, senior researcher of the State Tretyakov gallery, the famous specialist in Russian art of the first half of the twentieth century. Thus, most of the works created before 1915 have special marks on the back.

In the publications of the Parton and Bosetu is often missing information on the reverse side of the work. Characteristic inscriptions, marks, labels known in the art and would be able to shed some light on the history of the movement of these works, and their exhibition fate, but just the information about the turnover of "controversial" works in these editions no. Why — can only speculate.


5 Eganbyuri Ali. Natalia Goncharova. Mikhail Larionov. M., 1913.
6 I. A. Vakar. Explanation of the catalog of works, N. Goncharova // the State Tretyakov gallery. The collection catalogue. Painting of the first half of the twentieth century. Volume 6, book the first (A @And mdas). M., 2009.
P. 191.

Art criticism analysis of works of Natalia Goncharova

the Doubts of Russian researchers as to the authenticity of a number of published works and the responsible attitude of the authors to the selection of material have many compelling artistic reason. So, some of reproduced in the books of Parton and Baseto paintings previously inspected by Russian specialists and art received a negative conclusion. In particular, we offer you to familiarize yourself with the arguments of the negative findings for the two paintings, dated and Parton and Baseto 1909year.

  • Рис. 3. Наталия Гончарова. Цветы и кофейник. Холст, масло. 100 × 83,5. ГРМ
  • Рис. 4. Наталия Гончарова (?). Натюрморт с четырьмя подсолнухами. 1909. Холст, масло. 90 × 96. Частное собрание. Кн. Партона: илл. 47

"still life with a coffee pot and a fan" (vol. Parton: ill. 46; kN. Baseto: Fig. 191; Fig. 1) and "still life with four sunflowers" (vol. Parton: ill. 47; Fig. 4) have the character of non-creative compilation. Thus, in "still life with a coffee pot and fan" blue drapery with raspberry ornaments are reminiscent of the cloth from the painting "still life with pineapple" (TG; Fig. 2), and a pot of coffee —, the same object from another painting, "Flowers and coffee" (RM; Fig. 3).

the shape of the coffee pot in the picture of the timing comisioane, but is quite recognizable: it is high, apparently, a metal pot with a conical lid and round handle. In this, as in the plate on which it stands, is not unusual: the more perceived artistic Convention, resorted to by Goncharova for their image.

On ekspertiem picture both purchased a fancy type: white (looks like porcelain) coffee pot has become slightly curved, its cover is reminiscent of tube perfume bottle, a pen and a rectangular tray. In the image forms betrays the uncertainty of the author: it is not clear, faceted or smooth coffee pot he writes and how many corners of the tray. The abundance of items creates a composite [email protected] semicolon lacks Goncharova energy and decorative colors.

"still life with four sunflowers" is largely similar to the above picture. The accumulation of things, the lack of compositional logic is felt here even more: objects occlude each other, draping camouflage, make clear spatial relationships, which is not typical of the still lifes of Goncharova.

interpretation of the shape of objects is puzzling: for example, Cup with square handle and the same saucer seem to be a design experiment 1920-х years and not experience kumitachi forms, especially that all other items — apples, vases, bottle, flowers, figurine — solved without-либо hint cubital.

the statue deserves mention. Similar to figurines snow maidens papier-маше 1950-х years, she decided stylistically in a completely different way than other objects, features pink face is depicted with some detail, and the image features ngoncharova mush.

Especially evident mismatch style Goncharova in the image of sunflowers (one of the favorite themes of the artist). Goncharov writes sharp, prickly, bright petals, as if absorbed sunlight. In expertisea still life is dull, fades flowers with curved petal shapes. Still life done roughly, but slowly, "soap"; the coloring is based on the predominance of blue and green cold, which is unusual vision Goncharova. Where Goncharova uses a strong color contrast (e.g.,sunflowers and background) or the contrast of light and shade, expertized in the work he is missing.

