Art
Why the bleak beauty of William Kurelek’s art resonates now – The Globe and Mail
‘Despondency’ (1963; oil on masonite).
The Estate of William Kurelek, courtesy of the Wynick/Tuck Gallery, Toronto.
During the Cold War, William Kurelek used a bomb shelter for a studio.
Beset by thoughts of nuclear disaster, the Canadian artist started building the structure for his family’s protection in Toronto’s east end. When the project didn’t pan out, he repurposed the windowless basement as a work space.
For anyone familiar with Kurelek (and you might be without knowing it), this is jarring to learn. Arguably the greatest painter of wide-open Canadian skies made some of his most important pictures in sunless seclusion. The image of him applying heavenly blues to a canvas while hunched underground is strange enough on its own.
It also helps explain why Kurelek has been so powerful to look at during this period of isolation. I discovered this power, and the bomb shelter anecdote, while leafing The Messenger, a coffee-table book that catalogues a major Kurelek retrospective at three Canadian galleries in 2011-2012. The volume reminded me of a quality in his work with sudden currency: the feeling he expressed of being confined in a broken world and the almost miraculous ability to capture the amplitude of nature from that vantage point.
Born to tough-minded Ukrainian parents who farmed in Alberta and Manitoba during the Great Depression, Kurelek is best known for his picturesque vision of rural childhood. The illustrated children’s books A Prairie Boy’s Winter and A Prairie Boy’s Summer, with their snow forts and wheat fields, are considered Canadian classics.
The books remain lovely – and Kurelek’s facility as an illustrator makes him especially good company at home, on paper – but he was also a far more troubled, and troubling, artist than his reputation suggests.
Kurelek converted to Roman Catholicism in the 1950s after several years in a London psychiatric hospital that culminated in a suicide attempt. For the rest of his career, he saw himself as a propagandist for his creed. The world was drowning in sin and he was going to warn unbelievers. The Hieronymus Bosch-like horrors on display in Harvest of Our Mere Humanism Years, for example, include a giant hollow grasshopper encroaching on Toronto’s City Hall. A Prairie boy’s summer this is not.
When he moved back to Toronto and his work started selling, Kurelek struck a deal with his gallerist to put on one show of religious works for every show of “potboilers,” as he called his nature paintings. But a heavy religious sensibility is rarely absent even from his farm scenes, with their overwhelming Prairie skies and thin strips of land, suggesting a certain hierarchy of values. One piece in his book Fields (1976) shows two men standing in a pasture below a peach-coloured sunset. Kurelek called it, “Here today, and tomorrow fed into the oven.”
Even so, as an artist, he was less of a misanthrope than his bleak theology demanded, and what most people are drawn to in his work is its stubborn humanity. This sunny streak is betrayed by a brilliant palette that shines through at unexpected moments: the swamped wagon on a flooded farm painted a hopeful turquoise in Despondency; or the magical and somehow apt deep blue of the nocturnal snow in How Often at Night.
How, then, did Kurelek reconcile his ostensible disdain for the world with an eye that was clearly entranced by it? His barbed piety and love of Creation came together it seems, in a mystical sense that all things are connected. The world might be full of sin and corruption, but it was made by God and so was he. He once wrote about how he felt drawn to the “great, free, flat bogland” to the east of his father’s farm as a boy; how he would go to the bog whenever he got a chance, and think, “You and I belong to each other.”
This is where Kurelek’s vision of things becomes useful in these isolated times. Flipping through his books has made me realize we are beginning to face a problem he lived with for most of his adult life: How do you love a world that is tainted?
This coronavirus pandemic forces us to confront a world that seems tainted all around: imagined clouds of virus-bearing droplets filling the air, every hand and doorknob a vector, every gesture of intimacy a chance for transmission. For now, these are hard medical facts.
But doesn’t our sense of unease about the world outside already sometimes outstrip the medical reality – in the vague sense of dirtiness we have after returning from a walk, say? Doesn’t it seem, worryingly, like these feelings will outlast the disease – implant themselves as an instinct to cringe at groups gathered in the park even after that has become anodyne?
In the coming months and years, we will need to find ways of seeing the world without dwelling on its pollution. Kurelek suggests it’s possible. He saw the world as polluted, in his own way, but found things to cherish in it. The games kids play. The dance of colour in landscape. The size of the sky. All worth cherishing – even from the seclusion of a bomb shelter.
Find out what’s new on Canadian stages from Globe theatre critic J. Kelly Nestruck in the weekly Nestruck on Theatre newsletter. Sign up today.
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.
Politicians must be promptly advised of cyberthreats, Conservative MP tells inquiry
Maple Leafs announce Oreo as new helmet sponsor for upcoming NHL season
Weegar committed to Calgary Flames despite veteran exodus
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
-
News14 hours agoWorld Junior Girls Golf Championship coming to Toronto-area golf course
-
News3 hours agoMK-ULTRA: Ottawa, health centre seek to dismiss Montreal brainwashing lawsuit
-
News14 hours agoMan dead after fall from balcony as police carry out Toronto search: SIU
-
Business14 hours agoPolitics likely pushed Air Canada toward deal with ‘unheard of’ gains for pilots
-
Health2 hours agoHealth Canada approves updated Moderna COVID-19 vaccine
-
Sports2 hours agoFledgling Northern Super League adds four to front office ahead of April kickoff
-
News24 hours agoFormer military leader Haydn Edmundson found not guilty of sexual assault
-
Economy2 hours agoEnergy stocks help lift S&P/TSX composite, U.S. stock markets also up
