Book
Collections et Marché de l'Art en France 1789-1848. Actes du colloque organisée par l'INHA
The collection of articles is devoted to different aspects of art collecting and art market in France at the end of the 18th - beginning of the 19th centuries.
The article is devoted to the history of collection of French painting of N.B.Yusupov, his relationships with Parisian art market and modern French painters.
Exhibition catalogue of French paintings from the colection of the museum-palace "Arkhangelskoie" with introductory article.
The article concerns the art of the Roman master of the 18th century and his relations with Russian patrons
The article is devoted to the history of private mueums in Europe an the USA at the end the XIX - the first third of the XIX th centuries.
The article investigates the complicated history of the collection of Japanese art (mostly woodblock pints) acquired by Sergei Kitaev (1864–1927), a Russian naval officer in the late 19th c. It is stored now in the Puchkin Museum for Fine Arts.
On the basis of the data set for Claude Monet's pictures, sold on large auctions worldwide from April, 1997 till December, 2009, it is estimated hedonic regression model. We model the works price on the base of the number of its characteristics, such as: the size of a picture, techniques of execution and a material of a basis, an auction house, presence of signature/date, participation of work in exhibitions and a mention in the specialized editions, lot numbers and experience of the artist by the moment of the creation of the work. The estimated regression is significant and explains 76 % of a dispersion of the prices. The received estimations allows to reveal essential price deviations for the sold works from «fair» market, «to translate» qualitative distinctions between pictures in quantitative in terms of an expected market price.
The collection of articles is devoted to the collection of paintings of cardinal Fesch and the taste for French painting around 1800.
This article explores the sociocultural situation of the Petersburg Cooperative of Artists (Artel) and the Peredvizhniki and in doing so interprets the nature of Russian realist (in many respects, populist) art through the prism of the new reality artists of the time faced: the commodification of art and the commercialization of art’s circulation and distribution.
The article concerns the relations of the bolognese master of the 18th century Gaetano Gandolfi with Russian patrons.