Open 336-е the Auction and curator's auction XXII "twenty-first century. Contemporary Russian art"
ARTinvestment.RU   30 июня 2020

The master catalogue — 30 lots: fifteen paintings, three leaves of original and one — printed graphics, seven works in mixed media, one porcelain bowl, one picture and two sculptures

the fee from buyers is 18@now;%.

Catalog of the Auction No. 336 XXII and curator of the auction "twenty-first century. Contemporary Russian art".

Lots 336-го of the Auction presented in the exhibition online-выставки AI.

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

Dear participants and spectators of the auction AI! No monitor and no modern gadget 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. So come see all the work with my own eyes we have on Gorokhovsky, 7@is now;(only need to call and make an appointment).

KLODT, Nikolai Aleksandrovich (1865-1918)
Fishermen around the campfire. 1891

Russian art the end of the XIX century is a medium canvas "Fishermen around the campfire" (1891) Nikolai Alexandrovich Klodt. This work, the expert said, "refers to a series of landscapes executed by the artist in the late 1880-х@now;— early 1890-х years during his trips along the Volga and the Oka. At this time, Nikolai Alexandrovich Klodt was interested in problems of lighting. In a letter on 17 August 1888 the artist's wife wrote: @ldquo;Я this summer, studied all the solar effects that brought me a huge favor@rdquo;".

Work in the next section@now;— creation of Soviet artists@now;— integrates only the period of creation. Each of these authors followed his own path, far from the main line of socialist realism.

The SHUGRIN Anatoly Ivanovich (1906-1987)
A lady and gentleman. 1920-е

Opens the section of graphic composition "Lady and gentleman" (1920-е) Anatoly Ivanovich Shugrina. 1920-е years@now;— is a time of artistic training Shugrina: 1919-го it in the evenings after school he attended art school-студию № 6 them. A. V. Lunacharsky Maryino district, where he studied with Nikolai Grigoriev, a graduate of the Moscow school of painting, sculpture and architecture and a student of Nicolai Fechin. After graduating from school in 1925-м, Shugrin continued to address Nikolai Grigoriev who taught at the art-педагогическом Department of the Moscow state College of fine art in memory of 1905. There he met another teacher who largely defined his creative life and strongly influenced the development of his artistic style, — one of the most significant book illustrators and artists-графиков of his time, Mikhail Ksenofontovich Sokolov. Under his influence, the Shugrin met and became fond of art of European modernism, which throughout life will fuel and inspire his own creative impulses (see AI: "artist of the week: Anatoly Shugrin"). Perhaps our Tushev composition was created as a book illustration in the period of study at М. К. Соколова but obviously this is not the work of the student, andalready established artist, independent and interesting.

LABAS Alexander Arkadievich (1900-1983)
Nurse. From the series "Moscow and the Moscow region during the war." 1943

extremely rare paintings of the military 1943@now;— "Nurse" from the series "Moscow and the Moscow region in days of war" Alexander Arkadevich Labas. "in the Summer and autumn of 1941, when the war began, Alexander A. was on duty on the roof of the house (Myasnitskaya, 21) during night raids on Moscow. Waking up early in the morning after an alert workshop, he painted watercolors, merged later in the series @ldquo;Москва and the Moscow region in days of war@rdquo;" (labasfond.ru). In late 1941-го Labas was evacuated to Tashkent, he returned to Moscow in late 1942-го. "the Only earning Labasa at this time, again began the development of panoramas and dioramas" (labasfond.ru). Our little arrangement painted in oil already after returning to Moscow@now;— is possible, based on one of the watercolors 1941-го, and maybe the artist memory reproduced what he saw with his own eyes the tragic scene. The work is accompanied by a Certificate Labas-фонда.

