Thought-Pourri: Location, Location Edition

A week from today I’ll be flying out to Chicago, ahead of speaking at the Catholic Art Guild on Saturday, May 5th. I’m currently culling through my research to try to make sure I keep this presentation both on point and under the 1-hour mark, so that I don’t overwhelm the audience with too much information (or too many images.) Details are available here, and hope to see many of my readers from the Chicagoland area, there!

Now, on to some art news.

New To The National Gallery (UK)

Two beautiful new works have now joined the permanent collection of the National Gallery in London. The older of the two is the over-titled “Still Life with Lemons, Lilies, Carnations, Roses and a Lemon Blossom in a Wicker Basket, together with a Goldfinch perched on a Porcelain Bowl of Water, on top of a Silver Tray, all arranged upon a Stone Ledge” (c. 1643-1649) by Juan de Zurbarán (1620-1649). This Zurbarán is the son of the more famous Francisco de Zurbarán, (1598-1664) whose “Jacob and His Twelve Sons” I recently reviewed for the Federalist, and his is a classic example of the “bodegón”, a type of stark but highly realistic still life painting that is typical of Spanish Baroque art. The second new acquisition is the more simply titled “Wineglasses” (c. 1875) by the great John Singer Sargent (1856-1925), which depicts a gazebo in a summery garden setting, probably in France, with dappled sunlight splashing over the surfaces. Makes you want to step right into the picture and have a drink, doesn’t it?

Sargent

Quite a Haul In Quincy

A different sort of acquisition scheme is described in this fascinating article from the Boston Globe about James Pantages, an employee and resident of the city of Quincy, Massachusetts, who spent the last 30 years buying art at modest prices, and then cramming his acquisitions into every possible space in his home. Among the paintings in his collection of over 1,200 works of art are pieces by George Inness (1825-1894), one of this country’s most important landscape painters; the polymath Rockwell Kent (1882-1971), whose murals decorate the U.S. Post Office Headquarters and the Longworth Building of the U.S. House of Representatives here in D.C.; and the great American Impressionist painter Colin Campbell Cooper (1856-1937). While not everything Mr. Pantages bought is significant, at this point the auctioneers who have been called in to assess and value the collection have only analyzed about 10% of the collection, so more treasures may await discovery. There is a touch of sadness to this article, I find, and I hope that Mr. Pantages will be able to find some comfort and peace in letting go of these items.

Fixed Up In Florence

Mannerism, the somewhat exaggerated art style that succeeded the High Renaissance in Italy, has been getting a lot more attention recently from academics and the art media, and two of the best representatives of it are Jacopo de Pontormo (1494-1557) and his pupil, Agnolo Bronzino (1503-1572). A showcase for significant work by the pair recently re-opened to the public after a lengthy preservation and restoration project founded by American philathropists. The Capponi Chapel in the church of Santa Felicita in Florence houses the newly-restored “The Deposition from the Cross” (1528), which is generally considered to be Pontormo’s masterpiece; it is a twisting, turning composition of elongated, ethereal figures dressed in bright colors that look like they came from a Pucci scarf. Accompanying it in the chapel are frescoes of the Four Evangelists by Pontormo and Bronzino, now returned to their former glory. This is all thanks to major support from the Friends of Florence, a U.S.-based philanthropic foundation that is “dedicated to preserving and enhancing the cultural and historical integrity of the arts in the city and surrounding area of Florence, Italy.” Well done, and thank you.

Pontormo

 

 

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Thought-Pourri: Flamethrower Edition

Before sharing some (good) news stories from the art world this week, I need to beg the reader’s indulgence in allowing me to give vent to what I believe to be a very, very bad one. If you are a subscriber or a regular reader, you know that I usually try to keep things fairly positive and informative hereabouts. For the most part, that tends to be a more effective way of sharing what I have to say.

But sometimes, you need to light up the flamethrower.

