home › Crash Test Auto › Curious facts from the life of Ivan Shishkin. Shishkin Ivan - biography, facts from life, photos, background information Interesting facts about the life of Shishkin

Curious facts from the life of Ivan Shishkin. Shishkin Ivan - biography, facts from life, photos, background information Interesting facts about the life of Shishkin

Shishkin Ivan Ivanovich(1832-98), Russian painter and graphic artist. Wanderer. In epic images ("Rye", 1878; "Morning in a Pine Forest", 1889) he revealed the beauty, power and richness of Russian nature (mainly forest). Master of lithography and etching.

Shishkin Ivan Ivanovich, Russian artist. An outstanding master of landscape, he organically combined the features of romanticism and realism in his painting and graphics.

Was born in merchant family. The artist's father, I. V. Shishkin, was not only an entrepreneur, but also an engineer, archaeologist and local historian, the author of the History of the City of Yelabuga. Having finished Moscow School painting, sculpture and architecture in 1856, the future master studied at the St. Petersburg Academy of Arts (1856-60). As a pensioner of the Academy he lived in Germany and Switzerland in 1862-65, attended the studio of the Swiss landscape painter R. Koller. But the epic majestic landscapes of another Swiss, A. Kalam, had an incomparably greater impact on him. He lived mainly in St. Petersburg. Of particular importance for Shishkin were the natural impressions received in his native places (where he often ran into), as well as on about. Valaam and in the vicinity of St. Petersburg and Moscow.

Early work

For early works master (“View on the island of Valaam”, 1858, Kiev Museum of Russian Art; “Cutting a Forest”, 1867, Tretyakov Gallery) is characterized by some fragmentation of forms; adhering to the “stage” construction of the picture, traditional for romanticism, clearly marking out plans, he still does not achieve a convincing unity of the image. In such paintings as “Noon. In the outskirts of Moscow” (1869, ibid.), this unity already appears as an obvious reality, primarily due to the subtle compositional and light-air-color coordination of the zones of heaven and earth, soil (Shishkin felt the latter especially penetratingly, in this respect not having himself equal in Russian landscape art).

In the 1870s the master enters the time of unconditional creative maturity, which is evidenced by the paintings “Pine Forest. mast forest V Vyatka province"(1872) and" Rye "(1878; both - Tretyakov Gallery).

Morning in a pine forest

Usually avoiding the unsteady, transitional states of nature, the artist captures its highest summer flowering, achieving an impressive tonal unity precisely due to the bright, midday, summer light that determines the entire color scale. The monumental-romantic image of Nature with a capital letter is invariably present in the paintings. New, realistic trends appear in the penetrating attention with which the signs of a particular piece of land, a corner of a forest or field, a particular tree are written out. Shishkin is a wonderful poet not only of the soil, but also of the tree, who subtly feels the nature of each species [in his most typical notes, he usually mentions not just a “forest”, but a forest of “special trees, elms and part of oaks” (diary of 1861) or “ spruce, pine, aspen, birch, linden forest” (from a letter to I. V. Volkovsky, 1888)]. With particular desire, the artist paints the most powerful and strong breeds such as oaks and pines - in the stage of maturity, old age and, finally, death in a windfall. classical works Shishkin - such as “Rye” or “Among the Flat Valley ...” (the painting is named after the song by A. F. Merzlyakov; 1883, Kiev Museum of Russian Art), “Forest Dali” (1884, Tretyakov Gallery) - are perceived as generalized , epic images Russia. The artist equally succeeds in both distant views and forest “interiors” (“Pines illuminated by the sun”, 1886; “Morning in a pine forest” where the bears were painted by K. A. Savitsky, 1889; both are in the same place). Of independent value are his drawings and studies, which are a detailed diary of natural life.

He also worked fruitfully in the field of etching. Printing his finely nuanced landscape etchings in different conditions, publishing them in the form of albums, Shishkin powerfully activated interest in this art form. Pedagogical activity did little (in particular, he directed the landscape workshop of the Academy of Arts in 1894-95), but among his students he had such artists as F. A. and G. I. Choros-Gurkin. His images, despite their "objectivity" and the fundamental absence of psychologism, characteristic of the "mood landscape" of the Savrasov-Levitan type, always had a great poetic resonance (no wonder Shishkin was one of the favorite artists of A. A.).

The house-museum of the artist was opened in Yelabuga.

Ivan Ivanovich Shishkin (1832-1898) - Russian landscape painter, painter, draftsman and engraver-aquaphorist. Representative of the Düsseldorf art school. Academician (1865), professor (1873), head of the landscape workshop (1894-1895) of the Academy of Arts. Founding member of the Association of Traveling Art Exhibitions.

Biography of Ivan Shishkin

Ivan Ivanovich Shishkin is a famous Russian artist (landscape painter, painter, engraver) and academician.

Ivan was born in the city of Yelabuga in 1832 in a merchant family. The artist received his first education at the Kazan gymnasium. After studying there for four years, Shishkin entered one of the Moscow schools of painting.

After graduating from this school in 1856, he continued his education at the Academy of Arts in St. Petersburg. Within the walls of this institution, Shishkin received knowledge until 1865. In addition to academic drawing, the artist also honed his skills outside the Academy, in various picturesque places in the suburbs of St. Petersburg. Now Ivan Shishkin's paintings are highly valued as never before.

In 1860, Shishkin received an important award - gold medal Academy. The artist goes to Munich. Then - to Zurich. Everywhere engaged in the workshops of the most famous artists of that time. For the painting "View in the vicinity of Düsseldorf" he soon received the title of academician.

