Art

KINSELLA: Thomson’s extraordinary art on receiving end of extraordinary idiocy

Published

1 year ago

August 31, 2023

Ottawa Police attend the National Gallery of Canada, where a climate activist threw paint on artist Tom Thomson’s Northern River painting in Ottawa on Tuesday, Aug. 29, 2023. Climate advocacy group On2Ottawa announced one of their supporters threw paint on the work of art to demand that the government respond to the wildfire crisis. Photo by Justin Tang /THE CANADIAN PRESS

Punish him. Make it hurt.

When this writer — an aspiring painter — heard that someone had thrown paint on Tom Thomson’s masterpiece Northern River, I was very angry.

It happened this week. A man came to the National Gallery in Ottawa and smeared pink paint across the front of it. He was a member of an “environmental” group called On2Ottawa, reports said. After he defaced Thomson’s work, he glued himself to the floor.

A “climate activist,” some media called him. A “terrorist,” others might call him.

I come from a family of artists, you see. “Art is the greatest form of hope,” the British artist Banksy once said, and it’s true. To deface Thomson’s painting — which took two years to complete and is considered one of the greatest works of art ever produced in this country — was to deface hope itself.

Northern River by Tom Thomson. Postmedia Network

My initial reaction, I confess, was that someone should break the fingers and arms of the paint-thrower, so that they can never do it again. I was that angry.

But, no. That’s extreme. That’s the kind of thing the Taliban does, isn’t it? Ironically, the paint-throwers share quite a bit in common with the Taliban, the fundamentalist Islamic terrorist group that now rules over Afghanistan. They try to murder art, too.

The Taliban burn books, prohibit music and — infamously — kill works of art. Upon seizing power in the 1990s, the Taliban systematically and efficiently destroyed thousands of works of art at the Afghan National Museum and elsewhere because they were “un-Islamic.”

In all, 70% of the museum’s artifacts — some 100,000 individual works — were destroyed by the Taliban. In 2001, they obliterated the giant Buddhas of Bamiyan because they were considered un-Islamic and blasphemous. The statues were more than a 1,000 years old.

The destruction of art — the extermination of art — was not something invented by the Taliban, however. Over the centuries, it has happened many times.

Acid thrown onto a Rembrandt by a mentally ill man in Russia. A Velazquez ripped to shreds by a British feminist who later embraced fascism. A shotgun blast fired into a Da Vinci depicting The Virgin and Child in London’s National Gallery.

And, of course, fascists and extremists often target art first. The Nazis destroyed thousands of works of art by cubists, expressionists and impressionists in Germany and France — because they considered them “degenerate.”

So this week’s attack on Thomson’s masterwork is not without precedent. (It was not permanent, either; glass protected it from permanent damage.) Lunatics and monsters are always using beautiful works of art to make a political statement.

And Thomson’s Northern River is unquestionably beautiful. It is extraordinary.

Our greatest artist worked on it on a large canvas — unusual for him — over two years in 1914 and 1915. It depicts thin, dark trees reaching for a Canadian sky, some water glinting in the background. It is a scene that every Canadian has seen or should. It has been described as perfect. It may not be that, but it certainly seems like a perfect rendering of the Canadian wilderness.

It’s not known where Thomson saw what would later become Northern River. Algonquin Park formed the subject matter of many of his masterpieces, of course, but a friend of Thomson’s later said it wasn’t a scene from there. So it could be anywhere in Canada, really.

Why would anyone want to destroy something like that? Why attack beauty? Why would they smear paint on it?

On their website, On2Ottawa says that they are prepared to break laws because “the state is acting immorally.”

Maybe. Perhaps. But the ones who try to destroy art that depicts the very environment that On2Ottawa claims to be concerned about?

They’re the ones who were the most immoral this week.

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Art

A misspelled memorial to the Brontë sisters gets its dots back at last

Published

4 days ago

September 26, 2024

Anne Joseph

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.

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Art

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

Published

2 weeks 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.