Before diving in this morning, just a word on headings. As regular readers and subscribers know, I haven’t been happy with “Thought-Pourri” for some time, in titling this weekly roundup of interesting stories from the art world, even though I used to think it was clever. Puns do tend to wear on you after awhile, and that includes the pun which serves as the title of this blog. [Note to self: Must still get around to changing it.]
In any case, for now we’re going to stick with the more ho-hum “Art News Roundup” until I figure out something else since, while not exactly clever, it’s efficient and descriptive, particularly since on social media, oftentimes all you get to see is a post title and a link. This allows me to write something (hopefully) clever after the colon, while keeping the business end of things before the colon. And speaking of business, let’s get on to that.
There’s an interesting piece in ArtNet yesterday that I wanted to feature here before getting into some things that I recommend you go and see, since it discusses the sort of art which I do not recommend that you go and see, at least for the most part. In it, the author bemoans the decline of attendance at New York museum and gallery shows featuring Contemporary Art, a trend that has been accelerating in recent years, and describes what gallery owners are doing to try to reverse that trend. “If you read between the lines,” the writer notes, “it’s also a great example of how New York galleries are pushing vintage approaches to art viewership to fight plummeting foot traffic—a trend that’s threatening not only galleries’ commercial viability, but also their existential purpose as a free place to exhibit art.”
That’s all as may be, but of course, what one could also read between the lines, and which the article fails to explore or even mention, is the possibility that the numbers for these Contemporary Art shows are down because, on the whole, average people don’t actually like the art. After all, New York’s Metropolitan Museum of Art broke its all-time attendance record last year, and the single most popular show was “Michelangelo: Divine Draftsman and Designer”, which by itself brought in over 700,000 visitors. Just a thought.
Anyway, on to three spots where I highly recommend that you *do* go have a look-see.
New to the National Gallery (UK)
Juan de Zurbarán (1620-1649) is a Spanish Golden Age artist whose work is both rare and not very well-known. The son of the more famous painter Francisco de Zurbarán (1598 – 1664), Juan died relatively young during a plague epidemic in Seville, and it’s only within the last several decades that his own work has begun to emerge from the long shadow of his father. With the help of the American Friends of the National Gallery, London, that museum recently acquired a still life by Juan, “Still Life with Lemons in a Wicker Basket” (c.1643-1649), which had been in a private collection in Madrid for generations. I highly recommend watching this lecture from Letizia Treves, Curator of Later Italian, Spanish, and French 17th-century Paintings at the National Gallery, discussing the artist, his career, and this work, since not only is it obvious that Ms. Treves know her subject very well indeed, but her presentation is clear, full of interesting slides, and I for one learned a great deal from it, even with my having specialized in this period of art when I was in grad school. And of course, it goes without saying that the painting is worth seeing should you find yourself in London this summer.
Nip in to Newark
As your summer travel plans evolve, remember to keep the Newark Museum in mind, if you happen to find yourself in the New York/New Jersey/Philly area over the next month. Their excellent exhibition “The Rockies and the Alps”, which I reviewed for The Federalist back when it opened, runs through August 19th. Not only does it have plenty of beautiful paintings, alongside sculptures, drawings, and photographs showing what American and European artists were looking at and depicting in the mountain landscapes they visited with increasing frequency in the 19th century, but there are also interactive aspects of the show for the kiddos, and the Newark Museum itself is a revelation: you can easily spend an entire day there with the rugrats and find plenty of things to do. [N.B. I can also recommend the excellent Deluxe Diner, just around the corner, as a lunch spot.]
Young Leonardo at Yale
A bit further up the coast, Yale recently opened its latest exhibition “Leonardo: Discoveries from Verrocchio’s Studio”, which looks to be both extremely interesting and somewhat controversial. The interest comes from the fact that the world will be marking the 500th anniversary of the death of Leonardo da Vinci next year, and there will be a slew of exhibitions around the world acknowledging his importance, of which this is the first. The controversy comes from a desire, at least on the part of some museums and experts, to attribute anything that has even a tangential connection to Leonardo as therefore being by him, particularly in the light of the media spectacle surrounding the sale of the “Salvator Mundi” (which I suppose I contributed to. in my small way.)
For example, Yale believes that the piece shown below, “The Triumph of Aemilius Paulus” (c.1472-1473) from the Musée Jacquemart-André in Paris, is mostly by Leonardo. Perhaps it is. I don’t see anything particularly remarkable about this piece, since to my eye the perspective is clumsy and the figures more Benozzo Gozzoli than Leonardo da Vinci, although the misty mountains in the background are certainly the sort that Leonardo liked to paint. On the other hand, I’m most emphatically not an expert, so you should just go along and see the works on show for yourself, and make up your own mind. “Leonardo” is at the Yale University Art Gallery through October 7th.