Art News Roundup: Recovered Gems Edition

Before getting to some art news of interest this week, I realize that over the weekend just past I forgot to link to my latest post in The Federalist, which you may have already seen, on pioneering World War I aviation artist Henri Farré (1871-1934). Due to the restrictions on space, it wasn’t possible to show more than a few of his paintings in the article, which I began researching on a recent trip down to the Tidewater Virginia area. More of his work can be seen on my Instagram feed, here and here, featuring some pics I shot at a current exhibition at the Chrysler Museum of Art in Norfolk, Virginia, which celebrates Farré’s art and marks the centenary of the end of World War I. It’s a small show, but definitely worth seeing if you find yourself in the area. If you can’t make it, pick up a copy of Farré’s superb first-hand recounting of his experiences as an aviator-artist, “Sky Fighters of France”, which you can find through online booksellers and auctioneers.

Pricey Pearl

Continuing this week’s market trend of low estimates and unexpected prices – I can possibly understand such a price for a Hopper, maybe, but who would pay over $90 million for a HOCKNEY? –  Sotheby’s Geneva just sold a diamond and natural pearl pendant once owned by Queen Marie Antoinette of France for $36 million; the pre-sale estimate on the piece, which has been owned by the royal house of Bourbon-Parma for centuries, was $2 million. The pendant was sold along with 99 other items of jewelry from the family collection, bringing a whopping $53.1 million in total. Rather bizarrely, this article in Art Daily states that the pendant was “owned by Marie Antoinette before she was beheaded…” I suspect it rather unlikely that it could have been owned by her *after* she was beheaded.

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Wee Warriors

Speaking of royal caches, you’re probably familiar with the famous terracotta warriors buried with the first Emperor of China, as examples of these tomb sculptures always prove a popular tourist attraction when they visit this country. Imitation being the sincerest form of flattery, Prince Liu Hong, son of the Emperor Wu, who reigned in the 1st century BC, commissioned his own terracotta army for his grave, but at a more modest scale than his imperial ancestor. The hundreds of figures in the Prince’s tomb, which have now been fully excavated and documented following their original discovery about a decade ago, average between 9-12 inches tall, rather than life-sized. They’re accompanied by chariots, watchtowers, and other elements, which can’t help but remind one of an action figure playset – albeit a far more breakable one – and are a rare treasure, indeed. Details on the discovery and excavation have been translated into English and are available in the journal Chinese Cultural Relics.

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Revived Retablo

The Art Newspaper provides an overview of the history and conservation of the Battel Hall retablo, a rare, circa 1410 jewel of a painted English altarpiece that survived the Protestants – sort of – albeit with the faces of Christ, Mary, and the saints scratched out. It later suffered numerous other indignities, such as being used as a desktop in a school, where it was further scarred and dirtied over the centuries; someone, possibly the students, even carved “witch signs” into it, as protection against evil spirits. Fellow fans of the Dominican Order take note, this object was probably painted for a Dominican foundation, possibly a convent, since it features both St. Dominic and another Dominican (St. Albert the Great is my best guess, given the book and miter, but I may be wrong) as well as St. Mary Magdalen and St. Catherine of Siena. After two years of conservation and restoration work, the scarred Medieval altarpiece has now been hung in the chapel of Leeds Castle. For more information on the jewels of Catholic art and architecture lost thanks to King Henry VIII’s incontinence, get a copy of Eamon Duffy’s classic “The Stripping of the Altars” from Yale University Press: saddening, sobering, but fascinating reading.

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Art News Roundup: Houston, We Have A Velázquez Edition

As I spent a big chunk of yesterday in bed with a cold, here’s your day late, but hopefully not a dollar short, roundup of some interesting news from the art world for this week. For yours truly, the really interesting news this week is that the Museum of Fine Arts in Houston has recently re-attributed a painting in its permanent collection to the greatest of all Spanish painters, Diego Velázquez (1599-1660). The canvas, titled “Kitchen Maid”, is believed to date to around 1620, when the young artist was working in his native Seville.

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Two other pieces by Velázquez, which were already very familiar to me, are related to this one. More obviously, there is a larger-sized depiction of a kitchen interior with the same model, now at the Art Institute of Chicago, and it’s probable that the Houston piece was a study or work-up for the finished version. Not many of Velazquez’ studies or drawings survive, unfortunately, so as a clue to his working method the newly attributed painting should prove to be a major object of study for both art historians and conservators.

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The other piece to which the painting is related is Velázquez’ “Kitchen Maid With The Supper At Emmaus” at the National Gallery of Ireland, from the same time period. This canvas is the most complex of the three, so it may well be that the Houston piece was the first study the artist made on canvas. That would make the Chicago picture, a second, more advanced composition, with the Dublin work as the final product. To have all three of these survive is rather unusual in art history, even though this practice was not uncommon at the time.

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While it may seem odd for the artist to have placed what would normally be considered a background scene to the main action in the foreground, the precedent comes from Dutch paintings and engravings of the time; as part of the Counter-Reformation movement it allowed the faithful to more fully reflect upon and imagine themselves being present at Biblical moments. Moreover, this is not the only example of Velázquez using this concept in his art. His better-known “Christ In The House Of Martha And Mary” (c. 1618), now in the National Gallery in London, is almost a companion piece to the Dublin picture, in this respect.

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While the attribution has not been fully put to the test, as is often the case the careful cleaning of dirt and varnish from the surface of an old, overlooked picture made all the difference for those experts who have examined it so far.

And now on to some other art news of interest.

