Art

Paris Olympics unveils art deco-style posters inspired by the city's flamboyant past – The Globe and Mail

Published

7 months ago

March 5, 2024

French artist Hugo Gattoni, left, and head of design for Paris 2024, Joachim Roncin pose next to the Paris 2024 Olympic and Paralympic posters in Ivry-sur-Seine outside Paris, on Feb. 20, 2024. Vibrant colors and striking landmarks illuminate posters for the Paris Olympic Games in an Art Deco style inspired by the city’s flamboyant past. The posters have been unveiled at the Musée d’Orsay.Thomas Padilla/The Associated Press

Vibrant colours and striking landmarks illuminate posters for the Paris Olympic Games in an art-deco style inspired by the city’s flamboyant past.

The posters were unveiled on Monday at the Musée d’Orsay – a former railway station transformed into an imposing museum stretching along the Seine River – in the presence of Paris 2024 director of design Joachim Roncin and the artist behind them, Ugo Gattoni.

“I don’t want it to be something dull like only a poster with only a logo and a date on it, which they usually are. I want to tell a story,” Roncin told the Associated Press in an interview from the artist’s studio prior to the unveiling. “I want it to be something very happy, because it’s going to a huge party. I want it to be very joyful. Hopefully people will be inspired by these posters.”

There are many eye-catching images to absorb.

Among the most striking is the Eiffel Tower piercing through the Stade de France. As if forming a giant cake mixing together two crucial ingredients: Paris’s most famed landmark and its national stadium.

Spectators on the posters have expressions on their fresh faces that are perfectly captured. It’s as if they are frozen in time, enjoying a giant and timeless party somewhere: On a balcony admiring ballroom dancers, or guests at a grandiose fête thrown by the Great Gatsby himself.

“It’s the art deco style,” Roncin said. “I wanted something very flamboyant, very rich, very colourful. It’s typical of Paris, when you look at various restaurant styles, you can see the art-deco style. When you look at the entrance on the subways, you can see the art-nouveau style.”

No coincidence that it has this feel, perhaps, since these Games mark the centenary of the 1924 Olympics in Paris.

Everywhere you look, even amid a blur of colours, the details are intricate and precise.

In the background you can see the Olympic flame arriving on a three-mast tall ship into the French port of Marseille, having sailed from Greece, and the high-rolling waves representing surfing events in Tahiti. Closer up, some of Paris’s monuments, which will be used during both Games.

Les Invalides, which holds former French emperor Napoléon Bonaparte’s tomb; the imperious Grand Palais; the Arc de Triomphe, and the Château de Versailles, whose resplendent gardens will host equestrian and pentathlon events.

Roncin said 15,000 to 30,000 posters for the July 26-Aug. 11 Paris Games and the Aug. 28-Sept. 8 Paralympics will be sold. Prices range from €20 ($29) for the smallest size (30×40 centimetres/12×16 inches), €30 ($44) for the medium (50×70 centimetres/20×27 inches) and €40 ($58) for the largest (60×80 centimetres/24×32 inches).

The posters will also appear on billboards all over Paris from Tuesday.

It will be a relief to purists that no artificial intelligence was used to design the posters, which is part of the reason why Roncin selected Gattoni.

“It was very important to work with Ugo because he’s a manual artist, he works with his hands. Nothing is digital assisted. Today we live in the world where there is a lot of AI,” Roncin said. “I wanted to bring this savoir-faire à la française [French know-how]; to do these hand-drawn posters and colours as well, with the hand.”

It took six months to decide which colours to use and Gattoni has spent more than 2,000 hours working on the posters.

“It has this fresh feel … an atmosphere of good vibes,” said Gattoni, whose work also included studying all the previous Olympic posters.

“Just like the 1924 poster, this poster has to work in 100 years’ time. For me this is super important.”

The first official Olympics poster appeared for the 1912 Games in Stockholm and was chosen through an artistic competition. Since then posters have been the responsibility of organizers in the host city.

In the first half of the 20th century, a limited number of posters were designed and used for communication and promotional purposes in a preradio and pretelevision era, giving the general public necessary practical information.

In the second half of the century, the number of posters produced increased.

They reflected the artistic, political and social context of their era as the Olympics also branched out of Europe and North America toward Oceania, Asia and Central America.

According to the Olympic Studies Centre, at this point “they play a double role: In addition to announcing the Games, they provide a foretaste of their visual identity.”

Gattoni says it’s the first time he’s drawn “so many humans” and describes his style as creating a universe – one which sucks people in.

“To dive into this universe and become part of it,” Gattoni said. “The drawing is so detailed that you can imagine yourself walking through the gardens of Versailles.”

One of the poster’s most captivating scenes is an athlete standing on a diving platform with arms outstretched, the Olympic dove softly perched on his left arm.

“The Olympic Games is meant to be a period of world peace,” Gattoni said.

Nine years ago, Roncin invented the “Je suis Charlie” slogan, which became a worldwide rallying cry, posting it on Twitter after the Jan. 2015 murderous attack on satirical magazine Charlie Hebdo.

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

Published

6 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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Art

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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