Both works have a Latin signature, simultaneously with the paint layer. Such a signature is found in the paintings of Natalia Goncharova Russian period extremely [email protected] semicolon in most cases it is either missing, or given initials. Latin Goncharova began to sign his paintings abroad. Most often this is done before sending the paintings to the exhibition. However expertiese pattern was not exhibited in his lifetime and posthumous exhibitions of Goncharova; they are not mentioned in directories, and their speed no exhibition labels.

it is Unclear the origin of the paintings. Empty speed indicate the absence of provenance. On the turnover of the majority of the early work of Goncharova, arrived in London from the collection of A. F. Larionova-Томилиной, there are inscriptions, made by N. D. Vinogradov, L. F. M. Reginam and other individuals involved in the shipment of paintings from Moscow to Paris in 1927, as well as labels and numbers, Moscow repository of modern art. Itself A. F. Tomilin also signed (in French) and dated work of his Foundation.

the General lack of inscriptions and numbers on the early paintings Goncharova rare. It suggests that things have not participated in personal exhibitions 1913-1914, where Goncharova showed even small sketches. No mention of the two works and list of works, compiled with her words Ilya Zdanevich in 1913... the Style of the works presented convincing in their contrast to the reference works of Goncharova specified period.

"Picture-двойники"

In both books draw attention to themselves "paintings-двойники" — questionable things with similar reference names and stories. And such a lot.

  • Рис. 5. Наталия Гончарова. Борцы. 1908–1909. ГРМ. Кн. Базету:
илл. 198
  • Рис. 5. Наталия Гончарова. Борцы. 1908–1909. ГРМ. Кн. Базету:
илл. 198
  • Рис. 5. Наталия Гончарова. Борцы. 1908–1909. ГРМ. Кн. Базету:
илл. 198
  • Рис. 6. Наталия Гончарова. Борцы. Национальный музей современного искусства, Париж. Кн. Базету: илл. 199
  • Рис. 6. Наталия Гончарова. Борцы. Национальный музей современного искусства, Париж. Кн. Базету: илл. 199
  • Рис. 6. Наталия Гончарова. Борцы. Национальный музей современного искусства, Париж. Кн. Базету: илл. 199
  • Рис. 6. Наталия Гончарова. Борцы. Национальный музей современного искусства, Париж. Кн. Базету: илл. 199
  • Рис. 7. Наталия Гончарова (?). Борцы. Частное собрание. Кн. Партона: илл. 124. Ниже cлева: Всероссийский юбилейный чемпионат французской борьбы. Санкт-Петербург. Фотография. 1910. Кн. Партона: илл. 125

among the striking examples of "doubles" — painting "the Wrestlers" (vol. Parton: ill. 124; kN. Baseto: Fig. 200; Fig. 7). To art historians it is known that in the brochure Eli Eganbyuri placed the most complete list of works by Goncharova to 1913, inclusive. On page VIII and IX are two paintings called "Fighters". Today, these paintings reside in state Russian Museum (Fig. 5) and the Center of them. Georges Pompidou (Fig. 6). In the book Denise Baseto published the third picture under the same name (located in a private collection) not contained in the list of Eganbyuri.

Both the Museum and the paintings have detailed exhibition history, originating in 1910. The turnover of the Museum's paintings have inscriptions and stickers, which is typical of revolutions of the canvases Goncharova. The work from the private collection exhibition history has not,stickers and decals on the back are not specified. Despite the information about the movement of paintings from one private collection to another (1930-е gg — private collection, Leningrad, 1956-1991 — private collection, USA, then — private collection, Israel), the book Baseto no mention of publications. Meanwhile, we are not talking about a small study, and a fairly large work is important for Goncharova plastic motif. In the picture there are similarities with the Museum's "Fighters": the same intense-красный floor, gray-белые wall, but the composition is undergoing significant changes.

the Powerful figures of the fighters in the Museum's paintings occupy the whole space of the canvas, almost vmeas it, giving the impression of excessive force.

In the painting from a private collection both figures are neatly placed against the floor while the lack of energy, the author compensates for the pretentious and intricate poses of the characters and more detail. If the reference to "Fighters" and the motive (people in masks), and the generalized elastic line create the image of fight of the Cyclops, in the picture from a private collection in detail drawn facial features, hair, biceps, etc. give the scene a more down to earth, everyday character, and the overall composition clearly recalls its source — coffee group photo, 1910, where "cut" and literally moved into the picture the Central group of wrestlers (method, not specific to creativity Goncharova).

