Opened 331-е the Auction and 17-й curator's auction "XXI century"
ARTinvestment.RU   25 мая 2020

The master catalogue — 30 lots: eighteen paintings, five original leaves and one — printed graphics, three works in mixed media, one sculpture and two works made in digital printing

the fee from buyers is 18 %.

Catalogue of the Auction No. 331 and XVII curator of the auction "twenty-first century. Contemporary art".

Lots 331-го of the Auction presented in the exhibition online-выставки AI.

Lots of XVII curator of the auction "twenty-first century. Contemporary art" presented in the exhibition online-выставки AI.

the traditional start of the directory section of Russian art the end of the XIX — early twentieth century. In [1873] year at a bronze casting factory Felix Chopin was cast bronze sculpture "Linear Cossack Cossack" model Evgeny Alexandrovich Lanceray. A model in wax was created in 1873 and presented to the Academic exhibition. It is obvious that after exposure to Y. F. Chopin acquired a patent for its casting in bronze. In the name of the song noted that the depicted linear Cossack. The so-called representatives of the Russian Cossacks, who lived and served on the Caucasian line — border fortifications of the Russian army in the Caucasus in the XVIII–XIX centuries, the Fortifications were built on the main rivers of the Caucasus — of the Kuban and the Terek, i.e. on the southern border of Russia. The Caucasian Linear Cossack army was formed in 1832 by Imperial decree.

In 1899 created a drawing "the Noble lady in the middle of winter (lady in a grey dress) Alexander Benois, a — "free copy" of the prints of Jean Dieu de Saint Jean (1655 (?)-1695) "Femme de qualité en habit d'hiver" (1683). "in collecting materials and preparing its program of paintings, watercolours and sketches for theatrical productions, — says the expert V. Silaev, — A. N. Benoit conducted serious research work for a more accurate matching era. It is well known that he studied and copied old prints, borrowing from their style, elements and details of the costumes". According to Romanovoi I. V. and E. A. Illinoi, filled with engravings of drawings by A. N. Benoit, of course, represent the author's reading of original source; the nature of the transformation of the source allows to understand the peculiarities of the formation of the plastic language of graphics And Benoit, his unique drawing style rooted in the art of past epochs, keeping the "echo of the past tense".

by the End of the XIX century dates back the expert study "Sevastopol" Vasily Dmitrievich Polenov: "Studies — sort of notebook of the artist, his working material — have a special place in the works of Polenov. At the end of the XIX — the early twentieth century sketches Polenova outgrow the scope of ordinary scenic studies. First presented at the 13-й exhibition TPHV in 1885, sketches Polenova became an independent aesthetic value. His landscape sketches are compositional perfection, large coverage space, complex color palette".

In 1910, written in " September landscape," an academician of painting Ivan Semenovich Kulikov. Apparently, the work was created in the vicinity of Murom, where the artist was born into a peasant family and, despite training in St. Petersburg and numerous trips, including foreign pensionerstvo Academy of arts, lived permanently. Native land gave Kulikov not only many subjects for his paintings, but also, first and foremost, power to live and work. According to the memoirs, he was a man cheerful, friendly, open, loved life and her joy.Is a state of mind visible in our landscape: there is no autumn depression, low Northern sky bright and clean, the composition is dynamic.

the Following section of the catalog — the works of Russian artists Abroad.

the First third of the twentieth century, dated to the genre composition of "Ancient Moscow" Nikolai V. Ivanov. The expert notes that the work "on the visual motif close to the artist's work, which often addressed the subject of Russian antiquity. He worked a lot as an Illustrator of Russian fairy tales and bylinas. Color palette... work, as in other works of the author, has a decorative quality. In writing the figures of the artist often uses local color — green, red, yellow, thus highlighting them in the landscape". Russian period of the artist's life in his biography is practically not reflected: the researchers indicate that he was born in Moscow, studied at the Moscow school of painting and emigrated for political reasons at the age of just 22 years of age, in 1907-м. In France he studied, "he painted landscapes of the environs of Paris and of Brittany, paintings on Russian themes: the "Old town", "Russian prison", "the Enchanted forest". Executed watercolors on themes of Russian fairy tales and legends, the illustrations to "Ruslan and Lyudmila" and "the Tale of the Golden Cockerel" A. S. Pushkin" (artrz.ru), was exhibited. We can only guess what for the artist was these motives — real passion or manifestations of nostalgia, and maybe all together. Rather, they brought to life a genuine interest in Russian antiquities and folk culture. Our work — and this is important — absolutely Moscow, there is nothing foreign, which is always seen in the works of masters of a different culture — foreigners, who wrote the often — in the works of artists-эмигрантов.