KAPTEREV Valery Gromov (1900-1981)
Wanderings Of Ulysses. 1960-1962

Carton of "Wanderings of Odysseus" (1960-1962) belongs to the brush Valery Vsevolodovich Kapterev, the pupil and friend of Alexander Shevchenko. "Kapterev graduated from the VHUTEIN (workshops during this time was renamed as the Institute) in 1925. From 1925 to 1927 he studied at the State Institute of cinematography, photography Department.

In 1919 Kapterev became one of the organizers of the exhibition @ldquo;Цветодинамос and tectonic primitivism@rdquo;. Further participated in more than forty exhibitions. It was a time of relative freedom and the rapid flowering of all the arts: painting, poetry, music, ballet. But the folds of freedom are very quick to close... <...>

Valery Kapterev West left. And repainted did not. He left him, having found a picturesque Mecca, their spiritual refuge in the East..."

At the time everything was done, that his name be deleted from Russian art, and in many ways, this vile goal has been achieved.

"In 1949, during the state of the company @ldquo;борьбы formalism and cosmopolitanism in art@rdquo;, Valery Kapterev was excluded from the artists Union @ldquo;за formalism@rdquo;. In Alma-Атинском Museum of his paintings were destroyed as harmful for the Soviet viewer. It should be noted that during the war his apartment, she own the shop, had been looted. Almost all the work was lost. He has worked in the arts for over thirty years, working very actively, but for fifty years, was left with almost nothing...

of the prewar creativity Kapterev have survived very little work. But every picture of — is the work of a Great Master. Two of them — @ldquo;Ночной still life@rdquo; @and ldquo;Старый city@rdquo; — are now in the Tretyakov gallery and take part in all major exhibitions devoted to Russian art of the twentieth-тридцатых years.@now;

<...>

In 1956 Valery Gromov suffered a severe heart attack, and the doctors forbade him to work — long time to stand at the easel. But not to write it is notcould. And then he went with canvases — on primed cardboard of small size.

In early 1958, at the request of Vladimir Favorsky, Valery Kapterev was restored in the Union of artists. But not repented, and the ban on participation in exhibitions remained till the end of life" (kapterev-oknazova.ru).

According to the memoirs, in the Moscow apartment of Valery Kapterev "gathered people of different professions and occupations, different personalities and temperaments". (Suffice it to say that a regular guest Kapterev was the Creator of the Museum in Nukus Igor Savitsky, and "currently, the Nukus Museum is eighty paintings Kapterev and more than four hundred graphic".) "Here talked about science and philosophy, archaeological discoveries about the space, talked about many different things, linking them together and trying to understand the vital truth that every human soul craves" (kapterev-oknazova.ru). It is possible that the continuation of such conversations and began our painting. Be sure to read and here about this wonderful artist and man, look at his work. Today, his amazing canvases and cardboards, which miraculously survived, back to the viewer.

LEONOV Pavel Petrovich (1920-2011)
Happy Angel

Not dated, but judging by the naive biography of the artist Pavel Petrovich Leonov, which we recently described in category "artist of the week", written in the last quarter of the twentieth century or in the first years of the XXI century painting "happy angel". "the Driving force behind his work was the inner life — subjects of paintings were born in the process of thinking and feelings seen, heard, read. He created his own world, populating it with many machines, animals, plants and characters that accompanied his daily life, including his family members, and people had seen them on TV" (artinvestment.ru). Our picture is not like that Leonov could see on TV, this is no utopia of a perfect village, of which he dreamed and wrote, so "the engineer, the designer was the use of — looked up and realized how to make a village". It's quite another light, pure, something to strive for his soul in the most difficult and heavy years (a light-то from Leonova and was neither in his youth nor in old age). Very broken person's life as if distracted for a moment from all that from the outside made it to his wounded conscience, and created a picture of pure and high delight.

