Da Vinci Delayed: The Art Press Wants Scandal, And Wants It Now

After all the hullabaloo over the sale of Leonardo Da Vinci’s “Salvator Mundi” for $450 million at Christie’s New York, as I commented on in The Federalist, speculation immediately turned to who bought it, and what they were going to do with it. In the end, it emerged that the picture had been purchased by the Saudi Minister of Culture, on behalf of the Ministry of Culture and Tourism of Abu Dhabi. The plan was to put the piece on display at the new Louvre Abu Dhabi, which had just opened shortly before the sale.

Originally slated to go on view September 18th, just two weeks prior the Ministry suddenly announced “the postponement of the unveiling,” and that “[m]ore details will be announced soon.” Initial speculation was that the museum wanted to hold off until the 1st anniversary of the opening of Louvre Abu Dhabi on November 11th. Creature of scandal that it (mostly) is however, the art press immediately went into scavenger mode, trying to find any scrap of information or rumor to explain the cause of the delay. It simultaneously began to cast aspersions on a picture which, only a year earlier, commentators had been fawning over, their reviews causing the public to flock to see the panel in droves.

The Art Newspaper, for example, invited “Salvator Mundi” skeptic Matthew Landrus, a Da Vinci expert at Oxford, to flesh out his argument that the painting was not an original piece exclusively from the hand of Leonardo, but rather was created by Leonardo with significant input from one of his best-known studio assistants, Bernardino Luini (c. 1480-1532). If you’ve ever seen his work, Luini gives you an idea, albeit a slightly second-rate idea, of what Leonardo could have done with his talent if he had ever managed to get his act together.

Of course, Landrus was not arguing that Leonardo never touched the painting. Rather, he made a reasoned argument that assistants in Leonardo’s studio played a significant part in the execution of the piece, and he thinks that Luini is one of the more likely candidates. That’s as may be, but this is something of an academic debate, rather than a cause célèbre for the art press to go into a tizzy over.

Then over the weekend, The Guardian published a piece by art critic Jonathan Jones arguing that the real problem with the “Salvator Mundi” was that it had been over-restored. Images of what the painting looked like before it was cleaned and the missing bits filled in are certainly quite shocking to the untrained eye. In its pre-conservation state, it looks as though you just got home from work to find the cat had got at one of your most prized possessions in your absence (and I know whereof I speak.)

Jones believes that the piece should have been left as it was, damage and all. He preferred the panel in its “raw yet beautiful state”, subsequent to the removal of all of the years of dirt and bad restoration work that sat atop the original surface. “Wasn’t that an incredible object in itself?” he asks. To me, this sounds rather like those who argued that the Sistine Chapel should never have been cleaned, because they maintained that Michelangelo’s frescoes looked better when they were covered in dust and soot.

In pursuing these narratives however – assistant work vs. over-restored – the art press needs to tread lightly: as usual, it doesn’t think about the consequences of these particular lines of reasoning.

If you study art history at all, you quickly learn that most highly successful Old Master painters, including not only Leonardo, but other art giants such as Raphael, Rubens, and Titian, had so many commissions to complete that they could not do all of it themselves. Oftentimes, these artists would come up with the design for a picture, and the bulk of it would be painted by their assistants. The boss would come in later to work on specific areas, such as the head, hands, or touch-ups. Moreover, many popular Modern and Contemporary artists, from Andy Warhol to Ai Weiwei, have employed assistants to help bring their works to fruition.

Is the art press really intending to argue that, because assistants participated in the creation of this particular Leonardo, that therefore it’s not really a Leonardo? What would that do to overall buyer and institutional confidence in the Modern and Contemporary Art market, where the use of assistants in generating works of art is heavily practiced? Why, for example, should the city of Paris be paying American Contemporary artist Jeff Koons millions of dollars for a sculpture which he himself only designed, rather than sculpted with his own hands?

