The Sunshine Coast Art Crawl 2021 featured 164 venues, of which 46 were first-time artists or studios that opened their doors to the public over three days in October. The Coast Cultural Alliance, which coordinates the event, has posted video highlights which are accessible via its website: suncoastarts.com/art-crawl/.
The application period for 2022 participants has begun. The 2022 Sunshine Coast Art Crawl will be held Oct. 21 to 23. Registration details are available at suncoastarts.com. All participating artists must be a member of the Coast Cultural Alliance at the time of application.
New exhibit at Gibsons Public Art Gallery
Roberts Creek artist Mieke Jay opens an exhibit this week at the Gibsons Public Art Gallery. The Fabric of Our Lives is an interactive multimedia project that invites visitors to explore digital realities through immersive video projection.
Jay will be in attendance this Saturday, Jan. 15 from 2 to 4 p.m.
Viewers can move throughout the exhibit, becoming living canvas for light and colour.
The Gibsons Public Art Gallery is located at 431 Marine Drive, Gibsons.
The Fabric of Our Lives runs through to Feb. 6. Details are available at gpag.ca.
Watercolour classes offered
Sunshine Coast watercolour painter Roberta Mauel launches a weekly class dedicated to painting in watercolour this Saturday, Jan. 15 at the Arts Building in Gibsons.
This is an introductory course for those unfamiliar with the medium. Participants will learn watercolour techniques and brush strokes by creating a series of simple paintings.
Roberta has lived on the Sunshine Coast for the past 25 years but also draws inspiration from time spent in Europe, Egypt, Syria, Zambia, Mauritania, Guinea-Bissau and Brazil.
A gallery of her works is available online at robertamauel.ca.
Workshop cost, registration information and other details are available online at suncoastarts.com.
A Tricky First Case for the Man Who Wrote the Rules on Nazi Looted Art – The New York Times
The diplomat and lawyer who helped write the treaty used around the world to guide restitution claims is representing the family of a childhood friend, which has been sued to surrender a painting.
Few people have done more to advance the cause of people seeking to recover property lost to the Nazis in World War II than Stuart E. Eizenstat.
As a diplomat and lawyer, Mr. Eizenstat, 79, has advised five U.S. administrations, including that of President Biden, on Holocaust issues. He has negotiated with European governments and companies, recovering more than $8 billion for Holocaust survivors and families, and helped write the landmark Washington Principles on returning looted art, a treaty now used around the world to “expeditiously” promote “just and fair solutions” to restitution claims.
“No self-respecting government, art dealer, private collector, museum or auction house should trade in or possess art stolen by the Nazis,” Mr. Eizenstat said in an essay in 2019.
But, as a lawyer, Mr. Eizenstat had never gotten involved in an individual restitution case. That changed a few months ago when he agreed to help a childhood friend whose family is being sued by the heirs of a Jewish couple whose art collection was seized by the Nazis.
Since 2015, relatives of Ludwig and Margret Kainer have pursued a claim for a painting by Pissarro, the Impressionist master, that was once a part of the Kainers’ collection. Last May, the heirs sued the family of Gerald D. Horowitz, and in the ensuing weeks Mr. Eizenstat, a childhood friend of Mr. Horowitz’s wife, Pearlann Horowitz, agreed to work on the family’s behalf.
“Different claims to artworks that changed hands during World War II have different merits; some are clear cut and some are not,” Mr. Eizenstat said in a statement to The New York Times last week. “Our investigation of the historical facts concerning this painting has convinced us that this is less than a clear cut claim that raises complex historical questions and includes contradictory information.”
Mr. Eizenstat said Mr. Horowitz, who bought the painting from a New York dealer in 1995, had acted in good faith, without any sense there was a cloud on its title. He said his efforts to reach an amicable settlement were in keeping with his life’s work and that both sides had reached an agreement in principle.
“I believed,” he said in his statement, “I was particularly qualified to undertake the task of finding a ‘just and fair solution’ to both sides, as contemplated by the Washington Principles of which I was a principal negotiator.”
Though Mr. Eizenstat’s clients are themselves Jewish, the optics of his surfacing for the first time in a restitution case, not on the side of claimants, but of defendants, have surprised some experts in the field.
“I think it’s unusual that he is showing such limited support for the claimants,” said Lynn H. Nicholas, a historian and expert on Nazi looting whose 1994 book, “The Rape of Europa,” is credited with drawing attention to the scope of the issue. “But I don’t know all the details and he may have good reason.”
The painting, “The Anse des Pilotes, Le Havre,” an oil on canvas work from 1903, depicts a harbor scene and was part of the Kainers’ collection when the couple left Germany in 1932, eventually settling in France, according to court papers. Unable as Jews to safely return after the Nazis grabbed power, the Kainers stayed away, and in their absence, their world-class art collection and other furnishings were seized by the Berlin tax office, according to the suit filed in federal court in Georgia by 15 Kainer heirs.