In 1866 Ivan Shishkin returned to Petersburg. Shishkin, traveling around Russia, then presented his canvases at various exhibitions. He painted a lot of paintings of a pine forest, among the most famous - "Stream in the forest", "Morning in a pine forest", "Pine forest", "Fog in a pine forest", "Reserve. Pinery". The artist also showed his paintings in the Association of Traveling Exhibitions. Shishkin was a member of the circle of aquafortists. In 1873, the artist received the title of professor at the Academy of Arts, and after some time he was the head of the training workshop.

Creativity of Ivan Ivanovich Shishkin

Early work

For the early works of the master (“View on the island of Valaam”, 1858, Kiev Museum of Russian Art; “Cutting a Forest”, 1867, Tretyakov Gallery), some fragmentation of forms is characteristic; adhering to the “stage” construction of the picture, traditional for romanticism, clearly marking out plans, he still does not achieve a convincing unity of the image.

In such paintings as “Noon. In the outskirts of Moscow” (1869, ibid.), this unity already appears as an obvious reality, primarily due to the subtle compositional and light-air-color coordination of the zones of heaven and earth, soil (Shishkin felt the latter especially penetratingly, in this respect not having himself equal in Russian landscape art).

Maturity

In the 1870s Ivan Shishkin entered the time of unconditional creative maturity, which is evidenced by the paintings “Pine Forest. Mast forest in the Vyatka province "(1872) and" Rye "(1878; both - Tretyakov Gallery).

Usually avoiding the unsteady, transitional states of nature, the artist Ivan Shishkin captures its highest summer flowering, achieving an impressive tonal unity precisely due to the bright, midday, summer light that determines the entire color scale. The monumental-romantic image of Nature with a capital letter is invariably present in the paintings. New, realistic trends appear in the penetrating attention with which the signs of a particular piece of land, a corner of a forest or field, a particular tree are written out.

Ivan Shishkin is a wonderful poet not only of the soil, but also of the tree, who subtly feels the nature of each species [in his most typical notes, he usually mentions not just a “forest”, but a forest of “special trees, elms and part of oaks” (diary of 1861) or “forest spruce, pine, aspen, birch, linden” (from a letter to I.V. Volkovsky, 1888)].

Rye Pine forest Among the flat valleys

With particular desire, the artist paints the most powerful and strong breeds such as oaks and pines - in the stage of maturity, old age and, finally, death in a windfall. Classical works of Ivan Ivanovich - such as “Rye” or “Among the Flat Valley ...” (the painting is named after the song by A. F. Merzlyakov; 1883, Kiev Museum of Russian Art), “Forest Dali” (1884, Tretyakov Gallery) - are perceived as generalized, epic images of Russia.

The artist Ivan Shishkin equally succeeds in both distant views and forest “interiors” (“Pine trees illuminated by the sun”, 1886; “Morning in a pine forest” where bears were painted by K. A. Savitsky, 1889; both are in the same place). Of independent value are his drawings and studies, which are a detailed diary of natural life.

Interesting facts from the life of Ivan Shishkin

Shishkin and the bears

Did you know that Ivan Shishkin did not write his masterpiece dedicated to bears in the forest alone.

An interesting fact is that for the image of bears, Shishkin attracted the famous animal painter Konstantin Savitsky, who coped with the task excellently. Shishkin quite fairly appreciated the contribution of the companion, so he asked him to put his signature under the picture next to his own. In this form, the canvas “Morning in a Pine Forest” was brought to Pavel Tretyakov, who managed to buy a painting from the artist in the process of work.

Seeing the signatures, Tretyakov was indignant: they say that he ordered the painting to Shishkin, and not to a tandem of artists. Well, he ordered to wash off the second signature. So they put up a picture with the signature of one Shishkin.

Influenced by the priest

There was another one from Yelabuga amazing person- Kapiton Ivanovich Nevostroev. He was a priest, served in Simbirsk. Noticing his craving for science, the rector of the Moscow Theological Academy suggested that Nevostroev move to Moscow and start describing the Slavic manuscripts stored in the synodal library. They started together, and then Kapiton Ivanovich continued alone and gave scientific description all historical documents.

So, it was Kapiton Ivanovich Nevostroev who had the strongest influence on Shishkin (as Elabuga residents, they also kept in touch in Moscow). He said: “The beauty that surrounds us is the beauty of the divine thought poured into nature, and the task of the artist is to convey this thought as accurately as possible on his canvas.” That is why Shishkin is so scrupulous in his landscapes. You can't confuse him with anyone.

Tell me as an artist to an artist...

- Forget the word "photographic" and never correlate it with the name of Shishkin! - Lev Mikhailovich was indignant at my question about the amazing accuracy of Shishkin's landscapes.

– A camera is a mechanical device that simply captures a forest or field in given time under this lighting. Photography is soulless. And in every stroke of the artist - the feeling that he has for the surrounding nature.

So what is the secret of the great painter? After all, looking at his “Stream in a birch forest”, we clearly hear the murmur and splash of water, and admiring the “Rye”, we literally feel the breath of the wind with our skin!

“Shishkin knew nature like no one else,” the writer shares. - He knew the life of plants very well, to some extent he was even a botanist. Once Ivan Ivanovich came to Repin's studio and, examining him new picture, which depicted rafting on the river, asked what kind of wood they were made of. "Who cares?!" Repin was surprised. And then Shishkin began to explain that the difference is great: if you build a raft from one tree, the logs can swell, if from another, they go to the bottom, but from the third, you get a good floating craft! His knowledge of nature was phenomenal!

You don't have to be hungry

"An artist must be hungry" - says a well-known aphorism.