As to whether the “Salvator Mundi” was over-restored, here too we find a bit of a slippery slope argument for the art press to ponder. I’m no art restorer, but looking at the piece as it was, and indeed as is pointed out in Jones’ article, there was more than enough left of the original surface for an art restorer to go in and fill in the missing bits. As it happens, in the weeks to come you’ll be seeing a piece from me in The Federalist about a Baroque painting which I’ve just had professionally cleaned and restored, instead of leaving in the grimy, dirty, flaking state in which I found it at auction.

Does the art press want to argue that any work of art which suffers damage should be left in its damaged state? Should we leave some works, such as Velázquez “Rokeby Venus” in the National Gallery in London, which was slashed by a suffragette in 1914, in a damaged state based on the nature of the attack made on them? What about rediscovered works that don’t look so great? Why is it acceptable to take 9 months to a year to clean and restore a painting by crazy-eyed one-trick pony Artemisia Gentileschi (1593-1653)? Because that’s who The Guardian is pushing at the moment?

Interestingly, Jones’ pointing out that, prior to restoration, there appeared to be two right thumbs on the hand of Christ goes to my earlier statement regarding the work of the master on the painting. In art history, the term “pentimento” describes changes made by the artist as he is in the process of executing a picture. There are examples of pentimenti (plural) in many famous paintings, most of which are not visible to the naked eye because they get covered up by the artist when the painting is finished. Tthese changes can often be revealed through x-rays and other technology.

As a general rule, pentimenti tend to indicate that the work which one is looking at is the real thing. Copies by assistants don’t have these changes, because they are simply copies of something that already exists; no further changes are needed to the already-set composition. To Landrus’ argument then, the presence of this double thumb would at least tend to show that Leonardo did work on this painting, though how much of it is actually by his direct hand is open to debate.

At the same time, the double thumb pokes holes in Jones’ argument that the painting is over-restored. Leonardo would never have allowed a “raw” painting to leave the studio. Like any artist of his time, he would have intended for the painting to be corrected, and the pentimento covered over, whether by himself or by his assistants. A 15th century Italian or French Renaissance patron would never have accepted a weird, mutant double-thumbed Jesus in their art collection. Not only would such a thing be considered bizarre and unattractive to you as a collector, at a time when perfection and beauty were your life goals – how far we have fallen since – but it might have gotten you in trouble with the Inquisition if they called round.

We don’t know what the holdup is at this point, with respect to putting the “Salvator Mundi” on public display. We do know that, as usual, the art press loves a scandal, and is intent as a British tabloid publisher to create clickbait, even if it turns out that there’s no scandal at all, just an administrative or strategic delay. All we can do now is sit and wait.

Salvator

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Banksy’s Auto-Da-Fé Strips Bare The Contemporary Art Market

By now most of you are familiar with the destruction of a painting by Contemporary artist Banksy that occurred at Sotheby’s last week. For those who missed it, a work by the graffiti guru depicting one of his best known images self-destructed by being shredded shortly after it was sold to an unknown buyer for $1.4 million. Sotheby’s claims that it had no idea that the shredding was going to occur, so we will go with that unless and until any conclusive evidence shows otherwise.

There are many rumors and theories bouncing about in cyberspace about this occurrence. Speculation is rife that Banksy himself, or one of his minions, was in the audience, and pushed some sort of remote control button to start the shredder. Many have noted that the destroyed work was not the original, which was a piece of graffiti on a wall long since destroyed, and that this piece was merely a recent copy specifically created for its destruction on camera.

Whatever you want to believe about the event, British art historian Bendor Grosvenor sums up the whole thing very succinctly by saying that the “happening”, if you will, boils down to one word: money. The Contemporary Art world, and in this I include most of the art establishment, is besotted with money over quality, showiness over substance. Perhaps ironically, this is rather reminiscent of the contrived, pricey, cloyingly sentimental Victorian paintings of children playing with puppies or gazing vacantly at bouquets of flowers, which the newly rich amassed to fill their homes in the second half of the 19th century.

Intentionally or no, Banksy’s auto-da-fé of his own work has shone what for many ought to be a very disturbing light on today’s art world. From the business side of things, reasonable voices have been quietly noting for some time that there is a bubble in Contemporary Art prices. ArtTactic, which provides research data concerning the art market, notes that confidence in the strength of the Contemporary Art market has fallen 24% this year, even while sales of Contemporary Art continue to increase. That bubble has been inflated largely by the art press, art institutions, and art dealers, so that art collectors with extraordinary resources at their disposal are, in many cases, buying largely for investment value rather than out of artistic appreciation.