In 1935, more than 400 Kainer possessions, including the Pissarro and 31 other paintings, were sold at auction in Berlin, the suit says, to pay a Reich flight tax, a financial instrument that was often used to punish Jews who fled the country. In 1963, a German appeals court ruled that the tax levied on the Kainers had been discriminatory, according to James Palmer, founder of Mondex Corporation, a company that pursues restitution claims and is representing the Kainer heirs. In addition, the Kainer heirs have a page from the 1935 auction catalog that references the painting.
The painting’s path for the next 60 years is not completely clear, though it was owned for some time, Mr. Palmer says, by a German industrialist who had bought it at the auction.
In 1995, Mr. Horowitz purchased it from Achim Moeller Fine Art in New York, but only after checking with a respected database that tracks looted art. The painting was not listed.
In 2014, the Horowitz family lent the work for display at the High Museum of Art in Atlanta, around which time it was identified by Mondex, which was already working with the Kainer heirs. The Kainers had died in the 1960s without children, and their current heirs claiming the painting are the children and grandchildren of cousins.
The heirs sought restitution of the painting in 2015, and presented the Horowitz family with evidence that, by 2005, the painting had been listed in the Pissarro catalog raisonné as plundered “from L. Kainer,” according to the court papers.
But Mr. Palmer said the Horowitzes did not want to move forward with discussions because they were uncertain about who were the rightful heirs. (At the time, a foundation created by Swiss bank officials had been established to serve as the heirs to the Kainers and Margret’s father. But in 2015, a German court found that the Kainer relatives, not the foundation, were the couple’s true heirs.)
More recently, the Kainer relatives have presented additional evidence to support their claim, according to their court papers, including documents showing the Kainer couple had registered the work as looted with the French Department of Reparations and Restitutions, which published a record of the work, along with a photograph, in 1949.
And auction houses have treated several other paintings from the Kainers’ collection that had been sold alongside the Pissarro in 1935 as looted property. In 2009, for example, Christie’s sold Edgar Degas’s “Danseuses,” once owned by the Kainers, for nearly $11 million under the terms of a restitution agreement. (At the time, the agreement recognized the Swiss foundation, not the relatives, as the heirs.)
Mr. Eizenstat began advising the Horowitzes sometime after the Kainer heirs took their claim to court last spring, according to Mr. Palmer, and is helping out the lawyer on the case, Joseph A. Patella.
Mr. Palmer said he was a little intimidated when Mr. Eizenstat joined the negotiations, which are being led by the Kainer heirs’ lawyer, Jason Carter, grandson of former President Jimmy Carter.
Mr. Eizenstat worked in the Carter administration as chief domestic policy adviser and served as deputy secretary of the Treasury in the Clinton administration. His numerous awards include France’s Legion of Honor. Last year, the United States Holocaust Memorial Museum awarded him its highest honor for working “tirelessly to secure a measure of justice for Holocaust survivors.”
“He is dealing with governments and policy and dealing on a much wider macro level,” Mr. Palmer said, “so for him to be involved in a very personal level, it was a surprise.”
Mr. Eizenstat said in his statement that he joined the effort in part because Mr. Horowitz is suffering from Alzheimer’s disease and unable to defend himself.
“The Horowitz family are pillars of the Atlanta Jewish and secular community, with a sterling record of philanthropic support for a wide variety of charitable organizations, including the Atlanta Holocaust Survivor Support Fund,” Mr. Eizenstat said in the statement.
One sticking point in the negotiations, Mr. Eizenstat said, had been that Ludwig Kainer “appears to have made knowingly false claims about the circumstances of the alleged confiscation of the Pissarro, and had full knowledge of who possessed it after the war.”
He did not say what those false claims were. However, Mr. Palmer acknowledged that Mr. Kainer had misled French authorities around the time he first filed his claim by reporting that the painting had been lost in France. Mr. Palmer defended Mr. Kainer’s decision, saying that at the time Mr. Kainer couldn’t afford a lawyer to file a claim in Germany, and didn’t believe he would receive justice there. He also didn’t know the painting’s location, which Mr. Palmer said was required to file a claim with German authorities.
Though the negotiations appear to have been successful, there were some bumps in the road. Last week, before an agreement was reached, Mr. Eizenstat had said the settlement talks with Mr. Carter had been “advancing in a productive manner until this shocking breach of trust and improper conduct by Mondex, making sensational allegations to the press about confidential settlement negotiations.”
Mr. Eizenstat also took note in his statement that Mondex is a for-profit company, saying, “It is well known that Mondex acts and receives compensation from the Holocaust claims of others.”
