Sotheby’s, Christie’s and Bonhams call off Russian art auctions in response to war in Ukraine

“Sotheby’s will not be holding Russian art sales in June,” a spokesperson for the auction house says in a statement. “Our hearts and thoughts go out to all those affected by the Ukraine crisis and we are actively supporting those impacted by the tragic events unfolding in the region through corporate and employee fundraising."

A Spanish Art Professor and Her Students Staged a Silent Protest at the Picasso Museum to Raise Awareness of the Artist’s Treatment of Women

The group showed up with custom t-shirts calling out Picasso’s behavior.

The group arrived on May 27 at the Barcelona institution with black-and-white t-shirts that read “Picasso, women abuser” and “Picasso, the shadow of Dora Maar.

The goal of the protest, Llopis said in an email to Artnet News, was “to speak out. To talk about what really happened. To say the truth about many women artists who can not develop their creativity.”

(Стало быть, это Пикассо им кислород перекрыл.)

Crossposts: https://ad-vocem.livejournal.com/391606.html

The Brooklyn Museum продает своего единственного Кранаха (Лукрецию) и еще 11 произведений на аукционе Christie's. Поиздержались.

За Кранаха предполагается выручить $1.8 миллиона.

А Поллок должен принести от 12 до 18 миллионов (to support minority artists).

Crossposts: https://ad-vocem.livejournal.com/384871.html

A New York Museum Is Selling Its Only Jackson Pollock Painting at Christie’s to Fund Acquisitions of Work by Women and Artists of Color

The Everson Museum, which focuses on American art, is the latest institution to resort to deaccessioning in an effort to diversify its collection. Last year, the San Francisco Museum of Modern Art sold a Mark Rothko painting (which, coincidentally, also had a connection to Peggy Guggenheim) for $50 million to create a dedicated acquisition fund, while the Baltimore Museum of Art sold off seven works by white male artists to create a war chest for acquisitions of art by women and artists of color in 2018.

Crossposts: https://ad-vocem.livejournal.com/384002.html

Caricature The Contrast by Thomas Rowlandson:
showing a contrast of "British Liberty" vs. "French Liberty"

The Contrast, Thomas Rowlandson (British, London 1757–1827 London), Etching

The Contrast, Thomas Rowlandson (British, London 1757–1827 London), Etching

Забавно: в описании французской свободы в одном ряду с убийством, предательством, жестокостью, анархией и прочими ужасами стоит равенство.

Crossposts: https://ad-vocem.livejournal.com/383336.html

Three Museums Have Cancelled Planned Jon Rafman Exhibitions Following Allegations of Sexual Misconduct

The artist has also been dropped by his Montreal gallery.

Three museums around the world have cancelled exhibitions by Jon Rafman in response to complaints on social media of alleged sexual misconduct by the acclaimed Canadian digital-media artist.

The museums—the Kunstverein Hannover; the Hirshhorn Museum and Sculpture Garden in Washington, DC; and the Musée d’art contemporain de Montréal—had each scheduled separate solo shows this year.

The museums took action after three women shared their recollections of sexual encounters with Rafman on the Instagram @surviving_the_artworld, which publishes allegations of abusive behavior in the art world.

The accusers are artist Anne-Marie Trépanier and arts administrator Emily Cadotte, both 28, and a third woman who has remained anonymous.

Each of the accusers suggest that the relationship with Rafman was characterized by a power imbalance that left them feeling uncomfortable.

In a post on the @surviving_the_artworld Instagram, Trépanier said she added Rafman as a Facebook friend in 2014, when she was 21. Later, at his invitation, she says she went to dinner with the artist, his mother, and an unnamed curator, after which she and Rafman slept together. She alleges that later sexual encounters (то есть продолжала есть кактус) left her feeling “disgusting, soiled… embarrassed, so embarrassed.”

In her accusations, Cadotte said she continued messaging with Rafman after an “uncomfortable” sexual encounter “because I saw him as a gatekeeper in the Montreal art scene that I so desperately wanted to be a part of.”
(В самом деле, могла ли она поступить иначе, когда на кону такие ставки?!)