“Indeed, the belief that an artist should be far from everything material and engage exclusively in creativity is firmly entrenched in our minds,” says Lev Anisov. - For example, Alexander Ivanov, who wrote The Appearance of Christ to the People, was so passionate about his work that he sometimes drew water from a fountain and was content with a crust of bread! But still, this condition is far from obligatory, and it certainly did not apply to Shishkin.

Creating his masterpieces, Ivan Ivanovich, nevertheless, lived full life and did not experience major financial difficulties. He was married twice, loved and appreciated comfort. And he was loved and appreciated beautiful women. And this despite the fact that the artist gave the impression of an extremely closed and even gloomy subject to people who did not know him well (in the school for this reason they even called him “monk”).

In fact, Shishkin was a bright, deep, versatile personality. But only in a narrow company of close people did his true essence manifest itself: the artist became himself and turned out to be talkative and playful.

Glory caught up very early

Russian - yes, however, not only Russian! - history knows many examples when great artists, writers, composers received recognition from the general public only after death. In the case of Shishkin, everything was different.

By the time he graduated from the St. Petersburg Academy of Arts, Shishkin was well known abroad, and when the young artist studied in Germany, his works were already well sold and bought! There is a known case when the owner of a Munich shop, for no money, agreed to part with several drawings and etchings by Shishkin that adorned his shop. Fame and recognition came to the landscape painter very early.

Artist of noon

Shishkin is an artist of noon. Usually artists love sunsets, sunrises, storms, fogs - all these phenomena are really interesting to write. But to write noon, when the sun is at its zenith, when you do not see shadows and everything merges, is aerobatics, the top artistic creativity! To do this, you need to feel nature so subtly! In all of Russia, perhaps, there were five artists who could convey the beauty of the midday landscape, and Shishkin was among them.

In any hut - a reproduction of Shishkin

Living not far from the native places of the painter, we, of course, believe (or hope!) that he reflected precisely them on his canvases. However, our interlocutor was quick to disappoint. The geography of Shishkin's works is extremely wide. While studying at the Moscow School of Painting, Sculpture and Architecture, he painted Moscow landscapes - visited the Trinity-Sergius Lavra, worked a lot in the Losinoostrovsky forest, Sokolniki. Living in St. Petersburg, he traveled to Valaam, to Sestroretsk. Having become a venerable artist, he visited Belarus - he painted in Belovezhskaya Pushcha. Shishkin also worked a lot abroad.

However, in the last years of his life, Ivan Ivanovich often traveled to Yelabuga and also wrote local motifs. By the way, one of his most famous textbook landscapes - "Rye" - was painted just somewhere not far from his native places.

“He saw nature through the eyes of his people and was loved by the people,” says Lev Mikhailovich. - In any village house, in a conspicuous place, one could find a reproduction of his works “Among the Flat Valley ...”, “In the Wild North ...”, “Morning in a Pine Forest”, torn from a magazine, torn from a magazine.

Bibliography

F. Bulgakov, “Album of Russian painting. Paintings and drawings by I. I. Sh.” (St. Petersburg, 1892);
A. Palchikov, "List of printed sheets of I. I. Sh." (St. Petersburg, 1885)
D. Rovinsky, “Detailed Dictionary of Russian Engravers of the 16th-19th Centuries.” (vol. II, St. Petersburg, 1885).
I. I. Shishkin. "Correspondence. Diary. Contemporaries about the artist. L., Art, 1984. - 478 p., 20 sheets. illustration, portrait. — 50,000 copies.
V. Manin Ivan Shishkin. M.: White City, 2008, p.47 ISBN 5-7793-1060-2
I. Shuvalova. Ivan Ivanovich Shishkin. SPb.: Artists of Russia, 1993
F. Maltseva. Masters of the Russian landscape: the second half of the 19th century. M.: Art, 1999

When writing this article, materials from such sites were used:en.wikipedia.org ,

If you find any inaccuracies, or wish to supplement this article, send us information to email address [email protected] site, we, and our readers, will be very grateful to you.

185 years ago, on January 25 (13th according to the old style), the great Russian painter Ivan Shishkin was born in Yelabuga (Tatarstan). For his commitment to Russian nature, he was called " forest king».

At one of the meetings of the descendants of the great artist, which take place on his birthday in Yelabuga, the great-great-grandson of the artist on the line of the daughter of Lydia and her husband Boris Riedinger, Sergei Lebedev, Doctor of Economics, Professor of the State Maritime Academy of St. Petersburg, visited with his son.

I.N. Kramskoy. Portrait of the artist I.I. Shishkin. 1873

He donated to the Shishkin Museum a copy of the portrait of the artist's granddaughter Alexandra, painted in 1918 by Ilya Repin himself. A descendant of Shishkin told the author of these lines: “The only relic of our family is the same drawing, a copy of which I brought to Yelabuga. Of course, Shishkin's originals were in the house, but during the siege of Leningrad, my grandmother exchanged them for food. And when the city was liberated, they issued a decree by which it was possible to return the forcedly sold valuables. Grandmother firmly said then: “This is out of the question! If not for Shishkin's paintings, it is not known whether we would have survived. In general, the members of our family, like everyone else, admire the canvases of the famous ancestor exclusively in the museum halls ... "

Russian hero

Shishkin was a man of heroic build - tall, slender, with a broad beard and luxuriant hair, with a keen eye, broad shoulders and large palms that barely fit in his pockets. Contemporaries said about Shishkin: “Any clothes are cramped for him, his house is cramped, and the city is also cramped. Only in the forest is he free, there he is the master.

He perfectly knew the life of plants, surprised his colleagues with his knowledge, to some extent he was even a botanist. Once Shishkin wrote in his diary: “I have been writing forest, forest for more than forty years ... Why am I writing? To please someone's eye? No, not only for this. There is nothing more beautiful than forests. And the forest is life. People should remember this." He passionately loved Russian nature, and abroad he languished in soul. When in 1893 the Petersburg newspaper offered him a questionnaire, then to the question: “What is your motto?” he replied, “My motto? Be Russian. Long live Russia!"

