Art News Roundup: Houston, We Have A Velázquez Edition

As I spent a big chunk of yesterday in bed with a cold, here’s your day late, but hopefully not a dollar short, roundup of some interesting news from the art world for this week. For yours truly, the really interesting news this week is that the Museum of Fine Arts in Houston has recently re-attributed a painting in its permanent collection to the greatest of all Spanish painters, Diego Velázquez (1599-1660). The canvas, titled “Kitchen Maid”, is believed to date to around 1620, when the young artist was working in his native Seville.

criada

Two other pieces by Velázquez, which were already very familiar to me, are related to this one. More obviously, there is a larger-sized depiction of a kitchen interior with the same model, now at the Art Institute of Chicago, and it’s probable that the Houston piece was a study or work-up for the finished version. Not many of Velazquez’ studies or drawings survive, unfortunately, so as a clue to his working method the newly attributed painting should prove to be a major object of study for both art historians and conservators.

Criada2

The other piece to which the painting is related is Velázquez’ “Kitchen Maid With The Supper At Emmaus” at the National Gallery of Ireland, from the same time period. This canvas is the most complex of the three, so it may well be that the Houston piece was the first study the artist made on canvas. That would make the Chicago picture, a second, more advanced composition, with the Dublin work as the final product. To have all three of these survive is rather unusual in art history, even though this practice was not uncommon at the time.

Criada3

While it may seem odd for the artist to have placed what would normally be considered a background scene to the main action in the foreground, the precedent comes from Dutch paintings and engravings of the time; as part of the Counter-Reformation movement it allowed the faithful to more fully reflect upon and imagine themselves being present at Biblical moments. Moreover, this is not the only example of Velázquez using this concept in his art. His better-known “Christ In The House Of Martha And Mary” (c. 1618), now in the National Gallery in London, is almost a companion piece to the Dublin picture, in this respect.

MariaMarta

While the attribution has not been fully put to the test, as is often the case the careful cleaning of dirt and varnish from the surface of an old, overlooked picture made all the difference for those experts who have examined it so far.

And now on to some other art news of interest.

Selfie Stupidity

Another day, another example of self-obsessed social media users ruining a work of art while trying to take a selfie with no thought for anyone but themselves. A group of women at an exhibition in the International Arts Center in the city of Yekaterinburg decided to take a picture of themselves, and in the process knocked over a display case (you can see a still of this below) containing engravings by Francisco de Goya (1746-1828) and Salvador Dalí (1904-1989). Both pictures had their frames and glass damaged, but while the Goya appears to be fine, the Dalí was damaged from the glass shattering. Apparently no criminal charges will be brought against this group of Stygian witches, despite the museum requesting such action, but I would certainly love to bring a civil lawsuit against them.

Falling

Sparkling Seaside

Yes, I do actually recommend Contemporary Art from time to time, not just Old Masters, and so it is with great pleasure that I let you know that new works by British Contemporary artist Gordon Hunt (1958-) will go on show tomorrow at the Agora Gallery in Chelsea, and it looks to be an exhibition well worth your time. As the Northeast begins to settle into the long, dark, gray of late Autumn, Hunt’s images of sun and sea, pleasure boats, and people enjoying the water in his native Cornwall or along the Mediterranean are a light-filled joy; you may even feel the need to break out your sunglasses for some of his sunset scenes. His sparkling, glowing technique is reminiscent of the work of the French Pointillist pioneer Georges Seurat (1859-1891), but updated for a modern audience. “Discovery: Contemporary Art Perspectives From England” is on show at Agora until December 1st.

Med

Bidding for Binney

For reasons best known to itself, the Philadelphia Bar Association has decided that it has too many portraits of dead lawyers on its hands, so it has decided to auction them – as well as hundreds of other objects – at Freeman’s American auction next week. Among the highlights are this magnificent 1833 Thomas Sully (1783-1872) portrait of Congressman Horace Binney (1780-1875), who not only turned down an appointment to be a Supreme Court Justice – TWICE – but was one of the few men in Congress to have the backbone to publicly stand up to POS American dictator…er, President Andrew Jackson. Binney certainly knew how to pick them, when it came to have his portrait painted, because as a young man, he was the subject of another magnificent portrait by the great Gilbert Stuart (1755-1828) which is now in the National Gallery here in DC, but for some reason is not currently on view. It would be neat – is that the right word? – if the NGA were to purchase the portrait of the middle-aged Birney so that visitors could compare how artistic style changed in America.

Binney

 

Carving Up the Corcoran: An Art Collection, Redistributed

Even if you never visited the Corcoran Gallery of Art, which closed in 2014, chances are you’ve seen pieces which once belonged to the venerable institution, which was one of the first art museums in the country. With works by a host of artists stretching across centuries, it housed everything from Old Master paintings and Renaissance ceramics to substantial collections of American, Modern, and Contemporary Art. The final distribution of works from the now-shuttered museum has just been announced, and fortunately most of it will be staying here in DC.

The decline and fall of the Corcoran was a long, drawn-out, sad affair. As the museum lost its way in pricey projects which were never going to get off the drawing board, it entered a death spiral of financial difficulty, lawsuits, and bad press which ended up with its collection being given to the National Gallery to pick over. Having selected the pieces it wanted for its own collection, the National Gallery was charged by the courts to work with other institutions, particularly those in the DC area, to find a new home for a whopping 10,000+ items.

Not surprisingly, the National Gallery kept all of the best pieces for itself. It selected over 6,000 works from the Corcoran hoard, among which are this beautiful Cuatrocento Sienese altarpiece by Andrea Vanni (c. 1330-1413), which is quite a jewel:

converted to digital April 2006

Other pieces included John Singer Sargent (1856-1925)’s sunny, highly atmospheric “Setting Out to Fish” from 1878:

Sargent

And the stunning “Young Woman in Kimono” (c. 1901) by Sargent’s contemporary, Alfred Henry Maurer (1868-1932):

Mujer

Of the items being redistributed, 99.4% will be given to other DC institutions, including several universities, museums, government offices, and the Supreme Court, among others. As to this last recipient, the Justices will now be hosting this penetrating portrait of Chief Justice John Marshall painted in 1830 by Robert Matthew Sully (1803-1855), a scion of one of America’s most prominent family of painters. Somewhat unconventionally for a judicial portrait, it shows the Chief Justice staring pensively and perhaps even a bit wistfully off to his left, rather than at the viewer. For comparison, you can see a more conventionally Federal portrait by Sully’s uncle, Thomas Sully (1783-1872), which depicts a copy of an earlier portrait of President James Madison by Gilbert Stuart (1755-1828); this Corcoran piece is headed to the National Portrait Gallery.

Sully

The majority of the remaining works – nearly 9,000 works in total – will be headed up Massachusetts Avenue to American University, where they will be housed in the Katzen Arts Center. I must confess that, probably like many Washingtonians, I’ve never actually visited this museum. Once the acquisition of the Corcoran works is completed however, I will likely have to make that difficult, 15-minute cab ride to see the result. Most of what they are getting are Modern and Contemporary works, which interest me very little, but who knows?

If you really want to get into the weeds, a full distribution list is available here, divided by receiving institution. Among the more interesting, smaller transfers, I was pleased to note that two drawings by Armistead Peter III will be returning to Tudor Place in Georgetown, the Neoclassical estate where he and the rest of the Peter clan resided for centuries. Upon his death, the house was converted into a museum, and one well-worth your time should you happen to find yourself in the village.

While it is regrettable that the Corcoran went away, the legacy of the institution will live on in these collections, and perhaps serve as a cautionary tale to other art institutions who lose their focus while trying to be all things to all people.