Before we take a look at some arts stories that caught my interest this week, I want to invite you to join me for a Baroque concert at my parish of St. Stephen Martyr in Foggy Bottom, tomorrow evening at 7:30 pm.
The program for “But They Are At Peace: Music For The Feast Of All Souls” contains pieces for choir, organ, and soloists by Johann Sebastian Bach and the early German Baroque composer Heinrich Schütz. Featuring the Musica Spira ensemble as well as musicians from the Basilica of the National Shrine of the Immaculate Conception here in Washington and the Peabody Conservatory in Baltimore, the concert begins at 7:30 pm and admission is free; there will be a free-will offering for donations to support the excellent music at St. Stephen’s. Details and directions may be found by following this link. I hope to see many of you there, and if you spot me in the audience please do come up and say hello!
And now, on to the news roundup:
A Sedona Surrealist Surprise
Much to the surprise of everyone, Bonhams auction house has announced that the star of its upcoming Impressionist and Modern Art Sale in November will be “Ohne titel (Sedona Landschaft)” [“Unititled [Sedona Landscape”], a painting of Sedona, Arizona by the great German Surrealist painter, Max Ernst (1891-1976), which had nearly been forgotten. Ernst painted the intensely-colored work during a visit to Arizona in 1957, and gifted it to a local surgeon; it has remained with the doctor’s family since then, and was last exhibited in 1961. The estimate of $500-$700k is, to my mind, rather low, but then again the work is only about 2 feet long and 18 inches high – perfect for over the sideboard. As I will be traveling to Sedona myself for a few days later next month, I’ll have to do a side-by-side comparison of Ernst’s painting alongside a far less important snap from my phone over on my Instagram account.
Caravaggio and the Code of Silence
The myth that art theft is usually carried out by a sort of gentleman cat burglar, like Thomas Crown, Danny Ocean, or John Robie, is blown out of the water in this very interesting piece over on Vice. Art theft detective extraordinaire Charley Hill, who has helped in the recovery of a number of major art heists over the years, recounts the twists and turns involved in seeking one of the items he is still searching for, nearly 50 years after it went missing. “The Adoration of the Shepherds” (1609) by Caravaggio was stolen on Mafia orders from the Oratorian Church of San Lorenzo in Palermo back in 1969; it’s a very unusual work, completely different from Caravaggio’s better-known (and more conventional) version of the same subject, also painted in 1609. To this day, no one knows whether the missing altarpiece still exists, or who has possession of it. Hill believes he has an idea of where it is, and he’s determined to get it back.
Rocky Road for Rockwells
Regular readers will recall my take last month on the upcoming sale of two paintings by popular 20th century American artist Normal Rockwell, alongside a number of other works of art, which the artist had donated to the Berkshire Museum in Pittsfield, Massachusetts. The plot has thickened somewhat of late. The Rockwell family has now joined a group suing the Berkshire to halt the sale, and requested a temporary restraining order while that issue is being decided; the State AG’s office also seems to be investigating. Meanwhile, the museum’s director has temporarily stepped down for medical reasons, in an unusual bit of either chance or timing. Stay tuned, as this fight is getting more and more interesting.
The Banality of Basquiat and Brown
Two of the most famous American names in Modern Art and Popular Fiction are the late Jean-Michel Basquiat (1960-1988) and writer Dan Brown. Both created work that can be safely categorized as pseudo-intellectual garbage that commands utterly unreasonable prices, whether in terms of auction sales or box office receipts. For your pleasure and mine, then, I’d like you to enjoy a pair of absolutely scathing, wonderfully written take-downs. The first comes from the great British art critic Waldemar Januszczak who, in characterizing a major new exhibition of Basquiat’s work at The Barbican in London, is left shaking his head: “This really is what the art world has become: a shallow, uneducated, disingenuous, over-moneyed, rapacious chewer-up of proper artistic values.” Meanwhile over at The Week, Matthew Walther’s piece on Dan Brown’s latest novel, “Origin”, is an absolute howl, noting that no gifted writer of thrillers “would dare to begin with several chapters of a man taking a guided tour of a museum complete with unevocative descriptions of each work of art and follow it up with such varied set pieces as a conversation in a boat, a conversation on a plane, and a conversation in a driverless Tesla SUV before settling in to two more long conversations in an apartment and an office building.”