Art

Jaroslava Brychtova, Creator of Monumental Glass Art, Dies at 95 – The New York Times

Published

4 years ago

April 21, 2020

Jaroslava Brychtova, an internationally acclaimed Czech artist who made large-scale glass sculptures with her husband and collaborator, Stanislav Libensky, pioneering new ways to work with glass, form and light, died on April 8 in Jablonec nad Nisou, a town in the Czech Republic. She was 95.

Her death, from what was thought to be heart failure, was confirmed by Katya Heller, whose Heller Gallery in Manhattan represents the couple.

From the late 1950s until 2002, when Mr. Libensky died, Ms. Brychtova and her husband created an ambitious body of work that could be likened more to painting, sculpture and architecture than to something that rests on a tabletop. Some works topped 13 tons and towered 14 feet. Many featured negative space, like cuts, to allow light to penetrate. The best of them merged art and science through the material of colored glass to profound effect.

“Red Pyramid” (1993), one of several works by the couple in the permanent collection of the Corning Museum of Glass in Corning, N.Y., is a simple pyramidal shape, almost three feet tall, that looks to be glowing dramatically from within. It was created using a technique the artists developed called mold melting, whereby chunks of glass are placed in molds and left to slowly melt inside a kiln.

“When you stand in front of one of their works, you feel the power they brought to it,” said Susie J. Silbert, curator of postwar and contemporary glass at the Corning Museum. “The forms are so bold, so strong, and the glass is so expressive.”

Mr. Libensky made the paintings and drawings, while Ms. Brychtova translated and interpreted his designs into three dimensions, using clay models to perfect the shapes and surfaces.

She played another essential role behind the scenes: She was in charge of the architectural glass studio where their work was produced, in her hometown, Zelezny Brod. While Mr. Libensky spent weekdays in Prague teaching at the Academy of Decorative Arts, Ms. Brychtova pushed the studio workers under her charge to achieve their vision.

“The sheer will and determination she had to get this all done is remarkable,” Ms. Heller said. “Particularly when you see the scale of these pieces.”

In a documentary film about the couple, “The Space of Light,” Ms. Brychtova acknowledged that she was “pretty tough within the factory environment,” adding, “I wasn’t very popular because I was always striving for the best.”

She and her husband sought to make glass sculpture that could stand alone without a pedestal. They achieved it with the Vestments, a series made in the late 1990s. On its website, the Metropolitan Museum of Art in New York, which owns “Vestment II” (1997), described the sculpture, of muted gray glass, as “reminiscent of a liturgical garment,” appearing “opaque and grandiose but at other times almost weightless.”

Though admirers and critics focused on the massiveness of her work, Ms. Brychtova insisted in the documentary that scale was not the biggest challenge. “It’s ideas that are hard to get to, not size,” she said.

Jaroslava Brychtova was born on July 18, 1924, to artistic parents. Her mother, Anna Pekarkova, created hand-woven textiles. Her father, Jaroslav Brychta, was a sculptor and glassmaker who also founded a local school that taught glassmaking techniques as well as design, chemistry and technology. He was a major influence on her life.

Ms. Brychtova followed her father into the arts, studying sculpture at the Academy of Arts, Architecture and Design and at the Academy of Fine Arts, both in Prague, before returning to Zelezny Brod, a small town in north Bohemia with centuries-old glassmaking tradition. She spent nearly all her life there.

It was in Zelezny Brod, in the early 1950s, that Ms. Brychtova met Mr. Libensky, who was the director of the glass school and, like her, married at the time. They divorced their spouses, causing a minor scandal, and embarked on the fruitful partnership that first drew notice at the 1958 World’s Fair in Brussels, where they showed colored glass blocks with reliefs of wild animals.

In Communist Czechoslovakia, where the couple made their seminal work, artists who might have otherwise been censored could hide out in the “minor” art of glass while pursuing ideas like abstraction. The couple’s work was underwritten by the state, at least initially, and they exhibited at World Expos in Montreal in 1967 and Osaka, Japan, in 1970.

They also created many public works in the Czech Republic, including the facade of the National Theater and the stained-glass windows for St. Vitus Cathedral, both in Prague, as well as a relief inside the striking Jested Tower.

After the 1968 Soviet-led invasion of Czechoslovakia, the Communists cracked down on artists. Ms. Brychtova and Mr. Libensky were expelled from the party and forbidden to travel abroad together for a time.

Over the decades, as their international reputation grew and their work was displayed at the Met and the Victoria & Albert Museum in London, a younger generation of female glass artists drew inspiration from Ms. Brychtova.

She is survived by two sons, Jaroslav and Milos Zahradnik, and a daughter, Alena Vavrikova, all from her first marriage.

A stylish woman with a distinctive mop top of gray hair, Ms. Brychtova retained an “age-defying curiosity” about art and culture to the end of her life, Ms. Heller said. But she stopped making glass works after the death of Mr. Libensky, telling the Czech News Agency on the occasion of her 90th birthday: “It is impossible without Stanislav. I am used to working in a couple. Without him, it just isn’t right.”

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

Published

5 days ago

September 13, 2024

Harry Miller

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.

Art

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

Published

2 weeks ago

September 2, 2024

Harry Miller

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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

Published

1 month ago

August 18, 2024

Harry Miller

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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