Art

Under cover: the artist adding queerness to early American advertising

Published

1 year ago

July 18, 2023

“The ability of men to gaze at each other, which Leyendecker depicts, is very of his time. It’s very emblematic of what Bruce Weber does for Banana Republic, or advertising agencies for Abercromie & Fitch, or Calvin Klein underwear ads. That’s the modern-day interpretation of Leyendecker.”

Curator Donald Albrecht is telling me about the new exhibit at the New-York Historical Society that he guest-curated: Under Cover, which centers around the (not so) subtly homoerotic advertising images created by commercial artist JC Leyendecker. The show collects 19 of the artist’s original oil paintings. Rarely seen and fabulously intriguing, these works are delightful and provocative, a glimpse into both a flourishing, pre-Stonewall gay culture and the manic energy of 1920s high society New York.

Born in Germany in 1874, Leyendecker studied in Paris in his early 20s and built a name for himself in Chicago before eventually settling in New York City in 1902. He became renowned for his well-known advertising illustrations depicting the “Arrow Collar Man”, as well as for his many covers of the Saturday Evening Post – he made 322, just one less than the famed Norman Rockwell. “In contrast to Rockwell, who is very well known today, few people know about Leyendecker,” said Albrecht. “One hundred years ago, it would have been just the opposite: people would have known Leyendecker, and not Norman Rockwell.” Leyendecker was probably gay, living the bulk of his adulthood with his longtime model Charles A Beach

According to Albrecht, Leyendecker’s Gatsby-esque style reached its zenith in the 1920s, where the artist’s breezy, tongue-in-cheek paintings channeled the zeitgeist of a public drenched in flapper dresses and art deco stylings. “It’s representational, it’s populist, it’s commercial,” said Albrecht. “So someone like Andy Warhol would like someone like Leyendecker. Whereas someone like Jackson Pollock would probably not; he’d see it as derivative and trash. It’s not abstract, it’s not high art. He’s not a struggling artist.”

J.C. Leyendecker (1874–1951), Cover of Collier’s, June 14 1916

However, Leyendecker’s high-flying, commercially lucrative style was out by the 30s, when the gritty realities of the Depression began to bring Rockwell’s depictions of a more innocent, less complicated Americana into vogue. “During the Depression you have a kind of conservatism and a fear or experimentation and change. People sought the normative, and Leyendecker was not the normative.” As American art moved more solidly toward the high modernism of abstract expressionism, Leyendecker would fall further out of style, only rediscovered and reappreciated decades down the line.

But before then, for a stretch of about two decades, Leyendecker’s vision of a risque masculinity that blended the lines between macho and effeminacy had a freedom that was not seen again until much later in the 20th century. Whether it’s a bizarre 1928 Thanksgiving Day image of a gun-toting pilgrim and a football player staring meaningfully into one another’s eyes, or two well-dressed men suggestively hefting a golf club and lighting a pipe, Leyendecker’s images are absolutely arresting, while also pushing the viewer’s buttons. “It’s interesting to us that these images that seem to our eyes so homoerotic were acceptable in the 20s,” said Albrecht. “That he got away with this is really interesting. There’s one where a man seems to be aroused under a robe. It was an Ivory Soap ad, and Procter & Gamble wouldn’t publish that one, but everything else was publishable.”

Under Cover shows men doing things that they are not usually allowed to: strutting, carefully attending to the minute details of their outfit, exchanging intimate glances, delighting in their own embodiment and enjoying luxurious fabrics. It also often shows them at home within their own, male-dominated spaces, giving a sense of a glimpse into the forbidden. “He had access to those spaces,” said Albrecht. “As a gay man he knew that those spaces were very charged. There could be voyeurism, and there could be sexual activity.”

Leyendecker’s paintings have the carefully posed feeling of a catalog page, yet there is also a sense of subversion – it’s the kind of sly, provocative advertising that is usually associated with the 1990s and beyond, but Under Cover shows it to also be a product of the Roaring Twenties.

J.C. Leyendecker (1874–1951), Ivory Soap It Floats

It is perhaps this combination of the loudly flamboyant and the subversive that gives these paintings their satisfying subtlety. Although never intended to be high art, Leyendecker’s work rises into the category of icon, giving form to a version of masculinity that has only been allowed to exist in certain times and places. “There are different definitions of masculinity and male behavior, and it’s mutable, it’s not fixed,” said Albrecht. “With Leyendecker, you’re never going to get what Harry Styles does. It’s never that overt. Instead, it’s nuanced and subtle.”

Under Cover seeks to bring museumgoers not just Leyendecker’s art but also the era it so perfectly fit into, including pieces that embody counter-narratives to Leyendecker’s very white, very Anglo universe. These include well-dressed African American men who showed off their style during the Harlem Renaissance, as well as juxtapositions from diverse aspects of the era’s gay culture, such as Broadway drag performances, stage plays starring women loving women, entertainers who pushed the lines of male femininity, and selections of art and poetry from gay creators.

“The challenge of the exhibition was Leyendecker was very white, very Aryan, very Christian, and we wanted to counteract that,” said Albrecht. “We look at the Harlem Renaissance. We also have masculinity in world war I, where we compare Leyendecker’s heroic soldiers to anti-war posters and magazines.”

Ultimately, Under Cover succeeds in both finding a new angle on the go-go 20s and complicating our picture of the emergence of the LGBT community into mainstream America. It reminds us that, even long before the second world war, gay and lesbian individuals did have spaces to live as themselves and celebrate who they were. “We wanted to reintroduce Leyendecker as a major aesthetic figure,” said Albrecht, “and to show the zeitgeist of sexuality at an earlier age than we largely think. It exactly mirrors Leyendecker’s heyday.”

Under Cover: JC Leyendecker and American Masculinity is on view at the New-York Historical Society until 13 August

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Art

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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Art

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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