Sections of the site
Editor's Choice:
- Pavel Grudinin, biography, news, photo Pavel Grudinin candidate and his state farm
- Atomic “seam” of Grigory Naginsky Grigory Mikhailovich Naginsky state
- Semaphore of the “friend or foe” system Koschey the Immutable is our candidate
- Childhood and education of Vladislav Surkov
- Noah's Ark - the real story
- Baburin Sergei Nikolaevich Childhood and education of Sergei Baburin
- Research methods in biology - Knowledge Hypermarket Select traditional methods of biological research from the list
- Observation method in biology
- Basic laws (4 rules of factorial ecology)
- Chemical and biological professions, experts say, are optimal with in-depth study of a number of subjects in the following profiles: natural sciences, socio-economics, humanities
Advertising
The most expensive contemporary Russian artists. The most expensive artists in the world. $86.88 million. Mark Rothko. Orange, red, yellow |
No. 20. $75,100,000. "Royal Red and Blue", Mark Rothko, sold in 2012.The majestic canvas was one of eight works handpicked by the artist for his landmark solo exhibition at the Art Institute of Chicago. No. 19. $76,700,000. "Massacre of the Innocents", Peter Paul Rubens, created in 1610.The painting was purchased by Kenneth Thompson at Sotheby's in London in July 2002. Bright and dramatic work Rubens may compete for the title of "most unexpected success." Christie's valued this painting at only 5 million euros. No. 18. $78,100,000. "Bal at the Moulin de la Galette", Pierre-Auguste Renoir, painted in 1876.The work was sold in 1990, at that time it was listed as the second most expensive painting in the world ever sold. The owner of the masterpiece was Ryoei Saito, chairman of Daishowa Paper Manufacturing Co. He wanted the canvas to be cremated with him after his death, but the company ran into financial difficulties due to credit obligations, so the painting had to be used as collateral. No. 17. 80 million dollars. "Turquoise Marilyn", Andy Warhol, painted in 1964, sold in 2007.Purchased by Mr. Steve Cohen. The price has not been confirmed, but this figure is generally considered to be true. No. 16. 80 million dollars. "False Start" by Jasper Johns, written 1959The painting belonged to David Geffen, who sold it to CEO Citadel Investment Group, Kenneth S. Griffin. It is recognized as the most expensive painting that was sold during the lifetime of the artist, cult master Jasper Johns. No. 15. $82,500,000. "Portrait of Doctor Gachet", Vincent Van Gogh, 1890.Japanese businessman Ryoei Saito purchased the painting in 1990 at auction. At that time it was the most expensive painting in the world. In response to the outcry that arose in society regarding Saito’s desire to cremate the work of art with him after death, the businessman explained that, in this way, he expresses his selfless affection for the painting. No. 14. $86,300,000. "Triptych", Francis Bacon, 1976.This three-part masterpiece by Bacon broke the previous record for his works sold ($52.68 million). The painting was purchased by Russian billionaire Roman Abramovich. No. 13. $87,900,000. “Portrait of Adele Bloch-Bauer II”, Gustav Klimt, 1912.The only model depicted twice by Klimt and sold a few months after the first version. This is a portrait of Bloch-Bauer, one of four paintings that fetched a total of $192 million in 2006. The buyer is unknown. No. 12. $95,200,000. "Dora Maar with a cat", Pablo Picasso, 1941.Another Picasso painting that went under the hammer at a fabulous price. In 2006, it was acquired by a mysterious Russian anonymous person, who at the same time bought works by Monet and Chagall worth a total of $100 million. No. 11. $104,200,000. "Boy with a Pipe", Pablo Picasso, 1905.This is the first painting to break the $100 million barrier in 2004. Oddly enough, the name of the person who showed such a keen interest in Picasso’s portrait was never made public. No. 10. $105,400,000. "Silver Car Crash (Double Disaster)", Andy Warhol, 1932.This is the most expensive work of the famous pop art legend, Andy Warhol. The painting became a star of modern art, going under the hammer at Sotheby's. No. 9. $106,500,000. “Nude, green leaves and bust”, Pablo Picasso, 1932.This sensual and colorful masterpiece became the most expensive work by Picasso ever sold at auction. The painting was in the collection of Mrs. Sidney F. Brody and has not been exhibited in public since 1961. No. 8. $110 million "Flag", Jasper Johns, 1958."The Flag" is Jasper Johns' most famous work. The artist painted his first American flag in 1954-55. No. 7. $119,900,000. "The Scream", Edvard Munch, 1895.This is a unique and most colorful work of the four versions of Edvard Munch's masterpiece "The Scream". Only one of them remains in private hands. No. 