For those of you in the DC area, don’t forget that tonight from 6:00-8:00 pm the Catholic Information Center, located at 1501 K Street NW, will be hosting its annual Christmas Poetry Party, in conjunction with the Thomas More Society of America. I will be one of the presenters, and if that doesn’t entirely put you off, drop by and say hello! There will be refreshments and plenty of good cheer on offer, and the event is absolutely free.
Meanwhile, this morning I’m currently participating as an absentee bidder in a live auction taking place elsewhere, for a painting that I’m very interested in adding to my collection, so fingers x’ed…
And with that, it’s time for some headlines:
The King’s Pictures
After Charles I was overthrown and executed in 1649 during the English Civil War, much of the substantial art collection which he and his ancestors had accumulated was sold off and scattered to the winds. When his son Charles II ascended the throne at the Restoration in 1660, the Stuarts had a great deal of work to do to restore the prestige of the monarchy. Through a variety of means, the new king managed to start over, acquiring a number of works of art which are featured in an exhibition this month at the Queen’s Gallery at Buckingham Palace. Among the items featured in “Charles II: Art & Power” is one of Lorenzo Lotto’s (1480-1557) best paintings, his portrait of the Venetian art dealer Andrea Odoni sitting in his shop, surrounded by statues and casts of classical sculpture. I particularly like how the dramatically foreshortened right arm and hand are shown holding out a small classical sculpture, as if Odoni is offering it to us for sale, and the mixture of charcoal and dove grays, mossy green, and caramel browns create a surprisingly rich color palette.
The shortlived Wiener Werkstätte (“Vienna Workshop”), from the beginning of the previous century, had a major impact on Modern art, architecture, and design, thanks in part to its espousal of innovative design methods, which it disseminated globally through the creation of satellite workshops in Germany, Switzerland, and New York. Now a major new exhibition in the latter city, at the Neue Galerie for German and Austrian art, is bringing together a wide range of objects created by the Austrian artistic collective, from furniture and ceramics to jewels and decorative objects. Among the beautiful items displayed in the “Wiener Werkstätte 1903-1932: The Luxury of Beauty” show is this astonishing jewelry box, which in the art trade is known as an “objet de vertu” or “vertu” for short. These were items that often had no practical purpose, or were so luxurious as to be somewhat impractical, but which nevertheless featured an incredibly detailed and painstaking level of craftsmanship.
It’s hard to imagine now, but there was a time when art museums were fairly hushed, quiet spaces, where there were rarely large crowds of people. That all changed forever, at least at the world’s larger museums, with the blockbuster 1978 exhibition, “Treasures of Tutankhamun” at the Metropolitan Museum of Art. In a fascinating piece from this month’s Vulture/New York Magazine, Boris Kachka explains how one man, former Met director Thomas Hoving, took a gamble on making an art exhibition a must-see event for Americans – like the Super Bowl or the final episode of “Cheers” – and succeeded so far beyond expectations that eventually everyone else in the museum world followed suit. A healthy debate could be had over whether Hoving’s hordes of exhibition visitors have improved or ruined the experience of visiting an exhibition, or indeed a cultural institution focused primarily on visitor numbers.
Those of my readers who happen to be in the Denver area between February and May of next year will want to check out the newly-announced exhibition, “Degas: A Passion for Perfection”, which will be held at the Denver Art Museum. Covering over fifty years of the work of French Impressionist Edgar Degas (1834-1917), the show will feature over 100 examples of Degas’ varied output and artistic development, including paintings, pastels, drawings, and sculptures, alongside the work of some of his contemporaries and friends. Of particular interest is this rather early picture by Degas, painted in around 1865 and now in the collection of the Orsay in Paris, which shows a group of men on horseback shooting at and trampling over a group of nude women, while a city burns in the background. It’s such a strange picture, and so not what springs to mind when one things of the work of Degas, that I don’t quite know what to make of it – but it’s definitely piqued my interest.