Art
National Gallery should scrap 1900 cut-off date, says art expert – The Guardian
The former director of three of Britain’s most important museums has called for the National Gallery to lift its longstanding cut-off date of about 1900 for its collection because it suggests “painting died then as a great art form”.
Julian Spalding, who has headed public collections in Sheffield, Manchester and Glasgow, argued the National Gallery could, in its bicentenary this year, “resuscitate the great art of painting” by hanging pictures by David Hockney and other “great artists” alongside old masters.
He told the Guardian he was throwing down a direct challenge to the National Gallery. “I feel very passionate about it. The bicentenary is a fantastic occasion to do it. In 200 years’ time, every painting will be over 300 years old … They’re creating this terrible fossil.”
In a letter sent last week to Gabriele Finaldi, the director of the National Gallery, Spalding criticised its 1990s agreement with the Tate that 1900 should divide their respective collections. “[It was] as if painting died then as a great art form. This isn’t what happened. The art of painting non-representationally was brilliantly reinvented for our times, by Picasso and Matisse, of course, and many others.”
Spalding, who has also written to King Charles about the issue, argued that removing this cut-off could lead to “the renaissance of painting”. “Bringing the collection up to date will also naturally and most importantly widen the gallery’s representation of female artists and the art of many cultures, truly reflecting the nature of Britain and our world today.”
He added: “When it was founded, the gallery’s collection was on-going, with paintings being added when their greatness became apparent. This was often, understandably, a slow process, but sometimes surprisingly fast. The Gallery bought Van Gogh’s Chair only 34 years after it was painted.”
Although the National Gallery has held numerous exhibitions devoted to modern and contemporary artists – including Lucian Freud – these have been temporary, he said. “If the National Gallery begins again to collect great, lasting paintings of recent times, this will demonstrate to the world that the art of painting is still very much alive.”
In a 50-year career, Spalding established award-winning, innovative galleries and museum services, including the Ruskin Gallery, in Sheffield, and the Campaign for Drawing. Last year, he published his memoir, Art Exposed.
He proposed that modern and contemporary works could be transferred from the Tate to the National Gallery “easily and immediately, merely the cost of a van”, as happened in the past.
He suggested a dozen masterpieces: Gwen John: Self Portrait 1902; Georges Braque: Bottle and Fishes 1910-12; Marc Chagall: The Poet Reclining 1915; Pablo Picasso: The Three Dancers 1925; Stanley Spencer: The Resurrection, Cookham 1924-7; Alice Neel: Ethel Ashton 1930; Salvador Dalí: Metamorphosis of Narcissus 1937; Francis Bacon: Three Studies for Figures at the Base of a Crucifixion 1944; Maria Helena Viera da Silva: The Corridor 1950; Henri Matisse: The Snail 1953; Bridget Riley: Late Morning 1967-8 and David Hockney: My Parents 1977, which includes a reflection of a National Gallery painting, Piero della Francesca’s The Baptism of Christ, in a mirror.
He wrote in his letter: “Half of these great paintings, the second, third, fifth, sixth, ninth and last are in store and not on public display [according to their website] … There are some publicly owned paintings that people should always be able to see. The National Gallery provides that opportunity.”
For future transfers, he suggested the public could become involved, voting for paintings, to stimulate annual debate.
The Tate said that, while the Spencer was in storage, the Braque, Chagall and Hockney works were due to be loaned to exhibitions in the coming months, the Vieira da Silva was in Tate Modern and the Neel was in Germany.
Richard Calvocoressi, an art historian and former Tate curator, said: “In principle, I think it’s not a bad idea. I’ve always thought the 1900 divide was pretty meaningless.”
Matthew Landrus, a leading art historian at Oxford University, said: “I agree that museums should have more options than strict limitations on time because the specific dates for historical periods are artificial.”
Sir Roy Strong, who, as the director of the National Portrait Gallery and the Victoria and Albert Museum, staged landmark exhibitions, said: “The National Gallery has been extremely inventive in the last few years, sending pictures into shopping centres, for example. But everything is in such a state there is not the money or circumstance to achieve any major change of anything.”
Lifting the 1900 cut-off would be “a lovely idea”, he added: “Sooner or later, there’ll be a crisis and radical rethink of how exactly we look at the pictures of the past.”
Alex Kidson, a former curator of British art at the Walker Art Gallery Liverpool, argued that the 1900 cut-off was “much too early”, but he expressed reservations about including contemporary artists. “Artworks achieve greatness because they’ve survived over time. Arguments about who is actually worthy of getting into the National Gallery are bound to increase. If you had a cut-off point of, say, 1945, that would be easier to administer.”
Michael Daley, the director of ArtWatch UK, the museums and galleries watchdog, said he had concerns. “All the National Gallery curators’ enthusiasms would drift even further away from their old masters collection.”
While the National Gallery declined to comment, the Tate said: “There are no plans to change the date of 1900 as the collection divide between the two museums.”
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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