То есть насилия не было, принуждения не было, обмана не было, харассмента тоже не было. Просто дамам не понравилось, причем не сразу, а спустя, как водится, некоторое количество лет. Дамы задним числом ощутили 'power imbalance' и почувствовали себя 'uncomfortable', и теперь художнику хана.

Crossposts: https://ad-vocem.livejournal.com/383157.html

Heather Phillipson's THE END sculpture for the Fourth Plinth is unveiled in London. Photo by David Parry/ PA.

After a Four-Month Delay, Heather Phillipson’s Giant Whipped-Cream Sculpture Has Been Unveiled in London’s Trafalgar Square

Crossposts: https://ad-vocem.livejournal.com/382826.html

Queer|Art, a New York nonprofit dedicated to promoting the work of LGBTQ+ artists, has launched a new $10,000 grant specifically aimed at shining a light on the achievements of Black trans women as visual artists.

Crossposts: https://ad-vocem.livejournal.com/381064.html

В Генте открылась самая большая за всю историю выставка Ван Эйка:

Van Eyck. An Optical Revolution

The largest Jan van Eyck exhibition ever

01.02.20-30.04.20

Те, кто хотел бы, но не сможет там побывать, могут утешиться на сайте, где All Painted Works and Miniatures by Jan van Eyck Accessible Online.

Crossposts: https://ad-vocem.livejournal.com/372069.html

Всего за какие-нибудь скромные 70 тысяч в год Йель дает отменное образование:

Starting next year, Yale University will no longer offer “Introduction to Art History: Renaissance to Present,” a once-renowned survey course of art through Western Civilization, because it has been deemed insufficiently inclusive of non-European artwork.

The news agency notes that while the course was once considered “quintessential,” the decision is the “latest response to student uneasiness over an idealized Western ‘canon’ – a product of an overwhelmingly white, straight European and male cadre of artists.”While the course will still be offered for the duration of the term, the news agency notes that the topics in the course have changed significantly over time. Now, the curriculum will emphasize the relationship between works from Western and non-Western countries, and students will be encouraged to consider the ways the artwork relates to race, gender, class, capitalism, and climate change.

Crossposts: https://ad-vocem.livejournal.com/370841.html

Термин 'Золотой век' применительно к Голландии 17 века теперь не комильфо:

The Amsterdam Museum Drops the Term ‘Golden Age,’ Arguing That It Whitewashes the Inequity of the Period

In the coming months, the museum will remove all appearances of the term in its galleries. It will also change the name of its permanent “Dutchmen of the Golden Age” exhibition at the Hermitage Museum—an Amsterdam-based branch of the Hermitage in St. Petersburg, Russia—to “Group Portraits From the 17th Century.”

The renaming effort is part of a larger campaign at the Amsterdam museum to become more inclusive. Later this month, the institution will host a symposium for museum professionals and community members about the way it represents the nation’s history in the 17th century. That same day, the museum will open a new photography exhibition positioned as a response to “Group Portraits From the 17th Century,” in which Dutch people of color are shown in historical settings.

These moves are part of a wave of museums reconsidering the way they have presented their collections for decades. Last year, for example, the Art Gallery of Ontario in Toronto renamed the Canadian artist Emily Carr’s 1929 painting Indian Church as Church at Yuquot Village to acknowledge the Indigenous community that lived where the church was located.

The Problem of ‘the Golden Age’
by Tom van der Molen (a curator at the Amsterdam Museum)

Dutch Golden Age, a period that witnessed the unprecedented, unique blossoming of power, wealth and cultural development in a small territory, was an important part of the way in which history was used to cement a sense of national identity. He therefore referred to it emphatically as ‘our Golden Age’ the heyday was our pride, our property, and part of the identify of every ‘cultivated Dutchman’. In other words, ‘Golden Age’ is a term devised to gold-plate Dutch national identity, to dress ‘cultivated Dutchness’ in a coat of excellence – indeed, superiority – with regard to all other nations. This means that ‘Golden Age’ is a term that automatically excludes certain people. If your ancestors did not share in the power and wealth of the seventeenth century, or were actually among the victims of the Dutch Republic’s efforts to increase its power and wealth, the term ‘Golden Age’ is at best irrelevant to you, and at worst a phrase that bristles with hostility.