Compositional uncertainty, granularity uniform, no color and design energy — quality that is not characteristic of Goncharova paintings around 1910, the time of blossoming of her creativity.

"Variations on a theme" of Goncharova

a Number of paintings, published in the catalog Denise Baseto, domestic experts consider "variations on a theme" of Goncharova.

  • Рис. 8. Наталия Гончарова. Стрижка Овец. 1907. Музей истории искусств. Серпухов. Кн. Базету: илл. 130
  • Рис. 8. Наталия Гончарова. Стрижка Овец. 1907. Музей истории искусств. Серпухов. Кн. Базету: илл. 130
  • Рис. 8. Наталия Гончарова. Стрижка Овец. 1907. Музей истории искусств. Серпухов. Кн. Базету: илл. 130
  • Рис. 9. Наталия Гончарова (?). Полевые работы. Частное собрание. Кн. Базету: илл. 131
  • Рис. 9. Наталия Гончарова (?). Полевые работы. Частное собрание. Кн. Базету: илл. 131

When comparing paintings of "Field work" (vol. Baseto: Fig. 131; Fig. 9) authentic Museum work "the sheep Shearing" (vol. Parton: ill. 140; kN. Baseto: Fig. 130; Fig. 8), written in the same 1907, by the similarity of the motifs of both paintings (scenes of rural labor, peasant figures in landscape) only highlights differences in approaches to interpretation of the theme. First of all, catches the eye inexplicable if proximity Dating is the difference in a picturesque interpretation of form. The work of the Serpukhov Museum is in a tight, picturesque masses, bounded by clear outlines, different compositional clarity.

the Canvas "Field work" from a private collection inherent diversity of colour, plastic ambiguity and granularity of forms, the lack of structure and logic of construction — qualities in the highest degree innate in these years, Goncharova, last sculpture school. Surprised by the apparent dissimilarity of the manner of interpretation of the space: decorative-плоскостного in Museum work and pseudoplanar in the painting from a private collection. Foreground "Field work" explicitly "fails", while the brightthe complementary color of the background "getting ahead". The impression that the author of this picture was inspired not only by the works of Natalia Goncharova, but also by the works of David Burliuk. As well as in other cases not indicated the existence on the back work from the private collection of any-либо inscriptions or stamps, remains unclear and its provenance.

"Options", "sketches", "sketches" the well-known works of Natalia Goncharova

In the books of Parton and Baseto there are works which, according to critics, expect for the role variants, sketches or etudes for well-known works of Natalia Goncharova.

  • Рис. 10. Наталия Гончарова (?). Разноцветный павлин. 1910. Частное собрание. Кн. Базету: илл. 547
  • Рис. 10. Наталия Гончарова (?). Разноцветный павлин. 1910. Частное собрание. Кн. Базету: илл. 547
  • Рис. 10. Наталия Гончарова (?). Разноцветный павлин. 1910. Частное собрание. Кн. Базету: илл. 547
  • Рис. 11. Наталия Гончарова. Весенний павлин (стиль русский вышивки). 1911. ГТГ. Кн. Базету: илл. 548
  • Рис. 11. Наталия Гончарова. Весенний павлин (стиль русский вышивки). 1911. ГТГ. Кн. Базету: илл. 548
  • Рис. 12. Наталия Гончарова. Павлин под ярким солнцем (стиль египетский). 1911. ГТГ. Кн. Базету: илл. 549
  • Рис. 12. Наталия Гончарова. Павлин под ярким солнцем (стиль египетский). 1911. ГТГ. Кн. Базету: илл. 549

among the works "based" art includes, in particular, the canvas "Colorful peacock" (vol. Parton: ill. 629; kN. Baseto: Fig. 547; Fig. 10). In 1912 at the "Donkey's tail" Goncharova showed a series of "Artistic possibilities about peacock", which included five paintings, done as stated by the author in different styles. Of these, three survived: two — "Spring peacock (in the style of Russian embroidery)" (Fig. 11) and "Peacock in bright sunlight (Egyptian style)" (Fig. 12) — are in the Tretyakov gallery, the third — "White peacock (in the style of the Cubists)" — in a private collection outside of Russia (— 1911).

