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pop icon who redefined art and market value","Warhol’s iconic portraits: from Marilyn Monroe to Mao Zedong",{"id":443,"type":444,"tags":445,"lang":16,"slug":446,"first_publication_date":447,"last_publication_date":448,"uid":446,"data":449,"link_type":61,"key":490,"isBroken":109},"ZBBz5xAAAKdKzSXy","author",[],"lea-nedwed","2023-03-14T13:17:30+0000","2024-07-10T17:09:39+0000",{"description":450,"short_description":466,"job":470,"thumbnail":471,"cover":480,"uid":446,"title":475,"og_image":483,"meta_description":486,"meta_title":475},[451,455,458,461,463],{"type":57,"text":452,"spans":453,"direction":454},"Léa is a managing editor at ArtExplored, where she produces in-depth art market reports and educational content. ",[],"ltr",{"type":57,"text":456,"spans":457,"direction":454}," ",[],{"type":57,"text":459,"spans":460,"direction":454},"Her prior experience includes working with an art advisory service in London and Hong Kong, focusing on Post-War and Contemporary art. There, she gained extensive knowledge of the global art market. She managed daily operations and ensured the smooth running of high-profile exhibitions held annually alongside significant fairs in London, Hong Kong, and Seoul. Léa also contributed to a Paris-based non-profit that fundraised for cultural institutions by working closely with globally renowned art collectors. ",[],{"type":57,"text":456,"spans":462,"direction":454},[],{"type":57,"text":464,"spans":465,"direction":454},"She holds degrees in Law from the Sorbonne, Art Appraisal and Trade from IESA, and an MBA in the Business of Art from ICART.",[],[467],{"type":57,"text":468,"spans":469,"direction":454},"Lea is a managing editor and content producer at ArtExplored. ",[],"Managing Editor",{"dimensions":472,"alt":475,"copyright":7,"url":476,"id":477,"edit":478},{"width":473,"height":474},533,800,"Léa Nedwed","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F6d191cd1-efb6-4857-ae83-8d44a38fb195_LC%E2%95%A0%C2%BAa+NEDWED+%28Art+Cataloguer%29+%28BW%29.png?auto=compress,format","ZHYDyhAAACYAMRXl",{"x":29,"y":29,"zoom":30,"background":479},"transparent",{"dimensions":481,"alt":475,"copyright":7,"url":476,"id":477,"edit":482},{"width":473,"height":474},{"x":29,"y":29,"zoom":30,"background":479},{"dimensions":484,"alt":7,"copyright":7,"url":476,"id":477,"edit":485},{"width":473,"height":474},{"x":29,"y":29,"zoom":30,"background":479},[487],{"type":57,"text":488,"spans":489},"Léa Nedwed is a senior writer at ArtExplored",[],"6fd091ad-1724-478e-aae1-6caaf42a8fdd",{"dimensions":492,"alt":7,"copyright":7,"url":493,"id":494,"edit":495},{"width":24,"height":25},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZ35L3ZbqstJ99KWh_Yourparagraphtext.png?auto=format,compress","Z35L3ZbqstJ99KWh",{"x":29,"y":29,"zoom":30,"background":479},{"dimensions":497,"alt":7,"copyright":7,"url":498,"id":499,"edit":500},{"width":25,"height":24},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZ8mAmRsAHJWomLkl_COUV_WARHOL4.jpg?auto=format,compress","Z8mAmRsAHJWomLkl",{"x":29,"y":29,"zoom":30,"background":479},{"dimensions":502,"alt":7,"copyright":7,"url":498,"id":499,"edit":503},{"width":25,"height":24},{"x":29,"y":29,"zoom":30,"background":479},"2025-03-07",[506,549,567,594,608,622,637,653,671],{"variation":88,"version":89,"items":507,"primary":508,"id":548,"slice_type":111,"slice_label":7},[],{"title":509,"content":510},[],[511,514,517,524,527,530,533],{"type":57,"text":512,"spans":513,"direction":454},"A dominant force in the art market, Andy Warhol racks up records on the global stage. His most iconic paintings, now cultural touchstones, fetch sky-high prices at auction, making him one of the best-selling artists in history. Equally notable is Warhol’s impressive sales volume, which rivals Picasso’s – a testament to his extensive output across a broad range of mediums, and, by extension, price points.  ",[],{"type":57,"text":515,"spans":516,"direction":454}," Like all truly enduring artists, Warhol cultivated an instantly recognisable style. But more than that, his most iconic works have become so deeply ingrained in our visual culture that his distinctive aesthetic is readily identifiable to virtually anyone who comes across it today. ",[],{"type":57,"text":518,"spans":519,"direction":454}," Known as the “Pope of Pop Art”, Warhol is widely regarded as the preeminent American painter of the modern era and even as one of the two defining figures of 20th-century Western art, alongside, once more, Pablo Picasso. Shaped by the rise of consumerism and postwar industrial expansion, Warhol’s best-known works elevated the banal imagery of popular culture to the status of high art, overturning well-established conventions in the process.  ",[520],{"start":521,"end":522,"type":523},221,222,"em",{"type":57,"text":525,"spans":526,"direction":454}," In perfect harmony with this shifting social and economic landscape, Warhol employed a mechanised approach inspired by mass production to create his works. Through various printing techniques, Warhol was not only able to replicate his motifs but also distance himself from the act of creation, imbuing his work with a deliberate sense of detachment. This way, he established a new standard for the role of the artist—one that continues to develop and influence the art world today, from Damien Hirst to Jeff Koons’ factory-like production. ",[],{"type":57,"text":528,"spans":529,"direction":454},"Warhol explored silkscreen printing techniques, frequently layering printed motifs over hand-painted backgrounds. He experimented with variations in colour and repetition, creating entire series of unique artworks around a single subject.  ",[],{"type":57,"text":531,"spans":532,"direction":454},"Warhol’s fascination soon gravitated toward movie stars—true pop icons—with Marilyn Monroe at its zenith. He also turned his focus to public figures like Jackie Kennedy and even Mao Zedong, exploring the media-driven narratives that surrounded them. In hindsight, Warhol’s work anticipated the media’s expanding influence on culture—shaping public visibility, fueling consumerism, and transforming celebrity into a product for mass consumption. ",[],{"type":57,"text":534,"spans":535,"direction":454},"For more than three decades, Warhol’s auction records have been driven by his most iconic portraits. In 1989, a 1964 Marilyn against a red background commanded $4 million, setting a new high for the artist at auction. Since then, Warhol’s top record has been eclipsed six times, with standout works featuring Marilyn Monroe, Mao Zedong, and even the darkly resonant Car Crash series. The current record-holder—a 1964 Marilyn on a blue background—achieved an astonishing $195 million in 2022, securing its place as the second most expensive artwork ever sold at auction, behind Leonardo da Vinci’s Salvator Mundi. ",[536,539,542,545],{"start":537,"end":538,"type":523},117,124,{"start":540,"end":541,"type":523},366,375,{"start":543,"end":544,"type":523},417,424,{"start":546,"end":547,"type":523},597,611,"text$5d4db630-15e5-4f2a-ad40-e2d4a0e2bdb1",{"variation":550,"version":89,"items":551,"primary":560,"id":565,"slice_type":566,"slice_label":7},"centered-slice",[552],{"image":553,"title":7,"subtitle":7},{"dimensions":554,"alt":7,"copyright":7,"url":557,"id":558,"edit":559},{"width":555,"height":556},1157,771,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZ8sQUBsAHJWomPGS_3_2-1.jpg?auto=format,compress","Z8sQUBsAHJWomPGS",{"x":29,"y":29,"zoom":30,"background":479},{"image1":561,"label":7,"copyright":564},{"dimensions":562,"alt":7,"copyright":7,"url":557,"id":558,"edit":563},{"width":555,"height":556},{"x":29,"y":29,"zoom":30,"background":479},[],"image$2403c4d2-29b0-4191-a331-06df34822581","image",{"variation":88,"version":89,"items":568,"primary":569,"id":593,"slice_type":111,"slice_label":7},[],{"title":570,"content":571},[],[572,575],{"type":57,"text":573,"spans":574,"direction":454},"The journey to Warhol’s nine-figure auction record has been marked by a steady stream of high-priced sales in the $10 million-plus range. Since 1998, an impressive 60 lots have crossed the $17 million threshold, with 18 fetching over $40 million. This trajectory reflects the robust confidence in Warhol’s market over the years. ",[],{"type":57,"text":576,"spans":577,"direction":454},"Returning to Warhol’s portrayals of Marilyn and Mao, the highest auction sales were recorded for his historic 1960s depictions of the Hollywood icon and the inaugural \"early Mao\" portraits from 1972. According to ArtExplored’s data, these iconic Marilyns amassed $443.6 million ($532.1 million adjusted for inflation) from 12 lots sold at auction between 2004 and 2023. By contrast, the early Maos generated a total of $97.3 million ($128.7 million adjusted for inflation) from only 3 sales. Their average sales prices are virtually neck-and-neck at $44.3 million for iconic Marilyns versus $42.9 million for early Maos (inflation-adjusted). ",[578,581,584,587,590],{"start":579,"end":580,"type":523},174,177,{"start":582,"end":583,"type":523},246,255,{"start":585,"end":586,"type":523},393,398,{"start":588,"end":589,"type":523},575,584,{"start":591,"end":592,"type":523},615,619,"text$267b9a24-f04e-4d3e-a723-16059b1b0b53",{"variation":550,"version":89,"items":595,"primary":602,"id":607,"slice_type":566,"slice_label":7},[596],{"image":597,"title":7,"subtitle":7},{"dimensions":598,"alt":7,"copyright":7,"url":599,"id":600,"edit":601},{"width":555,"height":556},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZ8sQURsAHJWomPGT_3_2-2.jpg?auto=format,compress","Z8sQURsAHJWomPGT",{"x":29,"y":29,"zoom":30,"background":479},{"image1":603,"label":7,"copyright":606},{"dimensions":604,"alt":7,"copyright":7,"url":599,"id":600,"edit":605},{"width":555,"height":556},{"x":29,"y":29,"zoom":30,"background":479},[],"image$39ce1e84-2bbd-45e4-acfd-d572d0591631",{"variation":550,"version":89,"items":609,"primary":616,"id":621,"slice_type":566,"slice_label":7},[610],{"image":611,"title":7,"subtitle":7},{"dimensions":612,"alt":7,"copyright":7,"url":613,"id":614,"edit":615},{"width":555,"height":556},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZ8sQTxsAHJWomPGR_3_2.jpg?auto=format,compress","Z8sQTxsAHJWomPGR",{"x":29,"y":29,"zoom":30,"background":479},{"image1":617,"label":7,"copyright":620},{"dimensions":618,"alt":7,"copyright":7,"url":613,"id":614,"edit":619},{"width":555,"height":556},{"x":29,"y":29,"zoom":30,"background":479},[],"image$b9e2dd4d-b61f-4d16-a6d8-c15d7944fbe6",{"variation":88,"version":89,"items":623,"primary":624,"id":636,"slice_type":111,"slice_label":7},[],{"title":625,"content":626},[],[627],{"type":57,"text":628,"spans":629,"direction":454},"A closer look at these sales reveals that five Marilyns were resold during this period, averaging CAGR of 14.2% (11.8% adjusted), while the sole early Mao resale outperformed with a striking 21.7% CAGR (19.2% adjusted).",[630,633],{"start":631,"end":632,"type":523},47,55,{"start":634,"end":635,"type":523},151,154,"text$5d2a8f3b-6a5f-4f4d-8b38-a05de8d582ac",{"variation":550,"version":89,"items":638,"primary":647,"id":652,"slice_type":566,"slice_label":7},[639],{"image":640,"title":7,"subtitle":7},{"dimensions":641,"alt":7,"copyright":7,"url":644,"id":645,"edit":646},{"width":642,"height":643},2268,1359,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZ8seFxsAHJWomPOa_GRAPH.jpg?auto=format,compress","Z8seFxsAHJWomPOa",{"x":29,"y":29,"zoom":30,"background":479},{"image1":648,"label":7,"copyright":651},{"dimensions":649,"alt":7,"copyright":7,"url":644,"id":645,"edit":650},{"width":642,"height":643},{"x":29,"y":29,"zoom":30,"background":479},[],"image$0eb724a7-a208-4d35-be87-67a241ea8d4c",{"variation":88,"version":89,"items":654,"primary":655,"id":670,"slice_type":111,"slice_label":7},[],{"title":656,"content":657},[],[658,667],{"type":57,"text":659,"spans":660,"direction":454}," Though Marilyn remains the definitive icon of Warhol’s portraits—her image appearing in his work from 1962, shortly after her tragic death, until the end of his life—the Mao series marks a critical turning point. It signals Warhol’s renewed commitment to painting, emerging after a four-year hiatus following a near-fatal shooting. The early Maos, created in 1972, were his first noncommissioned paintings since the incident, featuring a curious choice of subject that appears to oscillate between celebration and critique. Bridging two distinct periods in Warhol’s career, they formally recall his early portraits of film stars while introducing a new painterly technique that anticipates the evolution of his later work. Unconventionally, Warhol produced the early Maos entirely on his own, using an exceptionally large screen to print the two-meter-tall figures, without his assistants’ usual help. In another departure from his typical methods, Warhol applied the paint afterward, employing gestural brushstrokes that starkly contrasted the mechanical precision of his earlier Pop aesthetic.",[661,664],{"start":662,"end":663,"type":523},343,347,{"start":665,"end":666,"type":523},768,772,{"type":57,"text":668,"spans":669,"direction":454}," Throughout his prolific career, Warhol constantly reinvented himself, yet he remained an enigmatic figure—an aspect he skillfully exploited. This mystique, along with his unique persona, undoubtedly played a significant role in the market success of his unconventional work.",[],"text$a79896e1-f699-4d2a-b739-e422e52fd36f",{"variation":88,"version":89,"items":672,"primary":673,"id":679,"slice_type":111,"slice_label":7},[],{"title":674,"content":675},[],[676],{"type":57,"text":677,"spans":678,"direction":454},"The information in this article has been analysed by ArtExplored and is based on proprietary 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the Market for Andy Warhol’s Mao Paintings","Between 2004 and 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Warhol (1928-1987), also known as the “Pope of Pop Art”, is widely regarded as the preeminent American painter of the modern era and even as one of the two defining figures of 20th-century Western art, alongside Pablo Picasso.",[],{"type":57,"text":747,"spans":748,"direction":454},"Current record-holder of the second most expensive artwork ever sold at auction, with his Shot Sage Blue Marilyn (1964) sold for $195 million in 2022, Warhol’s predominance on the art market is undeniable.",[749],{"start":750,"end":751,"type":523},90,113,{"type":57,"text":753,"spans":754,"direction":454},"His other instantly recognizable portrait is his interpretation of Mao’s picture from the “Little Red Book”, a series that totalized $331 million in revenue (in inflation-adjusted prices) at auction between 2004 and 2023.",[],{"type":57,"text":756,"spans":757,"direction":454},"ArtExplored’s latest Focus Report delves into the market for these specific works that have impressive sell-through rate 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left to right: (details of) Le Grand Canal (The Grand Canal), 1908; Meules (Grainstacks), 1891; Waterloo Bridge, effet de brume (Waterloo Bridge, Mist Effect), 1901; Le Bassin aux nymphéas, reflets verts (Green Reflections on the Water-Lily Pond), 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artist Claude Monet (1840-1926), a founder of Impressionism, underwent a pivotal shift in his artistic approach during the late 1880s. He began creating paintings that were conceived, executed, and exhibited in series. A practice that may seem ordinary from a contemporary perspective but was revolutionary at the time. Prior to this period, artists often produced pairs or small sets of related works, but none had envisioned or created large ensembles in the manner Monet did.",[],{"type":57,"text":866,"spans":867,"direction":454},"This innovative approach resulted in highly coveted bodies of work and led to creative marketing strategies. Exhibited as cohesive groups with a limited number of paintings, these series conveyed a sense of exclusivity, attracting eager buyers. Today, the demand for Monet's iconic series remains strong, driving impressive sales. His auction record stands at $110.7 million ($134 million when adjusted for inflation), achieved by a painting from the Haystacks series sold at Sotheby’s in 2019.",[],"text$1cb28909-e4a7-4d66-af6d-760b7d4c9760",{"variation":550,"version":89,"items":870,"primary":871,"id":883,"slice_type":566,"slice_label":7},[],{"image1":872,"label":7,"copyright":879},{"dimensions":873,"alt":7,"copyright":7,"url":876,"id":877,"edit":878},{"width":874,"height":875},3224,2530,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZoVRQR5LeNNTwway_Meules_-1890-91-_Claude_Monet_-W1273-1.jpg?auto=format,compress","ZoVRQR5LeNNTwway",{"x":29,"y":29,"zoom":30,"background":479},[880],{"type":57,"text":881,"spans":882,"direction":454},"Claude Monet’s Meules (Grainstacks) (W1273), from 1891, sold for $110.7 million at Sotheby’s New York in 2019.",[],"image$70363269-ac05-4037-a9bf-2c128177589c",{"variation":88,"version":89,"items":885,"primary":886,"id":901,"slice_type":111,"slice_label":7},[],{"title":887,"content":888},[],[889],{"type":57,"text":890,"spans":891,"direction":454},"Paintings from the Haystacks, Water Lilies, London, and Venice series have consistently achieved Monet's highest auction sales over the last twenty years. When adjusted for inflation, they account for 19 of his top 20 sales. Between 2004 and 2023, paintings auctioned from these four series brought in a combined $2.1 billion from 49 lots sold (out of 54 offered), averaging $43.9 million per painting when adjusted for inflation.",[892],{"start":893,"end":894,"type":101,"data":895},313,325,{"id":896,"type":897,"tags":898,"lang":16,"slug":899,"first_publication_date":900,"last_publication_date":900,"link_type":61,"isBroken":109},"ZoVYqBMAACIAOxzG","definition",[195],"inflation-adjusted-value","2024-07-05T09:06:02+0000","text$f5583f6c-9428-4bdc-81cf-82d67858d03b",{"variation":550,"version":89,"items":903,"primary":912,"id":917,"slice_type":566,"slice_label":7},[904],{"image":905,"title":7,"subtitle":7},{"dimensions":906,"alt":7,"copyright":7,"url":909,"id":910,"edit":911},{"width":907,"height":908},2320,1450,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZoa4_x5LeNNTwzGQ_Monet_Visuals_Graph_V3.jpg?auto=format,compress","Zoa4_x5LeNNTwzGQ",{"x":29,"y":29,"zoom":30,"background":479},{"image1":913,"label":7,"copyright":916},{"dimensions":914,"alt":7,"copyright":7,"url":909,"id":910,"edit":915},{"width":907,"height":908},{"x":29,"y":29,"zoom":30,"background":479},[],"image$529b332e-b6f6-4e87-8a3a-7fdda808d05a",{"variation":88,"version":89,"items":919,"primary":920,"id":934,"slice_type":111,"slice_label":7},[],{"title":921,"content":922},[],[923,931],{"type":57,"text":924,"spans":925,"direction":454},"Monet’s iconic series compare favourably with other high-value segments of the art market. Particularly in the Impressionist and Post-Impressionist sales category, they outperformed Van Gogh’s market, which totalled $1.3 billion from 66 lots sold over the same period.",[926],{"start":927,"end":928,"type":101,"data":929},216,228,{"id":896,"type":897,"tags":930,"lang":16,"slug":899,"first_publication_date":900,"last_publication_date":900,"link_type":61,"isBroken":109},[195],{"type":57,"text":932,"spans":933,"direction":454},"",[],"text$7441ef86-c33c-4755-9d67-d8fc8c4412bf",{"variation":550,"version":89,"items":936,"primary":945,"id":950,"slice_type":566,"slice_label":7},[937],{"image":938,"title":7,"subtitle":7},{"dimensions":939,"alt":7,"copyright":7,"url":942,"id":943,"edit":944},{"width":940,"height":941},2947,1992,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZoZ3fh5LeNNTwyZ2_Monet_Visuals_TwoFigures_Horizontal_V2-04.jpg?auto=format,compress","ZoZ3fh5LeNNTwyZ2",{"x":29,"y":29,"zoom":30,"background":479},{"image1":946,"label":7,"copyright":949},{"dimensions":947,"alt":7,"copyright":7,"url":942,"id":943,"edit":948},{"width":940,"height":941},{"x":29,"y":29,"zoom":30,"background":479},[],"image$59180e0e-bcd1-401f-8b45-3e3aa63a40ad",{"variation":88,"version":89,"items":952,"primary":953,"id":959,"slice_type":111,"slice_label":7},[],{"title":954,"content":955},[],[956],{"type":57,"text":957,"spans":958,"direction":454},"Monet’s market for these series peaked in 2015 at over $268 million, driven by a high volume of lots. 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These top sales prices range from $69.1 million to $134 million, with half achieved between 2018 and 2023.",[992],{"start":993,"end":994,"type":101,"data":995},99,111,{"link_type":63,"url":996,"target":766},"https:\u002F\u002Fartexplored.com\u002Farticle\u002Fartist-report-claude-monet",{"type":57,"text":998,"spans":999,"direction":454},"With approximately 220 Water Lilies, 30 Haystacks, 95 views of London, and fewer than 40 views of Venice, these iconic series make up less than 20% of Monet’s output of over 2000 paintings, most of which are held by museums worldwide. The few remaining examples available for acquisition highlight auction sales and are sought after by wealthy collectors. 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This praise has been paralleled by an extraordinary breakthrough in the market, with Richter ranking today among the highest-valued living painters at auction.  ",[],{"type":57,"text":1108,"spans":1109,"direction":454},"His top 10 records surpassed $30 million each, constantly achieved by Monumental Abstrakte Bilder measuring 200 cm or more and created between 1985 and 1994. ",[1110],{"start":1111,"end":1112,"type":523},81,98,{"type":57,"text":1114,"spans":1115,"direction":454},"ArtExplored’s latest Focus Report delves into the market for these specific works that attract considerable market interest.  ",[1116],{"start":1117,"end":1118,"type":523},21,33,{"type":57,"text":1120,"spans":1121,"direction":454},"Click on the visual below to read the full report. ",[1122],{"start":1123,"end":763,"type":101,"data":1124},29,{"link_type":63,"url":1125,"target":766},"https:\u002F\u002Fwww.artexplored.com\u002FGerhard-Richter-Artist-Report\u002F#\u002Fpage\u002F0",{"type":566,"url":1127,"alt":7,"copyright":7,"dimensions":1128,"id":1129,"edit":1130,"linkTo":1131},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZnwG35bWFbowe3zy_Richter_Analysis_Article_Feature_Image.jpg?auto=format,compress",{"width":24,"height":25},"ZnwG35bWFbowe3zy",{"x":29,"y":29,"zoom":30,"background":479},{"link_type":63,"url":1125,"target":1132},"_blank",{"type":57,"text":932,"spans":1134,"direction":454},[],"text$529b332e-b6f6-4e87-8a3a-7fdda808d05a","Focus Report: Gerhard Richter's Abstrakte Bilder","Gerhard Richter (b. 1932) is one of the most influential figures in the contemporary art market, having garnered global critical acclaim for his diverse work. This praise has been paralleled by an extraordinary breakthrough in the art market, with Richter ranking today among the highest-valued living painters at auction.  \nHis top 10 records surpassed $30 million each, constantly achieved by Monumental Abstrakte Bilder measuring 200 cm or more and created between 1985 and 1994. \nArtExplored’s latest Focus Report delves into the market for these specific works that attract considerable market interest.  ",{"dimensions":1139,"alt":7,"copyright":7,"url":1141,"id":1142,"edit":1143},{"width":1140,"height":115},2386,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZoZdfx5LeNNTwyDI_Richter_ShortFormArticle_Header_V32_Opengraph.jpg?auto=format,compress","ZoZdfx5LeNNTwyDI",{"x":29,"y":29,"zoom":30,"background":479},[1145,1170],{"variation":88,"version":89,"items":1146,"primary":1168,"id":1062,"slice_type":158,"slice_label":7},[1147,1151,1160,1164],{"post":1148},{"id":213,"type":163,"tags":1149,"lang":16,"slug":216,"first_publication_date":217,"last_publication_date":218,"uid":219,"link_type":61,"key":1150,"isBroken":109},[215,174],"aabb6c99-9ed6-4c1d-bc43-e083ca45e43d",{"post":1152},{"id":1153,"type":163,"tags":1154,"lang":16,"slug":1155,"first_publication_date":1156,"last_publication_date":1157,"uid":1158,"link_type":61,"key":1159,"isBroken":109},"ZnwALhMAACIALWrC",[174,195],"the-market-landscape-of-monets-water-lilies","2024-07-02T09:15:33+0000","2024-07-03T14:13:54+0000","artist-report-claude-monet","13539066-6111-466b-9020-d4d6c67ece66",{"post":1161},{"id":1047,"type":163,"tags":1162,"lang":16,"slug":1050,"first_publication_date":1051,"last_publication_date":1052,"uid":1053,"link_type":61,"key":1163,"isBroken":109},[1049],"cbb914f6-d8b6-4a0f-8e20-992bde0eb4b9",{"post":1165},{"id":316,"type":163,"tags":1166,"lang":16,"slug":319,"first_publication_date":320,"last_publication_date":321,"uid":322,"link_type":61,"key":1167,"isBroken":109},[318],"6357c0d7-be8e-40f8-b99c-297c1aa86cb7",{"slides_per_view":7,"max_slides_count":7,"tag":1169,"type":163,"title":1061,"paralax":109},{"link_type":61},{"variation":88,"version":89,"items":1171,"primary":1176,"id":1072,"slice_type":158,"slice_label":7},[1172,1174],{"post":1173},{"link_type":61},{"post":1175},{"link_type":61},{"slides_per_view":7,"max_slides_count":7,"tag":1177,"type":376,"title":1071,"paralax":109},{"link_type":61},{"id":213,"uid":219,"url":7,"type":163,"href":1179,"tags":1180,"first_publication_date":217,"last_publication_date":218,"slugs":1181,"linked_documents":1183,"lang":16,"alternate_languages":1184,"data":1185},"https:\u002F\u002Fartexplorer-prod.cdn.prismic.io\u002Fapi\u002Fv2\u002Fdocuments\u002Fsearch?ref=aCb60BIAACEA00zN&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22ZOShthIAACYA1xCI%22%29+%5D%5D",[215,174],[216,1182],"artist-report-francis-bacon-the-last-modern-master",[],[],{"title":1186,"subtitle":1187,"author":1188,"copyright_cover":1189,"cover_desktop":1190,"cover_mobile":1196,"thumbnail":1202,"published_at":1207,"slices":1208,"meta_title":1283,"meta_description":1284,"og_image":1285,"slices2":1290},"First Artist Report sheds light on Francis Bacon's market","A unique view of his auction sales over the past 20 years",{"link_type":61},"Left image: Detail of British Painter Francis Bacon Portrait Session, 1987. Photo by Raphael Gaillarde\u002FGamma-Raph via Getty Images\nRight image: Detail of Self-Portrait, 1969, Francis Bacon - © The Estate of Francis Bacon. All rights reserved, Adagp Paris and DACS 2023",{"dimensions":1191,"alt":1192,"copyright":1189,"url":1193,"id":1194,"edit":1195},{"width":24,"height":25},"Left image: Detail of British Painter Francis Bacon Portrait Session, 1987. Photo by Raphael Gaillarde\u002FGamma-Raph via Getty Images Right image: Detail of Self-Portrait, 1969, Francis Bacon - © The Estate of Francis Bacon. All rights reserved, Adagp Paris and DACS 2023","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fcde41041-4822-47bf-99b8-0f5859b887be_Francis+Bacon+Artist+Report+ArtExplored.jpg?auto=compress,format","ZOSf_RIAACcA1wiJ",{"x":29,"y":29,"zoom":30,"background":31},{"dimensions":1197,"alt":1192,"copyright":1189,"url":1199,"id":1200,"edit":1201},{"width":1198,"height":24},2561,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F893a67ce-3b9b-4137-be48-c12d4fdbb735_Francis+Bacon+Artist+report+ArtExplored+Mobile.jpg?auto=compress,format","ZOSg5RIAACcA1wyu",{"x":29,"y":29,"zoom":30,"background":31},{"dimensions":1203,"alt":1192,"copyright":1189,"url":1204,"id":1205,"edit":1206},{"width":25,"height":24},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F2e32c7eb-1c48-4dc3-9eae-cd1e054db673_9_16-1.jpg?auto=compress,format","ZOShBBIAACYA1w1L",{"x":29,"y":29,"zoom":30,"background":31},"2023-08-24",[1209],{"variation":88,"version":89,"items":1210,"primary":1212,"id":1135,"slice_type":111,"slice_label":7},[1211],{},{"title":1213,"content":1214},[],[1215,1218,1225,1232],{"type":57,"text":1216,"spans":1217},"Francis Bacon, one of the most important artists of the post-World War II period, continues to dominate the modern art market. Sales prices of his paintings remain a match for the world’s leading iconic artists, the first ever Artist Report from ArtExplored reveals. ",[],{"type":57,"text":1219,"spans":1220},"Click on the visual below to read the full report. ",[1221],{"start":1123,"end":1222,"type":101,"data":1223},51,{"link_type":63,"url":1224,"target":1132},"https:\u002F\u002Fwww.artexplored.com\u002FFrancis-Bacon-Artist-Report\u002Findex.html#\u002Fpage\u002F0",{"type":566,"url":1226,"alt":7,"copyright":1227,"dimensions":1228,"id":1229,"edit":1230,"linkTo":1231},"https:\u002F\u002Fprismic-io.s3.amazonaws.com\u002Fartexplorer-prod\u002Fa56b4bb6-451f-4e06-a804-caa9fdc48688_EM_Sitting+Nude+Morning_Oil_on_canvas_1922-25+1.jpg","Detail of Man in Blue VII, 1954, Francis Bacon - © The Estate of Francis Bacon. All rights reserved, Adagp Paris and DACS 2023",{"width":24,"height":25},"ZOzeKBAAACAA-bcF",{"x":29,"y":29,"zoom":30,"background":31},{"link_type":63,"url":1224,"target":1132},{"type":57,"text":1233,"spans":1234},"Francis Bacon’s artistic style was heavily influenced by personal loss and traumatic life experiences including rejection by his family, homophobia, and abuse. Renowned for his innovations in portraiture and figuration, many of the subjects in Bacon’s works convey a sense of torment and despair, themes that continue to attract buyers today.