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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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

 

 

Thought-Pourri: Art And Architecture Stories For Your Perusal

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.

Dalí, Disappeared

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.

Magritte, Illuminated

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.

Mag