6. $135,000,000. “Portrait of Adele Bloch-Bauer I”, Gustav Klimt.Maria Altman sought the right to own the painting in court, since Adele Bloch-Bauer bequeathed it state gallery Austria, and her husband later canceled the donation amid the events of World War II. Having assumed legal rights, Maria Altman sold the portrait to Ronald Lauder, who exhibited it in his gallery in New York. No. 5. $137,500,000. "Woman III", Willem de Kooning.Another painting sold by Geffen in 2006, but this time the buyer was billionaire Stephen A. Cohen. This strange abstraction was part of a series of six masterpieces by Kooning, painted between 1951 and 1953. No. 4. $140,000,000. "No. 5, 1948", Jackson Pollock.As reported in the New York Times, film producer and collector David Geffen sold the painting to David Martinez, managing partner of FinTech Advisory, although latest information not confirmed. The truth is shrouded in mystery. How much does contemporary art cost? Which living artists enjoy the greatest recognition, the measure of which is banknotes? The Artnet website answered this question by analyzing the results of auctions from 2011 to 2015 and compiling a list best selling contemporary artists . Alas, there were no creators from Russia on the list. 10. Ed RushaIn the 60s of the last century, Ed, along with such now famous artists as Andy Warhol and Jim Dine, took part in the historical event “New Image of Ordinary Objects”. It was one of the first exhibitions of the emerging Pop Art style in America. To the unenlightened eye, Rushei's paintings most resemble stenciled inscriptions against the backdrop of landscapes or a cheerful splash of flowers. However, within 4 years his creations were sold for total amount V $129,030,255. 9. Richard Prince
8. Yayoi Kusama
7. Peter Doig
6. Fan Zeng
5. Cui Ruzhou
4. Zeng Fanzhi
3. Christopher Wool
2. Jeff Koons
1. Gerard Richter
Rating of auction results of works of Russian art
The rating is based on results taking into account the Buyers Premium, expressed in dollars (figures shown at European auctions, i.e. in pounds or euros, are converted into dollars at the exchange rate on the day of trading). Therefore, neither “The Spanish Flu” by Goncharova, sold on February 2, 2010 for £6.43 million, nor the painting “View of Constantinople and the Bosporus Strait” by Aivazovsky, for which £3.23 million was paid on April 24, 2012, were not included in the rating. in the transaction currency, i.e. in pounds, they are more expensive than the paintings that took a place in the ranking, but they were not lucky with the dollar exchange rate. 1. $86.88 million Mark Rothko. Orange, Red, Yellow (1961) One of the most mysterious artists of our time. His life's path seems to be woven from contradictions - in creative searches, in actions, in gestures... Considered one of the ideologists and, of course, a key figure in American abstract expressionism, Rothko could not stand it when his works were called abstract. Having known well in the past what living from hand to mouth was, he once defiantly returned to his customers an absolutely fantastic advance in terms of today’s money, leaving himself with an almost completely completed work. Having been waiting for his success and the opportunity to make a living from painting for almost fifty years, he more than once refused people who could destroy his career if they wanted. At the very least, a socialist at heart, who shared the ideas of Marx, who was hostile to the rich and wealth, Rothko eventually became the author of the most expensive paintings in the world, which actually turned into an attribute high status their owners. (It’s no joke, the record-breaking “White Center,” sold for $65 million, came from the Rockefeller family.) Dreaming of recognition by the mass audience, he eventually became the creator of paintings that are still truly understandable only to a circle of intellectuals and connoisseurs. Finally, the artist, who sought a conversation with God through the music of his canvases, the artist, whose works became the central element in the design of the church of all religions, ended his life with a completely desperate act of fighting against God... Rothko, who remembered the Pale of Settlement and the Cossacks, might have been surprised that they are also proud of him as a Russian artist. However, there was plenty of anti-Semitism in America in the 1930s - it was no coincidence that the artist “truncated” the family surname Rotkovich. But we call him Russian for a reason. To begin with, based on the fact of birth. Latvian Dvinsk, present-day Daugavpils, at the time of the birth of Marcus Rotkovich, is part of Russia and will remain so until the collapse of the empire, until 1918. True, Rothko will no longer see the revolution. In 1913, the boy was taken