Art

Why Historian E.H. Gombrich’s ‘The Story of Art’ Has Stood the Test of Time

Published

9 months ago

January 2, 2024

The following is excerpted from The Story of Art by E.H. Gombrich, with a new preface by Leonie Gombrich (©2023, released in the U.S. May 3, 2023). Reproduced by permission of Phaidon. All rights reserved.

Preface to the pocket edition

There are no bad reasons for liking a picture. This is the conviction expressed by my grandfather, E.H. Gombrich, in the opening pages of this book—his best-selling introduction to art, first published in 1950 and enjoyed by millions of readers around the world since. When questioned, as he frequently was, about his own artistic preferences, he generally demurred, insisting that he would not ‘give marks’ to paintings. Tastes change, after all. Perhaps it is because this is not a book about tastes, but the story of the fresh challenges that artists identify and tackle from generation to generation, that it has retained its own freshness for each generation of readers.

E. H. Gombrich. Picture credit: Pino Guidolotti

It mattered greatly to my grandfather that many of his most fervent readers have always been, themselves, artists—artists who felt a kinship, through his interpretation, with the efforts of their forebears. Reading it today, it is undeniable that some of the writer’s language is of its time, as are his assumptions about the world that his original reader would have inhabited. Yet despite these historical realities, his telling of the story of art has, over the decades, proved to have a relevance that resists the passing of time—a relevance rooted in our recognition of the universality and importance of the human urge to create, invent and make anew.

In the case of the book you now hold in your hand, the Story of Art has itself, in a sense, been made anew, although the interior remains unchanged. My family are as indebted as was my grandfather to the new generations at Phaidon Press for rising so well to the challenge of reinvention. The sequence of prefaces included here form an interesting mini-history of the different editions in which Gombrich’s narrative has been made available to the public. This pocket format is the latest in a series of thoroughly satisfying reissues.

When the first pocket edition appeared in 2006, five years after my grandfather’s death, I, like many, regretted the disappearance of the illustrative tailpiece originally included at the end of each chapter, as Gombrich describes in his preface to the first edition. The redesign rendered these images contextless, just as the first design had made them necessary—and for modern readers, they can still be seen in the full-sized sixteenth edition, which remains available.

The Story of Art. E.H. Gombrich, with a new preface by Leonie Gombrich, Revised pocket format. Photo: Phaidon.

I was also doubtful of the wisdom, for the pocket edition, of departing from Gombrich’s firmly-held principle of ensuring that images should always appear on the same page as the text in which they are referenced: a principle that caused publisher, designer and author many a tricky conundrum over the years, but which has been greatly appreciated by countless readers. The publisher’s solution was to provide the book with two ribbons, so that the reader can flip effortlessly between text and image. So concerned was I about the deviation from my grandfather’s principle that I felt I must test the arrangement thoroughly. So, I read the re-designed book, and I am very happy to attest that the two-ribbon system works perfectly. Indeed, uncluttered by text as they are in this format, the images gain a clarity that proves to be an unexpected benefit of the pocket edition’s design.

The Story of Art. E.H. Gombrich, with a new preface by Leonie Gombrich, Revised pocket format. Photo: Phaidon.

Best of all, though, was that my test brought me once more into the uninterrupted company of my grandfather. Although I frequently have reason to read other things he wrote, I had not revisited his Story of Art in its entirety for many years. To be honest, I had only meant to re-read a chapter or two—to test those ribbons—but the lucidity, intelligence and sheer humanity of his words drew me on, as they have so many readers past and to come. I remembered what a wonderful companion and guide he was, never more so than when visiting the treasures housed in a museum, gallery, palace or place of worship.

Tastes may change, but for anyone who wants to understand why particular artworks of the past line walls around the world—and why we, today, might care that they do—that tale is here. With this lovely pocket edition, you, too, can take my grandfather with you, and see this world unfold.

Leonie Gombrich, October 2022

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Art

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

Published

5 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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