More details of the Metropolitan Museum of Art’s forthcoming “Heavenly Bodies: Fashion and the Catholic Imagination” exhibition and associated Met Gala have been released. As I expected, the whole thing makes my skin crawl. Described as the largest exhibition ever mounted in the history of the Met, spread across 25 galleries, the show will feature 40 items from the sacristy of the Sistine Chapel, along with religious art, high fashion and couture garments, and other objects assembled from various collections.

On Monday, Met curator Andrew Bolton spoke at a press conference in Rome flanked by Gianfranco Cardinal Ravasi, President of the Pontifical Council for Culture, Vogue Magazine doyenne Anna Wintour, fashion designer Donatella Versace, and others. Bolton seemed to be aware of the fact that this forthcoming carnival sideshow has rankled many even before it opens on May 1st:

While the fashions that are featured in the exhibition might seem far-removed from the sanctity of the Catholic Church, they should not be dismissed lightly, for they embody the storytelling traditions of Catholicism. Taken together, the fashions and artworks in ‘Heavenly Bodies’ sing with enchanted, and enchanting, voices.

The “storytelling traditions of Catholicism”, as he puts it, are not merely “stories”. They are articles of faith for the 1.2 billion Catholics who currently live on this planet, and for those now-deceased billions who, over the course of the last 2,000 years, have believed, suffered, and died for it. They did so all the while spreading what was originally viewed as a tiny heretical Jewish sect to the four corners of the earth, in obedience to Christ’s Great Commission before His Ascension to “Go teach all nations.”

Catholics do not share tales about the Passion, Death, and Resurrection of Jesus Christ, or the humility and grace of the Blessed Virgin Mary, or the persecution of martyrs, or the spiritual teachings of the doctors and mystics of the Church, in the same way that we might talk about what we did on vacation, or what happened on the most recent episode of “Homeland”, or how Cinderella had a magical fairy godmother who gave her a pair of glass slippers. We do not represent these things in paint, textile, or metal merely for the purposes of decoration, as if they were nothing more than representations of some old chestnut or fish story from a murky past with which we no longer have any connection. Moreover, even with the promised segregation of sacred objects from secular fashions in this show, the visitor will be confronted with a montage whose very title – particularly the term “Heavenly Bodies” – when spoken aloud suggests concepts which ought not to be considered in the same breath.

I have no doubt that some of the objects on loan from Rome are splendid, in themselves, and had this been an exhibition solely about liturgical or papal vestments, textiles, or the like, standing independently, I’m sure it would have been a fascinating display of centuries of history. But that’s not what this is: it’s an ill-advised attempt by Rome to try to seem hip and current, and will provide those who hate Christianity in general and Catholicism in particular with plenty of ammunition to fire at the Church. I find the entire concept of this exhibition to be offensive, tacky, and grossly ill-informed – much like this Papacy – and shame on the Vatican for even considering being a part of this travesty.

I urge my fellow Catholic readers in particular not to go see this show, nor to have anything to do with it.

Here endeth the rant. Now, on to some better news.

Missing Degas: Found

In one of the strangest art recovery stories I’ve read in some time, news outlets have been reporting about the recovery of a stolen work by Edgar Degas (1834-1917), “Les Choristes” (1877), which was found by French Customs inspectors on a bus parked at a gas station outside of Paris. The work was one of a number of pieces left to the French nation by Impressionist painter Gustave Caillebotte (1848-1894), a close friend of Degas, and had been stolen nine years ago while on loan from the Musée d’Orsay to an exhibition at a museum in Marseilles. The Orsay has now announced that the piece will be part of a Degas exhibition next year, which will eventually travel to the National Gallery here in DC.

Degas

Missing Monet: Found

A long-lost painting by Claude Monet (1840-1926) is now back home – in Japan. “Water Lilies: Reflection of Willows” (1916), a study for the artist’s set of water lily paintings now in the Musée de l’Orangerie, was purchased in the 1920’s by Japanese industrialist Kojiro Matsukata, who amassed one of the first great collections of Western art in his country. The painting was moved to France for safekeeping during World War II. No one seems to know for certain exactly how it ended up in the Louvre, but in 2016 it was discovered in a storage area of the museum, rolled up and heavily damaged; currently, the surface is being held together by tape, as you can see below. The piece is now undergoing restoration at Japan’s National Museum of Western Art in Tokyo, and will subsequently be placed on public display.

