{"id":52079,"date":"2019-12-05T20:36:11","date_gmt":"2019-12-05T19:36:11","guid":{"rendered":"https:\/\/alexandra-exter.net\/?page_id=52079"},"modified":"2019-12-23T17:29:11","modified_gmt":"2019-12-23T16:29:11","slug":"k%d1%80%d0%b8%d1%82%d0%b8%d1%87%d0%b5%d1%81%d0%ba%d0%b0%d1%8f","status":"publish","type":"page","link":"https:\/\/alexandra-exter.net\/ru\/%d0%b7%d0%b0%d1%89%d0%b8%d1%82%d0%b0-%d1%82%d0%b2%d0%be%d1%80%d1%87%d0%b5%d1%81%d1%82%d0%b2%d0%b0\/k%d1%80%d0%b8%d1%82%d0%b8%d1%87%d0%b5%d1%81%d0%ba%d0%b0%d1%8f\/","title":{"rendered":"K\u0440\u0438\u0442\u0438\u0447\u0435\u0441\u043a\u0430\u044f"},"content":{"rendered":"\n\n\n<h2 class=\"wp-block-heading\">ALEXANDRA EXTER par Jean Chauvelin et Nadia Filatoff <\/h2>\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>\u00c0 la fin de l\u2019ann\u00e9e 2003 paraissait \u00e0 Paris, aux \u00e9ditions Max Milo le volume <strong><em>ALEXANDRA EXTER<\/em>,<\/strong> sous-titr\u00e9 <em>MONOGRAPHIE<\/em>. <mfn>Cf. l\u2019article de Genevi\u00e8ve Breerette dans Le Monde dat\u00e9 du 5 d\u00e9c. 2003. <\/mfn> Il avait pour auteurs Jean Chauvelin et Nadia Filatoff. Dans ce volume ont \u00e9t\u00e9 \u00e9galement inclus deux textes, publi\u00e9s auparavant&nbsp;:<\/p>\n\n\n\n<ul class=\"wp-block-list\"><li><strong>Les marionnettes<\/strong> de John E. Bowlt (publi\u00e9 en 1975) <\/li><li><strong>Alexandra Exter \u00e0 Kiev<\/strong> de Dmytro Horbachov (1988).  <\/li><\/ul>\n\n\n\n<p> Il avait pour auteurs Jean Chauvelin et Nadia Filatoff.<br> Dans ce volume ont \u00e9t\u00e9 \u00e9galement inclus deux textes, publi\u00e9s auparavant&nbsp;:<br> \u00ab&nbsp;Les marionnettes&nbsp;\u00bb de John E. Bowlt (publi\u00e9 en 1975) <br> \u00ab&nbsp;Alexandra Exter \u00e0 Kiev&nbsp;\u00bb de Dmytro Horbachov (1988). <\/p>\n\n\n\n<p>Richement illustr\u00e9, ce livre n\u2019apportait pas un nouvel \u00e9clairage sur l\u2019\u0153uvre de l\u2019artiste et peu de renseignements biographiques ou artistiques in\u00e9dite. <mfn>\u00c0 part de nombreuses erreurs biographiques, il y manque des \u00e9l\u00e9ments essentiels de la carri\u00e8re d\u2019Alexandra Exter telle sa grande exposition moscovite de plus d\u2019une centaine d\u2019\u0153uvres qui fut consid\u00e9r\u00e9e comme une r\u00e9trospective personnelle, le s\u00e9jour \u00e0 Odessa, pourtant d\u00e9j\u00e0 bien \u00e9tudi\u00e9e, son exposition personnelle en Angleterre et autres. <\/mfn> Par contre on y trouvait une grande quantit\u00e9 d\u2019\u0153uvres auparavant inconnues&nbsp;; celles-ci \u00e9taient intercal\u00e9es avec des \u0153uvres connues, r\u00e9pertori\u00e9es et appartenant dans la plupart des cas \u00e0 des collections publiques russes ou occidentales, d\u00fbment recens\u00e9es.