Art
Two art curators had a mystery on their hands. Was an unusual Dalí painting actually his? – CNN
Caitlin Haskell and Jennifer Cohen were stumped. The curators, both working on the Art Institute of Chicago’s first show dedicated to Salvador Dalí, were researching his painting “Visions of Eternity,” which was dated to 1936 and had been held in the museum since the late 1980s. A vertical composition, “Visions of Eternity” depicts an enigmatic, blue-ombre landscape with a shadowy, humanoid figure perched on top of a single arch to the viewer’s left and a pair of beans in the foreground.
But red flags were mounting; the painting seemed out of place in Dali’s larger body of work in that period, Haskell and Cohen explained during a joint call.
“We really couldn’t find anything like it across his work,” Cohen said.
For one, “Visions of Eternity” is exceptionally large — nearly 7 feet tall — but was created at a time when the famed surrealist artist was primarily painting delicate oil figures, animals and objects on small canvases and wood panels, the pair explained. His small-scale works brim with symbolism and double meanings, beckoning viewers to come in close; “Visions of Eternity,” meanwhile, is a sparsely populated scene, requiring observers to take a few steps back.
Dalí was known for recurring visual motifs — think flaming giraffes, deflated pianos, and, of course, melting clocks — but this painting didn’t seem to have any visual companions, said Cohen.
The nearly 7-foot-tall “Visions of Eternity” seemed to be an outlier among Salvador Dalí’s work from the 1930s. Credit: Salvador Dalí/Fundació Gala-Salvador Dalí/Artists Rights Society
“We were like, ‘Is this a Dalí?’ We were really panicking,” she said. They knew the painting had been previously owned by the late Joseph R. Shapiro, a trustee at the museum and founding president of the nearby Museum of Contemporary Art, but before that, its provenance was unknown. Solving the mystery — and confirming the painting’s authenticity — was critical to placing it in the show.
“We noticed all of these different approaches to disappearance that were everything from material to metaphorical in his work,” Cohen explained of the exhibition’s theme.
Haskell and Cohen worked in tandem with the museum’s paintings conservators Allison Langley and Katrina Rush, who undertook technical analysis of the artworks, revealing insights into some of Dalí’s works that greatly shift their meaning.
The surface of “A Chemist Lifting with Extreme Precaution the Cuticle of a Grand Piano” has a shadowy area under the piano where the paint is unusually smooth — the rest of the painting is ridged with craquelure. Credit: Salvador Dalí/Fundació Gala-Salvador Dalí/Artists Rights Society
Using infrared imaging, conservators revealed a figure of King Ludwig II of Bavaria (outlined in blue). Credit: Art Institute of Chicago of Salvador Dalí
X-Ray and infrared imaging, for example, uncovered a hidden graphite portrait of King Ludwig II of Bavaria beneath the surface of the 1936 artwork “A Chemist Lifting with Extreme Precaution the Cuticle of a Grand Piano.” (Ludwig was a patron of the composer Richard Wagner, who appears in the painting.)
Haskell and Cohen believe Dalí’s portrait of the monarch was intentionally hidden like an easter egg, rather than an early draft that was painted over. Credit: Art Institute of Chicago of Salvador Dalí
A Dalíesque mystery
The puzzle surrounding “Visions of Eternity,” however, could not be solved only in the lab. As the artwork contained no hidden drawings or secret indicators that it was a Dalí, Cohen and Haskell began trying to pinpoint the work within his larger oeuvre. That meant casting a wide net on everything he worked on within the 1930s and ’40s.
Cohen eventually found a small but powerful clue when she came across a Dalí illustration commissioned by Vogue magazine in 1939. There, tiny as could be, was a hunched-over person carrying a bindle — a twin to a second figure seen behind the arch of “Visions.”
The magazine feature was about the salacious surrealist pavilion Dalí designed for the World’s Fair in New York that year, a presentation which showcased topless women performing as mermaids, called the “Living Liquid Ladies,” inside an architectural funhouse. He decorated the pavilion with fish skeletons, coral appendages and images of Sandro Botticelli’s “Birth of Venus” and Leonardo da Vinci’s “Saint John the Baptist.”
