The Ugly Duchess: Beauty and Satire in the Renaissance The National Gallery investigates grotesque humour in the Renaissance and reveals the dark side of Leonardo da Vinci. National Gallery, London, from 16 March to 11 June
Also showing
Empowering Art: Indigenous Creativity and Activism from North America’s Northwest Coast Contemporary takes on the great Indigenous art traditions of the Pacific coast, which were established long before the USA. Sainsbury Centre, Norwich, from 12 March to 30 July
Nastja Säde Rönkkö Prize-winning Finnish video art about salt and its mythologies, from blood to seawater. Beaconsfield, London, from 16 March to 6 May
Interspecies Entanglements
Our interdependence with the rest of nature is investigated by Vivian Caccuri, Keira Greene, nabbteeri and others. Site Gallery, Sheffield, from 16 March-28 May.
Deep Horizons Tony Robinson, Dr Julietta Singh, nautical pilot Geoff Taylor, and artists Liliane Lijn and Fiona Crisp are among those turning curator to see the Mima collection afresh. Mima, Middlesbrough, until 18 June.
Image of the week
Work in Progress by Jann Haworth and Liberty Blake (2021-22)
Inspired by the Sgt Pepper’s album cover, Work in Progress is a seven-panel mural (of which three panels are shown here) featuring the likeness of 130 British women from Boudicca to Mary Beard. Commissioned by the National Portrait Gallery as part of its three-year project to expand female representation in its collection, it will handily double the number of women on the walls of the post-1900 galleries to 48%, when the buildings reopen in June following extensive refurbishment. Read the full story here.
What we learned
Masterpiece of the week
The Adoration of the Magi, attributed to Hieronymus Bosch
The fantastic visionary mind of Bosch blazes from this excellent early copy of one of his eeriest works. The original is in the Prado, Madrid, but you could mistake this version for a painting by the mysterious artist from ‘s-Hertogenbosch. It’s a surreal masterpiece that has nothing in common with the portraits and landscapes elsewhere in the stately home where it hangs. The city in the distance resembles something from a sci-fi film or game, its bulging buildings alien and bizarrely organic. In front of the stable, an African king is portrayed in a lifelike way, perhaps based on someone Bosch met in the global port of Antwerp. The rotting stable has a slumping tragicomedy to it. From inside, the semi-nude antichrist gawps at the newborn child. All is utterly changed in this apocalyptic adoration. Petworth House, National Trust
LONDON (AP) — With a few daubs of a paintbrush, the Brontë sisters have got their dots back.
More than eight decades after it was installed, a memorial to the three 19th-century sibling novelists in London’s Westminster Abbey was amended Thursday to restore the diaereses – the two dots over the e in their surname.
The dots — which indicate that the name is pronounced “brontay” rather than “bront” — were omitted when the stone tablet commemorating Charlotte, Emily and Anne was erected in the abbey’s Poets’ Corner in October 1939, just after the outbreak of World War II.
They were restored after Brontë historian Sharon Wright, editor of the Brontë Society Gazette, raised the issue with Dean of Westminster David Hoyle. The abbey asked its stonemason to tap in the dots and its conservator to paint them.
“There’s no paper record for anyone complaining about this or mentioning this, so I just wanted to put it right, really,” Wright said. “These three Yorkshire women deserve their place here, but they also deserve to have their name spelled correctly.”
It’s believed the writers’ Irish father Patrick changed the spelling of his surname from Brunty or Prunty when he went to university in England.
Raised on the wild Yorkshire moors, all three sisters died before they were 40, leaving enduring novels including Charlotte’s “Jane Eyre,” Emily’s “Wuthering Heights” and Anne’s “The Tenant of Wildfell Hall.”
Rebecca Yorke, director of the Brontë Society, welcomed the restoration.
“As the Brontës and their work are loved and respected all over the world, it’s entirely appropriate that their name is spelled correctly on their memorial,” she said.
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.
