Quick - to Margate!
January 23 2015
The first leg of Sir Anthony Van Dyck's nationwide, 3 year tour begins tomorrow in... Margate. The National Portrait Gallery's newly acquired self-portrait is part of what looks to be a very impressive exhibition at Turner Contemporary on artist's self-portraits. The shop (above) is already bursting with Van Dyck goodies. I want one of those T-shirts!
On the new exhibition, Turner Contemporary's website says:
We reflect on artists' self-portraits from Sir Anthony van Dyck's last Self-portrait of 1640-1, recently saved for the nation, to Louise Bourgeois. Over 100 works, most of which are from the National Portrait Gallery London, are brought together for an expansive look at the artists’ self.
Historical and contemporary artists sit side by side, including Sir Anthony van Dyck, Mary Beale, Louise Bourgeois, John Constable, Tracey Emin, Jason Evans, Lucian Freud, Antony Gormley, Damien Hirst, David Hockney, Angelica Kauffmann, Sarah Lucas, Gillian Wearing, Yinka Shonibare MBE, JMW Turner and Andy Warhol.
I'm definitely going to try and see this. Long way from Edinburgh though... The show is on until 10th May.
On the Turner Contemporary website (and here on You Tube) there's a most curious video of 'visitors' to the gallery discussion Van Dyck's self portrait, and what it 'means'. The discussion was apparently 'led by philosopher Ayisha de Larerolle', and the results 'inspired the script for the Comedy Art Audio Guide, narrated by Comedian Hugh Dennis.' Well, having watched the video, I'll be impressed if Dennis if can salvage anything remotely amusing from the discussion; much nonsense was talked. It might have been better with an art historian in charge. But these days I suppose everyone's view is valid, no matter how wrong it is.
Update - here are the dates for the rest of the Van Dyck tour:
- Turner Contemporary, Margate: 24 January – 10 May 2015
- Manchester Art Gallery: 21 May – 31 August 2015
- National Portrait Gallery, London: 4 September 2015 – 3 January 2016
- Dulwich Picture Gallery, London: 12 January – 24 April 2016
- Birmingham Museum and Art Gallery: May – August 2016
- National Portrait Gallery, London: September – December 2016/January 2017
- Laing Art Gallery, Newcastle: January – May 2017
- Scottish National Portrait Gallery, Edinburgh: June – August 2017
- National Portrait Gallery, London: September – December 2017/January 2018
'Rubens and his Legacy' at the Royal Academy
January 21 2015
I'm hearing mixed things about the RA's new Rubens show. Surprisingly, it seems that some exhibits - from the Hermitage - have not yet arrived, so there are gaps on the walls. Apparently they are expected next week. I've never seen that before.
The Telegraph gives the show four stars, calling it 'fascinating', as does the Evening Standard (alas, it's not the Great Brian). But Jonathan Jones in The Guardian gives it a real stinker of a review:
Rubens and His Legacy applies a simplistic theory and smashes as much evidence as it can into its rigid, short-sighted argument that Rubens is the fons et origo of almost everything painters have ever done. And not just painters: in an incredibly desperate extra room of the exhibition, curated by mediocre Royal Academician Jenny Saville, there are sculptures by Sarah Lucas and Rebecca Warren, whose carnality is roped in as “Rubens-like”. Come on. Two fried eggs and a baroque kebab?
Jones tells us that there are just six major Rubens paintings in the whole exhibition.
We must look forward to Waldemar's review in the Sunday Times.
Update - there's lots of talk of Van Dyck being Rubens' 'pupil' - he wasn't, he was employed as an assistant, and had his own, independent practice beforehand.
Update II - a reader writes:
I'm just back from the RA Rubens exhibition. I'm with the 'stinker' reviewer. I found the quality very varied, mostly poor, the hanging very strange, and the headings of the various sections, not nessesarily ageeing with the paintings shown. I think the main problem being that the great paintings that inspired other artists weren't available for loan.
Vermeer on loan to Minneapolis
January 16 2015
Here's a nice story - to celebrate their centennial, the Minneapolis Institute of Arts is planning a series of high-profile loans, and the first is Vermeer's Woman Reading a Letter (on loan from the Rijksmuseum). But to liven things up, the MIA isn't making any early announcement of the loans, just on the morning that the pictures are hanging. I think I prefer things that way - museum PR campaigns can sometimes happen so far ahead of time, that you forget about the event or exhibition by the time it comes around. More here in The Art Newspaper.
