{"id":51958,"date":"2019-12-03T19:56:13","date_gmt":"2019-12-03T18:56:13","guid":{"rendered":"https:\/\/alexandra-exter.net\/?page_id=51958"},"modified":"2020-09-26T15:24:15","modified_gmt":"2020-09-26T14:24:15","slug":"the-tours-exhibition","status":"publish","type":"page","link":"https:\/\/alexandra-exter.net\/en\/the-tours-exhibition\/","title":{"rendered":"The Tours exhibition and defending the integrity of Alexandra Exter\u2019s work"},"content":{"rendered":"\n<figure class=\"wp-block-embed-youtube aligncenter wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"Des faux tableaux au Ch\u00e2teau de Tours&nbsp;?\" width=\"500\" height=\"375\" src=\"https:\/\/www.youtube.com\/embed\/4BGym5BVYuo?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p class=\"has-drop-cap\">On 19 March 2009, the French police confiscated a series of paintings  attributed to Alexandra Exter that were being exhibited in the municipal  rooms of the Ch\u00e2teau de Tours. The judicial system was acting on a  complaint filed by the Alexandra Exter Association (<a href=\"\/une-exposition-ferme-a-tours-apres-une-plainte-pour-faux\/\">See communiqu\u00e9 of the Tours state prosecutor<\/a> complaint challenging the authenticity of most of the works presented at an exhibition that was inaugurated with much fanfare on 29 January 2009.<\/p>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:74%\">\n<p>For several years prior to the exhibition, the art market was being  flooded with works attributed indiscriminately and incorrectly to  Alexandra Exter. The situation had become so alarming that the Alexandra  Exter Association felt compelled , on 2 July 2006 to put out a \u00ab <a href=\"https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/11\/Communique-Association-Exter-2006-fr.pdf\" class=\"mtli_attachment mtli_pdf\">communiqu\u00e9 <\/a>\u00bb drawing attention to the appearance of an increasing number of works of dubious attribution.<\/p>\n\n\n\n<p>On two floors of the 2009 Tours exhibition titled \u201cAlexandra Exter et  ses amis\u201d (Alexandra Exter and friends\u201d) were displayed 180 oil  paintings and large gouaches on paper presented as being from the  artist\u2019s \u201cCubo-Futurist\u201d (1910-1914) and \u201cconstructivist\u201d (1917-1923)  period, all duly signed and attributed to Alexandra Exter. <\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:26%\">\n<div class=\"wp-block-image\"><figure class=\"aligncenter size-medium\"><img decoding=\"async\" width=\"210\" height=\"300\" src=\"https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/Cat-Tours-couv-210x300.jpg\" alt=\"Catalogue de Tours\" class=\"wp-image-51457\" srcset=\"https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/Cat-Tours-couv-210x300.jpg 210w, https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/Cat-Tours-couv-105x150.jpg 105w, https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/Cat-Tours-couv.jpg 349w\" sizes=\"(max-width: 210px) 100vw, 210px\" \/><figcaption> Catalogue de l&#8217;exposition de Tours <\/figcaption><\/figure><\/div>\n<\/div>\n<\/div>\n\n\n\n<p>On the third floor were 80 other works by \u201cfriends\u201d of the artist,  including Kandinsky (sic&nbsp;!), Jawlenski, Malewicz, Larionov, Gontcharova,  Rodchenko, and Lissitzky among others. Presumed to be fakes, these  pieces were also sequestered. Works bearing the same signature \u201cAlex.  Exter\u201d, which appeared to belong stylistically to the series of  counterfeits on display at the Tours exhibition, were confiscated the  same day at the Paris home of Jean Chauvelin, the man behind the  exhibition. Art dealer and expert specialist for the H\u00f4tel Drouot  auction house in Paris, this former gallery owner authenticated all of  the works at the exhibition and authored a text in the accompanying  publication. <\/p>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<figure class=\"wp-block-image size-large\"><img decoding=\"async\" width=\"480\" height=\"360\" src=\"https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/Exter-fausse-signature-01.jpg\" alt=\"Fausse signature\" class=\"wp-image-51473\" srcset=\"https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/Exter-fausse-signature-01.jpg 480w, https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/Exter-fausse-signature-01-300x225.jpg 300w, https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/Exter-fausse-signature-01-150x113.jpg 150w\" sizes=\"(max-width: 480px) 100vw, 480px\" \/><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<figure class=\"wp-block-image size-large\"><img