Thought-Pourri: Art News Roundup

I’m continuing with this weekly roundup of interesting news items about art, architecture, and design, because so far it seems readers are reacting positively. I’ve not settled on a permanent title for this feature, so if anyone cares to make suggestions on a more clever moniker, please share your thoughts in the comments! And now, on to the roundup.

Event: “Beauty and the Restoration of the Sacred”

This looks to be quite an event, if you are going to be in the Chicago area on October 29th – but you need to act now.

The Catholic Art Guild will be holding a day-long conference titled “Beauty and the Restoration of the Sacred” at The Drake Hotel (my favorite watering hole in the Windy City), featuring some of today’s most prominent voices advocating for the creation, preservation, and greater appreciation of beautiful art. The speakers will be writer and philosopher Sir Roger Scruton, architect Duncan Stroik, art/architecture professor Dr. Denis McNamara, and artist Anthony Visco. If you’re a fellow conservative interested in the arts, these are all individuals with whom you are already very, very familiar. The opportunity of getting to hear and meet all of them at the same event is an opportunity not to be missed.

The day will begin with Latin High Mass at the magnificent Baroque Revival church of St. John Cantius, which is without question the most beautiful church in Chicago, and then proceed to The Drake for presentations, dinner, and a concluding panel discussion. Frankly, if I could manage it with my schedule, I’d be there myself. So you’ll have to attend for me, and share your reactions with the rest of us in the Comments section.

PLEASE NOTE: Tickets must be purchased in advance, as they will not be available at the door, and you *must* book by Monday, October 23rd.

Conference

New Exhibit: Norwegian Nonsense

By way of complete contrast to the preceding, but demonstrating why such conferences are critical in this day and age, the four finalists for this year’s Lorck Schive Kunstpris – the most “prestigious” art prize in that country – are now on display at the Trondheim Kunstmuseum. Among these, perhaps the silliest is Mattias Härenstam’s “Limitation”, which features a dead birch tree attached to pulleys that drag the dessicated specimen around the gallery. I’m sure this is all very profound if you’re a Norwegian atheist with more bad taste than brains, but not falling into any of those categories myself, my recommendation would be to just ignore this show entirely, and instead go explore Trondheim’s superb Nidaros Cathedral, built between about 1000-1300 A.D.

Trondheim

Follow Up: Dalí, Disinterred

Regular readers will recall from these pages my reports on the long-standing efforts of psychic Pilar Abel to prove that she was the illegitimate offspring of the great Catalan Surrealist Salvador Dalí (1904-1989), as the result of a (ahem) dalliance which she claimed took place between her mother and the artist back in the 1950’s. After many years of wasting everyone’s time and resources in several unsuccessful attempts to establish her paternity claim, it appears that the courts have finally had enough. A judge in Madrid has now dismissed the suit, and ordered Ms. Abel to pay associated costs, including those incurred during the disinterment of the artist’s remains back in July.

Dali

New Exhibit: Dalí, Designer

Speaking of Salvador Dalí, one genuine, platonic partnership which the artist actively engaged in during his lifetime was with Italian fashion designer Elsa Schiaparelli (1890-1973). To mark their many years of collaboration, the Dalí Museum in St. Petersburg, Florida has just opened a new exhibition examining the work of the artist and the couturier, running through January 14th. Although today Schiaparelli is far less known than her contemporary and rival, Coco Chanel, for several decades until her retirement in the early ‘50’s, Schiaparelli was a force to be reckoned with in the design world, creating haute couture for women who wanted something more edgy than the more sensible, minimalist designs presented by Chanel. Schiaparelli collaborated with Dalí on a number of designs which blurred the line between art and clothing, including the famous “Lobster Dress”, worn here by the infamous Duchess of Windsor.

Windsor

New Exhibit: French King, Dutch Art

Another exhibition worth taking in, should you be so fortunate as to find yourself in Paris in the coming months, is “François I and Dutch Art”, which has just opened at The Louvre and runs until January 15th. King François I of France – sometimes jokingly referred to as, “Le Roi Nez” due to his prominent beak – was a major art collector and patron at the dawn of the French Renaissance. He famously managed to coax an elderly Leonardo Da Vinci to leave Italy, and go into semi-retirement at a country house located near the king’s principal residence in the Loire Valley. As this new exhibition points out however, François’ substantial art collection included much more than just the “Mona Lisa”, as he was particularly keen on acquiring or commissioning altarpieces, portraits, and scenes of everyday life from contemporary Dutch artists. Among the most interesting works is this very early genre scene by Bartholomeus Pons (active 1518-1541), depicting workers taking barrels down into a wine cellar. The picture has the crystalline precision one expects of Dutch painting from this period, combined with keen observations of everyday life, and a superb understanding of the complexities involved in rendering believable architectural perspective.

