Art

‘A towering figure’: celebrating the impact of art critic Leo Steinberg

Published

1 year ago

September 5, 2023

“Steinberg was looking at copies of famous works, and how they helped reveal the artist’s choices and intentions,” said Holly Borham, an expert in art prints and a curator at the Blanton Museum of Art in Austin. Borham spoke with me about how the art critic Leo Steinberg, who broke ground in the 1960s with his ideas about pop art and Renaissance masters, arrived at his discoveries through his giant collection of art prints.

“Those prints helped him to get new insight into artists like Michelangelo and Leonardo da Vinci,” she said. “He uncovered the intentions of the original artists by looking at prints, and that helped him become a towering figure in art history.”

Steinberg’s giant collection of prints – and the theories they inspired – are now the subject of Borham’s new book, The Circulating Lifeblood of Ideas, which offers a fascinating look into the thousands of prints that Steinberg collected over his lifetime. In her book, Borham builds on her work conserving and exhibiting Steinberg’s prints at the Blanton, offering a rare look at his final collection, which numbered over 3,500 prints and covered 500 years of art history. Those copies helped him become one of the foremost critics of his era.

Once declared one of the three “kings of Cultureburg” by Tom Wolfe – Clement Greenberg and Harold Rosenberg were the others – Steinberg established his reputation in the 1960s, when he was among the first to see the value of the pop art movement. The quality of his writing earned him rare plaudits, like a visit to Mark Rothko’s studio, correspondence with artists such as Philip Guston and Jasper Johns, and support from Margaret Scolari Barr, an art historian who was the spouse of the founding director of the Museum of Modern Art – among other things, she gifted Steinberg his very first print.

Borham shared how Steinberg, in part, built his reputation by being the first to use the term “postmodern” to describe the bracingly new art that the likes of Robert Rauschenberg, Johns and others were creating. “It was part of a lecture he was giving at Moma in 1968,” she said. “He was arguing against this teleological idea of art, and he said, ‘Artists now are postmodernist, they’re bringing the world back in, they’re bringing in popular culture, they’re not going into this pure[ly] abstract level.’”

As it turned out, Steinberg’s expertise in prints was a perfect match for the pop art that was taking over culture in the 60s and 70s. Long before mass communications made it possible for individuals all over the world to see an image of a significant new painting, artists had to rely on prints to transmit their artistic innovations across large distances. “There was this whole ecosystem of communications happening across artists,” Borham said, “and if you only look at paintings, you don’t see this communication. Prints are facilitating this circulation of ideas.”

According to Borham, Steinberg realized that pop artists were centering their work on exactly that system of artistic communications, and this led him to become one of the leading art commentators of the 60s. “Thinking about the ways ideas circulated in the early modern period primed [Steinberg] to think about contemporary art of his time,” she said. “Whereas early modern artists hid all those communications, artists like Rauschenberg explicitly made that their subject matter.” Just as literary critics such as Harold Bloom were naming the “anxiety of influence”, Steinberg was bringing words like “hijack”, “raid”, “echo”, “recycle” and “appropriate” to art criticism.

Such insights were the result of the nearly 7,000 prints that Steinberg bought and sold over his lifetime. Steingberg came to prints relatively late in life: he spent his early years fleeing from atrocities against Jews in Soviet Russia and Nazi Germany, eventually landing in New York City after the second world war at 25. Soon after he made his way writing and teaching about art, but he only seriously began collecting prints following a heart attack at the age of 40. “He literally has a heart attack and is told, ‘You can’t do hard work this summer,’” Borham said. “That’s when his print-collecting starts. He recognizes the high artistic value of these objects, and some of them are really affordable, enough so that they fit into his small budget.”

Steinberg got in on the print market early enough that he was able to snap up many bargains before the the price of prints increased in the 1970s. By then, his collection was grounded enough to be a springboard to more expensive pieces. When he died in 2011, he left behind an amazing collection worth millions of dollars, which eventually ended up at the Blanton.

In addition to forming the basis of much of Steinberg’s major writing on contemporary art, his print collection also enabled him to make new insights into canonical figures like Michelangelo and Leonardo.

“Looking at copies of famous works helped him reveal the original artist’s choices and intentions,” said Borham. “He wrote a whole book about The Last Supper. You can’t think of another thing to say about The Last Supper after Steinberg looks at it seven different ways! He actually realized that it’s unclear exactly what’s happening in that painting: is it the moment when Christ says, ‘One of you will betray me’? Or when he says, ‘You’re going to eat my body and blood?’ Nobody before Steinberg was able to see all of those moments together.”

Borham elegantly lays out ideas such as these in her new book, while offering brief pieces of critical insight about dozens of Steinberg’s prints, beautifully illustrated throughout. Rigorous yet also friendly to a beginner new to Steinberg’s world, the book makes for a tempting entry point to the world of fine-art prints.

As a lover of prints, Borham found that Steinberg’s story called out to her on a personal level. “Being a print person, I look back at that era wistfully. I wish I could afford those prints,” she said. “It’s amazing to see what someone with intelligence and persistence could achieve back then. And it was satisfying to see Leo’s glee as the prices escalated and recognizing, ‘Oh, I found something of value!’”

For Borham, finding Steinberg was like finding a kindred spirit, someone who understood prints just as she did. It’s that kind of sincere enthusiasm that’s visible in her work with the critic, and that helps make The Circulating Lifeblood of Ideas such an insightful and successful book. “Leo put into words what I’d been noticing about prints,” she said. “When you look closely at a print, you can see every mark. When you pull a paper from the press, it’s really like seeing a baby being born. It’s this brand new, freshly made thing.”

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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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