to the USA, the family moved to Portland, Oregon. That is, I spent my childhood and adolescence in Russia, where my life perception and outlook were formed. In addition to the fact that he was born here, Rothko is associated with Russia, we note, both ideological themes and conflicts. It is known that he appreciated the works of Dostoevsky. And even the vices that Rothko indulged in are for some reason associated in the world with Russians. For some reason, depression in the West is called a “Russian disease.” Which is not an argument, of course, but another touch to the integrity of the Russian artist’s nature. It took Rothko 15 long years to make innovative discoveries in painting. Having gone through many figurative hobbies, including surrealism and figurative expressionism, in the mid-1940s he extremely simplified the structure of his paintings, limiting means of expression several colorful blocks forming a composition. The intellectual basis of his work is almost always a matter of interpretation. Rothko usually did not give direct answers, counting on the viewer's participation in understanding the work. The only thing he definitely counted on was the emotional work of the viewer. His paintings are not for rest, not for relaxation and not for “visual massage”. They are designed for empathy. Some see them as windows that allow one to look into the viewer’s soul, while others see them as doors to another world. There is an opinion (perhaps the closest to the truth) that his color fields are metaphorical images of God. The decorative power of “color fields” is explained by a number of special techniques used by Rothko. His paintings do not tolerate massive frames - at most thin edges in the color of the canvas. The artist deliberately tinted the edges of the paintings in a gradient so that the pictorial field lost its borders. The fuzzy boundaries of the inner squares are also a technique, a way without contrast to create the effect of trembling, the seeming overlapping of color blocks, the pulsation of spots, like the flickering of light from electric lamps. This soft dissolution of color within color was particularly achieved in oils, until Rothko's switch to opaque acrylic in the late sixties. And the found effect of electrical pulsation intensifies if you look at the paintings at close range. According to the artist’s plan, it is optimal for the viewer to view three-meter canvases from a distance of no more than half a meter. Today, Rothko's paintings are the pride of any famous museum of modern art. Thus, in the English Tate Gallery there is a Rothko hall, in which nine paintings from those that were painted under a contract with the Four Seasons restaurant live. There is a story connected with this project that is quite indicative of Rothko’s character. In 1959, the artist was contacted by recommendation from the owners of the fashionable restaurant “Seasons,” which opened in the unusual New York skyscraper Seagram Building (named after the company that produced the alcohol). The contract amount in today's money was almost $3 million - a very significant fee even for an established, recognized artist, as Rothko was at that time. However, when the work was almost completed, Rothko unexpectedly returned the advance and refused to hand it over to the customer. Among the main reasons for the sudden act, biographers considered the reluctance to please the ruling class and entertain the rich at dinner. It is also believed that Rothko was upset when he learned that his paintings would not be seen by ordinary employees working in the building. However, the latest version looks too romantic. Almost 10 years later, Rothko donated some of the canvases prepared for the Four Seasons to the Tate Gallery in London. In a bitter irony of fate, on February 25, 1970, the day the boxes with paintings reached the English port, the artist was found dead in his studio - with his veins cut and (apparently for guarantee) a huge dose of sleeping pills in his stomach. Today, Rothko's work is experiencing another wave of sincere interest. Seminars are held, exhibitions are opened, monographs are published. On the banks of the Daugava, in the artist’s homeland, a monument was erected. Rothko's works are not exceptionally rare on the market (like, for example, Malevich's paintings). Every year, approximately 10–15 pieces of his paintings alone are put up for auction at auctions, not counting graphics. That is, there is no shortage, but millions and tens of millions of dollars are paid for them. And such prices are hardly accidental. Rather, it is a tribute to his innovation, a desire to open new layers of meaning and join the creative phenomenon of one of the most mysterious Russian artists. On May 8, 2012, at the auction of post-war and contemporary art at Christie’s, the canvas “Orange, Red, Yellow” from 1961 went for $86.88 million, including commission. The work comes from the collection of Pennsylvania art patron David Pincus. David and his wife Gerry bought the work, measuring 2.4 × 2.1 meters, from the Marlborough Gallery, and then loaned it to the Philadelphia Museum of Art for a long time. The painting “Orange, Red, Yellow” became not only the most expensive work by an artist of Russian origin, but also the most expensive work of post-war and contemporary art sold at open auction. 