All three of the famous "Peacock" — pictures-панно the same (almost square) format, in which the artist explores the different types of decoration. Sam peacock serves them as a pretext for formal play different styles. His image is strictly stylized and decorative is subordinated to the task: in "the Peacock under bright sun", the body of a bird enclosed in an oval shape, which is then rhythmically repeated in the image dissolved the tail, and the tail is conventionally reproduces the sun shining. The composition is planar, the motion of the brush, which Goncharova draws and sculpts a peacock, its head, wing, feet, etc., accurate, confident, and energetic.

the Painting is from the private collection of aged close in color, but differs significantly from the standard "Peacock" lack of clear objectives and a different skill level. The main attention the author pays himself a peacock. His clumsy, helpless, on the plastic figure with his chest out strutting, highly having lifted up feet, in an indeterminate space. The format of the picture is different — it is stretched horizontally, the planar solution is replaced by unclear plan. A decorative solution is not found, the color goncharovsky devoid of expression. The picture is not full-scale study, it does not seem to be any thought, logically associated with the intended series. Anatomical mistakes and the blandness of the figure, mannerisms poses peacock and the senselessness of a common solution to give "Peacock" from the private collection of the nature of a parody on the masterpieceGoncharova.

Questionable graphics

Among graphic works published in the books of Parton and Basato, particularly among the sketches for the ballet "the Golden Cockerel", critics also find a number of unconvincing works.

  • Рис. 13. Наталия Гончарова (?). Девушка. 1914. Эскиз к «Золотому петушку».
Кн. Партона: илл. 406а
  • Рис. 14. Наталия Гончарова. Сенная девушка. Эскиз костюма. Бумага, акварель, графитный карандаш, бронзовая краска. 32,8 × 21,6. Пост. до 1936, ГЦТМ им.А. А. Бахрушина
  • Рис. 15. Наталия Гончарова. Плясунья. Эскиз костюма к балету «Золотой петушок». 1937. Бумага, акварель, графитный карандаш.
45,5 × 30. Дар Э. Курнан в 1983,
ранее собр. Т. К. Пьянковой. ГТГ

When comparing reproduced in Anthony Parton's book drawing "Girl" (Fig. 406a; Fig. 13) with sketches "hay girl" 1914 (continue reading; Fig. 14) and a later author's repetition of "Dancer" for the production of 1937 from the collection of the State Tretyakov gallery (Fig. 15) an obvious difference is the manner of execution.

Both works are in Museum collections, have distinct history of receipt. The work reproduced in the monograph of a Parton has the character of copy. It changed the proportions of the figure, the nature of the interpretation of the costume. Free shirt-размахайка tied under the breast, turned into obscure detail of the dress. In both author's sketches, the face is not shaded, blush superimposed on the pattern of Russian Dymkovo toys — round spots; reproduced in the sketch, a figure more squat proportions it is broken, hands and face painted, blush superimposed on the principle of decorative make-up (on cheekbones on the face). The color scheme of the costume is more dark and "dirty", while the costumes of 1914 is made in bright rich colours that hit the Parisian audience.

the Character of the inscriptions on the drawing (in gouache) is not typical for sketches for "the Golden Cockerel" 1914: all the authentic sketches of authenticity signed by pen CYRILLIC or less pencil. The handwriting, the nature of writing letters reproduced in the sketch is different from handwriting N. Goncharova. Finally, it should be noted that all the sketches to the "Golden Cockerel" in 1914 made on sheets of paper of a certain format.

Similar doubts expressed by critics in relation to another sketch to the "Golden cock" — depicting the costume of Sirin.