Lithography Les rendez-vous des quatre formes (Meetings four forms, 1963) Alexander porfiryevich Archipenko — sheet from the folder Les Formes Vivantes ("Living form"), containing 10 tracks and released in Switzerland in 1963, edition of 75 copies.

a Portrait of "Sleeping Marica" (1966) Marevny written in Ealing, a London suburb (this is evidenced by the author's inscription on the back of the picture), where the artist lived with her daughter Marika. The work belongs, as indicated by the expert "in the post-war works Marevny when her style and brushwork established and acquired recognizable "classic" for her work features. Here everything is the same as in the early works of the artist, noticeably her inclination towards cubism, the desire for clarity and precision linear, geometric constructions. The picture sharpened, solid, confident, and the colours exquisite, delicate, built on subtle tones and shades".

the Name and work of Marevny (nickname Maria Vorobyeva-Стебельской Bitter invented in 1911) back to our country in the Wake of the enormous interest in the Paris school. In 2004-м when one of the three memoir books Marevny, "My life with the artists of the Hive," was published in the Russian language, the State Tretyakov gallery staged the first solo exhibition of the artist in Russia. And in 2011-м her works participated in a luxury exhibition of the Paris school, prepared by the Pushkin Museum. Of A. S. Pushkin. (Read about the artist on AI: "artist of the week: Marevna".)

national art 1930-70-х yearsinfinity is represented by three compositions.

Opens the section "Landscape with river" of the late 1930-х years Vasily Meshkov. The artist's son Vasily Nikitich Meshkov, initial artistic skills acquired under the guidance of his father in his school-студии (1907-1908), and then studied at MUZHVZ (1909-1916) at the K. Korovin, V. Ivanov, And M. Corina. Since the second half of 1930-х V. V. Meshkov worked on the creation of panoramas, dioramas, exhibition panels, and it is possible that the motive of our work has been used in one of them. However, it should be noted that this is not a sketch, a completed and signed landscape composition, beautiful and peaceful. Later V. V. Meshkov worked a lot, was exhibited, held several solo exhibitions. During his artistic career was awarded the title member of the Academy of arts of the USSR (1958), people's artist of the RSFSR (1963). After a series of landscapes "Kama" was awarded the State (Stalin) prize (1951).

the Landscape "Autumn" Russian landscape painter Nikolai Mikhailovich romadina dated to the third quarter of the twentieth century, the "landscape" period of the painter. The landscape "Autumn", as the expert performed "in the popular master of the genre of natural landscape. The artist knew and understood nature. For N. Romadina the image of the mysterious forest, small rivers, quiet trails and ravines was not merely illustrative showing of the seasons and the various States of nature, but also the opportunity to work with a large portion of creative freedom, not following the strict rules of socialist realism. The wizard in the first place interested in the opportunity to touch and to convey to the viewer a sense of magic and beauty of the surrounding world, harmony of the universe".

Konstantin Paustovsky wrote about his friend: "Nikolai Mikhailovich Romadin... person from the core of the people — has covered a difficult path of initiation to painting.