\n\nOver the last 20 years, sales of his artworks have totalled more than $3.2bn, according to ArtExplored’s Francis Bacon Artist Report, making his works among the most sought-after and valuable in the world. Average sale prices for his art over this period were $24.1m with his most expensive painting – Three Studies of Lucian Freud (1969) – fetching $142.4m in 2013, a record at the time for the most expensive artwork ever sold at auction. It still ranks as the seventh most expensive artwork ever sold at auction and, adjusting for inflation, its price today would be over $181m.\n\nIndeed, by adjusting all prices for inflation, three would have sold for over $100m today including Triptych, 1976 (its 2008 auction sale price adjusted for current inflation hits more than $120m) and Three Studies for a Portrait of John Edwards (1984) (its 2014 auction sale price, when adjusted for inflation, is just over $101m today). \n\nMarket prices for Bacon peaked in 2007-2008 and 2013-2015 but his work has proven resilient in economic downturns. His fourth-best auction price, achieved in 2020 during the Covid-19 global recession – for Triptych Inspired by the Oresteia of Aeschylus (1981) is the equivalent of $84.6 in today's money. \n\nMost recently, in 2022, in the Modern art market, sales of Bacon's work were surpassed only by Pablo Picasso. According to the Art Market 2022 report compiled by ArtTactic, Picasso accounted for $388.8m in auction sales in 2022. Bacon came second with sales over the year worth $224.9m followed by René Magritte in third place with sales of $191.5m. Magritte’s L’empire des Lumières (1961) which sold for $68.8m at Sotheby’s in 2022, achieved the highest sales price for a Modern painting in 2022.\n\nOver the last 20 years, of 135 Bacon paintings sold, 47.3% of total sales revenue was achieved by pieces selling between $10m and $50m with a further 44.4% of sales revenue coming from works achieving prices of more than $50m. Analysing 37 repeat sales of Bacon's artworks over the last 20 years, they have achieved a respectable average compound annual growth rate of 8.3%.\n\nWorks from Bacon’s \"Power of Colour\"  phase (between 1957 to 1979) have achieved the highest average prices and, with total sales of $2.5bn, they account for over three-quarters of all sales revenue from lots sold in the last 20 years.\n\nThe average sales price of an artwork emanating from this period is $29.7m and all but two of the top 10 paintings (with auction sales prices adjusted for inflation) of Bacon paintings sold also come from this period including Portrait of George Dyer Talking (1966) (sold for $70.2m in 2014) and Study from Innocent X (1962) which sold for $52.6m in 2020.  Read the full report here.",[1235,1239,1242,1245,1248,1251,1259,1262,1265,1270,1273,1276,1279],{"start":1236,"end":1237,"type":101,"data":1238},449,476,{"link_type":63,"url":1224,"target":1132},{"start":1240,"end":1241,"type":523},646,676,{"start":1243,"end":1244,"type":523},1027,1041,{"start":1246,"end":1247,"type":523},1128,1172,{"start":1249,"end":1250,"type":523},1474,1522,{"start":1252,"end":1253,"type":101,"data":1254},1702,1746,{"id":1255,"type":897,"tags":1256,"lang":16,"slug":1257,"first_publication_date":1258,"last_publication_date":1258,"link_type":61,"isBroken":109},"ZOSoqBIAACgA1zFg",[],"arttactic","2023-08-22T12:23:07+0000",{"start":1260,"end":1261,"type":523},1936,1958,{"start":1263,"end":1264,"type":523},1964,1965,{"start":1266,"end":1267,"type":101,"data":1268},2461,2486,{"link_type":63,"url":1269,"target":1132},"https:\u002F\u002Fwww.artexplored.com\u002FFrancis-Bacon-Artist-Report\u002Findex.html#\u002Fpage\u002F26",{"start":1271,"end":1272,"type":523},2914,2946,{"start":1274,"end":1275,"type":523},2983,3006,{"start":1277,"end":1278,"type":523},3011,3012,{"start":1280,"end":1281,"type":101,"data":1282},3053,3064,{"link_type":63,"url":1269,"target":1132},"Artist Report: Francis Bacon","Francis Bacon, one of the most important artists of the post-World War II period, continues to dominate the modern art market. Sales prices of his paintings remain a match for the world’s leading iconic artists, the first ever Artist Report from ArtExplored reveals.",{"dimensions":1286,"alt":1192,"copyright":7,"url":1287,"id":1288,"edit":1289},{"width":770,"height":115},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F8c25d210-31fe-477a-a90d-13fdc56540e6_First+artist+report+Image+Opengraph.jpg?auto=compress,format","ZO4VphAAAB8A_zUi",{"x":29,"y":29,"zoom":30,"background":31},[1291,1311],{"variation":88,"version":89,"items":1292,"primary":1309,"id":1062,"slice_type":158,"slice_label":7},[1293,1297,1301,1305],{"post":1294},{"id":1035,"type":163,"tags":1295,"lang":16,"slug":1037,"first_publication_date":1038,"last_publication_date":1039,"uid":1037,"link_type":61,"key":1296,"isBroken":109},[174],"bb9ca4d5-da1d-4a56-91ff-c05804a9c5fd",{"post":1298},{"id":241,"type":163,"tags":1299,"lang":16,"slug":243,"first_publication_date":244,"last_publication_date":245,"uid":243,"link_type":61,"key":1300,"isBroken":109},[174],"8ed619c0-15a6-41e5-b1ad-8b275926c26a",{"post":1302},{"id":1047,"type":163,"tags":1303,"lang":16,"slug":1050,"first_publication_date":1051,"last_publication_date":1052,"uid":1053,"link_type":61,"key":1304,"isBroken":109},[1049],"49c62f0f-00e5-4a92-ad8b-322c50b285f4",{"post":1306},{"id":316,"type":163,"tags":1307,"lang":16,"slug":319,"first_publication_date":320,"last_publication_date":321,"uid":322,"link_type":61,"key":1308,"isBroken":109},[318],"baf74df6-7947-42b0-b67c-40152aba7d48",{"slides_per_view":7,"max_slides_count":7,"tag":1310,"type":163,"title":1061,"paralax":7},{"link_type":61},{"variation":88,"version":89,"items":1312,"primary":1317,"id":1072,"slice_type":158,"slice_label":7},[1313,1315],{"post":1314},{"link_type":61},{"post":1316},{"link_type":61},{"slides_per_view":7,"max_slides_count":7,"tag":1318,"type":376,"title":1071,"paralax":7},{"link_type":61},{"id":223,"uid":228,"url":7,"type":163,"href":1320,"tags":1321,"first_publication_date":226,"last_publication_date":227,"slugs":1322,"linked_documents":1323,"lang":16,"alternate_languages":1324,"data":1325},"https:\u002F\u002Fartexplorer-prod.cdn.prismic.io\u002Fapi\u002Fv2\u002Fdocuments\u002Fsearch?ref=aCb60BIAACEA00zN&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22ZPHrjxAAACIA03J7%22%29+%5D%5D",[174],[225],[],[],{"title":1326,"subtitle":1327,"author":1328,"copyright_cover":1372,"cover_desktop":1373,"cover_mobile":1378,"thumbnail":1383,"published_at":7,"slices":1386,"meta_title":1326,"meta_description":1505,"og_image":1506,"slices2":1509},"A new dawn of increased sales for female artists?","Sales are on the up but it’s hard to know if the positive trajectory will continue",{"id":1329,"type":444,"tags":1330,"lang":16,"slug":1331,"first_publication_date":1332,"last_publication_date":1333,"uid":1334,"data":1335,"link_type":61,"key":1371,"isBroken":109},"ZBBfzBAAACgAzQAo",[],"william-corwin","2023-03-14T11:51:45+0000","2023-07-10T00:55:46+0000","will-corwin",{"description":1336,"short_description":1349,"job":1353,"thumbnail":1354,"cover":1361,"uid":1334,"title":1357,"og_image":1364,"meta_description":1367,"meta_title":1357},[1337,1340,1343,1346],{"type":57,"text":1338,"spans":1339},"William Corwin covers art news and features in North America. He is a sculptor, journalist, and curator from New York. He has exhibited at The Clocktower, LaMama and Geary galleries in New York, as well as galleries in London, Hamburg, Beijing and Taipei. ",[],{"type":57,"text":1341,"spans":1342},"He has written regularly for The Brooklyn Rail, Artpapers, Bomb, Artcritical, Raintaxi and Canvas and formerly for Frieze. He curated and wrote the catalog for Postwar Women at The Art Students League in New York, an exhibition of the school’s alumnae active between 1945-65, and 9th Street Club, an exhibition of Perle Fine, Helen Frankenthaler, Mercedes Matter, Grace Hartigan, Lee Krasner and Elaine Dekooning at Gazelli Art House in London. ",[],{"type":57,"text":1344,"spans":1345},"His most recent curatorial projects were the first solo exhibition of French Mid-century painter Marguerite Louppe (1901-1989) at Rosenberg & Co gallery in New York (Corwin has been working with the estates of Marguerite Louppe, and her husband the painter Maurice Brianchon for the past decade), and The Agreement:  Chromatic presences, and exhibition of colored sculpture featuring Ugo Rondinone, Lynn Umlauf, Remy Jungerman, Kianja Strobert and Tom Doyle, among others. ",[],{"type":57,"text":1347,"spans":1348},"He is the editor of Formal Concerns: Collected Essays of Saul Ostrow, to be published in 2023 by Elective Affinity Press, and participated in the exhibition Anchor\u002FRoots at the Newhouse Center for Contemporary Art at Snug Harbor Cultural Center in 2021. He is the author of the book &Model (2020), a history of a Grass-roots artist-run gallery in Northern England, published by Leeds Metropolitan University.",[],[1350],{"type":57,"text":1351,"spans":1352},"William Corwin covers North America for ArtExplored",[],"Art Writer (North America)",{"dimensions":1355,"alt":1357,"copyright":1357,"url":1358,"id":1359,"edit":1360},{"width":1356,"height":1278},2660,"William Corwin","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F4bbbe5d4-21a0-489e-8fe3-96d3a471c015_William+Corwin+B%26W+Art+Explored.jpg?auto=compress,format","ZIg3ghAAACAApnDS",{"x":29,"y":29,"zoom":30,"background":31},{"dimensions":1362,"alt":1357,"copyright":7,"url":1358,"id":1359,"edit":1363},{"width":1356,"height":1278},{"x":29,"y":29,"zoom":30,"background":31},{"dimensions":1365,"alt":1357,"copyright":1357,"url":1358,"id":1359,"edit":1366},{"width":1356,"height":1278},{"x":29,"y":29,"zoom":30,"background":31},[1368],{"type":57,"text":1369,"spans":1370},"Will Corwin covers North America for ArtExplored",[],"2efe648b-7728-41be-9602-4bb43fabfb90","Self-Portrait as the Allegory of Painting, Artemisia Gentileschi, Royal Collection",{"dimensions":1374,"alt":7,"copyright":7,"url":1375,"id":1376,"edit":1377},{"width":24,"height":25},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fa02a5c0e-9b52-44ce-b475-d21fdf9519e7_La+Pittura+-+Artemisia+Gentileschi+-+Slide+16_9.jpg?auto=compress,format","ZPHXmRAAACQA0xF5",{"x":29,"y":29,"zoom":30,"background":31},{"dimensions":1379,"alt":7,"copyright":7,"url":1380,"id":1381,"edit":1382},{"width":25,"height":24},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F5d8d8c51-b755-49db-ab32-40722c1b8545_La+Pittura+-+Artemisia+Gentileschi+-+9_16.jpg?auto=compress,format","ZPHX5xAAACIA0xL3",{"x":29,"y":29,"zoom":30,"background":31},{"dimensions":1384,"alt":7,"copyright":7,"url":1380,"id":1381,"edit":1385},{"width":25,"height":24},{"x":29,"y":29,"zoom":30,"background":31},[1387],{"variation":88,"version":89,"items":1388,"primary":1390,"id":1504,"slice_type":111,"slice_label":7},[1389],{},{"title":1391,"content":1392},[],[1393,1405,1408,1422,1425,1457,1460,1463,1466,1477,1480,1483,1494,1502],{"type":57,"text":1394,"spans":1395},"It’s ironic that the top reported sale for the 2023 Basel Art Fair was Louise Bourgeois’ terrifying Spider IV (1996) at $22.5 million. A conflicted symbol of both care and trauma, is this shiny bronze arachnid the harbinger of a new era of expanded sales for female artists, or a lonely outlier and merely an expression of the market’s adulation of enshrined dead masters, regardless of gender or race? ",[1396,1399],{"start":1397,"end":1398,"type":523},100,110,{"start":1397,"end":1398,"type":101,"data":1400},{"id":1401,"type":897,"tags":1402,"lang":16,"slug":1403,"first_publication_date":1404,"last_publication_date":1404,"link_type":61,"isBroken":109},"ZPHruRAAACMA03M7",[],"spider-iv","2023-09-01T13:48:44+0000",{"type":57,"text":1406,"spans":1407},"Inquiring among a range of industry experts, gallerists, and artists, ArtExplored found that there isn’t a clear answer, but a complicated web of potential paths, promising beginnings, and consistent unchanging realities that point to a murky, possibly brighter future. ",[],{"type":57,"text":1409,"spans":1410},"However, in terms of female Old Masters, the market has improved markedly of late with increasing demand leading auction houses to organise sales focusing exclusively on these artists – something they would have never dared to promote a few years ago. Take Artemisia Gentileschi, for example – her record sale was set in 2019 when the Getty Museum purchased her Lucretia (1623-25) for $5.3 million (six times its high estimate), and world-wide she has had five exhibitions in 2023 alone.",[1411,1414],{"start":1412,"end":1413,"type":523},362,371,{"start":1415,"end":1416,"type":101,"data":1417},412,428,{"id":1418,"type":897,"tags":1419,"lang":16,"slug":1420,"first_publication_date":1421,"last_publication_date":1421,"link_type":61,"isBroken":109},"ZPHsCRAAACMA03T2",[],"high-estimate","2023-09-01T13:50:05+0000",{"type":57,"text":1423,"spans":1424},"\nBut back to Basel Art Fair. While many of the sales were of now-passed women now become household names, such as Alice Neel ($2.8 million) and Meret Oppenheim ($225,000-275,000), there were sales for living women artists as well: Roni Horn ($2.5 million), Amy Sillman ($450,000), Firelei Báez ($350,000), Tracy Emin ($970,000), and Senga Nengudi ($90,000). ",[],{"type":57,"text":1426,"spans":1427},"Obviously, this is a literal improvement over a past which saw the occasional female or two as acknowledged members of Abstract Expressionism, Minimalism, or Post-Modernism, but a recent survey – the Burns Halperin Report – paints a disappointing picture of almost glacially-slow incremental change for both women artists and those from minorities.  \n\nArtists in general are very aware of the fad potential of any market movement, whether it’s a passing interest in figuration, political art, or in a particular “type” of artist. “There’s a lot of activity now, there’s a lot of visibility, but how does that trickle down and how does that impact future generations; not just in the moment?” muses Shervone Neckles, a multimedia artist who represented her home country of Grenada at the 2019 Venice Biennale.",[1428,1436,1444,1453],{"start":1429,"end":1430,"type":101,"data":1431},119,141,{"id":1432,"type":897,"tags":1433,"lang":16,"slug":1434,"first_publication_date":1435,"last_publication_date":1435,"link_type":61,"isBroken":109},"ZPH_CBAAACEA09Eg",[],"abstract-expressionism","2023-09-01T15:11:07+0000",{"start":1437,"end":1438,"type":101,"data":1439},143,153,{"id":1440,"type":897,"tags":1441,"lang":16,"slug":1442,"first_publication_date":1443,"last_publication_date":1443,"link_type":61,"isBroken":109},"ZPH-5BAAACQA09Br",[],"minimalism","2023-09-01T15:10:31+0000",{"start":1445,"end":1446,"type":101,"data":1447},158,172,{"id":1448,"type":897,"tags":1449,"lang":16,"slug":1450,"first_publication_date":1451,"last_publication_date":1452,"link_type":61,"isBroken":109},"ZPH-wRAAACEA08-6",[],"post-modernism","2023-09-01T15:09:56+0000","2023-09-01T15:13:20+0000",{"start":1454,"end":521,"type":101,"data":1455},199,{"link_type":63,"url":1456},"https:\u002F\u002Fstudioburns.media\u002Fheres-every-element-of-the-2022-burns-halperin-report-all-in-one-place\u002F",{"type":57,"text":1458,"spans":1459}," “I’m looking for that deep thoughtful investment which doesn’t just happen through the artwork, it’s also the amount of scholarship that’s being done on women artists.” Herein lies the problem: while according to the Burns Halperin Report, sales of women artists overall expanded 174.2% between 2008 and 2021, this resulted in only 11% of acquisitions by US museums (of the 31 institutions represented in the report). Considering that’s half the population, this falls far short of gender equity. ",[],{"type":57,"text":1461,"spans":1462},"\nCollector’s attitudes on the other hand may be changing. Irene Kim, global head of VIP relations for Art Basel, feels there’s been a sea change in terms of collector mentality: “Most Collectors buy whatever they want and like, but these days if you are a collector that’s cognisant to build an overall narrative, it’s about what your mission is; what is your collection focus.”  Certain collectors stand out: Pamela Joyner focuses her collection primarily on contemporary African American artists, while Komal Shah collects work by contemporary women artists, and just published Making Their Mark: Art by Women in the Shah Garg Collection (2023).",[],{"type":57,"text":1464,"spans":1465},"Still, change is slow, and going by the statistics, seems to be largely based on the market for long established and dead women artists. ",[],{"type":57,"text":1467,"spans":1468},"A gallery that has been instrumental in informing the wider art world of the sheer quantity and variety of talented women painters beyond the five main characters of Mary Gabriel’s 9th Street Women – is the New York gallery Berry Campbell. Founded in 2013 by Christine Berry and Martha Campbell, the gallery sought out the not-household names of women Abstract Expressionists. “We were going through the rosters of important exhibitions from the 1950s, and realising that the names that you don’t know tend to be names of women artists. So that you might see Willem de Kooning and Jackson Pollock on an exhibition list, but there’s also Perle Fine, Judith Godwin, and Yvonne Thomas: we said who are these artists and what does the art look like?” ",[1469],{"start":1470,"end":1471,"type":101,"data":1472},142,163,{"id":1473,"type":897,"tags":1474,"lang":16,"slug":1475,"first_publication_date":1476,"last_publication_date":1476,"link_type":61,"isBroken":109},"ZPH_3RAAACMA09Uk",[],"five-main-characters-of-mary-gabriels-9th-street-women","2023-09-01T15:14:40+0000",{"type":57,"text":1478,"spans":1479},"Based on that strategy, Berry Campbell has grown from a modest two-room gallery to a large museum-quality exhibition space. “The Denver Art Museum Show [Women of Abstract Expressionism, 2016, curated by Gwen Chanzit] was probably a turning point,” says Berry, “when that exhibition happened is when people, museums, collectors realised this can be a focus, in the past they wouldn’t want to do a show of the women artists alone, but I think by Denver doing that show it allowed other museums and galleries to go ahead and say we can single out the women.” She does also feel Gabriel’s 9th Street Women “made these women come into mass consciousness.” ",[],{"type":57,"text":1481,"spans":1482},"And the results have been staggering. In the case of Abstract Expressionist Perle Fine (1905-1988), Berry Campbell exhibited her work in 2015 with prices ranging from $40,000-45,000. Now Fine’s works are selling for just under $1 million. According to the Burns Halperin Report, the biggest sellers in the auction market are by far Post-war and Contemporary women artists, which reached a peak of just under $600 million in 2018, but as the authors of the report are quick to point out, the sales of a single artist, Pablo Picasso (6.23 billion), exceeds the total sales of all women (6.2 billion) overall, between 2008 and 2022.",[],{"type":57,"text":1484,"spans":1485},"Do these modest increases translate to artists working in the primary market?",[1486],{"start":1487,"end":1488,"type":101,"data":1489},61,76,{"id":1490,"type":897,"tags":1491,"lang":16,"slug":1492,"first_publication_date":1493,"last_publication_date":1493,"link_type":61,"isBroken":109},"ZPIALhAAACIA09aW",[],"primary-market","2023-09-01T15:16:00+0000",{"type":57,"text":1495,"spans":1496}," Talking to painter North American Emily Mae Smith, who exemplifies the contemporary artist working internationally within the market; showing with Frederick Petzel in New York and Perrotin in Paris, among others, one gets the sense that she would rather tie her fate to the world of collectors and market convulsions. “It’s funny how we sometimes go oh that’s just the market, it’s not moral, but actually there is no moral: I feel there’s this false separation between what is academic or understood by the “higher minds” of our industry – which are the artists and the writers and the curators – and that’s different from the collectors, but I don’t think it is. In my experience with academia, I have actually been treated more fairly, and had more access in the capitalistic art industry than I had in academia.” In effect, Smith argues, the realisation that women and artists of colour are simply a sound investment nudges progress much faster and more efficiently than the slow and convoluted instigation of diversity, equity, and inclusion (DEI) programmes in museums and universities.",[1497,1500],{"start":1498,"end":1499,"type":523},387,392,{"start":1501,"end":544,"type":523},419,{"type":57,"text":932,"spans":1503},[],"text$decb3b0f-5387-4e55-92ca-ba5c2966deea","Sales are on the up for female artists but it’s hard to know if the positive trajectory will continue.",{"dimensions":1507,"alt":7,"copyright":7,"url":1375,"id":1376,"edit":1508},{"width":24,"height":25},{"x":29,"y":29,"zoom":30,"background":31},[1510,1518],{"variation":88,"version":89,"items":1511,"primary":1514,"id":1517,"slice_type":158,"slice_label":7},[1512],{"post":1513},{"link_type":61},{"slides_per_view":7,"max_slides_count":7,"tag":1515,"type":376,"title":1516,"paralax":7},{"link_type":61},"Listen to audiocasts","carousel$fe996508-a474-425e-83eb-b5a1c8f13a42",{"variation":88,"version":89,"items":1519,"primary":1541,"id":1544,"slice_type":158,"slice_label":7},[1520,1524,1528,1532],{"post":1521},{"id":213,"type":163,"tags":1522,"lang":16,"slug":216,"first_publication_date":217,"last_publication_date":218,"uid":219,"link_type":61,"key":1523,"isBroken":109},[215,174],"5a670bfb-f546-4af1-96e9-efc3e67717cb",{"post":1525},{"id":306,"type":163,"tags":1526,"lang":16,"slug":309,"first_publication_date":310,"last_publication_date":311,"uid":312,"link_type":61,"key":1527,"isBroken":109},[308],"f2b8879c-a739-4cb5-ab71-39d589d1b3b7",{"post":1529},{"id":316,"type":163,"tags":1530,"lang":16,"slug":319,"first_publication_date":320,"last_publication_date":321,"uid":322,"link_type":61,"key":1531,"isBroken":109},[318],"d6bf695d-af9b-41f9-ab5a-7ac933b72593",{"post":1533},{"id":1534,"type":163,"tags":1535,"lang":16,"slug":1536,"first_publication_date":1537,"last_publication_date":1538,"uid":1539,"link_type":61,"key":1540,"isBroken":109},"ZAhxkRAAACkAvx0D",[406],"amedeo-modigliani-through-the-microscope","2023-03-08T15:49:55+0000","2023-07-13T14:21:18+0000","amadeo-modigliani-a-century-of-enigma","533165fd-1ac9-475f-b682-5601c29b5257",{"slides_per_view":7,"max_slides_count":7,"tag":1542,"type":163,"title":1543,"paralax":7},{"link_type":61},"More articles","carousel$a0acf46d-90de-4685-a504-212bc0852bcc",{"id":232,"uid":237,"url":7,"type":163,"href":1546,"tags":1547,"first_publication_date":235,"last_publication_date":236,"slugs":1548,"linked_documents":1551,"lang":16,"alternate_languages":1552,"data":1553},"https:\u002F\u002Fartexplorer-prod.cdn.prismic.io\u002Fapi\u002Fv2\u002Fdocuments\u002Fsearch?ref=aCb60BIAACEA00zN&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22ZBmiNxEAACUAZCbn%22%29+%5D%5D",[174],[234,1549,1550],"buying-art-is-often-a-highly-emotional-affair-but-how-does-it-stack-up-against-other-more-traditional-markets-when-it-comes-to-returns","buying-art-is-often-a-highly-emotional-affair-but-how-does-it-stack-up-against-other-more-traditional-markets-when-it-comes-to-returns-artexplorer-investigates.",[],[],{"title":1554,"subtitle":1555,"author":1556,"copyright_cover":7,"cover_desktop":1597,"cover_mobile":1604,"thumbnail":1609,"published_at":7,"slices":1612,"meta_title":1693,"meta_description":1694,"og_image":1695,"slices2":1701},"Is art a sound investment?","Buying the right painting and sitting on it can be very fruitful",{"id":1557,"type":444,"tags":1558,"lang":16,"slug":1560,"first_publication_date":1561,"last_publication_date":1562,"uid":1560,"data":1563,"link_type":61,"key":1596,"isBroken":109},"ZBB4GBAAACgAzS2z",[1559],"Robert Budden","robert-budden","2023-03-14T13:35:25+0000","2023-07-10T00:56:54+0000",{"description":1564,"short_description":1574,"job":1578,"thumbnail":1579,"cover":1586,"uid":1560,"title":1559,"og_image":1589,"meta_description":1592,"meta_title":1559},[1565,1568,1571],{"type":57,"text":1566,"spans":1567},"Robert Budden is ArtExplored's Art Market Editor. He is a financial journalist with expertise in personal finance and investment. He spent most of his journalistic career writing for the Financial Times where he held a number of roles including Deputy Markets Editor, Personal Finance Editor and Chief Media Correspondent. ",[],{"type":57,"text":1569,"spans":1570},"He has written extensively on many areas of personal finance and investment from hedge funds and mutual funds to stocks and shares, junk bonds and financial market instruments as well as alternative investments such as wine.",[],{"type":57,"text":1572,"spans":1573},"He has won around a dozen awards for journalism including Pensions Journalist of the Year (Business Journalist of the Year Awards), Investment Trust Journalist of the Year (Association of Investment Companies) and Pensions and Investment Journalist of the Year (Aon). He has frequently appeared on TV and radio for a number of  broadcasters including CNN, CNBC, Sky News and the BBC.",[],[1575],{"type":57,"text":1576,"spans":1577},"Robert Budden covers the financial and art market for ArtExplored. ",[],"Art Market Editor",{"dimensions":1580,"alt":1559,"copyright":7,"url":1583,"id":1584,"edit":1585},{"width":1581,"height":1582},2291,2446,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Ff845a770-a008-44c8-9879-c9f3b0b5e52a_Robert+Budden.jpg?auto=compress,format","ZIsQqxAAACEAs6bQ",{"x":29,"y":29,"zoom":30,"background":31},{"dimensions":1587,"alt":1559,"copyright":7,"url":1583,"id":1584,"edit":1588},{"width":1581,"height":1582},{"x":29,"y":29,"zoom":30,"background":31},{"dimensions":1590,"alt":1559,"copyright":1559,"url":1583,"id":1584,"edit":1591},{"width":1581,"height":1582},{"x":29,"y":29,"zoom":30,"background":31},[1593],{"type":57,"text":1594,"spans":1595},"Robert Budden is a finance and art markets writer at ArtExplored",[],"57e0ce9c-ebaa-424c-95f4-bd637e923e79",{"dimensions":1598,"alt":1600,"copyright":7,"url":1601,"id":1602,"edit":1603},{"width":35,"height":1599},1621,"Massysm Quentin — The Moneylender and his Wife","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F6cb95598-e3af-4c20-ae64-d8f7775dda0f_Slide+16_9+-+85.jpg?auto=compress,format","ZJq2chEAACIAroje",{"x":29,"y":29,"zoom":30,"background":31},{"dimensions":1605,"alt":1600,"copyright":1600,"url":1606,"id":1607,"edit":1608},{"width":25,"height":24},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fa6363f49-781b-40dc-9173-db3c111bbcd8_9_16.jpg?auto=compress,format","ZJq19hEAACEAroa_",{"x":29,"y":29,"zoom":30,"background":31},{"dimensions":1610,"alt":1600,"copyright":1600,"url":1606,"id":1607,"edit":1611},{"width":25,"height":24},{"x":29,"y":29,"zoom":30,"background":31},[1613,1645,1655,1665,1674,1686],{"variation":88,"version":89,"items":1614,"primary":1616,"id":1644,"slice_type":111,"slice_label":7},[1615],{},{"title":1617,"content":1622},[1618],{"type":1619,"text":1620,"spans":1621},"heading1"," ",[],[1623],{"type":57,"text":1624,"spans":1625},"It is the sort of gain most investors only dream of. The sale at Sotheby’s in 2017 of Untitled by Jean-Michel Basquiat for $110.5m marked a record for a post-1980 painting by an American artist at the time. Bought for \"just\" $19,000 in 1984, the sale price delivered its owner impressive profits - equating to a compound annual return (before costs) of about 30%. The world’s best-paid hedge fund managers would be immensely proud of that performance.