'The Art of Money'

May 14 2018

Image of 'The Art of Money'

Picture: BBC

There's a good new programme by John Wilson on BBC Radio 4 looking at some of the new money buying art these days, especially Middle Eastern oil money. It's available here

Incidentally, I spoke to someone involved in Middle Eastern governing circles about the purchase of the Salvator Mundi, and who was aware of when of and how the picture was bought. He said two things: first, that the Saudis really had nothing to do with the purchase, and second, that the story of the buyer and underbidder mistakenly bidding against each other was just made up. 

Art History sexism (ctd.)

May 14 2018

Image of Art History sexism (ctd.)

Picture: Getty Images via Artnet 

Regular readers will know that AHN takes a dim view of the 'stick a young woman in front of a painting' thing. Usually, auction houses are the worst culprits. On Artnet News, Julia Halperin and Ben Davis look at the phenomena, which shows no sign of abating:

[...] the really, really notable cliche of the “auction preview” genre is “women standing awkwardly near art for scale.” It’s seriously weird, and it is undying. There are a lot of questions that this genre invites: Can the women positioned at these angles actually see what they are looking at? Why in god’s name would a photographer ever ask one to sit down? Has there been a rapture just before each photo was taken that sucked up anyone who is not thin, white, and between the ages of 23 and 33?

More here

UK Heritage Lottery grants fall

May 14 2018

Image of UK Heritage Lottery grants fall

Picture: HLF

Bad news for UK museums; the Heritage Lottery Fund has significantly cut its annual grants, from £434m in 2016/17 to £305m last year. It seems far fewer people are buying National Lottery tickets. More here from Martin Bailey in The Art Newspaper.

HLF grants were the staple diet for major museum fundraising campaigns, especially for acquisitions since 2010. Does this mean that what I called a 'golden age' for museum acquisitions in the UK is coming to an end?

'The New RA'

May 14 2018

Video: The Royal Academy

I'm looking forward to seeing the new galleries and rooms at the Royal Academy's Burlington Gardens extension. How wonderful to see a proper space devoted to the RA's own collection at last. More here on Charles Saumarez Smith's blog. 

'Own a piece of art history!'

May 8 2018

Image of 'Own a piece of art history!'

Picture: Ebay

Here's a weird one: a US museum has attempted to sell, via Ebay, the brushes used to restore Leonardo's Salvator Mundi. Here was the Ebay pitch made by the Columbia Museum of Art:

Own a piece of art history! These seven paintbrushes were used to restore Leonardo da Vinci’s Salvator Mundi, which set a new record for the price of an artwork when it sold for $450 million in 2017. [...]

In 2014, Columbia Museum of Art Chief Curator Will South was discussing the restoration of this painting with his friend and colleague Dianne Modestini. He asked if she might be willing to donate the brushes she used to restore the painting to the Columbia Museum of Art. She was. These brushes are now up for auction to support the CMA's mission to celebrate outstanding artistic creativity through its collection, exhibitions, and programs, interacting in ways that engage the mind and enrich the spirit. 

Dr. South framed a photocopy image of the painting in a circa 1900 vintage carved wooden frame matted with archival, acid-free materials. One of the brushes is mounted with micro Velcro for easy removal below the photocopy. The remaining six brushes will be shipped in their box along with the framed brush and image along with a printout of emails that establish their provenance. The museum's curatorial team created a special wooden shipping crate to ship the frame and brushes to the buyer.

The sale was alas unsuccessful; no bids were lodged to meet the $1,000 reserve.

Update - a reader writes:

One would expect that Columbia Museum of Art would know that the 'circa 1900 vintage carved wooden frame' is actually plaster and therefore a rather less attractive offering

The Met Gala

May 8 2018

Video: Vogue

Last night's annual Metropolitan Museum Gala has dominated social media today. Whether you approve of disapprove of the fashion excesses on show here, it's worth pondering how far away British museums are from ever getting this much celebrity and media attention. They're light years away, caught in a web of their own earnestness. 

Michael Sittow exhibition

May 8 2018

Video: NGA

You've only a few days left to visit what looks to be a fascinating exhibition in Washington, 'Michel Sittow: Estonian Painter at the Courts of Renaissance Europe' (closes May 13th). Above is a talk by the National Gallery of Art's curator, John Hand, about Sittow's life. He tells us that only 13 works by Sittow are now considered autograph in the latest book on Sittow. Although there must be more out there somewhere; can an artist become as accomplished as Sittow with so little practice?

Update - thanks to those readers who have pointed out that the show will soon be Estonia. More here

'Thomas Cole: Eden to Empire'

May 8 2018

Video: National Gallery

I'm looking forward to the National Gallery in London's forthcoming exhibition on the American landscape artist, Thomas Cole. It opens 11th June. More here

Thomas Baker of Leamington

May 8 2018

Image of Thomas Baker of Leamington

Picture: Robert Mulraine

Here's a wonderful development in the world of digital art history; Robert Mulraine has created an online database of the works of the British artist, Thomas Baker. Baker is not exactly a household name, but was a talented landscape artist of the early-mid 19th Century, and also a scrupulous diarist. He made a detailed record, usually with a thumbnail sketch, of every work he made, which has allowed Robert Mulraine to track down his works all over the world.

