Thought-Pourri: Living Edition

It has been a very busy week at the Fortress of Solitude, even with the holiday thrown in on Monday that gave me a bit of time to get some much-needed matters squared away. Between work, research on upcoming travels, and keeping on top of art research and writing projects, among other things, it has not been a dull February. As the month of March nears, warmer temperatures return, and new life starts bursting forth here in the capital, there are always new things to see and think about, so here are a few for you to ponder from the world of art news.

 

Still Life

Should you happen to find yourself in Belgium or Italy in the coming months, you’ll want to check out “Spanish Still Life”, a simply-titled but object-rich exhibition of 80 works covering the development of still life painting in Spain between 1600 and the present. A joint effort by the Palais des Beaux-Arts in Brussels (BOZAR), and the Musei Reali de Torino, the comprehensive show brings together paintings belonging to a number of private and public collections in Spain and around the world, and features works by big names such as Velázquez, Picasso, Goya, and Dalí, as well as masters of the genre who are lesser-known outside of specialist circles, but whose works have been prized by collectors for centuries, including Juan Sánchez Cotán (1560-1627) and my personal favorite, Luis Meléndez (1716-1780). Among the more unusual pieces in the show is this 1937 work by Catalan Surrealist Joan Miró (1893-1983): the artist gives these everyday objects an almost metallic quality, as if they were reflected in an oil slick. “Spanish Still Life” opens at BOZAR tomorrow, and runs through May 27th, before heading to Turin for the summer.

Miro

Low Life

While as a general rule, anything that makes the oppressive government of the People’s Republic of China unhappy makes me very happy, an exception to this rule may be found when it comes to the preservation of cultural artifacts. Some of the famous terracotta warriors from the tomb of the first Emperor of China, Qin Shi Huang (259 BC-210 BC) have been on loan since Christmas to the Franklin Institute in Philadelphia, as part of an exhibition that runs through March 4th. It seems that a Millennial (natch) guest at a party held at the museum and some of his friends decided to sneak into the exhibition, which was closed during the festivities, and have a look at the objects on display. After his friends departed, this individual (allegedly) decided to throw his arm around one of the statues to take a selfie – WHICH I HAVE WARNED YOU ABOUT BEFORE – and then (allegedly) broke off the left thumb of one of the warriors, taking it home with him as a souvenir. As is to be expected, this imbecile apparently forgot that museums have security cameras. Good luck with your court case, brah.

Franklin

Lush Life

If you’ve ever dreamed of staying at the legendary Hôtel Ritz in Paris, now’s your chance to own a part of its history. From April 17-21, Artcurial in Paris will be auctioning off nearly 3,500 objects from the hotel, which recently underwent a major renovation and restoration. Items include everything from beds, bathtubs, and bar stools, to plush carpets and bronze lamps, as well as highly unusual objects such as a Louis XV style dog bed for a particularly pampered pooch. Some of the objects come from suites in the hotel that were habitually used by celebrities, including the Duke and Duchess of Windsor, Marcel Proust and Coco Chanel. No word on whether they will playing “Fascination” – the recurring theme music in “Love In The Afternoon”, the classic 1957 Billy Wilder film starring Audrey Hepburn, Gary Cooper, and Maurice Chevalier which was shot at and centers around The Ritz – on an endless loop during the sale.

Audrey

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Suffering As Joke: The Horrors Of The Contemporary Art Press

As regular subscribers know, I read about a dozen or so outlets of the art press every day, so that you don’t have to. Most of the time, I focus on following stories that I like: fascinating discoveries, interesting exhibitions, and so on. For the most part, it’s actually a very difficult and painful task, for this particular corner of the media is primarily focused on the world of Contemporary Art, which the art press worships and makes excuses for in ways that, at times, can be truly sickening.

Take the Chapman Brothers for example. Jake and Dinos Chapman are two middle-aged British brothers who enjoy creating adolescent art in extremely bad taste, in order to shock their viewers. I’ve written about them before, as you can see here. Suffice to say, they create garbage art which they are able to sell for significant amounts of money, largely because the art press is able to persuade major art collectors that they ought to do so.

In their new show at Blain Southern in London, the Chapmans bring together both sculpture and graphic art. We will ignore the unbelievably bad taste that characterizes the former (which are, if you can believe it, bronzes representing terrorist suicide vests), and instead concentrate on the latter. For the Chapmans, you see, are obsessed with “The Disasters of War”: the hugely significant, nightmarish images of atrocities engraved in the early 19th century by the great Spanish artist Francisco de Goya (1746-1828).

Goya is a monumental figure in art history, whom one might describe – as I did last week to a curator from the Musée d’Orsay, who did not disagree with my assessment – as the Beethoven of Western art. He straddles the world of the Old Masters, from the early part of his career, and the development of what we now call Modern Art, which he helped to usher in. His personal experiences and observations during Napoleon’s invasion and occupation of Spain radically changed what had been the work of a sly, cunning follower of fashion, highly conversant with all of the frippery and mockery of the Rococo era, into a bitter old man who was a brooding, haunted genius, pursued by thoughts and images of evil, suffering, and death.