decoding=\"async\" width=\"1024\" height=\"766\" src=\"https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/Exter-fausse-signature-03-1024x766.jpg\" alt=\"Fausse signature\" class=\"wp-image-51476\" srcset=\"https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/Exter-fausse-signature-03-1024x766.jpg 1024w, https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/Exter-fausse-signature-03-300x224.jpg 300w, https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/Exter-fausse-signature-03-150x112.jpg 150w, https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/Exter-fausse-signature-03-768x575.jpg 768w, https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/Exter-fausse-signature-03-600x449.jpg 600w, https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/Exter-fausse-signature-03.jpg 1163w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n<\/div>\n<\/div>\n\n\n\n<p> The Alexandra Exter publication, presented as an exhibition catalogue,  could hardly be said to meet established museum standards and criteria  for public exhibitions catalogues. Aside from the text by Jean  Chauvelin, the publication included an article by Nadia Filatoff, a  regular associate of Chauvelin, and a much shorter text by Maria  Valyaeva, who worked until recently as an assistant at the Tretyakov  Gallery in Moscow. <mfn>Maria Valyaeva a \u00e9t\u00e9 d\u00e8s 2008 associ\u00e9e \u00e0 plusieurs entreprises commerciales genevoises. La galerie Art XXI de Gen\u00e8ve a inaugur\u00e9e le 26 mars 2009 une exposition  de vingt-six \u0153uvres sur papier et carton par Natalia Gontcharova et  Mikha\u00efl Larionov. Dans le texte de pr\u00e9sentation, on peut lire&nbsp;:  \u00ab&nbsp;Quant \u00e0 Maria Valyaeva, et Jean Chauvelin, ils se tiendront \u00e0 la disposition de chacun pour les explications les plus \u00e9rudites&nbsp;\u00bb.<\/mfn>  Even though Valyaeva had never before undertaken any work on  Cubo-Futurism, she has been presented as an \u201cexpert\u201d in the field since  the spring of 2009.<\/p>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:73%\">\n<p>Aside from the stylistic discrepancies (execution of forms, errors in  dating, serious compositional mistakes, etc.), most of the works on  display at the Tours exhibition bore forged signatures. This was  confirmed by a handwriting analysis that the Alexandra Exter Association  commissioned from Ms. Mangaud and Ms. Haller-Fegly, two experts  accredited by the Paris Court of Appeals.<\/p>\n\n\n\n<p>Their conclusions were subsequently substantiated by two analyses  conducted in Moscow in April and May 2009 by sworn experts to the  Russian courts, who wrote&nbsp;: \u201cWhen compared [with authenticated  signatures] the differences appeared to us to be essential and  inexplicable\u201d (Mangaud and Haller-Fegly).  <\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:27%\">\n<div class=\"wp-block-image\"><figure class=\"aligncenter size-medium\"><a href=\"https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/expertise-russe.jpg\" data-rel=\"lightbox-image-0\" data-rl_title=\"\" data-rl_caption=\"\" title=\"\"><img decoding=\"async\" width=\"209\" height=\"300\" src=\"https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/expertise-russe-209x300.jpg\" alt=\"Expertise russe\" class=\"wp-image-51481\" srcset=\"https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/expertise-russe-209x300.jpg 209w, https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/expertise-russe-713x1024.jpg 713w, https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/expertise-russe-104x150.jpg 104w, https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/expertise-russe-768x1103.jpg 768w, https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/expertise-russe-418x600.jpg 418w, https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/expertise-russe.jpg 1044w\" sizes=\"(max-width: 209px) 100vw, 209px\" \/><\/a><figcaption> Rapport d&#8217;expertise graphologique <\/figcaption><\/figure><\/div>\n<\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:25%\">\n<div class=\"wp-block-image\"><figure class=\"aligncenter size-thumbnail\"><a href=\"https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/cat-Tours-53.jpg\" data-rel=\"lightbox-image-1\" data-rl_title=\"\" data-rl_caption=\"\" title=\"\"><img decoding=\"async\" width=\"120\" height=\"150\" src=\"https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/cat-Tours-53-120x150.jpg\" alt=\"Faux tableau\" class=\"wp-image-51589\" srcset=\"https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/cat-Tours-53-120x150.jpg 120w, https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/cat-Tours-53-240x300.jpg 