Art
William Blake was the emblem of Englishness – but his art was intrinsically European – The Guardian
The idea of William Blake as a figure representing an aspect of Britishness, or more specifically Englishness, is a well-established one. His poems – The Tyger, London and many others – are fixtures of school syllabuses; his brand of fervent spirituality casts him in a line of free-thinking visionary eccentrics (a view not harmed by his keenness for nudity and belief in the powers of sexual liberation); but most of all it is his words for the hymn Jerusalem that have cemented what has become a determinedly Anglocentric, if also idiosyncratic, reputation.
“Jerusalem as a kind of unofficial national anthem is the usual way into Blake,” says Esther Chadwick, co-curator with David Bindman of William Blake’s Universe, a new exhibition at the Fitzwilliam Museum in Cambridge. “But what we’re trying to do here is explicitly break him out of that nationally bound framework. Yes, he was a great English artist just as he was a great English poet, but despite the fact that during his lifetime he barely left London and never left England, he was also subject to wider European intellectual and creative currents.”
The show places Blake among contemporary artists working in Britain including Henry Fuseli, John Flaxman and Samuel Palmer, but also German Romantic artists such as Caspar David Friedrich and particularly Philipp Otto Runge.
Blake (1757-1827) and Runge (1777-1810) were near contemporaries, albeit with Blake in London and Runge 800 miles away on the Baltic coast in what was then Swedish Pomerania. But while they never met or communicated, they shared almost identical artistic educations, similar experiences of the tumultuous times in which they lived and formulated closely related artistic and spiritual responses.
The exhibition will feature 180 paintings, drawings and prints – more than half of which are by Blake – from the Fitzwilliam’s outstanding Blake holdings, which have recently been augmented by a significant bequest from the estate of John Maynard Keynes’s brother, the surgeon and collector Geoffrey.
The first section of the show examines the common threads of art teaching art across Europe. “What Blake was learning at the Royal Academy in London in terms of the study of classical antiquity, human anatomy through life classes, the Italian old masters, all would have been very legible to Runge studying in Copenhagen,” says Bindman. The second section focuses on artists’ responses to the seminal event of their age, the French Revolution, and the show concludes with the post-revolutionary period and Blake’s, and others, belief in the transcendental and redemptive nature of art and their quest for a renewed spirituality.
After the French Revolution’s assault on Christianity there was a spiritual revival in northern European countries, and to a degree in England, says Bindman. “That British revival is represented mainly by Blake and Palmer. But there was this sort of common endeavour between Romantic artists in Britain and Germany. They shared a belief that the arts should be used together, in the idea of a total mythology that incorporates all mythologies, and that their work might one day be displayed in vast temples or churches.”
“The quality of the work is exceptional,” says Chadwick. “But to see it together adds another dimension. Runge hasn’t often been shown in the UK and, despite some visual differences, here we have him and Blake simultaneously engaged on the most ambitious of undertakings; that art should play its part in the total regeneration of humankind, that in effect art could save the world.”
William Blake’s Universe is at the Fitzwilliam Museum, Cambridge, Friday to 19 May.
Blake’s heaven: five works from the exhibition
Laocoön, 1826-27
This engraving of the famous Hellenistic sculptural group was made at the very end of Blake’s life. He described this print as an expression of his creed, in that it distils his lifelong critique of commerce, empire and war with the searing statement to be found in the text around the image proclaiming: “where any view of money exists, Art cannot be carried on but war only”.
Europe a Prophecy, 1794
The title page of Blake’s illuminated manuscript of texts and images features the serpent of revolution about to strike. But it is not an unambiguous message and Blake captures a sense of energy and potential as much as danger and foreboding.
Glad Day, 1794–96
Also known as Albion Rose, this is an image of both human and national redemption. Made at a time when Blake feared England was in the grip of convention and rationality, the figure, stripped of his clothing, has cast off the material world to awaken to a new dawn in a spirit of exultation.
Large Morning (Der grosse Morgen), 1808-09
Runge was working on this painting at the same time as Blake was working on Jerusalem. It is a small fragment of a hugely ambitious, epic four-canvas work that would depict the soul, the awakening conscience and the progress of human life across Morning, Day, Evening and Night. The project was unfinished at the time of Runge’s early death, from tuberculosis aged just 33.
Albion’s Angel Rose Upon the Stone of Night, from Europe a Prophecy, 1794
Blake claimed not to like caricature but here he satirises the pope – and in effect all organised religions – as a figure who had appropriated Christ’s true message of peace and equality for material gain and power, using the beauty of angels to disguise the brutality.
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.
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Ukrainian sells art in Essex while stuck in a warzone BBC.com
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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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