Art

Revealing show cleverly pairs two female Impressionists

Published

1 year ago

June 3, 2023

Mary Cassatt, Breakfast in Bed, 1897.Huntington Art Museum/Huntington Art Museum

In a new Impressionism show at the Art Gallery of Ontario in Toronto, there’s a moment parents will recognize. In an 1897 painting, by the American expat artist Mary Cassatt, a mother lies in bed with a baby. Front and centre, the plump toddler sits upright, rosy-cheeked and bright-eyed, while the mother gazes sleepily up from her pillow. There’s a tea cup nearby and the child seems to be holding some bread: The title, Breakfast in Bed, is saccharine enough to suggest a tender maternal scene of the kind prized by Victorian audiences. Look closer at the mother’s expression, however, and you’ll perceive her reality: a 6 a.m. wake-up when she would rather sleep.

This clever exhibition is stuffed with such telling moments, achieved by juxtaposing Cassatt’s work with that of the Canadian Impressionist Helen McNicoll. On the surface, the combo, entitled Cassatt – McNicoll: Impressionists Between Worlds, might seem opportunistic or merely convenient. Cassatt was an American living in France and part of the original circle dubbed Impressionist; McNicoll, 35 years younger, was a Canadian working in England under the general influence of the new styles. Throw together two female artists who belong to different generations and never met, and see if some of Cassatt’s wider fame can rub off on McNicoll’s work, not particularly well known even to Canadians. However, the execution, by AGO curator Caroline Shields, offers so many smart observations drawn from this pairing that the show swiftly banishes these doubts.

Shields argues that Cassatt and McNicoll, who both criss-crossed the Atlantic in the age of the steam liner, were figures who inhabited liminal spaces as they travelled between Europe and North America and negotiated professional restrictions placed on women. They could not venture unaccompanied into the city streets or cabarets so beloved by the French Impressionists, and convention encouraged them to concentrate on domestic subjects, although both were unmarried and childless.

Helen Galloway McNicoll, The Victorian Dress, 1914.AGO

Shields makes this point with two paintings near the start: Cassatt’s Young Girl at a Window shows a woman looking inwardly rather than out at a Parisian view; McNicoll’s The Open Door shows a country woman in an interior, perhaps seeking light to tie a knot in her sewing, but with her back turned to the great outdoors. So, both women are placed at the threshold of places where they do not venture.

Next, the exhibition matches Cassatt’s Woman Bathing of 1890-91, one of her familiar drypoint prints heavily influenced by Japanese ukiyo-e, with Interior (1910) by McNicoll, a view of an empty bedroom. By placing the familiar image of a woman at her toilette beside Interior, Fields makes the point that McNicoll has deliberately removed a nude from her scene.

The AGO has also provided a brief video in which the painting is animated as though we were watching the room through the day in time-lapse photography, revealing McNicoll’s use of a shaft of light to enliven her composition. Compared to the pointless animation in the so-called immersive shows devoted to such artists as Vincent Van Gogh or Claude Monet, this small educational intervention by AGO interpretive planner Gillian McIntryre is an astute way of asking viewers to stop and look closer.

Looking closer and thinking again is what this show is all about. Cassatt’s pictures of women and babies are often ambivalent – Maternal Caress and The Child’s Caress seem to show women suffering babies batting at their faces – while McNicoll painted children alone, without mothers supervising them.

One exception is In the Shadow of the Tree from 1910, which shows a young caregiver on a summer day reading a book with a pram beside her, one hand touching it as if to rock the baby. That painting, along with several showing women under parasols or tents at a beach, are testament to McNicoll’s masterful painting of light. Dappled or filtered light on a summer day is perhaps her most magnificent subject.

McNicoll was primarily known for outdoor scenes but around 1913, she began a series of ambitious canvases featuring women in interiors, including two of a figure wearing a massive white crinoline. As the drive to women’s suffrage reached its peak, these confining dresses were now seen as outmoded: McNicoll calls both paintings The Victorian Dress. What would have happened next? McNicoll died of diabetes at age 35 in 1915, so sadly we will never know.

Helen Galloway McNicoll, Under the Shadow of the Tent, 1913.MMFA

It’s not a contest, but she often comes across as the stronger artist here, her brushwork more impressive in its impressionistic effects; her figures more graceful. In a section about labour, Cassatt is represented by Young Women Picking Fruit, an oddly emphatic painting from 1891 in which a well-dressed receiver looks adoringly up at the picker, as a symbol of women passing knowledge to each other. About 20 years later, McNicoll is painting working class women picking apples or carrying hay in more convincing depictions of empowerment.

This weighting probably has more to do with available loans than the reality of the two careers. The AGO has assembled 27 of McNicoll’s paintings from its own collection (which also includes all her sketchbooks, many on display) and from museums in Ontario, Quebec and New Brunswick, as well as private collections. Cassatt is represented by only 13 paintings and her best known pieces, works such as The Child’s Bath at the Art Institute of Chicago, are not included. Instead, Chicago has lent the more fussy female figure On a Balcony. The biggest hits are a pair of deliciously sophisticated female portraits, Portrait of Madame J from the Maryland State Archives and The Cup of Tea from New York’s Metropolitan Museum.

There are no Cassatt paintings in Canadian collections, but luckily the National Gallery of Canada does hold an edition of the 10 drypoint prints devoted to women at their toilette, riding a bus or bathing children. It’s impressive to see the full series at the AGO, to recognize Cassatt’s meticulous printmaking and her commitment to making women seen in art rather than merely objectified.

Mary Stevenson Cassatt. Young Women Picking Fruit, 1891.Carnegie Museum of Art, Pittsburgh

More than a century separates us from Cassatt and McNicoll and it’s easy to assume that all is sweetness and light in their paintings of elegant ladies, chubby babies and vigorous farm girls. By pairing the two, Cassatt – McNicoll slyly reveals the many subtleties in the work of two female artists carving out careers in what was, in their day, a man’s profession.

Cassatt/McNicoll continues to Sept. 2023 at the Art Gallery of Ontario in Toronto.

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Art

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

Published

2 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

4 weeks 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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