240w, https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/cat-Tours-53-821x1024.jpg 821w, https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/cat-Tours-53-768x958.jpg 768w, https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/cat-Tours-53-481x600.jpg 481w, https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/cat-Tours-53.jpg 1202w\" sizes=\"(max-width: 120px) 100vw, 120px\" \/><\/a><figcaption> Catalogue de l&#8217;exposition <br> de Tours p. 53<\/figcaption><\/figure><\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:75%\">\n<p>The criminal complaint is currently being examined by the Criminal Court  of Tours. In the spring of 2009, the examining magistrate ordered a  technical expertise, appointing Gilles Perrault <mfn> Dipl\u00f4m\u00e9 de l\u2019\u00c9cole Boulle, de l\u2019\u00c9cole du Louvre, des universit\u00e9s de Paris-I et Paris-IV, des centres de restauration de Venise (Pro Venetia Viva) et de Rome (Iccrom, Institut international d&#8217;\u00e9tudes pour la conservation et la restauration), Gilles Perrault est expert en objets d&#8217;art et s&#8217;est sp\u00e9cialis\u00e9 dans le d\u00e9pistage des faux et contrefa\u00e7ons artistiques. Il est agr\u00e9\u00e9 par la Cour de cassation (plus haute juridiction de l&#8217;ordre judiciaire fran\u00e7ais), par les Cours administratives d\u2019appel de Versailles et de Paris et pr\u00e8s la Cour d&#8217;appel de Versailles. Il fut, en tant que restaurateur d&#8217;art des Mus\u00e9e de France, responsable des ateliers de restauration du mus\u00e9e du Louvre et du Chateau de Versailles. Dans le flou juridique actuel, o\u00f9 \u00ab&nbsp;n\u2019importe qui, comme le mentionne \u00e0 juste titre la Chambre nationale des experts sp\u00e9cialis\u00e9s (CNES), peut s\u2019intituler expert&nbsp;\u00bb, les expertises qu&#8217;il a men\u00e9s sur plus de 1&nbsp;800 \u0153uvres peintes ou graphiques, 3&nbsp;000 sculptures et le mobilier fran\u00e7ais du Moyen \u00c2ge au XX<sup>e<\/sup> si\u00e8cle le place comme un des experts les plus reconnus et respect\u00e9s. Dans le cadre du proc\u00e8s de Guy Hain, Gilles Perrault a particip\u00e9 \u00e0 l&#8217;expertise de plus de 2&nbsp;500 \u0153uvres plac\u00e9es sous scell\u00e9s mais il a \u00e9tabli que le faussaire aurait produit plus de 6&nbsp;000 contrefa\u00e7ons au-del\u00e0 de celles confisqu\u00e9es par la police. Gilles Perrault est directeur de publication de la revue Experts. Son site internet peut \u00eatre consult\u00e9 avec int\u00e9r\u00eat&nbsp;: <a href=\"http:\/\/www.gillesperrault.com\">www.gillesperrault.com<\/a><\/mfn>,  an expert certified by the Court of Cassation, to conduct the analysis.  The conclusions of this new analysis of a selection of works, dated 12  June 2009, are categoric&nbsp;: \u201cThe four appraised paintings were executed  recently, after the death of the presumed artist, Alexandra Exter, and  yet they are signed with her name.\u201d Perrault concludes the summary of  his investigations as follows&nbsp;: \u201c<strong>the accumulation of proofs authorizes  an extremely reliable and definitive formal opinion<\/strong>\u201d (page 7\/120 of his  report). <\/p>\n<\/div>\n<\/div>\n\n\n\n<p>Although court proceedings and the police investigation are still underway, and we are obliged as a result to express ourselves using the conditional for the time being, we can nonetheless make a few observations about the works displayed in Tours, observations that were already presented to the French courts on 19 March 2009 by Andr\u00e9i Nakov, president of the Alexandra Exter Association.<\/p>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:66.66%\">\n<p>On view in the rooms of the Ch\u00e2teau de Tours were a quantity of oil  paintings with forged signatures, all of which were described as  \u201csketches\u201d or as \u201cvariations\u201d on well-known compositions by the artist,  in particular variations on certain Cubo-Futurist compositions from  before the summer of 1914 and abstract compositions from the 1917-1922.  