\n\nSuch returns are by no means unique in the art world: some savvy collectors who bought works from the likes of Andy Warhol or David Hockney at the right time will also be sitting on huge gains. Art advisers have many of their own stories about clients who purchased artworks that have increased in value considerably, sometimes over a period of just a few years. \n\nSo, does art make sense as an investment and how has the wider art market performed? \n\nA number of art indices including Sotheby’s Mei Moses, Artprice, and Artnet capture data from multiple sources. Over the 15 years between 2005 and 2020, the Artnet Index for Fine Art produced a compound annual growth rate of 4.9%, against 7.6% (excluding dividends) for the S&P 500, the leading basket of US stocks. ",[1626,1629,1637],{"start":1627,"end":1628,"type":523},86,94,{"start":1630,"end":1631,"type":101,"data":1632},564,576,{"id":1633,"type":897,"tags":1634,"lang":16,"slug":1635,"first_publication_date":1636,"last_publication_date":1636,"link_type":61,"isBroken":109},"ZK0tLxEAACEAdnWz",[],"andy-warhol","2023-07-11T10:21:41+0000",{"start":1638,"end":967,"type":101,"data":1639},579,{"id":1640,"type":897,"tags":1641,"lang":16,"slug":1642,"first_publication_date":1643,"last_publication_date":1643,"link_type":61,"isBroken":109},"ZK0uhhEAACMAdnxa",[],"david-hockney","2023-07-11T10:27:29+0000","text$1bdd61da-7e86-40cd-a086-e0b1d9c8e77c",{"variation":88,"version":89,"items":1646,"primary":1648,"id":1653,"slice_type":1654,"slice_label":7},[1647],{},{"quote":1649},[1650],{"type":57,"text":1651,"spans":1652},"\"You can’t just go out and pay $50,000 for 10 contemporary artists with no history, no secondary market, and no institutional representation and expect to do well. Randomised spending sprees increase the risk of negative performance enormously.\"",[],"quote$63a4a947-8dd2-4b3b-b41b-73029c75031d","quote",{"variation":88,"version":89,"items":1656,"primary":1658,"id":1664,"slice_type":111,"slice_label":7},[1657],{},{"title":1659,"content":1660},[],[1661],{"type":57,"text":1662,"spans":1663},"Over 2022, as inflation and interest rates climbed and stock markets plummeted, the broad Global Artprice index fell 18%. However, the Artprice100 index of leading artists was up 3% in 2022, supporting the dictum that blue chip art is a relative safe haven.\n\nBut how reliable are these numbers? Art advisers urge caution. Art indices only track publicly available data – essentially prices from auctions – immediately cutting out the more opaque private market, which typically accounts for about half of all sales. Indices also only record price changes from artworks that have sold more than once. This limits their accuracy still further by excluding the vast majority of auction transactions – sale debuts, say art advisers. \n\n“You need to look at these indices with a pinch of salt,” says Laurent Issaurat, head of Art Banking Services at Société Générale. “They reflect only a very limited portion of the art market [lots that sell twice or more at auction], don’t include transaction costs and only show the winners in the race. The losers are forgotten. If there is no bidder in the room then an artwork is burned and this is not taken into account [in the indices] at all.” \n\nSuch so-called “survivorship bias” means that indices have a tendency to flatter investment performance. In terms of transaction costs, Philip Hoffman, founder of the Fine Art Group and a former deputy CEO at Christie’s, estimates the typical auction spread between buyer and seller can be as much as 37%.\n\nDespite these limitations, however – if used carefully – art indices can still prove valuable tools, for example, when negotiating purchases or identifying trends, say art specialists. \n\nFor a better guide to long-term art performance, Adriano de Picinati di Torcello, global art and finance coordinator at Deloitte, points to academic studies. One, published in 2011 by Elroy Dimson and Christophe Spaenjers, tracked the performance of the art collection of renowned economist John Maynard Keynes from 1900 to 2010. \n\nThe collection, containing works by major blue chips such as Picasso and Matisse, delivered a respectable real return (after allowing for inflation) of 2.4% a year over the period, comfortably ahead of government bonds and not far behind the total return on stocks and shares. Another paper by Christophe Spaenjers found art returned an impressive 4% a year between 1951 and 2007, again after inflation. \n\nThese are numbers that many long-term investors would be pretty happy with. The challenge, say art advisers, is achieving them as the art market is very diverse ranging from Old Masters to Contemporary and from low to high-end. All can have very different performance profiles.\n\n\"You can’t just go out and pay $50,000 for 10 contemporary artists with no history, no secondary market and no institutional representation and expect to do well. Randomised spending sprees increase the risk of negative performance enormously,” says Eugénie Dumont, art collections manager at Belgian private bank Degroof Petercam. “You need to purchase astutely and put together a collection carefully, based on your taste, your budget and its ultimate purpose while keeping in mind a long-term strategy.”\n\nThere are other points to consider too. While stocks and shares tend to pay dividends, art does not. Instead, there is a cost of ownership of art which includes insurance, maintenance and possibly storage for example. These costs can run from “well under 1%” per annum [of the value of the painting] for \"plain vanilla\" artworks requiring very little maintenance, according to Dumont, to much more for valuable and fragile pieces requiring a specific conservation environment, as well as historical discoveries where provenance and authenticity must be proven.\n",[],"text$855ac36b-1f02-44fb-9321-0d6fb003a622",{"variation":88,"version":89,"items":1666,"primary":1668,"id":1673,"slice_type":1654,"slice_label":7},[1667],{},{"quote":1669},[1670],{"type":57,"text":1671,"spans":1672},"“During Covid art held much of its value. It wasn’t demand that dropped dramatically it was more that, in a very uncertain market, sellers would stop selling.”",[],"quote$2097a3b3-3dde-4bce-bc35-28624f8dbc43",{"variation":88,"version":89,"items":1675,"primary":1677,"id":1685,"slice_type":111,"slice_label":7},[1676],{},{"title":1678,"content":1681},[1679],{"type":1619,"text":932,"spans":1680},[],[1682],{"type":57,"text":1683,"spans":1684},"Artworks are also much less liquid than other mainstream investments such as stocks or bonds, meaning they can be complicated and time-consuming to sell. \n\n“Although I have done deals in a day or even in an hour, the average sale probably takes three years,” says the Fine Art Group’s Hoffman, reflecting the time it takes to find the right buyer.\n\nBut there are clear attractions of art as an asset too. If chosen carefully, art has proven a long-term store of value and a good hedge against inflation. Over a 22-year holding period, the British Rail pension fund’s foray into art investments in the 1970s delivered a healthy 13.1% annual investment return (almost 6% after inflation), boosted by timely purchases and disposals. Astutely, the fund sold works by Renoir and Cezanne in 1989 ahead of the sharp correction in the Impressionist art market of the early 1990s. \n\nArt also has a relatively low correlation to mainstream investments like equities, meaning that when stocks and shares are falling, some art investments can hold their value.\n\nWhile this was not really the case during the 2008 financial crisis – the S&P 500 index, the US stock market index, fell about 50% from peak to trough and art sales and prices similarly collapsed during this period – art investments did perform better than equities as the Covid pandemic took hold.\n\n“During Covid art held much of its value,” says Société Générale’s Issaurat. “It wasn’t demand that dropped dramatically it was more that, in a very uncertain market, sellers would stop selling.”\n\nIssaurat adds that because many collectors often hold up to 5% to 15% or so of their overall wealth in art, they don’t have to be forced sellers. In the event that they desperately need cash, most collectors have other – more liquid – assets they can sell first, helping underpin art prices in a downturn.\n\nThis is not to say that the art markets are immune from global economic events. Far from it. Art prices were boosted by quantitative easing as central banks pumped more money into the global economy, say art experts. Rising interest rates have in the past also dampened sentiment in the art markets.\n\n“I was running Christie’s when [interest rates] hit 15% and that crucified the art market,” recalls the Fine Art Group’s Hoffman. “Everybody said ‘Let’s put $10m on deposit and we get $1.5m of interest a year without doing anything’.” \n\nHe thinks a tipping point for the art market might be if interest rates in Western economies start to climb above 8% – still some way above current levels.\n\nTrends currently affecting art prices, according to Kristiane Backer, founder of fine art consultancy Baraka Consultants, include the war in Ukraine and the reopening of China after Covid. “Russian buyers are no longer there but the Chinese seem to be coming back so, for the moment, the art market remains strong,” she says. \n\nIn recent years Backer says she has seen growing numbers of buyers turn to art for investment reasons. \n\n“Art is definitely worth considering if you want to diversify your portfolio,” she says. “But take good advice to buy well and, above all, buy what you like and love.”\n\nMost buyers are unlikely to come across the next Basquiat. But, if they do buy well, they could achieve decent annual positive returns, say art advisers.\n\nThe real dividend of owning artworks, according to Issaurat, however, is “the intellectual or aesthetic enjoyment you get... You just can’t measure this in euros or dollars or pounds.\"",[],"text$adb6ea17-3dab-495b-847c-54d1d2ce0152",{"variation":88,"version":89,"items":1687,"primary":1689,"id":1691,"slice_type":1692,"slice_label":7},[1688],{},{"embed":1690},{},"embed$81701536-8c30-4ed4-ab45-b76831e8db4e","embed","How does investment in art compare to traditional investments?","What returns should you expect when you in invest in art.",{"dimensions":1696,"alt":1697,"copyright":7,"url":1698,"id":1699,"edit":1700},{"width":770,"height":115},"Massysm Quentin — The Moneylender and his Wife \u002F Is art a sound investment? \u002F Article : Art investment ","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fdc35b9d9-3f09-43c3-8b5e-fd1be2538bd2_Image+Opengraph+Is+art+a+sound+investment.jpg?auto=compress,format","ZK_8txIAACMAahhi",{"x":29,"y":29,"zoom":30,"background":31},[1702,1730],{"variation":88,"version":89,"items":1703,"primary":1727,"id":1729,"slice_type":158,"slice_label":7},[1704,1708,1712,1723],{"post":1705},{"id":241,"type":163,"tags":1706,"lang":16,"slug":243,"first_publication_date":244,"last_publication_date":245,"uid":243,"link_type":61,"key":1707,"isBroken":109},[174],"ca5def7b-33e9-4b48-988f-bb26a2542baa",{"post":1709},{"id":1035,"type":163,"tags":1710,"lang":16,"slug":1037,"first_publication_date":1038,"last_publication_date":1039,"uid":1037,"link_type":61,"key":1711,"isBroken":109},[174],"02634088-8a87-4f68-9ae4-c1781064b9b8",{"post":1713},{"id":1714,"type":163,"tags":1715,"lang":16,"slug":1718,"first_publication_date":1719,"last_publication_date":1720,"uid":1721,"link_type":61,"key":1722,"isBroken":109},"ZIn28RAAACMArpTW",[1716,1717],"Paul Cezanne","Pablo Picasso","a-voyeurs-view-of-myth-desire-and-summer","2023-06-14T17:20:52+0000","2024-02-12T16:31:18+0000","bathers-a-long-and-cold-winter","413dc922-c1cd-483d-b3ff-01cdfc3589e6",{"post":1724},{"id":1534,"type":163,"tags":1725,"lang":16,"slug":1536,"first_publication_date":1537,"last_publication_date":1538,"uid":1539,"link_type":61,"key":1726,"isBroken":109},[406],"f9e9481b-e13e-4ef5-87e4-e3bb56356726",{"slides_per_view":7,"max_slides_count":7,"tag":1728,"type":163,"title":164,"paralax":7},{"link_type":61},"carousel$92e64e99-ab0d-4e3e-81c6-19f9532e78dc",{"variation":88,"version":89,"items":1731,"primary":1734,"id":1736,"slice_type":158,"slice_label":7},[1732],{"post":1733},{"link_type":61},{"slides_per_view":7,"max_slides_count":7,"tag":1735,"type":376,"title":1516,"paralax":7},{"link_type":61},"carousel$07c6f998-e064-40e5-ae17-9d21d3b880d7",{"id":241,"uid":243,"url":7,"type":163,"href":1738,"tags":1739,"first_publication_date":244,"last_publication_date":245,"slugs":1740,"linked_documents":1742,"lang":16,"alternate_languages":1743,"data":1744},"https:\u002F\u002Fartexplorer-prod.cdn.prismic.io\u002Fapi\u002Fv2\u002Fdocuments\u002Fsearch?ref=aCb60BIAACEA00zN&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22ZBmoCREAACIAZDGt%22%29+%5D%5D",[174],[243,1741],"buying-art-can-lower-the-overall-risks-of-your-investment-portfolio-by-helping-to-maximise-returns-while-limiting-losses-in-a-downturn.",[],[],{"title":1745,"subtitle":1746,"author":1747,"copyright_cover":7,"cover_desktop":1773,"cover_mobile":1779,"thumbnail":1784,"published_at":7,"slices":1787,"meta_title":1745,"meta_description":1806,"og_image":1807,"slices2":1813},"The art of diversification ","Buy art, lower risk, maximize returns – is it so simple?",{"id":1557,"type":444,"tags":1748,"lang":16,"slug":1560,"first_publication_date":1561,"last_publication_date":1562,"uid":1560,"data":1749,"link_type":61,"key":1772,"isBroken":109},[1559],{"description":1750,"short_description":1757,"job":1578,"thumbnail":1760,"cover":1763,"uid":1560,"title":1559,"og_image":1766,"meta_description":1769,"meta_title":1559},[1751,1753,1755],{"type":57,"text":1566,"spans":1752},[],{"type":57,"text":1569,"spans":1754},[],{"type":57,"text":1572,"spans":1756},[],[1758],{"type":57,"text":1576,"spans":1759},[],{"dimensions":1761,"alt":1559,"copyright":7,"url":1583,"id":1584,"edit":1762},{"width":1581,"height":1582},{"x":29,"y":29,"zoom":30,"background":31},{"dimensions":1764,"alt":1559,"copyright":7,"url":1583,"id":1584,"edit":1765},{"width":1581,"height":1582},{"x":29,"y":29,"zoom":30,"background":31},{"dimensions":1767,"alt":1559,"copyright":1559,"url":1583,"id":1584,"edit":1768},{"width":1581,"height":1582},{"x":29,"y":29,"zoom":30,"background":31},[1770],{"type":57,"text":1594,"spans":1771},[],"f0c18415-a99a-4e78-bcfc-dee7a7d4c19e",{"dimensions":1774,"alt":1775,"copyright":7,"url":1776,"id":1777,"edit":1778},{"width":24,"height":25},"The Money Changers","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fae565da2-21f2-4c7c-b5ab-d8817755c291_Slide+16_9+-+88.jpg?auto=compress,format","ZLAO6xIAACAAamGW",{"x":29,"y":29,"zoom":30,"background":31},{"dimensions":1780,"alt":1775,"copyright":7,"url":1781,"id":1782,"edit":1783},{"width":25,"height":24},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F97040616-ff96-4d3a-ae2b-c1382d478718_9_16+%286%29.jpg?auto=compress,format","ZLAO7BIAACIAamGd",{"x":29,"y":29,"zoom":30,"background":31},{"dimensions":1785,"alt":1775,"copyright":7,"url":1781,"id":1782,"edit":1786},{"width":25,"height":24},{"x":29,"y":29,"zoom":30,"background":31},[1788],{"variation":88,"version":89,"items":1789,"primary":1791,"id":1805,"slice_type":111,"slice_label":7},[1790],{},{"title":1792,"content":1795},[1793],{"type":1619,"text":932,"spans":1794},[],[1796,1799,1802],{"type":57,"text":1797,"spans":1798},"Buying art can lower the overall risks of your investment portfolio by helping to maximise returns while limiting losses in a downturn. The perfect investment would be one that behaves like cash – i.e., that doesn’t depreciate – yet performs like tech stocks during the dot-com boom. Sadly, no such investment exists.  \n\nThis is something the Chinese appear to have long understood. Indeed, the Chinese word for “risk” consists of two separate symbols: “danger” and “opportunity,” clearly explaining that risk brings with it the possibility of both losses and gains.   \n\nThis understanding is deeply ingrained in the psyche of any good wealth manager or financial adviser. Underpinning every investment approach is appetite for risk – in essence, an investor’s ability and willingness to stomach losses in the pursuit of profits.   \n\nThe other key tenet of savvy investing – first popularised by Nobel prize winner and father of modern portfolio theory Harry Markowitz – is diversification.   \n\nThe idea is that, by spreading investments across different securities (like shares in different companies) and different asset classes (like bonds or even wine or art), investors can maximise their financial returns while limiting losses in a downturn. When one asset is falling in value, another might be falling more slowly or even rising in price, cushioning the overall blows of challenging investment markets yet maintaining a long-term aim of delivering decent gains.  \n\nThis concept has been so rigorously tested by academics and investors of all shapes and sizes that it is pretty much universally adopted by all professional investors from pension funds and endowments to the world’s biggest global asset and wealth managers.  \n\nThe test to check whether another investment makes sense for diversification purposes is to look at how closely it performs with another. The tool used to do this is called correlation. It measures how closely one asset (or a particular stock or bond) has performed against another. Correlation is ranked between minus one and one with zero denoting that there is no performance relationship at all, while one signifies that two assets rise and fall in tandem. A negative correlation indicates that when one asset rises in price the other falls.   \n\nMost long-term investors will own equities and bonds as core holdings in their portfolios. So typical diversification assets might include property, private equity, hedge funds, or even art and other collectables. \n\nLike property or private equity, research indicates that art can also prove to be an effective diversification asset. Measured from 2000 to the end of June 2021, European Old Masters and Impressionist art had a “low” correlation of just 0.23 with the S&P 500 index of leading US stocks, according to data provider Artnet, indicating art has a noticeably different performance profile to US equities.   \n\nIn terms of how much of their wealth investors might want to tie up in art and other collectables, that will depend on multiple factors, not least personal and emotional ones. But, as a good guide, investment advisers suggest up to around 5% of total assets held in art and collectables can provide useful diversification benefits.  \n\nBut beware, not all art performs the same and some artworks will prove better diversification tools than others. Also measured from 2000 to the end of June 2021, Global Contemporary Art and Global Post-War Art had correlations with the S&P 500 of 0.72 and 0.70 respectively, according to Artnet, pointing to a strong performance relationship with equities.   \n\nFurthermore, it is important to look at the period over which correlation figures are calculated as they can vary significantly over time.   \n\nTake bonds and equities. From the late 1990s until very recently, high-quality government bonds had a negative correlation with equities: when stock markets fell, investors tended to rush towards the safe havens of US and German government bonds, driving up their prices during stock market turmoil. But this relationship changed in 2022, as rising inflation and interest rates hurt both bonds and equities. As a result, the correlation between the two moved from negative to positive.   ",[],{"type":57,"text":1800,"spans":1801},"\n\nNo one has a crystal ball. Similar changes could happen to art or within a particular art genre if it falls in or out of favour. The fact no one can accurately predict the future only underlines why it makes sense to put one’s investment eggs in a wide variety of baskets.   ",[],{"type":57,"text":1803,"spans":1804},"  ",[],"text$70e5d07e-6002-443b-907d-2b4441f2272c","Buying art can lower the overall risks of your investment portfolio by helping to maximise returns while limiting losses in a downturn.",{"dimensions":1808,"alt":1809,"copyright":7,"url":1810,"id":1811,"edit":1812},{"width":770,"height":115},"The Money Changers \u002F The art of diversification  \u002F Article : Art investment ","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fa1fd309d-8dbb-485f-a5af-9cdca078b85b_Image+Opengraph+The+art+of+diversification.jpg?auto=compress,format","ZK_8tRIAACIAahhS",{"x":29,"y":29,"zoom":30,"background":31},[1814],{"variation":88,"version":89,"items":1815,"primary":1828,"id":1832,"slice_type":158,"slice_label":7},[1816,1820,1824],{"post":1817},{"id":395,"type":376,"tags":1818,"lang":16,"slug":397,"first_publication_date":398,"last_publication_date":399,"uid":400,"link_type":61,"key":1819,"isBroken":109},[174],"d865e916-60bd-4baa-9034-43a1e2c631ce",{"post":1821},{"id":385,"type":376,"tags":1822,"lang":16,"slug":388,"first_publication_date":389,"last_publication_date":390,"uid":391,"link_type":61,"key":1823,"isBroken":109},[387],"a785f666-bfce-4bed-ae03-5d9864a8a463",{"post":1825},{"id":404,"type":376,"tags":1826,"lang":16,"slug":407,"first_publication_date":408,"last_publication_date":409,"uid":410,"link_type":61,"key":1827,"isBroken":109},[406],"cea50051-f2de-4511-ad28-c2834ef07be3",{"slides_per_view":1829,"max_slides_count":1829,"tag":1830,"type":376,"title":1831,"paralax":7},3,{"link_type":61},"Art Explored Audiocasts","carousel$36c78bbe-e63c-4051-818f-baa909fb67e2",{"slice":251,"payload":1834},[1835,2059,2394,2557,2885,3164,3383],{"id":255,"uid":263,"url":7,"type":163,"href":1836,"tags":1837,"first_publication_date":261,"last_publication_date":262,"slugs":1838,"linked_documents":1839,"lang":16,"alternate_languages":1840,"data":1841},"https:\u002F\u002Fartexplorer-prod.cdn.prismic.io\u002Fapi\u002Fv2\u002Fdocuments\u002Fsearch?ref=aCb60BIAACEA00zN&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22ZurRuhAAACEAByVL%22%29+%5D%5D",[257,258,259],[260],[],[],{"title":1842,"subtitle":1843,"author":1844,"copyright_cover":7,"cover_desktop":1874,"cover_mobile":1882,"thumbnail":1888,"published_at":1891,"slices":1892,"meta_title":2030,"meta_description":2031,"og_image":2032,"slices2":2037},"Are Rothko Rooms facing extinction?","Rare ensembles by the American painter are especially prone to damage",{"id":443,"type":444,"tags":1845,"lang":16,"slug":446,"first_publication_date":447,"last_publication_date":448,"uid":446,"data":1846,"link_type":61,"key":1873,"isBroken":109},[],{"description":1847,"short_description":1858,"job":470,"thumbnail":1861,"cover":1864,"uid":446,"title":475,"og_image":1867,"meta_description":1870,"meta_title":475},[1848,1850,1852,1854,1856],{"type":57,"text":452,"spans":1849,"direction":454},[],{"type":57,"text":456,"spans":1851,"direction":454},[],{"type":57,"text":459,"spans":1853,"direction":454},[],{"type":57,"text":456,"spans":1855,"direction":454},[],{"type":57,"text":464,"spans":1857,"direction":454},[],[1859],{"type":57,"text":468,"spans":1860,"direction":454},[],{"dimensions":1862,"alt":475,"copyright":7,"url":476,"id":477,"edit":1863},{"width":473,"height":474},{"x":29,"y":29,"zoom":30,"background":479},{"dimensions":1865,"alt":475,"copyright":7,"url":476,"id":477,"edit":1866},{"width":473,"height":474},{"x":29,"y":29,"zoom":30,"background":479},{"dimensions":1868,"alt":7,"copyright":7,"url":476,"id":477,"edit":1869},{"width":473,"height":474},{"x":29,"y":29,"zoom":30,"background":479},[1871],{"type":57,"text":488,"spans":1872},[],"3db35c33-8d42-40ae-8751-ce9d50e3e3a4",{"dimensions":1875,"alt":1878,"copyright":7,"url":1879,"id":1880,"edit":1881},{"width":1876,"height":1877},16000,9000,"The Rothko Chapel, Houston (Texas) (left) and the Rothko Room at Japan’s Kawamura Memorial DIC Museum of Art (right) © Sophie Whaley ","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZurQu7VsGrYSvilj_Landscape_16.9_Web_Header_Rothko3.png?auto=format,compress","ZurQu7VsGrYSvilj",{"x":29,"y":29,"zoom":30,"background":479},{"dimensions":1883,"alt":7,"copyright":7,"url":1885,"id":1886,"edit":1887},{"width":1884,"height":1876},10667,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZurii7VsGrYSvjb9_Thumbnail_Portrait_3.2_Rothko_V4.jpg?auto=format,compress","Zurii7VsGrYSvjb9",{"x":29,"y":29,"zoom":30,"background":479},{"dimensions":1889,"alt":7,"copyright":7,"url":1885,"id":1886,"edit":1890},{"width":1884,"height":1876},{"x":29,"y":29,"zoom":30,"background":479},"2024-10-05",[1893,1905,1917,1932,1944,1974,1989,2007],{"variation":88,"version":89,"items":1894,"primary":1895,"id":1904,"slice_type":111,"slice_label":7},[],{"title":1896,"content":1897},[],[1898,1901],{"type":57,"text":1899,"spans":1900,"direction":454},"In the mid-twentieth century, American painter Mark Rothko unveiled what would become his signature style: vertical stacks of rectangular shapes that seem to float mysteriously on a field of colour. The sublime, captured on canvas. With their velvety textures, diffused contours, and radiant inner light, Rothko’s paintings elude reproduction in photographs; they demand to be seen in person, up close. The artist originally intended for them to be displayed without frames or protective glass, encouraging viewers to stand as near as possible, to lose themselves in the work. This intimacy, however, comes at a cost, leaving the delicate surfaces especially prone to damage.",[],{"type":57,"text":1902,"spans":1903,"direction":454},"Compounding the issue, Rothko’s complex painting technique also defies conventional restoration methods. The artist was famously secretive about his process, layering multiple thin coats of paint that fused into one another, often employing a wide range of media. As a result, his work has been studied in greater detail by painting conservators, using increasingly sophisticated techniques over the years. Only through a deeper understanding of the artist’s methods can conservation efforts be both effective and successful.   ",[],"text$30b164fa-2695-45f9-bb94-fad49df69004",{"variation":88,"version":89,"items":1906,"primary":1907,"id":1916,"slice_type":111,"slice_label":7},[],{"title":1908,"content":1912},[1909],{"type":1619,"text":1910,"spans":1911,"direction":454},"A natural disaster strikes the Rothko Chapel",[],[1913],{"type":57,"text":1914,"spans":1915,"direction":454},"This summer, the Rothko Chapel in Houston, Texas, was critically impacted by a severe storm, which caused water to leak through the roof and damage three of the fourteen paintings housed within. Ironically, the skylight—designed to provide ideal lighting in keeping with Rothko’s vision—became the very entry point for the water that compromised the works it was intended to illuminate. ",[],"text$b918ede1-594c-4be7-a108-8053e6571783",{"variation":550,"version":89,"items":1918,"primary":1926,"id":1931,"slice_type":566,"slice_label":7},[1919],{"image":1920,"title":1925,"subtitle":7},{"dimensions":1921,"alt":7,"copyright":7,"url":1922,"id":1923,"edit":1924},{"width":1876,"height":1884},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZurQ7rVsGrYSvimS_Visuals_Landscape_3.2_Rothko_.jpg?auto=format,compress","ZurQ7rVsGrYSvimS",{"x":29,"y":29,"zoom":30,"background":479},"Interior of the Rothko Chapel, Houston (Texas) © Sophie Whaley",{"image1":1927,"label":1925,"copyright":1930},{"dimensions":1928,"alt":7,"copyright":7,"url":1922,"id":1923,"edit":1929},{"width":1876,"height":1884},{"x":29,"y":29,"zoom":30,"background":479},[],"image$c974a3ca-921e-4225-8516-3bd5d9b96291",{"variation":88,"version":89,"items":1933,"primary":1934,"id":1943,"slice_type":111,"slice_label":7},[],{"title":1935,"content":1936},[],[1937,1940],{"type":57,"text":1938,"spans":1939,"direction":454},"One of only a few ‘Rothko Rooms’ in the world, the chapel is a non-denominational sanctuary, open to all religions; a quiet space for reflection and spiritual growth. Commissioned in the 1960s by art patrons John and Dominique de Menil, Rothko himself oversaw every detail of its design, from the tiled floor to the skylight, and, of course, the paintings inside. Completed in 1971, a year after Rothko's death, the chapel now draws over 100,000 visitors annually. ",[],{"type":57,"text":1941,"spans":1942,"direction":454},"In preparation for its 50th anniversary, the Rothko Chapel underwent a complete renovation starting in 2019, ensuring it was ready for the 2021 jubilee. The $35 million project, which included a new glass roof to better protect the artworks, also saw the redevelopment of the chapel’s campus with the addition of new buildings due for completion in 2026. Despite these extensive efforts—and what executive director David Leslie described as “several measures (...) to address climate change” as reported in the Washington Post— the chapel could not withstand the recent storm. After all, the region has long been vulnerable to natural disasters. ",[],"text$9620b58d-0a95-4cbc-b315-df3effc9dfa6",{"variation":88,"version":89,"items":1945,"primary":1946,"id":1973,"slice_type":111,"slice_label":7},[],{"title":1947,"content":1951},[1948],{"type":1619,"text":1949,"spans":1950,"direction":454},"Water incident previously damaged Menil Rothko",[],[1952,1965],{"type":57,"text":1953,"spans":1954,"direction":454},"Before the Chapel's 50th anniversary, another Rothko painting from the Menil Collection was marred by water damage, leaving a drip mark across the two-meter-high canvas. The impact was intensified by Rothko’s choice not to use protective varnish, leaving the delicate paint layers exposed, coupled with his use of water-sensitive media to build his complex surfaces. Paintings Conservator Anne Schmid, then a Mellon Fellow in Painting Conservation at the Menil Collection, restored the artwork in 2020 after an extensive period of research, examination, and testing. In her observations for the American Institute of Conservation’s 50th Annual Meeting in 2022, she noted that each section of the painting—the fields of different colour and materiality—had responded differently to the damage, requiring a bespoke approach for each one. As a result, the painstaking process successfully returned the painting to a condition suitable for display.  ",[1955,1960],{"start":1956,"end":1957,"type":101,"data":1958},46,87,{"link_type":63,"url":1959,"target":766},"https:\u002F\u002Fwww.menil.org\u002Fcollection\u002Fobjects\u002F7811-untitled",{"start":1961,"end":1962,"type":101,"data":1963},567,659,{"link_type":63,"url":1964,"target":766},"https:\u002F\u002Fwww.culturalheritage.org\u002Fdocs\u002Fdefault-source\u002Fpublications\u002Fperiodicals\u002Fannual-meeting\u002F2022-program-and-abstract-book.pdf?sfvrsn=4f021720_16",{"type":57,"text":1966,"spans":1967,"direction":454},"While the full extent of the recent damage to the chapel's panels remains unclear, it is evident that the climate crisis is putting artworks at risk. According to  Ithaka S+R’s 2022 Art Museum Director Survey Report, which included about 180 U.S. participants, thirty-five percent said their museums had suffered damage due to climate change, while only half had taken steps to prepare for such risks.  ",[1968],{"start":1969,"end":1970,"type":101,"data":1971},164,215,{"link_type":63,"url":1972,"target":1132},"https:\u002F\u002Farchive.is\u002Fo\u002FyKci6\u002Fhttps:\u002Fsr.ithaka.org\u002Fpublications\u002Fhow-have-art-museums-been-impacted-by-climate-change\u002F","text$49ad930f-dc02-4270-9675-88e0e88fd5c7",{"variation":550,"version":89,"items":1975,"primary":1983,"id":1988,"slice_type":566,"slice_label":7},[1976],{"image":1977,"title":1982,"subtitle":7},{"dimensions":1978,"alt":7,"copyright":7,"url":1979,"id":1980,"edit":1981},{"width":1876,"height":1884},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZurUo7VsGrYSvi0K_Visuals_Landscape_3.2_Rothko_2.jpg?auto=format,compress","ZurUo7VsGrYSvi0K",{"x":29,"y":29,"zoom":30,"background":479},"Rothko Room at Japan’s Kawamura Memorial DIC Museum of Art © Sophie Whaley",{"image1":1984,"label":1982,"copyright":1987},{"dimensions":1985,"alt":7,"copyright":7,"url":1979,"id":1980,"edit":1986},{"width":1876,"height":1884},{"x":29,"y":29,"zoom":30,"background":479},[],"image$d5d726cd-5921-47cd-8463-a1796e7e5de2",{"variation":88,"version":89,"items":1990,"primary":1991,"id":2006,"slice_type":111,"slice_label":7},[],{"title":1992,"content":1996},[1993],{"type":1619,"text":1994,"spans":1995,"direction":454},"Uncertain fate for Japan's Rothko Room",[],[1997],{"type":57,"text":1998,"spans":1999,"direction":454},"Only five public spaces in the world permanently house groups of Rothko paintings conceived as sets—and now, yet another of these spaces faces an uncertain future. Japan’s Kawamura Memorial DIC Museum of Art, home to part of Rothko’s Seagram Murals, recently announced it will temporarily close in January 2025. Its owner, DIC Global, is considering downsizing the collection or shuttering the museum altogether. Either scenario could result in the liquidation of assets, potentially jeopardising the paintings’ integrity as a group. The Seagram Murals, originally commissioned for the Four Seasons restaurant in New York’s Seagram Building, were once part of an even larger ensemble. Beyond the DIC Museum, they are now divided among the Tate, Washington’s National Gallery of Art, and Rothko’s heirs. Of these, only the Tate offers a permanent display, though it too faced significant challenges. ",[2000,2003],{"start":2001,"end":2002,"type":523},234,248,{"start":2004,"end":2005,"type":523},538,553,"text$24c83861-a478-4a64-bf16-d97804570695",{"variation":88,"version":89,"items":2008,"primary":2009,"id":2029,"slice_type":111,"slice_label":7},[],{"title":2010,"content":2014},[2011],{"type":1619,"text":2012,"spans":2013,"direction":454},"From vandalism to digital revival: efforts in the UK and the US ",[],[2015,2018,2026],{"type":57,"text":2016,"spans":2017,"direction":454},"Over a decade ago, the British institution endured a severe act of vandalism when a painting was tagged with ink in its bottom right-hand corner, the ink seeping through to the canvas. It took nearly twenty months to “eradicate all visible evidence of the ink under normal gallery conditions.”  ",[],{"type":57,"text":2019,"spans":2020,"direction":454},"But more unconventional techniques were employed in an effort to restore—at least to some degree—the lost vibrancy of Rothko’s compromised paintings. The Harvard Murals, one of three ensembles commissioned to Rothko alongside the chapel and the Seagram Murals, had mysteriously shifted from red to blue. Hidden away in storage for nearly thirty years, the five panels were reintroduced to the public with a novel approach: projecting coloured light onto them. This digital reconstruction, painstakingly assembled pixel by pixel, aimed to create the illusion of the original. One might question how this differs from immersive art experiences that project paintings onto walls. Yet, it involves far more: it meticulously considers factors such as reflectance, ambient light blending with the projector’s beam, and various other variables. Meanwhile, the materiality of the paint persists, creating a compelling interplay between the physical and the digital.  ",[2021,2023],{"start":635,"end":2022,"type":523},168,{"start":2024,"end":2025,"type":523},245,261,{"type":57,"text":2027,"spans":2028,"direction":454},"Regardless of the nature of the damage, Rothko rooms are particularly vulnerable. Designed as cohesive units, these ensembles are compromised the moment even a single canvas is affected. Conservators have gone to extraordinary lengths, sometimes employing groundbreaking techniques, to preserve these invaluable works and ensure the artist’s vision remains intact for the public. ",[],"text$6e69228b-5ffe-4a5e-8224-71cd3e92f45c","Are Rothko Rooms Facing Extinction?","Mark Rothko, one of the most influential painters of the post-war era, is celebrated globally, with his artworks held in major museums. Yet, there are only five Rothko rooms in public institutions worldwide—spaces that permanently display groups of his paintings conceived as cohesive sets. These ensembles, however, have been particularly vulnerable to damage over time. Conservators have spared no efforts, often employing innovative techniques, to preserve Rothko’s invaluable artworks and maintain the integrity of these iconic collections.",{"dimensions":2033,"alt":7,"copyright":7,"url":2034,"id":2035,"edit":2036},{"width":770,"height":115},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZurUBLVsGrYSvix-_ImageOpengraph-1-.jpg?auto=format,compress","ZurUBLVsGrYSvix-",{"x":29,"y":29,"zoom":30,"background":479},[2038],{"variation":88,"version":89,"items":2039,"primary":2056,"id":2058,"slice_type":158,"slice_label":7},[2040,2044,2048,2052],{"post":2041},{"id":267,"type":163,"tags":2042,"lang":16,"slug":270,"first_publication_date":271,"last_publication_date":272,"uid":273,"link_type":61,"key":2043,"isBroken":109},[269],"6c5435ca-81e9-445c-8f23-750f2a9be2a1",{"post":2045},{"id":277,"type":163,"tags":2046,"lang":16,"slug":279,"first_publication_date":280,"last_publication_date":281,"uid":279,"link_type":61,"key":2047,"isBroken":109},[215],"28c11a2f-9e31-4399-b463-2fb05a805d81",{"post":2049},{"id":295,"type":163,"tags":2050,"lang":16,"slug":299,"first_publication_date":300,"last_publication_date":301,"uid":302,"link_type":61,"key":2051,"isBroken":109},[297,298],"ac26e38b-47d1-4c5a-a63e-2c7eee0ac769",{"post":2053},{"id":193,"type":163,"tags":2054,"lang":16,"slug":196,"first_publication_date":197,"last_publication_date":198,"uid":199,"link_type":61,"key":2055,"isBroken":109},[174,195],"5eed1edb-dae0-441c-b5af-d8d02b038c90",{"slides_per_view":7,"max_slides_count":7,"tag":2057,"type":163,"title":7,"paralax":109},{"link_type":61},"carousel$313e3ddb-40c3-4c7f-8a0c-5dd8b3ae85a9",{"id":267,"uid":273,"url":7,"type":163,"href":2060,"tags":2061,"first_publication_date":271,"last_publication_date":272,"slugs":2062,"linked_documents":2063,"lang":16,"alternate_languages":2064,"data":2065},"https:\u002F\u002Fartexplorer-prod.cdn.prismic.io\u002Fapi\u002Fv2\u002Fdocuments\u002Fsearch?ref=aCb60BIAACEA00zN&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22ZqOmgxAAACEAyGP7%22%29+%5D%5D",[269],[270],[],[],{"title":2066,"subtitle":2067,"author":2068,"copyright_cover":7,"cover_desktop":2098,"cover_mobile":2103,"thumbnail":2108,"published_at":2111,"slices":2112,"meta_title":2326,"meta_description":2327,"og_image":2328,"slices2":2333},"Klimt, Matsch, and a Ghanaian Prince in turn-of-the-century Vienna","Twin portraits illuminate the friendship and break-up between the painters",{"id":443,"type":444,"tags":2069,"lang":16,"slug":446,"first_publication_date":447,"last_publication_date":448,"uid":446,"data":2070,"link_type":61,"key":2097,"isBroken":109},[],{"description":2071,"short_description":2082,"job":470,"thumbnail":2085,"cover":2088,"uid":446,"title":475,"og_image":2091,"meta_description":2094,"meta_title":475},[2072,2074,2076,2078,2080],{"type":57,"text":452,"spans":2073,"direction":454},[],{"type":57,"text":456,"spans":2075,"direction":454},[],{"type":57,"text":459,"spans":2077,"direction":454},[],{"type":57,"text":456,"spans":2079,"direction":454},[],{"type":57,"text":464,"spans":2081,"direction":454},[],[2083],{"type":57,"text":468,"spans":2084,"direction":454},[],{"dimensions":2086,"alt":475,"copyright":7,"url":476,"id":477,"edit":2087},{"width":473,"height":474},{"x":29,"y":29,"zoom":30,"background":479},{"dimensions":2089,"alt":475,"copyright":7,"url":476,"id":477,"edit":2090},{"width":473,"height":474},{"x":29,"y":29,"zoom":30,"background":479},{"dimensions":2092,"alt":7,"copyright":7,"url":476,"id":477,"edit":2093},{"width":473,"height":474},{"x":29,"y":29,"zoom":30,"background":479},[2095],{"type":57,"text":488,"spans":2096},[],"6fd770a1-14de-47f1-805d-d17603e34e62",{"dimensions":2099,"alt":7,"copyright":7,"url":2100,"id":2101,"edit":2102},{"width":1876,"height":1877},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZqOfcB5LeNNTxhmF_Landscape_16.9_Web_Header_HiddenGems_V6_.jpg?auto=format,compress","ZqOfcB5LeNNTxhmF",{"x":29,"y":29,"zoom":30,"background":479},{"dimensions":2104,"alt":7,"copyright":7,"url":2105,"id":2106,"edit":2107},{"width":1884,"height":1876},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZqOgAB5LeNNTxhmY_Portrait_3.2_Web_Thumbnail_HiddenGems4.jpg?auto=format,compress","ZqOgAB5LeNNTxhmY",{"x":29,"y":29,"zoom":30,"background":479},{"dimensions":2109,"alt":7,"copyright":7,"url":2105,"id":2106,"edit":2110},{"width":1884,"height":1876},{"x":29,"y":29,"zoom":30,"background":479},"2024-07-29",[2113,2127,2140,2157,2174,2197,2206,2218,2240,2249,2266,2278,2304,2313],{"variation":88,"version":89,"items":2114,"primary":2115,"id":2126,"slice_type":111,"slice_label":7},[],{"title":2116,"content":2117},[],[2118,2121,2123],{"type":57,"text":2119,"spans":2120,"direction":454},"Pablo Picasso, Giorgio de Chirico, Pierre Soulages, Richard Serra—these illustrious names in the history of art draw visitors to Luxembourg's Nationalmusée um Fëschmaart. Yet, alongside these masters, the museum also showcases long-forgotten artists who are equally deserving of our attention.",[],{"type":57,"text":456,"spans":2122,"direction":454},[],{"type":57,"text":2124,"spans":2125,"direction":454},"Ruud Priem, the museum's Head of Department and Curator of Fine Arts, recently oversaw the acquisition of a striking portrait. With a decade at Amsterdam's Rijksmuseum and collaborations worldwide, Priem has engaged deeply with celebrated masterpieces while demonstrating a discerning eye for overlooked treasures.",[],"text$ed331b5a-ad55-419e-9cc4-6ef4d8537b08",{"variation":550,"version":89,"items":2128,"primary":2129,"id":2139,"slice_type":566,"slice_label":7},[],{"image1":2130,"label":7,"copyright":2135},{"dimensions":2131,"alt":7,"copyright":7,"url":2132,"id":2133,"edit":2134},{"width":25,"height":25},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZqOhCx5LeNNTxhnR_FranzvonMatsch-Square.jpg?auto=format,compress","ZqOhCx5LeNNTxhnR",{"x":29,"y":29,"zoom":30,"background":479},[2136],{"type":57,"text":2137,"spans":2138,"direction":454},"Franz von Matsch (1861-1942), Portrait of William Nii Nortey Dowuona, Prince of the Ga people from Osu in the Grand Accra region of Ghana, West Africa, 1897, oil on canvas, Collection MNAHA",[],"image$581a16cf-b400-443f-95ef-696551be2e71",{"variation":88,"version":89,"items":2141,"primary":2142,"id":2156,"slice_type":111,"slice_label":7},[],{"title":2143,"content":2147},[2144],{"type":1619,"text":2145,"spans":2146,"direction":454},"A mysterious portrait",[],[2148,2151,2153],{"type":57,"text":2149,"spans":2150,"direction":454},"The newly acquired painting is presented in its (presumably) original, beautifully crafted bamboo frame. From the corners of the frame protrude four tubers–the roots of the bamboo–enhancing its exotic allure. Its quasi-photographic quality and frontal, naturalistic depiction of a black man in bust form make it challenging to date at first glance. The painting appears academic with its polished finish and the model’s classical pose, yet it diverges from tradition through its unconventional choice of subject.",[],{"type":57,"text":456,"spans":2152,"direction":454},[],{"type":57,"text":2154,"spans":2155,"direction":454},"A black figure wears a piece of cloth in a toga-like fashion, draped over his left shoulder and leaving the right one bare. Set against a simple clay-green background, he lacks contextual markers. The museum acquired it at a 2021 Sotheby's auction, simply as “Portrait of an African Man”. Its author, Austrian painter Franz von Matsch (1861-1942), was active in Vienna from the late 19th to the mid-20th century. Reflecting an era when Black representation in European art expanded alongside migration from Africa and Haiti, such works broke away from prevailing stereotypes. However, the context in which this portrait was created unveils more complex realities. While interpreting the artist’s perspective solely through the painting proves challenging, it nevertheless offers profound insights into anthropology and social relations in modern Europe.",[],"text$b4cb4442-fba2-4a3d-9ed3-7f3a2a3ca55a",{"variation":88,"version":89,"items":2158,"primary":2159,"id":2173,"slice_type":111,"slice_label":7},[],{"title":2160,"content":2164},[2161],{"type":1619,"text":2162,"spans":2163,"direction":454},"Matsch and Klimt: partners in art",[],[2165,2168,2170],{"type":57,"text":2166,"spans":2167,"direction":454},"In the 1870s, Franz von Matsch trained alongside Gustav Klimt and his brother Ernst at Vienna's School of Applied Arts, all steeped in conservative academic traditions. After their studies, in 1883, the trio collaborated on public commissions until Gustav Klimt distanced himself from the traditional painting style. Favouring artistic innovation, Klimt's art underwent a major shift in 1895, and two years later, he co-founded the Vienna Secession, one of the most avant-garde movements of the time.",[],{"type":57,"text":456,"spans":2169,"direction":454},[],{"type":57,"text":2171,"spans":2172,"direction":454},"Despite their diverging paths, Klimt and Matsch appear to have maintained a close relationship, as evidenced by their joint portrayal of the man in a toga. This enigmatic sitter is also the subject of one of Klimt's paintings, which depicts him in three-quarter view. The portrait itself is shrouded in mystery, having last been seen in public at a 1928 retrospective marking the 10th anniversary of Klimt's death. A black-and-white photograph from a 1923 auction catalogue is the only visual trace of the painting that exists today.",[],"text$5f3b82d7-a73d-4039-9852-2a47bf8110de",{"variation":550,"version":89,"items":2175,"primary":2186,"id":2196,"slice_type":566,"slice_label":7},[2176],{"image":2177,"title":2184,"subtitle":2185},{"dimensions":2178,"alt":7,"copyright":7,"url":2181,"id":2182,"edit":2183},{"width":2179,"height":2180},1920,2413,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZqOjhB5LeNNTxhoK_Klimtpainting2.png?auto=format,compress","ZqOjhB5LeNNTxhoK",{"x":29,"y":29,"zoom":30,"background":479},"Gustav Klimt (1862-1918)","Portrait of William Nii Nortey Dowuona, c. 1897",{"image1":2187,"label":7,"copyright":2192},{"dimensions":2188,"alt":7,"copyright":7,"url":2189,"id":2190,"edit":2191},{"width":24,"height":1007},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZqOqcR5LeNNTxhrQ_GustavKlimtlandscape3_2.jpg?auto=format,compress","ZqOqcR5LeNNTxhrQ",{"x":29,"y":29,"zoom":30,"background":479},[2193],{"type":57,"text":2194,"spans":2195,"direction":454},"Gustav Klimt (1862-1918), Portrait of William Nii Nortey Dowuona, c. 1897\n\n(Click to view the full image)",[],"image$d8c5583d-c0ef-4f3e-a78c-a493b58b6b37",{"variation":88,"version":89,"items":2198,"primary":2199,"id":2205,"slice_type":111,"slice_label":7},[],{"title":2200,"content":2201},[],[2202],{"type":57,"text":2203,"spans":2204,"direction":454},"Priem highlights these portraits as testaments not only to artistic camaraderie but also to the rift that possibly fractured the painters’ bond—a bullet hole in Matsch's work mirrors a dagger gash in Klimt's. An eye for an eye...",[],"text$c4881e79-a305-4079-bf28-d01b6806f52b",{"variation":88,"version":89,"items":2207,"primary":2208,"id":2217,"slice_type":111,"slice_label":7},[],{"title":2209,"content":2213},[2210],{"type":1619,"text":2211,"spans":2212,"direction":454},"Investigating identity",[],[2214],{"type":57,"text":2215,"spans":2216,"direction":454},"In a 2012 publication, art historian Tobias Natter questioned the dating and subject of Klimt’s portrait. Natter speculated that it might depict an African sculpture Klimt admired at Brussels’ Musée du Congo in 1914. Enter Alfred Weidinger, Vienna’s Belvedere Museum’s former vice-president, who established the link between Klimt’s and Matsch’s portraits to around 1897. This was not only the year when Klimt began incorporating flowers into the backgrounds of his works, but also the year a group of Ga people from Ghana were “hired” to “perform” in Vienna’s “Tiergarten” (German for “zoo”).",[],"text$4a43e929-6358-422a-bc1e-5fa06cd95e72",{"variation":88,"version":89,"items":2219,"primary":2229,"id":2239,"slice_type":566,"slice_label":7},[2220],{"image":2221,"title":2228,"subtitle":7},{"dimensions":2222,"alt":7,"copyright":7,"url":2225,"id":2226,"edit":2227},{"width":2223,"height":2224},2634,1517,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZqOk8h5LeNNTxhpX_printWienerTiergarten1897_SMK%5B31%5D2.png?auto=format,compress","ZqOk8h5LeNNTxhpX",{"x":29,"y":29,"zoom":30,"background":479},"A group of Ga people from Ghana at Vienna’s Tiergarten circa 1897.",{"image1":2230,"label":7,"copyright":2235},{"dimensions":2231,"alt":7,"copyright":7,"url":2232,"id":2233,"edit":2234},{"width":24,"height":1007},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZqOk6h5LeNNTxhpW_GapeopleLandscape3_2.jpg?auto=format,compress","ZqOk6h5LeNNTxhpW",{"x":29,"y":29,"zoom":30,"background":479},[2236],{"type":57,"text":2237,"spans":2238,"direction":454},"A group of Ga people from Ghana at Vienna’s Tiergarten circa 1897.