Art

ArtCity: Why are there so few women in art history? – Woodstock Sentinel Review

Published

3 years ago

August 5, 2021

They say that those who do not learn history are doomed to repeat it, but who wrote the history we learn in the first place?

Author of the article:

Vicky Lin, ArtCity, Guest column

Publishing date:

Aug 05, 2021 • 41 minutes ago • 4 minute read • Join the conversation

Given Her Due: Oxford County Women Artists 1880–1908. (Robert McNair/Special to the Sentinel-Review)

They say that those who do not learn history are doomed to repeat it, but who wrote the history we learn in the first place?

As someone who has been deeply passionate about the arts from a very young age, I’ve often found myself at odds with this question. Over the years, my interest in the arts has led me to take classes throughout high school and university. I’ve also volunteered at the Woodstock Art Gallery, where I currently work as a front desk attendant summer student.

Throughout my exposure to the arts, I’ve learned the discipline, like many others, is built upon the works and contributions of those who came before. Ultimately, within the uniqueness of every piece of art, something innately human is revealed. Yet, the more I read about old masters like Michelangelo, Da Vinci, and Raphael, the more I can’t help but wonder – where were all the women artists? When I gathered the courage to ask my former art teacher why the majority of our art history curriculum catered to white men, the answer I was met with was simply this: “It is difficult to learn about female artists in art history because there’s hardly any significant female artists to talk about in the first place.”

So why is there a lack of female artists to begin with?

Many, including myself, might at first assume that women just aren’t as capable as men in terms of artistic ability. In her 1971 essay, Why Have There Been No Great Women Artists, art historian Linda Nochlin writes the mere question “falsifies the nature of the issue at the same time that it insidiously implies its own answer: ‘There have been no great women artists because women are incapable of greatness.’” The fact that these assumptions still linger is a testament to the shortcomings of art history. What is the actual reason behind the distinct gender gap we see in art today, and to what extent has historical bias influenced our current perception of the art world?

It goes without saying that women’s underrepresentation and lack of recognition in Western art history is complicated. Women were historically excluded and actively discouraged from partaking within the same spheres as men, including the artistic sphere. Women were likewise barred from entering art academies, undergoing formal artistic training, or even acquiring an education in general – the very building blocks to becoming an artist in the first place. The quintessential middle-class, white, male archetype associated with the default “ideal artist” prevailed because aspiring female artists were excluded from these institutions that helped cultivate artistic proficiency.

As Nochlin explains, one example of gender-based institutional discrimination can be seen through women’s access to life drawing during the 19th century. Due to the rising popularity of history painting at the time, life drawing was seen as a mandatory prerequisite to one’s artistic cultivation. Even once women were finally allowed into life drawing classes, they were burdened with the responsibility to have their works remain modest – a restriction that did not apply to men – despite the common belief that “there could be no great painting with clothed figures.” The male administration specifically prohibited nude models from appearing in anything less than “partially draped.” While men could undergo artistic training without restraints, women often faced hostility when fighting for equal footing within those same institutions.

All in all, to truly learn from history, we must also understand the foundations on which it was written. Though notable names such as Artemisia Gentileschi, Berthe Morisot and Frida Khalo have gained considerable mainstream notoriety, it remains true that the number of male artistic masters still outnumber the women. While we cannot rewrite the past, we can add nuance to how it’s told.

As I’ve learned in my time at the Woodstock Art Gallery, one place we can start is right here at home. The gallery’s 2019 exhibition, Given Her Due: Oxford County Women Artists 1880–1908, showcases the work of talented and sometimes overlooked female artists of this region, including Eva Bradshaw, Betty McArthur, Jaquie Poole, Fryke Oostenbrug, and more. You can explore a 3D virtual tour of this exhibition online at www.woodstockartgallery.ca. The gallery’s permanent collection also highlights the artwork of Florence Carlyle, who broke boundaries as a prominent Canadian painter in the late 19th and early 20th centuries. Carlyle – along with other notable female artists in the collection – is featured in the current exhibition My Favourite Artwork, which launched when the Woodstock Art Gallery reopened on Aug. 3.

Vicky Lin is the front desk attendant at the Woodstock Art Gallery. The Woodstock Art Gallery acknowledges the support for this position, which is funded by two federal student employment programs: Young Canada Works and Canada Summer Jobs.

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Calvin Lucyshyn: Vancouver Island Art Dealer Faces Fraud Charges After Police Seize Millions in Artwork

Published

2 days ago

September 13, 2024

Harry Miller

In a case that has sent shockwaves through the Vancouver Island art community, a local art dealer has been charged with one count of fraud over $5,000. Calvin Lucyshyn, the former operator of the now-closed Winchester Galleries in Oak Bay, faces the charge after police seized hundreds of artworks, valued in the tens of millions of dollars, from various storage sites in the Greater Victoria area.

Alleged Fraud Scheme

Police allege that Lucyshyn had been taking valuable art from members of the public under the guise of appraising or consigning the pieces for sale, only to cut off all communication with the owners. This investigation began in April 2022, when police received a complaint from an individual who had provided four paintings to Lucyshyn, including three works by renowned British Columbia artist Emily Carr, and had not received any updates on their sale.