Prior to this event, no known variations of this sort existed in the  artist\u2019s work. In addition, whereas Alexandra Exter rarely signed her  paintings (only about 15% of her output is signed), <em>all<\/em> of the works at the Tours exhibition were signed, as commercial interests would dictate. <\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:33.33%\">\n<div class=\"wp-block-image\"><figure class=\"aligncenter size-thumbnail\"><a href=\"https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/cat-Tours-52.jpg\" data-rel=\"lightbox-image-2\" data-rl_title=\"\" data-rl_caption=\"\" title=\"\"><img decoding=\"async\" width=\"105\" height=\"150\" src=\"https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/cat-Tours-52-105x150.jpg\" alt=\"Faux tableau\" class=\"wp-image-51593\" srcset=\"https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/cat-Tours-52-105x150.jpg 105w, https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/cat-Tours-52-209x300.jpg 209w, https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/cat-Tours-52-713x1024.jpg 713w, https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/cat-Tours-52-768x1102.jpg 768w, https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/cat-Tours-52-418x600.jpg 418w, https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/cat-Tours-52.jpg 1045w\" sizes=\"(max-width: 105px) 100vw, 105px\" \/><\/a><figcaption> Catalogue de l&#8217;exposition <br> de Tours p. 52<\/figcaption><\/figure><\/div>\n<\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:33.33%\">\n<div class=\"wp-block-image\"><figure class=\"aligncenter size-thumbnail\"><a href=\"https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/fausse-signature-02.jpg\" data-rel=\"lightbox-image-3\" data-rl_title=\"\" data-rl_caption=\"\" title=\"\"><img decoding=\"async\" width=\"150\" height=\"113\" src=\"https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/fausse-signature-02-150x113.jpg\" alt=\"Fausse signature\" class=\"wp-image-51596\" srcset=\"https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/fausse-signature-02-150x113.jpg 150w, https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/fausse-signature-02-300x225.jpg 300w, https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/fausse-signature-02-600x450.jpg 600w, https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/fausse-signature-02.jpg 640w\" sizes=\"(max-width: 150px) 100vw, 150px\" \/><\/a><figcaption> Imitation de la signature de l&#8217;artiste<\/figcaption><\/figure><\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:66.66%\">\n<p>Moreover, Exter\u2019s signatures are very different from the stereotypical  imitations that appear on most of the works presented at the exhibition,  with Cyrillic signatures appearing indistinctly at different periods.  Thus, a Cubist monogram that Exter used only exceptionally in 1911 is  found on abstract works presented as dating to 1917-1918 or even 1921.  Finally, the preposterous placement of some of the signatures belies  their authenticity, since when the artist did in fact sign her works  (obviously in a different manner), she did so in a very careful  methodical way.<\/p>\n\n\n\n<p>Inscriptions with numbers, intended to look like inventory references,  appear on the back of some of the gouaches. But in fact it was not the  artist\u2019s practice to inventory or number her works.  <\/p>\n<\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:66.66%\">\n<p> Another novelty at the exhibition was the presence of a great number of  oil paintings on canvas of costume projects. Once again, prior to this  event no known costume projects using this technique existed in the  artist\u2019s work. (See the catalogue of the <a href=\"\/?page_id=50720\">Bakrushin Museum in Moscow<\/a> : exemplary in its area and for its time; this publication contains approximately 15% signed works. <mfn>Cf. Aleksandra Exter &#8211; eskizy, dekoracij i kostjumov iz sobranija GCTM im.A.A. Bahrushina (A. Exter &#8211; esquisses de costumes et de d\u00e9cors dans la collection du mus\u00e9e th\u00e9\u00e2tral Bakhrushin), catalogue r\u00e9dig\u00e9 par E.P.Tomilovskaja avec E.N. Andreeva, T.B. Klim et A.V. Smirnova, Moscou, 1986. Exemplaire dans son domaine et pour son \u00e9poque, cette publication contient environs 15% d\u2019\u0153uvres sign\u00e9es.<\/mfn> <\/p>\n\n\n\n<p>Visitors to the exhibition could see other never before seen chapters in  the artist\u2019s career. This was the case for several set design projects  for the 1924 film Aelita. But Alexandra Exter <em>only designed the costumes for this film<\/em>  whose sets were designed by Rabinovitch and Kozlinski after projects by  Simov. This can be easily learned from consulting documents of the day  and even certain Soviet publications from the nineteen eighties.<mfn>Cf. la monographie de Nehoroshev, Ju.I. Hudozhnik V.A. Simov (Le peintre V.A. Simov), Moscou, 1984, pages 161-169 et illustrations pages 168 et 169). Le travail de Simov pour les d\u00e9cors du film Aelita est comment\u00e9 et illustr\u00e9.