\n\n(Click to view the full image.)",[],"image$f6b14082-d44d-4c8d-8b4b-a272c5c292e3",{"variation":88,"version":89,"items":2241,"primary":2242,"id":2248,"slice_type":111,"slice_label":7},[],{"title":2243,"content":2244},[],[2245],{"type":57,"text":2246,"spans":2247,"direction":454},"During the late 19th century, “human zoos” sprang up across Europe, fuelling a fascination with the exotic at the height of colonial rule, explains Charline Zeitoun, science journalist and deputy editor-in-chief at CNRS. German wild animal importer Carl Hagenberg, known as the “King of the Zoos”, also popularised “ethnic shows”. Inuits, Nubians, Dahomeans, Amerindians, Koreans and other peoples were exhibited in reconstructed villages and asked to perform dances, wear imaginary costumes and even embody cannibalistic and brutal personas. This dehumanising industry aimed to attract an ever-growing audience while trying to legitimise the colonial and civilising enterprise. Such stagings were a resounding success with a Western public that could be described as voyeuristic, fascinated by the unusual and the exotic. “More than a billion visitors are said to have flocked to see this type of exhibition between 1870 and 1940” (“Plus d’un milliard de visiteurs se seraient pressés pour voir ce type d’exhibitions entre 1870 et 1940”), states Zeitoun.",[],"text$fef5c538-5ed3-48be-b23e-be746761f777",{"variation":88,"version":89,"items":2250,"primary":2251,"id":2265,"slice_type":111,"slice_label":7},[],{"title":2252,"content":2256},[2253],{"type":1619,"text":2254,"spans":2255,"direction":454},"Breaking with artistic conventions",[],[2257,2260,2262],{"type":57,"text":2258,"spans":2259,"direction":454},"Returning to Weidinger, he, along with one of the Belvedere’s Curators Markus Fellinger, identified the figure in both portraits as William Nii Nortey Dowuona, the leader of the Ga people from Osu in Ghana. Dowuona came to Vienna’s “Tiergarten” to perform with a group of 70 warriors and about 50 women and children, all for a modest fee. At the time, the world of show business provided a fertile ground for artists seeking life models that were both affordable and challenged academic conventions. In the catalogue accompanying the 2019 exhibition “Le modèle noir, de Géricault à Matisse” at the Musée d’Orsay in Paris, Estelle Béhué and Isolde Pludermacher note that for 19th-century artists, depicting a Black model marked a significant departure from the beauty standards of the time, which were anchored in the facial features and whiteness of Greek statues.",[],{"type":57,"text":456,"spans":2261,"direction":454},[],{"type":57,"text":2263,"spans":2264,"direction":454},"Matsch’s portrayal sharply contrasts with long-prevailing depictions of young African men and women in orientalist attire or as domestic pages, emphasising the absolute domination and prosperity of their masters. Instead, the man here is neither a mere decorative motif nor a stereotype; he is presented in a dignified and attentive portrait. As the Orsay exhibition catalogue highlights, artists of this era played a key role in challenging racist and colonial ideologies.",[],"text$657902fd-4faf-4c2e-881d-e6527ceccc5d",{"variation":88,"version":89,"items":2267,"primary":2268,"id":2277,"slice_type":111,"slice_label":7},[],{"title":2269,"content":2273},[2270],{"type":1619,"text":2271,"spans":2272,"direction":454},"The Ghanaian Prince awaits his twin portrait",[],[2274],{"type":57,"text":2275,"spans":2276,"direction":454},"While most black models from this period remain nameless, William Nii Nortey Dowuona’s identity is now memorialised at the Nationalmusée um Fëschmaart. He was Prince of the Ga people from Osu in the Grand Accra region of Ghana, West Africa. Priem hopes to one day reunite this portrait with Klimt’s missing piece, should it still exist and resurface. The twin portraits not only share the same subject but also the same palette, with “the two painters having used the exact same colours”, Priem further explains. Their reunion, if it ever happens, would certainly add an exciting chapter to this story and perhaps unveil further details.",[],"text$49b51a06-a118-446d-962b-15e468711c46",{"variation":961,"version":89,"items":2279,"primary":2292,"id":2303,"slice_type":566,"slice_label":7},[2280,2285],{"image":2281,"title":2284,"subtitle":7},{"dimensions":2282,"alt":7,"copyright":7,"url":2105,"id":2106,"edit":2283},{"width":1884,"height":1876},{"x":29,"y":29,"zoom":30,"background":479},"Matsch",{"image":2286,"title":2291,"subtitle":7},{"dimensions":2287,"alt":7,"copyright":7,"url":2288,"id":2289,"edit":2290},{"width":1007,"height":24},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZqOjRB5LeNNTxhoC_GustavKlimt-3_2portrait.jpg?auto=format,compress","ZqOjRB5LeNNTxhoC",{"x":29,"y":29,"zoom":30,"background":479},"Klimt",{"image1":2293,"image2":2296,"label":7,"copyright":2299},{"dimensions":2294,"alt":7,"copyright":7,"url":2105,"id":2106,"edit":2295},{"width":1884,"height":1876},{"x":29,"y":29,"zoom":30,"background":479},{"dimensions":2297,"alt":7,"copyright":7,"url":2288,"id":2289,"edit":2298},{"width":1007,"height":24},{"x":29,"y":29,"zoom":30,"background":479},[2300],{"type":57,"text":2301,"spans":2302,"direction":454},"Franz von Matsch’s and Gustav Klimt’s portraits of William Nii Nortey Dowuona circa 1897 (Matsch: left \u002F Klimt: right).\n\n(Click to view the full image)",[],"image$bd4ac8de-e7ea-4a73-b1b5-4ca49000c0b3",{"variation":88,"version":89,"items":2305,"primary":2306,"id":2312,"slice_type":111,"slice_label":7},[],{"title":2307,"content":2308},[],[2309],{"type":57,"text":2310,"spans":2311,"direction":454},"Exceptionally, the travel diaries of these Ghanaian \"actors\" have survived and, along with the two portraits, will be the focus of an Austrian documentary set for release in 2025, states the Nationalmusée’s Curator. This might allow the model to shift from being an observed subject to becoming an observer, providing us with a most interesting testimony.",[],"text$d70576b5-f405-435e-8a30-2e6013de9b76",{"variation":88,"version":89,"items":2314,"primary":2315,"id":2325,"slice_type":566,"slice_label":7},[],{"image1":2316,"label":7,"copyright":2321},{"dimensions":2317,"alt":7,"copyright":7,"url":2318,"id":2319,"edit":2320},{"width":24,"height":1007},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZqOmbx5LeNNTxhpv_Nationalmus%C3%A9eumF%C3%ABschmaart-landscape3_2.jpg?auto=format,compress","ZqOmbx5LeNNTxhpv",{"x":29,"y":29,"zoom":30,"background":479},[2322],{"type":57,"text":2323,"spans":2324,"direction":454},"Nationalmusée um Fëschmaart, Luxembourg © Sophie Whaley",[],"image$60e6c030-caa3-475e-9b8b-dc7f2ca2aff8","How Klimt and Matsch rendered a Ghanaian Prince in turn-of-the-century Vienna","At the Nationalmusée um Fëschmaart in Luxembourg, visitors can discover a mysterious portrait by Franz von Matsch. The Austrian painter, active in Vienna at the turn of the century, was once part of iconic artist Gustav Klimt's inner circle. Both painters seemingly sat side-by-side to portray this enigmatic sitter, recently identified as a Ghanaian Prince. He is also the subject of a long-lost painting by Gustav Klimt, unseen for a century. Most curiously, these portraits shed light on the friendship and break-up between Klimt and 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","yue-minjun-returns-with-lockdown-inspired-paintings","2023-03-10T18:08:04+0000","2023-07-13T14:05:10+0000","yue-minjun-surrealist-paintings","544064e4-307c-430e-88ad-fdf81a668194",{"slides_per_view":7,"max_slides_count":7,"tag":2381,"type":163,"title":164,"paralax":109},{"link_type":61},"carousel$c3c2ccad-14cd-465a-b3be-f5445f8b9e50",{"variation":88,"version":89,"items":2384,"primary":2385,"id":2387,"slice_type":158,"slice_label":7},[],{"slides_per_view":7,"max_slides_count":7,"tag":2386,"type":376,"title":1516,"paralax":109},{"link_type":61},"carousel$ab31fc86-a46c-4047-bcbc-44e30e718b90",{"variation":88,"version":89,"items":2389,"primary":2390,"id":2393,"slice_type":158,"slice_label":7},[],{"slides_per_view":7,"max_slides_count":7,"tag":2391,"type":43,"title":2392,"paralax":109},{"link_type":61},"Discover more artists","carousel$37b53b0e-263c-48f5-8f6b-d97c378b20d5",{"id":277,"uid":279,"url":7,"type":163,"href":2395,"tags":2396,"first_publication_date":280,"last_publication_date":281,"slugs":2397,"linked_documents":2398,"lang":16,"alternate_languages":2399,"data":2400},"https:\u002F\u002Fartexplorer-prod.cdn.prismic.io\u002Fapi\u002Fv2\u002Fdocuments\u002Fsearch?ref=aCb60BIAACEA00zN&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22ZoZklBMAACIAPKk1%22%29+%5D%5D",[215],[279],[],[],{"title":2401,"subtitle":2402,"author":2403,"copyright_cover":2433,"cover_desktop":2434,"cover_mobile":2439,"thumbnail":2444,"published_at":2447,"slices":2448,"meta_title":2549,"meta_description":2550,"og_image":2551,"slices2":2556},"A new face at Luxembourg's Nationalmusée um Fëschmaart","The only publicly exhibited Francis Bacon in the country is also publicly listed",{"id":443,"type":444,"tags":2404,"lang":16,"slug":446,"first_publication_date":447,"last_publication_date":448,"uid":446,"data":2405,"link_type":61,"key":2432,"isBroken":109},[],{"description":2406,"short_description":2417,"job":470,"thumbnail":2420,"cover":2423,"uid":446,"title":475,"og_image":2426,"meta_description":2429,"meta_title":475},[2407,2409,2411,2413,2415],{"type":57,"text":452,"spans":2408,"direction":454},[],{"type":57,"text":456,"spans":2410,"direction":454},[],{"type":57,"text":459,"spans":2412,"direction":454},[],{"type":57,"text":456,"spans":2414,"direction":454},[],{"type":57,"text":464,"spans":2416,"direction":454},[],[2418],{"type":57,"text":468,"spans":2419,"direction":454},[],{"dimensions":2421,"alt":475,"copyright":7,"url":476,"id":477,"edit":2422},{"width":473,"height":474},{"x":29,"y":29,"zoom":30,"background":479},{"dimensions":2424,"alt":475,"copyright":7,"url":476,"id":477,"edit":2425},{"width":473,"height":474},{"x":29,"y":29,"zoom":30,"background":479},{"dimensions":2427,"alt":7,"copyright":7,"url":476,"id":477,"edit":2428},{"width":473,"height":474},{"x":29,"y":29,"zoom":30,"background":479},[2430],{"type":57,"text":488,"spans":2431},[],"c50f2cca-3ee0-4921-9dd1-b2d2db6f1aa6","Francis Bacon (1909-1992), Three Studies for Portrait of George Dyer, 1963, oil on canvas, in three parts, 35.5 x 30.5 cm (each). The first publicly listed Masterpiece on Artex Global Markets. Owned by Art Share 002. © The Estate of Francis Bacon. All right reserved, DACS 2024 \u002F Photo : Tom Lucas \u002F MNAHA",{"dimensions":2435,"alt":7,"copyright":7,"url":2436,"id":2437,"edit":2438},{"width":24,"height":25},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZoZjCB5LeNNTwyJp_Slide16_9-5-.jpg?auto=format,compress","ZoZjCB5LeNNTwyJp",{"x":29,"y":29,"zoom":30,"background":479},{"dimensions":2440,"alt":7,"copyright":7,"url":2441,"id":2442,"edit":2443},{"width":25,"height":24},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZoamfR5LeNNTwy5c_9_16-2-.jpg?auto=format,compress","ZoamfR5LeNNTwy5c",{"x":29,"y":29,"zoom":30,"background":479},{"dimensions":2445,"alt":7,"copyright":7,"url":2441,"id":2442,"edit":2446},{"width":25,"height":24},{"x":29,"y":29,"zoom":30,"background":479},"2024-07-04",[2449,2469,2491,2512,2530],{"variation":88,"version":89,"items":2450,"primary":2451,"id":2468,"slice_type":111,"slice_label":7},[],{"title":2452,"content":2453},[],[2454,2457,2462,2465],{"type":57,"text":2455,"spans":2456,"direction":454},"“Three Studies for Portrait of George Dyer” (1963), a triptych by Francis Bacon (1909-1992), joined the MNAHA’s Nationalmusée um Fëschmaart’s extensive Modern and Contemporary art collection on 25th June 2024. On loan to the institution for the next two years, this is the only work by the British painter to be exhibited in Luxembourg.",[],{"type":57,"text":2458,"spans":2459,"direction":454},"Art connections reimagined",[2460],{"start":29,"end":2461,"type":523},26,{"type":57,"text":2463,"spans":2464,"direction":454},"After years of renovation, the museum’s Modern and Contemporary section reopened in March 2024 with a new thematic display entitled “Collections\u002FRevelations”. Instead of adhering to a typical chronological approach, curator Ruud Priem aimed to foster dialogue among artworks spanning different periods. Observant visitors will notice the connections between pieces that resonate with each other in one way or the other. For instance, juxtaposed bourgeois portraits from the late 19th century, highlighting a certain wealth and social status, face Aida Silvestri’s blurred photographs of Eritrean refugees who lost all their possessions and relationships when fleeing their homeland, explains Priem.",[],{"type":57,"text":2466,"spans":2467,"direction":454},"Together, works from the collection take on a new dimension and offer an overall narrative around five themes: Chaos, Nature, Forms and Shapes, Colour, and Faces.",[],"text$77aa420a-ca9c-439c-bfee-4c8e3fd8e774",{"variation":961,"version":89,"items":2470,"primary":2471,"id":2490,"slice_type":566,"slice_label":7},[],{"image1":2472,"image2":2479,"label":978,"copyright":2486},{"dimensions":2473,"alt":7,"copyright":7,"url":2476,"id":2477,"edit":2478},{"width":2474,"height":2475},4423,6463,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZoZ6XR5LeNNTwyb6_2017-246-002a--.jpg?auto=format,compress","ZoZ6XR5LeNNTwyb6",{"x":29,"y":29,"zoom":30,"background":479},{"dimensions":2480,"alt":7,"copyright":7,"url":2483,"id":2484,"edit":2485},{"width":2481,"height":2482},4380,6324,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZoZ6Sh5LeNNTwyb4_2017-246-001a--.jpg?auto=format,compress","ZoZ6Sh5LeNNTwyb4",{"x":29,"y":29,"zoom":30,"background":479},[2487],{"type":57,"text":2488,"spans":2489,"direction":454},"Aida Silvestri (b. 1978), Kidan. Eritrea to London on foot, by car, lorry, boat train and aeroplane, 2017 © Collection MNAHA, Photo: Tom Lucas; Aida Silvestri (b. 1978), Biniam. Eritrea to London by car, boat, lorry, train and aeroplane, 2017 © Collection MNAHA, Photo: Tom Lucas",[],"image$af33763b-bb06-4f72-8234-5c3a44222c01",{"variation":88,"version":89,"items":2492,"primary":2493,"id":2511,"slice_type":111,"slice_label":7},[],{"title":2494,"content":2495},[],[2496,2501,2504,2508],{"type":57,"text":2497,"spans":2498,"direction":454},"A Francis Bacon in resonance",[2499],{"start":29,"end":2500,"type":523},28,{"type":57,"text":2502,"spans":2503,"direction":454},"In this latest chapter, one of the new faces is Francis Bacon’s muse and lover, George Dyer—portrayed three times over. This emotionally charged triptych goes beyond the model’s physical appearance to explore the complexities of his inner self. Severely contorted, the shifting faces have much to say about Dyer’s personality. He looks simultaneously strong, almost raging, yet also fragile and profoundly distressed. This painting is also a key element in the artist’s relationship with his muse. Bacon had met Dyer a few months prior, and this work marks the very first portrait he created of him. More reminiscent of muscle and tissue than skin, the painting’s raw, carnal quality aligns with Bacon’s general concerns about human mortality. Deviating from traditional representations, this troubling depiction is positioned near the “Chaos” section, resonating with its thematic surroundings.",[],{"type":57,"text":2505,"spans":2506,"direction":454},"Portraits in the post-war era",[2507],{"start":29,"end":1123,"type":523},{"type":57,"text":2509,"spans":2510,"direction":454},"Portraits were central to Bacon’s practice. However, after the Second World War, this age-old genre was not widespread among celebrated artists who mainly explored non-figurative tendencies. A self-taught painter, Francis Bacon managed to revive the art of portraiture, which, as well as being out of fashion, had been severely impacted by the growing accessibility of photography. Bacon’s disturbing imagery is among the most poignant portrayals of humankind and earned him widespread acclaim early in his career. Meanwhile, other artists who adopted a more traditional approach to portraiture found their works less popular and often overlooked, despite their inherent quality. Such is the case of Swedish painter Owe Zerge (1894-1983) whose outdated aesthetic of smooth, ultra-realistic painting failed to win him recognition. Today, one of Zerge’s well-dressed young boys sits next to Bacon's triptych portrait but appears too absorbed in introspection to even notice Dyer's recent arrival.",[],"text$aa285098-521e-418b-b095-04ce0110d44c",{"variation":550,"version":89,"items":2513,"primary":2514,"id":2529,"slice_type":566,"slice_label":7},[],{"image1":2515,"label":7,"copyright":2525},{"dimensions":2516,"alt":7,"copyright":7,"url":2519,"id":2520,"edit":2521},{"width":2517,"height":2518},5315,4100,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZoZ64h5LeNNTwycI__TOM7054.jpg?auto=format%2Ccompress&rect=1519%2C315%2C3796%2C2928&w=5315&h=4100","ZoZ64h5LeNNTwycI",{"x":2522,"y":2523,"zoom":2524,"background":479},1519,315,1.21,[2526],{"type":57,"text":2527,"spans":2528,"direction":454},"Francis Bacon (1909-1992), Three Studies for Portrait of George Dyer, 1963, oil on canvas, in three parts, 35.5 x 30.5 cm (each) © The Estate of Francis Bacon. All right reserved, DACS 2024 (left) and Owe Zerge (1894-1983), Portrait représentant Bertil (right). Photo : Tom Lucas \u002F MNAHA",[],"image$67cd7379-8d83-496e-a923-017578121246",{"variation":88,"version":89,"items":2531,"primary":2532,"id":2548,"slice_type":111,"slice_label":7},[],{"title":2533,"content":2534},[],[2535,2540],{"type":57,"text":2536,"spans":2537,"direction":454},"An artwork loaned by the public",[2538],{"start":29,"end":2539,"type":523},31,{"type":57,"text":2541,"spans":2542,"direction":454},"On loan from Art Share 002, “Three Studies for Portrait of George Dyer” (1963) is the first publicly owned artwork, with its shares trading on a regulated exchange compliant with the European MiFID II legislative framework. A new initiative to democratise art and broaden access to investing in iconic masterpieces is now complemented by the physical artwork's accessibility to all. As visitors stroll through the galleries of the Nationalmusée um Fëschmaart, they can contemplate a public collection of art. For the first time, they also can appreciate a painting they can choose to co-own.",[2543],{"start":2544,"end":2545,"type":101,"data":2546},224,240,{"link_type":63,"url":2547,"target":766},"https:\u002F\u002Fwww.artexgm.com","text$70395200-3677-4f7f-bc3b-bbed1b241602","Francis Bacon's portrait of George Dyer is the new face at Luxembourg's Nationalmusée um Fëschmaart","“Three Studies for Portrait of George Dyer” (1963), a triptych by Francis Bacon (1909-1992), joined the MNAHA’s Nationalmusée um Fëschmaart’s extensive Modern and Contemporary art collection on 25th June 2024. On loan to the institution for the next two years, this is the only work by the British painter to be exhibited in Luxembourg. On loan from Art Share 002, “Three Studies for Portrait of George Dyer” (1963) is the first publicly owned artwork, with its shares trading on ARTEX Global Markets, a regulated exchange. This new initiative to democratise art and broaden access to investing in iconic masterpieces is now complemented by the physical artwork's accessibility to all.",{"dimensions":2552,"alt":7,"copyright":7,"url":2553,"id":2554,"edit":2555},{"width":770,"height":115},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZpTyAB5LeNNTxJwp_FrancisBaconnationalmus%C3%A9eImageOpengraph.jpg?auto=format,compress","ZpTyAB5LeNNTxJwp",{"x":29,"y":29,"zoom":30,"background":479},[],{"id":285,"uid":291,"url":7,"type":163,"href":2558,"tags":2559,"first_publication_date":289,"last_publication_date":290,"slugs":2560,"linked_documents":2561,"lang":16,"alternate_languages":2562,"data":2563},"https:\u002F\u002Fartexplorer-prod.cdn.prismic.io\u002Fapi\u002Fv2\u002Fdocuments\u002Fsearch?ref=aCb60BIAACEA00zN&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22ZP7wwRIAACUAhvx4%22%29+%5D%5D",[195,287],[288],[],[],{"title":2564,"subtitle":2565,"author":2566,"copyright_cover":2610,"cover_desktop":2611,"cover_mobile":2616,"thumbnail":2621,"published_at":2626,"slices":2627,"meta_title":2564,"meta_description":2565,"og_image":2845,"slices2":2851},"Fraternal patronage sparked Monet’s rise to fame","Claude’s brother, Leon, is lesser-known but a vital player in the history of Impressionism",{"id":2567,"type":444,"tags":2568,"lang":16,"slug":2570,"first_publication_date":2571,"last_publication_date":2572,"uid":2570,"data":2573,"link_type":61,"key":2609,"isBroken":109},"ZBB5phAAACoAzTBT",[2569],"Tahney Fosdike","tahney-fosdike","2023-03-14T13:42:01+0000","2023-07-10T00:53:55+0000",{"description":2574,"short_description":2587,"job":2591,"thumbnail":2592,"cover":2597,"uid":2570,"twitter":2600,"title":2569,"og_image":2601,"instagram":2604,"meta_description":2605,"meta_title":2569},[2575,2578,2581,2584],{"type":57,"text":2576,"spans":2577},"Tahney is a writer and social media producer at ArtExplored. She is an Australian writer and editor living in France. ",[],{"type":57,"text":2579,"spans":2580},"She holds a Master of Art Curatorship from the University of Melbourne and has worked with leading cultural organisations, such as Arts Project Australia, the Melbourne Holocaust Museum and the Environmental Film Festival Australia. ",[],{"type":57,"text":2582,"spans":2583},"Her art and non-fiction writing can be found in Artshub, Australian Book Review, Beat Magazine, Betches, Metro Magazine, Art Almanac, Zee Feed, Little White Lies, Plinth, Mamamia, and Archer Magazine, among others. ",[],{"type":57,"text":2585,"spans":2586},"She holds the position of Art Editor with The Suburban Review and also curates and critiques arts writing in her monthly newsletter Sticky Teeth, and occasionally creates travel vlogs. ",[],[2588],{"type":57,"text":2589,"spans":2590},"Tahney is a writer and ArtExplored's social media producer. ",[],"Art writer and social media producer",{"dimensions":2593,"alt":2569,"copyright":7,"url":2594,"id":2595,"edit":2596},{"width":474,"height":474},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fca500ea5-9efb-4349-8ad5-0ab8c0b94de6_TAHNEY+FOSDIKE.jpg?auto=compress,format","ZHYDyhAAACQAMRXk",{"x":29,"y":29,"zoom":30,"background":31},{"dimensions":2598,"alt":2569,"copyright":7,"url":2594,"id":2595,"edit":2599},{"width":474,"height":474},{"x":29,"y":29,"zoom":30,"background":31},"https:\u002F\u002Ftwitter.com\u002Ftahnsuperdry",{"dimensions":2602,"alt":7,"copyright":7,"url":2594,"id":2595,"edit":2603},{"width":474,"height":474},{"x":29,"y":29,"zoom":30,"background":31},"http:\u002F\u002Finstagram.com\u002Ftahnsuperdry\u002F",[2606],{"type":57,"text":2607,"spans":2608},"Tahney Fosdike is a writer and social media producer at ArtExplored.",[],"4dfc1d8d-aac4-41a0-922b-71cfb2ad9b55","Detail of Portrait de Léon Monet, 1874, Claude Monet",{"dimensions":2612,"alt":2610,"copyright":7,"url":2613,"id":2614,"edit":2615},{"width":24,"height":25},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F708c1710-34c0-4f03-905a-cd1da06d0124_Detail+of+Portrait+de+L%C3%A9on+Monet_+1874%2C+Claude+Monet+-+Slide+16_9.jpg?auto=compress,format","ZQBcaRIAACUAjW7-",{"x":29,"y":29,"zoom":30,"background":31},{"dimensions":2617,"alt":2610,"copyright":7,"url":2618,"id":2619,"edit":2620},{"width":25,"height":24},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Ffbaccb0e-448b-4590-9ec6-0b777899e53f_Detail+of+Portrait+de+L%C3%A9on+Monet_+1874%2C+Claude+Monet+-+9_16+%282%29.jpg?auto=compress,format","ZQBfGxIAACUAjX0O",{"x":29,"y":29,"zoom":30,"background":31},{"dimensions":2622,"alt":2610,"copyright":7,"url":2623,"id":2624,"edit":2625},{"width":25,"height":24},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F7b14d95d-1c63-40f2-8307-57c1a6c20153_Detail+of+Portrait+de+L%C3%A9on+Monet_+1874%2C+Claude+Monet+-+9_16.jpg?auto=compress,format","ZQBcaRIAACMAjW7_",{"x":29,"y":29,"zoom":30,"background":31},"2023-09-11",[2628,2685,2713,2726,2766,2787,2824],{"variation":88,"version":89,"items":2629,"primary":2631,"id":2684,"slice_type":111,"slice_label":7},[2630],{},{"title":2632,"content":2633},[],[2634],{"type":57,"text":2635,"spans":2636},"With “piqued curiosity,” curator and 19th century painting specialist Géraldine Lefebvre discovered that French artist Claude Monet’s career was in sync with the privileges afforded by his brother Leon, whose name she saw “here and there but not much else.” But through her research, he quickly lost his status as a historical footnote. Like Lefebvre’s own interest in his little-known name within the history of Impressionism, Leon also had a desire to make visible the movement’s once unknown artists. Lefebvre’s exhibition at the Musée du Luxembourg in Paris titled Leon Monet. Brother of the artist and collector (15 March-16 July, 2023) placed Claude and other Impressionist artists’ forward trajectory within the orbit of their advocate, Leon. \n\nIn 1856, Claude met Eugène Boudin, an artist also local to Normandy. Later, Claude would say, “If I have become a painter, it is entirely due to Boudin.” 15-year-old Claude had been selling caricatures of locals, which Boudin encouraged him to abandon to fill notebooks of nature sketches. The older artist also introduced Claude to painting en plein air, a practice eventually leading to his Impressionism, Sunrise (1872), a painting cornerstoning the Impressionist movement.  Its scene – the seaside in Le Havre, Claude’s hometown – also appeared in his The Beach at Sainte-Adresse (1864). The painting, marking the site of their shared childhood, belonged to Claude’s older brother. Leon often purchased works by Claude and other  Impressionists (his collection formed the Musée du Luxembourg exhibition), including his younger brother’s sketchbooks. At the exhibition, they revealed a note: “Childhood memory, to my dear brother.”