Mashilka Monk

As a child, Vanya Shishkin was called a “mash”, he painted everything, right up to the fence of his home. Unlike his father, who supported his son's desire to become an artist, his mother, the strict Daria Romanovna, was indignant: "Is my son really going to become a house painter?" It seemed to strangers that he was withdrawn and gloomy; at the school he had the nickname "monk". But in a close circle it was cheerful, deep man. And, they say, with a good sense of humor. Shishkin greatly valued his friendship with Ivan Kramskoy. He was also friends with Dmitri Mendeleev.

Hard worker

Shishkin was a workaholic: he wrote every day, strictly following the schedule. We read in his notes: “At 10.00. I make sketches on the river, at 14.00. - in the field, at 17.00 I work on the oak. Neither thunderstorm, nor wind, nor snowfall, nor heat could interfere. Forest, nature were his element, his real studio. And even when his health began to fail, his legs failed, Shishkin continued to travel to sketches in the winter. According to the memoirs of the old-timers of Yelabuga, a special person went to the forest together with the artist: he fanned the coals and put the master at the feet of the master in a special heating pad so that he would not get cold, did not get cold.

The price of talent

Success and recognition came to him early. Shishkin's works sold well: a medium-sized charcoal drawing cost 500 rubles, a painting work - one and a half to two thousand rubles. By the time he graduated from the St. Petersburg Academy of Arts, Shishkin was already appreciated abroad. A case is described when the owner of a shop in Munich flatly refused to part with Shishkin's drawings and etchings, despite any promises of a huge jackpot. Shishkin's work is still valuable. In June 2016, Shishkin's landscape was sold for 1.4 million pounds at the Sotheby's Russian auction week in London. By the way, the artist created this painting “On the outskirts of a pine forest” based on the memories of his last trip with his daughter Lydia to his native Yelabuga.

Failed marriages

Shishkin was married twice, both times for love, but he did not find family happiness. He entered into his first marriage at the age of 37, his wife Evgenia (Vasilyeva) was 15 years younger. Happiness did not last long, six years later his wife died of consumption. Eugenia gave birth to a daughter, Lydia, and two sons, but the boys did not survive. Only three years later, a young woman appeared in Shishkin's life. talented artist Olga Lagoda. They got married in 1880, the second daughter of Shishkin, Ksenia, was born. A month and a half after giving birth, Olga died. The baby's mother was replaced by his wife's sister, Victoria Ladoga. This selfless woman lived in the Shishkin family all her life, took care of both the artist's two daughters and himself. Ivan Ivanovich never had more heirs.

Dream of death

He dreamed of dying instantly and painlessly. At the age of 66, on March 20, 1898, Shishkin died at the easel, he had just begun the painting " forest fairy tale". The critic wrote: "He fell like a mighty oak struck by lightning." The artist was buried at the Smolensk Orthodox cemetery in St. Petersburg, and in 1950 his ashes were transferred to the Tikhvin cemetery in the Alexander Nevsky Lavra.

Mishki and Shishkin

The statement that Shishkin was bad at animals is fundamentally wrong. According to a representative of the State Tretyakov Gallery Galina Churak, there was a period when Shishkin became extremely carried away " animal theme”: cows and sheep literally moved from one picture to another.

Wine still life

Shishkin painted large oil paintings, created thousands graphic drawings, etchings. But who suspected Shishkin the watercolorist? The collections of the Russian Museum contain albums of remarkable Shishkin watercolors. We usually talk about Shishkin as an unsurpassed landscape painter. However, the artist also showed himself in the genre of still life. Usually Shishkin used kitchen utensils, vegetables, fruits and ... wine bottles in the composition (Ivan Ivanovich at one time became very addicted to strong drinks after the death of his first wife).

Harvest after destruction

There are at least a dozen Shishkin streets in Russia. Petersburg is named after him art school. But only in Yelabuga is the only monument in the world to the great painter in full height. The bronze monument stands on the embankment of the Toima River, not far from the memorial house-museum of Shishkin. The first of the famous paintings "Harvest" is also stored here. Ivan wrote it in his youth, even before entering the art school. For a long time the painting was considered lost. But 40 years ago, the Shishkin family nest began to be restored (in Soviet time the house was completely plundered, there was a communal apartment) and the floors were opened, and a bundle was found between the ceilings. The experts confirmed the authenticity. And "Harvest" remained in the house where it was created.

By the way

In the mid-1980s, young biologists from St. Petersburg conducted an experiment with paintings famous painter and found out that next to Shishkin's painting "Ship Grove" milk remains fresh for up to three or four days. With repeated experience, it turned out that the fastest milk (in a matter of two or three hours) turned sour in front of the paintings of abstractionists and surrealists - Dali, Kandinsky, Picasso, but the fastest - in front of the famous "Black Square" by Malevich. The average result was shown by paintings by Levitan, Aivazovsky. Most best result showed, in particular, the works of Shishkin "Stream in the Forest" and "Ship Grove". By the way, the author wrote sketches for these paintings in the forest, in his native Yelabuga and - from nature.

From the Editor: I, the editor-in-chief of the site, can readily confirm, according to my own, subjective impression, that the brightest feeling when visiting the Tretyakov Gallery leaves the hall with the works of I. I. Shishkin.

http://www.kazan.aif.ru/culture/person/mazilka_monah_lesnoy_car_lyubopytnye_fakty_iz_zhizni_ivana_shishkina

Hi all! Here's what I've learned. . .