<\/mfn><\/p>\n\n\n\n<p>What is particularly surprising for the specialist about the many \u201cnever  before seen\u201d works (be they Cubo-Futurist or abstract) is that there is  no reference to any of them in documents of the day or in the artist\u2019s  archives, even though the latter includes photographs of many of her  lost works. <\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:33.33%\">\n<div class=\"wp-block-image\"><figure class=\"aligncenter size-thumbnail\"><a href=\"https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/cat-Tours-126.jpg\" data-rel=\"lightbox-image-4\" data-rl_title=\"\" data-rl_caption=\"\" title=\"\"><img decoding=\"async\" width=\"109\" height=\"150\" src=\"https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/cat-Tours-126-109x150.jpg\" alt=\"Catalogue de l'exposition de Tours\" class=\"wp-image-51601\" srcset=\"https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/cat-Tours-126-109x150.jpg 109w, https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/cat-Tours-126-218x300.jpg 218w, https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/cat-Tours-126-744x1024.jpg 744w, https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/cat-Tours-126-768x1057.jpg 768w, https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/cat-Tours-126-436x600.jpg 436w, https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/cat-Tours-126.jpg 1090w\" sizes=\"(max-width: 109px) 100vw, 109px\" \/><\/a><figcaption> Catalogue de l&#8217;exposition <br> de Tours p. 126<\/figcaption><\/figure><\/div>\n<\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:33.33%\">\n<div class=\"wp-block-image\"><figure class=\"aligncenter size-thumbnail\"><a href=\"https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/cat-Tours-51.jpg\" data-rel=\"lightbox-image-5\" data-rl_title=\"\" data-rl_caption=\"\" title=\"\"><img decoding=\"async\" width=\"107\" height=\"150\" src=\"https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/cat-Tours-51-107x150.jpg\" alt=\"Catalogue de l'exposition de Tours\" class=\"wp-image-51606\" srcset=\"https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/cat-Tours-51-107x150.jpg 107w, https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/cat-Tours-51-214x300.jpg 214w, https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/cat-Tours-51-729x1024.jpg 729w, https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/cat-Tours-51-768x1079.jpg 768w, https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/cat-Tours-51-1093x1536.jpg 1093w, https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/cat-Tours-51-1458x2048.jpg 1458w, https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/cat-Tours-51-427x600.jpg 427w, https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/cat-Tours-51.jpg 1997w\" sizes=\"(max-width: 107px) 100vw, 107px\" \/><\/a><figcaption> Catalogue de l&#8217;exposition <br> de Tours p. 51<\/figcaption><\/figure><\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:66.66%\">\n<p>No less striking are the many serious stylistic mistakes. Keep in mind  that during this period of intense avant-garde competition (1910-1915),  the pace of change in Exter\u2019s work, as in that of her close fellow  artists, was highly accelerated and devoid of throwbacks, in a  unacknowledged but nevertheless obvious race to abstract art (which came  in around the autumn of 1915 and the beginning of 1916 for Exter).<\/p>\n\n\n\n<p>Among the more shocking examples of stylistic errors was a still life  painting, presented stylistically as belonging to the Cubo-Futurist  period in the winter of 1913-1914 and dated at the exhibition to 1914.  But the composition and the catalogue reproduction (ill. p. 51) features  a papier coll\u00e9, in the form of a piece of a French newspaper (!) dated  August 1915. Apart from the fact that the artist was already working in  another style at the time, the fact was that Exter left Paris early in  the summer of 1914 and postal relations between France and Russia were  interrupted during the war\u2026  <\/p>\n<\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:66.66%\">\n<p>Another type of work \u201cnever before seen\u201d were three polychrome bronze  casts featured at the end of the exhibition catalogue. Like the rest of  the works in a publication that boasts the Ch\u00e2teau de Tours Museum (sic  !) copyright, these casts measuring 55, 53 and 56 cm respectively appear  with no commentary. We are given therefore no information about whether  they are unique pieces or multiples.