The latest example of a lost Baker re-discovered, as discussed on the blog of Robert's son, James Innes-Mulraine, was identified in a sale in the south of France, misattributed to Thomas Barker. By comparing it to Baker's diaries, Robert and James were able to confirm their connoisseurial hunch.

Art history trunks

May 8 2018

Image of Art history trunks

Picture: Sanfederico

Fancy hitting the beach in a pair of Michelangelos? Then click this way; but they're retailing for $142 - ouch. I'll stick to my poundland Speedos. Also in the range are trunks featuring Picasso's Guernica, Botticelli's Venus, and others. 

Update - Michelangelo is so on trend! Here's Ariana Grande wearing him at the Met Gala last night.

New home for Benin Bronzes?

May 4 2018

Video: BBC

Martin Bailey in The Art Newspaper reports on new developments in the battle over where to display the Benin bronzes, a series of bronze sculptures looted from Nigeria in the 19th Century. Many have ended up in the British Museum, and in the clip above from Civilisations, David Olusoga tells the story of how they got there.

The British Museum has always resisted attempts to reclaim items like the Bronzes (and most famously the Elgin Marbles). But now, news that a new museum is to be built in Benin has raised the possibility that many of the bronzes might be displayed there on long-term loan. And a new group of European and US museums which own many of the bronzes has been created to discuss a way forward, says Bailey:

The situation could soon change, thanks to an initiative by a group of European museums and Nigerian parties, known as the Benin Dialogue Group. It is now encouraging the return of some Benin objects to Nigeria on long-term loan.

The group comprises nine European museums, based in London, Cambridge, Oxford, Berlin, Dresden, Hamburg, Vienna and Stockholm, along with a consortium of four Dutch ethnographic museums. Berlin State Museums holds the most important Benin collection on the Continent, part of which will go on display at the Humboldt Forum when it opens in late 2019. (One of the Forum’s three founding directors is Neil MacGregor, the former director of the British Museum.) The UK institutions include the British Museum, Oxford’s Pitt Rivers Museum and Cambridge’s Museum of Archaeology and Anthropology.

A potentially transformative development was announced last month: a royal museum is to be built to modern standards in Benin City (see box). This would provide a building with the appropriate environmental and security standards to house international loans.

More here.

I do hope that the British Museum is soon able to send many, if not all, of the bronzes back to Nigeria. The 'long term loan' solution, recently put forward with vigour by the V&A's new director Tristram Hunt in relation to Ethiopia's Maqdala treasures, is a good way forward. Of course, the danger from an institution like the British Museum's point of view is that it could be a thin end of the wedge moment; if the BM took the same view as the V&A, there are some areas in which it soon wouldn't have much of a collection left.

'Old Masters, New Audiences'

May 4 2018

Bendor Grosvenor from CODART on Vimeo.

Video: Codart

Last month I was in Bruges, talking at the annual conference of Codart, the network of Dutch and Flemish art curators. I was invited to discuss how we can think about reaching new audiences for Old Master paintings. The conference talks are now online. Beware, the video above is me rambling on for about 40 minutes long, and not for the faint hearted. The other Codart presentations are here, including an excellent one from the Rijksmuseum's Jane Turner. 

Update - Some of you have noticed that I can't keep still when I do talks. I get too excited! I'm sorry if this induces motion sickness for some of you. 

Rubens' portrait of Clara Serena (ctd.)

May 4 2018

Image of Rubens' portrait of Clara Serena (ctd.)

Picture: Rubenshuis

I've recorded a short podcast on Rubens' portrait of Clara Serena for the Financial Times, here if you're interested. We discussed the Met's response to the reattribution of the picture, which I've said before wasn't exactly grown up. I think it's interesting to see how politics and egos can still colour the acceptance of attributions from the world's leading museums, to whom the public rightly look to for an impartial and authoritative view. Similar to the Met's response to the reattribution of the Clara Serena was the Louvre's refusal to comment on the news that a painting by Hals they tried to buy was later judged to be a fake. There's really no shame in being wrong, and making what at the time were understandable mistakes. As one of my heroes, Sir Nicholas Penny, says; 'the picture comes first'. Everything else should be irrelevant.

Charles I collection conference

May 4 2018

Video: Paul Mellon Centre

The conference papers from the conference on the Royal Academy's exhibition of Charles I's art collection have gone online. Above is Justin Davies of the Jordaens Van Dyck Panel Paintings Project. Others can be seen here

Everett Fahy (1941-2018)

May 2 2018

Image of Everett Fahy (1941-2018)

Picture: New York Times

Sad news that the former Met curator and director of the Frick, Everett Fahy, has died. The New York Times has an obituary here, albeit with an unfortunate misprint at the end, describing an early 16th Century Italian painting (which Fahy had concluded was by Michelangelo) as a work by Velasquez.