\n\nFamilial cornerstones precede and, maybe, counterbalance Claude’s other art world entry points. Though, less sentimentally, the Monet brothers had their conflicts. Leon rejected Claude’s 1874 portrait of him (for reasons unknown) and never displayed it. Lefebvre showed it for the first time publicly at the Musée du Luxembourg: Claude’s portrayal of his brother with blushed cheeks, a gently expressive man, finally seen alongside the early Impressionists as the kind, pragmatic patron they needed. \n\nClaude needed an enabling sibling like Leon. The artist once said, \"Never, even as a child, would I bend to a rule.” Lacking compromise for art, he refused to join the family business. In Paris, Claude often left his sick wife alone all day to paint outside and attempted suicide due to financial and art world worries. With Claude’s troubles in art came blessings, thanks to his brother. At an early Impressionist auction in 1875, Leon bought his work, and that of fellow artists, spiking Claude’s prices when he had little clientele (or money and food). Claude needed to benefit from such “principles of popularity” at a time when the art world rejected Impressionism; Leon’s attention helped  buoy the starving artist’s reputation into, what would be, lasting cultural affection. \n\nAlong with Leon’s patronage, other forces carried Claude and other early Impressionists along as they forged new paths. Amid shifting demands of modern life, caused by the Industrial Revolution and Haussmann’s renovation of Paris (though lovingly captured in Impressionist works like Pierre-Auguste Renoir’s Paris, The Institute at the Quai Malaquais (1872), the artists often left their city. They took advantage of new railway lines with practices more portable than ever due to popular innovations: the collapsible paint tube, French easel, and the pochade box. Claude, and his peers, became transient. ",[2637,2645,2653,2654,2657,2660,2665,2670,2673,2676],{"start":2638,"end":2639,"type":101,"data":2640},413,426,{"id":2641,"type":897,"tags":2642,"lang":16,"slug":2643,"first_publication_date":2644,"last_publication_date":2644,"link_type":61,"isBroken":109},"ZKyA7xEAACIAc2uK",[],"impressionism","2023-07-10T22:06:42+0000",{"start":2646,"end":2647,"type":101,"data":2648},1094,1106,{"id":2649,"type":897,"tags":2650,"lang":16,"slug":2651,"first_publication_date":2652,"last_publication_date":2652,"link_type":61,"isBroken":109},"ZQAfaBIAACUAjEii",[],"en-plein-air","2023-09-12T08:21:01+0000",{"start":2646,"end":2647,"type":523},{"start":2655,"end":2656,"type":523},1145,1167,{"start":2658,"end":2659,"type":523},1308,1336,{"start":2661,"end":2662,"type":101,"data":2663},2470,2509,{"link_type":63,"url":2664,"target":1132},"https:\u002F\u002Fwww.theguardian.com\u002Fartanddesign\u002F2017\u002Ffeb\u002F19\u002Fmonet-art-painting-impressionism-documentary",{"start":2666,"end":2667,"type":101,"data":2668},2672,2695,{"link_type":63,"url":2669,"target":1132},"https:\u002F\u002Fapnews.com\u002Farticle\u002Fclaude-monet-brother-leon-impressionism-paris-exhibit-278777074d0c9dc1fc593dac08183d28",{"start":2671,"end":2672,"type":523},2781,2807,{"start":2674,"end":2675,"type":523},3283,3325,{"start":2677,"end":2678,"type":101,"data":2679},3527,3538,{"id":2680,"type":897,"tags":2681,"lang":16,"slug":2682,"first_publication_date":2683,"last_publication_date":2683,"link_type":61,"isBroken":109},"ZQAgEhIAACQAjEre",[],"pochade-box","2023-09-12T08:23:51+0000","text$11d8d43f-a689-43a5-95af-876d30e88f70",{"variation":550,"version":89,"items":2686,"primary":2698,"id":2712,"slice_type":566,"slice_label":7},[2687],{"image":2688,"title":2696,"subtitle":2697},{"dimensions":2689,"alt":2692,"copyright":7,"url":2693,"id":2694,"edit":2695},{"width":2690,"height":2691},1997,1668,"Camille Pissarro - Le Quai Malaquais et l'Institut (1903)","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fb6644768-68f5-4f04-8cd4-8b4e42cde861_Camille_Pissarro+-+Le+Quai+Malaquais+et+l%27Institut+%281903%29.jpg?auto=compress,format","ZP7prRIAACUAhtoZ",{"x":29,"y":29,"zoom":30,"background":31},"Le Quai Malaquais et l'Institut (1903)","Camille Pissarro",{"image1":2699,"label":2707,"copyright":2708},{"dimensions":2700,"alt":2703,"copyright":7,"url":2704,"id":2705,"edit":2706},{"width":2701,"height":2702},3648,2432,"Camille_Pissarro - Le Quai Malaquais et l'Institut (1903)","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F4c41ec19-7553-4ad1-9e6d-73ac96762e1e_Camille_Pissarro+-+Le+Quai+Malaquais+et+l%27Institut+%281903%29+3_2+%282%29.jpg?auto=compress,format","ZP7zxBIAACIAhwr8",{"x":29,"y":29,"zoom":30,"background":31},"Click to see full size image",[2709],{"type":57,"text":2710,"spans":2711},"Le Quai Malaquais et l'Institut (1903) by Camille Pissarro",[],"image$8e5c9405-41d9-4acf-9153-b88d585d3f10",{"variation":88,"version":89,"items":2714,"primary":2716,"id":2725,"slice_type":111,"slice_label":7},[2715],{},{"title":2717,"content":2718},[],[2719],{"type":57,"text":2720,"spans":2721},"Their outside-the-studio, in-nature environments often intersected with the Monets’ coastal family homes and favourite places in Honfleur, Étretat, and Les Petites-Dalles. Leon, their frequent host, manoeuvred their activities toward merit; he directly funded Claude and continued to collect Impressionist works, despite a lack of institutional interest. Claude and others’ palettes also took artistic fame from Leon, a colour chemistand Industrialist forming part of a revolution in synthetic textile dyes. Up to 80% of Impressionist works used Leon’s new, more vivid colours, including Monet’s infamous green seen as early as Camille (1866). ",[2722],{"start":2723,"end":2724,"type":523},628,635,"text$2e339096-866b-4cf2-a6b5-a4a0f13fbb94",{"variation":961,"version":89,"items":2727,"primary":2749,"id":2765,"slice_type":566,"slice_label":7},[2728,2739],{"image":2729,"title":2738,"subtitle":2734},{"dimensions":2730,"alt":2733,"copyright":2734,"url":2735,"id":2736,"edit":2737},{"width":2731,"height":2732},1321,1981,"vue de l’exposition 10 Léon Monet, frère de l’artiste et collectionneur - Musée du Luxembourg ","© Didier Plowy pour la Rmn-GP scénographie Hubert Le Gall","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Feefcb18c-6400-4457-8f33-7d7dd8aa10de_vue+de+l%E2%80%99exposition+10+L%C3%A9on+Monet_+fr%C3%A8re+de+l%E2%80%99artiste+et+collectionneur+-+Mus%C3%A9e+du+Luxembourg+%C2%A9+Didier+Plowy+pour+la+Rmn-GP+sc%C3%A9nographie+Hubert+Le+Gall.jpg?auto=compress,format","ZP7syBIAACQAhuka",{"x":29,"y":29,"zoom":30,"background":31},"Vue de l’exposition 10 Léon Monet, frère de l’artiste et collectionneur - Musée du Luxembourg",{"image":2740,"title":2748,"subtitle":2734},{"dimensions":2741,"alt":2744,"copyright":2734,"url":2745,"id":2746,"edit":2747},{"width":2742,"height":2743},1452,966,"vue de l’exposition 11 Léon Monet, frère de l’artiste et collectionneur - Musée du Luxembourg ","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fd0ce0b52-c1b5-48dd-b411-901dafce36ae_vue+de+l%E2%80%99exposition+11+L%C3%A9on+Monet_+fr%C3%A8re+de+l%E2%80%99artiste+et+collectionneur+-+Mus%C3%A9e+du+Luxembourg+%C2%A9+Didier+Plowy+pour+la+Rmn-GP+sc%C3%A9nographie+Hubert+Le+Gall.jpg?auto=compress,format","ZP7szBIAACUAhukt",{"x":29,"y":29,"zoom":30,"background":31},"Vue de l’exposition 11 Léon Monet, frère de l’artiste et collectionneur - Musée du Luxembourg",{"image1":2750,"image2":2756,"label":978,"copyright":2761},{"dimensions":2751,"alt":2752,"copyright":7,"url":2753,"id":2754,"edit":2755},{"width":24,"height":1007},"vue de l’exposition 10 Léon Monet, frère de l’artiste et collectionneur - Musée du Luxembourg","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fdb8c9bc6-0279-45ad-b9f0-c7ebc26366e3_vue+de+l%E2%80%99exposition+10+L%C3%A9on+Monet_+fr%C3%A8re+de+l%E2%80%99artiste+et+collectionneur+-+Mus%C3%A9e+du+Luxembourg+%C2%A9+Didier+Plowy+pour+la+Rmn-GP+sc%C3%A9nographie+Hubert+Le+Gall+3_23_2.jpg?auto=compress,format","ZP70ZBIAACMAhw3r",{"x":29,"y":29,"zoom":30,"background":31},{"dimensions":2757,"alt":2744,"copyright":7,"url":2758,"id":2759,"edit":2760},{"width":24,"height":1007},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F87285fd9-3c9e-43d9-84d3-7a24dcd13c84_vue+de+l%E2%80%99exposition+11+L%C3%A9on+Monet_+fr%C3%A8re+de+l%E2%80%99artiste+et+collectionneur+-+Mus%C3%A9e+du+Luxembourg+%C2%A9+Didier+Plowy+pour+la+Rmn-GP+sc%C3%A9nographie+Hubert+Le+Gall+3_23_2.jpg?auto=compress,format","ZP70ZBIAACMAhw3q",{"x":29,"y":29,"zoom":30,"background":31},[2762],{"type":57,"text":2763,"spans":2764},"Vue de l’exposition 10 et 11 Léon Monet, frère de l’artiste et collectionneur - Musée du Luxembourg © Didier Plowy pour la Rmn-GP scénographie Hubert Le Gall\n\n(Click to see full size images)",[],"image$d77e61f3-e728-4bb0-81bc-77e2aee1ec36",{"variation":88,"version":89,"items":2767,"primary":2769,"id":2786,"slice_type":111,"slice_label":7},[2768],{},{"title":2770,"content":2771},[],[2772],{"type":57,"text":2773,"spans":2774},"The work of Claude and his peers continued to place themselves in proximity to their ally. Camille Pissarro, a Danish-French Impressionist and Neo-Impressionist painter that had set up his easel at sea while visiting Leon in Normandy, also came to his friend’s home in the French city of Rouen in Normandy in 1883. He sketched the town, with the brown murkiness of The Stone Bridge and Barges in Rouen (1883) less electric than other Impressionist landscapes, like the bright white and blues of Sisley’s Road to Louveciennes, Snow Effect (1874). Though, unlike Pissarro’s attention to its industrialisation, Claude, at first, didn’t often come to his brother’s city. In 1892, some 20 years after his last visit, he stayed and mediated the damp, grey city. The peachy yet shadowy General View of Rouen(1892) features the cathedral he would repetitively paint in an ongoing series between 1892-1894.",[2775,2778,2781,2784],{"start":2776,"end":2777,"type":523},365,401,{"start":2779,"end":2780,"type":523},504,537,{"start":2782,"end":2783,"type":523},544,545,{"start":2785,"end":474,"type":523},779,"text$5c7a32b7-b2c4-4d32-8f0d-733463f79e74",{"variation":961,"version":89,"items":2788,"primary":2807,"id":2823,"slice_type":566,"slice_label":7},[2789,2797],{"image":2790,"title":2796,"subtitle":2734},{"dimensions":2791,"alt":2792,"copyright":2734,"url":2793,"id":2794,"edit":2795},{"width":2732,"height":2731},"vue de l’exposition 7 Léon Monet, frère de l’artiste et collectionneur - Musée du Luxembourg","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F36470f15-3cca-4753-ad79-77242d9b6e48_vue+de+l%E2%80%99exposition+7+L%C3%A9on+Monet_+fr%C3%A8re+de+l%E2%80%99artiste+et+collectionneur+-+Mus%C3%A9e+du+Luxembourg+%C2%A9+Didier+Plowy+pour+la+Rmn-GP+sc%C3%A9nographie+Hubert+Le+Gall.jpg?auto=compress,format","ZP7u4BIAACIAhvMl",{"x":29,"y":29,"zoom":30,"background":31},"Vue de l’exposition 7 Léon Monet, frère de l’artiste et collectionneur - Musée du Luxembourg",{"image":2798,"title":2802,"subtitle":2806},{"dimensions":2799,"alt":2802,"copyright":7,"url":2803,"id":2804,"edit":2805},{"width":2800,"height":2801},3200,2229,"Alfred Sisley, Route de Louveciennes effet de neige 1874","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F759bbc1e-3ede-4bc0-8e6c-0fec7bd39cb9_Alfred_Sisley__Route_de_Louveciennes_effet_de_neige_1874.jpg?auto=compress,format","ZQAiJxIAACMAjFTq",{"x":29,"y":29,"zoom":30,"background":31},"Sisley, anonyme, Monet",{"image1":2808,"image2":2814,"label":978,"copyright":2819},{"dimensions":2809,"alt":2810,"copyright":7,"url":2811,"id":2812,"edit":2813},{"width":24,"height":1007},"vue de l’exposition 7 Léon Monet, frère de l’artiste et collectionneur - Musée du Luxembourg ","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F60722392-59f5-42bd-aa3f-2b9a2217d88a_vue+de+l%E2%80%99exposition+7+L%C3%A9on+Monet_+fr%C3%A8re+de+l%E2%80%99artiste+et+collectionneur+-+Mus%C3%A9e+du+Luxembourg+%C2%A9+Didier+Plowy+pour+la+Rmn-GP+sc%C3%A9nographie+Hubert+Le+Gall+3_23_2.jpg?auto=compress,format","ZP70txIAACQAhw-c",{"x":29,"y":29,"zoom":30,"background":31},{"dimensions":2815,"alt":2802,"copyright":7,"url":2816,"id":2817,"edit":2818},{"width":24,"height":1007},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fcb9d37bc-02e4-4454-834e-56a8c5761436_Alfred+Sisley_+Route+de+Louveciennes+effet+de+neige+1874+3_2.jpg?auto=compress,format","ZQAh2RIAACQAjFN3",{"x":29,"y":29,"zoom":30,"background":31},[2820],{"type":57,"text":2821,"spans":2822},"1° Vue de l’exposition 7 Léon Monet, frère de l’artiste et collectionneur - Musée du Luxembourg © Didier Plowy pour la Rmn-GP scénographie Hubert Le Gall\n\n2° Alfred Sisley, Route de Louveciennes effet de neige 1874 by Sisley, anonyme, Monet\n\n(Click to see full size images)",[],"image$407d6317-542f-4b69-9a9d-af9529cff0df",{"variation":88,"version":89,"items":2825,"primary":2827,"id":2844,"slice_type":111,"slice_label":7},[2826],{},{"title":2828,"content":2829},[],[2830,2833,2841],{"type":57,"text":2831,"spans":2832},"The nature-loving artist that became obsessed with a landmark in his brother’s hometown went on to say, “Everything changes, even stone.” Sibling love, too, is malleable. Lefebvre’s exhibition is fresh, despite Claude being a well-covered artist, as historians long thought the brothers estranged. But only in the later years did they drift apart. In the early 1900s, family and work interlinked (as was the Monet way). Exposed to chemicals at Leon’s factory, Claude’s son Jean contracted a fatal respiratory infection. Leon’s daughter Adrienne suffered from the same illness, and Leon blamed Jean for spreading it. The brothers might have never spoken again.  ",[],{"type":57,"text":2834,"spans":2835},"Contrasting with the timeless and calming appeal of gazing at Claude’s works, the artist, as Peter C. Baker wrote for the New Yorker, existed “in the actual world, always shifting… with all the complications and constraints that existence in the world entails.” Claude wrote to Leon’s widow, following his 1917 passing, “I regret not being able to see my brother one last time, and tell him to forget everything that took us apart.” ",[2836],{"start":2837,"end":2838,"type":101,"data":2839},93,132,{"link_type":63,"url":2840},"https:\u002F\u002Fwww.newyorker.com\u002Fbooks\u002Fpage-turner\u002Fthe-real-world-of-monet",{"type":57,"text":2842,"spans":2843},"Françoise Cauvin, Leon’s granddaughter, who adored her uncle Claude, eventually corrected their disrupted affection trailed by historical absence. She posed for a photograph with Claude’s portrait of Leon at her 1950s wedding and made a wish before her 2017 death: that her uncle and grandfather’s bond, along with their portrait, resurface. At the Musée du Luxembourg, their trust in one another became tangible again. Research into Leon is young, though its representation real: a network’s care and commitment – financial, emotional, scientific – sustains artists. Leon’s support, Françoise’s request, Lefebvre’s curiosity, and whatever follows, make this symbiosis continue to turn",[],"text$1cfc4bb9-3df8-4c32-9b20-d36499ca0400",{"dimensions":2846,"alt":2847,"copyright":2734,"url":2848,"id":2849,"edit":2850},{"width":770,"height":115},"vue de l’exposition 3 Léon Monet, frère de l’artiste et collectionneur - Musée du Luxembourg 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Caravaggio shocked the art world","The Italian painter's artistic expression disrupted Renaissance 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The Calling of Saint Matthew, c. 1599–1600, Contarelli Chapel, San Luigi dei Francesi, Rome",{"dimensions":2926,"alt":2924,"copyright":7,"url":2927,"id":2928,"edit":2929},{"width":24,"height":25},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F97ff7fcb-cfb5-4312-85db-1b7ab6ed594d_The+Calling+of+Saint+Matthew+Caravaggo+Slide+16_9.jpg?auto=compress,format","ZSQANRAAACMAcuaY",{"x":29,"y":29,"zoom":30,"background":31},{"dimensions":2931,"alt":2924,"copyright":7,"url":2932,"id":2933,"edit":2934},{"width":25,"height":24},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F2156bc40-1972-4b09-a6fe-a10527ed2a6a_The_Calling_of_Saint_Matthew-Caravaggo_%281599-1600%29+4The+Calling+of+Saint+Matthew.jpg?auto=compress,format","ZRwOihAAACcAzLq_",{"x":29,"y":29,"zoom":30,"background":31},{"dimensions":2936,"alt":2924,"copyright":7,"url":2932,"id":2933,"edit":2937},{"width":25,"height":24},{"x":29,"y":29,"zoom":30,"background":31},"2023-10-03",[2940,2963,3002,3015,3034,3057,3075,3096,3112,3133],{"variation":88,"version":89,"items":2941,"primary":2943,"id":2962,"slice_type":111,"slice_label":7},[2942],{},{"title":2944,"content":2947},[2945],{"type":1619,"text":932,"spans":2946},[],[2948,2951,2954,2957,2960],{"type":57,"text":2949,"spans":2950},"Michelangelo Merisi da Caravaggio was born on 29 September, 1571 in Milan, Italy. The renowned Italian painter marked the beginning of a new era in art history by creating striking paintings that were ahead of their time. ",[],{"type":57,"text":2952,"spans":2953},"Caravaggio shattered the idealised, almost artificial nature of Renaissance art with his radical style that was completely different from his immediate predecessors such as Raphael and Michelangelo. ",[],{"type":57,"text":2955,"spans":2956},"Often described as tormented and violent, his works – most of which are religious – sparked passionate debate among viewers at the time, when people were accustomed to paintings of graceful Madonnas in idyllic settings.   ",[],{"type":57,"text":2958,"spans":2959},"The contrast was so striking that today, Caravaggio’s visceral, intensely realistic paintings are generally considered to mark the birth of modernism. ",[],{"type":57,"text":932,"spans":2961},[],"text$fb6c2b9f-265e-4d75-b1c6-791319302da5",{"variation":961,"version":89,"items":2964,"primary":2986,"id":3001,"slice_type":566,"slice_label":7},[2965,2975],{"image":2966,"title":2970,"subtitle":2974},{"dimensions":2967,"alt":2970,"copyright":7,"url":2971,"id":2972,"edit":2973},{"width":2968,"height":2969},2402,3055,"Raphael, The Madonna of the Meadow, c. 1505, Kunsthistorisches Museum Wien, Gemäldegalerie","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F24a15f5a-8d4c-487a-8b87-59449141fe4f_Raphael_Madonna_of_the_Meadow.jpg?auto=compress,format","ZSPz5BAAACUAcqeQ",{"x":29,"y":29,"zoom":30,"background":31},"Raphael",{"image":2976,"title":2984,"subtitle":2985},{"dimensions":2977,"alt":2980,"copyright":7,"url":2981,"id":2982,"edit":2983},{"width":2978,"height":2979},2675,3687,"Caravaggio, Madonna and Child with St. Anne, 1605-06, Galleria Borghèse. ","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F6af62cbd-0544-4aa7-b2b0-7ccc0d38d705_Madonna_and_Child_with_St._Anne-Caravaggio_%28c+6+%283%29.jpg?auto=compress,format","ZSP0oRAAACUAcqtg",{"x":29,"y":29,"zoom":30,"background":31},"Caravaggio, Madonna and Child with St. Anne, 1605-06, Galleria Borghèse.","Caravaggio",{"image1":2987,"image2":2992,"label":2707,"copyright":2997},{"dimensions":2988,"alt":2970,"copyright":7,"url":2989,"id":2990,"edit":2991},{"width":1007,"height":24},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fdc7cff88-d8c6-4402-8717-d3e3f0bdabf8_The+Madonna+of+the+Meadow+3_2.jpg?auto=compress,format","ZSPyfBAAACUAcqAP",{"x":29,"y":29,"zoom":30,"background":31},{"dimensions":2993,"alt":2980,"copyright":7,"url":2994,"id":2995,"edit":2996},{"width":1007,"height":24},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F843d12ad-5bdb-403b-a404-0cce567d8042_Madonna+and+Child+with+St.+Anne+3_2.jpg?auto=compress,format","ZSPy1hAAACQAcqHM",{"x":29,"y":29,"zoom":30,"background":31},[2998],{"type":57,"text":2999,"spans":3000},"Left to right: Raphael, The Madonna of the Meadow, c. 1505, Kunsthistorisches Museum Wien, Gemäldegalerie; \n\nCaravaggio, Madonna and Child with St. Anne, 1605-06, Galleria Borghèse. ",[],"image$3d4133c9-2b98-47b8-993c-2f9f4f2fa5e1",{"variation":88,"version":89,"items":3003,"primary":3005,"id":3014,"slice_type":111,"slice_label":7},[3004],{},{"title":3006,"content":3007},[],[3008,3011],{"type":57,"text":3009,"spans":3010,"direction":454},"Caravaggio emerged on the art scene when there was a need for renewal, especially since the socio-political context in 16th century-Europe called for a radical change in the representation of the sacred. Faced with the Protestant Reformation and accusations of abuse, the Roman Catholic church resorted to education and used art as a tool to address illiterate audiences who could not read sacred texts. Paintings were required to be more than mediums that represented perfect beauty – they were required to convey a convincing narrative that would stimulate and restore faith among Catholic viewers. ",[],{"type":57,"text":3012,"spans":3013,"direction":454},"In this context, Caravaggio’s painting style and artworks were incredibly innovative. His art was so compelling that it was sometimes rejected by the Church because it was deemed inappropriate. Some of his artworks even had to be repainted because they strayed too far from traditional iconography. Caravaggio’s art made a significant impact on his contemporaries due to three main characteristics: ",[],"text$610331fc-a496-4665-85c3-466db827e9b2",{"variation":88,"version":89,"items":3016,"primary":3018,"id":3033,"slice_type":111,"slice_label":7},[3017],{},{"title":3019,"content":3023},[3020],{"type":1619,"text":3021,"spans":3022},"1. Excessive realism",[],[3024],{"type":57,"text":3025,"spans":3026},"Caravaggio firmly believed in the study of reality, so instead of practicing academic drawing, he portrayed ordinary people whom he found on the street. He made fortune tellers and card players the subjects of his works – until then, scenes of everyday life were considered too insignificant to be represented in painting. In his religious works, he used real-life models, including the destitute, beggars, and labourers, to represent biblical figures. He painted them realistically, with all their human flaws. Under the guise of humble characters, Caravaggio’s holy figures resemble those in biblical texts, however, this excessive realism sometimes shocked Caravaggio’s contemporaries. The artist’s use of a well-known courtesan, instantly recognisable to all, as a model for the Virgin Mary sparked outrage (Madonna and Child with St. Anne, 1605-06). His Death of the Virgin (1601-06) also fuelled anger for portraying Mary as a simple woman lying on her deathbed with a swollen stomach. Disturbingly human, this depiction of the Virgin was rejected by the Church but it appealed to private collectors. This painting was acquired by a prominent member of one of Italy’s ruling families – the Duke of Mantua. ",[3027,3030],{"start":3028,"end":3029,"type":523},812,843,{"start":3031,"end":3032,"type":523},859,878,"text$021cc275-d9e7-4eb4-b6b8-d996d01650fc",{"variation":550,"version":89,"items":3035,"primary":3046,"id":3056,"slice_type":566,"slice_label":7},[3036],{"image":3037,"title":3045,"subtitle":2985},{"dimensions":3038,"alt":3041,"copyright":7,"url":3042,"id":3043,"edit":3044},{"width":3039,"height":3040},2172,3277,"Caravaggio, Death of the Virgin, 1601-06, Louvre Museum ","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F02aec4ac-9859-4ebb-88f6-15795aaba6f7_Death_of_the_Virgin-Caravaggio_%281606%29+7+%281%29.jpg?auto=compress,format","ZSP3sBAAACMAcrrM",{"x":29,"y":29,"zoom":30,"background":31},"Caravaggio, Death of the Virgin, 1601-06, Louvre Museum",{"image1":3047,"label":2707,"copyright":3053},{"dimensions":3048,"alt":3041,"copyright":7,"url":3050,"id":3051,"edit":3052},{"width":3049,"height":3049},1080,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F3394ab72-49a3-4248-970d-4ca77c0d4d5c_Death_of_the_Virgin-Caravaggio+carr%C3%A9.jpg?auto=compress,format","ZSP3QxAAACIAcriu",{"x":29,"y":29,"zoom":30,"background":31},[3054],{"type":57,"text":3045,"spans":3055},[],"image$e42529db-7fcb-4ee2-b10a-93fbaa3a638a",{"variation":88,"version":89,"items":3058,"primary":3060,"id":3074,"slice_type":111,"slice_label":7},[3059],{},{"title":3061,"content":3065},[3062],{"type":1619,"text":3063,"spans":3064},"2. Intense emotions",[],[3066,3072],{"type":57,"text":3067,"spans":3068,"direction":454},"Working from live models, Caravaggio convincingly captured both the appearance and emotion of his characters. By portraying striking expressions and actions, he sought to reach his audience in a way that had never been done before. The artist immortalised fateful moments that give way to powerful narratives. His stories are also often marked by violence, underlining tragic drama and physical action, and often elicited – and continue to elicit – strong reactions from viewers. This new level of emotional intensity is perfectly exemplified by Judith Beheading Holofernes (c. 1599), a spine-chilling masterpiece. The story of Judith, an ancient heroine of the Old Testament, had been widely represented by other artists before. They often depicted her as a symbol of virtue triumphing over evil, but Caravaggio chose to specifically depict the dramatic climax of the story, when, after tricking the Assyrian General Holofernes, the young Israelite widow callously lops off his head. This sensational painting immortalises the brutal murder, with Judith’s sword slicing through Holofernes’ neck, causing blood to gush out while the heroine’s steely gaze fixes on his wide, terrified eyes.  ",[3069],{"start":3070,"end":3071,"type":523},546,573,{"type":57,"text":456,"spans":3073,"direction":454},[],"text$b312f4dc-ae01-4a02-98fd-be228e8cb12b",{"variation":88,"version":89,"items":3076,"primary":3086,"id":3095,"slice_type":566,"slice_label":7},[3077],{"image":3078,"title":3082,"subtitle":2985},{"dimensions":3079,"alt":3082,"copyright":7,"url":3083,"id":3084,"edit":3085},{"width":3080,"height":3081},3125,2307,"Caravaggio, Judith Beheading Holofernes, ca. 1599, Palazzo Barberini","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F5d43c402-9e59-4c35-8cf5-3abc5ee2b7dd_Judith_Beheading_Holofernes_-_Caravaggio+2Judith+Beheading+Holofernes.jpg?auto=compress,format","ZSP7iBAAACQAcs6F",{"x":29,"y":29,"zoom":30,"background":31},{"image1":3087,"label":2707,"copyright":3092},{"dimensions":3088,"alt":3082,"copyright":7,"url":3089,"id":3090,"edit":3091},{"width":24,"height":25},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F58a74361-e6c1-46ba-b28b-bc2f9547f0e6_Caravaggio_+Judith+Beheading+Holofernes%2C+ca.+1599%2C+Palazzo+Barberini+Slide+16_9.jpg?auto=compress,format","ZSP8oxAAACIActP5",{"x":29,"y":29,"zoom":30,"background":31},[3093],{"type":57,"text":3082,"spans":3094},[],"image$80860967-9263-461e-b86d-7e00a17ade0b",{"variation":88,"version":89,"items":3097,"primary":3099,"id":3111,"slice_type":111,"slice_label":7},[3098],{},{"title":3100,"content":3104},[3101],{"type":1619,"text":3102,"spans":3103},"3. Dramatic staging",[],[3105],{"type":57,"text":3106,"spans":3107},"Caravaggio heightened the dramatic impact of his painted scenes thanks to various techniques, such as emphasising the contrast between light and shadow, known as tenebrism. The subjects appear artificially lit and set against a dark background, as if they are on a theatre stage. This draws the viewer’s eye to the action and the main elements of the story, and adds  narrative depth and emotional intensity. Extreme lighting can also be combined with unusual viewpoints and exaggerated motion, giving the paintings a greater sense of drama as illustrated by The Conversion on the Way to Damascus (c. 1600-01). The light that strikes the Roman centurion Saul as he falls from his horse evokes spiritual lighting and brings the main character into sharp focus. In comparison, the old groom is not illuminated to such an extent by the divine light, and he lurks in the shadows as a result. Painted from a low perspective, the scene is structured along strong diagonals that give the illusion of movement.  ",[3108],{"start":3109,"end":3110,"type":523},559,596,"text$ca4b7ffd-0a69-4a42-b022-5459468b088e",{"variation":550,"version":89,"items":3113,"primary":3123,"id":3132,"slice_type":566,"slice_label":7},[3114],{"image":3115,"title":3119,"subtitle":2985},{"dimensions":3116,"alt":3119,"copyright":7,"url":3120,"id":3121,"edit":3122},{"width":3117,"height":3118},6711,8817,"Caravaggio, The Conversion on the Way to Damascus, c. 1600-01, Basilica Parrocchiale Santa Maria del Popolo","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F0d161773-28a4-4ce7-b0c0-1654567da80a_Conversion_on_the_Way_to_Damascus-Caravaggio_%28c.1600-1%29.jpg?auto=compress,format","ZRwegxAAACgAzPv9",{"x":29,"y":29,"zoom":30,"background":31},{"image1":3124,"label":2707,"copyright":3129},{"dimensions":3125,"alt":3119,"copyright":7,"url":3126,"id":3127,"edit":3128},{"width":25,"height":25},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F4e7f380d-c9e4-4bf6-9fa4-211dee91814c_Conversion+on+the+Way+to+Damascus+Caravaggio+carr%C3%A9.jpg?auto=compress,format","ZSP_bBAAACMAcuJz",{"x":29,"y":29,"zoom":30,"background":31},[3130],{"type":57,"text":3119,"spans":3131},[],"image$b586692f-d1cf-498b-91c0-8a97703e008f",{"variation":88,"version":89,"items":3134,"primary":3136,"id":3146,"slice_type":111,"slice_label":7},[3135],{},{"title":3137,"content":3138},[],[3139],{"type":57,"text":3140,"spans":3141,"direction":454},"Caravaggio’s impressive paintings broke away from the conventions of the High Renaissance and laid the foundation for the Baroque era. His distinctive style inspired countless painters, with his direct followers known as Caravaggisti. The artist’s work later fell in to obscurity for centuries until its revolutionary influence was rediscovered at the beginning of the 20th century. Today, his oeuvre continues to exert an influence on younger generations of artists that go beyond the realm of painting. 