NOVIKOV Timur Petrovich (1958-2002)
Penguins. 1992

a Minimalist landscape on one of the most famous silk-screen printing Timur Petrovich Novikov "the Penguin" (1992)@now;— black-белой, stylish, elegant. This work, like his other limited edition items, came out of his collages, the desire for signification of the image. "Silhouettes very small@now;— no signs, and icons; a little makes a huge resulting space,@is now;— wrote art Love Gurevich on the collages of Timur Новикова. — the Artist comes to the limit of minimalism: one flag, one icon: sun, Swan, fish. Dwarf image... replicate... the technique used by Malevich in @ldquo;Красной cavalry@rdquo;. To Malevich, as well as the icon in salary sends the square in the square... In these works was simplicity and elegance, with the approval of neoacademism lost". Here@now;— and accurate description of our work and experiences produced by it: simplicity and elegance.

the Following section of the catalog@now;— works of the sixties.

KHARITONOV Alexander (1931-1993)
Summer. Flowers. 1959

Opens his genre works "Summer. Flowers" (1959) Alexander V. Kharitonov. This colored work is done on burlap (Yes, even with the word, that is simply in the bag). Depending on the subjects the artist's works can be divided into two periods. In the early period, in the beginning which made our job — since the late 1950-х and before the end of 1960-х, attention Kharitonov has focused on creating a fantastic, almost grotesque, stories with philosophical overtones, inspired by Orthodox history and culture of ancient Russia. The picturesque manner of the artist has not yet acquired the full extent of the more recognizable features, but a multidimensional composition and other characteristic differences Kharitonov's later paintings are already independent and recognizable.

ZVEREV Anatoly T. (1931-1986)
The Bushes (Composition). 1963

Watercolor "the Bushes (Song)" (1963) Anatoly T. Zverev — "a unique early work, written in typical of his work the beginning of 1960-х years expressive, fashistskoi manner@is now;— writes эксперт. — Watercolor executed spontaneously, powerfully and characterizes Anatoly Zverev as an artist-новатора with a wonderful sense of color and a special understanding of plastics. Randomly applied spots and blots of paint, slightly updated individual strokes of the brush and its handle, forming a gorgeous landscape and at the same time an abstract motif.

Such things А. Т. Зверева the beginning of 1960-х years in Russia is extremely rare, as most of them were removed and are in foreign private collections".

VULOKH Igor Alexandrovich (1938-2012)
Light composition. 1972-1998

In a recognizable manner made "Light song" (1972-1998) Igor Alexandrovich Vulokh. 1972-й@now;— is the period of creation of "white songs", when the first steps in the rejection of color has been done, but not done so for a long time, to complete the experiment. "the Imagery Vulokh, despite the tradition already established in many texts dedicated to his work, it is difficult to reduce to such concepts as abstraction and minimalism. It is much deeper. In his works, far from figurativism, he usually lends a polished look to not a particular item or scene, but rather, that sensation which they cause. Not the physical embodiment of what-либо, its reflection. But the reflection is always unmistakably recognisable by the audience. This subtle play on the nuances of expression and makes his art so memorable and unique" (artinvestment.ru).

ROGINSKY, Mikhail (1931-2004)
Light-голубые bottles on a beige background. 1978

"Light-голубые bottles on beige background" (1978) Mikhail Aleksandrovich Roginsky performed on the corrugated Board in mixed media. The artist cut out shapes of bottles made of corrugated cardboard, glued them to a sheet of the same packaging material and paintedacrylic@now;— transparent white and blue tones. In this technique Roginsky worked more than once, experimenting with form and color. Our work was performed in Paris and there presented by the author to a friend, artist Oleg Yakovlev, which went to private Moscow meeting. The authenticity of the work confirmed the artist's widow Liana Shelia-Рогинской (Paris).