If not desperate his tenacity and obsession with painting, if not intolerable to his love for Russia and its landscape, it could be among... artists-самоучек... But he pulls out in a big way and the power of his talent won him such a great and harsh master, as Nesterov" (paustovskiy.niv.ru). Sources say about studying romadina by R. Falk, I. Mashkov, A. Drevin, meeting at the end of 1930-х with N. P. Krymov and in 1940-м — with M. V. Nesterov, the subsequent communication with the circle of his friends, "among them was Pavel Korin, Ivan Efimov, Petr Konchalovsky, the singer Ksenia Derzhinskaya, the famous doctor Vladimir Filatov, the pianist Sviatoslav Richter, famous writers, scientists, philosophers" (forum.artinvestment.ru), — all this is the most fruitful way has developed and enriched a remarkably coherent and sensitive nature of the artist. Romadin wrote, quoted by the artist's expert: "I do not want Anything from life except for the sensation of joy and a sense of justice, of the expediency of life and love that I'm filled to the whole of Russia, women, children, grief, human.

I have a debt to Russia, to his country, to the Russian best people. I separate the best, kind, loving Russian people. The best those who are given the Gift of love. I am not tired to thank life for this gift. My love to nature, to all the branches of the trees, into the deep forest, quiet water, rapidly-весеннему the chirpingsparrows, the cawing of crows, the cry of the magpies and forever-вечному the babbling brook fills my heart with meaning of things".

In 1978 says "Country landscape" Fyodor Pavlovich Reshetnikov. The expert notes that "F. P. Reshetnikov throughout his life wrote many etudes. In these quick works, the artist was able to find expressive detail, you can use it to enhance the overall experience. One of the favorite motifs in his work were suburban areas of the Moscow region", in which he expressively and accurately conveyed the atmosphere of the sun, the flowering parts of their lifestyle and way of life. Is our landscape, where this piece was probably the track with a bright floral bushes.

Section of the art of the sixties, so beloved of our members, presents the work of many of the best artists of the second Russian avant-garde.

Rare early watercolor "the Silhouette of a woman" (1964) Vadim Abramovich Sidur is the author of a very interesting colorist. The audience more familiar with fine colored drawings of the Siddur felt-tip pen and ink, with delicate shapes, flowers and butterflies... And here's the watercolor, which is hard plastic, rather, closer to a bronze female figures of the master, to his sculptural cycles — smooth, tense and shining. The work is signed, dated and has impeccable provenance: from the artist's family.

By the first half of 1960-х years of full-scale staged Tushev drawing "Two model" Vladimir G. Weisberg. "the figure is executed fluently in a fast pace, which is important for neskonlith model productions — said. — On such field studies, as a rule, the master of hone and develop hand-eye, mastering difficult angles. But in staging the drawings of V. G. Veisberg clearly his desire for restraint, delicacy, grace and even elegance in the depiction of female nudity".

In 1979 completed the graphic composition "catch-up" Eliya Belyutina Mikhailovich — bright, dynamic, signature style and technique.

Watercolor Boris Petrovich Sveshnikov "untitled (Landscape with staffage. May)" 1979 painted in a well recognizable copyright puantilistskie manner. It stands out for the breadth of the palette and the visible spring, joyful mood.

"For Edward Steinberg is characterized by a special attention to spiritual and cognitive aspect of artistic creativity, inclination to the language of plastic characters that can reveal deeply hidden and clarify personal model of the universe. This "philosophy of form", for the tangible concreteness of the individual works, links Steinberg, with all its author's identity with a certain group of representatives of "unofficial" art culture of 60-80-х years, which is conventionally called "metaphysical direction"" wrote in 1988, the critic, the art critic Sergey Kuskov (art-critic-kuskov.com). Our "Composition" (1990) Eduard Arkadevich Steinberg created two years after this publication, and it is a pure sample of the author's metaphysical style of the artist. "Signs-символы works Steinberg, marked on a clean floor surfaces, transforming them into centers of spiritual energy. Soft, smooth, warm,simultaneously dispassionate glow from the inside saturates the solid surface of the canvas hints at a depth beyond. If the original shroud raspalennoe layer is perceived as movable, immovable, in his “vow of silence” plane barrier, then the realizations she comes to life, appearing now as the zone-посредник between manifest and hidden, and gives you the opportunity to experience the inexhaustibility of its meaning potentials. This kind of transformation of the white light surface metaproterenol — most frequent theme in the authentic context of the artist" (art-critic-kuskov.com).

