Art
Beautiful terror: Why witnessing 'the sublime' in art gives you that awestruck feeling – CBC.ca
Have you ever gone to the gallery with your uncle and as you’re watching him stare deep into a Caspar David Friedrich painting, a look of slight terror appears on his face as he gazes at the rough sea? That look on your uncle’s face is part of art! Today we’re going to talk about this effect that philosophers have called “the sublime” — the sensation that you feel when you look at something immeasurable in scale and sense that you’re almost nothing in the face of it.
We all might be feeling a little small lately — life during the pandemic has shrunk our worlds down to the size of our apartments, and “outside” can actually feel pretty huge at the moment. Nature is gargantuan: it’s full of canyons, huge waterfalls, towering mountains. This feeling of being tiny is shared by all of us at some point — and it’s a feeling artists have tried to capture for centuries.
I’m Professor Lise (not really a professor) and this is Art 101 (not really a class). We’re here to go on a deep dive into an idea, an artwork or a story from the art world that may be controversial, inexplicable, or just plain weird.
The idea of the sublime came up in the 1st century AD when Roman philosopher Longinus referred to it as something elevated or great. At the time, he was actually writing about rhetoric; later on, thinkers grafted the concept onto ideas about aesthetics. The sublime became something that ran parallel to beauty — but invoked a sort of horror. In the 18th century, writers talked about it when they travelled— it was a word that expressed the feeling you got when you stood at the edge of a cliff, looked into a volcano, or saw the sky stretching out above you.
So basically, if you’re looking at a painting in which a man is staring out at the unknown, as in Wanderer above the Sea of Fog by Caspar David Friedrich, you are feeling this sensation, the sublime. Partly because you are a spectator and not actually in danger, the scene can provoke a sort of spiritual and almost-physical horror — but because we know we’re safe, it’s still pleasurable. We’re scared and attracted at the same time.
Artists made work trying to conjure this sensation for centuries. Gericault’s Raft of the Medusa, painted in 1818-19, is based on a true story where survivors of a shipwreck stared out into the rough empty sea. The sense of hopelessness you get when you look into the painting is intensified by the neverending seascape around the stranded men. But we’re not in danger ourselves — we’re experiencing the sublime.
John Constable’s Salisbury Cathedral from the Meadows in 1823 sits under an ominous stormy sky — a metaphor for anxiety about the future of the Anglican Church. These artworks feature overwhelming weather, elements, and landscapes, and they echo not only our fears in real life but the beauty that comes from the power of nature.
In the 1940s, painter Barnett Newman wrote an essay called “The Sublime is Now” and tried to paint the sublime in huge monochromatic works like Vir Heroicus Sublimis of 1950-51, where you can feel pretty insignificant in front of the massive field of red. (By the way, if Barnett Newman makes you mad, you might want to check out this episode of Art 101 from a little while ago.)
Some artists have tried to capture the sensation of the sublime using the earth itself. Nancy Holt’s Sun Tunnels from 1976 uses massive concrete tubes to harness the sun’s light and create an almost spiritual experience.
And Kanye’s favourite artist, James Turrell, began developing his Roden Crater in Arizona in the 1970s where, if you lie inside it, you can see the actual curve of the earth. It’s worth a visit, flat-earthers.
The sublime is all over art of the later 20th century, and into the 21st. Works by photographer Ed Burtynsky use scale and the natural landscape to create something terrifying — like in Oil Spill #2, where a large vessel looks totally helpless in the face of the water swirling around it.
We all feel pretty small right now. The pandemic sucks. And it’s not the sublime — this is a really real feeling of danger. But we’ll live through it and artists will make work about it and we’ll experience it differently, once we’re out of harm’s way. And your uncle will have that beautiful look of terror on his face at a gallery with you, in person, in the future.
See you next time, safe and sound — I hope — feeling newly incredulous about the world outside your home, for another edition of Art 101.
Artworks featured in this video:
1m44s – Wanderer above the Sea of Fog by Caspar David Friedrich (1818)
2m4s – The Raft of the Medusa by Théodore Géricault (1818-1819)
2m28s – Salisbury Cathedral from the Meadows by John Constable (1831)
2m58s – Vir Heroicus Sublimis by Barnett Newman (1950-1951)
3m13s – Sun Tunnels by Nancy Holt (1976)
3m23s – Roden Crater by James Turrell (began in 1977)
3m38s – Oil Spill #2 by Edward Burtynsky (2010)
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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