The exterior of Salvador Dalí’s “Dream of Venus” pavillion at the 1939 New York World’s Fair in Queens. Credit: Sherman Oaks Antique Mall/Getty Images
The funhouse interior of Dalí’s World’s Fair pavilion featured women performing as mermaids. Credit: Eric Schaal/ullstein bild/Getty Images
“It was definitely supposed to be a spectacle,” Haskell said. “The pavilion was in the amusement zone… so it’s really trying to bring a little bit of surrealism to the public. Dalí makes it totally over the top.”
(Dalí’s plan to show Botticelli’s Venus as an inverted mermaid — with a fish head and human legs — was rejected by World’s Fair organizers, resulting in his issuing of an angry manifesto, “Declaration of the Independence of the Imagination and of the Rights of Man to His Own Madness,” which is also shown in the Art Institute’s exhibition.)
Cohen and Haskell examined photos of the pavilion taken by Dalí’s longtime gallerist, Julien Levy, searching for more connections. Their eureka moment came when they were inspecting an image of a massive mural Dalí painted for the pavilion, and spotted a familiar set of beans. A hodgepodge of his famous tropes, the mural includes the melting clocks of “The Persistence of Memory,” a pair of burning giraffes and an anthropomorphized set of dresser drawers. And to the left of the clocks, they realized, was the entirety of “Visions of Eternity,” partially obscured in the photograph by other decorations.
“Dream of Venus,” 1939, as photographed by Eric Schaal. The two beans to the left of the central clock were the clue that the curators needed to confirm that “Visions of Eternity” was a panel taken from this mural. Credit: Eric Schaal/Fundació Gala-Salvador Dalí
At first, the curators assumed Dalí had reproduced their painting for the mural, “quoting” the painting like the other recognizable scenes that made up the giant artwork, Haskell explained.
But when they brought their findings to the conservation team, the true nature of the painting revealed itself. “The conservators said, ‘No, that is the painting… that is the actual canvas,'” Haskell recalled. They could tell by the way the canvas had been cut from the larger mural — the edges matched up perfectly to the scene Dalí had painted for his pavilion.
“It was a shock,” Cohen added.
In March, the curators and conservators will present their findings so far in a program at the Art Institute, but research will be “ongoing for a long, long time,” Cohen said.
In the meantime, “Dream of Venus” now hangs in the third room of “Salvador Dalí: The Image Disappears” along with other freshly analyzed works, providing more insight into the 20th-century artist, whose enigmatic symbolism and larger-than-life personality have become legend.
Haskell says the exhibition is an opportunity to engage with the artworks with new understanding, paying attention to Dali’s remarkable techniques and the trajectory that brought him fame.
“I have always felt that people stopped looking at Dalí at some point along the way — his publicity, his persona, really did take center stage,” Haskell said. “He’s so popular, but have we actually maybe overlooked what made his painting so fantastic in their own time?”
Art
Calvin Lucyshyn: Vancouver Island Art Dealer Faces Fraud Charges After Police Seize Millions in Artwork
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.
[unable to retrieve full-text content]
Ukrainian sells art in Essex while stuck in a warzone BBC.com
Source link
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.
A timeline of events in the bread price-fixing scandal
S&P/TSX composite up more than 250 points, U.S. stock markets also higher
Quebec premier calls on Bloc Québécois to help topple Trudeau government next week
12 Bizarre Things People Did Just To Make Social Media Content
AP source: Bears acquiring quarterback Nick Foles from Jaguars – Sportsnet.ca
dynaCERT Inc. Invites You to Join Us at the Vancouver Resource Investment Conference | INN – Investing News Network
-
News15 hours agoAlberta Premier Smith aims to help fund private school construction
-
Media3 hours ago
Sutherland House Experts Book Publishing Launches To Empower Quiet Experts
-
News4 hours agoQuebec won’t fund graphite mine project tied to Pentagon; locals claim ‘victory’
-
News15 hours agoNurse-patient ratios at B.C. hospitals set to expand in fall, says health minister
-
Economy15 hours agoN.B. election: Parties’ answers on treaty rights, taxes, Indigenous participation
-
News15 hours agoNova Scotia NDP accuse government of prioritizing landlord profits over renters
-
News15 hours agoHealth Minister Mark Holland appeals to Senate not to amend pharmacare bill
-
News15 hours agoSecond-half goals lift defending MLS champion Columbus past Toronto FC