  • Рис. 16. Наталия Гончарова (?). Сирин. 1914. Частное собрание. Кн. Партона: илл. 402
  • Рис. 17. Наталия Гончарова. Птица Сирин. 1914. Бумага, акварель, гуашь, бронзовая краска, графитный карандаш. 35 × 26,1. ГТГ
  • Рис. 18. Наталия Гончарова. Птица Сирин. Эскиз костюма. 1914. Бумага, акварель, бронзовая и серебряная краска, графитный карандаш. 34,5 × 49. ГЦТМ им. А. А. Бахрушина

the Manner of execution, is fundamentally different from the manner authentic to the original, characteristic sketch, "Sirin", published in the book of the Parton (Fig. 402; Fig. 16). Unlike drawings "the Bird Sirin" of 1914 from the collection of the State Tretyakov gallery (Fig. 17) and continue reading them. Bakhrushina (Fig. 18) "Sirin" from a private collection ispronounced stylized-декоративный character, with a planar schematic interpretation of the forms. In the Museum the sketches of the more obvious loose brushwork of the paint and the nature of its interaction with the line. Goncharova depicts a figure in motion, while in the sketch, published in the book of Parton, she is almost motionless.
Besides the signature on the French language and their location on the sheet on the work is not typical for sketches for "the Golden Cockerel" in 1914.

"Citation" and compilation

a number of works reproduced from Parton and Basato, bear the signs of rough compilation. The low artistic quality of these "improvisations" exposes their thoughtlessness and lack of sense of proportion.

  • Рис. 19. Наталия Гончарова. Велосипедист. 1913. ГРМ (илл. 770). Наталия Гончарова (?). Кн. Базету: илл. 765–769, 771, 772
  • Рис. 20. Наталия Гончарова (?). Автомобиль. 1911. Частный фонд. Кн. Партона: илл. 185
  • Рис. 20. Наталия Гончарова (?). Автомобиль. 1911. Частный фонд. Кн. Партона: илл. 185

list of works by Goncharova, E. Eganbyuri composed in 1913, contains a painting of the same year "the Cyclist", now located in the timing (vol. Parton: ill. 217; kN. Baseto: Fig. 770; Fig. 19). In the book Baseto this is the only reliably documented pattern surrounds a group of compositions with the image of motorists (vol. Parton: ill. 185 (Fig. 20) and 220; kN. Baseto: Fig. 765, 766, 767; Fig. 19), cyclists (kN. Baseto: Fig. 768, 769, 771, 772; Fig. 19), etc., constructed on a similar principle: the profile image of a moving person in the foreground, on the background of the urban landscape with fragmented signs.

No. 769 is called "etude to the picture"; in No. 768, the same cyclist pictured riding in the opposite direction compared to other [email protected] semicolon in No. 771, the hero also travels in the opposite direction on the background of the same sign, but the beer is moved from the right side to the [email protected] semicolon in No. 772, the character rides on a kiddie [email protected] semicolon in No. 765, 766 and 767 — a new hero, in helmet and goggles, riding in the car on the background of the same sign with mugs of beer. Nos. 780 and 781 in the car, a second character — lady in a hat with a feather in No. 789 she is joined by a man in a bowler hat. The background of most of these paintings are the signs: "Hat", "Silk" and a picture of the mugs with foaming beer, as well as the painting of the timing. All motorists, cyclists and smootchie under the wheels — stones, like on the reference picture.

This mechanical repetition of the same elements suggests a poverty of imagination. Maybe Goncharova varied motif in the later period, in the years of decline? But in the book Baseto all of these paintings are dated 1912-1914 years. The artist, distinguished by creativity, dazzled contemporaries by the boldness in inventing new forms and sharp changes of individual style, appears in the book Baseto craftsman, endlessly reproduce the same findings. Needless to say that none of the latter-day paintings for the "transport" theme has no labels or stickers on the revs, no exhibition history or provenance.

My opinion about compilations in the monograph Parton has stated in the article "Alternative Goncharova" well-known art historian Andrei Sarabianov: "This isnot the Natalia Goncharova, known to us from Museum collections, exhibitions and catalogues (especially after the publication of the complete collection of her works transferred by A. K. Tomilina in the Tretyakov gallery). Goncharova is another strange idea. It is a pity that it could mislead such a well-known expert on Russian art, as Dr. parton"7.


7 Andrey Sarabianov. Alternative Goncharova // ArtChronika. 2011. No. 3.

About the source material, and provenance

the Degree of elaboration of the source material and neglect to check the provenance of a surprise to art historians and connoisseurs of creativity Goncharova.