<\/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-full\"><img decoding=\"async\" width=\"304\" height=\"360\" src=\"https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/Chauvelin-Exter.jpg\" alt=\"\" class=\"wp-image-51678\" srcset=\"https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/Chauvelin-Exter.jpg 304w, https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/Chauvelin-Exter-253x300.jpg 253w, https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/Chauvelin-Exter-127x150.jpg 127w\" sizes=\"(max-width: 304px) 100vw, 304px\" \/><\/figure><\/div>\n<\/div>\n<\/div>\n\n\n\n<p>La d\u00e9monstration commence par la couverture sur laquelle figure une \n\u0153uvre abstraite (ill. 115 dans le livre, p. 132), inconnue et dot\u00e9e \nd\u2019une signature, \u00e9galement inconnue \u00e0 ce jour.<\/p>\n\n\n\n<p>Il serait trop fastidieux de commenter en d\u00e9tail chacune des  \u00ab&nbsp;\u0153uvres&nbsp;\u00bb nouvelles mises en circulation par cette publication.<\/p>\n\n\n\n<p>Quelques remarques s\u2019imposent toutefois d\u2019embl\u00e9e&nbsp;:<\/p>\n\n\n\n<p>\u00c0 l\u2019exception de deux \u0153uvres th\u00e9\u00e2trales (et on remarquera qu\u2019il s\u2019agit de gouaches de petite taille, sur papier, de surcro\u00eet <em>non sign\u00e9es<\/em>)\n toutes ces \u0153uvres \u00ab&nbsp;nouvelles&nbsp;\u00bb, donc inconnues auparavant, portent la \nr\u00e9f\u00e9rence \u00ab&nbsp;collection priv\u00e9e&nbsp;\u00bb. Elles ne sont pas document\u00e9es de fa\u00e7on \nhistorique, du vivant de l\u2019artiste ou de celui de l\u2019h\u00e9ritier de son \n\u0153uvre \u2013 Simon Lissim (mort en 1981), car aucune des <em>\u0153uvres sign\u00e9es<\/em> ne provient de l\u2019h\u00e9ritage Lissim, ou ne figure dans les archives de l\u2019artiste ni dans celles de son h\u00e9ritier.<\/p>\n\n\n\n<p>\u00c0 part l\u2019aspect stylistiquement incoh\u00e9rent et des erreurs stylistiques (voir  plus loin) que l\u2019on trouve dans certaines \u0153uvres, pour ne pas parler de  l\u2019ex\u00e9cution des formes qui surprend par la diff\u00e9rence avec ce que l\u2019on  conna\u00eet du travail rigoureux d\u2019Alexandra Exter, ou de sa mani\u00e8re de peindre, on remarquera des s\u00e9ries d\u2019\u0153uvres auparavant inconnues dans la cr\u00e9ation de l\u2019artiste&nbsp;: par exemple des projets de costumes th\u00e9\u00e2traux (pour <em>Rom\u00e9o et Juliette<\/em>, hiver 1920-1921) peints \u00e0 <em>l\u2019huile sur toile (<\/em>on n\u2019en connaissait pas \u00e0 ce jour, et pour cause, car c\u2019est antinomique avec la destination de l\u2019\u0153uvre). <\/p>\n\n\n\n<p>Des <em>s\u00e9ries<\/em> de compositions abstraites, s\u2019inspirant d\u2019autres compositions (abstraites) connues de l\u2019artiste, or Exter ne travaillait pas par \u00ab&nbsp;s\u00e9ries&nbsp;\u00bb.<\/p>\n\n\n\n<p>Des \u00ab&nbsp;variantes&nbsp;\u00bb d\u2019\u0153uvres \u2013 cubistes, futuristes, abstraites <em>toutes sign\u00e9es<\/em>  (tandis que les versions originales ne le sont que tr\u00e8s exceptionnellement) et dont l\u2019ex\u00e9cution ne correspond pas \u00e0 la mani\u00e8re  de l\u2019artiste.<\/p>\n\n\n\n<p><strong>Exemple d\u2019erreur stylistique<\/strong><\/p>\n\n\n\n<p>\u00c0 la page 229 figure une \u00ab&nbsp;\u00e9tude&nbsp;\u00bb pour une \u0153uvre bien connue de l\u2019artiste \u2013 <em>Construction<\/em>  de 1923 (96 x 96 cm, conserv\u00e9e au MOMA de New York, \u0153uvre qui faisait  partie de l\u2019h\u00e9ritage Lissim et provient ainsi directement de l\u2019atelier  de l\u2019artiste). D\u2019autres \u00ab&nbsp;variantes&nbsp;\u00bb de cette composition sont apparues depuis 2003. Or ces \u0153uvres portent une signature qui est inscrite  incorrectement par rapport \u00e0 la composition, c\u2019est \u00e0 dire qui fait pivoter l\u2019orientation de cette composition de 90\u00b0. Cette anomalie s\u2019explique facilement par une erreur dans l\u2019accrochage de la peinture d\u2019Exter au MOMA, erreur intervenue vers le milieu des ann\u00e9es quatre-vingt et qui a \u00e9t\u00e9 corrig\u00e9e seulement \u00e0 la fin de l\u2019ann\u00e9e 2008 (voir l\u2019accrochage et la reproduction dans le catalogue dans la r\u00e9cente exposition <em><a href=\"https:\/\/alexandra-exter.net\/ru\/%d0%b2%d1%8b%d1%81%d1%82%d0%b0%d0%b2%d0%ba%d0%b8-h%d0%b5%d0%b4%d0%b0%d0%b2%d0%bd%d0%b8%d0%b5\/\">Rodchenko-Popova&nbsp;: Defining Constructivism<\/a><\/em>, Tate Modern, Londres 2009).<\/p>\n\n\n\n<p><strong>Les signatures propos\u00e9es<\/strong><\/p>\n\n\n\n<p> \u00c0 la fin du volume \u2013 page 413 \u2013 on trouve un tableau de r\u00e9f\u00e9rence  comportant 5 signatures. Pour seul commentaire on peut lire&nbsp;cette  annonce&nbsp;: \u00ab&nbsp;\u00e0 des rares exceptions, les \u0153uvres d\u2019Alexandra Exter sont sign\u00e9es ou monogramm\u00e9es soit en latin soit en cyrillique&nbsp;\u00bb (le  seraient-elles autrement&nbsp;?). <\/p>\n\n\n\n<p>Contrairement aux r\u00e8gles d\u2019un travail professionnel de documentation,  digne de ce nom, les cinq signatures propos\u00e9es \u00e0 cet endroit de l\u2019ouvrage ne sont accompagn\u00e9es <em>d\u2019aucune r\u00e9f\u00e9rence bibliographique ni documentaire<\/em>,  d\u2019aucune r\u00e9f\u00e9rence v\u00e9rifiable quant \u00e0 la source de l\u2019information, ni m\u00eame par rapport aux \u0153uvres desquelles elles proviennent. <\/p>\n\n\n\n<p><strong>En conclusion<\/strong><\/p>\n\n\n\n<ul class=\"wp-block-list\"><li> on ne sait pas de quelles \u0153uvres proviennent les nouvelles signatures<\/li><li>aucune ne provient d\u2019une collection publique r\u00e9pertori\u00e9e<\/li><li>aucune r\u00e9f\u00e9rence historique ou documentaire n\u2019est fournie<\/li><li>aucune r\u00e9f\u00e9rence aux \u0153uvres connues et\/ou r\u00e9pertori\u00e9es du vivant de \nl\u2019artiste ou de son h\u00e9ritier Simon Lissim n\u2019est non plus donn\u00e9e.<\/li><\/ul>\n\n\n\n<p>Force est donc de consid\u00e9rer ces signatures comme hypoth\u00e9tiques et, de toute fa\u00e7on, elles exigent v\u00e9rification, ce qu&#8217;on a \u00e9t\u00e9 oblig\u00e9 de faire lors de l\u2019examen de certaines, parmi les \u00ab&nbsp;nouvelles&nbsp;\u00bb \u0153uvres lorsque celles-ci ont \u00e9t\u00e9 expos\u00e9es ou mises en vente. (V\u00e9rifications et \u00e9tude graphologique pratiqu\u00e9es une premi\u00e8re fois \u00e0 Paris au d\u00e9but de  l\u2019\u00e9t\u00e9 2006).<\/p>\n\n\n\n<p>La 2<sup>nd<\/sup> et la 5<sup>\u00e8me<\/sup>  signature (de haut en bas sur la page 413) sont \u00ab&nbsp;neuves&nbsp;\u00bb, c\u2019est-\u00e0-dire n\u2019ont pas \u00e9t\u00e9 connues dans l\u2019\u0153uvre de l\u2019artiste telle que r\u00e9pertori\u00e9e auparavant avant la date de la publication (2003). De surcro\u00eet, ces deux signatures accompagnent des \u0153uvres, indiqu\u00e9es comme se trouvant <em>toutes <\/em>dans des \u00ab&nbsp;collections priv\u00e9es&nbsp;\u00bb, connues des seuls auteurs de la publication, car jamais expos\u00e9es ni publi\u00e9es auparavant.<\/p>\n\n\n\n<p>L\u2019examen graphologique de la signature n\u00b0 2 pratiqu\u00e9 par Madame Petit  de Mirbeck, expert graphologue aupr\u00e8s de la Cour d\u2019Appel de Paris a aboutit \u00e0 la conclusion qu\u2019il ne s\u2019agit pas \u00e0 proprement parler d\u2019une signature mais d\u2019une <strong>calligraphie<\/strong>. <mfn>Un recensement d\u2019autres signatures sera fourni sur le site internet de l\u2019association Alexandra Exter d\u2019ici peu, la mise en ligne ayant \u00e9t\u00e9 retard\u00e9e en raison de l\u2019action des autorit\u00e9s de justice de Tours suite \u00e0 une plainte contre X ayant aboutie \u00e0 la saisies de l\u2019exposition Exter pr\u00e9sent\u00e9e au Ch\u00e2teau de Tours fin janvier 2009.\n<\/mfn><\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><strong><em>\u0152uvres publi\u00e9es dans l\u2019ouvrage de 2003 et dont l\u2019attribution est mise ici en question <\/em><\/strong>: <\/h3>\n\n\n\n<p>Devant l\u2019impossibilit\u00e9 d\u2019examiner toutes les nouvelles \u0153uvres publi\u00e9es dans ce livre, le commentaire qui est livr\u00e9 ici se limite aux celles \u0153uvres dont l\u2019aspect stylistique est univoque et\/ou qui \u00e9taient accessibles au cours des derni\u00e8res ann\u00e9es (le plus souvent en raison des  ventes publiques o\u00f9 elles ont \u00e9t\u00e9 pr\u00e9sent\u00e9es). <\/p>\n\n\n\n<p>La liste ici pr\u00e9sent\u00e9e est constitu\u00e9e d&#8217;une premi\u00e8re \u00e9bauche d\u2019un  r\u00e9pertoire destin\u00e9 \u00e0 \u00eatre compl\u00e9t\u00e9 dans l\u2019avenir &nbsp;; elle se r\u00e9f\u00e8re aux illustrations de la publication de 2003, signal\u00e9es par le n\u00b0  d\u2019illustration et page. L\u2019ast\u00e9risque indique que l\u2019\u0153uvre appartient \u00e0 une s\u00e9rie qui figure dans l\u2019exposition de Tours 2009&nbsp;: <\/p>\n\n\n\n<p>12*\/p.34 &nbsp; 13*\/p.35 &nbsp; 14*\/p. &nbsp; 36 &nbsp; 15*\/p.37 &nbsp; 16*\/p.38 &nbsp; 19*\/p &nbsp; .45\n &nbsp; 21*\/p.48 &nbsp; &nbsp; 22*\/p.49 &nbsp; 25*\/p.53 &nbsp; 26*\/p.54 &nbsp; 27*\/p.54 &nbsp; 41*\/p.67 &nbsp; \n42*\/p.68 &nbsp; 48*\/p.77 &nbsp; 52*\/p.79 &nbsp; &nbsp; 54*\/p.81 &nbsp; 57*\/p.84 &nbsp; 71*\/p.93<br>\n87*\/p.107 &nbsp; 88*\/p.108 &nbsp; 89*\/p.109 &nbsp; 90\/p.110 &nbsp; 96\/p.116 &nbsp; 109*\/p.125 &nbsp; \n110*\/p.126 &nbsp; 111*\/p.127 &nbsp; 112*\/p.128 &nbsp; 113*\/p.129 &nbsp; 115*\/p.132-3 &nbsp; \n121*\/p.141<br>\n126*\/p.147 &nbsp; 129*\/p.149 &nbsp; 135*\/p.154 &nbsp; 142*\/p.162 &nbsp; 144*\/p.166 &nbsp; \n145*\/p.167 &nbsp; 150*\/p.174 &nbsp; &nbsp; 151*\/p.175 &nbsp; 193\/p.211 &nbsp; 217*\/p.229 &nbsp; \n221*\/p.235 &nbsp; 227\/p.238 &nbsp; 228\/p.239 &nbsp; 231\/p.241 &nbsp; &nbsp; 232\/p.242 &nbsp; 251\/p.258<br>\n312\/p.333 &nbsp; 331\/p.351 &nbsp; 341\/p.357 &nbsp; &nbsp; 342\/p.357 &nbsp; 345\/p.358 &nbsp; 367\/p.404 &nbsp; 368\/p.405 <\/p>\n\n\n\n<p>Les illustrations 255*\/pages 264-271 ont \u00e9t\u00e9 pr\u00e9sent\u00e9es \u00e0 l\u2019exposition de Tours 2009, les inscriptions ont \u00e9t\u00e9 rejet\u00e9es par l\u2019\u00e9tude graphologique pratiqu\u00e9e en f\u00e9vrier 2009. <\/p>\n\n\n\n<p>L\u2019illustration 267 p. 277 pose la question d\u2019une signature qui semble  repass\u00e9e sur une inscription au crayon. La question reste ouverte jusque  l\u2019examen de l\u2019original. <\/p>\n\n\n\n<p><strong><em>Note<\/em><\/strong>&nbsp;: plusieurs parmi ces \u0153uvres, de m\u00eame que leurs \u00ab&nbsp;versions&nbsp;\u00bb ou \u00ab&nbsp;variantes&nbsp;\u00bb constituant ainsi de larges s\u00e9ries ont circul\u00e9 dans de nombreuses ventes publiques ou dans des galeries commerciales qui sont r\u00e9pertori\u00e9es s\u00e9par\u00e9ment (voir les sections&nbsp;: ventes publiques et collections, et <a href=\"https:\/\/alexandra-exter.net\/ru\/%d0%b7%d0%b0%d1%89%d0%b8%d1%82%d0%b0-%d1%82%d0%b2%d0%be%d1%80%d1%87%d0%b5%d1%81%d1%82%d0%b2%d0%b0\/%d0%be%d1%88%d0%b8%d0%b1%d0%be%d1%87%d0%bd%d1%8b%d0%b5\/\">commentaire de l\u2019exposition de Tours<\/a>, 2009).<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"> <em>Aleksandra Ekster&nbsp;: cvetovye ritmy&nbsp;\/Alexandra Exter, Farbrythmen<\/em> par Georgij Kowalenko, Gos. Russkij Muzej, Palace Editions, Saint Petersbourg, 2001  <\/h2>\n\n\n\n<p>Cette autre publication contenant de nombreuses \u0153uvres dont l&#8217;attribution est mise en question pour deux raisons est \u00e0 signaler.<\/p>\n\n\n\n<p>Les reproductions incluses dans cette publication appellent des  r\u00e9serves fondamentales en raison de leur aspect stylistique et surtout  en raison d&#8217;une provenance fantasm\u00e9e qui discr\u00e9dite d&#8217;autant ces  attributions. L&#8217;ouvrage en question est comment\u00e9 dans la partie <a href=\"https:\/\/alexandra-exter.net\/ru\/%d0%b7%d0%b0%d1%89%d0%b8%d1%82%d0%b0-%d1%82%d0%b2%d0%be%d1%80%d1%87%d0%b5%d1%81%d1%82%d0%b2%d0%b0\/%d0%be%d1%88%d0%b8%d0%b1%d0%be%d1%87%d0%bd%d1%8b%d0%b5\/\">Provenances fantasm\u00e9es<\/a> de ce site.<\/p>\n\n\n\n<p>L\u2019exposition Alexandra Exter pr\u00e9sent\u00e9e par le Mus\u00e9e d\u2019Art  Contemporain de Moscou a \u00e9t\u00e9 accompagn\u00e9e de la publication d\u2019un livre  intitul\u00e9 Alexandra Exter et dont l\u2019auteur est Georgy Kovalenko. Dans un  volumineux ouvrage de 304 pages l\u2019auteur reproduit une grande quantit\u00e9  d\u2019\u0153uvres dont l\u2019attribution \u00e0 Alexandra Exter a d\u00e9j\u00e0 \u00e9t\u00e9 comment\u00e9e sur  ce site ou m\u00e9riterait de l\u2019\u00eatre car plusieurs parmi ces attributions ne  paraissent pas acceptables.<\/p>\n\n\n\n<p>Sur les pages 137 \u00e0 146 figurent 23 gouaches dites \u00ab&nbsp;Rythme de couleurs&nbsp;\u00bb  que l\u2019on conna\u00eet d\u00e9j\u00e0 de pr\u00e9c\u00e9dentes publications, il en est de m\u00eame  pour la toile Ville, 1911, p. 64 et  Les ponts de Paris, 1912, p. 86-87  pour ne citer que les plus connus. <\/p>\n\n\n\n<figure class=\"wp-block-gallery aligncenter columns-2 is-cropped wp-block-gallery-1 is-layout-flex wp-block-gallery-is-layout-flex\"><ul class=\"blocks-gallery-grid\"><li class=\"blocks-gallery-item\"><figure><a href=\"https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/Kovalenko-I-713x1024.jpg\" data-rel=\"lightbox-image-0\" data-rl_title=\"\" data-rl_caption=\"\" title=\"\"><img decoding=\"async\" width=\"713\" height=\"1024\" src=\"https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/Kovalenko-I-713x1024.jpg\" alt=\"Faux tableau\" data-id=\"51683\" data-link=\"https:\/\/alexandra-exter.net\/exposition-de-tours\/pollution-bibliographique\/kovalenko-i\/\" class=\"wp-image-51683\" srcset=\"https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/Kovalenko-I-713x1024.jpg 713w, https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/Kovalenko-I-209x300.jpg 209w, https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/Kovalenko-I-104x150.jpg 104w, https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/Kovalenko-I-768x1103.jpg 768w, https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/Kovalenko-I-418x600.jpg 418w, https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/Kovalenko-I.jpg 1044w\" sizes=\"(max-width: 713px) 100vw, 713px\" \/><\/a><\/figure><\/li><li class=\"blocks-gallery-item\"><figure><a href=\"https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/Kovalenko-II.jpg\" data-rel=\"lightbox-image-1\" data-rl_title=\"\" data-rl_caption=\"\" title=\"\"><img decoding=\"async\" width=\"731\" height=\"1024\" src=\"https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/Kovalenko-II-731x1024.jpg\" alt=\"\" data-id=\"51686\" data-full-url=\"https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/Kovalenko-II.jpg\" data-link=\"https:\/\/alexandra-exter.net\/exposition-de-tours\/pollution-bibliographique\/kovalenko-ii\/\" class=\"wp-image-51686\" srcset=\"https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/Kovalenko-II-731x1024.jpg 731w, https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/Kovalenko-II-214x300.jpg 214w, https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/Kovalenko-II-107x150.jpg 107w, https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/Kovalenko-II-768x1076.jpg 768w, https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/Kovalenko-II-428x600.jpg 428w, https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/Kovalenko-II.jpg 1071w\" sizes=\"(max-width: 731px) 100vw, 731px\" \/><\/a><\/figure><\/li><\/ul><figcaption class=\"blocks-gallery-caption\"> Gouaches faussement atribu\u00e9es \u00e0 A. Exter <\/figcaption><\/figure>\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<p> Il en est de m\u00eame pour La nature morte, 1914 de la page 120 \u00ab&nbsp;\u0153uvre&nbsp;\u00bb  qui s\u2019apparente en tout point aux imitations pr\u00e9sent\u00e9es \u00e0 l\u2019exposition  de Tours. Quant aux compositions abstraites on signalera les  illustrations p. 150, p. 159, p. 161, p. 162, p. 168, p. 178-179, et  d\u2019autres. Une seule parmi ces \u0153uvres figurait \u00e0 l\u2019exposition de Moscou,  sa juxtaposition avec des \u0153uvres indiscutables de l\u2019artiste offrait une  excellente occasion pour voir les diff\u00e9rences. Ce qui choque \u00e9galement  dans ce livre c\u2019est la qualit\u00e9 de certaines reproductions dans la  premi\u00e8re partie de l\u2019ouvrage o\u00f9 les couleurs \u00ab&nbsp;noircies&nbsp;\u00bb \u00e0 souhait sont  totalement d\u00e9natur\u00e9es, \u00e0 tel point qu\u2019on se pose la question des  raisons de cet aspect des reproductions et des raisons qui ont pu  pousser un auteur \u00e0 pr\u00e9senter des illustrations aussi d\u00e9form\u00e9es que  celles en pages 83, 101, 105, 115 et 128. Un deuxi\u00e8me volume de cette  publication a \u00e9t\u00e9 \u00e9galement annonc\u00e9 mais il n\u2019est pas paru \u00e0 ce jour.  <\/p>\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\"><img decoding=\"async\" width=\"387\" height=\"600\" src=\"https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/Kovalenko-ville-387x600.jpg\" alt=\"\" class=\"wp-image-51690\" srcset=\"https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/Kovalenko-ville-387x600.jpg 387w, https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/Kovalenko-ville-194x300.jpg 194w, https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/Kovalenko-ville-661x1024.jpg 661w, https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/Kovalenko-ville-97x150.jpg 97w, https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/Kovalenko-ville-768x1190.jpg 768w, https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/Kovalenko-ville.jpg 968w\" sizes=\"(max-width: 387px) 100vw, 387px\" \/><figcaption> Ville, faussement attribu\u00e9 \u00e0 A. Exter <\/figcaption><\/figure><\/div>\n<\/div>\n<\/div>","protected":false},"excerpt":{"rendered":"<p>ALEXANDRA EXTER par Jean Chauvelin et Nadia Filatoff \u00c0 la fin de l\u2019ann\u00e9e 2003 paraissait \u00e0 Paris, aux \u00e9ditions Max Milo le volume ALEXANDRA EXTER, sous-titr\u00e9 MONOGRAPHIE. Cf. l\u2019article de Genevi\u00e8ve Breerette dans Le Monde dat\u00e9 du 5 d\u00e9c. 2003. Il avait pour auteurs Jean Chauvelin et Nadia Filatoff. Dans ce volume ont \u00e9t\u00e9 \u00e9galement [&hellip;]<\/p>","protected":false},"author":1,"featured_media":51577,"parent":52072,"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-52079","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>K\u0440\u0438\u0442\u0438\u0447\u0435\u0441\u043a\u0430\u044f - 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\/ru\/%d0%b7%d0%b0%d1%89%d0%b8%d1%82%d0%b0-%d1%82%d0%b2%d0%be%d1%80%d1%87%d0%b5%d1%81%d1%82%d0%b2%d0%b0\/k%d1%80%d0%b8%d1%82%d0%b8%d1%87%d0%b5%d1%81%d0%ba%d0%b0%d1%8f\/\" \/>\n<meta property=\"og:locale\" content=\"ru_RU\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"K\u0440\u0438\u0442\u0438\u0447\u0435\u0441\u043a\u0430\u044f\" \/>\n<meta property=\"og:description\" content=\"ALEXANDRA EXTER par Jean Chauvelin et Nadia Filatoff \u00c0 la fin de l\u2019ann\u00e9e 2003 paraissait \u00e0 Paris, aux \u00e9ditions Max Milo le volume ALEXANDRA EXTER, sous-titr\u00e9 MONOGRAPHIE. 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