<\/p>\n\n\n\n<p> According to certain Ukrainian sources (<a href=\"http:\/\/www.day.kiev.ua\/281586\">www.artukraine.com<\/a>)  two polychromes pieces attributed to Exter were on display at the Kiev art fair in the autumn of 2009. An imaginary provenance, totally lacking in credibility, was obviously provided. Regarding the workshop which  realized the bronze cast, his reputation is widely known\u2026 One wonders who  has ordered these casts\u2026  <\/p>\n\n\n\n<p> At any rate, once again we are dealing with hitherto unseen works, whose  existence was not known during the artist\u2019s life. These pieces  unquestionably stand out in contrast to the practice not only of the  artist but also of her milieu and of her times. The fraud had clearly  reached new heights here since we are dealing with what could be  described as vulgar commercial \u201c<em>spin-offs<\/em>\u201d. It remains to be  seen in what conditions these casts were produced. Knowing this will  produce us with information about the origin of the various pieces  displayed at the Tours exhibition (See the section on these bronzes (<a href=\"\/?page_id=51611\">Voir la section du site consacr\u00e9e \u00e0 ces bronzes<\/a> &#8211; Fran\u00e7ais).<\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:33.33%\">\n<div class=\"wp-block-image\"><figure class=\"aligncenter size-thumbnail\"><a href=\"https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/cat-Tours-215.jpg\" data-rel=\"lightbox-image-6\" data-rl_title=\"\" data-rl_caption=\"\" title=\"\"><img decoding=\"async\" width=\"105\" height=\"150\" src=\"https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/cat-Tours-215-105x150.jpg\" alt=\"Catalogue de l'exposition de Tours\" class=\"wp-image-51609\" srcset=\"https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/cat-Tours-215-105x150.jpg 105w, https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/cat-Tours-215-210x300.jpg 210w, https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/cat-Tours-215-716x1024.jpg 716w, https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/cat-Tours-215-768x1098.jpg 768w, https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/cat-Tours-215-420x600.jpg 420w, https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/cat-Tours-215.jpg 1049w\" sizes=\"(max-width: 105px) 100vw, 105px\" \/><\/a><figcaption>  Catalogue de l&#8217;exposition <br> de Tours p. 215<\/figcaption><\/figure><\/div>\n<\/div>\n<\/div>\n\n\n\n<h2 class=\"wp-block-heading\">Provenance<\/h2>\n\n\n\n<p> The promoter of the exhibition, who lent from his personal collection  130 of the 180 works on display (that is, more than two-thirds) and who  authenticated all of the exhibited works, was unable at first to provide  an indication of their provenance. The far-fetched story of their  provenance told by this \u201cexpert\u201d several months before in a sales  catalogue, <mfn>Cf. Pierre Berg\u00e9 associ\u00e9s, Bruxelles et Paris Vente d\u2019art moderne, Bruxelles le 28.04.2008, le lot 74 authentifi\u00e9 par Jean Chauvelin et Nadia Filatoff, texte de Jean Chauvelin p. 80-81.<\/mfn> and repeated in the text of the 2009 publication (see text by Jean  Chauvelin, p. 11), has Alexandra Exter arriving in Russian in 1924 with  \u201cnumerous crates\u201d that were supposedly left with Gio Colluci, the calligrapher who worked with her at the end of the thirties on  illustrated books. No documents were provided to support this fabrication, which was later contradicted by its author with other versions, equally implausible, considering what we know about the  artist\u2019s biography.  <\/p>\n\n\n\n<div style=\"height:50px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter size-large\"><img decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/11\/1917.jpg\" alt=\"\" class=\"wp-image-50573\"\/><\/figure><\/div>\n\n\n\n<div style=\"height:50px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p>The mass of works attributed incorrectly to Alexandra Exter is not means  limited to the series exhibited in Tours. In fact, seeing the many  paintings that have been circulating over the past five years in various  auction houses and private galleries, it would seem that the artist is  at the core of an avalanche of fakes, the origin of which is hard to  pinpoint. It is a sad state of affairs indeed that the number of works  of dubious authenticity attributed to Alexandra Exter today largely  exceeds the number of works whose authenticity is certain&nbsp;!  <\/p>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:66.66%\">\n<p>In recent years countless incorrectly attributed paintings have appeared  at public auctions in France (mainly at the H\u00f4tel Drouot and Versailles  in Paris), England, and Germany (Munich, Berlin and <a href=\"\/?p=101\">Stuttgart<\/a> as well as in French, Italian, Swiss and Spanish galleries. <a href=\"\/?page_id=51619\">The Galerie Orlando<\/a> in Zurich definitely takes the cake for continuing imperturbably to publish and exhibit works with the same characteristics (signatures, style of execution, subjects) as those features at the Tours exhibition, despite the injunctions of the Alexandra Exter Association [mfn]Lors d\u2019une action de l\u2019Association Alexandra Exter aupr\u00e8s de la justice Zurichoise cette galerie a b\u00e9n\u00e9fici\u00e9 d\u2019un blanc seing produit par un \u00ab&nbsp;expert&nbsp;\u00bb local qui confirme la \u00ab&nbsp;conformit\u00e9&nbsp;\u00bb des \u0153uvres mises en question en les comparant \u00e0 d\u2019autres contrefa\u00e7ons ramass\u00e9es de fa\u00e7on al\u00e9atoire sur internet. Il est \u00e9vident que dans le cas d\u2019une pareille \u00ab&nbsp;expertise&nbsp;\u00bb aussi bien les formes que les signatures sont semblables\u2026 car elles appartenaient \u00e0 la m\u00eame famille de contrefa\u00e7ons. L\u2019examen graphologique des signatures des \u0153uvres zurichoises, pratiqu\u00e9 \u00e0 Paris par les experts qui ont travaill\u00e9 sur les signatures de l\u2019exposition de Tours, a confirm\u00e9 sans h\u00e9sitation aucune que dans ce cas il s\u2019agissait \u00e9galement de fausses signatures. Soucieuse de la probit\u00e9 de ses experts la justice suisse a ignor\u00e9 la contestation de l\u2019exposition de Tours de m\u00eame qu\u2019elle a ignor\u00e9 les conclusions des experts fran\u00e7ais.[\/mfn] Worse still, one of its recent catalogues makes an explicit reference to the Tours exhibition\u2026 <\/p>\n\n\n\n<p>Some works of the same type have found their way into public collections&nbsp;: the <a href=\"https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2009\/12\/Telefonica.pdf\" class=\"mtli_attachment mtli_pdf\">Telef\u00f3nica <\/a>collection in Madrid <mfn>L\u2019\u0153uvre acquise par ce mus\u00e9e est publi\u00e9e sur la couverture du num\u00e9ro de d\u00e9cembre 2008 du Bulletin de ce mus\u00e9e et comment\u00e9e \u00e0 l\u2019int\u00e9rieur de la publication. <\/mfn> ou le <a href=\"https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/11\/Cleveland.pdf\" class=\"mtli_attachment mtli_pdf\">Mus\u00e9e des Beaux-arts de Cleveland U.S.A <\/a> <\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:33.33%\">\n<div class=\"wp-block-image\"><figure class=\"aligncenter size-thumbnail\"><a href=\"https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/signatures-galerie-Hampel.jpg\" data-rel=\"lightbox-image-7\" data-rl_title=\"\" data-rl_caption=\"\" title=\"\"><img decoding=\"async\" width=\"150\" height=\"76\" src=\"https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/signatures-galerie-Hampel-150x76.jpg\" alt=\"Fausse signature\" class=\"wp-image-51640\" srcset=\"https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/signatures-galerie-Hampel-150x76.jpg 150w, https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/signatures-galerie-Hampel.jpg 230w\" sizes=\"(max-width: 150px) 100vw, 150px\" \/><\/a><figcaption> Imitation de la signature de l&#8217;artiste<\/figcaption><\/figure><\/div>\n<\/div>\n<\/div>\n\n\n\n<p>We welcome, on the other hand, the reaction of certain European museums  that, in a demonstration of more serious professionalism, have already  removed recent purchases of works wrongly attributed to Alexandra Exter  from their exhibition rooms. <\/p>\n\n\n\n<p>A series of works attributed to the Russian avant-garde, including four paintings attributed to Alexandra Exter <mfn>Les attributions \u00e9taient de nouveau certifi\u00e9es par Jean Chauvelin, Nadia Filatoff, Georgi Kovalenko et, cette fois-ci par Jean-Claude Marcad\u00e9.<\/mfn>  was rejected recently by the selection committee of the Feriarte in  Madrid. This was not the case for the exhibition La danza de los  colores. En torno a Nijinsky y la abstraccion held this past autumn at  the Fundaci\u00f3n Mapfre in Madrid. There, a large painting entitled Dynamic  of Colours (cat. n\u00b0 23, colour illustration) was displayed, which seems  unquestionably to belong to the series from the Tours exhibition. There  is every reason to fear that the avalanche of imaginary attributions is  far from over.