185 years ago, on January 25 (13th according to the old style), the great Russian painter Ivan Shishkin was born. For his commitment to Russian nature, he was called the "forest king." What is the secret of his popularity.
January 25 in Yelabuga (Tatarstan), the homeland of the landscape painter Ivan Shishkin, celebrated the 185th anniversary of his birth on a large scale.
Descendants of the painter came to Yelabuga. According to Nadezhda Kuryleva, a specialist in genealogy of the Shishkins and a senior researcher at the Ivan Shishkin Museum, the artist’s family has 15 generations (506 names), and its history has been going on for 300 years. 80 people are our contemporaries. They live in Russia, USA, Ukraine, Serbia, Germany, France, Czech Republic, Sweden.

It is curious that many representatives of the genus are marked by a "creative gene", have shown good abilities for science, for drawing. So, the great-great-granddaughter Varvara Mezhinskaya-Antich (on the line of the artist's sister Anna) is engaged in mosaic technique, having graduated from the Academy of Arts in Belgrade. Her sister Elena Mezhinskaya-Milovanovich is a philologist and art critic, deputy director art gallery at the same Academy, published several research work about the contribution of Russian artists to Serbian art. Shishkin's great-grandnephew Viktor Repin, who lives in Germany, is a designer and artist. There is enough talent in this family.

At one of the meetings of the descendants, the great-great-grandson of the artist on the line of the daughter of Lydia and her husband Boris Riedinger, Sergei Lebedev, Doctor of Economics, professor at the State Maritime Academy of St. Petersburg, visited with his son. He donated to the Shishkin Museum a copy of the portrait of the artist's granddaughter Alexandra, painted in 1918 by Ilya Repin himself. A descendant of Shishkin told the author of these lines: “The only relic of our family is the same drawing, a copy of which I brought to Yelabuga. Of course, Shishkin's originals were in the house, but during the siege of Leningrad, my grandmother exchanged them for food. And when the city was liberated, they issued a decree by which it was possible to return the forcedly sold valuables. Grandmother firmly said then: “This is out of the question! If not for Shishkin's paintings, it is not known whether we would have survived. In general, the members of our family, like everyone else, admire the canvases of the famous ancestor exclusively in the museum halls ... "

There are representatives of the genus in Kazan. A well-known researcher of history and urban planning, architect Sergey Sanachin is a great-great-grandson sister artist Olga Ivanovna Shishkina (married Izhboldin). Sergei Pavlovich said that in the 1960s his grandparents were transferred to the museum fine arts some family heirlooms - photographs, a bamboo bookcase, a cane. About the "Shishkin places" in Kazan, according to Sanachin, it is not necessary to speak. Directly related to the painter is only the building of the First Gymnasium (now the building of the KSTU-KAI named after Tupolev on Karl Marx Street), in which the artist studied from 1844 to 1848. But on the other hand, three houses were preserved, which were owned by the painter's sister Olga Ivanovna. These are beautiful wooden buildings in Shkolny Lane, including the one where the house-museum of the chemist Arbuzov is now.

It is curious that among the numerous descendants, only one bears the surname Shishkin. This is the great-great-grandson of the uncle of the artist Vasily Vasilyevich, a retired military man Alexander Vasilyevich from Lipetsk. They say that he is strikingly similar to Ivan Ivanovich.

As a child, Vanya Shishkin was called a “mash”, he painted everything, right up to the fence of his home. Unlike his father, who supported his son's desire to become an artist, his mother, the strict Daria Romanovna, was indignant: "Is my son really going to become a house painter?" It seemed to strangers that he was withdrawn and gloomy; at the school he had the nickname "monk". But in a close circle, he was a cheerful, deep person. And, they say, with a good sense of humor. Shishkin greatly valued his friendship with Ivan Kramskoy. He was also friends with Dmitri Mendeleev.

Everyone knows the painting "Morning in a Pine Forest". But not everyone knows that the cubs were painted not by Ivan Shishkin, but by his friend, artist Konstantin Savitsky. The latter looked into the workshop, looked at the new work and said - "Something is clearly missing here." So the trinity of clubfoot arose.
The statement that Shishkin was bad at animals is fundamentally wrong. According to the representative of the State Tretyakov Gallery Galina Churak, there was a period when Shishkin was extremely carried away by the “animal theme”: cows and sheep literally moved from one picture to another.

When a person has a carload of money, he has everything, and he does not need anything for a long time, he begins to collect works of art. This is an immutable law. Then he becomes a crazy collector and is ready to do anything to get a shabby piece of canvas smeared with old paints.

The businessman had enough money. Therefore, he also became a fanatical collector, bought nineteenth-century Russian painting like sausage during perestroika and considered himself happy man... Until I invited an expert from the Tretyakov Gallery to show off my collection.

Yes, my friend, you have more paintings by Kiselyov than in the Tretyakov Gallery and the Russian Museum, - said the expert. - Maybe it's not Kiselev. I would think about this question.

Both Businessman and experts thought about this question. The last gave conclusion - landscapes of the nineteenth century, not bad, only the signatures are fake.

The businessman, who had hoped for the spouses of the Urozhenskys (surnames changed) in the well-known Moscow art dealers, who had collected a collection for him, approached them with a question - well, how did it happen. How will we destroy? Was sent in an unspecified direction. Then they promised to set the police and the lads on him. And the victim had to go to the police himself.

So this couple caught our eye. And the sensational long-suffering business of collectors began. It was pulled by our investigative team of employees of the GUUR, the DEB and the Investigative Committee of the Ministry of Internal Affairs of Russia for three years. And the picture before us appeared enchanting.