Crossposts: https://ad-vocem.livejournal.com/370252.html

'Пейзаж с замком' Рембрандт (1640 - 1654, датировки разных искусствоведов не совпадают)

Картина находилась в Дельфте в собрании Geertruyt Brasser (упоминается в 1692 году в описи ее коллекции).

Затем попадает к Jan Pieter van Suchtelen, он же граф Петр Корнилович Сухтелен (его портрет есть в галерее 1812 года в Эрмитаже; вообще у него весьма примечательная биография).

В 1859 году наследники Сухтелена продали картину графу Павлу Сергеевичу Строганову.

Строганов умер в 1911 г. Детей у него не было, и по завещанию картина отошла Владимиру и Александре Щербатовым, его внучатым племянникам.

После революции их картины были, как водится, реквизированы Советской властью, а сами брат и сестра вместе с их матерью княгиней Щербатовой (в девичестве Строгановой) были убиты в 1920 в Немирове на Украине.

Не позднее 1925 года картина поступила в Эрмитаж, где находилась до 1932 года, когда ее продали арт-дилеру Wildenstein (компания существует и сегодня, находится в Нью-Йорке).

В 1933 году картину купил крупный французский виноторговец и коллекционер Etienne Nicolas. Компания Nicolas здравствует и поныне, у них около 500 магазинов. В путешествиях по Франции трудно на один из них не натолкнуться.

В 1942 во время оккупации Nicolas продал (вынужденно?) 'Пейзаж' вместе с другой картиной Рембрандта ('Портрет Титуса') за 60 млн франков Гитлеру для планировавшегося в Линце Führermuseum'а.

После окончания войны через Central Collecting Point оба полотна вернули Nicolas, а в 1948 году он подарил их Лувру, где они сейчас и висят.

https://en.wikipedia.org/wiki/Landscape_with_a_Castle

https://rkd.nl/en/explore/images/69017

http://cartelfr.louvre.fr/cartelfr/visite?srv=car_not&idNotice=25564

Crossposts: https://ad-vocem.livejournal.com/370079.html

Недавно широко обсуждался моральный облик Гогена.
Оказывается, он не первая жертва. К Ренуару привязались уже несколько лет назад, но мне только сегодня попалась статья об этом.

Выдержки:

...in recent years, Renoir's reputation has been tarnished with accusations of misogyny. On top of this, his trademark style is viewed as less than favourable.

Twenty-first-century internet culture has playfully rallied against Renoir, exemplified most emphatically in Max Geller's Renoir Sucks At Painting, an Instagram account which snowballed into a quasi-serious protest movement named 'God Hates Renoir'. In 2015, anti-Renoir 'activists' could be seen standing outside American national museums to protest (!!!) the artist's inclusion in their collections...

This indifference or 'cancellation' of Renoir doesn't solely come down to a dislike of his painterly style, but is symptomatic of today's politically correct, identity-orientated culture, in which many an eyebrow is raised over white male artists who once obsessively painted nude women.
Recently, the New Yorker art critic Peter Schjeldahl published an article titled 'Renoir's Problem Nudes', which argued that although we may question the effectiveness or purpose of 'cancel culture', Renoir shouldn't be quickly excused for his sexism.

Ironically, in the context of a politically 'woke' age, Renoir's apolitical art has been politicised by a discontented community of art lovers, who have little time for a genre that doesn't speak to their view of the world, i.e. that we are facing a pressing political situation.

I wonder who the next target will be.

