Art News Roundup: Pompeiian Pooch Edition

Despite the fact that they were first excavated beginning way back in the 18th century, the Ancient Roman cities of Pompeii and Herculaneum are continuing to yield fascinating finds for archaeologists, historians, and art lovers alike.

A find which could prove to be of enormous historic, if not artistic, significance has just been announced as part of the Great Pompeii Project, a major excavation, conservation, and restoration effort that began at the site in 2011. Archaeologists have found a wall with a bit of graffiti, written in charcoal, bearing the date October 17th. The writing is believed to be a note written by a workman who was in the middle of a home renovation project. If that’s correct, then the date of the destruction of Pompeii, which is traditionally placed on August 24, 79 AD, is wrong, and the history books will need to be rewritten.

Meanwhile, other excavators working at the site have uncovered an outdoor room which the press is now referring to as “The Enchanted Garden”, thanks to the magnificent frescoes contained within it. The room, or more properly the lararium, was where a wall shrine to the household spirits was kept. The family who lived in the house would make daily offerings here, in order to keep these bearers of good fortune about the place, and it was also a pleasant place to sit, protected from the elements but within reach of flowers and other plants.

While these spaces were common in Roman residential construction, this one is particularly interesting not only for its well-preserved beauty, but also for the presence of a dog-headed humanoid in one of the frescoes. It’s possible that he is the Egyptian god Anubis (or an individual wearing an Anubis mask). You may recall from your history books that Egypto-mania hit the Romans when Cleopatra came to live with Julius Caesar in 46 BC. No word yet on when this lararium will be open to visitors.

Dog

Watching the Watchmen

Regular readers will recall that last week I reported on how art conservation pron has become a thing in the museum world, attracting scores of visitors who want to see art experts at work on cleaning and restoring works of art. Well now, in what may be the most singular example of this trend, the Rijksmuseum in Amsterdam has announced that Rembrandt’s greatest masterpiece, “The Night Watch” (1642), a detail of which appears below, will be undergoing a very public cleaning and conservation, beginning next summer. For those of you who won’t be in Holland at the time, not to worry: the museum intends to livestream the restoration on the interwebz.

Remb

Reunited Ruffs

Speaking of art conservation and the Dutch, should you find yourself in Ohio between now and early January, you’ll definitely want to check out “Frans Hals Portraits: A Family Reunion”, which just opened at the Toledo Museum of Art. The exhibition brings together three paintings (a pre-restoration detail of one of the canvases appears below) by the great Dutch portrait painter Frans Hals (1582-1666) of groups of figures which, subsequent to cleaning and restoration, art historians have only just realized were portions of a large-scale portrait painting of members of the Van Campen family. The original painting was likely chopped up at some point after Hals’ death as a result of damage, with the incongruous bits painted over by a later restorer to make the pieces more commercially marketable. After Toledo, the show will head to Brussels, and later to Paris.

Hals

Measuring De Morgan

If you love computer-generated geometric designs such as fractals, and happen to find yourself in the UK in the next couple of weeks, then you’ll be interested in catching an exhibition that will be closing soon at the Guildhall Art Gallery in London on the work of the great English decorative arts designer William De Morgan (1839-1917). De Morgan is one of the most important of all Arts and Crafts era artisans, thanks in part to his designs for the company founded by his friend and contemporary William Morris (1834-1896). While De Morgan is often thought of as being fascinated with the exotic in his chargers, vases, and tiles, such as the ones shown below, bringing in references to the Middle Ages, India, and Persia, this new exhibition takes a look at the mathematical studies which helped him to come up with and execute geometrically complex designs by hand, without the benefit of CAD. “Sublime Symmetry: The Mathematics Behind William De Morgan’s Ceramic Designs” closes on October 28th.

Morg

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Art News Roundup: Birthday Bonanza Edition

For those of you who didn’t read it earlier this week, my article on the latest art restoration disaster in Spain – and some questions about institutional oversight of cultural heritage within the Spanish Episcopate – has been republished on The Federalist this morning. As always, my grateful thanks to Joy Pullman and her team for wanting to share my scribblings with others. If you enjoy what you read, or want to take issue with what I’ve written, comments over on The Federalist site are as gratefully appreciated as they are over here.