Mr. Palmer said that some portion of the fees the company collects must go toward covering costs it incurs in pursuing restitution claims, “which we do with passion and pride.”
He said that there had been no agreement to maintain any confidentiality about the talks. “Certainly a ‘just and fair’ solution requires candor and transparency,” Mr. Palmer said. But, he said, more important is that the agreement in principle “is a very productive result for all of the parties involved.”
Mr. Palmer added that during the negotiations he had told Mr. Eizenstat it was an honor to work with him. “I told him that we would not have been in existence if not for him, so I thanked him,” he said. “I am very cognizant of the contribution he has made to the rest of the world.”
Art with heart: B.C. artists are saying thanks to frontline staff by offering them their works – CBC.ca
B.C. artists are using their skill and creativity to thank frontline workers by offering them original works through an online platform.
Artists can donate their work by making a submission on the Arthanks website, where each available piece is displayed in a photo. Frontline workers can then browse through the options and request a piece of art.
“We connect the two. We just say here’s the art, here’s the recipient, please get together socially distanced and hand it off,” said David MacLean, a North Vancouver-based artist who came up with the idea.
“When you give a piece of art it’s kind of original, it’s a little bit different, it’s a little more than just a one-off thank you,” he added.
MacLean says the concept of Arthanks was formed as he found himself painting more during the pandemic.
“I was getting madder and madder about the grief that frontline workers are taking … and thinking, ‘what have I done?’ Well, nothing. I’ve done little or nothing to help,” he told CBC’s The Early Edition on Thursday.
MacLean began giving his art to friends and family who were frontline workers — including nurse Robyn Whyte, who he met at a Deep Cove cafe.
Whyte said the two had chatted about their professions and MacLean offered her one of his works after noticing a wolf design on her sweater.
“It just happened … he was donating a piece of art that was related to wolves and I couldn’t say no, it’s a beautiful piece of art,” said Whyte.
MacLean had informally donated about 20 pieces of art when he reached out to Ginger Sedlarova, a friend in the local art scene, to help recruit volunteers and expand the initiative.
He said they have given away about 40 pieces of art since the initiative started last summer, and they are now looking for more artists to donate.
The works on display currently include paintings, vases and miscellaneous pottery.
He said all frontline workers are welcome to request a piece of art, including health-care workers, education workers and those in customer service-facing jobs such as grocery store clerks — “anyone who put themselves at risk to help us in this time of COVID,” according to the Arthanks website.
In receiving her gift, Whyte said she was reminded that people are thankful for the contributions of frontline workers.
“It’s great to be acknowledged. We’ve all been working very hard and it’s just going on so long…” she said. “I know that there’s people out there who are thankful and I really appreciate it.”
Restoration of Michelangelo’s Pieta statue in Florence reveals flaws in marble
The restoration of Michelangelo’s famed Pieta dell’Opera del Duomo in Florence has revealed that the single block of marble from which the masterpiece was sculpted was flawed, offering a likely reason for why it was abandoned before it was completed.
The statue, better known as the Bandini Pieta, represents the Virgin Mary and Mary Magdalene holding the body of Christ as he is taken down from the cross by a man, Nicodemus, whose face is the self-portrait of the Italian Renaissance artist.
“It’s a Pieta that has suffered and is very intimate… it is a really personal statue,” Beatrice Agostini, director of the restoration project, told Reuters.
The works of restoration confirmed that the 2,700 kg piece of marble had veins and numerous minute cracks, particularly on the base, which may have been the reason for Michelangelo’s decision to stop working on the sculpture before finishing it, a statement said.
The artist had initially planned to place the sculpture next to his tomb but only years after beginning to sculpt it, in the mid 1500s, a then 75-year old Michelangelo decided to abandon the masterpiece, giving it as a gift to a servant, who then sold it to a banker, Francesco Bandini.
Restorers did not find any sign of hammer blows, making it unlikely the widespread hypothesis that an unhappy Michelangelo tried to destroy the sculpture in a moment of frustration, the statement added.
The non-invasive restoration started in 2019 but was interrupted several times due to the COVID-19 epidemic. Deposits were removed from the sculpture’s surface, which was then cleaned, bringing it back to its original hue.
The project was commissioned and directed by the Opera di Santa Maria del Fiore and was financed by U.S. non-profit organization Friends of Florence.
“The operation has restored to the world the beauty of one of Michelangelo’s most intense and troubled masterpieces,” a joint statement said.
Visitors have been able to witness all stages of the process as the statue was always on display, in an open laboratory, on a platform, behind a glass screen.
(Reporting by Matteo Berlenga in Florence, writing by Giulia Segreti in Rome, editing by Angus MacSwan)
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