One of the MIA loans is a major discovery I was involved with last year. But I have to keep shtum till it's announced.
Update - the Vermeer and the National Gallery's Raphael Madonna of the Pinks are also being lent to the Timken Museum in San Diego. The loans are quid pro quos for Rembrandt loans to the National Gallery's current Late Rembrandt.
Burrell Collection at Bonhams
December 9 2014
Picture: Burrell Collection
There was much debate last year (including here on AHN) about whether the Burrell Collection in Glasgow should be able to send its treasures out on loan, even overseas. Previously, they weren't able to, but a change in Scottish law now allows loans to be made, bringing in much needed funds while the buildings which house the collection are renovated.
The first stop for the collection is Bonhams in London, where (with free admission), you can see 50 items including the above Rembrandt self-portrait from 15th December to 9th January. I think this is a commendable initiative from Bonhams and the Burrell collection, and the works will look very fine in Bonhams' snazzy new showrooms.
While I'm on the subject of art trade loan exhibitions, pray allow me to plug one at John Mitchell Fine Paintings, which is just down the other end of Bond Street. They're having a show on depictions of Harrow School. Some of them are even for sale, if you're looking for a stocking filler for that hard-to-please Old Harrovian.
Update - a reader writes:
The Burrell has always been able to make loans within the UK: the Rembrandt was at the National’s exhibition of self-portraits a few years ago and a substantial group was shown at The Hayward in the 1970s.
What’s new is being able to loan abroad, which was not permitted under the terms of the original gift. Maybe in future, if it needs the money, the Wallace might consider breaking the will of its donor?
It is sometimes a shame that the Wallace can't lend.* That said, at least at the Wallace they go in for generous hanging, with two or even three rows of pictures, so there isn't too much of an issue of works remaining unseen in storage.
They still don't dust their frames though.
Update II - more on the Burrell items on display here in The Guardian.
* I earlier said that the Wallace can't borrow, which is wrong; it has a small exhibition room downstairs, where many fine shows can be seen.
Turner exhibition at Petworth
December 9 2014
Picture: Tate/National Trust
They're having a Turner exhibition at Petworth House, where Turner stayed and painted, and where much of Mike Leigh's new film 'Mr Turner' was made. More here.
Koons take down
December 9 2014
There's a good review of Jeff Koons' new show at the Pompidou centre in Paris by Jackie Wullschlager in the Financial Times. Here's the main conclusion:
As the market has endorsed and enriched him, Koons has swollen, in his two latest series “Antiquity” and “Gazing Ball”, into the most tedious self-imitation. “Balloon Venus” blends his own inflatables lexicon with the archaic forms of the Venus of Willendorf. Outsize plaster replicas of classical figures – “Farnese Hercules”, “Ariadne” – bearing bright balloon-like glass spheres are destined, no more and no less than the garden ornaments they incorporate, for manicured suburban lawns.
“He says, if you’re critical, you’re already out of the game,” announced Koons’s dealer David Zwirner when these repetitive follies launched last year. Dollar power goes some way to explaining why Koons’s smooth sales-speak – “when people make judgments, they close all the possibility around them” – is not seen for what it is: a reversal of the spirit of intellectual openness that has allowed art to flourish since the Enlightenment. And of course it is obvious why Koons, like any entrepreneur boasting a luxury monopoly, directs his factory to produce a controlled stream of high-end, high-tech baubles. Less obvious is why this trading currency for the super-rich should interest the rest of us, or why museums and critics are endorsing it.
Quite. But then I'm "out of the game".
6,000 new 'Late Rembrandt' tickets
December 3 2014
Pictures: National Gallery / BG
6,000 new tickets have been released for Late Rembrandt at the National Gallery, and you can even go to the exhibition till 9pm on Sundays. More here.
I was amused to see how heavily they're pushing Rembrandt-esque gifts at the National Gallery's shop. There's a Rembrant plate (with his self-portrait on) for £40, a faux gold painted handbag, various furry things like cushions and scarves, a not very enticing small framed reproduction of a self-portrait, and...