On a happier note – that is, as far as the Spanish art world is concerned – next year marks the 200th birthday of the Prado Museum in Madrid, universally considered to be one of the greatest art collections in the world. Earlier this week, the museum announced a veritable bonanza of special exhibitions that will begin this fall and continue throughout next year, to mark the institution’s bicentennial. As expected, the major exhibitions – which include shows on Fra Angelico and the Florentine Renaissance, one hundred of Goya’s drawings, and a show comparing the works of Velázquez, Vermeer, and Rembrandt, among other exhibitions – will be taking place at the Prado itself. However, in a highly unusual move, the Prado has also organized two traveling exhibitions that will be sent out to other parts of Spain.

Of these, the largest single show is going to Barcelona later this year; I’m planning to see (and review) “Velázquez and the Golden Age” at the Caixa Forum in late December. Meanwhile, the “On Tour Through Spain” show will send at least one work (and in some cases more than that) from the Prado’s permanent collection to every autonomous community in Spain. Sites include, but are not limited to, the Dalí Museum in Figueres, the Museum of Fine Arts in Badajoz, the Museum of Spanish Abstract Art in Cuenca, and the Museum of La Rioja in Logroño. Even the Spanish overseas territories of Ceuta and Melilla in North Africa will get in on the occasion. If you love great art, and why would you be subscribing to this blog if you didn’t, make your forthcoming travel plans accordingly.

And now on to some other art news headlines for the week.

Renoir Restitution

A continuing problem in the art world, as well as for the international legal system, is the thorny issue of works of art which changed hands in the period before, during, and after World War II. Just this week, three major stories in this vein have made headlines. First, the grandchildren of a woman whose portrait was painted by Matisse lost their latest appeal to recover the painting from the National Gallery in London. The work had been entrusted by the woman who was the subject of the portrait to an individual who turned thief shortly after the end of the war, as Berlin was being occupied and divided. Second, it turns out that four French 18th century drawings in the collection of the sister of Nazi art-hoarder Cornelius Gurlitt, whom I have written about previously as you may recall, were stolen from a family in Paris, only one of whom survived the Holocaust. Those works have now been returned to the owners’ heirs. Finally, a Renoir which the Nazis stole from a bank vault in Paris in 1941, where the owner had stored his most valuable paintings during the German invasion, has been returned to the granddaughter of the original owner; four other Renoirs and a Delacroix from the same collection are still missing.

REnoir

Flipping Fantastic

The National Gallery of Denmark has just opened a rather interesting exhibition, “Flip Sides”, in which works of art in the museum have been turned around and hung so as to display their backs. We often don’t realize that there is a great deal of information to be learned from the back of a picture. Sometimes there is a second work of art on the back, such as in the case of Leonardo’s portrait of Ginerva de’ Benci here in the National Gallery in Washington. In other cases, the back of a picture tells us about a piece’s history and provenance, shows how the artist went about creating their work, or demonstrates that the artist was reusing their own or someone else’s materials.

In the example from the exhibition shown below, we’re actually being fooled by the artist, for Cornelius Norbertus Gijsbrechts (c.1630-1675) was a famous trompe-l’œil painter. In this case, the rather Surrealist “trick of the eye” that he painted is the very realistic-looking back of a painting, shown on the front of a painting. “Flip Sides” runs through March 10, 2019.

tromb

Discovering Dixon

Not being a specialist in decorative arts, I must confess that I’d never heard of American Arts and Crafts designer Eda Lord Dixon (1876-1926) until I read this very interesting and well-researched article about her life and work. It turns out I’m not alone in my ignorance because, as the article itself points out, when a magnificent silver and enamel hand mirror by Dixon was gifted to the Metropolitan Museum of Art back in 2014, she was “virtually unknown.” In her day, Dixon was primarily known for her enameled jewelry, but she also produced luxury household objects such as jeweled boxes (like the one below, also owned by The Met), finger bowls, cigarette holders, and even a solid silver enameled chalice engraved with a verse from the Rubáiyát of Omar Khayyám. With more attention (quite rightly) beginning to be drawn to Dixon’s work, this is a good time for collectors to bone up on her biography, style, and materials, before heading to your local consignment shop or flea market in search of lost treasure.

L.2017.25.1a, b