Pons

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The Disappearing Emperor: A Remarkable Art Discovery In Suburbia

If you’re fairly well-to-do, you may have a decent-sized art collection. If you’re *very* well-to-do however, not only do you have a rather significant art collection, but you tend to give parts of it away – and forget to document that you’ve done so. This appears to be the case with the rediscovery of a significant work of art by (arguably) the most famous of all French sculptors, depicting one of the most famous figures in the history of France, in, of all places, a borough hall in north-central New Jersey.

Work

The Hartley Dodge Memorial Building in Madison has for many years served as the town hall for residents of the Borough of Madison, New Jersey. It was a gift from Geraldine Rockefeller Dodge in honor of her son Hartley who, along with his parents (scions of the Dodge and Rockefeller dynasties), was a resident of the Borough. Hartley was killed in a car accident in France in 1930, shortly after he graduated from Princeton, and appears to have been something like a character out of an F. Scott Fitzgerald novel. The tragic irony of his death lies in the fact that his mother had sent him to France on an extended vacation to try to get him away from a new hobby he was pursuing, i.e., learning to fly airplanes, because she felt that this was too dangerous a pastime.

For understandable reasons, Mrs. Dodge wanted this building named for her late son to not only be beautiful – which it certainly is, as you can see in these images of its newly-restored grandeur – but to have only the best of everything. As a result, not only did she create a grand and elegant architectural masterpiece where one would hardly expect to find such a structure, but she also brought in a number of appropriately grand and elegant works of art, in order to decorate the walls and rooms of the building.

Strangely enough, despite their significance, both she and local officials forgot to properly document what exactly it was that she had given them to display, and as time passed, the identification of these objects was forgotten.

It turns out that one such forgotten work donated by Mrs. Dodge was a sculpture by Auguste Rodin (1840-1917). The piece, titled “Napoleon Enveloppé Dans Ses Réves” (“Napoleon Wrapped In His Dreams”), is a life-sized marble bust of the diminutive French Emperor. Here we can see an image of Rodin himself, posing with the work in question:

Rodin

In this piece, Rodin shows a somewhat tired and pensive Napoleon, wrapped in his military cloak and indeed his own thoughts. The artist has idealized Napoleon’s features to some extent, particularly the nose, which seems to lack the projecting tip that one normally sees in contemporary representations of Bonaparte. Compare, for example, the Rodin to this copy in the Metropolitan Museum of Art of one of the many busts that the Italian sculptor Antonio Canova (1757-1822) made of Napoleon during the Emperor’s lifetime.

Interestingly enough, before its move to suburbia this Rodin was, for many years, on display to the public at The Met. Mrs. Dodge acquired the piece from the estate of another Gilded Age oligarch, Thomas Fortune Ryan, who had not only paid Rodin to complete the work, but also lent it to The Met for an extended period of time. It was removed from view following Ryan’s death in 1928, and Mrs. Dodge acquired it a few years later. [N.B. Ryan, incidentally, built my second-favorite church in New York, St. Jean Baptiste, as well as several buildings at my alma mater, Georgetown.]

Baptiste

For over seven decades then, the bust sat on a plinth in the Madison Borough Council Chamber, where few if any visitors suspected that they were looking at a significant work of art by the artist generally regarded as the father of Modern sculpture. Then during Christmas break in 2014-15, Madison hired then-graduate student Mallory Mortillaro to go through the art collection and create a catalogue of the borough’s holdings. She was immediately struck by the piece, noting that the story of how it came into the possession of the borough made her suspect that it was of greater significance than anyone knew at the time. “I mean, this is Geraldine Rockefeller Dodge,” she explained to The Philadelphia Inquirer, “I knew we weren’t dealing with random bits from somebody’s attic.”

Room

Perhaps the pièce de résistance in this story came when Ms. Mortillaro reached out to the Rodin Museum in Paris and, some months later, that museum sent Jérôme Le Blay, a well-known French art expert who is an expert in the authentication of 19th and 20th century French art, particularly that of Rodin. As Janet Foster, a trustee of the Hartley Memorial, recounted, “[Le Blay] walked in and saw the bust and said, ‘Oh! There you are!,’ ” Foster recalled. ” ‘I wondered what happened to you.’ ” It turned out that the Rodin Museum in Paris had a plaster cast of the Napoleon bust in its own collection, but never knew whether Rodin had actually completed the sculpture or, if he had, what had become of it.

