Event: The Future Of Architecture
The National Civic Art Society will be hosting a discussion at the ultra-posh Cosmos Club here in the Nation’s Capital on Tuesday, November 14th, titled “”Dramatic Cultural Change and the Future of Architecture.” The speakers, Duo Dickinson and Michael G. Imber, are not only both practicing architects, but journalists as well, each having substantial experience in writing and speaking about a variety of topics and trends in the field of architecture. They will be looking at the role which architecture ought to be playing in contemporary society, and the question of whether it should be embracing, rejecting, or otherwise adapting architecture of the past to the needs of the future. The event is free and open to the public, but you must register by following this link.
Check out this absolutely fascinating story from Allison McNearny at The Daily Beast about the mystery surrounding a lost Salvador Dalí painting of Jesus. In February 1965, the great Catalan Surrealist was scheduled to visit prisoners on Rikers Island, the New York City incarceration facility well-known to viewers of the “Law & Order” television franchise. Too ill to attend, he instead sent a painting of the Crucified Christ, which he quickly executed that morning in his suite at the St. Regis Hotel. What happened next would be perfect fodder for an investigation by Jack McCoy, et al., including forgery, larceny, official corruption, and multiple trials. To this day, no one knows whether the painting still exists.
Speaking of the Surrealists, an iconic work from that art movement is up for sale, if one of my readers wants to buy me an early Christmas present. “L’empire des Lumières” (1949) by René Magritte is one of a series of similar works which the Belgian painter created to tickle the mind’s fancy. The lower part of the picture depicts a street scene at night, illuminated only by street lights or unseen lamps burning within the buildings; completely incongruously, the sky depicted above is that of a bright, sunny day. Magritte painted several variations on this theme into the early ‘50s, and these are currently in display in various art museums around the world, including both the Guggenheim and MoMA.
This particular painting however, which is the very first in that series, was acquired by Vice President Nelson Rockefeller in 1950, and has never come under the hammer before. It’s being auctioned by Christie’s New York during its Impressionist and Modern Art Evening Sale on Monday, November 13th. The sales estimate is $14-18 million, but this is such a famous and important work of Modern art, and carries such an elite pedigree from a provenance point of view, that I would expect it to fetch a far higher price.
A Fool And His Money?
And in fact, a deep-dive into trying to understand the prices for Modern and Contemporary Art, versus those paid for Old Master and Romantic Art, are the thing in this interesting article over on Blouin ArtInfo. Michael Podger examines in detail a phenomenon which I’ve often written about in these pages: the comparatively paltry sums obtained at auction for Old Master paintings, as compared to works by Modern and Contemporary Artists. Podger takes the proverbial bull by the horns, digging deeply into the wealth of sales data on works by major artists such as Raphael and Titian.
He concludes that while many of the Old Masters are comparatively immune from the vicissitudes of trendiness, current monetary values may reflect not only a lack of appreciation for the skill employed in the creation of these older works, but also a lack of knowledge and sophistication on the part of current collectors when it comes to the subject matter of these pictures. “What this suggests is that the market sets no real store by the craft evident in Old Master paintings or by the care with which they were painted,” he notes, before comparing the work of Agnolo Bronzino and Peter Paul Rubens to that of the (grossly-overrated) Jean-Michel Basquiat. “Or perhaps many Old Master paintings are simply too subtle for contemporary tastes and require study and knowledge before they reveal themselves fully. Because of this they fail to offer the instant visual hit that many collectors crave.” It’s a long analysis, and as a blog post it can’t possibly touch on all of the causes for the present state of the art market, but it’s well-worth reading.