<\/p>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<div class=\"wp-block-image\"><figure class=\"aligncenter size-intermediaire\"><a href=\"https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/Exter-herode.jpg\" data-rel=\"lightbox-image-8\" data-rl_title=\"\" data-rl_caption=\"\" title=\"\"><img decoding=\"async\" width=\"442\" height=\"600\" src=\"https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/Exter-herode-442x600.jpg\" alt=\"\" class=\"wp-image-51655\" srcset=\"https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/Exter-herode-442x600.jpg 442w, https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/Exter-herode-221x300.jpg 221w, https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/Exter-herode-755x1024.jpg 755w, https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/Exter-herode-111x150.jpg 111w, https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/Exter-herode-768x1042.jpg 768w, https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/Exter-herode.jpg 1106w\" sizes=\"(max-width: 442px) 100vw, 442px\" \/><\/a><figcaption>  Alexandra Exter &#8211; Costume design for Salome (Herod).<br><em>This is one of the artist\u2019s most well-known works, since it was reproduced in colour as early as 1934 (in a book by A. Efros of the <strong>Kamernyj Teatr,<\/strong> Tairov\u2019s chamber theatre). Unsigned, like nearly all of Exter\u2019s gouache costume designs. <br>  <strong>Bakrushin Theatre Museum, Moscow<\/strong>  <\/em><\/figcaption><\/figure><\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<div class=\"wp-block-image\"><figure class=\"aligncenter size-intermediaire\"><a href=\"https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/cat-Tours-p210.jpg\" data-rel=\"lightbox-image-9\" data-rl_title=\"\" data-rl_caption=\"\" title=\"\"><img decoding=\"async\" width=\"439\" height=\"600\" src=\"https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/cat-Tours-p210-439x600.jpg\" alt=\"\" class=\"wp-image-51652\" srcset=\"https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/cat-Tours-p210-439x600.jpg 439w, https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/cat-Tours-p210-220x300.jpg 220w, https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/cat-Tours-p210-750x1024.jpg 750w, https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/cat-Tours-p210-110x150.jpg 110w, https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/cat-Tours-p210-768x1049.jpg 768w, https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/cat-Tours-p210.jpg 1098w\" sizes=\"(max-width: 439px) 100vw, 439px\" \/><\/a><figcaption> <em> \u201cCostume design for Herod\u201d attributed to Alexandra Exter, see ill. p. 210 of the Tours exhibition catalogue, from a \u201cprivate<br> collection\u201d (gouache signed on the bottom right). At least two other versions of this composition in oil on canvas, incorrectly attributed to Exter, are found in public collections (in Europe and Moscow). And it is likely that others are circulating on the art market. <\/em><\/figcaption><\/figure><\/div>\n<\/div>\n<\/div>\n\n\n\n<p>  To be continued&#8230;  <\/p>","protected":false},"excerpt":{"rendered":"<p>On 19 March 2009, the French police confiscated a series of paintings attributed to Alexandra Exter that were being exhibited in the municipal rooms of the Ch\u00e2teau de Tours. The judicial system was acting on a complaint filed by the Alexandra Exter Association (See communiqu\u00e9 of the Tours state prosecutor complaint challenging the authenticity of [&hellip;]<\/p>","protected":false},"author":1,"featured_media":51576,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_relevanssi_hide_post":"","_relevanssi_hide_content":"","_relevanssi_pin_for_all":"","_relevanssi_pin_keywords":"","_relevanssi_unpin_keywords":"","_relevanssi_related_keywords":"","_relevanssi_related_include_ids":"","_relevanssi_related_exclude_ids":"","_relevanssi_related_no_append":"","_relevanssi_related_not_related":"","_relevanssi_related_posts":"","_relevanssi_noindex_reason":"","_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"class_list":{"0":"post-51958","1":"page","2":"type-page","3":"status-publish","4":"has-post-thumbnail","6":"entry"},"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v26.7 (Yoast SEO v27.3) - https:\/\/yoast.com\/product\/yoast-seo-premium-wordpress\/ -->\n<title>The Tours exhibition and defending the integrity of Alexandra Exter\u2019s work - Association Alexandra Exter<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/alexandra-exter.net\/en\/the-tours-exhibition\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The Tours exhibition and defending the integrity of Alexandra Exter\u2019s work\" \/>\n<meta property=\"og:description\" content=\"On 19 March 2009, the French police confiscated a series of paintings attributed to Alexandra Exter that were being exhibited in the municipal rooms of the Ch\u00e2teau de Tours. 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