2. $60.00 million. Kazimir Malevich. Suprematist composition (1916) ![]() For my long life first together with Robert, and after his death in 1941 alone, Sonya was able to try out many genres in art. She was engaged in painting, book illustration, theatrical sketches (in particular, she designed the scenery of Diaghilev’s ballet “Cleopatra”), clothing design, interior design, textile patterns, and even car tuning. Sonia Delaunay's early portraits and abstractions from the 1900s-10s, as well as works from the Color Rhythms series from the 1950s-60s, are very popular at international and national French auctions. Their prices often reach several hundred thousand dollars. Main record of the artist was installed more than 10 years ago - on June 14, 2002 at the Parisian auction Calmels Cohen Paris. Then the abstract work “Market in Minho”, written in 1915, during the life of the Delaunay couple in Spain (1914–1920), was sold for €4.6 million. 32. $4.30 million. Mikhail Nesterov. Vision to the Youth Bartholomew (1922) ![]() If we evaluate our artists on a peculiar scale of “Russianness,” then Mikhail Vasilyevich Nesterov (1862–1942) can safely be placed somewhere at the beginning of the list. His paintings depicting saints, monks, and nuns in a lyrical “Nesterov” landscape, completely in tune with the highly spiritual mood of the heroes, became a unique phenomenon in the history of Russian art. In his canvases Nesterov talked about Holy Rus', about its special spiritual path. The artist, in his own words, “avoided depicting strong passions, preferring to them a modest landscape, a person living an inner spiritual life in the arms of our Mother Nature.” And according to Alexander Benois, Nesterov, along with Surikov, was the only Russian artist who came at least partially close to the lofty divine words of “The Idiot” and “Karamazovs”. The special style and religiosity of Nesterov’s paintings were formed from many factors. Upbringing in a patriarchal, pious merchant family in the city of Ufa with its typically Russian landscapes, and years of study with the Peredvizhniki Perov, Savrasov and Pryanishnikov at the Moscow School of Painting, Sculpture and Architecture (from them he adopted the idea of art that touches the mind and heart) and with Pavel Chistyakov at the Academy of Arts (here he took the technique of academic drawing), and trips to Europe for inspiration, and a deep personal drama (the death of his beloved wife Maria a day after the birth of their daughter Olga). As a result, by the late 1880s - early 1890s, Nesterov had already found his theme, and it was at this time that he wrote “Vision to the Youth Bartholomew” (1889–1890). The plot of the picture is taken from the Life of St. Sergius. The youth Bartholomew (the future Sergius of Radonezh) met an angel in the guise of a monk and received God's blessing from him to understand the Holy Scriptures and surpass his brothers and peers. The picture is imbued with a sense of the miraculous - it is not only and not so much in the figures of Bartholomew and the Holy Elder, but also in the surrounding landscape, which is especially festive and spiritual. In his declining years, the artist more than once called “Bartholomew” his main work: “... if thirty, fifty years after my death he still says something to people, that means he is alive, that means I am alive.” The painting became a sensation at the 18th exhibition of the Itinerants and instantly made the young Ufa artist famous (Nesterov was not yet thirty at the time). P. M. Tretyakov acquired “Vision...” for his collection, despite attempts to dissuade him from, as Nesterov put it, “orthodox Wanderers,” who correctly noticed in the work the undermining of the “rationalistic” foundations of the movement. However, the artist had already taken his own course in art, which ultimately made him famous. With the advent of Soviet power, not the best times came for Nesterov with his religious painting. The artist switched to portraits (fortunately he had the opportunity to paint only people he deeply liked), but did not dare to think about his previous subjects. However, when in the early 1920s there was a rumor that a large exhibition of Russian art was being prepared in America, Nesterov quickly decided to participate in the hope of reaching a new audience. He wrote several works for the exhibition, including the author’s repetition of “Vision to the Youth Bartholomew” (1922), called “Vision to St. Sergius in adolescence” in the American press. The new version is smaller in format (91 × 109) compared to the Tretyakov version (160 × 211), the moon has appeared in the sky, the colors of the landscape are somewhat darker, and there is more seriousness in the face of the youth Bartholomew. Nesterov, as it were, sums up with this picture the great changes that have occurred since the writing of the first “Vision...”