Crossposts: https://ad-vocem.livejournal.com/368877.html

Baltimore Museum of Art will only buy women's art in 2020

Продали бы другим, не таким woke, музеям имеющеeся у них старье (Рафаэля, Боттичелли, Рембрандта, Хальса и прочих).
На фига им белые мужчины?

Crossposts: https://ad-vocem.livejournal.com/368555.html

Наткнулась на сайте Уффици.
Автопортрет за год до смерти. Это ее единственная сохранившаяся картина.

The daughter of painter Filippo Paladini, Arcangela was educated in the monastery of Sant’Agata in Florence, and was not just a painter; she was also a singer and a tapestry expert. From a young age she enjoyed the protection of the Medici Grand Duchesses, Christina of Lorraine and then Maria Maddalena of Austria, which aided her artistic training. She studied painting with Jacopo Ligozzi and singing with Francesca Caccini, performing before the court of the grand duchy in the church of Santa Felicita and in Palazzo Pitti. In 1616 she married a Flemish tapestry maker, Jan Broomans from Antwerp, from whom she learned the profession, becoming so skilled that she became well known, not only as a favourite “singer” for the Medici house, but also as “Arcangiola ricamatora” or tapestry maker. This young and talented artist died in 1622 at just 23 years of age. Maria Maddalena d’Austria had a funeral monument built in her honour in the church of Santa Felicita, decorated with the figures of Music and Painting, and made by sculptor Antonio Novelli.

https://www.uffizi.it/en/artworks/self-portrait-arcangela-paladini

https://en.wikipedia.org/wiki/Arcangela_Paladini

Больше информации здесь:

http://www.artinsociety.com/forgotten-women-artists-1-arcangela-paladini.html

Crossposts: https://ad-vocem.livejournal.com/367783.html

В центре сюжета фильма находятся три сестры – Ольга, Ирина и Маша. Они живут в одном доме, и как им кажется их существование вполне себе обычное. Однако внутри каждой из них бурлит нереализованная страсть к мужчине. Из всех сестер замуж вышла, только средняя Маша, но счастье со своим мужем она так и не обрела. В итоге дамы, которые уже далеко не девочки, пытаются устроить свою личную жизнь и найти настоящую любовь...

Crossposts: https://ad-vocem.livejournal.com/363435.html

Вот французский сайт, где собирают пожертвования на реконструкцию (на английском яз.):

https://don.fondation-patrimoine.org/SauvonsNotreDame/~my-donation?context_form_id=form_100.15.89.106_5cb76d26ee9a03.58072084

Уже перевалило за 13 миллионов.

Crossposts: https://ad-vocem.livejournal.com/362463.html

Notre-Dame de Paris: les œuvres qui ont été sauvées et ce qui a été détruit

L’incertitude demeure lundi soir alors qu’un incendie a ravagé en grande partie la toiture de la cathédrale Notre-Dame de Paris qui abrite de nombreuses œuvres d’art. Selon les premiers témoignages, plusieurs d’entre elles ont pu être sauvées des flammes. Pour d’autres, l’inquiétude est grande.

***
Les seize statues de cuivre qui ornaient la flèche de Notre-Dame de Paris représentant les douze apôtres et les quatre évangélistes en revanche ont échappé aux flammes. Elles avaient été retirées de leur socle, il y a quelques jours seulement, pour être restaurées. Elles sont aujourd’hui orphelines de l’emblématique flèche de Viollet-le-Duc (1860) qui s’est effondrée.

http://premium.lefigaro.fr/culture/notre-dame-de-paris-les-oeuvres-qui-ont-ete-sauvees-et-ce-qui-a-ete-detruit-20190416

Crossposts: https://ad-vocem.livejournal.com/361443.html

20 лет назад у саудовского шейха украли картину Пикассо, которую он держал на своей яхте. А теперь вот нашли.

Crossposts: https://ad-vocem.livejournal.com/360934.html

В Национальной галерее в Вашингтоне сменился директор. Директором впервые в истории этого музея стала женщина. Об этом знаменательнейшем событии, естественно, многократно сообщили в прессе, а также на сайте галереи: https://www.nga.gov/about/directors-welcome.html.