At the beginning of the 2000s, oil prices began to rise, there was a lot of money, and the bourgeoisie began to overstock with works of art, reasonably judging that this The best way capital investment. For ideological and patriotic reasons, they preferred Russian painting in order to pine forest and a river. As a result, prices for these paintings began to rise wildly. And there was a strange situation. We take pictures of the same quality and merits of the authors of the same period. The one by a Russian artist is dozens of times more expensive than the Western one. And then a brilliant idea appeared - if the paintings differ only in signatures, then why not remake this signature. It's like a checkbook - the price of Rockefeller's and Sidorov's signatures are different. This is how the "turners" appeared. And Western paintings became Russian.

We have opened the scheme. One antiquary, one of the authoritative Georgian bros, Dima Lineinikov, bought paintings at Western auctions that were similar in style to Russian classics. They were taken to Russia, and unnecessary elements of the landscape, such as sheep or German houses, were removed. And De la Cour worth seven thousand euros became Alexander Kiselev worth one hundred and fifty thousand dollars. For this work at the Institute of Restoration named after Academician Grabar, an examination was carried out by a very gullible expert. After that, the picture was handed over to the Urozhensky spouses, who had a lot of clients. And this system worked without failure, because it never occurred to anyone to double-check the examinations. Thus, only one victim, they drove under a dozen paintings somewhere in the amount of about a million dollars.

As an investigator from our group said in fifteen years of service, he will not remember a single such scandalous case. The battles were fought not so much on the legal, but on the corruption and information fields. We, the operas, were approached with a proposal: a million dollars is enough for you, but you only need one thing - not to get excited and not write letters to higher authorities. And we were hot, silverless, and arranged for everyone such a Kuzkin mother that this many times buried was resurrected like a Phoenix. There were also battles in the information fields. The media were clearly divided in two - for us and against.

She comes to me and says - a very interesting thing. And for some five thousand dollars I will write everything as it was.

This is how the injured visit of a well-known crime reporter described it to us.

And I felt embarrassed. I got robbed anyway. Now I have to feed the journalists. Generally sent. Well, here's the result.

The businessman showed a well-known newspaper, a full spread of which was occupied by a tear-jerking exposé about how poor antique dealers fell into the clutches of professional crooks. The funny thing is that the victim in the Soviet Union served ten for fraud, and the defendants were both candidates of sciences - Tanyusha Urozhenskaya, candidate of art criticism, and her husband Igor - associate professor, candidate of philosophy. So the story for those who were not in the know was very convincing. Rogues harass art historians.

In fact, I have never seen such frostbitten aunts as Tanyusha in my life. If she bit the bit, then she could not keep it. In St. Petersburg, she alone went to the arrows with the lads and came out the winner. She screwed her second husband so that he was afraid to breathe without her permission. And the first husband generally disappeared without a trace when he had the imprudence to quarrel with her and instruct a black eye. She was an excellent shot, and when we went to her apartment, she met us with a “wasp” injury at the ready. Thank God, the Soviets on the machine gun and reflexes did not shoot her, but only disarmed her.

By the way, that journalist did not calm down, she wrote articles even when her protégés had long been imprisoned, and in the end she published a book about the most famous authorities of the criminal world in Russia. And there the very first chapter, in front of the Yaponichki, the Kitaichiki and the Taivanchiki, was about the Businessman and his henchmen cops - that is, about us, who ruined the unworthy intellectuals. At the trial, the journalist, who was called to testify, when asked where she got such information, said:

So Tatyana and her mother told me.

Tanyusha herself rolled the papers wherever she had to. She sent a carbon copy complaint about the arbitrariness on the part of the victim to the name of the Prosecutor General and to the name of one thieves' authority. In writing - I ask you to take action. The lads fell aside, deciding that the devil himself would break his leg in these antique cases, and the Businessman seemed to be a normal person.

The excitement around the case arose wild. Several have appeared on TV documentaries and countless TV shows. I'm tired of giving interviews. Journalists from all our media, American news agencies, French and German magazines, where my photos were published against the backdrop of evening Moscow with a postscript - a fighter against the antique mafia. So I got some kind of unhealthy fame, which then went sideways to me.

Most importantly, the antique market was in a fever. Because only a true art dealer knows how much "bullshit" he has shaken off his fellow collectors. But that was the beginning. Further, a true nightmare came to the antique world in the form of the most eminent Moscow expert Sidorov. He gave opinions on almost all serious sold paintings of the nineteenth century. At the same time, he had a bad habit of photographing them. After the start of the scandal, he looked up his archives, checked them with the catalogs of Sotheby's, Christie, and revealed about two hundred fakes, on which he himself gave the wrong conclusions. A significant part of them has already been sold, even to federal museums. The price ranged from one hundred thousand dollars to two million. The total amount of all this shaft was several hundred million dollars. All of Moscow knew about these secret lists of Sidorov, but he did not show them to anyone. Given the price of the issue, reputable guys seriously considered the option of liquidating him, in connection with which his oligarch friend gave him protection.

We met with Sidorov in the center of Moscow, where he was walking, accompanied by big men, looking around in a haunted manner and having the appearance of a kamikaze who bravely decided to part with his life for the sake of a holy goal.

Yes, I gave the conclusion that these are paintings by Russian artists. There is no difference at all between some Western and Russian artists of that time. And it's easy to confuse them. But you should keep in mind that Dime picked up paintings by a very good art critic. And very good artist made signatures.

Taking a breath, he continued:

Understand, this is an international mafia. This is Cosa Nostra. There is huge money. And what are they doing. They don't just fool people. They write new history art. They destroy entire periods of activity of Western artists. And unknown periods of Russians appear. This is the creation of virtual reality.

I was soon convinced of this when I learned that a thesis on unknown pages classic creativity.