... a Rembrandt brolly!
New Royal Collection display at Hampton Court
November 21 2014
Excellent news from the Royal Collection and Historic Royal Palaces; the 'Cumberland Rooms' at Hampton Court Palace have been refurbished and re-hung with some of the Royal Collection's finest paintings. There's even a Rembrandt self-portrait. Many pats on the back for both the RC and HRP for helping get so much great art out on display.
The Guardian's Jonathan Jones has been to see the new display, and writes:
The Cumberland Art Gallery – named after the Georgian prince William Augustus, Duke of Cumberland, for whom in the 1730s William Kent created the suite of palace rooms where the superbly lit and sensitively selected new gallery has now been installed – is the Royal Collection’s latest attempt to display its art to us, the public. It is like looking into the Queen’s jewel box. This is a much more convincing royal art space than the Queen’s Gallery at Buckingham Palace, which always feels like a liveried adjunct to the royal tourist industry and has never succeeded in competing with London’s big museums – its exhibition of Leonardo da Vinci’s drawings a few years ago, for instance, drew nothing like the attention the National Gallery’s Leonardo show got. [...]
Curator Brett Dolman says the thinking behind the new gallery was precisely to free the art from “heritage”. Paintings by artists as lofty as Rubens can be seen all over this palace, as part of its decor or even as props in tableaux of royal splendour.
“We’re aware that when you hang paintings in that way you sometimes can’t get near to the art,” he concedes. So the new gallery “is where art speaks for itself”.
It does so absorbingly in what amounts to a permanent gallery of some of the Queen’s very best paintings. The Rembrandt is stupendous. Admittedly the Queen has some other mighty Rembrandts that are not on view here, as well as a drop-dead Vermeer. But there are enough splendours of Renaissance and Baroque painting to satisfy anyone. Two Caravaggios reveal the opposing sides of his vision – a boy peels fruit in one of his early sensual works while Jesus calls his disciples to him in a sombre Christian scene. I was more moved however by a painting of St Jerome looking downward with deep introspective eyes by the 17th-century French master of light Georges de la Tour.
The new display is largely due to one of HRP's energetic curators, Brett Dolman, who I'll embarass by identifying here as posing in the above picture on the left, where he and a colleague are partaking in The Useless White Glove Photo Opportunity. Brett has done a great job persuading the Royal Collection to lend so many treasures, and for turning a part of Hampton Court Palace which used to be a little lost into a destination in its own right. He kindly asked me along when the Cumberland rooms were mid-renovation, and asked my views on the potential hang. Of course, I lobbied for Van Dycks to feature prominently... I can't see from the photos in The Guardian's piece whether they are - here's hoping!
Update - a reader writes:
This Gallery sounds magnificent. I can't wait to go and am especially pleased to see Watts's Lady Holland on view (it was cleaned for my exhibition Watts Portraits at the NPG in 2004).
But, and this is a big but, it costs an eye-watering £17.05 to go (more if you pay on the door--£18.20) because it is included in admission to all of Hampton Court Palace.
Doesn't this raise the issue of the status of the paintings in the Royal Collection and just whose paintings they are? I relish the masterpieces in the Royal Collection, admire its publications and value the expertise of its staff, so I certainly don't have an answer to this one. But many people might think twice about paying that much to go and see those wonderful paintings.
Another reader, on a similar theme, adds:
Just a thought on the Royal Collection hanging some of its gems at Hampton Court. Whilst this is good news, it does (as Jonathan Jones alludes) throw light on what is absent.
Ever since seeing Tim's Vermeer earlier in the year (silly concept but a decent film) I've wanted to see Vermeer's Music Lesson and yet because it usually hangs in the Picture Gallery at Buckingham Palace I'm faced with having to await an honour or pay £20.50 to visit the state rooms in the summer. Why is this painting not on regular public show?
We're told that the Queen does not own the Royal Collection, she merely holds it in trust for the nation (and her successors). Well that's potentially a benign technicality as long as we have access to its treasures. But this is one of the world's great paintings (so I'm told) and it is hidden from most people, most of the time. Imagine if the National Gallery had a Vermeer that was in an upstairs room which you could only see when the Director invited you to or you had to pay £20 whilst he was on his summer holiday, what would the reaction be?
