Art
Alan Cross: A look at art and music created in times of pandemic – Global News
The spectre of disease, pandemic, and death have been with us since life emerged on this rock. And once we got around to discovering music, homo sapiens (and perhaps Neanderthals, whose numbers were probably drastically culled by disease), began reacting to these periods of widespread sickness with stories, art, and song.
The first recorded pandemic hit the people of Athens between 429 and 426 BC. No one knew why, other than the gods must have been displeased with mankind.
We still don’t know what caused the death of up to 100,000 — Typhus? Typhoid Fever? Some sort of viral hemorrhagic disease? — but it left an unusual mark on the city. Those were the peak years of Greek tragedy, a form of theatre that had tremendous influence on both ancient Rome in a few centuries and the Renaissance more than a thousand years in the future. From disease came great art.
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Speaking of the Renaissance, scholars point to the city of Florence as its birthplace around 1350. The Black Death killed much of the population in 1348 (and maybe as much as 60 per cent of all of Europe between 1331 and 1353) yet Florence rallied, becoming a flashpoint of intellectual and artistic evolution that was felt for centuries.
Meanwhile, the hot musical genre was “pestilential music,” a series of compositions inspired by rampant illness. Some believed that music could be medicine while others were sure that it was a moral poison that made it easier for disease to take hold. God apparently didn’t like popular songs, so anyone singing such ditties could expect to be struck down.
But not everyone felt this way. In the 1500s, an Italian physician named Niccolo Massa prescribed music therapy to prevent getting sick: “It is especially advantageous to listen to songs and lovely instrumental music, and to play now and then, and to sing with a quiet voice.” In other words, stay positive by chilling out with some music.
London, England, was plagued with, er, plagues through much of the 16th century (Henry VIII was forced to self-isolate during the Sweating Sickness of 1529, much in the way we are today) and saw a spike in fatalities in the early 1600s. But as England slowly recovered, Shakespeare was somehow inspired to write King Lear, Macbeth, and Antony and Cleopatra, all in 1606. At exactly the same time, composers began to experiment with new musical modalities, resulting in the rise of Baroque music and stars just as Bach, Vivaldi, and Handel.
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Fast-forward to the late 1800s to New Orleans, a city that not only served the riverboat traffic from the Mississippi, but also ships coming in from the Gulf of Mexico, the Caribbean, and beyond. It was a thriving port, but also one of the most unhealthy. Thanks to the heat, humidity, the swamp, poor hygiene, and the constant turnover of the population, it was a terrible place to live if you were an African-American. On average, a Black man could hope to live to 36 before he was taken by cholera, yellow fever, typhus or influenza. Yet in spite of this, New Orleans was the birthplace of ragtime, which later evolved into jazz, the most important music genre of the first half of the 20th century.
Not all pandemics left behind such magnificent albeit unintended artistic consequences. Some were more subtle.
For example, who doesn’t know the playground song Ring Around the Rosie? Some folklore scholars trace its origins to the Great Plague of 1665 describing a rosy red rash (a plague symptom) and a necklace of herbs designed to ward off disease. But that didn’t help because in the end “we all fall down” and died. (Quick point of clarification: Other historians dispute this interpretation, saying it only appeared after WWII.)
Another rhyme with deadly origins appeared during a worldwide influenza pandemic in 1889-1890. Certain the disease could be stopped by sealing up the home from the poisoned air outside, this safety tip emerged in schools:
There was a little girl, and she had a little bird
And she called it by the pretty name of Enza;
But one day it flew away, but it didn’t go to stay
For when she raised the window, in-flu-Enza
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Not exactly Shakespearean, but that little poem endured for decades, especially after the 1918 H1N1 pandemic that killed as many as 100 million people around the world over just 24 months.
When tuberculosis once again became a major problem in the 1920s and 1930s, sickness songs spread like, well, a contagion throughout blues and country performers. Same when polio hit in the late 1940s and early ’50s. And after the Hong Kong flu epidemic of 1968-69 (death toll: one million), certain things became ingrained in our psyche. We certainly otherwise wouldn’t have had a cartoon character like this.
And let’s consider HIV/AIDS for a moment. No other disease of the last several centuries inspired more art, from music and musicals (e.g. Rent) and plays (e.g. Angels in America) to books (The Band Played On) and movies (Philadelphia).
And here we are again facing the worst pandemic since the end of the Great War. We’re all shut-ins as we try to flatten the curve of infections. That includes plenty of musicians who do what musicians do best: explain to the rest of us how we’re feeling.
The last time I checked, there were nearly 500 coronavirus-related songs on Spotify (call it “pandemic pop,”) all of which have been written in the last couple of months. One might become the anthem of our times. Or maybe we’ll have to wait for this enforced isolation to give us a new storyteller.
We will get through this. And who knows what great art COVID-19 will leave behind?
Meanwhile, enjoy this playlist as you give humanity a wide birth.
—
Alan Cross is a broadcaster with Q107 and 102.1 the Edge and a commentator for Global News.
Subscribe to Alan’s Ongoing History of New Music Podcast now on Apple Podcast or Google Play
© 2020 Global News, a division of Corus Entertainment Inc.
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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