Thought-Pourri: Shivering Spring Edition

In theory, I’m heading up to Newark, New Jersey on Saturday, to review the new exhibition “The Rockies & The Alps: Bierstadt, Calame, and the Romance of the Mountains”, which just opened at the Newark Museum. I say, “in theory”, because the weather forecast is still a bit iffy at the moment, calling for anywhere from a bit of sleet to up to 6 inches along the NE corridor. Being a creative sort, if I decide to err on the side of caution and stay home, I can still manage to write a piece about the show, even if I can’t get up there in person. Pity the poor cherry trees and spring bulbs here in the capital, as they are going to take a serious beating, whatever happens.

Now, on to some news.

Van Veen’s Venus

ArtNet has a great story about the discovery of a lost painting by the Dutch Old Master painter Otto Van Veen (c.1556-1629), which was found in the closet of a cultural center in Des Moines, Iowa. I’ll leave you to read the story about that picture, but use it as an excuse to explain that Van Veen is perhaps best known as being the teacher of the great Peter Paul Rubens (1577-1640), although during his lifetime he was a highly successful and talented painter in his own right. One of my favorite Van Veen paintings is his portrait of the wonderfully-named Nicolaas Rockox (1560-1640), a close friend and patron of Rubens who was a lawyer, politician, courtier, art collector, and philanthropist. He spent a significant amount of his personal fortune caring for the poor during his lifetime, as well as leaving an enormous legacy after his death. This particular portrait of Rockox hangs in the Rubenshuis, Rubens’ luxurious home and art studio in downtown Antwerp, which is now a museum.

Van Veen

Fixing The Frick

The Frick Collection is possibly my favorite museum in New York, thanks to its seriously impressive art collection, a beautiful building – the former Gilded Age mansion of industrialist Henry Clay Frick – and the fact that it’s never jammed in the way that The Met usually is on a weekend. Now, after many years of fits and starts in trying to expand the public footprint of the museum, the Frick has announced that it will soon begin construction which will increase the gallery space by 30%, and open the second floor of the mansion to the general public for the first time. The designs for the expansion, by the firm of architect Annabelle Selldorf, look suitably restrained, and preserve the overall look of the Frick rather than trying to overwhelm it with add-ons: I particularly like this aspect. Additional renovations will include a 220-seat underground auditorium, conservation laboratories, and – hopefully – new facilities, since when I was there two weeks ago I was reminded of the boy’s bathroom at my Catholic grade school, which was built in 1926. Construction at the Frick is slated to begin in 2020.

Frick

Pleasures Of Portugal

Finally, regular readers are familiar with my dear friend Diana von Glahn, a filmmaker and presenter specializing in documentary series about religious pilgrimages, several of which have aired on channels such as EWTN, Catholic TV, and Salt & Light. On April 28th, should you find yourself in the Philadelphia area you’ll have the chance to meet her, as well as sample Portuguese wines, and support production of her latest work, “The Faithful Traveler in Portugal”; a trailer for the new series appears below. Diana takes us to Lisbon, Porto, and Coimbra, among many other sites in Portugal, a country with a rich religious and cultural history, and if you’ve ever seen one of her films, you know that Diana not only provides viewers with far more information than you would get on your average Travel Channel show, but she does so with warmth, humor, and enthusiasm.

“Wines & Shrines of Portugal” will take place at Holy Martyrs Catholic Church in Oreland, PA on Saturday, April 28th from 6:00-9:00 pm, and tickets cost $50 per person. Space is limited, so to reserve your seat or request additional information, you can contact Holy Martyrs at (215) 884-8575, or email them at holymartyrssecretary@gmail.com

Advertisements

The Courtier In The Federalist: “Jacob And His Twelve Sons” @ The Frick

My latest for The Federalist is out this morning, reviewing the terrific exhibition “Zurbarán’s Jacob and His Twelve Sons: Paintings from Auckland Castle” now at The Frick Collection. If you have the chance to get to New York between now and the closing of the show on April 22nd, it’s well worth your time, as I explain in the article. My thanks as always to my (very patient) editor Joy Pullman, who somehow manages to condense my excessive art history verbiage into something readable.