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He contributes to Art Review, ARTnews, Spike Magazine and the Spanish newspaper El País.",[],{"type":57,"text":3190,"spans":3191}," He has been editor in chief of Arte al Límite, and editor-contributor of Momus. Author of the books “Curaduría de Latinoamérica” Vol I (2018), and Vol II (2020), PhD (c) at UAM (Spain) with an international mention at PUCSP (Brazil), and curator of more than 30 exhibitions. Founder, director and editor of the art criticism platform Art on Trial.",[],[3193],{"type":57,"text":3194,"spans":3195},"Juan Jose Santos covers Latin America and Europe for ArtExplored. ",[],"Art Writer - Latin America and Europe",{"dimensions":3198,"alt":3199,"copyright":7,"url":3200,"id":3201,"edit":3202},{"width":1007,"height":24},"Juan José Santos","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F4036a65e-0313-45a6-8fa7-f2f3dd511f14_Juan+3_2.jpg?auto=compress,format","ZPCjAxAAACMAzYus",{"x":29,"y":29,"zoom":30,"background":31},{"dimensions":3204,"alt":3199,"copyright":7,"url":3200,"id":3201,"edit":3205},{"width":1007,"height":24},{"x":29,"y":29,"zoom":30,"background":31},"https:\u002F\u002Ftwitter.com\u002Fandyjuanjol",{"dimensions":3208,"alt":3199,"copyright":7,"url":3209,"id":3210,"edit":3211},{"width":770,"height":115},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fc3ec7fde-0d09-4abb-bcc2-aa6bc79307df_Juan+Image+Opengraph.jpg?auto=compress,format","ZPCiGRAAACMAzYbV",{"x":29,"y":29,"zoom":30,"background":31},[3213],{"type":57,"text":3214,"spans":3215},"Juan José Santos is an art historian, curator and contributor. He covers Latin America and Europe for ArtExplored",[],"1b26ae58-d563-471c-8c71-9dd0a867a4e5","Tracey Emin Exhibition: The Loneliness of the Soul \u002F Sjelens ensomhet Plan 9 & 10 - MUNCH by: Ivar Kvaal",{"dimensions":3219,"alt":3220,"copyright":3221,"url":3222,"id":3223,"edit":3224},{"width":24,"height":25},"Tracey Emin Exhibition: The Loneliness of the Soul \u002F Sjelens ensomhet Plan 9 & 10 - MUNCH","Tracey Emin Exhibition: The Loneliness of the Soul \u002F Sjelens ensomhet Plan 9 & 10 - MUNCH\n\nby: Ivar Kvaal","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F461cf5a3-1680-4af5-9036-ddf9db077f12_IK_MUNCH_Tracey-Emin_+16_9+-+81.jpg?auto=compress,format","ZFoOQREAACMAgRS3",{"x":29,"y":29,"zoom":30,"background":31},{"dimensions":3226,"alt":3220,"copyright":3221,"url":3227,"id":3228,"edit":3229},{"width":25,"height":24},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F81fad00d-c29e-4759-8a17-9b05d09e6235_IK_MUNCH_Tracey-Emin_9-16.jpg?auto=compress,format","ZFoOQREAACIAgRS4",{"x":29,"y":29,"zoom":30,"background":31},{"dimensions":3231,"alt":3220,"copyright":3221,"url":3227,"id":3228,"edit":3232},{"width":25,"height":24},{"x":29,"y":29,"zoom":30,"background":31},[3234,3268,3282,3315],{"variation":88,"version":89,"items":3235,"primary":3237,"id":3267,"slice_type":111,"slice_label":7},[3236],{},{"title":3238,"content":3241},[3239],{"type":1619,"text":932,"spans":3240},[],[3242],{"type":57,"text":3243,"spans":3244},"“I've been in love with this man since I was 18.” The woman who uttered these words was born in 1963 and the recipient of her praise, exactly 100 years earlier, in 1863. What unites them is art... and The Scream (1893). \n\nEdvard Munch's mother died of tuberculosis when he was a child. His sister died of the same disease years later. This loss marked Munch's childhood and adolescence, as well as his excessive alcohol consumption and anxiety. These experiences would later be present in his work as an artist, with an orientation of painting towards the psychological study of lonely, traumatised, anguished, and confused characters. He himself said on one occasion that, just as Leonardo da Vinci had dissected bodies, he dissected souls. He also said that his conflicted personality was the basis of his genius.\n\nA century later, another artist would be born who would not only identify with him but would go so far as to affirm that she wanted to be the mother whom Munch lost too early. Tracey Emin, as she wrote in her 2005 memoir, Strangeland, spent too many years buried in alcoholism and toxic relationships, which she called “a drunken, decadent orgy of creative lust, pushing myself to the wildest extremes.”",[3245,3248,3257],{"start":3246,"end":3247,"type":523},201,218,{"start":3249,"end":3250,"type":101,"data":3251},351,357,{"id":3252,"type":104,"tags":3253,"lang":16,"slug":3254,"first_publication_date":3255,"last_publication_date":3256,"uid":3254,"link_type":61,"isBroken":109},"ZGstPxAAACIAql0R",[308],"edvard-munch","2023-05-22T09:53:52+0000","2023-07-11T08:41:55+0000",{"start":3258,"end":3259,"type":101,"data":3260},681,700,{"id":3261,"type":104,"tags":3262,"lang":16,"slug":3264,"first_publication_date":3265,"last_publication_date":3266,"uid":3264,"link_type":61,"isBroken":109},"ZA7_5hAAACsAyqgM",[3263],"Da Vinci","leonardo-da-vinci","2023-03-13T10:50:18+0000","2024-09-20T07:46:03+0000","text$ca1a8aed-a675-4ddc-b968-929fc60e4e25",{"variation":550,"version":89,"items":3269,"primary":3270,"id":3281,"slice_type":566,"slice_label":7},[],{"image1":3271,"label":3273,"copyright":3278},{"dimensions":3272,"alt":3273,"copyright":3274,"url":3275,"id":3276,"edit":3277},{"width":24,"height":1007},"Tracey Emin \u002F Edvard Munch: The Loneliness of the Soul","By: Photo © Munchmuseet; artwork © Tracey Emin; Courtesy of Tate, lent by the Duerckheim Collection 2015","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F268eeb5b-9d93-4fb2-9e62-7c68d77c0e00_Sjelens_ensomhet-Bed-Emin+3_2.jpg?auto=compress,format","ZFoP8hEAACUAgRyE",{"x":29,"y":29,"zoom":30,"background":31},[3279],{"type":57,"text":3274,"spans":3280},[],"image$1ef718d8-e8a4-40c4-9d6d-aae649b33d10",{"variation":88,"version":89,"items":3283,"primary":3285,"id":3314,"slice_type":111,"slice_label":7},[3284],{},{"title":3286,"content":3287},[],[3288],{"type":57,"text":3289,"spans":3290},"The first artistic crossover between the two tribulated artists took place in 1998. Emin made Homage to Edvard Munch and All My Dead Children, a haunting video piece filmed on the same Oslo jetty that Munch used for many of his works, including The Scream. In this work, Emin appears naked and prostrate under the Sun, exhaling an animal cry, which, as the title of the work reveals, comes from the desolation caused by the several abortions she suffered: a cry before the nonsensical nature of those deaths. In this video recorded on Super 8 film, Emin’s scream is heard from Munch's nearby house in Åsgårdstrand. It is also an offering to him, even if it is a feminist reading, or precisely because of it. Emin's favourite Munch work is Model by the Wicker Chair (1919-21). When asked why, she said it was because he represented a woman with a “crying body,” and she interpreted it as a scene in which the woman, alone and aware of her ageing, had just suffered an abortion.\n\nThe reading of the work is on an artistic and biographical level. On the one hand, there are aesthetic elements in common: in a recent exhibition at the Royal Academy, Emin pairs her own work with selected works by Munch. Comparing his Crouching Nude (1917-19) and Emin's You Kept it Coming (2019), we see the similarities – the angular lines, the streaks of paint, the foreshortenings, the “expressionist” way of making sensations visible through figures. On the other, there is a union through pain, loneliness, and absence. The artist recently declared, after inaugurating a sculpture that she again dialogues with the Norwegian artist, that she wanted to “give him a mother.”  \n\nPerhaps it all comes down to the fact that for both artists, work and life are inextricably linked. They even shared controversy over an exhibition. A Munch show organised in 1892 sparked a polemic that culminated in its premature closure. It is the so-called “Munch Case,” about which the artist commented: “There had never been such a fun moment; it is incredible that something as innocent as painting has created such a stir.” Emin, the provocative and rebellious artist, must have thought the same about the commotion caused by her work My Bed (1998), showing an unmade bed with sheets stained with bodily fluids and condoms, underwear covered in menstrual blood, and a pair of scattered slippers. This work reflects the depressive phase in the artist's life when she once remained in bed for four days without consuming anything but alcohol. Nowadays, it is inevitable to revisit works by Munch such as The Death of Marat (1907), Weeping Woman (1907–1909), and Reclining Female Nude (1912-13) without thinking about Emin's installation. It seems that, finally, times will also crossover in the same dimension. The inspiration between these two creators, at the present time, seems reciprocal to us.  ",[3291,3292,3293,3296,3299,3302,3305,3308,3311],{"start":1628,"end":1430,"type":523},{"start":2024,"end":583,"type":523},{"start":3294,"end":3295,"type":523},739,764,{"start":3297,"end":3298,"type":523},1214,1228,{"start":3300,"end":3301,"type":523},1250,1268,{"start":3303,"end":3304,"type":523},2203,2209,{"start":3306,"end":3307,"type":523},2570,2588,{"start":3309,"end":3310,"type":523},2597,2610,{"start":3312,"end":3313,"type":523},2628,2649,"text$223d6453-1dcd-4cb5-9c6a-1dd1a5061549",{"variation":961,"version":89,"items":3316,"primary":3334,"id":3354,"slice_type":566,"slice_label":7},[3317,3325],{"image":3318,"title":3321,"subtitle":7},{"dimensions":3319,"alt":3321,"copyright":7,"url":3322,"id":3323,"edit":3324},{"width":3320,"height":2179},1545,"Tracey Emin Exhibition: The Loneliness of the Soul \u002F Sjelens ensomhet Plan 9 & 10 - MUNCH By: Ivar Kvaal","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fa8836662-7718-41dc-b37d-39b6583267a6_IK_MUNCH_Tracey-Emin_0221_v2+%281%29.jpg?auto=compress,format","ZKbY7BEAACEAWmA5",{"x":29,"y":29,"zoom":30,"background":31},{"image":3326,"title":3329,"subtitle":3333},{"dimensions":3327,"alt":3329,"copyright":7,"url":3330,"id":3331,"edit":3332},{"width":3328,"height":2179},1860,"The Death of Marat (1907) By: Munchmuseet","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F189fcb6b-90c1-4b1b-a5c4-9cb017f00b91_EM_The+Death+of+Marat1907+%281%29.jpg?auto=compress,format","ZKbY7xEAACMAWmBI",{"x":29,"y":29,"zoom":30,"background":31},"Edvard Munch Marats død",{"image1":3335,"image2":3342,"label":978,"copyright":3350},{"dimensions":3336,"alt":3337,"copyright":3338,"url":3339,"id":3340,"edit":3341},{"width":1007,"height":24},"Tracey Emin Exhibition The Loneliness of the Soul Sjelens ensomhet Plan 9 & 10 - 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(128 x 101.6 cm)Reproduced with the permission of the Marquess of Salisbury, Hatfield House Image ","© Hatfield House, Hertfordshire, UK\u002FBridgeman Images","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fc3ab5b97-9a34-49c7-ab58-547e31b38c81_Slide+16_9+-+61.jpg?auto=compress,format","ZCU93RAAACIA6WHE",{"x":29,"y":29,"zoom":30,"background":31},{"dimensions":3432,"alt":3433,"copyright":3427,"url":3434,"id":3435,"edit":3436},{"width":25,"height":24},"Attributed to Marcus Gheeraerts the Younger,\n(Flemish, 1561–1635\u002F36)\nElizabeth I (The Rainbow Portrait), ca. 1602\nOil on canvas\n50 3\u002F8 x 40 in. (128 x 101.6 cm)\nReproduced with the permission of the Marquess of Salisbury, Hatfield House Image ","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fbd3be585-5447-461d-959e-7b27d6ab3ea3_9_16.jpg?auto=compress,format","ZCU-oBAAACQA6WMn",{"x":29,"y":29,"zoom":30,"background":31},{"dimensions":3438,"alt":3433,"copyright":3427,"url":3434,"id":3435,"edit":3439},{"width":25,"height":24},{"x":29,"y":29,"zoom":30,"background":31},[3441,3463,3504],{"variation":88,"version":89,"items":3442,"primary":3444,"id":3462,"slice_type":111,"slice_label":7},[3443],{},{"title":3445,"content":3448},[3446],{"type":1619,"text":932,"spans":3447},[],[3449],{"type":57,"text":3450,"spans":3451},"A nondescript octagonal ring of a gallery, lacking a beginning, middle, and end – and most of all without hierarchy – is a significant spot to exhibit the Dutch masterpieces of the Met. Free from religious requisites and an oppressive need to depict institutions of power and control and their representatives, Dutch painters focused on art simply to be enjoyed in the home rather than with an overwhelming purpose to educate or inculcate: it was the start of art for art’s sake on a societal scale. The Met’s collection includes Vermeer, Rembrandt, Hals, de Hooch, as well as many other genre painters. There is a single painting by a woman, the wonderful Margaretha Haverman. Her career is sadly represented by only a sole masterfully rendered still life of grapes, roses, and tulips in A Vase of Flowers (1716). In Praise of Painting: Dutch Masterpieces at the Met is punctuated by didactic texts that inform us of the Dutch Republic’s newfound freedom from Catholic control, social mobility, and cultural diversity fueled by the influx of refugees from religious persecution elsewhere in Europe. There are still numerous depictions of religious themes, such as Rembrandt’s The Toilet of Bathsheba (1643) and Vermeer’s Allegory of the Catholic Faith (1670-72). Yet both painters felt confident enough in their creative independence to make the images their own: Rembrandt’s Bathsheba is not an idealised body type, but the body of a middle-aged person with all the curves and wrinkles. Vermeer’s allegory is much more about the props and details he uses – the glisten of the crushed serpent’s scales, and pool of blood under its body, the out-of-focus globe he renders with such perfection under the model’s foot. This foot is not about theology but the juxtaposition of form and texture. \n\nMost of In Praise of Painting displays the honest, and often unflattering portraits of Holland’s ambitious middle class, conservatively attired in black with white ruffs and wimples. In Gerard Ter Borch The Younger’s paired portraits of Burgomaster Jan van Duren and Margaretha van Haexbergen, two prominent citizens, we find a class of art patrons new to the institution of commissioning art, but willing to be unexpectedly adventurous in allowing an artist to depict them. Jan and Margaretha are not the life-size half-portraits of Rembrandt, but lilliputian presences: Jan stands next to a red velvet-covered table on which he has placed his black hat, while Margarethe stands with her arm on a red velvet upholstered chair. They are dwarfed by their murky greenish-brown backgrounds, rejecting the idea of the portrait as grandiose; it’s a cross-over between portrait and interior, and becomes a space of narrative. Then there is the sweet, cautious, and unsettled look of Vermeer’s Study of a Young Woman (1665-67), also not flattering, but a very human portrait. Her pale moon face and inky background have the drama of a saintly portrait or a depiction of the Virgin Mary, but none of the insistence of religious decorum.",[3452,3455,3457,3460],{"start":3453,"end":3454,"type":523},789,806,{"start":3456,"end":115,"type":523},1177,{"start":3458,"end":3459,"type":523},1222,1253,{"start":2671,"end":3461,"type":523},2803,"text$6fd25e55-b20d-493f-9fb2-8e5af4b313d8",{"variation":961,"version":89,"items":3464,"primary":3484,"id":3503,"slice_type":566,"slice_label":7},[3465,3474],{"image":3466,"title":3472,"subtitle":3473},{"dimensions":3467,"alt":7,"copyright":7,"url":3469,"id":3470,"edit":3471},{"width":2179,"height":3468},2503,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F6875f026-a421-441e-bb25-9435a4f07298_Original+-+2+7.jpg?auto=compress,format","ZKbVihEAACQAWk_U",{"x":29,"y":29,"zoom":30,"background":31},"A Vase of Flowers","Margaretha Haverman",{"image":3475,"title":3482,"subtitle":3483},{"dimensions":3476,"alt":7,"copyright":7,"url":3479,"id":3480,"edit":3481},{"width":3477,"height":3478},2186,1722,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fe5a30ac3-83f8-4119-bc59-0e5d31b34193_Original+-+3+7.jpg?auto=compress,format","ZKbVihEAACMAWk_V",{"x":29,"y":29,"zoom":30,"background":31},"The Triumph of Hercules","Raphael (Raffaello Sanzio orSanti)",{"image1":3485,"image2":3491,"label":7,"copyright":3499},{"dimensions":3486,"alt":3487,"copyright":7,"url":3488,"id":3489,"edit":3490},{"width":24,"height":1198},"Margaretha Haverman (Dutch, active by 1716–died1722 or later). A Vase of Flowers, 1716. Oil on wood","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F416d62da-b624-4bbc-813c-851b10c50b72_3_2+%285%29.jpg?auto=compress,format","ZLAI4xIAACEAakPT",{"x":29,"y":29,"zoom":30,"background":31},{"dimensions":3492,"alt":3495,"copyright":7,"url":3496,"id":3497,"edit":3498},{"width":3493,"height":3494},3456,2305,"Design attributed to Raphael (Raffaello Sanzio orSanti) (Italian, Urbino 1483–1520 Rome)The Triumph of Hercules, ca. 1540Wool, silk, and gilt-metal- and silver-wrapped thread 15 ft. 11 5\u002F16 in. x 21 ft. 1 15\u002F16 in. (486 × 645 cm) Royal Collection Trust \u002F © Her Majesty Queen Elizabeth II 2022 ","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F91a42d40-6f6a-4534-b466-7fbf666b02fb_3_2+%287%29.jpg?auto=compress,format","ZLAJFhIAACIAakTO",{"x":29,"y":29,"zoom":30,"background":31},[3500],{"type":57,"text":3501,"spans":3502},"(From left to right)\n1° Margaretha Haverman (Dutch, active by 1716–died1722 or later). A Vase of Flowers, 1716. Oil on wood. The Metropolitan Museum of Art, New York, Purchase, 1871 (71.6)\n\n2° Design attributed to Raphael (Raffaello Sanzio orSanti) (Italian, Urbino 1483–1520 Rome) The Triumph of Hercules. Royal Collection Trust \u002F © Her Majesty Queen\n\nThe Metropolitan Museum of Art, New York, Purchase, 1871 (71.6)\u002F © Her Majesty Queen",[],"image$65c01bc4-ccf3-4a20-82b6-15556996679a",{"variation":88,"version":89,"items":3505,"primary":3507,"id":3513,"slice_type":111,"slice_label":7},[3506],{},{"title":3508,"content":3509},[],[3510],{"type":57,"text":3511,"spans":3512},"Contrasting sharply with the Dutch touch and choice of subject is The Tudors: Art and Majesty in Renaissance England, an aspiring blockbuster exhibition of the gold-encrusted and tapestry-wrapped courts of Henry VIII, Mary I and Elizabeth I. It’s a missed opportunity to capture an epoch so fraught with genius and terror: here it has been simply distilled down to luxury. While the various nefarious activities and\u002For beheadings of the sitters are dryly recorded in the texts accompanying the works, as in Holbein the Younger’s stiff and ominous crayon drawing of Anne Boleyn, or Nicholas Hilliard’s loving miniature of a man, probably Robert Devereux second Earl of Essex: both were beheaded, the former lover by Henry, the latter lover by Elizabeth. The show overall is pristine, precious, and staid – but the viewer really should feel nauseous with the constantly shifting sands of allegiances and political gamesmanship, and fear. The reality seeps through a bit here and there – a full-length life-size portrait of Henry VIII standing astride and gazing piercingly out at the viewer was painted so often by Holbein the Younger’s studio that no single work could be attributed to the master. The exhibition does not highlight the sense of terror that infused every aspect of English court life under Henry – a level of politically-directed state murder that easily rivalled Stalin’s political circles.  Nor are there many references to Shakespeare or Marlowe under the reign of Elizabeth I. The accumulation of paintings and drawings by Hans Holbein the Younger is astounding, with several paintings of Henry VIII (from 1537, and 1540), Sir Thomas More (1527), Robert Cheseman (1533), Edward VI as a Child (1538), Hermann von Wedigh III (1532), and drawings of Anne Boleyn and miniatures of various courtiers. Much more context and gory detail were needed to bring to life this very gory and brilliant dynasty.\n\nBoth In Praise of Painting and The Tudors gently alludes to the wrongs committed by Europeans during various periods – the reliance of enforced labour as well as wholesale pilfering of indigenous resources in order to pay for the opulence of the English court and the prosperity of the Dutch middle class, as well as political terror and oppression on their own home turf. The Metropolitan Museum’s galleries of European painting have recently been re-hung because new skylights have been installed, lightening the mood of the galleries substantially. The curatorial staff have taken advantage of the closing of the galleries in order to reconfigure and re-explain much of the work. They have combined sculpture and painting, as some authentic approximation of how the two might have been viewed, mostly in mansions and palaces most of us would never have been allowed to enter. Francois Duquesnoy’s placid Bacchus seated on a Panther (ca. 1635) is a bizarre palimpsest of four classical fragments assembled and finished off by the artist, it is placed in front of the equally fanciful, but frenetic Wolf and Fox Hunt (1616) by Rubens. The humans and beasts in these works interact in contrasting modes of peace and violence, which creates an exciting tension in the air.  We are reminded by the wall texts that many of the individuals who commissioned, purchased, or were memorialised in the portraits benefitted from forced labour and unpaid-for resources. The pairing of Juan de Pareja (1650) and María Teresa, Infanta of Spain is moving, as both were intrinsic to the development of their painter Velazquez, and he couldn’t have existed without either. On a “meta” scale, the two portraits describe Spain in a nutshell: empire and slavery. \n\nMost effective though in making the Met seem more diverse, is the addition of the magical Afro-Futurist room downstairs on the main floor. It is a hallucinatory and hypothetical exercise in imagining a site for the history of African American creativity in a space that is mostly free of colonial and racist shadows. The curators have chosen the idea of a small house in Seneca Village – a town of formerly enslaved and indigenous people which thrived in what is now Manhattan’s Central Park and is decorated with the photography of Trans artist Tourmaline, a woodblock print by Elizabeth Catlett, and ceramics by Roberto Lugo, among many others. The curators have created an imaginary space of domestic tranquillity, strengthened by a sense of justice and equality. A sensibility which the Afro-futurist room shares with the Dutch interiors and meditative still-lifes seen in In Praise of Painting, a semi-parallel culture in which class differences were mitigated and just about anybody was able to enjoy art.",[],"text$d2f8b0b3-152f-4d9c-8542-b12b247dc0c1","The Dutch and Tudors: Double blockbuster show at the Met in New York","An exhibition at The Met in New York showcases masterpiecees of the Dutch Golden Age and Tudor period.",{"dimensions":3517,"alt":3518,"copyright":7,"url":3519,"id":3520,"edit":3521},{"width":770,"height":115},"Attributed to Marcus Gheeraerts the Younger, (Flemish, 1561–1635\u002F36) Elizabeth I (The Rainbow Portrait), ca. 1602. 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The painting shows the dramatic meeting between the archangel Gabriel and Mary when he tells her that she has been chosen to conceive the son of God. There are several references to Christian iconography, including the lily in Gabriel’s hand, symbolising fertility, and the walled garden – a fecund space shielded from the outside world – representing Mary’s virginity. The Annunciation showcases Da Vinci’s use of geometrics to guide our eye to key elements of the composition, such as the river port in the background, which is veiled in a delicate, mysterious haze thanks to sfumato, a painting technique that the artist eventually mastered. 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",[],{"link_type":61},{"link_type":63,"key":3874,"url":3875},"fd9062ae-7559-469d-afb7-4d56229dccee","https:\u002F\u002Fvimeo.com\u002F808259481",{"link_type":67},{"link_type":67},{"link_type":67},130,{"dimensions":3881,"alt":3882,"copyright":7,"url":3883,"id":3884,"edit":3885},{"width":24,"height":25},"Leonardo Da Vinci - The Virgin And The Child Saint Anne Video","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F655afdf3-2d09-429d-8d4a-2eaa012f3d0c_Slide+16_9+-+17.jpg?auto=compress,format","ZK_QChIAACEAaXJO",{"x":29,"y":29,"zoom":30,"background":31},{"dimensions":3887,"alt":3882,"copyright":7,"url":3888,"id":3889,"edit":3890},{"width":25,"height":24},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fbbc8b394-5d0f-4b8c-97dc-4dd2eb4af452_9_16-2.jpg?auto=compress,format","ZK_QChIAACIAaXJP",{"x":29,"y":29,"zoom":30,"background":31},"Leonardo Da Vinci - The Virgin And The Child Saint Anne",{"dimensions":3893,"alt":3882,"copyright":7,"url":3883,"id":3884,"edit":3894},{"width":24,"height":25},{"x":29,"y":29,"zoom":30,"background":31},[3896],{"variation":88,"version":89,"items":3897,"primary":3899,"id":3907,"slice_type":111,"slice_label":7},[3898],{},{"title":3900,"content":3903},[3901],{"type":1619,"text":3601,"spans":3902},[],[3904],{"type":57,"text":3905,"spans":3906},"The three generations of the Holy Family are portrayed in the painting – St. Anne is holding her daughter Mary on her lap, who is reaching down to the baby Jesus while they look tenderly into each other’s eyes. Their gaze forms a diagonal that unifies the juxtaposition of their bodies within a pyramidal composition, which Leonardo da Vinci employed so often. ",[],"text$95744a9c-2538-46b6-aa14-2e98fd94528e","The Virgin And The Child Saint Anne","The three generations of the Holy Family are portrayed in the painting – St. Anne is holding her daughter Mary on her lap, who is reaching down to the baby Jesus while they look tenderly into each other’s eyes. Their gaze forms a diagonal that unifies the juxtaposition of their bodies within a pyramidal composition, which Leonardo da Vinci employed so often.",{"dimensions":3911,"alt":3912,"copyright":7,"url":3913,"id":3914,"edit":3915},{"width":770,"height":115},"Leonardo Da Vinci - The Virgin And The Child Saint Anne ","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fb1c7424b-3642-46d1-af45-b12e639396b4_Video+Opengraph+Annunciation.jpg?auto=compress,format","ZK_RlRIAACAAaXe6",{"x":29,"y":29,"zoom":30,"background":31},[3917],{"variation":88,"version":89,"items":3918,"primary":3921,"id":3925,"slice_type":158,"slice_label":7},[3919],{"post":3920},{"link_type":61},{"slides_per_view":154,"max_slides_count":7,"tag":3922,"type":43,"title":3631,"paralax":109},{"id":3626,"type":796,"tags":3923,"lang":16,"slug":3264,"first_publication_date":3628,"last_publication_date":3629,"uid":3264,"link_type":61,"key":3924,"isBroken":109},[334],"0c7a41d8-6ac9-451d-af6b-07d5e134498c","carousel$7fb1bc21-286f-4b9c-a016-0f4a55df73f4",{"slice":371,"payload":3927},[3928,4092,4194,4293],{"id":375,"uid":381,"url":7,"type":376,"href":3929,"tags":3930,"first_publication_date":379,"last_publication_date":380,"slugs":3931,"linked_documents":3933,"lang":16,"alternate_languages":3934,"data":3935},"https:\u002F\u002Fartexplorer-prod.cdn.prismic.io\u002Fapi\u002Fv2\u002Fdocuments\u002Fsearch?ref=aCb60BIAACEA00zN&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22ZNY85BEAAB4AqwCv%22%29+%5D%5D",[],[378,3932,381],"samantha-friedman-moma-a-rare-glimpse-of-goergia-okeeffe",[],[],{"title":3936,"subtitle":7,"color":3937,"source":3938,"published_at":3946,"duration":3947,"cover":3948,"copyright_cover":3953,"description":3954,"narrator_copyright":3958,"music_copyright":7,"mixing_copyright":7,"deezer_external":3959,"spotify_external":3960,"apple_podcast_external":3963,"slices":3964,"meta_title":3936,"meta_description":3956,"og_image":4053,"slices2":4059},"Samantha Friedman (MoMA): A rare glimpse of Georgia O'Keeffe","#ee5d5d",{"link_type":3939,"key":3940,"kind":3941,"id":3942,"url":3943,"name":3944,"size":3945},"Media","61fc1570-6eb6-4fc7-9e42-3d6d5d63b6d1","file","ZNY9OBEAAB8AqwJL","https:\u002F\u002Fartexplorer-prod.cdn.prismic.io\u002Fartexplorer-prod\u002F6eae61fd-54d3-4481-9a1d-c0cf9ed55baa_230811_ARTEXPLORED_AUDIOCAST_SAMANTHA_FRIEDMAN.mp3","230811_ARTEXPLORED_AUDIOCAST_SAMANTHA_FRIEDMAN.mp3","15494337","2023-08-10",1020,{"dimensions":3949,"alt":3936,"copyright":7,"url":3950,"id":3951,"edit":3952},{"width":3049,"height":3049},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F7874436e-6b77-4ac5-bf7a-90351fc27438_230811_ARTEXPLORED_AUDIOCAST_SAMANTHA_FRIEDMAN.jpg?auto=compress,format","ZNY9rBEAACAAqwRq",{"x":29,"y":29,"zoom":30,"background":31},"Georgia O’Keeffe. Evening Star No.III, 1917. Watercolor on paper mounted on board. 