For a more specific example of how this works, take a look at the downward slide in prices achieved for works by Damien Hirst, one of the most famous Contemporary artists in the world. It’s true that artists go in and out of fashion all the time, but if you bought a Hirst at the top of the market about a decade ago, you’re going to be taking a serious bath if you try to sell it now. Hirst, who for the past two decades has consistently diversified his holdings by investing in property and commercial venues to supplement his already considerable income, recently closed several business ventures in the British coastal resort region of Devon, even though a recent sale of “The Veil Paintings”, new work by Hirst shown at Gagosian L.A., did quite well. Coincidence? Or a reaction to declining market value?

Tied into the inflation of prices for Contemporary Art, as Jane Kallir pointed out in her (excellent) opinion piece for the Art Newspaper yesterday, is the intellectual dearth of connoisseurship in the art market and in the art press that has accompanied the ascendance of Contemporary Art to the sine qua non of current art acquisition trends. “In the past few decades,” she writes, “academia has largely abandoned traditional connoisseurship because it was too often tied to ‘great man’ narratives. Over the same period professional art criticism has been eclipsed by a journalistic preoccupation with glamour, scandal and money.”

As a result, at present the worth of a particular piece lies not so much in its subject matter, or in the artistic skill used in creating it, but rather in the notoriety of the artist (see, e.g., the entire oeuvre of Jean-Michel Basquiat.) The astronomical amounts of financial speculation involved in the Contemporary Art world, which has led to, inter alia, marketing materials being passed off as serious art criticism and scholarship, and the concomitant decline in art education for the general public, has poisoned the well for decades to come. I don’t see any short-term solution to the problem which Banksy has so succinctly demonstrated exists in the present art establishment, short of some sort of collective recognition of guilt and complicity resulting in a secular bonfire of the vanities.

Yet we need to be careful not to rub our hands too gleefully before such a flame. Not all Contemporary Art is terrible, and there are still highly-skilled, talented artists out there creating interesting work. Moreover, while much garbage was destroyed at the most famous Bonfire of the Vanities in history, instigated by Savonarola in Florence in 1497, many beautiful works of art were destroyed in that conflagration as well – including books by Boccaccio and Dante, and paintings by Botticelli and Fra Bartolomeo. Let’s not go down that road, again.

shred

Art Criticism: The Scandal of Dissent

It’s a well-established fact that the art world does not tolerate criticism from the right, which is one of the reasons why you find very few conservatives writing about art. When we think of an artist boldly painting something that is rejected by the art establishment of the time, we are trotting out an old, long-dead canard that no longer has any meaning. No one in the art establishment today would be scandalized by John Singer Sargent’s infamous “Madame X” (1884), a work whose sensuality was once considered highly shocking. The only way to shock the collective mindset of the art intellegentsia today is to dissent from the socio-political opinions which they regard as sacrosanct. An illustrative example in this regard can be found in the art establishment’s reaction to a piece that appeared in National Review over the weekend.

National Review Editorial Intern Liam Warner’s (one assumes) intentionally provocatively-titled article, “The Whitney Is Not an Art Museum”, describes a recent visit of the author to the Whitney Museum of American Art in New York, where after touring the permanent collection he visited the current exhibition, “An Incomplete History of Protest”. The premise of Mr. Warner’s piece is that the work on display in the show is not actually art, but rather propaganda. He makes the argument that the purpose of art is to elevate, using examples such as Michelangelo’s “Last Judgment” as it might be perceived by both a believer and a non-believer.