Blog

Digital Ancient Art: Technology Provides Glimpse Of What Was, What Might Have Been

The use of digital images is something that, if you think of it at all in an art context, is normally associated with Contemporary Art. We’ve all seen examples in the news of things being projected onto buildings, or weird images in exhibitions that exist only on monitors. Yet in an art history context, the use of digital images can provide us with an experience that is truly enlightening, by showing us things that no longer are, but once were.

Among the most dazzling examples of this is the projection of overlays showing what the original, painted decoration of a Gothic cathedral façade would have looked like. Far from the monochromatic, grey-and-beige faces which they now present to the world, many of these monumental structures were decorated in vivid colors both inside and out. In this, the Medieval Europeans were merely following the example of ancient cultures of the Mediterranean basin, including the Egyptians, Greeks, and Romans, who lavishly (and indeed garishly) colored the statuary on both the inside and outside of their buildings.

Back in the late ‘90’s, restorers working at the 13th century Cathedral of Notre Dame d’Amiens, were able to determine what the original, painted color scheme of the West Front, the main façade of the church, would have looked like from remaining painted surface decoration. Amiens is the tallest complete Gothic church in France [N.B. Yes, Beauvais is technically taller, but it is half-collapsed], and its entrance is known for its host of sculptures, with multiple Biblical scenes and dozens of statues of saints. Using digital technology, the Cathedral projects overlays onto the West Front in the evenings during the summer and at Christmastide, which give visitors an idea of what the bright, colorful façade must have looked like in its heyday. You can see a spectacular video of the projection here.

Amiens

Another use of digital image technology that was recently announced for the Château de Vaux-le-Vicomte, about half an hour south of Paris. The luxurious castle, built for Louis XIV’s Minister of Finance Nicholas Fouquet, is one of the grandest private residences in France. The main interior element of the château was to be the ceiling of the grand salon, a domed room that is about 60 feet wide and 60 feet high, which was to be covered in an elaborate mythological tableau by the greatest French artist of the period, Charles Le Brun (1619-1690). The ceiling was never completed however, since in 1661 Fouquet fell from grace and was imprisoned for his mishandling of the country’s finances.

Today the visitor to the estate who enters the grand salon will see a ceiling painted with a simple blue sky and a soaring eagle. However, we know from Le Brun’s drawings and contemporary documents what he originally planned to paint on the surface of the ceiling. As reported in The Art Newspaper, current owners Alexandre, Ascanio, and Jean-Charles de Vogüé are now engaged in a fundraising campaign to create a digital projection for the ceiling which would represent, as close as possible, Le Brun’s original intended decoration for the space. Since a full set of engravings for the final plan exist, all the digital artists will need to do, essentially, is color them in; figuring out how to actually project them will be another matter.

LeBrun

Finally, there is the example of the Isabella Stewart Gardner Museum in Boston, famously the site of the greatest art theft of the 20th century. The paintings are still missing, and the search to find them remains one of the great, fascinating quests in the area of art crime. Rumors ranging from their destruction to their being held as collateral by the mafia abound, and periodically various theories crop up as to what exactly happened to them, and, if they still exist, where they are today. The frames from which the paintings were cut still hang, empty, throughout the museum as a testament to their loss.

Now, a Boston-based technology firm has created “Hack the Heist”, which offers visitors to the Gardner the chance to see part of the museum as it was before the robbery. Using digital imaging, app users inside the museum can “see” some of the missing pictures placed back in the spaces where they once hung. Although not officially sanctioned by the museum, the app continues to keep alive public interest in solving this mystery, with the hope that, one day, the paintings will return.

Gardner