A very happy First Day of Summer to you, gentle reader. This is definitely not my favorite season, but fortunately even as those of us in the capital wilt under oppressive humidity, there’s still plenty of art news out there, since even as art auctions tend to tail off until the autumn, museum exhibition and announcement season tends to crank up during the summer holidays. So rest assured there will be plenty of stories for me to share with you, even as I remain wary of this time of year and try to stay in the air conditioning as long as possible.
An example is news surrounding the legendary Ghent Altarpiece, created in the 15th century by the brothers Hubert and Jan van Eyck. Regular readers will recall that I’ve written about it before, and it’s the subject of a fascinating 2012 book by Noah Charney. Unusually, two major stories about it have broken in the past week.
The first involves a possible location for the two missing panels of the altarpiece, a mystery which I mentioned in my earlier post and which Charney discusses at length in his book. The second involves the ongoing cleaning and restoration, which has resulted in a rather new, rather ugly appearance for the Agnus Dei which stands at the center of the lower panel. At some point in the past, someone decided that the Van Eyck version was rather unpleasant to look at, and painted a more docile, pleasant looking face over top of the original. While I’m all for authenticity in art, I’m not sure that the removal of this particular bit of overpaint has actually improved the picture.
Gutted in Glasgow
Just last week, I drew your attention to the work of Charles Rennie Mackintosh, the early 20th century Scottish artist, architect, and designer, as the world marks his 150th birthday. Three days later, one of his greatest masterpieces was, for all practical purposes, destroyed. As restoration was nearing completion following a devastating fire back in 2014, Mackintosh’s seminal Glasgow School of Art caught fire this past Friday, and this time it looks to be a total loss. Sorting out the blame and what to do next will take some time, but reports indicate that there may be little left to save. This is a tragic, highly significant loss for world architecture.
Worrying in Worcester
A piece I spotted in yesterday’s Art Net is worth reading and thinking about, as it stirs up some uncomfortable truths about art, with respect to those represented in it, the artists themselves, and those charged with displaying and interpreting it. The piece is largely focused on a new series of placards at the Worcester Art Museum in Massachussetts, identifying the ties of some of those depicted in the museum’s Early American portraits collection to the slave trade. By way of conclusion, the article also points out that some institutions are debating whether works by Picasso, Schiele, and others should bear labels detailing the moral culpability of the artists themselves. I leave it to the reader to determine whether the selective pinning of scarlet letters to works of art is ultimately an advisable course of action.
Outstanding in Oklahoma
I’ve never been to the great state of Oklahoma, but for those of you who find yourselves there between now and September 9th, the must-see at the Oklahmoa City Art Museum is what looks to be a terrific exhibition by Contemporary Artist Isabelle de Borchrave. “Fashioning Art from Paper” is a retrospective of the Belgian artist’s work, in which she creates intricate, life-sized paper costumes based on both works of art and fashion created over the past five centuries. Among the standouts in the section dedicated to the court of the Medici in Florence is this astonishing recreation of the costume worn by the young Lorenzo de Medici in Benozzo Gozzoli’s famous “The Journey of the Magi” (1459) from the Magi Chapel at the Palazzo Medici Riccardi in Florence.