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

Art News Roundup: Rich People Are Rich Edition

Contemporary Artist Andrea Fraser, who does not actually produce anything that a reasonable person would recognize as being art, has just published a new book (or is it art?) titled “2016 in Museums, Money, and Politics”. As ArtNews explains in this rather meandering review, the thesis of the book is that the United States used to be a democracy, but is now a plutocracy, and for some time now Ms. Fraser has had a bee in her bonnet about museums only showing what rich and powerful people want to be shown. Presumably, this includes herself, since she has had shows at most of the more famous Modern and Contemporary Art galleries around the world, when she is not literally prostituting herself on camera, as she did in one of her performance art pieces.

Here we arrive at the place which few in the Contemporary Art world want to visit: the land of grown-ups. It may come as a great shock to the reader to learn that, throughout human history, rich people have not only dominated politics and government – including from the beginning of the American Republic – but they have also used their wealth to do truly terrible things, such as pay for great works of art. Presumably, we would all have been better off if the Medici had not sponsored the young Michelangelo’s studies, or the Habsburgs had not patronized Mozart’s concerts.

And now, if you’ll indulge me, let’s move on to some art news that is actually interesting.

Frick Fumble?

This is going to prove quite an interesting legal tangle to sort out.

The Frick, which recently acquired a large, circa 1810 portrait of Prince Camillo Borghese by the French painter François Gérard (1770-1837), applied for and received an export license from the Italian government to take the painting out of Italy. Now it seems that Italy is crying foul, because on the paperwork the Frick did not mention that the subject of the painting was Prince Camillo. For its part, the Frick counters that the name of the sitter is written on the back of the picture, so why didn’t the Italian authorities actually examine it when they were considering whether to grant an export license? Borghese is not one of my favorite people, having decided to hop into bed with the Bonapartists – quite literally, by marrying Napoleon’s sister Pauline, the subject of one of Canova’s most famous sculptures – but it’s certainly a good portrait. We shall have to see where all of this leads.

Retrato

Ponti Panel

Staying in Italy, I have to say that on the whole, I don’t much care for the work of architect, artist, and designer Gio Ponti (1891-1979). His Denver Art Museum is an absolutely hideous building, and his Taranto Co-Cathedral looks like a stage set for a mod-minimalist Vincent Price horror film from the 1960’s. However, one aspect of his project to expand and redesign the University of Padua caught my eye in this New York Times piece announcing an upcoming retrospective on Ponti’s work this fall at the Musée des Arts Décoratifs. This examination room, where a student would have to sit surrounded by professors critiquing and criticizing his dissertation, is an unusually cheerful space for such an event. When I had to give my viva voce, it was in a darkened room with lights glaring in my face, like at a police interrogation in a film noir. Had I this panel to look at, I probably would have been less nervous.

Pontimural

Tintoretto’s Turn

To celebrate the 500th birthday of one of the most important and influential figures in Italian Renaissance art, on September 6th the Palazzo Ducale in Venice will be opening a major retrospective on the life and work of Jacopo Comin (1518-1594), better known as “Tintoretto”. Fortunately, those of us on this side of the pond will not be left out of the picture, because the exhibition will travel to the National Gallery here in DC beginning March 10th of next year. This will be the first major retrospective of Tintoretto’s work ever held in the U.S., so it promises to be one of those “blockbuster” exhibitions that you may want to choose a Wednesday morning to go visit, rather than a Saturday afternoon. While I don’t believe that Tintoretto’s “Il Paradiso” from the Doge’s Palace, the largest painting in the world ever painted on canvas – 74 feet long and 30 feet tall – will be making the trip, I’m illustrating it here just so you can marvel at the sheer bravura of what the artist was able to accomplish. This will be one exhibition that you should not miss, if you find yourself in Venice this fall or in Washington in the spring.

Venecia