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‘Massive and exciting impact’: show celebrates Spain’s first abstract art museum – The Guardian

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5 months ago

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In July 1966, as the Beatles were preparing to release Revolver and Spain was approaching the 30th anniversary of the coup that birthed the Franco dictatorship, a Spanish-Filipino artist called Fernando Zóbel threw open the doors of an improbable but visionary cultural outpost.

Based in a clutch of 15th-century houses overhanging a precipitous gorge in the small city of Cuenca, the Museo de Arte Abstracto Español, or Museum of Spanish Abstract Art, had a simple if daunting mission. As Manuel Fontán del Junco, the director of museums and exhibitions at the Juan March Foundation in Madrid and one of the curators of a new exhibition about the institution, puts it, “it was a museum for artists in a country of artists without museums”.

When Zóbel, who was born to a wealthy and powerful family in Manila, arrived in Spain after studying philosophy and literature at Harvard, he was struck by two things. “When he got here, he realised that the Spanish abstract artists were very good but that they had nowhere to show their works when they came back from international exhibitions,” Fontán said. “He also realised that he could collect their works.”

While Spain was home to an entire generation of globally renowned abstract artists – including Eduardo Chillida, Jorge Oteiza, Manolo Millares and Antoni Tàpies – it had done little to honour them.

Zóbel decided to change that by collecting their works and looking for somewhere to show them to the public. A conversation with the painter Gustavo Torner, a native of Cuenca, led to a visit to the city and the discovery that its famous Casas Colgadas (Hanging Houses) had been renovated but were standing empty. Immediately struck by the houses as a possible site for a museum, Zóbel managed to persuade the mayor to let him use the properties in return for a symbolic rent.

Black and white image of a group of artists

The museum that opened on 1 July 1966 was not only Spain’s first abstract art museum but also, according to Fontán, the “first artist-run space in Spain, and one of the first in the world”. Although the gallery was hailed by the first director of the Museum of Modern Art in New York as “the most beautiful small museum in the world” – a description that gives the exhibition its title – its importance transcended visual art.

As well as showcasing works by the likes of Chillida, Tàpies, Luis Feito and Antonio Saura, the museum operated independently from the cultural framework of the Franco regime and helped transform Cuenca into a hub of artistic production and education.

“I think we can almost say that the Cuenca museum was the first democratic museum in the country because it didn’t ask anyone’s permission to do anything,” Fontán said. “It’s true that if it had gone against the regime, it would have been shut down. It was created on the fringes of the Franco regime’s official cultural policy, but it was dreamed into being by a group of artists, led by Zóbel.”

He said Zóbel and his friends, some of whom were clandestine communists, were united by “a shared desire to create a free space with a library and with works of art where people could make the transition to modernity”.

“The museum had a massive and very exciting impact: artists came to live in Cuenca; successive generations were weaned on the museum and its library – which has things like Ginsberg’s Howl or the complete works of TS Eliot – and there were also monographs and contemporary art catalogues and essays,” Fontán said.

“Just as importantly, there were subscriptions to the important international art magazines of the day, which meant that a little Spanish guy in Cuenca in 1966 could get them. It was easier to get them in Cuenca than in Madrid.”

Abstract art hung on white walls in a well-lit room

Zóbel, who would have been 100 this year, donated the museum, its collection and its library to the Juan March Foundation three years before he died in 1984.

Fontán said the aim of the show was to tell “the unlikely story of an artist who helped other artists create the first space for modern and contemporary art in our country”.

He added that without Zóbel’s trailblazing vision – and without the artists and works and ideas he gathered inside the Hanging Houses almost 60 years ago – Spain would have taken far longer to establish itself as the cultural engine it became after the post-Franco return to democracy.

“What Zóbel did allowed Cuenca, this small city, to move ahead 20 or 25 years before the political experiment of the Spanish transition. Let’s say that the institutionality of art in Spain – that world of criticism, fairs, galleries, museums, collections – would have come later if it hadn’t been for this museum.”

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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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