INFANTE-АРАНА Francisco (1943)
Artifacts. Bars of the sun. 1981

the Following in chronological order the work of@now;— "Artifacts. Bars of the sun" (1981) Francisco Infante. "In 1976, as an artist, designed the book, Clifford Simak,@now;— told Infante in one of the интервью. — it was about the Artifact, mysterious and coveted by all. Especially fascinated by the metamorphosis taking place in life with the emergence of this Artifact. The theme of the Artifact is very fascinating to me, and I decided to bring him in nature and thus create a kind of organizing principle, frame or sphere within which it is possible to dispose of the attributes of nature: sunlight, air, snow, earth, heaven, etc.

the Word @ldquo;артефакт@rdquo; denotes a thing that is second nature, i.e., something man-made and, therefore, Autonomous in relation to nature. A symbolically important moment, a distillation of the artifact as an artificial object, additional to nature. It is appropriate to recall the concept of @ldquo;рама@rdquo; — design that simultaneously limits the infinity of the world, and focuses on the infinity. The fact that since ancient times we know about the artifact, demonstrates the infinity of the world, about the connection of all things with Mystery, this world is really filling. The consciousness of the artist who inspired the situation of interaction between artifact and nature, creates field lines of the game. So my work, in which man is absent is always about the person and his spiritual world, and projection of consciousness" (nsad.ru).

STEINBERG Eduard Abramovich (1937-2012)
Plate "Sky — earth." 1992

the Only work on porcelain in the directory@now;— plate "Sky@now;— earth" (1992) Edward Arkadievich Steinberg. "Edward Steinberg for his first series of porcelain made three sketches of the murals — reminiscences rustic theme, which he developed in 1980-е years of painting. Large plane, painted in thick dark colors, conventional figurative drawing, the use of inscriptions, geometric building songs — all your beautiful tools Steinberg moves to disk porcelain plates. Sincerity and rural simplicity of explanation emphasizes easy carelessness, @ldquo;оборванностью@rdquo; colorful layers that create the effect of a deliberately Amateur nature of the painting, softening the pomp noble porcelina" (Victoria Petukhova. Porcelain as nepriglyadnoy art or another facet of nonconformism // Porcelain of the sixties: an Exhibition in Romanov gallery. M: Bonfi, 2012. P.14).

NEMUKHIN Vladimir Nikolaevich (1925-2016)
The composition with the flag. 2008

the Final section work@now;— "Composition flag" (2008) Vladimir Nikolaevich Nemukhin. As experts say, this work "refers to a unique series of compositionsВ. Н. Немухина in which he recycles, quotes and reinterprets the legacy of masters of the Russian avant-garde 1910-20-х years, organically and witty compositions including combinations of card solitaire. In this specific work is clearly read by a legacy of strict compositions of Fundamental and Figurines El Lissitzky".

Traditionally, the final section of the directory@now;— of the work contemporary authors.

KORKODIL Vladimir Nikolaevich (1940)
Kupaki. 1988

Classic staged still life "of Kopaki" (1988) was established by brush Vladimir Nikolaevich Corcodile, a graduate of the Surikov Institute (workshop А. М. Грицая, Д. Д. Жилинского and С. Н. Шильникова). For many years the artist, born in Vladivostok, live in the North, in Vologda, Arkhangelsk region. Painting it is usually attributed to Russian realism@now;— to the realism that colored endless palette of colors of nature, where sunlight penetrates and warms primarily the artist's soul, and therefore returns to the canvas spiritualized landscapes, portraits, still lifes, which forced to stop, look, consider, gaze wandering from part to part,@now;— but to look, to feel the warmth of true art. Flowers painting artist@now;— for special and favorite subject, says our still life.

Rustam KHAMDAMOV U. (1944)
Landscape

undated "Landscape" Rustam Khamdamov U.. The artist better known for his Indian ink chart, but in our work it appears as a master of composition and subtle colorist, freely and confidently created a complex color pattern of many shades of green and olive.