. Nesterov's paintings were among the few at the 1924 Russian Art Exhibition in New York that were purchased. “Vision to the Youth Bartholomew” ended up in the collection of famous collectors and patrons of Nicholas Roerich - Louis and Nettie Horsch. From then until 2007, work was passed down in this family by inheritance. And finally, on April 17, 2007, at Sotheby’s Russian auction, the canvas was offered with an estimate of $2–3 million and easily exceeded it. The final price of the hammer, which became a record for Nesterov, was $4.30 million. With this result, he entered our rating. 33. $4.05 million. Vera Rokhlina. Gamblers (1919) ![]() Vera Nikolaevna Rokhlina (Schlesinger) is another wonderful artist of Russian emigration, included in our rating along with Natalia Goncharova, Tamara Lempitskaya and Sonia Delaunay. Information about the artist’s life is very scarce; her biography is still waiting for its researcher. It is known that Vera Shlesinger was born in 1896 in Moscow into a Russian family and a French woman from Burgundy. She studied in Moscow with Ilya Mashkov and was almost his favorite student, and then took lessons in Kyiv with Alexandra Exter. In 1918, she married lawyer S.Z. Rokhlin and went with him to Tiflis. From there, in the early 1920s, the couple moved to France, where Vera began to actively exhibit at the Autumn Salon, the Salon of the Independents and the Salon of the Tuileries. In her painting style, she initially followed the ideas of Cubism and Post-Impressionism, but by the early 1930s she had already developed her own style, which one French magazine called “an artistic balance between Courbet and Renoir.” In those years, Vera already lived separately from her husband, in Montparnasse, had couturier Paul Poiret among her fans, and chose the main theme in her painting female portraits and nudes, which may have been facilitated by her acquaintance with Zinaida Serebryakova (even a portrait of a nude Serebryakova by Rokhlina has survived), and in Parisian galleries there were personal exhibitions female artists. But in April 1934, 38-year-old Vera Rokhlina committed suicide. What made a woman in her prime, who had already achieved a lot in the creative field, take her own life remains a mystery. Her premature death was called the biggest loss in the Paris art scene in those years. Rokhlina's legacy is located mainly abroad, where Vera spent the last 13 years of her life and where her talent was fully revealed. In the 1990s and early 2000s, French museums and galleries began holding solo exhibitions of Rokhlina and including her work in group exhibitions of artists from the School of Paris. Collectors found out about her, her works began to be sold at auctions, and quite well. The peak of sales and prices occurred in 2007–2008, when about a hundred thousand dollars for a good format painting by Rokhlina became commonplace. And so on June 24, 2008, at the evening auction of impressionists and modernists at Christie's in London, Vera Rokhlina's cubist painting "Gamblers", painted before emigration, in 1919, was unexpectedly sold at 8 times the estimate - for £2.057 million ($4.05 million) with an estimate of £250–350 thousand. 34. $4.02 million. Mikhail Klodt. Night in Normandy (1861) ![]() 35. $3.97 million. Pavel Kuznetsov. Eastern city. Bukhara (1912) ![]() For Pavel Varfolomeevich Kuznetsov (1878–1968), the son of an icon painter from the city of Saratov, a graduate of the Moscow School of Painting, Sculpture and Architecture (where he studied with Arkhipov, Serov and Korovin), one of the organizers of the Blue Rose association, one of the main and, Certainly, the most recognized theme of creativity among the public was the East. When Pavel Kuznetsov’s first symbolist period of the 1900s with semi-fantastic images of “Fountains”, “Awakenings” and “Births” exhausted itself, the artist went to the East for inspiration. He remembered how, as a child, he visited his grandfather in the Trans-Volga steppes and observed the life of nomads. “Suddenly I remembered about the steppes and went to the Kirghiz,” wrote Kuznetsov. From 1909 to 1914, Kuznetsov spent