Art
How Blue Paper Revolutionized the Art of Drawing
Blue paper has a niche but expansive part to play in art history. Originally made through a process of upcycling discarded blue rags (cenci neri or stracci tinti) into pulp, blue paper broke onto the art scene as a new material in northern Italy at the end of the 14th century. The forthcoming catalogue Drawing on Blue: European Drawings on Blue Paper, 1400s–1700s (Getty Publications, 2024) traces the introduction and adoption of blue paper as a drawing medium throughout Europe over the course of several centuries, presenting roughly 100 works united by its use.
Edited by Edina Adam and Michelle Sullivan — an assistant curator and associate conservator of drawings at the J. Paul Getty Museum, respectively — the book was created to accompany an exhibition opening at the institution later this month, which will explore the methodology of making blue paper, its dissemination throughout the art world during the Renaissance, and techniques developed by various artists to work with this new and exciting material. Previously employed in utilitarian capacities, such as to wrap parcels, the first use of blue paper for drawing in Europe is attributed to Bolognese painter Giovanni da Modena’s “Riding Procession with a Princess, Two Men, and Pages” (1410–50). Not only was the work unusual in its employment of blue paper, but women — in this case, an unspecified princess — were rarely featured as central subjects of courtly entourages such as this. Rendered in thin black linework and thick white shading, the party includes two pages, other servants, several horses, and a bearded squire leading the way.
Blue paper — shades of which vary across a spectrum of blue tints and sometimes appear as grays — was taken up not only by more artists across Europe but by other makers, as well. The stracci tinti method was innovated in the Dutch Republic between 1650 and 1750, making Dutch blue paper a coveted commodity for artists including Venetian pastelist Rosalba Carriera (1673/75–1757), who frequently committed works to blue paper, including three from her series of Muses (c. 1690–1757). While some artists limited the applied colors to black, white, and grey pencils to allow the blue to shine through as the main pigment, Carriera’s pastel treatment instead uses the blue paper as a simple wash of background color, almost imperceptible beneath the other colors drawn over it but evident in the verso view.
A middle section of the book focuses exclusively on Jean-Baptiste Oudry, who took up blue paper as something of an artistic signature as the medium flourished in 18th-century France. Oudry was a painter of historic scenes, including hunting and animal portraits, and some 70% of his extant drawing oeuvre is executed on colored paper. The chapter, written by art historian Camilla Pietrabissa, focuses specifically on a series of 276 drawings that Oudry made between 1729 and 1734 for an illustrated edition of French poet Jean de La Fontaine’s Fables (1668–94), all on blue paper.
Drawing on Blue is perhaps best intended for the purest kind of art historian — one who can deeply revel in the details of the conversation between artists, media, and advances that seem to be purely industrial or mechanical, but have unintended artistic applications. Even for the layperson, it is endearing to look into a past, however distant, and learn of artists doing what they always have done: finding something new, seizing upon it, and exploring its potential from every angle as a new vehicle for expression.
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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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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