Вот что о ней говорится в Вики:

https://en.wikipedia.org/wiki/Kaywin_Feldman

Директорствует в разных музеях с 28 лет, минуя, судя по всему, кураторство.

А вот что эта дама опубликовала в мае 2018 года в журнале "Apollo", будучи директором Minneapolis Institute of Art (Mia):

I keep thinking about the psychological toll that this volatile time must be taking on our collective psyche. Every day we are battered with, among other things, unpresidential tweets from the American president; threats to global democracy; cyber criminals stealing data and elections; an unconscionable and endless war in Syria; gun violence in America; the plight of desperate refugees; the chaos surrounding Brexit; and the fact that many Puerto Ricans still don’t have electricity. It is tough enough to navigate all this anxiety as a private citizen, but perhaps even harder as the leader of an arts organisation.

...

In my 25-year career as a museum director, I have not seen a more challenging time to be an arts leader; the national and global political climates have created a situation in which our essential principles are under attack. It is not appropriate for a public museum to take positions in partisan politics. We must, however, stand up for what we believe in and defend our values. During this time of contention, I am anxious to protect beliefs that are core to Mia and that frequently seem threatened today, including:

•Gender equality
• Diversity, inclusion, equity, and access
• Social justice
• Global understanding
• Scientific research
• Liberal education for all
• Open democracy and freedom of speech
• Essentialness of the arts

Для полноты впечатлений лучше прочитать целиком.

Не знаю, как у нее с историей искусства ( никаких ее публикаций я пока не обнаружила, в отличие от директоров Метрополитена, Уффици, Рейксмузеума, Лувра, Орсэ, Эрмитажа, Пинакотеки и др.), но social justice фонтанирует.

Что будет с галереей, Бог весть. Надо сказать, что этого калабуховского дома мне будет жаль, как мало какого другого.

Crossposts: https://ad-vocem.livejournal.com/359639.html

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Пузырь лопнул
Сколько же повсюду этих дур
Ротко и Поллоком дело не ограничилось
Тенденция, однако.
Не нравилась англичанам Французская революция
Buyer's remorse, sort of
Как похорошела Трафальгарская площадь!
Пиво отпускается только...
Van Eyck
Напоминает комиссаров ранее-советских времен
Политкорректность распространяется, как лесной пожар
Удивительная судьба картины
За ню ответишь
Критерии отбора
Arcangela Paladini (1599-1622)
Аннотация к фильму Грымова "Три сестры":
Если кому-то пепел Notre-Dame стучит в сердце
Figaro об ущербе от пожара
Иногда их возвращают
Мне видеть невтерпеж (c)

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Entries tagged with art

Пузырь лопнул

Sotheby’s, Christie’s and Bonhams call off Russian art auctions in response to war in Ukraine

Сколько же повсюду этих дур

A Spanish Art Professor and Her Students Staged a Silent Protest at the Picasso Museum to Raise Awareness of the Artist’s Treatment of Women

Ротко и Поллоком дело не ограничилось

Тенденция, однако.

A New York Museum Is Selling Its Only Jackson Pollock Painting at Christie’s to Fund Acquisitions of Work by Women and Artists of Color

Не нравилась англичанам Французская революция

Buyer's remorse, sort of

Three Museums Have Cancelled Planned Jon Rafman Exhibitions Following Allegations of Sexual Misconduct

Как похорошела Трафальгарская площадь!

Пиво отпускается только...

Van Eyck

Напоминает комиссаров ранее-советских времен

Политкорректность распространяется, как лесной пожар

Удивительная судьба картины

За ню ответишь

Критерии отбора

Arcangela Paladini (1599-1622)

Аннотация к фильму Грымова "Три сестры":

Если кому-то пепел Notre-Dame стучит в сердце

Figaro об ущербе от пожара

Иногда их возвращают

Мне видеть невтерпеж (c)