Fortunately for art lovers, the newly rediscovered Rodin will not be staying in suburban New Jersey. In fact, it’s now headed to the Philadelphia Museum of Art, where it will be displayed on extended long-term loan alongside other Rodin sculptures in that Museum’s collection, just in time to mark the centenary of the artist’s death on November 17, 1917. One can imagine that, this time at least, no one is going to lose track of it.

Thought-Pourri: More Art And Architecture Stories For Your Perusal

Since I had positive reaction to last week’s round-up of interesting stories from the art and design world, I thought I’d try it again and see what my readers think of making this a regular feature of the blog. So here goes:

Barely-Known Birley

If you’ve ever watched an episode of the original, UK version of “Antiques Roadshow”, you’re familiar with Philip Mould, an art dealer who has managed to turn his expert eye for rediscovering important or overlooked old pictures with a successful media career. Recently his London gallery finished a show on the work of society painter Sir Oswald Birley (1880-1952), who was immensely popular with the American and British well-to-do during his lifetime, but has fallen into semi-obscurity since his death. There’s certainly an argument to be made that Birley should be mentioned in the same breath as other important society painters from the first half of the 20th century. Many of his works are certainly interesting, however I’m not quite sure that I’d consider him in the same league as John Singer Sargent, Joaquín Sorolla, or Anders Zorn: you be the judge.

Birley

Light In Leeds

A bit further north, visitors to the Leeds Art Gallery, which is set to reopen today, will be able to visit a “lost” classical architectural space that had been forgotten about for decades. Workers doing demo work at the museum, which first opened in 1880 but has been closed for renovations since 2016, were surprised to find that when they took down a 1960’s drop ceiling, a glass-roofed, barrel-vaulted ceiling soared overhead. The end result belies the often-repeated canard that Victorian architects were only interested in dark, fussy interiors, since this space by Scottish architect George Corson (1829-1910) could not be more bright and classically inspired.

Leeds.jpg

Tanner’s Tones

The work of African-American artist Henry Ossawa Tanner (1859-1937) is probably known to at least some of my readers, particularly his very popular “The Annunciation” (1898) now in the Philadelphia Museum of Art. Tanner, the son of a bishop in the African Methodist Episcopal Church and a runaway slave, painted many Biblical works infused with details from his travels in the Holy Land. He is known to have created about a dozen different depictions of “The Flight Into Egypt”, one of which was just sold at Swann’s in New York for $341,000. Tanner’s fixation on this theme stems in part from his own family’s experiences of flight and persecution, which were mirrored in the experiences of Jesus, Mary, and Joseph in St. Matthew’s Gospel account, but what really sets these nighttime scenes apart from a technical standpoint is his use of truly sumptuous blues and greens that dominate the paintings, which almost seem to dematerialize before our eyes.

M36028-15 002

More MFA

This week the Museum of Fine Arts in Boston announced the largest single bequest of European paintings to its permanent collection in the institution’s nearly 150 year-history. The van Otterloo and Weatherbie families, Boston-based art collectors, have promised a total of 113 Dutch and Flemish works to the museum, including works by Rembrandt, Rubens, Van Dyck, and many others. Along with this enormous gift, the collectors are establishing a Center for Netherlandish Art at the MFA, which will be the first of its kind in the US, and dedicated to fostering greater collaborative research and scholarship in this area. Among the numerous works now entering the MFA, Willem Kalf’s “Still Life with a Peeled Lemon” (1664) caught my eye, particularly the juxtapositions of blue and orange that one sees in the fruit, bowl, and carpet.

Untitled

Florentines In Bavaria

In conjunction with a new exhibition and accompanying catalogue, Munich’s Alte Pinakothek has just completed restoration of Botticelli’s enormous altarpiece, “The Lamentation of Christ” (c. 1492), as part of “Florence and Its Painters: From Giotto To Leonardo Da Vinci”, which opens at the venerable art museum on October 18th. The picture was originally created for the somewhat forgotten and forlorn 1,000 year-old Church of San Paolino in Florence, which at various times was used by the Dominicans, Franciscans, and Carmelites, before becoming State property. In addition to undergoing restoration, the Boticelli altarpiece, as well as dozens of other works by artists such as Da Vinci, Raphael, and others, has been newly photographed and studied for the exhibition, using the latest technological methods and research. If you happen to find yourself in Munich in the next couple of months, this is definitely a show to check out.

Boticelli