Western democracies have tolerated the selfish actions and abhorrent behaviour of far-left environmentalists for long enough
Over the past couple years, radical environmentalists have vandalized several great works of art. This includes Vincent van Gogh’s “Sunflowers” (National Gallery in London), Horatio McCulloch’s “My Heart’s in the Highlands” (Kelvingrove Art Gallery and Museum in Glasgow), Claude Monet’s “Grainstacks” (Barberini Museum in Potsdam) and Tom Thomson’s “Northern River” (National Gallery of Canada in Ottawa).
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We can now add one of the world’s most recognizable paintings to the list: Leonardo da Vinci’s “Mona Lisa.”
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On Jan. 28, two women associated with the environmental group Riposte Alimentaire (Food Counterattack) entered the Louvre in Paris, made their way to the 16th-century masterpiece and threw pumpkin soup at it.
The protesters then stood by the “Mona Lisa” and yelled out, “What is more important? Art or the right to healthy and sustainable food?” They were eventually detained by museum security.
Similar to masterpieces targeted by radical environmentalists who belong to groups like Just Stop Oil (Van Gogh, McCullough, Monet) and On2Ottawa (Thomson), the “Mona Lisa” was housed under protective glass. It seems obvious that protesters target paintings protected behind glass to ensure that any potential fines and jail sentences will be kept to a minimum.
The “Mona Lisa” has been housed behind safety glass since 1956, after a vandal hit the lower portions of the painting with acid and another threw a rock that chipped paint off her elbow.
The painting was stolen from the Louvre in 1911 by a former employee, and went missing for over two years. Other attacks include a failed attempt to spray paint it while it was on tour at the Tokyo National Museum in Japan in 1974, and a climate protester who smeared cake on the bulletproof glass housing the work in 2022.
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It’s hard to fathom how these radical environmentalists have been able to get remarkably close to these works of art time and time again.
Having visited several of these museums, I can say with certainty that getting a completely unobstructed path to these masterpieces, especially the “Mona Lisa,” is nearly impossible. To have a clear line of sight to throw soup or other food items at this painting without a security guard nearby is even harder to imagine.
Regardless, it has now happened on multiple occasions — and it has to stop. This isn’t even a partisan issue. Many people on the right and left agree that these radical environmentalists have taken their cause too far.
In order to bring this wave of art vandalism to an end, museums and galleries should increase security measures. While many have metal detectors and security guards to check people’s belongings and confiscate weapons, abrasive liquids and sharp objects, it’s clearly not enough to stop these art vandals.
There needs to be more security guards to monitor rooms that house paintings, sculptures and the like, as well as additional security cameras, alarms and motion detectors. People mustn’t be allowed to bring food into museums or galleries going forward, or take food out of cafeterias.
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This will help ensure that radical environmentalists won’t be able to use museums and galleries to make political statements anymore.
Likewise, more money must be earmarked for security measures. The average security guard at U.S. museums makes US$26.61 (C$36) an hour. More experienced security guards would obviously command higher salaries.
It’s up to either governments to use taxpayer dollars to enhance security at museums, or the institutions themselves to shift some of their funds toward the protection of exhibits. While this will likely mean some new art purchases will have to be temporarily delayed or permanently shelved, it’s a necessary expense to ensure that art vandalism is finally curtailed.
Governments also have to establish stronger penalties for these criminal acts. Make no mistake about it: this is more than mere public mischief. These are attempts to desecrate great works of art, even if they’re safely behind protective glass.
These activists demonstrate a complete lack of respect for authority, tradition and public institutions. This type of behaviour shouldn’t be tolerated in decent, law-abiding societies. Hence, there have to be more significant fines and longer jail sentences to discourage others from engaging in further copycat attacks on works of art.
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Finally, visitors will have to accept the fact that the process of entering a museum or gallery will become even slower than it already is. That’s unfortunate, but it’s a small price to pay if we want to continue to enjoy all they have to offer. A few more minutes in line to ensure several more hours of uninterrupted pleasure doesn’t sound like a bad trade-off.
Western democracies have tolerated the selfish actions and abhorrent behaviour of far-left environmentalists for long enough. Let’s bring an end to art vandalism, in order to protect great works of art for future generations.
National Post
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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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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.
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.
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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