several months in the Kyrgyz steppes, among the nomads, becoming imbued with their way of life and accepting them as his kindred, “Scythian” soul. In 1912–1913, the artist traveled through the cities Central Asia, lived in Bukhara, Samarkand, and the foothills of the Pamirs. In the 1920s, the study of the East continued in Transcaucasia and Crimea. The result of these eastern travels was a series of stunning paintings, in which one can feel the “Goluborozovsky” love for the blue palette, and the symbolism of icons and temple frescoes close to the artist from childhood, and the perceived experience of such artists as Gauguin, Andre Derain and Georges Braque, and, well, of course, all the magic of the East. Kuznetsov's oriental paintings were warmly received not only in Russia, but also at exhibitions in Paris and New York. A major creative success was the cycle of paintings “Eastern City” written in Bukhara in 1912. One of the largest paintings in the “Eastern City” series. Bukhara” was auctioned at MacDougall’s in June 2014 with an estimate of £1.9–3 million. The work has impeccable provenance and exhibition history: it was purchased directly from the artist; has not changed its place of residence since the mid-1950s; participated in the World of Art exhibitions, the exhibition Soviet art in Japan, as well as in all major lifetime and posthumous retrospectives of the artist. As a result, a record price for Kuznetsov was paid for the painting: £2.37 million ($3.97 million). 36. $3.82 million. Alexander Deineka. Heroes of the First Five-Year Plan (1936) ![]() 37. $3.72 million. Boris Grigoriev. The Shepherd of the Hills (1920) ![]() Boris Dmitrievich Grigoriev (1886–1939) emigrated from Russia in 1919. He became one of the most famous Russian artists abroad, but at the same time he was forgotten in his homeland for many decades, and his first exhibitions in the USSR took place only in the late 1980s. But today he is one of the most sought-after and highly valued authors on the Russian art market; his works, both paintings and graphics, are sold for hundreds of thousands and millions of dollars. The artist was extremely efficient; in 1926 he wrote to the poet Kamensky: “Now I am the first master in the world.<…>I don't apologize for these phrases. You need to know who you are, otherwise you won’t know what to do. Yes, and my life is holy from above-average work and above-average feelings, and my 40 years prove this. I am not afraid of any competition, any order, any topic, any size and any speed.” Probably the most famous are his cycles “Race” and “Faces of Russia” - very close in spirit and differing only in that the first was created before emigration, and the second already in Paris. In these cycles, we are presented with a gallery of types (“faces”) of the Russian peasantry: old men, women, and children look gloomily straight at the viewer, they attract the eye and at the same time repel it. Grigoriev was by no means inclined to idealize or embellish those whom he painted; on the contrary, sometimes he brings images to the grotesque. Among the “faces” painted already in exile, portraits of Grigoriev’s contemporaries - poets, actors of the Art Theater, as well as self-portraits - are added to the peasant portraits. The image of the peasant “Race” expanded to a general image of an abandoned, but not forgotten Motherland. One of these portraits - the poet Nikolai Klyuev in the image of a shepherd - became the most expensive painting by Boris Grigoriev. At the Sotheby’s auction on November 3, 2008, the work “The Shepherd of the Hills” from 1920 was sold for $3.72 million with an estimate of $2.5–3.5 million. The portrait is the author’s copy of a lost portrait of 1918. Editorial website The Art Newspaper Russia presents the rating: the most expensive living Russian artists. If you are still sure that there were no Russian artists in the Western scene, we are ready to argue with that. The language of numbers. The conditions were simple: each living artist could be represented by only one, his most expensive work. When compiling the rating, not only the results of public auctions were taken into account, but also the most high-profile private sales. The authors of the rating were guided by the principle “if something sells loudly, then someone needs it,” and therefore appreciated the work of marketers and press managers of artists who brought record private sales to the public. Important note: the rating is based solely on financial indicators; if it were based on the exhibition activity of artists, it would look somewhat different. External sources for analytics were resources Artnet.com, Artprice.com, Skatepress.com And Artinvestment.ru. The US dollar was chosen as the currency for the world ranking; the British pound sterling