  • Рис. 21. Наталия Гончарова (?). Женщина с ребенком у колодца. Частное собрание. Кн. Базету: илл. 295
  • Рис. 21. Наталия Гончарова (?). Женщина с ребенком у колодца. Частное собрание. Кн. Базету: илл. 295
  • Рис. 22. Иллюстрация из статьи М. Л. Виктуриной «Сравнительный анализ творческого метода М. Ларионова и Н. Гончаровой»

Especially revealing in this sense, the example of the publication of the painting "Woman with child at the well" (vol. Parton: ill. 182; kN. Baseto: Fig. 295; Fig. 21). In the bibliography accompanying this picture stated that it is published in the book "N. S. Goncharova and M. F. Larionov. Research and publications"8. The fact is true: this picture is reviewed in the article by M. L. Victorino "a Comparative analysis of creative method of M. Larionov and N. Goncharova" (p. 154-155). And that's what it is about her the author writes: "that is More rough as its scenic qualities is the second painting of the scene at the well (Fig. 22). The author of this song tried to create a work using their repose about the manner of writing of the artist, choosing the right plot. However, neither one nor the other has nothing to do with the graphic language of the N. Goncharova. Expertisea the picture is not signed; on this basis, it can be considered a forgery and a painting by an unknown artist, trying to write "под Goncharov"".

According to critics, the publication of this one picture in the directory Denise Baseto causes distrust of the scientific study of the book as a whole.

meanwhile, in the book, Denise Baseto about 150 paintings do not have a convincing provenance. It is also known that neither Anthony parton nor Denise Baseto did not come to the Tretyakov gallery to work with the largest Museum collection of Natalia Goncharova, which includes 411 paintings, including the most valuable canvases of her avant-garde period. The decision of the authors to neglect this work is only additional factor that reduces the confidence level of both publications.


8 N. S. Goncharova and M. F. Larionov. Research and publications. M.: Nauka, 2001. S. 145

Conclusion

Questionable publications for decades have a negative impact on the perception of the artist, and the market for his works. Reproduction of questionable activities harmful to the scientific worldview and Luggage even experienced art historians. And for young art historians and is disastrous: low-quality material can damage their taste and flair. Before the readers of the books by Anthony Parton and Denise Baseto great innovator Natalia Goncharova is a very uneven and often weak artistprone to numerous repetitions of their stories and helpless compilations. Without a proper assessment done today, such publications can become a time bomb in the Foundation of future research, not to mention the fact that they mislead novice collectors and other participants of the art market.

among others, and these concerns are dictated by the desire of the International Confederation of antique and art-дилеров Russia and the CIS to be clear about the professional rejection of the above books by Anthony Parton and Denise Baseto devoted to the work of Natalia Goncharova. April 26, 2011 in Moscow, at the site of RIA Novosti, was convened a special press-конференция "Rigged in art: Russian experts defend the work of Natalia Goncharova". In the conference, in particular, was attended by Director of the Tretyakov gallery Irina Lebedeva, a renowned expert on the art of the Russian avant-garde Andrei Sarabianov, head of Rosokhrankultura Viktor Petrakov, as well as an authoritative expert in art and the owner of one of the largest private collections Goncharova and Larionov, businessman, President alpha-Банка Pyotr Aven.

Confederation of antique and art-дилеров Russia and the CIS brings its position to the CINOA, to warn our colleagues, including a wide range of young researchers and specialists auction houses: we recommend not to use these publications in the scientific revolution, do not take their reference publications and even more not be taken as a reason (as some reports have positioned directory D. Baseto). MKAAD also appeals to collectors and investors with the recommendation not to rely on the book by Anthony Parton and Denise Baseto as credible arches original works by Natalia Goncharova.

Confederation of antique and art-дилеров believes that the book by Anthony Parton and Denise Baseto distort the role of Natalia Goncharova in art history and damage its artistic reputation. MKAAD hoped that this special report is addressed to Russian and international antiquarian community, will weaken the harm caused by the publications containing the doubtful works attributed.



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