Further investigation by the Saanich Police Department revealed that this was not an isolated incident. Detectives found other alleged victims who had similar experiences with Winchester Galleries, leading police to execute search warrants at three separate storage locations across Greater Victoria.

Massive Seizure of Artworks

In what has become one of the largest art fraud investigations in recent Canadian history, authorities seized approximately 1,100 pieces of art, including more than 600 pieces from a storage site in Saanich, over 300 in Langford, and more than 100 in Oak Bay. Some of the more valuable pieces, according to police, were estimated to be worth $85,000 each.

Lucyshyn was arrested on April 21, 2022, but was later released from custody. In May 2024, a fraud charge was formally laid against him.

Artwork Returned, but Some Remain Unclaimed

In a statement released on Monday, the Saanich Police Department confirmed that 1,050 of the seized artworks have been returned to their rightful owners. However, several pieces remain unclaimed, and police continue their efforts to track down the owners of these works.

Court Proceedings Ongoing

The criminal charge against Lucyshyn has not yet been tested in court, and he has publicly stated his intention to defend himself against any pending allegations. His next court appearance is scheduled for September 10, 2024.

Impact on the Local Art Community

The news of Lucyshyn’s alleged fraud has deeply affected Vancouver Island’s art community, particularly collectors, galleries, and artists who may have been impacted by the gallery’s operations. With high-value pieces from artists like Emily Carr involved, the case underscores the vulnerabilities that can exist in art transactions.

For many art collectors, the investigation has raised concerns about the potential for fraud in the art world, particularly when it comes to dealing with private galleries and dealers. The seizure of such a vast collection of artworks has also led to questions about the management and oversight of valuable art pieces, as well as the importance of transparency and trust in the industry.

As the case continues to unfold in court, it will likely serve as a cautionary tale for collectors and galleries alike, highlighting the need for due diligence in the sale and appraisal of high-value artworks.

While much of the seized artwork has been returned, the full scale of the alleged fraud is still being unraveled. Lucyshyn’s upcoming court appearances will be closely watched, not only by the legal community but also by the wider art world, as it navigates the fallout from one of Canada’s most significant art fraud cases in recent memory.

Art collectors and individuals who believe they may have been affected by this case are encouraged to contact the Saanich Police Department to inquire about any unclaimed pieces. Additionally, the case serves as a reminder for anyone involved in high-value art transactions to work with reputable dealers and to keep thorough documentation of all transactions.

As with any investment, whether in art or other ventures, it is crucial to be cautious and informed. Art fraud can devastate personal collections and finances, but by taking steps to verify authenticity, provenance, and the reputation of dealers, collectors can help safeguard their valuable pieces.

Art

Ukrainian sells art in Essex while stuck in a warzone – BBC.com

Published

2 weeks ago

September 2, 2024

Harry Miller

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Ukrainian sells art in Essex while stuck in a warzone BBC.com

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Somerset House Fire: Courtauld Gallery Reopens, Rest of Landmark Closed

Published

4 weeks ago

August 18, 2024

Harry Miller

The Courtauld Gallery at Somerset House has reopened its doors to the public after a fire swept through the historic building in central London. While the gallery has resumed operations, the rest of the iconic site remains closed “until further notice.”

On Saturday, approximately 125 firefighters were called to the scene to battle the blaze, which sent smoke billowing across the city. Fortunately, the fire occurred in a part of the building not housing valuable artworks, and no injuries were reported. Authorities are still investigating the cause of the fire.

Despite the disruption, art lovers queued outside the gallery before it reopened at 10:00 BST on Sunday. One visitor expressed his relief, saying, “I was sad to see the fire, but I’m relieved the art is safe.”

The Clark family, visiting London from Washington state, USA, had a unique perspective on the incident. While sightseeing on the London Eye, they watched as firefighters tackled the flames. Paul Clark, accompanied by his wife Jiorgia and their four children, shared their concern for the safety of the artwork inside Somerset House. “It was sad to see,” Mr. Clark told the BBC. As a fan of Vincent Van Gogh, he was particularly relieved to learn that the painter’s famous Self-Portrait with Bandaged Ear had not been affected by the fire.

Blaze in the West Wing

The fire broke out around midday on Saturday in the west wing of Somerset House, a section of the building primarily used for offices and storage. Jonathan Reekie, director of Somerset House Trust, assured the public that “no valuable artefacts or artworks” were located in that part of the building. By Sunday, fire engines were still stationed outside as investigations into the fire’s origin continued.

About Somerset House

Located on the Strand in central London, Somerset House is a prominent arts venue with a rich history dating back to the Georgian era. Built on the site of a former Tudor palace, the complex is known for its iconic courtyard and is home to the Courtauld Gallery. The gallery houses a prestigious collection from the Samuel Courtauld Trust, showcasing masterpieces from the Middle Ages to the 20th century. Among the notable works are pieces by impressionist legends such as Edouard Manet, Claude Monet, Paul Cézanne, and Vincent Van Gogh.

Somerset House regularly hosts cultural exhibitions and public events, including its popular winter ice skating sessions in the courtyard. However, for now, the venue remains partially closed as authorities ensure the safety of the site following the fire.

Art lovers and the Somerset House community can take solace in knowing that the invaluable collection remains unharmed, and the Courtauld Gallery continues to welcome visitors, offering a reprieve amid the disruption.

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