I received a very gracious email this week from Dr. Diana Kleiner at Yale University, thanking me for my positive review of her survey course on Roman Architecture. She wanted me to let my readers know that the course is also available at Coursera, and those who wish to do so can make it a more fully interactive experience there with class assignments, projects, and the like. Again, even if you have only a passing interest in architecture, I strongly recommend this course as both highly interesting and informative, whether you want to understand the types of concrete construction or dome engineering methods employed by the Ancient Romans, or you just want to know the best spots for gelato in the Eternal City (Dr. Kleiner’s got you covered, there.)
And now, on to the news.
Speaking of classical architecture, San Francisco’s Legion of Honor has just opened a fascinating new exhibition titled “Gods in Color: Polychromy in the Ancient World”. Many ancient buildings and the sculptures that decorated them were decorated with vibrant, sometimes garish colors that have faded or disappeared over time, but today scientists can use advanced technology to present us with fairly accurate approximations of what these things originally looked like. For most people it’s rather startling to realize that the stark, white or gray public buildings which we commonly see around our cities and towns, though often based on classical originals, would be considered unfinished by someone from ancient Knossos, Athens, or Rome, thanks to their lack of color. The exhibition runs through January 7, 2018.
Meanwhile here on the East Coast, The Frick in New York has just opened a small show on portraiture by the great Old Master painter Bartolomé Esteban Murillo (1617-1682). One of the most popular and influential artists of his time, particularly in the area of religious painting, Murillo is among the most important painters of Spain’s artistic Golden Age of the late 16th to early 18th centuries. While he painted very few portraits, this compact exhibition at The Frick contains 5 of them, including three members of the upper classes in the Seville of Murillo’s day, as well as the only two self-portraits of the artist known to exist. They display a kind of restrained genius and lack of overt sentimentality which makes them particularly appealing to a present-day audience. Murillo: The Self Portraits at The Frick runs through February 4, 2018, and then will head to the National Gallery in London.
Last week, the French city of Strasbourg symbolically returned two paintings to the Kunsthistorisches Museum in Vienna, Austria. I write, “symbolically”, because thanks to existing cultural repatriation agreements between Austria and France, the pictures are going to stay where they are for now, at the Musée des Beaux-Arts de Strasbourg. The works in question are a “Landscape with Mercury and Argus” attributed to the Flemish Renaissance painter Lucas Gassel (1499-1570), and a fantastical landscape painting with animals (including an American Bison?) being rampant all over the place titled “The Earthly Paradise” by the Dutch Mannerist painter Roelandt Savery ( 1576-1639). Neither of these artists is particularly important, frankly, though perhaps Savery is comparatively better-known, thanks to his several rather extraordinarily luxurious depictions of the dodo bird. Curiously, these paintings were looted from the Vienna museum by the Nazis during the Anschluss, in order to decorate the Reichskanzler headquarters in Berlin, but no one quite seems to know how they ended up in Alsace-Lorraine after the war.
Valuing Vigée Le Brun
Regular readers will recall my review in The Federalist of the major Elisabeth-Louise Vigée Le Brun (1755-1842) retrospective at The Met last year, which included most of the best royal and aristocratic portraits created by Queen Marie Antoinette’s favorite painter. Perhaps in the wake of heightened awareness of the artist generated by that show, Christie’s New York has just auctioned a (very beautiful) self-portrait of the (very beautiful) artist for over $1.5 million: more than three times its estimated sales price. The picture was painted in Vienna in 1794, one of several cities where Vigée Le Brun and her daughter lived after fleeing the French Revolution. While not a record sales price for the artist, the result at least suggests the possibility that greater awareness of the artist’s work among potential collectors, thanks in part to the 2016 exhibition, has correspondingly led to an increase in the perceived monetary value of her work: a well-documented phenomenon in the art trade.