was taken as the equivalent of sales of Russian artists (since 90% of domestic sales took place in London in this currency). The remaining 10% of works sold in US dollars and euros were recalculated at the exchange rate at the time of the transaction, as a result of which some positions changed places. In addition to the actual cost of the work, data was collected on the total capitalization of artists (the number of top works sold at auction over all years), on the place of a contemporary artist in the ranking of artists of all times, on the place of the participant’s most expensive work among all works sold by other authors, and also about nationality and country of residence. Statistics on repeat sales of each artist also contain important information as an objective indicator of investment Last year, 2013, significantly changed the position of contemporary artists in the international sales rankings. From the top 50 most expensive works 16 contemporary works of art were sold last season - a record number (for comparison, 17 works were sold from 2010 to 2012; there was only one sale in the 20th century). The demand for living artists is partly identical to the demand for all contemporary art, partly to the cynical understanding that the capitalization of assets after their death will invariably increase. Among the Russian participants, the brothers turned out to be the most respectable Sergey And Alexey Tkachev(b. 1922 and 1925), the youngest - Anatoly Osmolovsky(b. 1969). The question is who will be new Jean-Michel Basquiat, while open. In the sales of our artists, clear classes of buyers are visible: the leaders are bought by foreign collectors and Russian oligarchs, places from 10th to 30th are provided by emigrant collectors, and the conditional bottom of the top 50 is our future, young collectors who have entered the market with “new » money. 1. Ilya Kabakov 2. Erik Bulatov 3. Vitaly Komar and Alexander Melamid former comar&melamid artstudio archive 4. Semyon Faibisovich 5. Grigory (Grisha) Bruskin 6. Oleg Tselkov 7. Oscar Rabin 8. Zurab Tsereteli 9. Viktor Pivovarov 10. Alexander Melamid 11. Francisco Infante-Arana 12. Vladimir Nemukhin 13. Vladimir Yankilevsky 14. Alexander Vinogradov and Vladimir Dubossarsky 15. Sergey Volkov 16. AES + F (Tatyana Arzamasova, Lev Evzovich, Evgeniy Svyatsky, Vladimir Fridkes) 17. Lev Tabenkin 18. Mikhail (Misha Shaevich) Brusilovsky 19. Olga Bulgakova 20. Alexander Ivanov 21. Ivan Chuikov 22. Konstantin Zvezdochetov 23. Natalya Nesterova 24. Maxim Kantor 25. Andrey Sidersky 26. Valery Koshlyakov 27. Alexey Sundukov 28. Igor Novikov 29. Vadim Zakharov 30. Yuri Krasny 31. Sergey and Alexey Tkachev 32. Svetlana Kopystyanskaya 33. Boris Orlov 34. Vyacheslav Kalinin 35. Evgeny Semenov 36. Yuri Cooper 37. Alexander Kosolapov 38. Leonid Sokov 39. Vladimir Ovchinnikov 40. Konstantin Khudyakov 41. Ernst Neizvestny 42. Anatoly Osmolovsky 43. Dmitry Vrubel 44. Leonid Lamm Irina Nakhova’s picturesque installations of the 1980s in her apartment can claim authorship in the “total” genre. 45. Irina Nakhova 46. Katya Filippova 47. Boris Zaborov 48. Rostislav Lebedev 49. Andrey Filippov 50. Vladimir Shinkarev Sales vs exhibitionsMarket recognition and recognition by the professional community seem like different things to many, but the division into “commercial” and “non-commercial” artists is very arbitrary. Thus, of the Russian artists who have exhibited at the Venice Biennale of Contemporary Art over the past ten years (and this is the pinnacle of their professional career), seven (if counting by person, then 11 people) are included in our rating. And the top 10 artists from the rating either exhibited at the Venice Biennale before, or had personal exhibitions in major museums. As for those wonderful artists who were not included in the rating, their absence or not very outstanding sales can be explained simply and banally. Collectors are conservative and even from the most avant-garde creators they prefer to buy paintings (paintings, objects similar to paintings or photographs) or sculpture (or objects similar to sculpture). There are no record-breaking performances or giant installations in our rating (installations are usually bought by museums, but the prices are museum-quality, at a discount). That is why such stars as Andrey Monastyrsky, Oleg Kulik, Pavel Pepperstein(until recently I mainly did graphics, and graphics are a priori cheaper than painting) or, for example, Nikolay Polissky, whose grandiose designs have not yet found any understanding collectors. In addition, the market is also conservative because recognition comes slowly - note that in the top 10 all artists were born in 1950 or older. That is, promising participants of the biennale still have everything ahead of them.