Sidorov stopped fearing for his life when he posted the results of his research on the Internet, and then the Ministry of Culture also published a black book with all the reprints he had identified. And then a cry of despair and pain swept over Russia. Returns of paintings and money went. Breakdowns have begun. Thank God no one was killed - in this environment, issues are resolved in an intelligent way.

We hoped that the victims would come to us in droves, but they acted easier. They began to sharply resell what the Urozhenskys had driven to them. One St. Petersburg gangster oligarch, to whom these swindlers sold "vanguardists" for five million dollars, generally hid from us for a year, just not to testify. Another lady, the wife of a major official, who bought Shishkin's landscape for almost a million dollars, flatly turned to write a statement:

What are you. My husband will kill me first - what a million things. And then the media will tear the husband apart - where did he get a million from.

Things were going neither shaky nor rolls. The Investigative Committee stubbornly ruined him - thanks to the investigator. As a result of the scandal we raised, the criminal case was transferred to the GSU of the Main Internal Affairs Directorate of Moscow, and there they pushed it into court under Part 4. Art. 159 (especially large-scale fraud) and c. 164 (theft of items of special cultural value). Result: the expert managed to get away - "I'm not guilty, I made a mistake, fool." She was kicked out of her job and she gives opinions in a private firm. Art dealers Urozhensky received about a dozen and were released on parole after half a term. Dima Linneinikov managed to escape from under our noses to Belgium before being arrested (someone warned him), and then he rushed off to one Transcaucasian republic and now he is waiting for the statute of limitations to run out, from time to time he sends “Humanitarian Aid” to Moscow - new fake pictures with expert opinions.

But that was only the beginning. We plunged headlong into the bewitching world of art fakes. And they soon found out that everything was forged. Old books, furniture, dishes. Decorative and applied art. One Faberge counterfeiter (imported it from Israel) honestly earned his million in cash from this, but did not have time to use it - his corpse was found in an apartment on Olimpiyskiy Prospekt, there was no million with him. The case hung, but according to available information, his accomplice slammed - whoever whistled his hat, he poked his grandmother. Forged old books, stamps. Even church bells. They forge porcelain of the twenties with Soviet symbols, selling dishes with a hammer and sickle for a hundred thousand bucks. In Konakovo, a whole production line made fake Soviet porcelain, which is more expensive than the imperial one. One of Lansere's descendants took out molds and poured iron and copper things, claiming that they were old and inherited.

In the craft of a counterfeiter, almost the main thing is to invent the history of a thing and try to document it (provenance). We detained a gypsy who bought a cassock and in the Numismatist club offered fake gold coins for twenty thousand bucks, which he allegedly found while repairing his church. For skeptics, he arranged excursions to an outside church near Moscow, standing in scaffolding. Moscow swindlers found in the province of a very great-grandson famous artist nineteenth century, brought him to Moscow light. And by the way, he mentioned that the pictures in the attic were left from grandfather. These "shoes" hang today in the collections of many banks and houses on Rublyovka, and those scammers flourish, one made a dizzying career in the civil service.

The cost of such creativity, as a rule, is ten or even a hundred times less than dividends. All this business is international. Paintings are sold at Western auctions, with the help of Western comrades (mostly Germans) they are remade, and sold to suckers already in Russia. Or vice versa. At the same time, in the West itself, the market for fakes is huge - they fake antique figurines, paintings - for ten euros, and for ten million. One of the great accomplices of the twentieth century, de Hory, after serving time, admitted that a bunch of his paintings hang in museums and private collections, but he would never tell anyone about them. Venerable artists begin to forge during their lifetime. Aivazovsky created about two thousand works, and now fifteen thousand of them are walking around the world. Some paintings have been discussed for decades - the original or a fake, and still it remains unclear, because, unlike conventional wisdom, experts are far from omnipotent and often give opposite conclusions, substantiating them very authoritatively, and then it remains to your taste to believe someone either of them.

New things followed. He personally detained the founding father of the "re-faces" Alex Lakhnovsky. Such smart and greedy rogues are all over the Earth. All Moscow crooks learned from him. God did not offend him with his brains. Chess grandmaster, he played in championships with Karpov, Kasparov. But he achieved the greatest success as a fraudster. We tied him up when he bought a picture of a German Gugel for twenty thousand euros, turned it over in the Baltic states, received a conclusion and sold it for seven hundred and fifty thousand to one of the capital's banks. When the measure of restraint was discussed, he, an old and sickly man, lamented plaintively that he was a law-abiding person and there was no need to keep him behind bars. Thank God, we asked Interpol about him. Rotozei go to court sessions to gawk. And when the judge read out the certificate from Interpol, there was an admiring silence in the hall.

Accused of fraud with paintings in Germany, Belgium, persona non-grant at all auctions. Been prosecuted for decades. but not a single case has been brought to trial. He was also charged with grievous bodily harm,” the judge paused and finished. And in the drug business.

The hall exploded with laughter and applause. And the lawyer from an excess of feelings almost rushed at me and the investigator into a fight.

He could receive conditionally, but did not reimburse the victims a penny, although, according to the most conservative estimates, he stole hundreds of millions of dollars - he transferred all the money into diamonds and shoved it into bank cells throughout Europe. Now dead. Considering his relationship with relatives, the treasures lie ownerless in cells.

Interestingly, when we detained him, they immediately jumped to us from the German embassy - they say, why are you detaining our citizen. Then the Germans made inquiries about him and never showed up again. He managed to throw sixty thousand euros to his neighbors, who were relatives of the prosecutor of this city. So the Germans did not expect Alex to go home.