Monet

Missing Caravaggio: A Clue?

You may recall that back in November, I shared a story about the search for a stolen altarpiece by Caravaggio (1571-1610): his “Adoration of the Shepherds” (1609), a detail of which appears below, which was painted for the Oratory of St. Lawrence in Palermo, Sicily. At the time, well-known art detective Charley Hill indicated that he believed he was on the trail of the missing painting, which was allegedly stolen to order by the Mafia. The latest development, according to a crime informant anyway, is that the painting was sold to a now-deceased Swiss art dealer, and cut into pieces so that it could be shipped to Switzerland undetected. Let’s hope that it still exists somewhere.

Shepherds

 

 

 

 

 

Thought Pourri: What’s In Edition

Rather pressed for time today, so let’s just head to some of the headlines that I’ve picked out for your perusal:

Picasso in Provence

The really BIG news in the art world this week is that the south of France is about to score what will no doubt become a major destination for art aficionados and tourists alike. Catherine Hutin-Blay, the stepdaughter of Pablo Picasso (1881-1973) and his 2nd wife, Jacqueline Roque (1927-1986), has purchased a former Dominican convent in the town of Aix-en-Provence, which will become the home of a new museum dedicated to the artist and his muse, whom he painted over 400 times during their marriage. Mme. Hutin-Blay owns the largest number of Picassos still in private hands; the new museum will house well over 1,000 paintings, as well as sculptures, drawings, and ceramics by her famous stepfather, who is buried alongside her mother at the nearby Château of Vauvenargues. To give you some sense of the size of this institution, the new museum will have more Picasso paintings in its collection than the four extant Picasso Museums in Barcelona, Paris, Antibes, and Málaga.

As to the building itself, the Dominicans first arrived in Aix in 1272. The first convent was completed in the 14th century; this burned down and was rebuilt, but a century later it had to be demolished. The convent and the attached church of La Madeleine – dedicated to St. Mary Magdalene, patroness of the Dominican Order, were completed in the 17th century. The convent served the Order until the 18th century, when it was taken over by the provincial government. After that it became a courthouse, a barracks, a training college for teachers, a conservatory of music, and finally an all-girls high school, until it closed in June 2015.

Aix

Saint-Gaudens in New Hampshire

Augustus Saint-Gaudens (1848-1907) was one of the greatest sculptors in American art history; while his rather grand name may not be familiar to you, a number of his works probably are. Among his most famous sculptures are the “Standing Lincoln” located in Lincoln Park, Chicago, the “Shaw Memorial” on Boston Common, and possibly my favorite, the “Adams Memorial” in Rock Creek Park Cemetery here in DC (a copy of which, shown below, is located in the American Art Museum.) The Currier Museum of Art, in Manchester, New Hampshire, will be hosting a major exhibition of Saint-Gaudens’ work – not an easy task, given the size of much of it – including his iconic “Diana”, a gigantic gilded statue of the goddess of the hunt which once stood atop the 2nd (and far superior) version of Madison Square Garden in New York, designed by Saint-Gaudens’ frequent collaborator, architect Stanford White. “The Sculpture of Augustus Saint-Gaudens” opens at the Currier on Saturday, February 10th, and runs through May 20th.

Adams

Voynich in Hebrew (?)

One of the most enigmatic objects to survive from the Middle Ages is the “Voynich Manuscript”, an illuminated manuscript currently in the collection of Yale University, which has fascinated collectors, cryptologists, and scientists for centuries. So far, no one has been able to read it or make any sense of it, although theories (some of them rather crackpot) abound. It is first documented in the middle of the 16th century, even though the book itself has been carbon-dated to show that it was probably created sometime in the early 1400’s. Now, scientists at the University of Alberta in Canada, using analytic software tools, have announced that they may have cracked this seemingly indecipherable document at last, concluding that it is written in a somewhat badly spelled and slightly ungrammatical form of Hebrew. More work needs to be done, but perhaps this ancient book will finally be able to share its secrets.

Voynich