Kandinsky - founder of abstract art, painter, graphic artist, poet, theorist visual arts. Non-objective art, cosmological fantasies, expression, rhythmic decorativeness are reflected in his work. At Sotheby's auctions over the past decades, 6 more paintings by the artist were sold for a total of $52 million.
And one more amazing fact: for many years this work was the property of one American family. And the owners didn’t even know who Roerich was. The creative heritage of Nicholas Roerich amounts to 7,000 paintings. At the previous auction, three paintings by the painter were sold for $7 million.
Goncharova is the most prominent representative of the avant-garde and one of the most sought-after Russian authors on the art market. The artist’s works are valued very highly and are sold even more expensively. In 2007, at Sotheby’s auctions, her works “Apple Picking”, “Lady with an Umbrella”, “Blossoming Trees” were sold for $12.6 million, and in 2008 the cost of the paintings “Flowers”, “Bells” was $16.9 million.
What is noteworthy is that this large-scale canvas is the author’s copy of the original painting “Christ and the Sinner,” stored in the Russian Museum, which was once purchased from Polenov by the emperor himself Alexander III for 30 thousand rubles. A copy depicting an episode from the New Testament was exported to America about a century ago and ended up in the collection of an American university. After hanging there for 80 years, it was very successfully sold at auction, which significantly made up for the establishment’s budget deficit.
The famous battle painter Vereshchagin was fascinated by oriental subjects almost all his life. He brought many paintings and bright sketches from his travels in Central Asia. In 1888, almost all of the 110 exhibits of the exhibition organized for the artist in the United States were auctioned and remained in America. Today, his paintings are very expensive at Russian auctions. “The Western Wall” (1885) and “Taj Mahal. Evening" (1876) were sold for $5.9 million
This highly artistic painting of museum level is the oldest on the rating list. The price initially put up for auction was increased sixfold. A few years earlier ceremonial portrait Count Kushelev was sold for $2.6 million.
This is a portrait best friend artist Yakovlev. The Russian Museum houses a double portrait of friends, where they play the roles of Harlequin and Pierrot. In the same year, the artist’s painting “The Battle of Kings” (1918) was sold for $1.8 million, and in the previous year “Three Women in a Theater Box” (1918) for $1.97 million.
Having looked at the art rating of the most expensive Russian artists, we are once again convinced that " The best way for an artist to raise the price of his work is to die." Only one of the above list, Ilya Kabakov (1933), currently lives in New York and is a foreign honorary member of the Russian Academy of Arts. But times are changing and now even a talented child who draws pictures can earn a lot of money from his work: |
Read: |
---|
Popular:
New
- Atomic “seam” of Grigory Naginsky Grigory Mikhailovich Naginsky state
- Semaphore of the “friend or foe” system Koschey the Immutable is our candidate
- Childhood and education of Vladislav Surkov
- Noah's Ark - the real story
- Baburin Sergei Nikolaevich Childhood and education of Sergei Baburin
- Research methods in biology - Knowledge Hypermarket Select traditional methods of biological research from the list
- Observation method in biology
- Basic laws (4 rules of factorial ecology)
- Chemical and biological professions, experts say, are optimal with in-depth study of a number of subjects in the following profiles: natural sciences, socio-economics, humanities
- Plants have memory Judging by the name, the flower has a good memory