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Vladimir Yakovlev is not the most expensive artist of the 1960s. There are much more expensive ones. But he is a phenomenon. “An alien in human form”, as his friend, the artist Valentin Vorobyov, said. What happened to him was a triumph of a higher destiny. Nothing had foretold it. His eyes had been hurting since childhood. He never graduated from high school. Employment as a retoucher in the publishing house “Art”. But then came the Thaw. 1957. The festival. Visiting exhibitions with Vasiliy Sitnikov. And a sudden emotional breakthrough: “I want to be an artist!”

At first glance, it is clear that this is a work of a student of Aivazovsky. A graduate of the Academy of Fine Arts in St. Petersburg, Grigory Kapustin worked for several years in the studio of the outstanding marine painter in Feodosia, even made free copies of his works. Kapustin's paintings in tsarist Russia were printed on postcards in huge circulation. The artist was widely known and successful. Today his works are kept in many regional museums, including Peterhof, as well as in Russian and foreign private collections.

The fact that prices have risen noticeably over the past year is a common feeling among collectors. Some whistle in surprise: “Wow!” And someone grumbles: “You've made everything expensive”.

Let us not rush to generalizations. Although, as we know, there is no smoke without fire.

Weisberg formulated his credo simply: “I study the palette”. And when asked about his place in contemporary art, he answered that “all I have in common with my contemporaries is a wall”. The main thing for him was his own world. Color was his religion. And his temple was a room in a communal apartment on the Arbat, painted all white and turned into a studio. Where only the closest associates were admitted.

The inventor of the sfumato technique is considered to be the great Leonardo da Vinci. He figured out how to give an image a subtle blur, and learned how to reach a state “on the edge” — when the texture just begins to dissolve in the air and a haze appears. It is this technique that partly explains the mystery of Mona Lisa's smile. Sfumato sets the mood for many of the works of the 1960s artist Yuri Kuper. Even the word itself is associated with his name today. And the very old technique in his hands has received a new development.

Evgeny Rukhin is a legend of nonconformism. He is one of those uncomfortable and brave “rioters”, whom the authorities did not like very much. They preferred to be feared and kept their heads down. But Rukhin demanded, defended, disagreed. And he was not afraid. He fought for the right to work freely, developed a boisterous unofficial activity in Leningrad and became a real bone in the throat with the authorities. This is why so many refuse to consider his death in a fire in his studio in 1976 as an accident.

Shulzhenko's paintings have a phenomenal effect in practice — they completely capture the attention of any viewer, even those who are not his fans. A visitor can enter a room where ten masterpieces are hanging, but in a minute the main argument will be about Shulzhenko's work. And so it is this time. In front of us is “Three Napoleons”. A picture-parable. Three ages of a man. Three stages of destiny of the tyrant.

The works of “Vasya the Lanternman” — Vasil Yaklich — Vasily Yakovlevich Sitnikov are a rarity at auction. And so characteristic of his nude — a rarity and even more so. That's exactly the kind of Sitnikov collectors are after. Sitnikov, as it is commonly said, is a legend of the 1960s. A self-taught man who went through hell in prison and a mental hospital. No formal education. Only books, museums, lectures at the Surikov Institute (there he showed slides on a projector — hence the “lanternman”). Vasily Sitnikov is in the top of the most expensive 1960s artists.

There are too few people in our world who are capable of moving forward without regard to public opinion, aggressive misunderstanding and fierce criticism. And Rauf Mamedov had to have a lot of courage to show his projects 20 years ago. Critics didn't like the fact that the models for Rauf Mamedov's photo pictures were people with Down syndrome and people with schizophrenia. The artist visualized the philosophical theory of Gilles Deleuze, his “schizoanalysis”, where madness can be interpreted as the highest form of liberation and the engine of progress.

Little Burliuk of incredible beauty! Roses against the background of the sea. This is from the American period, most likely the late 1940s. Burliuk is successful, enjoying a measured life, building a house on Long Island with his own gallery. He is praised by American critics. His works are bought. All is well, and the picture conveys that mood.