Then things went to the avant-garde. This is an absolutely amazing topic. The Russian avant-garde of the twenties of the twentieth century likes to fake most of all. Because it costs a lot of money, and it is the easiest to draw. Titian you will be embarrassed to write. And Chagall - for an hour of work. In general, the avant-garde is a complete scam. There is a foreign fund of a very famous Russian avant-garde artist, so without his permission, not a single painting is recognized as genuine. And it is recognized only for a rollback of twenty percent. The heirs of the famous Moscow writer, to whom this artist himself presented his canvas, decided to arrange a bargain bypassing the fund. So all the same, the buyers went to the stockists, and they, out of the kindness of their hearts, wrote that the painting belongs to the students of the classic, and even brought it into the appropriate catalog. So from three million dollars she lost weight to a thousand. This fund has its own "fond-based" artist who got his hands on repeating the classics. And in a year they make one fake picture, they immediately recognize it, and this is three or four million dollars.

Together with the FSB of Russia, we packed up a whole family office. The guys made up a fairy tale that a poor collector lives in Uzbekistan, who really needs money. At one time he stole from Soviet museums avant-garde paintings, which were then thrown out of the funds because of their alienness and low artistic value. And now he has accumulated several hundred unique paintings. The two brothers of the artist sat from morning to evening, drawing avant-garde artists and, through their daughter, sold them to the chairman of an art fund, who completely lost his mind from the realization of the wealth that had fallen on him. And a river of bucks flowed - hundreds of thousands, over and over again. We seized three hundred fake works. During the arrest, the daughter, an experienced drug addict, threw away the drugs, bit our employee with hepatine teeth and tried to jump off the thirteenth floor.

And there are plenty of clowns. There was a whole series of scandals in the West, when, with our help, several galleries of immigrants from Russia were covered with hundreds of paintings by fake avant-garde artists.

The topic of replacing paintings in funds with fakes also arose. In my memory, the director and chief curator of the Astrakhan Museum were convicted for stealing a painting by Aivazovsky, which is still on the wanted list. I remember a case when, it seems, at Christie's auction, representatives of the Khanty-Mansiysk Museum almost conspired to buy a pretty big Shishkin for two lemons of petrodollars, when the director of the Bukovsky Helsinki auction yelled:

I remember her. This is not Shishkin. I recently bought it for ninety thousand! There were still cows, but they were covered up!

How many fakes hang in museums - no one knows. And how many coins have been replaced - they are the easiest to steal, as a rule they are not described.

They can take a picture from a person for sale, and return a fake - they say, this was it.

Our employees took part in searches of the prominent military commander Vasilyeva. So her whole apartment is hung with fake paintings that she bought in St. Petersburg.

Well, what now? We have reached the main point. If earlier, in order to sell a painting, it was enough for a crooked record of an expert and an honest word of a swindler, now serious things are not sold without two or three examinations. So the market for fakes has shrunk a lot. But he exists. In addition to repainters, there are also such accomplices, mainly from St. Petersburg, who make such paintings on old canvases with old paints that entire commissions of experts recognize their authenticity.

Relative order has been put in place with expertise. The unscrupulous experts began to fear. The rules have become more stringent.

Experts are for the most part devoted to their work. But sometimes you come across such ... I remember two terribly impudent aunts from the most famous federal museum, with thirty thousand rubles in salary and two-carat diamonds in their ears. They gave a conclusion about the authenticity of such Aivazovsky, whom even a schoolboy would not look at without tears of pity. And when we showed up to them with presentations, they insolently announced:

The one that we examined was, well, exactly the same Aivazovsky as this one, only genuine. Photos? X-ray? It was so long ago. Everything has already been destroyed.

And that's it. The documents have been destroyed. The statute of limitations has passed. The investigation is over, forget it.

In general, it is difficult to prove the guilt of an expert. We proposed to introduce into the Criminal Code the article "Knowingly false art history conclusion or assessment." And also "Forgery of works and art." Today for a fake sick leave term, and for the forgery of Repin, public censure, since fraud is proved with great difficulty.

A new type of business has emerged. Now the experts take the real stuff and say it's fake. It costs money to make it authentic again. They manage to refute their own conclusions, which were given several years ago.

There are many things you can do if you want. These are passports of works of art. And a developed system of transaction insurance, as in the West. And the creation of a powerful expert system… But who needs it, even if the licensing of antiques was removed, and the rules of antiques trade were lost in the depths of the Ministry of Economic Development a dozen years ago.

Now the art market is calm. Not enough money. Everyone is waiting for the rise in oil prices. Then the business will start again. Unfortunately, all pretrubation in the Ministry of Internal Affairs recent years led to the elimination of specialized anti-theft units cultural property. The departments created in 1992 at the GUUR, MUR, the legendary department in St. Petersburg, which returned to Russia items worth hundreds of millions, if not more, dollars, were ordered to live for a long time. For some reason, these units went under the knife in a rage of cuts and optimizations - they say, according to statistics, you have few crimes. Although one theft from the Hermitage will outweigh ten thousand thefts from pockets. So new wave there will simply be no one to meet antique crimes.

Someday the units will be recreated again, but that will be another story. And you have to create everything from scratch. Well, enough of the sad stuff.

Although I went beyond the allowable volumes of text, I will not restrain myself. Finally, our victim's favorite anecdote. Bro stole money, decided to become a collector and goes to an antique store. There, the old Jewish director, seeing a stupid bull in front of him, drove him an old pioneer drum for a hundred thousand bucks under the guise of a Stradivarius drum. Then the bro was told that Stradivarius was playing violins, and he went to the Jew to sort it out.

Stradivari made violins! yells bro.

Nope, objected the store manager. “He made violins for suckers. And he made drums for the right guys ...

Popular in category: