Art-capital, art-business,

or art from the point of view of money rescue and favorable capital investments

This question is becoming especially critical right now when the traditional market starts to collapse. We are in the beginning of this process. According to the statement of the artists group leader "Artel" and the author of the book «Hours of history », there is a strict, logical cyclicity in the society life which is reflected in public moods and accordingly in art styles. There is a whole scale of these cycles or waves – from small, short in time, up to major, epoch-making. Now we are in a critical point of the big wave when one long (more than hundred years) phase is over and a new one begins, which brings fundamental, cardinal changes and reassessment of all values of life. If you have a great amount of money and even more than that, and you are in panic, realizing, that today you’ve lost half of it, and tomorrow you may lose everything, and now you have this text in your hands, then believe, that you are lucky.

You have a chance to rescue the remaining money, if you invest it in painting, but not in any kind of, but exactly in the painting about which the majority of both experts and fans do not know today, which will define the unique character of the next century.

To understand the idea we have to go back to 1885 – 1905, in the beginning of new vanguard, modernist art.

The masterpieces of art which now are being exhibited in the most prestigious museums, galleries and private collections have already been created. Now they cost millions and millions. But back then, if we had addressed to authoritative and skilled experts of that time, first of all, they would have known nothing about those authors, and if they had seen these pictures, they would have only made a helpless gesture and would have categorically assured, that those were not at all art.

But very sensitive, gifted people, who understood their advantage, could buy the works at the right time, without a competition. They not only rescued the invested money but in twenty years considerably increased the capital.

There is a similar situation now, the cycle repeats: museums, galleries and private collections are filled with vanguard and modernist paintings. The prices of these works are at their maximum and in the future they will not only grow, but can fall down.

How to define the hits of the newest time, the masterpieces of the coming century that have already been painted? They don’t cost too much today but are waiting their time.

If you address skilled experts, they won’t be able to answer this question, and to name the artists and the works. Moreover, they may misinform you.

But you are lucky; you have found a needle in a haystack! You have our contact information.

April 11, 2008


The world is in the beginning of a big wave of mood changes which periodically come to society in certain periods of time. The next global change in the course of mankind development is going on, and it will affect all areas of its life. Obvious manifestation of these changes is global financial crisis which sprang up recently. It shows that the situation is serious and it is necessary, for the time being, to change the course of development and the way of life. Thus it is necessary to take into consideration, that at these turns synchronous changes take place in economy, art, philosophy, science, ethics and politics. This process is natural, objective and has enormous power. Those who confront it, or even don’t take it into account, will be swept off by life. Nevertheless both law and periodicity of changes allow to predict this development and to define its direction.

And for the one who owns information, a district map, a plan of action, it is much easier to pass the distance successfully. But, before to move forward, let's go back and observe through the past in our mind. From historical point of view it’s a short period of time, three hundred years. The 18th century was an epoch of education, rationalism, atheism, the period of criticism of the aristocratic society, negative attitude to the past; the theory of equality, freedom and independence of man; it was followed by reorientation of the society, revolution, social cataclysms.

Ideas of the 19th centuries came into being as far back as in the 18th century. They were based on disappointment in rationalism and sketchiness of the time. The idea of integrity, unity of man with God, with cosmos, the idea of beauty and harmony of the nature was put forward; the idea that man should accept the world as it is, as it was created by the Maker. Ideas of beauty and harmony, integrity and unity could not be apprehended by the old rational way, by just brain. The sensory principle of life perception was put forward; but the rational origin was not completely removed from the practical life. It is impossible in principle, but it was removed from the main positions to the background scene. And that was expressed, for example, in the conflict between romanticism and classicism; in the 19th century they both were built on a sensory, tangible basis.

Nobleness, aristocratism of spirit, understanding, geniality, humanity, sympathy – are not conceivable without domination of sensory basis in man. Art addressed mainly not to the intellect and mind of man, but to his heart. Therefore it created immediate and characteristic response: from sighs and melancholy, up to joy and enlightenment; from sobbing and tears, up to the deepest feelings of delight and ecstasy!

Reverent, gentle, serious attitude was characteristic not only towards the divine creation –to the world – but also to the best and highest works of geniuses of the past, to all rarities of human culture.

But man is a conflicting being! During the 19th century critical notes arose more often. Some bright and talented people have the protest moods caused by exhaustion from uniformity and predictability of social development. They have the desire to be original, different; to be notable from the crowd for an unconventional behavior and the way of thinking.

Moods of individualism and permissiveness, opposition to the society and to the world become stronger. Here comes revolt, the desire to get free from the society, ideas of the whole, and of God.

These ideas of rebellious individuals at the end of the19th and the beginning of the 20th centuries are taken up by the society. And here the second great wave of changing public moods for the period examined comes to an end, and the third wave begins.

The theme of freedom, liberation becomes actual, fashionable. Thus it (freedom) is considered as rejection of something, denial, negativism; and it is directed against the fact that earlier was regarded as positive – for example – freedom to love, freedom to be decent, fair, true; freedom to be a citizen, a believer, a law-abiding person, etc.