Yet with the Royal Collection this is accepted. The Music Lesson is not of a royal, it was not painted for a royal or to be hung in Buckingham Palace and as such there is no particular significance for it being there.
So if the Queen only holds it in trust for us, as she maintains, then could we see it please?
Update II - a curator writes:
Amid all the glamorous Old Masters, nice to see Frank Holl’s grave and lovely picture prominently hung - a seriously under-rated painter.
I agree. I love Holl's portraits - for me, he's often on a par with the likes of Millais and Watts.
Update III - a reader writes:
May I take up the baton and run ( or totter in my case) with it a while ?
It seems to me that your recent correspondents may have missed the fact that the Royal Collection is indeed a private collection and is funded entirely by admission charges ,and other revenue raising enterprises, and from time to time I dare say the Queen opens her handbag to help fund an acquisition as indeed, she has done on many occasions in the past. So far as I know, there is no public funding whatever.
The works of art on display are changed about and loaned to exhibitions all over the world viz the Watts of Lady Holland; and I am told such loan requests are sanctioned by the Queen personally.
I am certain that the vast majority of the works of art ( let’s not forget the furniture, sculpture and applied arts) is on view at most times of the year, throughout the royal residences, with only a small percentage displayed in the private apartments. All such places are staffed and maintained all of which has to be paid for.
All of these factors make it a fairly pricey visit, and short of hanging “Sponsored by Honda “ flags outside Buckingham Palace; I can’t see how else they can continue to delight us.
I have to say I'm inclined to agree with this. I think there's something rather magical about the fact that the Royal Collection is what we might call a 'working collection'. That is, it has a function which goes beyond the usual one of public display, and retains something of the original purpose of a 'royal collection'; that of pure decoration, be it in an ambassador's waiting room or the Queen's private study. Therefore, we ought to be patient that while I suppose 'we', the public' really own the collection, we cannot always see everything in it. Not being able to see a picture because it's being looked by the Queen is much more acceptable to me than the various excuses our museums come up with for keeping 80% of their works locked away in storage. And, for me, the Royal Collection staff more than make up for any access issues by consistently putting on some of the best exhibitions inthe world.
Update IV - a reader from Italy writes:
In my opinion the British royal collection is better 'visible' and better studied than many museums in Your country or abroad.
I think to the wonderful catalogues of Castiglione drawings , 2013, or Italian Renaissance and Baroque pictures, 2007 for example...
And it's true they often loan very important pieces to scientific exhibitions.
I live in Italy, and I could see wonderful royal paintings loaned to the Carracci exhibition in Bologna, 2006, a beautiful Cagnacci in Forlì, 2008, a supposed Raphael portrait in Urbino, 2009, and also in 2003 the Duccio tryptich in Siena at the monographic show (the NG or the American museums didn't loan anything). I remember also a Mantegna 'triumph' in Paris in the 2008 big exhbition.
So the RC has to be congratulated for the care but also for sharing the Queen treasures (and look at the web site!). Sure, it's expensive to visit the Residences, but also if you visit the Louvre or the Vatican museums....in Florence and Siena now we have to pay for visit churches!
Miniature heaven at Philip Mould
November 7 2014
Picture: Philip Mould
If you like your art 'in little', as they used to say in the 17th Century, then do go and see a new exhibition devoted to the British 18th Century miniaturist John Smart at Philip Mould in London soon, from 25th November to 9th December. Smart was one of the best, and spent much of his career in India. Here's the blurb:
Philip Mould & Co. is delighted to announce the forthcoming exhibition ‘John Smart (1741-1811), A Genius Magnified’. The exhibition will feature forty-five portrait miniatures from a European private collection with examples spanning Smart’s whole career. The exhibition will be accompanied by a catalogue detailing hitherto unknown information on Smart’s life and career, and will be the first publication dedicated to his life and work since 1964, when Daphne Foskett published her seminal monograph ‘John Smart: The Man and His Miniatures.’
Another strike at the National Gallery
October 16 2014
Picture: Museums Journal
There was a strike by room wardens yesterday at the National Gallery, timed deliberately to coincide with the opening to the public of 'Late Rembrandt'. 40 out of 66 rooms had to be closed. But the Rembrandt show remained open, and the media paid little attention to the strike. So that's 1-0 to the National Gallery then.
Not that 'Late Rembrandt' was very busy. A reader who was there writes:
The crowds at the first afternoon of the Rembrandt exhibition were modest with rarely more than five or so people in front of each painting and fewer in front of the paper works.
As regular readers will know, it seems clear to me that the PCS Union's strategy at the National has been little short of disastrous. This latest action will only harden the NG's resolve to de-unionise their staff.
Update - there's some anti-National Gallery briefing in the Daily Mail:
The National Gallery’s ‘blockbuster’ new Rembrandt exhibition has been hailed a triumph by the critics, but visitors might be advised to keep a close eye on the masterpieces.
Some experienced security guards were replaced earlier this year by agency staff and sources claim the change is proving a disaster.
‘Five of them didn’t bother to turn up for training, while another has been sacked over a foul prank in a toilet,’ claims an insider.
‘When others were given a tour of the gallery, some showed little interest, texting away on their phones.
‘They have been spotted touching paintings and even caught on camera in the Rembrandt exhibition stroking works loaned to the gallery. They have apparently received warnings to stop, but this is really shocking.’
The gallery declines to discuss the claims. ‘We would never comment on matters relating to individual staff members as these are confidential between those involved and the National Gallery,’ a spokeswoman says.
However, she adds: ‘Safety and security are of paramount concern. CIS Security employees are vetted to the same level as existing staff; they will also undertake similar levels of training and assume identical responsibilities.’
When I went to the Rembrandt show on Tuesday, I thought the wardens, even if they were 'privatised' ones, were more zealous than ever. I was warned at least twice not to get too close to the pictures, or to point, and this was during a press preview, and in front of glazed pictures.
October 15 2014
The Getty has a interesting new show, on Rubens and his Eucharist series of tapestries, called Spectacular Rubens. I'm a bit of a tapestry fan, so would love to see it. The show, says the museum:
[...] reunites several of Rubens's exuberant preparatory oil sketches for this commission with four of the corresponding tapestries from the Madrid church for which they were made. Vivid and dynamic, the Eucharist series reveals the enormous powers of invention of a brilliant artist who helped define the Baroque.
There are some good images here. The catalogue, available here, is co-edited by Alejandro Vergara, the Prado curator whose recent 'The Young Van Dyck' catalogue at the Prado was a model of good catalogue writing.
Update - a reader alerts me to these videos on the exhibition, made when it was on show at the Prado.
Sargent exhibition at NPG London & Met, NY
September 30 2014
This looks exciting; the National Portrait Gallery, London, will have an exhibition on John Singer Sargent next year, which will then go onto the Met in New York. Guest curated by Richard Ormond CBE, who wrote the excellent four-volume Sargent catalogue raisonné, the show will:
[...] explore the artist as a painter at the forefront of contemporary movements in the arts, music, literature and theatre, revealing the depth of his appreciation of culture and his close friendships with many of the leading artists, actors and writers of the time.
The exhibition will be in London between 12 Feb - 25 May, and the at the Met in New York 29 June - 4 October. More details here.
Italian Museums (ctd.)
September 4 2014
Picture: Galleria Sabauda
The Independent has more grim news from the Italian museum world; the Galleria Borghese's climate control system (which is, open the windows every now and then) has apparently caused Raphael's Deposition to 'warp'. But apparently the 'deformation in the painting ha[s] now been reduced'. So that's alright then.
But from Turin, there's better news, as the Galleria Sabauda is to be re-opened following refurbishment. But, reports The Spectator:
From 30 October, Leonardo’s drawings, including the famous sage-like self-portrait [above] and the drawing for the head of the angel in the Louvre’s ‘Virgin of the Rocks’, will go on permanent display in the Sala Leonardo, while drawings by other masters in the collection — including Raphael’s ‘Study of a Youth Playing the Lute’ — will be shown in the second vault. In December, with the reopening of the Galleria Sabauda, the Savoy paintings will go back on view. As well as works by Duccio, Fra Angelico, Mantegna, the Pollaiuolos, Filippino Lippi, Veronese and Orazio Gentileschi, the collection includes Netherlandish paintings by Van der Weyden, Van Eyck, Memling, Rembrandt, Brueghel and Rubens — among them a charming portrait by Van Dyck of the three children of Charles I and Henrietta Maria, sent by the English Queen to her sister Christine of Savoy.
I presume the Leonardo drawings won't actually be on 'permanent display', as they certainly shouldn't be (for conservation reasons). By way of comparison, the Albertina in Vienna only brings out Durer's famous 'Hare' only once every six years.
'Late Turner' (ctd.)
September 4 2014
Picture: National Gallery
Apollo Magazine has an interview with David Blayney Brown, co-curator of the Tate's forthcoming 'Late Turner' exhibition. Here he reveals some details of the display:
As we are covering a period in depth, we are not doing so strictly chronologically, but thematically. That said, the first room is by way of an overview and retrospect, so visitors will see Turner’s death mask before they come to most of his work; and his last exhibits in 1850 will be on the last wall in the final room, which seems fitting. The only significant installation challenge is integrating watercolours and oils, which have to be zoned to allow for different light levels.
Moroni - 'unsung genius' of the Renaissance
August 4 2014
I haven't noted that the Royal Academy is putting on an exhibition on Giovanni Battista Moroni, whom it's billing as the 'unsung genius of Renaissance portraiture'. Here's the blurb:
Giovanni Battista Moroni was one of the greatest portraitists of 16th-century Italy. Famed for his gift for capturing the exact likeness of his sitters, he created portraits that are as penetrating and powerful now as they were more than 400 years ago. You will be transfixed by their psychological depth and immediacy.
This is the first comprehensive exhibition of the artist’s work in the U.K. We have selected not only his remarkable portraits but also his lesser known religious works, which will be shown side by side. Among them will be never-before exhibited altarpieces from the churches of Bergamo and paintings made for private devotion that reflect the new religious ideals of his time.
Moroni’s portraits depict the people of the world and time in which he lived, from elegant men and women of high society shown in glittering dress to members of the middle class engaged in their trade. One such work is The Tailor, as highly praised in its time as it is now (“revolutionary” - Jonathan Jones, The Guardian). What all of his works share is a startling naturalism and vitality, rarely matched by other artists of the period and anticipating the realistic style of Caravaggio and, later, Manet.
Encompassing his entire career, this exhibition is a long overdue celebration of an artist ahead of his time and ripe for rediscovery.
I'm very much looking forward to this. Of course, there was a time when Moroni was very much 'sung', as the National Gallery's superfluity of Moroni portraits attests (they have 11, which were all acquired between 1862 and 1916).
Update - a reader writes:
What twaddle from the RA blurb and Jonathan Jones [in a 2007 article in The Guardian, from which the RA has adopted as a flagbearing quote] - there really has never been a time when Moroni was forgotten or undervalued. I have a catalogue of an exhibition of Moroni's works - mostly portraits - held at the National Gallery in the 1970s and there was a sizable group in the RA's own Genius of Venice show in the 1980s. And as for being a precusor to Caravaggio, Moroni was only one of a number of artists working in a realist manner in Northern Italy and the Veneto. It has to be said though, his religious works have tended to be overshadowed. And the Tuccia in the National Gallery is a truly dreadful thing.
Update II - here's more context on the National's Moroni acquisition streak from Neil Jeffares.
Koons goes to the Louvre
July 24 2014
Gareth Harris in The Art Newspaper reports that Jeff Koons is to have a show at the Louvre in 2015. There's probably no greater endorsement for a contemporary artist, but it probably tells us more about the museum than Koons. Anyway, standby for extensive Guffwatch in French.
'Rembrandt - the Late Works'
July 9 2014
Picture: National Gallery
The National Gallery have released details of their forthcoming Rembrandt show. It opens 15th October, and runs till 18th January 2015. there will be 40 paintings by the great man. More here and here.
It looks like their newly elevated 'Portrait of an Old Man in an Armchair' (at least, elevated by the Rembrandt Research Project) won't be in the show, however. Which is a little strange. Why not hang it in the show next to other late works (perhaps as 'attributed to'), and see how it fits in? I had a good look at it the other day, and couldn't find myself disagreeing with Ernst van der Wetering's new conclusion.