the Work Vladimir Nikolaevich Nemukhin represents the canvas in mixed media "composition with the map" (1996). According to the expert, it "refers to the well-known and popular series of works by V. N. Nemukhin with the card layouts for card-tables. Made these difficult things are picturesquely-пластических formulas based on achievements of the Russian and European avant-garde of the twentieth century. In this particular case, a source of inspiration and the basis for building a... work “composition with the map” came with the work of Italian artist-модерниста and pioneer Lucio Fontana (1899-1968), whose paintings with cuts and tears brought him fame. For the first time since Malevich, the painting was transformed in such a radical way". Nemukhin by-своему used the idea of Fountains, and later embodied the plot of "Song map" in the drawing work that he was doing things he was closest.

To the masters of any other art, of course, applies to our contemporary Mikhail Shemyakin. His "self Portrait" from the series "Transformation" (2014) printed in the technique of giclee edition of just 5 copies. Giclee — is the author's print, which is becoming more and more popular in recent years not only among collectors, but also Museum workers. Its advantage over other lottery drawing that in this case, one product can have several variants of color solutions, and is often modified by hand. A relatively new technique is gradually being recognized by collectors and experts (shop.mihfond.ru). The sheet "self Portrait" signed and numbered by the author, it is accompanied by a certificate the Foundation of the artist Mikhail Shemyakin in Saint-Петербурге. This is very important because, unfortunately, prints of Mikhail Shemyakin is in high risk area from the point of view of authenticity.

Traditionally, the complete catalogue of the works contemporary authors.

"For me, a very important symbolic plot, — writes Tatyana A. Faidysh, the author of the canvas "the Game" (2011). — I do not depict a real person. From “my man” there is no similarity with anyone, he has no individual features, but his life and issues important to me. I choose conventional, symbolic form of image, which gives me freedom and allows you to fall into naturalism".

Tatyana Faidysh adheres to clear pictorial forms, guided by real life experiences. In her works there is always a plot, a story that embodies the artist using geometric elements, combining major and the right plane, the local color with the linearpattern. The works of Tatyana Faidysh — is always a familiar everyday scene: goodbye young people, playing cards or volleyball, visits to the hairdresser, running or striking people. However, cubist painting, contrasting color combinations, sharp silhouettes shapes and color spots, the impersonality and the decoration does not allow you to experience the events portrayed and to interact directly with the composition. The audience always remains a bystander and obstragirovanno art perceives the image created by the representative of the "silent generation" (artinvestment.ru).

Original author's embodiment of the eternal Chekhovian themes presented in contemporary drawing "Three sisters" (2016) Konstantin Khudyakov, made in the technique of digital printing on metal with the participation of Alexander Medvedev Sploshnov. Despite the very specific title, this work is very far from any of the specifics and conquers a multi-level mixture of various associations, symbols and forms — characteristic signs of the artist.

Chronologically completes a section of contemporary artists song "the Morning" (2012-2020) Olga Nikolaevna Grechina — fresh, clean and very decorative composition.

at the same time with our staff 331-м AI Auction open 17-й auction of the project "XXI century. Contemporary Russian art". In: Victor I. Kostin, Andrew Munz, Igor Nezhivoy, Olga Rudakov, Aleksandr Rusov, Valery Sakhatov, Natalia Turnova, Elena Utenkova-Тихонова, Yuri Shabelnikov, Tatyana Yang.

All the best of luck on 331-м AI-Аукционе and XVII auction "twenty-first century. Contemporary Russian art"!

Those who are going first to buy a painting or drawing, would be helpful to know that no monitor ever authentic will not give works of art. Color, texture, not to mention the aura of a particular work, the impression from the meeting with her, the monitor is not subject. Good thing he can do at least wishy-washy, and not very good, on the contrary, to embellish (the last one we have, but it is fair to say it's worth). In addition, each person sees and feels by-своему.

Fair market price level on the works of the authors represented in the catalog of this auction can be identified in the information database of auction results ARTinvestment.RU.

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fee from the buyer is 18 % of the final price of the lot.

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