And if earlier, in the 19th century, the line of conduct was defined by feeling and heart, and it had positive character, the new 20th century started with negative moods, and the man’s line of behavior was defined rationally, imaginarily, tendentiously.

Man of the new time opposed himself not only to the past 19th century, but also to all preceding culture.

A radical restructuring of the society began. There was a passion «to raze the old world to the ground ». The debris of it was supposed to become the starting point for the new ideal world. There came the "modern" art, "modernist", and "vanguard", leaning toward the "form", conditional character and "abstracting" from reality. One of the main tasks was to struggle against academism and the related problems of style, skill and quality of painting. New art was going away from the actual, tangible world with its weightiness, depth and goodness to a quite different, speculative, imaginary space of thinking, to stereotyped patterns and abstractions.

This speculative, unreal world gives quite unique opportunities, – for example – to break off the whole into parts and to manipulate them easily and freely: creating, rearranging or destroying them by arbitrary rules. In this facilitated, breathtaking world everything is legal and everything is possible.

The concepts of truth, faith, beliefs and fidelity, harmony, love and beauty become obsolete, because they make sense only in relation to the real world.

Planeness, linearity, formality and ornamentality of the image became the signs of new art. Techniques of children's creativity and primitive art (a Black sculpture, etc) were actively used. Artists often refuse to depict anything, replacing the image by a word, by a blank canvas, or by an empty can.

If there is a reality in the picture, then it is either chopped into parts and exhibited in the form of a collage, or deformed, or is cut off from all relations with the world. Different “performances” and “happenings” became very popular nowadays. Museums often refuse exhibiting painting for the benefit of showing primitive documentary films or a dump of waste paper, etc. Moods arising from the contact with these “works of art” vary from fictitious, pop, primitive, cheep popular, consumer "happiness", up to perception of life absurdity, depression and melancholy.

Today we have come to an end of the third period considered and have approached to the fourth one. Man found himself in an absolutely new world that has changed both formally and qualitatively. The civilization has reached fantastic successes.

But remarkable successes have been achieved by paying a high price – by refusing concept of life unity, wholeness and God. It is forgotten that man belongs to the world and to humanity and without them he cannot exist. It is forgotten that man has a soul, embracing the world, the world that is arranged naturally and harmoniously. It has been forgotten, that in this world there is love, kindness and beauty.

In the fluctuating development of mankind there are no sharp borders, and nevertheless today we passed conditional boundary separating the past from the future. We look ahead with hope and belief, accepting the present without forgetting about the past.

Some tendencies of the newest time:

  • 1. Submission of reason to feeling and the heart of man.
  • 2. Acceptance of reality
  • 3. Comprehension of the depth and mystery of the world
  • 4. Form is not an end in itself, but a way of soul and body manifestation.
  • 5. The truth of feeling, sincerity, sympathy, humanity
  • 6. Culture, skill, quality of painting

Gregory Nesterov November 21, 2008

Nesterov’s squares (and rectangles) or artefacts

The 19th century, the century of feeling, gave way to the 20th century, a century of mind, transformations, a century of abstractions, of a form separated from content, a century of liberation from everything that binds (roots, traditions, feelings, culture, mastery, God etc). And this can be understood – it was the fatigue from the habitual rhythm, from the usual way of solving problems. Further movement in this direction was leading to a deadlock and it had no sense. THERE WAS A NEED FOR REVOLUTION AND IT HAPPENED.

Artist liberated himself from God (as the idea of the whole), - from culture and morals - “everything is allowed”; from mastery – new revelations are not on this way. is Liberation, abstraction from matter, a bare form is an idol now. He liberated himself from traditions – to clear the way to modernity; from love and feelings – these are the bonds; from history – “…we’ll ride the jade of history to death…”

The artist was released from everything; it was possible to take a picture of a classic and to add short moustaches to Gioconda. It was possible to declare a toilet bowl as a work of art, to fasten a brush to a donkey’s tail, to declare as art any spittle of the artist: cans, stuff from dump, fragments of a text, excrement, and at last, in general to show as a work of art a bare canvas.

It would be logical to put a full stop here, but the artist cannot stop the inertia…

Infinity became rotten, it gets meaningless character – WE HAVE COME TO THE PLACE WHERE WE STARTED FROM – i.e. we ‘came to a deadlock.

Weariness from the monotonous repeated action…

As far back as in the beginning of 80th of the last century a revolutionary, seditious, idea came to my mind. It was inspired by Malevich, but it was contrary to him. It was to declare a work of art by a work of art and to name it «Nesterov's squares», and by this action to bring back the artist annulled by Malevich, to bring back Skill, Craft, Culture, Traditions, History, Feelings, Love, Beauty, Nobleness and God. TO RESTORE THE LOST UNITY OF SPIRIT AND MATTER.

Today, on a new round, considering formal achievements of the 20th century, new great prospects and opportunities of NEW ART open up. Don’t look for the sun where it has set.

There is a long way ahead…

February 3, 2004