Art
The art of science – Nature.com
They say a picture tells a thousand words, so by that accounting, the visual word count of a Nature Physics paper doubles that of its text. So how best to use that budget?
The German painter Margaret Leiteritz made a name for herself a century ago by turning scientific data into works of art1. As long-time Leiteritz fans, we at Nature Physics are firm believers in the idea that information carries an intrinsic beauty. When we select images for the cover of our issue each month, we always prioritize those featuring real data. And those data that don’t make it to the cover are lovingly curated in our Instagram account (www.instagram.com/nature.physics/). But aesthetics is only a small part of what makes a figure beautiful — and effective.
The message a paper tells in its figures can be more persuasive than that of its text. And like the written word, scientific images benefit from a certain economy. Great scientific figures are self-contained and self-evident, conveying only the information necessary to support a paper’s claims.
That’s not to say that brevity should give way to misinformation. We are committed to reproducibility in scientific research, and encourage authors to provide all the data necessary to allow others to understand and replicate their findings. But for this we allocate up to ten extended data files that are integrated into the online version of the paper, in addition to a separate document containing supplementary information. This way, specialists can easily access exhaustive imaging data, for example, leaving the authors free to convey clear, uncluttered information in the figures accompanying the main text of the paper.
Effective figures are also coherent. The caption of each figure published in a Nature Physics paper begins with a single unifying title, regardless of how many parts it has. So ideally, each figure should convey a single message. Think of it as a built-in structure: each paper relays the findings of a study in four (or six) chapters, each with its own illustration.
A look back at the history of scientific figures reveals how easily excellent figures capture key findings. For example, James Watson and Francis Crick’s 1953 report of the structure of DNA famously included only a schematic in support of their revolutionary claim (pictured, far left) — perhaps because the data underpinning the discovery weren’t theirs to publish2.
Heike Kamerlingh Onnes offered more information when he presented his discovery of superconducting mercury at the first Solvay conference in 1911 — but the unmistakable jump in resistance (top left) was just as minimal, and as clear, as the double helix. The quantized nature of the Hall voltage of a two-dimensional electron gas was similarly clear in the plot that earned Klaus von Klitzing the 1985 Nobel Prize in Physics (top centre).
The existence of the charm quark was writ large in the signal of what later became known as the J/ψ meson (top right), and the news that neutral charm mesons oscillate — or mix — was similarly effective in a 2013 Large Hadron Collider beauty (LHCb) result (bottom left). Another triumph of data fitting came two decades earlier, when the cosmic microwave background measured on the Cosmic Background Explorer (COBE) satellite was shown to be consistent with the blackbody spectrum, lending crucial support to the Big Bang hypothesis (bottom right).
These plots may not be the masterworks of Margaret Leiteritz, but with a bit of thought and care, figures can be an essential tool for conveying the central conclusions of a scientific paper. And for those discoveries that really do make a difference, in time we can also learn to appreciate them as iconic representations of human enquiry.
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Kemp, M. Nature 430, 508 (2004).
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Franklin, R. E. & Gosling, R. G. Nature 171, 740–741 (1953).
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Watson, J. D. & Crick, F. H. C. Nature 171, 737–738 (1953).
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van Delft, D. & Kes, P. Phys. Today 63, 38 (2010).
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von Klitzing, K. et al. Phys. Rev. Lett. 45, 494–467 (1980).
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Mather, J. C. et al. Astrophys. J. Lett. 354, L37 (1990).
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The art of science.
Nat. Phys. 17, 869–870 (2021). https://doi.org/10.1038/s41567-021-01332-x
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Published: 09 August 2021
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Issue Date: August 2021
Art
Calvin Lucyshyn: Vancouver Island Art Dealer Faces Fraud Charges After Police Seize Millions in Artwork
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.
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Ukrainian sells art in Essex while stuck in a warzone BBC.com
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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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