TULPANOV, Igor Tulpanov (1939)
The corridors of the imaginary

"I don't like it when I ask: what's that in the picture? This is my world. I understood all of it, to me it's interesting. Torture me: where did all these fantasies? Not high I? No, God spared me. Simply the world is not as simple as it seems", — says the artist Igor Vissarionovich Tulips, the author of the undated canvas "Corridors of the imaginary". He was born in Leningrad, but for many decades living in the United States, often exposed. His exhibitions are spread all over the world from Toronto to Hong Kong, his paintings are in foreign museums, in private collections, sold at Sotheby’s and Christie’s. "I was interested in all arts: European, Russian, Australian, Japanese, India, not to be repeated. And I looked at this world from cover to cover. Nature is so rich, she gave birth to beasts, animals, insects, in variety and so completely that there is nothing to invent. And it is not necessary to repeat what is there. <...> the Big picture I can write for six years. Difficult technically — I draw with a thin brush, size zero, and short — less than 1 cm, so everything was the same. Color is superimposed several times — glazing to paint that on the inside shone. This is a complex technique, sometimes six-семь-восемь times to cover each element with a thin layer, adding shades of color. All the classics did. It is a modern painting: botched all" (novayagazeta.spb.ru).

SNEGUR Igor G. (1935)
Shimmering blue. 2002

In 2002, created a picturesque composition "Shimmering blue" Igor G. Snegur. "an Abstract — so intangible. But the intangible can only be an idea, — recorded in the diary of Igor Snegur. — so what is the idea of the abstract? In my case, the ratio of amorphous and geometry. Geometry is always finite and static. Amorphous always Nakonechna and is non-static. <...> Amorphous — rather female nature, geometry — male. Geometry provides uniform, amorphous filled with the inclination to change. Otherwise, not going to happen welcome meetings, i.e. does not manifest itself the WAY...".

KHUDYAKOV Konstantin V. (1945)
The iconostasis XXI. Trial options. Jesus. 2003

KHUDYAKOV Konstantin V. (1945)
The iconostasis XXI. Trial options. Mary Magdalene. 2003

two works belong to Konstantin Khudyakov, the hero of today's article in section "artist of the week",@now;— trial versions "Jesus" and "Mary Magdalene" by design "Iconostasis XXI" (2003), part of the preparatory phase of the joint project of Konstantin Khudyakov and of Victor Bondarenko "'Deisis'. Anticipation". The idea of the project was to create a "modern iconostasis" on the basis of a series of psychological portraits of people acting as the characters of Christian sacred history.

ZAITSEV, Peter M. (1979)
We. 2019

the author of the sculpture "We" (2019), Peter Zaitsev@now;— professional architect. It is interesting to observe, how to feel actively working in the specialty graduates of the Moscow architectural Institute in the visual arts. We have seen bright, joyful painting of Andrew Munz, and a sculpture of Peter Zaitsev@now;— concise, the artist works with volume, without bothering about the composition parts, and because they are so interesting and attractive. We can say that our work today in its purity raised to the status of the symbol@is now;— character and of such difficult pronouns , we. And this is a rare achievement.

Simultaneously with our regular 336-м AI open Auction XXII auction of the project "XXI century. Contemporary Russian art". In: Azam Atakhanov, Andrey Bisti, Dasha Delaunay, Natalia Zhernovskaya, Igor Kislitsyn Olga Pushkareva, Kate-Анна Taguchi, Natalia Turnova, Yury Shabelnikov and Yuri Horovsky, Tatyana Yang.

All the best of luck on 336-м AI-Аукционе and auction XXII "twenty-first century. Contemporary Russian art"!

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.

the auction AI continues to operate a virtual party "Reserve price is not reached". He appears in the final minutes of trading, so that customers have the option to kill the reserve price (for those items where it is). In other words, if you see party "Reserve price is not reached," that is a reason to continue the struggle@is now;— perhaps the victory is near.

If the latter rate appears accompanied litters "Until reserve remained 1@is now;шаг", it means that making the next bet, you win the auction@now;— unless, of course, who-нибудь, inspired close luck not interrupt your last words. And always a shame when participants traded a few days and especially the last couple of hours excitedly before closing suddenly stop just one step from victory. If you feel that thing@now;— is yours, so take this step!

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

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