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How to hang art and photos to please the eye and the brain – The Washington Post

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7 months ago

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There’s an art to arranging pictures on a wall, and some of the elements to consider aren’t entirely intuitive.

“It’s very overwhelming for many people,” says Anita Yokota, a licensed therapist and interior designer in Southern California, and author of “Home Therapy.” “I tell people: Bring in your whimsy — art is so personal. You can make it about proportion and cohesiveness, not perfection.”

Even so, it’s worth putting some thought into it so you can enjoy the results. After all, hanging art or photos is one of the easiest ways to surround yourself with meaningful objects and memories.

While there are rules of thumb to consider when hanging artwork, you don’t have to be wedded to them. “There’s no single best way to hang your pictures on the wall — it’s a form of communication, a way to express ideas, an aesthetic choice,” says Bevil Conway, a visual neuroscientist and artist. The first step is to think about what you’re trying to achieve, advises Conway, whose job as a senior investigator at the National Eye Institute in Bethesda means he’s routinely evaluating the way we see the world around us. Consider your goals: Are you trying to be startling and surprising with your picture placement? Are you trying to provoke curiosity or attract people’s attention to a particular artwork?

Once you’ve identified the vibe you’re trying to create, let the following general principles guide you.

Get the height right

Conventional wisdom says art should be hung at eye level. But it’s important to remember that “eye level” means different things to different people. A more dependable rule of thumb, says Linda Kafka, founder of the Science in Design Academy in Toronto, is to hang pieces so that their centers are 56 to 60 inches above the finished floor. And if the art is going over furniture, aim to hang it eight to 10 inches from the top of the sofa or whatever piece is beneath it, she says. “If it relates to the furniture or architectural features around it, art won’t feel like it’s floating independently.”

Whatever height you choose, keep in mind: “From a psychological perspective, if it’s a scene from nature, for example, it’s most relaxing if it’s placed so that it seems like we can step into it,” says Sally Augustin, an environmental and design psychologist in Chicago. This relates to a concept called embodied cognition: When looking at a particular piece of art, people have a tendency to mentally project themselves into it because your brain’s mirror neurons respond to viewing the artwork just as they would if you were actually in the depicted scene.

Take care when grouping pieces

When grouping art pieces together to create a gallery wall, “Give priority to the thing that is most special,” says Lee Waters, owner and creative director of Lee Waters Design in Midlothian, Va. “You’re looking for something that’s going to make a compelling visual statement.”

For a more free-form configuration, it may also help to place the largest piece in the center, creating a visual anchor for the eye. You can then build out from there, Yokota says. Don’t be afraid to mix horizontal pieces with vertical ones. It’s also worth considering whether you want people to “focus on individual works or the way they come together as a whole, as a collection of works,” Conway says.

Be mindful of the spacing between the frames, ensuring they’re an equal distance from one another. A good rule, says Kafka, is to aim for two inches apart with smaller items; you can go up to three to six inches apart with larger works. But “if artwork is spaced too far apart, it disrupts the visual flow and can create tension and unease,” she says.

If this all sounds overwhelming, a more straightforward solution is to organize your pieces into a grid, which immediately “gives the design structure and a sense of security because there’s order in the space,” Yokota says. The entire display might be an equally spaced, 8 feet by 8 feet. This is arguably a harder approach to mess up, since the human brain loves symmetry (more on that below).

Find a cohesive thread

When arranging artwork in a group, look for one or two elements that repeat between the pieces, whether it’s a similar color palette, a certain type of matting or a particular style of frame. “You want the pieces to relate to each other,” Kafka says. In other words, they should somehow go together without being exactly alike. “When they all share this common characteristic, the brain says, ‘Oh, this was meant to be,’” Waters adds — it becomes easier to process what you’re looking at.

Create balance and symmetry

Research shows that humans prefer symmetry. A 2018 study from the University of Vienna found that both art history and psychology students at the university level prefer symmetrical patterns over asymmetrical ones with art; this may have an evolutionary basis as well as a psychological one, the authors noted. In another series of experiments, researchers in Rome found that visual symmetry even leads to positive mood changes in viewers.

This may be because symmetry creates a sense of order. If a group of paintings “is symmetrical, we perceive it as more thought-through, not random,” explains Augustin, whose firm, Design With Science, uses principles from neuroscience to create spaces that foster productivity, well-being and positive mental states. “It creates a certain comfort in us because it’s easier to survey and process.”

Give it a trial run

Before you commit to the arrangement you have in mind by hammering holes into a wall, “lay out what you plan on the floor in advance to get a sense of how it will look,” Augustin advises. This way, you can view it from different vantage points — straight on, from a distance and from different angles — and rearrange the pieces or their spacing on the floor to create a composition you appreciate. Consider this a rehearsal for your personal art show. Once you’ve got the right arrangement, hammer away.

Stacey Colino is a writer, specializing in health and psychology. You can follow her on X at @ColinoStacey.

correction

An earlier version of this story stated that a piece of art should be hung 56 to 60 inches above the floor. It is actually the center of the piece of the art that should be 56 to 60 inches above the floor.

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

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2 days ago

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September 13, 2024

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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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2 weeks ago

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September 2, 2024

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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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4 weeks ago

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August 18, 2024

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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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