The article concludes with a quote art history would do well to remember:

“With attributions, it’s not the number of people who agree with you, it’s the quality of their judgments.”

Missing: a Bernini finger

May 1 2018

Image of Missing: a Bernini finger

Picture: Artemagazine.it

Bernini's sculpture of St Bibiana, which belongs to the Church of St Bibiana in Rome, has lost a finger. Only, nobody knows quite where it was lost, or indeed where it is now. Speculation suggests it may have been in transit from the recent Bernini exhibition at the Galleria Borghese. More here

Major Raeburn portraits acquired for Scotland

May 1 2018

Image of Major Raeburn portraits acquired for Scotland

Picture: Scottish National Galleries

The Scotish National Galleries has acquired a pair of portraits by Henry Raeburn, through the UK government's Acceptance in Lieu scheme (meaning, effectively, that the acquisition has been funded entirely by the taxpayer. The portraits show William Stuart Forbes, elder son of Sir William Forbes of Pitsligo (1802–26) and John Stuart Hepburn Forbes, later 8th Baronet of Monymusk and of Fettercairn and Pitsligo (1804–66).  

It's not clear whether the portraits will be part of the Scottish National Portrait Gallery on Queen Street, or the National Gallery on the Mound. More here on the SNG press page.

Update - here's a photo of the pictures hanging at the National Gallery of Scotland on the Mound. Which is all the more puzzling, because in the press release, it was the Director of the Scottish National Portrait Gallery, Christopher Baker (seen in the photo), who gave the quotes and welcomed the paintings. Of course, thanks to the recent, misguided management changes at the Scottish National Galleries, there is no 'Director' of the National Gallery of Scotland any more. Christopher Baker is in charge of all things portrait, whether the paintings are part of the National Portrait Gallery, or the National Gallery. Confused? (Not as confused as the poor people who have to work there...)

Image fees (ctd).

May 1 2018

Image of Image fees (ctd).

Picture: Wellcome Collection, via ArtUK, 

Europeana has an interview with Tom Scott, head of digital engagement at the Wellcome Collection, on why the Wellcome chose to abolish image reproduction fees, and put their images (some 36 million of them) in the public domain:

[...] we wanted to make it as easy as possible for researchers and others to use and reuse the material and because we wanted to reach as many people as possible, not just on our own website but also elsewhere - on Europeana Collections, Wiki Commons, the Internet Archive and elsewhere.

This is the choice museums face: do they want their objects to be seen by as many people as possible, or do they want to control them, for the chance to make a tiny bit of income, if they're lucky? It's as simple as that.

Update - a reader writes, in response to my first choice of image (don't click if you're easily shocked, I just thought it was interesting to show the range of the Wellcome's collection, apologies for any offence caused):

With respect, as I read you every day and share your posts with others, I was disappointed that, of the 36 million images in the Wellcome archive, you selected that particular one to illustrate your post. It is a bit jarring to be scrolling through first thing in the morning and not be forewarned of what is about to appear. If the story headline was about erotic art, or an artist known for such output, I could understand the image's inclusion. However, neither your post nor the linked article in question is about that piece, or even mentions it. If seeing it and being shocked makes me easily offended, so be it, but I am likely not the only one of your many readers who will be so.

Update II - another reader adds:

Regarding the image from the Wellcome Trust collection.

Surely no more shocking to see over breakfast that many other old master images such as Judith with the head of Holofernes?

Another says:

It’s not often that you read a snowflake comment on AHN however this morning, without warning, I was confronted by the reader comment about your choice of image. It’s hardly a jarring image and fortunately most AHN readers are made of sterner stuff!

'Memory' at Boughton

May 1 2018

Image of 'Memory' at Boughton

Picture: Boughton House

Regular readers will know that I'm a fan of Boughton House in Northamptonshire, one of the homes of the Duke of Buccleuch. Not only is the house full of treasures, but it's immaculately preserved - you really could be going back into the early 18th Century. It's not often open to the public, but when it is they always put on a new and fascinating exhibition. Last year it was about the Huguenots and this year it's partly about the house during the Second World War, when it was requisitioned by the army. Part of its use was to house German prisoners of war (no wonder none of them tried to escape). A highlight of the exhibition will be a triptych (above) painted for the chapel by one of the - alas unnamed - German POWs. The exhibition runs during August, when the house and gardens are open. 

Fakes, fakes everywhere (ctd.)

May 1 2018

Image of Fakes, fakes everywhere (ctd.)

Picture: Ville Elne

The Musée Terrus in the South of France is dedicated to the French 19th Century artist Étienne Terrus, and has about 160 works by him. But sadly it appears that half the collection is fake, as many news outlets have reported. The fake works seem to have been bought over the last 20 years, which would suggest that there's an enterprising faker on the loose somewhere in the South of France. 

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