Selfie Stupidity

Another day, another example of self-obsessed social media users ruining a work of art while trying to take a selfie with no thought for anyone but themselves. A group of women at an exhibition in the International Arts Center in the city of Yekaterinburg decided to take a picture of themselves, and in the process knocked over a display case (you can see a still of this below) containing engravings by Francisco de Goya (1746-1828) and Salvador Dalí (1904-1989). Both pictures had their frames and glass damaged, but while the Goya appears to be fine, the Dalí was damaged from the glass shattering. Apparently no criminal charges will be brought against this group of Stygian witches, despite the museum requesting such action, but I would certainly love to bring a civil lawsuit against them.

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Sparkling Seaside

Yes, I do actually recommend Contemporary Art from time to time, not just Old Masters, and so it is with great pleasure that I let you know that new works by British Contemporary artist Gordon Hunt (1958-) will go on show tomorrow at the Agora Gallery in Chelsea, and it looks to be an exhibition well worth your time. As the Northeast begins to settle into the long, dark, gray of late Autumn, Hunt’s images of sun and sea, pleasure boats, and people enjoying the water in his native Cornwall or along the Mediterranean are a light-filled joy; you may even feel the need to break out your sunglasses for some of his sunset scenes. His sparkling, glowing technique is reminiscent of the work of the French Pointillist pioneer Georges Seurat (1859-1891), but updated for a modern audience. “Discovery: Contemporary Art Perspectives From England” is on show at Agora until December 1st.

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Bidding for Binney

For reasons best known to itself, the Philadelphia Bar Association has decided that it has too many portraits of dead lawyers on its hands, so it has decided to auction them – as well as hundreds of other objects – at Freeman’s American auction next week. Among the highlights are this magnificent 1833 Thomas Sully (1783-1872) portrait of Congressman Horace Binney (1780-1875), who not only turned down an appointment to be a Supreme Court Justice – TWICE – but was one of the few men in Congress to have the backbone to publicly stand up to POS American dictator…er, President Andrew Jackson. Binney certainly knew how to pick them, when it came to have his portrait painted, because as a young man, he was the subject of another magnificent portrait by the great Gilbert Stuart (1755-1828) which is now in the National Gallery here in DC, but for some reason is not currently on view. It would be neat – is that the right word? – if the NGA were to purchase the portrait of the middle-aged Birney so that visitors could compare how artistic style changed in America.

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Art News Roundup: Morisot and More Edition

My latest for The Federalist, a review of the major exhibition on French Impressionist Berthe Morisot (1841-1895) that just opened at the Barnes Foundation in Philadelphia, is now available for your perusal. Sincere thanks to my very patient editor, Joy Pullmann, and everyone at The Federalist, for allowing me to share some of my thoughts on the show itself, and more importantly on Morisot’s woefully underrated art. I think you’ll find that it’s a fairly comprehensive exhibition and, even if you don’t particularly like Impressionist art, it’s worth visiting to see Morisot’s significant gifts for composition, and her very interesting development as an artist who, by the end of her career, was breaking away from the conventionally saccharine aspects of the Impressionist movement. In my view, she became a better and better painter the further away she got from the influence of contemporaries such as Manet, Pissarro, and Renoir.

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Unfortunately, the show’s organizers don’t seem to be willing to allow Morisot to be judged on her own merits, but rather insist from the get-go – the title of the show is “Berthe Morisot: Woman Impressionist” – that her work must be examined through the lens of feminist and gender theory. The exhibition catalogue even opens with reference to a work by the Guerrilla Girls, darlings of the Contemporary Art world who are truly horrible, untalented, and overrated charlatans. Mentioning them in the same breath as Morisot is like comparing Miley Cyrus to Maria Callas.

My best advice is that you go enjoy Morisot’s art on your own terms. It doesn’t need to be wrapped in someone else’s insecurity blanket in order to be appreciated. The show is at the Barnes until mid-January; after that it travels to the Dallas Museum of Art, and will have its last stop at the Orsay in Paris.

And since my Federalist piece is a bit of a lengthy one, just a couple of brief headlines from elsewhere in the art world this week.

A Prado in Barcelona?

Former French Prime Minister Manuel Valls, who is now running for Mayor of Barcelona – yes, you read that correctly – has issued a rather interesting proposal: Spain’s legendary Prado Museum in Madrid should open satellite Prados in other cities, as institutions such as the Louvre and Tate have done, beginning with Barcelona. While an intriguing idea, it must be said that this notion would seem to betray a critical lack of understanding on the part of M. Valls, with respect to both current and long-standing political and cultural tensions between the two cities. In any case, Madrid would be far more likely to authorize a first Prado satellite in Seville, rather than Barcelona, just as it authorized the first high-speed rail link between Madrid and Seville, making Barcelona wait. (Old hatreds never really die in Spain.)

As to this rather unusual political candidacy issue, M. Valls, shown below against a backdrop of Barcelona’s famous sidewalk tiles, was born in Barcelona to a Catalan father and a Swiss mother. However he was raised in Paris, and is a French citizen, so make of that what you will. He is currently running to replace the current Mayor of Barcelona, the dreadful Ada Colau, a failed actress who has proven to be an international embarrassment to the city since her election. Barcelonans will go to the polls iat the end of May, unfortunately right about the time when I’ll be arriving in town for my summer holidays. Perhaps I’ll head to the seaside for a couple of days, first.

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A Phoenix in Budapest

Speaking of restoration, after having been closed to the public since it was heavily damaged during World War II, the magnificent main hall of the Museum of Fine Arts in Budapest has finally been restored. It reopened to the public at Noon yesterday, following several years of work. The Romanesque Revival interior is covered in scenes from Hungarian history, but suffered so badly during the war that it was turned into a storage room, since experts at the time believed that it would be impossible to bring it back to its former glory. Fortunately for us, that theory has now been disproved, as you can see in this 2-minute video of the restoration work. Magnificent job.

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