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‘Gratitude’ art exhibit celebrates essential workers – MassLive.com

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Ashfield artist Robert Masla is grateful for essential workers who are often overlooked but are no less essential to a whole, functioning, prosperous human society.

So he has put together a solo exhibit of recent oil and watercolor paintings, “Gratitude: The Unrecognized Essential Workers Series,” that will be on view online beginning Oct. 1 or at the R. Michelson Galleries in Northampton.

“Most of us are acutely aware of the essential workers who are obvious to us during these challenging pandemic times — health care workers, doctors, nurses, etc.,” he said. “Hopefully this time has also brought a heightened awareness and appreciation to those that though providing these essential services, they remain unrecognized in their value to society at large.”

He listed teachers, service persons, postal workers, immigrant farmers, artists, musicians, writers, EMT’s, custodians, poets, social workers, dancers, repair persons, ” etc. etc.,” adding that “perhaps the most impassioned of these, (and unpaid), are the ‘Defenders of a Real Democracy’ who are formed by all of the diverse members and occupations of society, depicted in the paintings ‘Take a Knee: Rural Communities in Solidarity with Black Lives Matter’ (oil 22”x72″) and ‘The 30th of May: Persecution of the Defenders of Real Democracy’ (oil 48″x72″) that are on display in this exhibition at the R. Michelson Galleries.”

A full-time professional artist whose exhibition history extends over 40 years, Masla’s canvases, murals and portraits can be found in the United States and in Mexico in numerous public and private collections. His work has been featured in solo and group exhibitions in both countries and in various books and publications.

Throughout his more than 40-year career, his work has moved from visionary and symbolic paintings, to landscapes, particularly from, but not limited to the areas around his homes and studios in western Massachusetts and Mexico. His work has moved from trompe-l’oeil still lifes to abstract collages to portraits to murals. These are executed in a variety of methods and a variety of media — oil paint, alkyd, watercolor, gouache, acrylic, digital collage, charcoal, water soluble graphite, sumi-e ink.

“I do not call myself a watercolorist or ‘oilist’ or ‘portraitist or ‘landscapeist’ or either impressionist, surrealist, realist or abstractionist,” he said.

Sometimes he has been asked what is his favorite medium, and he replies, “Paint.”

Although Masla makes a living as an artist, art to him is more than a product:

“It is a process as well, it is also a way of life, of seeing, being and doing – of connecting with myself and with the universe around me.”

Art, like life, is not easily defined, he said; it is “a reflection and part of the great mystery we call the universe, (some would call God). Back in the ’70s, when I was constantly grappling with such existential questions, I coined the term SpiritRealism, to refer to artwork and a lifestyle that reflected these concerns, and had no ‘stylistic boundaries.’”

As an artist, Masla’s intention always has been to use his work as a spiritual practice, a form of ritual and meditation, a practice that ultimately helps him transcend his limited ego and reach a place of non-judgmental awareness and openness. “It grounds me in the present moment so I can connect with the creative flow of nature that surrounds me and is me. We are all a part of creation unfolding, and I see my role as an artist to play my part as co-creator, and hopefully help others make that connection through my work,” he said. “We all go about our work and our lives, hopefully trying to be present, aware and compassionate. In my case, a lot of that time is spent making art, and if I am still enough, present enough, I am able to connect – to be in the place of my essence — open awareness — that is where spirit is, and you catch it on the in breath, aha, the in-spiration.”

Masla graduated from The School of the Museum of Fine Arts at Tufts University with a bachelor of fine arts degree and diploma in painting in 1979 and received a master’s in fine arts in painting and art history from The City College of New York in 1986.

His exhibit, “Gratitude: The Unrecognized Essential Workers Series,” will be available online beginning Oct. 1 or at the gallery (masks and social distancing required). Masla will be at the gallery Oct. 3, from 3 to 8 p.m. and Oct. 4 from 1 to 8 p.m. and by appointment.

The gallery is at 132 Main St., Northampton.

For more information, go to MaslaFineArt.com or RMichelson.com.

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Calvin Lucyshyn: Vancouver Island Art Dealer Faces Fraud Charges After Police Seize Millions in Artwork

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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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Ukrainian sells art in Essex while stuck in a warzone  BBC.com



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Somerset House Fire: Courtauld Gallery Reopens, Rest of Landmark Closed

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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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