Society of Antiquaries exhibition
July 3 2014
The Society of Antiquaries of London has a little-known but excellent collection of portraits. This month, they're having a free exhibition in their plush Burlington House premises. Well worth a visit (Monday-Friday 10am-4pm). More information here, and there's also a programme of lectures, here.
A new Holbein in Pittsburgh?
June 29 2014
They've broken out the acetone at the Carnegie Museum of Art in Pittsburgh for a new exhibition, Faked, Forgotten, Found. A previously 'tarted up' portrait of Isabella de Cosimo de Medici (below) has been making the headlines (e.g., in the Daily Mail here), but more interesting I think is the above portrait of Lord Bergavenny (1469-1535). Long thought to be a fake 'Holbein', due to rancid-looking later overpaint in the background, new analysis has revealed under-drawing and a much earlier background (left hand top corner) perhaps painted with smalt. I'm going to ask the CMOA for an image of this under-drawing (often crucial in Holbein attributions, as we're looking for signs of originality), and will report back if I get one. In the meantime, you can see a high-res image of the partially cleaned picture here. No panel painting by Holbein of Bergavenny is known. There is a drawing of the same sitter by Holbein at Wilton house, image here, and a miniature is also known.
Update - the CMOA have very kindly sent me this IR photo.
Update II - a painter writes:
The partially cleaned ' School of Holbein' portrait of Lord Bergavenny is definitely based on the Wilton drawing or an exact copy of it, because it reproduces a slight error of draughtsmanship in the original drawing. There is also a miniature based on the same drawing, claimed to be by Holbein.
One of the characteristics of Holbein's (alleged) use of a form of Camera lucida (like Ingres) is the occasional misplacement of one of the eyes, usually the one furthest from the picture plane. This can be caused by the sitter slightly changing the angle of his/her head, during the creation of the drawing.
This phenomenom can seen very clearly in the painting of Jane Seymour where her right eye (further from the picture plane) appears larger than the nearer, left eye. Surprisingly this has been transferred, apparently unnoticed by Holbein, from drawing to painting.
In the case of Bergavenny, the sitter's left eye in the Wilton drawing is very slightly too high up, in relation to the nearer eye, which Holbein will have drawn first and this has been reproduced in the painting, now being cleaned..
In other drawings, the sitter has turned slightly towards Holbein so one sees more of the eye than the strict rules of perspective allow-( I believe this is what happened with Jane Seymour).
The drawing looks immensely more powerful than the painting in its present state and I much look forward to seeing if it improves with cleaning.
I don't buy the camera lucida theory myself.
Bargaining with Caravaggio
June 12 2014
Picture: Cleveland Museum of Art
This story from Cleveland.com sheds light on the curious bargaining that sometimes goes on when museums arrange international loans. The above picture, The Crucifixion of St Andrew by Caravaggio, was offered as a loan to a Sicilian museum by the Cleveland Museum of Art after Sicilian authorities threatened to charge exorbitant fees for a loan exhibition of antiquities:
In one of his last acts as director of the museum before he resigned last October, David Franklin agreed to lend the Caravaggio and other works in exchange for an exhibition of Sicilian antiquities.
Cultural authorities from the island region had previously agreed to send the exhibition to Cleveland after its run at the J. Paul Getty Museum in Los Angeles. The two institutions co-organized the show.
Nevertheless, after an election and a change of government in Sicily, a new group of authorities threatened to cancel the show's run in Cleveland unless the museum paid hundreds of thousands of dollars in loan fees imposed at the last minute.
The Sicilians withdrew the demand after Franklin offered to lend the Caravaggio, which he called "a bargaining chip," along with other works.
Franklin and the Cleveland museum earned praise for not knuckling under to the financial demand, which could have set a dangerous precedent for other museums. At the same time, the arrangement raised questions about whether the painting is too delicate to make the trip to Sicily.
The Cleveland museum now says the deal has not been finalized. Its leaders say that Sicily has not yet responded to requests for information about climate control and security in venues where the Cleveland artworks would be shown.
The picture is currently being cleaned by the Cleveland Museum of Art, to see if it is safe to travel.