I disagree with the idea that propaganda cannot be art, since one need only look at Raphael’s logge in the Vatican or Mantegna’s frescoes in Mantua to realize that art has often been created for or doubles as propaganda. Nor do I agree that the purpose of art is to elevate – at least, not exclusively. Mr. Warner’s inclusion of Goya’s “The Third of May” in his argument is an interesting choice, because of course much of Goya’s art in particular belies the notion that art necessarily elevates. Works such as “The Drowning Dog” (c. 1819-1823) shown below, one of Goya’s greatest paintings, actually depresses, rather than elevates. Similarly Edward Hopper, whom Mr. Warner mentions favorably at the outset of his article, is an artist whose work is often characterized by a deeply depressing, sometimes sinister undertone, even when the image itself is of a bright, sunny day.

Still, I give Mr. Warner credit for tackling a subject that few conservative writers are willing to touch.

For example, Mr. Warner points to the notable absence of any specifically conservative viewpoint in the Whitney’s survey of American protest art. “The March for Life has been going on since 1974,” he notes, “yet we find no ‘Abortion Is Murder’ sign in the quite incomplete history of protest. That would get the museum shunned by high society.” The Whitney has, in effect, curated out all significant American protest movements with which it disagrees, by simply pretending that such points of view do not exist: something which the art establishment itself regularly accuses the right of doing.

Reaction in the art press to Mr. Warner’s article was predictable. Over on ArtNet, the staff chuckled up their tattoo sleeves at Mr. Warner’s temerity in being offended by the art on display:

The National Review dubs the Whitney’s exhibition “An Incomplete History of Protest” a “fascinating combination of leftism and bad taste.” The writer takes issue with the show’s inclusion of photographs from anti-Vietnam War protests, posters addressing the AIDS crisis that depict genitalia, and work by the Guerrilla Girls, arguing that such imagery amounts to coercive propaganda. Nobody tell him about the David Wojnarowicz show!

For those unfamiliar with his work, David Wojnarowicz (1954-1992), who is currently the subject of a retrospective at the Whitney, created the sort of collage art that Urban Outfitters used to put in their changing rooms to make the place seem more edgy. He is particularly beloved by the left for his juxtapositions of illicit imagery and Christianity, such as a collage “Untitled (Genet after Brassaï)” (1979) in which, inter alia, an altarpiece of Christ crowned with thorns is depicted shooting up heroin, while the (grossly overrated) French author Jean Genet (1910-1986) is shown in the foreground with a halo. [N.B. To be fair, I have only read Genet in translation; perhaps in French he is not so paralyzingly self-obsessed.] You can see this and similar garbage by following this link, but be forewarned that your life will in no way be improved upon by looking at it.

Meanwhile, Art News posted the following, in linking to Mr. Warner’s piece:

But not all negative reviews are inherently productive or worthwhile. One writer takes issue with the focus on progressive movements in the Whitney Museum’s ongoing “An Incomplete History of Protest” exhibition. He was particularly affronted by the work of “some organization called the Guerrilla Girls,” and he calls the show, in part, “an entire floor of lies.”

The interesting thing about Art News’ editorializing in the forgoing is that it betrays the writer’s underlying, utterly unexamined myopia. The Whitney’s exhibition materials make no mention of the term “progressive” in describing the show. In its introductory lines, the Whitney explains how “artists play a profound role in transforming their time and shaping the future,” but makes no mention of the show having a “focus on progressive movements”: that is a characterization made by Art News.

Art News merely assumes – and as it happens, correctly – that the Whitney or indeed any major museum mounting a show of protest art in the present age will only be displaying “progressive” art. Similarly, because it disagrees with Mr. Warner’s views, Art News characterizes his views as not being “inherently productive or worthwhile.” This is only to be expected from a publication that can run stories such as this with a straight face.

While I can’t say that I agree with all of the underlying assumptions in the National Review article at issue, the art establishment’s reaction to it is highly illustrative. There is an unquestioning, lockstep quality to most art writing, be it news or criticism, that intentionally excludes views from the right. It has been that way for quite a long time now, with no likelihood of the situation changing any time soon.

Fortunately those of us who, in our small way, attempt to continue to educate ourselves about art and share our opinions about it, without simultaneously worshiping at the altar of leftist secularism, are not ruled by the opinions of the art establishment. After all, the art establishment preaches time and again that art is for everybody. That must therefore, by definition, include those who dissent from the messages contained within it.

Dog