The Chapmans on the other hand, would be more at home straddling a dirty urinal in the loo of a fast food restaurant. They became famous roughly twenty years ago by deliberately destroying Goya prints in order to make their own art. And that pretty much sums up a good 50% of their output over the past two decades.

Mind you, these Goya works are not the sort of prints you might order from Zazzle at $1.99 a pop, i.e., digital photographs of existing images. Rather, they are printed from the original plates etched by Goya himself, using carefully-chosen inks and papers, and drawn from the printing presses by artisans trained in the skill of producing high-quality, museum-level images. If you wanted to buy one of these prints from an art dealer or at auction, each would cost you hundreds if not thousands of dollars.

Bearing this in mind, let’s take a look at Apollo Magazine, which used to be a stalwart publication for the promotion of connoisseurship, good taste, and culture for art and antiques enthusiasts. Unfortunately it decided quite some time ago to follow the Tina Brown formula for the revamp of The New Yorker, by cheapening itself for the sake of popularity among the high rollers and hangers-on of the Contemporary Art world. Nowhere is the decline of this particular media outlet more obvious than in its reaction to the latest Chapman expo.

In a piece out yesterday, Apollo described the latest Chapman Brothers show as “superb”, naturally glossing over the fact that Goya’s art is being destroyed in order to create it. It describes as “pleasure” what it terms “the subversion of the horrible to the hilarious.” It observes how, in the Chapmans’ defacing of the etchings, “Goya’s hussars become disco pirates; the dismembered corpses of Grande hazaña! Con Muertos! look like they are wearing leotards or yoga leggings.”

How very “hilarious” it is indeed, to not only destroy great works of art, but to mock the suffering and death of thousands of people. Particularly at a time when Spain is experiencing so much political upheaval and violence, Goya’s prints seem painfully redolent of that country’s bloody past and present. But never mind: in the eyes of Apollo, if the Chapmans can belittle the experience of human suffering, so much the better, because the end result is so amusing.

Unfortunately, the Art Newspaper is no better. In describing the defacing of Goya’s work, the publication explained how the Chapman brothers “have superimposed images of artists such as Jackson Pollock, clowns’ heads and other ghoulish features on to the etchings, which have been reworked in various media (The Disasters of Everyday Life, monochrome collage set; The Disasters of Yoga, glitter set; and The Disasters of War on Terror, watercolour set).” One wonders what Pollock, much as I loathe his work, would think about destroying Goya’s art just so his face could be superimposed upon an etching of a corpse.

While granted, the Art Newspaper’s piece is more of a bland bit of reporting, rather than an exhibition review, like Apollo it fails to question why a reputable gallery, art publication, or the like should even take the time to consider these pieces. In the Chapmans’ empty-headed appropriation of both the hard work and sufferings of others, neither publication appears to hold any qualms. And of course, the greatest irony here is that not only do publications such as the Art Newspaper and Apollo routinely call for the preservation of artists’ rights in their own works, they are the same publications which champion works of Contemporary Art created to draw attention to the suffering of refugees, illegal immigrants, and so on. Perhaps it’s easier for them to overlook the rights of both artists and suffering people who have been dead for quite awhile, since they won’t be posting rejoinders on Instagram or Twitter.

One of the Goya prints defaced by the Chapman Brothers for their latest show is titled “Bárbaros!” (1810), which from the first series of the artists “The Disasters of War” etchings. The original shows a man tied to a tree, facing the trunk, who is about to be shot in the back at very close range. It is one of the many images which Goya created based on what he saw, read, or heard about, during the effort to overthrow Napoleon and his troops. The artist wanted to make certain that the world did not forget what had happened to many innocent people.

Unfortunately it seems that the art media, which gives succor to mental defectives such as the Chapmans in the first place, finds all of this terribly funny: forgive me if I don’t get the joke.

Barbaros

No Bull: Lost Goya Works Discovered In French Library

A complete series of the first edition of Goya’s “La Tauromaquia”, a series of engravings depicting the history and practice of bullfighting, has been discovered in a castle in France. 

The current owners of the Château de Montigny, located near Chartres, were taking an inventory of all the books in their library, when they came across what is described as a “pristine” set of the series of etchings, completed by Goya between 1815-16. The prints were bound into a ledger book, and it was only due to good fortune that someone decided to take more than just a casual glance through it before tossing it in the bin. The set will be auctioned at Sotheby’s in London on April 4th.

Goya produced a limited run of these prints, but they were not particularly popular during his lifetime. Later they became the inspiration for other artists, such as Picasso, to create their own series of engravings depicting scenes from or inspired by bullfighting. They even inspired the tourist tat that you can still pick up around bullfighting arenas and souvenir shops in Spain. 

Things have significantly changed in the 200 years since Goya struggled to find buyers for these images, however. As ArtNet reports, the last time a complete first edition of “La Tauromaquia” was sold at Christie’s back in 2013, it went for $1.9 million. Thus the current estimate of $610 million seems a trifle low.

Whatever you think of bullfighting, an activity which seems to be rapidly disappearing of late, these prints ought to serve as an inspiration. Go through those boxes and shelves when you Spring clean, and before you pitch anything, double-check to make sure you’re not tossing out something important. We may never know how many great works of art ended up in the recycling bin because someone couldn’t be bothered to take a closer look at what they were throwing away.