8 7\u002F8 x 11 7\u002F8″ (22.7 x 30.4 cm). The Museum of Modern Art, New York. Mr. and Mrs. Donald B. Straus Fund, 1958. © 2022 Georgia O’Keeffe Museum \u002F Artists Rights Society (ARS), New York\u002F",[3955],{"type":57,"text":3956,"spans":3957},"MoMA’s Associate Curator, Department of Drawings and Prints Samantha Friedman, who curated Georgia O’Keeffe: To See Takes Time at MoMA, talks to ArtExplored about why the artist is one of the most significant painters of the 20th century.",[],"Will Corwin, Samantha Freidman",{"link_type":67},{"link_type":63,"key":3961,"url":3962},"7d601d07-3aa6-45c0-ac8e-69192810878a","https:\u002F\u002Fopen.spotify.com\u002Fepisode\u002F3mGpDNBundMZ0r8Dquj5Ft",{"link_type":67},[3965],{"variation":88,"version":89,"items":3966,"primary":4050,"id":4051,"slice_type":4052,"slice_label":7},[3967,3973,3979,3984,4000,4005,4010,4015,4020,4025,4030,4035,4040,4045],{"speaker":3968,"content":3969},"WC",[3970],{"type":57,"text":3971,"spans":3972},"Hi Samantha. Thank you for joining me today to discuss Georgia O'Keeffe and her exhibition To See Takes Time at MoMA. My first question is this. George O'Keeffe was born in Wisconsin to Irish-Hungarian parents and brought up on a farm. How much did this shape her interest in art, and did the landscape and environment in Wisconsin influence her choosing nature as the main subject matter of her work?",[],{"speaker":3974,"content":3975},"SF",[3976],{"type":57,"text":3977,"spans":3978},"I think it's a great way to start in her early days. And I guess I would say I don't know that the landscape of Wisconsin per se shaped her interest in the landscape as a subject for her work specifically. But I will say that that upbringing was crucial in other ways to the artist that she became. Being from a big farm family of seven kids, being extremely self-sufficient, being comfortable in nature, I think were all qualities that very much shaped the person and artist that O'Keeffe would become. Her kind of comfort with the outdoors, her desire for adventure. You know, her family moved to Virginia when she was in her mid-teens so her landscape would shift. But I think from the very beginning, there was a kind of comfort within different landscapes and you know, that she would move across the country in those early years as she was growing as a young artist and a teacher. So I think that was really important for making her the artist she was. ",[],{"speaker":3968,"content":3980},[3981],{"type":57,"text":3982,"spans":3983},"Why did MoMA choose to organise an exhibition focusing solely on O'Keeffe's works on paper?",[],{"speaker":3974,"content":3985},[3986],{"type":57,"text":3987,"spans":3988},"I had organised a smaller exhibition a few years ago of post-war drawings from MoMA's collection called Degree Zero Drawing at Mid-Century and among the 80 some works from our collection I included in that show of drawings that were made between 1948 and 1961 was our latest O'Keeffe drawing, which is a 1959 charcoal that's in this exhibition. And when I hung it in that show, I hung it with an Ellsworth Kelly. It looked very at home and happy. And when I would take people through, they were very shocked to learn that this was an O'Keeffe drawing because it didn't conform to people's expectations of the artist. And I found that to be really exciting, that an artist who is so well known could still surprise people with her work that she made work not at the moment we consider to be her heyday of the 20s, and that it looked quite different from the blown-up flower paintings that are maybe the works that people most quickly and easily conjure in their heads when they're thinking of the artist. So, when I researched that drawing, I realised it was part of a series and that in fact most of the works on paper O'Keeffe made were themselves parts of a series, and there hadn't really been an exhibition that looked at bringing her series on paper together. I've been at MoMA for a long time. I'm well acquainted with some of our wonderful works on paper, the Evening Star watercolour, for example, the Train watercolour. I'd seen those works exhibited over the years, but I hadn't known that there were eight Evening Stars, and that there were three Trains. And I figured if I didn't know that, a lot of people probably didn't know that. And then the kind of last piece of the puzzle was realising that it had been 77 years since MoMA had given Georgia O'Keeffe a monographic exhibition. The last one was in 1946. I found that quite shocking, really surprising. It was a fact I had to check numerous times to make sure I had it right. So it seemed it was high time to honour her in that way. And that path that the previous project had led me down through that drawing seemed like an ideal way to do it, to show her in a different light, to shift the focus, to see a side of the artist that was maybe a bit fresh and showed her in a way that was quite different from how many of us encounter her.",[3989,3992,3995,3997],{"start":3990,"end":3991,"type":523},1367,1379,{"start":3993,"end":3994,"type":523},1410,1415,{"start":2224,"end":3996,"type":523},1530,{"start":3998,"end":3999,"type":523},1558,1564,{"speaker":3968,"content":4001},[4002],{"type":57,"text":4003,"spans":4004},"What is it about O'Keeffe's painting techniques and subject matter that established her reputation as an innovative modernist?",[],{"speaker":3974,"content":4006},[4007],{"type":57,"text":4008,"spans":4009},"I would say that in these key early years of her developing her visual language – and we're talking about really 1915 to 1917 – we have an artist who is working both within the realm of radical abstraction that many artists in those early decades of the 20th century are embracing. But she's doing it in quite a personal way also. So she trains to be an artist, she trains with different teachers. She's absorbing all of these theories of the day. And at a certain point, she says, 'I have shapes in my head that are not like what anyone taught me.' And so she steps back to listen to those shapes. So she's working in a kind of radically abstract visual language that is resonant with a lot of the innovations that are going on in those decades of the early 20th century. But she's doing it in a way that feels very deeply personal to her. And I think it's that combination, you know, that really makes her language innovative and modern at that at that moment. ",[],{"speaker":3968,"content":4011},[4012],{"type":57,"text":4013,"spans":4014},"Which artists influenced O’Keeffe throughout her career?",[],{"speaker":3974,"content":4016},[4017],{"type":57,"text":4018,"spans":4019},"She talks about, in these key years which we're discussing, reading Kandisnky's Concerning the Spiritual in Art, I think Kandinsky was a touchstone for a lot of artists at this moment, talking about these almost synaesthesia qualities of the different arts, the way that visual art might aspire to the condition of music, the idea of different forms of being associated with different sounds, being associated with different colours. And this is really moving for O'Keeffe, really influential. Within the kind of American vein of artists that Alfred Stieglitz is kind of building up, it's Arthur Dove who is the most resonant for O'Keeffe and indeed who are most resonant for each other. O'Keeffe is equally influential to Dove. I think this ability to kind of live in the grey area between nature and abstraction is something that's really important for both of them. And she sees the work by Dove reproduced in an important book, and that kind of sends her on a path of really admiring him. And they would become, you know, close peers and co-admirers. I think it's interesting to note that it's not only draughtsmen and painters who were exciting for O'Keeffe. You know, of course, Alfred Stieglitz, the photographer and gallerist who would become her husband, is introducing her to many circles of photography in this moment. And his younger acolyte, Paul Strand, is someone whose work is really influential to O'Keeffe. She talks about a moment when he showed her lots and lots of his prints and she says, 'I almost lost my mind over them, photographs that are as queer in shapes as Picasso drawings.' She's actually referring to a very particular Picasso drawing. I don't think she was a very general overall admirer of him necessarily, but there was one particular Cubist Picasso drawing that Stieglitz was showing in his gallery that she really took a liking to. So I think, you know, it really runs the gamut. And then, of course, this wasn't really what you were asking, but of course, it goes both ways. She continues to also be really influential for many artists of the next generation. You know, we have letters between her and Yayoi Kusama, between Agnes Martin, this younger generation of artists who are equally influenced by her. So those conversations are very active in both directions. ",[],{"speaker":3968,"content":4021},[4022],{"type":57,"text":4023,"spans":4024},"How significant is the relationship between O'Keeffe and MoMA, given that she was the first female artist to receive a proper retrospective at the museum? ",[],{"speaker":3974,"content":4026},[4027],{"type":57,"text":4028,"spans":4029},"Interestingly, I think it's been a complicated relationship over time, right? I mean, it would have to be the first woman artist to receive a retrospective in 1946 and then to go 77 years without another monograph. I thought a lot about whether that's O'Keeffe specific, whether that has to do again with the fact that her popularity or her presence as a kind of an icon might have overshadowed a sense of her seriousness at a certain point. But I think also it has to do with MoMA's complex history with American art pre-1945. Right? We all know that in MoMA's earlier decades, so many curators invited American art, whether it was the Stieglitz circle of modernism, whether it was self-taught or folk art over the years as that kind of canon became more entrenched of this linear story of modernism with which the museum had become associated, the idea of American art pre-1945, this realism or these kinds of realisms that preceded abstraction and abstract expressionism, were a little bit sidelined, right? They didn't fit into this story. And so I think that those priorities complicated MoMA's relationship to the artist and to her work. I think that it's really exciting and great news that in the last decade or so, we've really complicated the stories that we're telling such that an artist needn't fit into some of those linear trajectories, and I think that's part of what opens up a place for her in a really exciting way. That being said, I think it really is interesting to look back and even if she hadn't received a monograph in all those years, to look back at some of the group exhibitions in which she was included, there's one in particular that I found to be really interesting an exhibition from 1968 called The Art of the Real that a curator named E.C. Goosen organised. And if you read his catalogue essay for that show, which is available on MoMA's website in the form, he holds her up as a kind of a precursor to Ellsworth Kelly to Jasper Johns in this way that feels at first really strange to the stories we've crafted about modernism but are really exciting. And so it's really interesting to look back at the moments in which she was, you know, held up for her innovations, even if she hadn't received a monograph in all those years. ",[],{"speaker":3968,"content":4031},[4032],{"type":57,"text":4033,"spans":4034},"What is it about the charcoal drawings O’Keeffe made between 1911 and 1918 that propelled her career in a new direction and brought her work to the attention of the American public? ",[],{"speaker":3974,"content":4036},[4037],{"type":57,"text":4038,"spans":4039},"These charcoal drawings are just amazing. I mean, the exhibition begins with a number of them, many of which she called specials a kind of loving nickname she would give to these early works when she found them to be particularly successful. They are so bold, they're so abstract. And they also contain the kind of blueprints for her visual language, for her whole career, these kinds of spiral forms, this repertory of marks, the way that she negotiates value, the way that she wipes away areas of mid-tone to achieve bright highlights. Like they're just, um, I mean, in addition to being really innovative, they're absolutely lush and gorgeous. Some of them feel very mysterious. Some of them feel very strange. Critics, even in those years struggled to describe them. Um, you know, they, they talked about a scarecrow or, you know, grasping at different ways to to describe them. There's one special from 1915 that she herself described as the drawing of a headache. So the idea that you might describe a physical sensation in visual terms. So just really radical investigation and exploration. And she was sending a lot of these works. She was rolling them up and sending them in the mail in a tube, which of course, not a method we would use to travel them today to her good friend Anita Pulitzer in New York and really wanting validation, wanting to show these works. Anita shows them to Stieglitz and he includes three of them in an exhibition in 1916 and then gives her a solo show in 1917 and that is what brings her work to the attention of the public. It really is through these charcoal drawings that the public sees O’Keeffe and finds her so captivating. ",[],{"speaker":3968,"content":4041},[4042],{"type":57,"text":4043,"spans":4044},"Have you personally learned anything new about O’Keeffe during your time curating the exhibition?",[],{"speaker":3974,"content":4046},[4047],{"type":57,"text":4048,"spans":4049},"I have to say, I don’t even know where to begin with that question because pretty much everything I’ve learned during the making of this show, which I collaborated on with some wonderful colleagues.... If you had asked me five years if O’Keeffe was an artist I even cared about, I would have said no. The idea of her being a very popular artist turned me off. So, the kind of process about learning about her work and her work on paper that I experienced, I hope people who see the show will also experience that same learning curve. I wasn’t coming as an expert, I was coming as a convert and so really, everything was new for me. The most gratifying response to the show that I’ve heard has been ‘I had no idea that O’Keeffe made this work’ because that was my response too. So, it’s really all been new. ",[],{},"text_interview$08922976-6c78-4426-bb8d-e3f89e236dc8","text_interview",{"dimensions":4054,"alt":4055,"copyright":7,"url":4056,"id":4057,"edit":4058},{"width":770,"height":115},"Samantha Friedman (MoMA): A rare glimpse of Goergia O'Keeffe","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fe4dceda2-b044-4b5e-8d01-e23ed4c63f12_Audiocast+Opengraph+Samantha+Friedman.jpg?auto=compress,format","ZNZAdxEAAB4AqxGj",{"x":29,"y":29,"zoom":30,"background":31},[4060],{"variation":88,"version":89,"items":4061,"primary":4088,"id":4091,"slice_type":158,"slice_label":7},[4062,4071,4075,4084],{"post":4063},{"id":4064,"type":376,"tags":4065,"lang":16,"slug":4066,"first_publication_date":4067,"last_publication_date":4068,"uid":4069,"link_type":61,"key":4070,"isBroken":109},"ZB3OZRAAACIAzkAv",[387,1716],"jorella-andrews-a-phenomenological-take-on-paul-cezanne","2023-03-24T16:23:05+0000","2023-08-31T21:35:53+0000","a-phenomenological-take-on-cezanne","6088d6d8-67f1-47d6-a704-847ddec04e70",{"post":4072},{"id":385,"type":376,"tags":4073,"lang":16,"slug":388,"first_publication_date":389,"last_publication_date":390,"uid":391,"link_type":61,"key":4074,"isBroken":109},[387],"fddfbcff-ca47-4f4c-9f5a-e5254231e92f",{"post":4076},{"id":4077,"type":376,"tags":4078,"lang":16,"slug":4079,"first_publication_date":4080,"last_publication_date":4081,"uid":4082,"link_type":61,"key":4083,"isBroken":109},"ZBGaLhAAACgAzxTK",[2374],"julia-nagle-how-is-science-improving-art-conservation-techniques","2023-03-16T16:45:51+0000","2023-08-31T21:35:17+0000","conservator-julia-nagal-discusses-how-restoring-paintings","5e228ff2-3bfa-44a2-bab9-446bc889f4a9",{"post":4085},{"id":395,"type":376,"tags":4086,"lang":16,"slug":397,"first_publication_date":398,"last_publication_date":399,"uid":400,"link_type":61,"key":4087,"isBroken":109},[174],"b5516dc7-820c-40e9-a07e-0a8aa980ba3f",{"slides_per_view":7,"max_slides_count":7,"tag":4089,"type":414,"title":4090,"paralax":7},{"link_type":61},"Listen to more audiocasts","carousel$fa580951-4d76-4c92-968a-5c51a1fd4bfc",{"id":385,"uid":391,"url":7,"type":376,"href":4093,"tags":4094,"first_publication_date":389,"last_publication_date":390,"slugs":4095,"linked_documents":4099,"lang":16,"alternate_languages":4100,"data":4101},"https:\u002F\u002Fartexplorer-prod.cdn.prismic.io\u002Fapi\u002Fv2\u002Fdocuments\u002Fsearch?ref=aCb60BIAACEA00zN&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22ZA8MXBAAACgAyr6g%22%29+%5D%5D",[387],[388,4096,4097,4098],"curtis-dowling-on-fakes-and-forgeries-in-art","the-genuine-article-fakes-and-forgeries-in-art","does-the-art-world-rely-on-technology-too-much-to-spot-forged-paintings",[],[],{"title":4102,"subtitle":7,"color":4103,"source":4104,"published_at":7,"duration":4110,"cover":4111,"copyright_cover":7,"description":4116,"narrator_copyright":4120,"music_copyright":7,"mixing_copyright":7,"deezer_external":4121,"spotify_external":4122,"apple_podcast_external":4125,"slices":4126,"meta_title":4161,"meta_description":4162,"og_image":4163,"slices2":4169},"Curtis Dowling: Fakes and forgeries in art","#7f9669",{"link_type":3939,"key":4105,"kind":3941,"id":4106,"url":4107,"name":4108,"size":4109},"2c94f860-d66d-48ff-91c2-ca39eff3bf63","ZKbdQhEAACQAWnTz","https:\u002F\u002Fartexplorer-prod.cdn.prismic.io\u002Fartexplorer-prod\u002F539e36ae-482f-4acf-8411-95762d46ca44_230616_ARTEXPLORED_AUDIOCAST_CURTIS_DOWLING.m4a","230616_ARTEXPLORED_AUDIOCAST_CURTIS_DOWLING.m4a","10707159",336,{"dimensions":4112,"alt":7,"copyright":7,"url":4113,"id":4114,"edit":4115},{"width":25,"height":25},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fa5ceef6b-814d-42f1-926e-a94b26a92c3e_carr%C3%A9-2.jpg?auto=compress,format","ZK_u3hIAACIAafCq",{"x":29,"y":29,"zoom":30,"background":31},[4117],{"type":57,"text":4118,"spans":4119},"ArtExplored talks to Curtis Dowling, who claims to have never been wrong as an art authenticator in a career spanning 30 years, about the many forgeries plaguing the art market.",[],"George Nelson, Curtis Dowling",{"link_type":67},{"link_type":63,"key":4123,"url":4124},"450e3451-9ddf-4484-aae4-7c4f65041601","https:\u002F\u002Fopen.spotify.com\u002Fepisode\u002F228190XEW35l2CIRwPYPVY",{"link_type":67},[4127],{"variation":88,"version":89,"items":4128,"primary":4159,"id":4160,"slice_type":4052,"slice_label":7},[4129,4135,4147,4154],{"speaker":4130,"content":4131},"GN",[4132],{"type":57,"text":4133,"spans":4134},"Hi Curtis, you say never been wrong as an art authenticator in a career spanning three decades but there must have been at least a couple of occasions when you severely questioned your own judgement... ",[],{"speaker":4136,"content":4137},"CD",[4138],{"type":57,"text":4139,"spans":4140},"Well, yeah. It’s an arrogant statement to make but I haven’t been, so it would be foolish of me to say anything other than I haven’t been wrong and I think we’re all good at something, aren’t we? Nobody’s been left out, and this just happens to be the one thing I am good at. And I’ve been very lucky that I’ve been able to make a career out of it for 34-35 years. But yeah, along the way, there are always pieces of art that are testing. For a lot of reasons. You’ll find with paintings, especially Old Masters, that they are never in the state that they were when they were first painted. They’ve been cleaned, they’ve been mended, they’ve been moved around, they’ve had all sorts of handprints on them and cigarette smoke, and you know … you name it, it’s kind of been around. So, when you come across a piece, even if you might know it’s genuine or not, you have to be able to document that and prove it beyond reasonable doubt. So, when things have been, for example, cleaned – and you know the Victorians were notoriously bad at cleaning – they might very well have used modern chemicals that stick to the paint. We had a painting the last twelve months that we knew was genuine, but every technical test proved it wasn’t and the truth was it had been messed around with so much – or cleaned, the list goes on – that all the tests were coming back that it had modern paint, modern chemicals on it, the wood didn’t quite match up. So, what you’re doing with all pictures is you’re trying to get in the mind of the artist to start with, but with some of the things you work on, you’ve got seven or eight hundred years of history to try and fill in, so there’s always going to be times when you sit down at the end of the day and think, ‘I just can't see how we can prove, one way or the other, our initial impressions,’ but after a while there’s always a way. There’s always something that comes up, that tips the balance, and turns a maybe into a definite. Whether that’s a definite genuine or a definite forgery, so yes, we get tested all the time. ",[4141,4144],{"start":4142,"end":4143,"type":523},1939,1944,{"start":4145,"end":4146,"type":523},1952,1960,{"speaker":4130,"content":4148},[4149,4152],{"type":57,"text":4150,"spans":4151},"Do you think the art world relies too much on technology to spot fakes? ",[],{"type":57,"text":456,"spans":4153},[],{"speaker":4136,"content":4155},[4156],{"type":57,"text":4157,"spans":4158},"Of course, it helps in some ways. What you do have to remember is any technical test or any technology that’s being used to authenticate items these days, is also owned by all the best forgers. Only bad forgers ever get caught. And of course, technology will pick up bad forgeries but then so will an experienced art dealer. So, it will pick up bad forgeries, it will pick up the wrong wood, the wrong paint, the wrong canvas, the wrong brush strokes. AI is probably a few decades away from being able to genuinely spot a forgery. But obviously, they’re working on it. Technical testing, we have to be sceptical about because we don’t just authenticate work, we forge items as well. And we forge it first of all for our own learning abilities but also from a presentation point of view. We were only in London a few days ago doing exactly that. And we can get around all these tests. So, all these tests you’ll pay £25,000 – all these big companies – I can show you with a shopping trip to Tesco’s, to get all the bits you need, how to get around them all. So yes they are useful, in a small way, they’re certainly of no use if you’re dealing with a forger that knows what he’s doing. As for AI, it will continue to become more useful as the years go on. Currently, again, it will catch out bad forgers, it won’t catch out the good ones and it’s the good ones that we’re trying to stop.",[],{},"text_interview$ba0cda50-eebb-4f2e-8f76-4bc367ba81b9","The genuine article: Fakes and forgeries in art","Curtis Dowling is an art authenticator who talks about the many forgeries plaguing the art market.",{"dimensions":4164,"alt":4165,"copyright":7,"url":4166,"id":4167,"edit":4168},{"width":770,"height":115},"Art Explored audiocast with prominent art authenticator Curtis Dowling","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Ff96ebec8-52cf-46f5-bc03-bbf83f9020e0_Audiocast+Opengraph+The+genuine+article.jpg?auto=compress,format","ZK_XhRIAACEAaY5E",{"x":29,"y":29,"zoom":30,"background":31},[4170,4187],{"variation":88,"version":89,"items":4171,"primary":4184,"id":4186,"slice_type":158,"slice_label":7},[4172,4176,4180],{"post":4173},{"id":404,"type":376,"tags":4174,"lang":16,"slug":407,"first_publication_date":408,"last_publication_date":409,"uid":410,"link_type":61,"key":4175,"isBroken":109},[406],"7be20ed5-99a5-4161-bc48-07688da35f55",{"post":4177},{"id":4064,"type":376,"tags":4178,"lang":16,"slug":4066,"first_publication_date":4067,"last_publication_date":4068,"uid":4069,"link_type":61,"key":4179,"isBroken":109},[387,1716],"93285005-280d-4cd2-bb77-08fe8cf36f0b",{"post":4181},{"id":4077,"type":376,"tags":4182,"lang":16,"slug":4079,"first_publication_date":4080,"last_publication_date":4081,"uid":4082,"link_type":61,"key":4183,"isBroken":109},[2374],"8ca307b1-c0c7-4db9-83f5-72e79e04ffd3",{"slides_per_view":1829,"max_slides_count":7,"tag":4185,"type":376,"title":4090,"paralax":7},{"link_type":61},"carousel$4924dcef-e296-4e84-9bd4-8613f80a2096",{"variation":88,"version":89,"items":4188,"primary":4191,"id":4193,"slice_type":158,"slice_label":7},[4189],{"post":4190},{"link_type":61},{"slides_per_view":7,"max_slides_count":7,"tag":4192,"type":163,"title":164,"paralax":7},{"link_type":61},"carousel$0918eb09-ba72-4702-a259-cc286c0d371b",{"id":395,"uid":400,"url":7,"type":376,"href":4195,"tags":4196,"first_publication_date":398,"last_publication_date":399,"slugs":4197,"linked_documents":4199,"lang":16,"alternate_languages":4200,"data":4201},"https:\u002F\u002Fartexplorer-prod.cdn.prismic.io\u002Fapi\u002Fv2\u002Fdocuments\u002Fsearch?ref=aCb60BIAACEA00zN&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22ZHc1QRAAACUAkmFm%22%29+%5D%5D",[174],[397,4198,400],"is-art-a-good-hedge-against-inflation",[],[],{"title":4202,"subtitle":7,"color":7,"source":4203,"published_at":7,"duration":4209,"cover":4210,"copyright_cover":7,"description":4215,"narrator_copyright":4219,"music_copyright":7,"mixing_copyright":7,"deezer_external":4220,"spotify_external":4221,"apple_podcast_external":4224,"slices":4225,"meta_title":4276,"meta_description":4277,"og_image":4278,"slices2":4284},"Ludovic Subran: Is art a good hedge against inflation?",{"link_type":3939,"key":4204,"kind":3941,"id":4205,"url":4206,"name":4207,"size":4208},"08136130-8cae-4928-b50f-8f77b1140919","ZJL3CBEAACgAEXYE","https:\u002F\u002Fartexplorer-prod.cdn.prismic.io\u002Fartexplorer-prod\u002Fafad441f-2150-4d4b-9fec-c1f9d51604ea_230616_ARTEXPLORED_AUDIOCAST_LUDOVIC_SUBRAN.mp3","230616_ARTEXPLORED_AUDIOCAST_LUDOVIC_SUBRAN.mp3","9661355",603,{"dimensions":4211,"alt":7,"copyright":7,"url":4212,"id":4213,"edit":4214},{"width":25,"height":25},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F1d826534-1e01-4f9b-a802-3e4c69cf46f5_carr%C3%A9-4.jpg?auto=compress,format","ZK_u3hIAACIAafCl",{"x":29,"y":29,"zoom":30,"background":31},[4216],{"type":57,"text":4217,"spans":4218},"ArtExplored's finance and markets editor Robert Budden talks to Ludovic Subran, the chief economist at Allianz SE, about the damaging effects inflation can have on investment strategies and art's proven record as a hedge against rising prices. ",[],"Robert Budden, Ludovic Subran",{"link_type":67},{"link_type":63,"key":4222,"url":4223},"b103f785-f43c-4549-a96d-797eec83fd9f","https:\u002F\u002Fopen.spotify.com\u002Fepisode\u002F7EDbEuCntvDhUUUYH5lfMh",{"link_type":67},[4226],{"variation":88,"version":89,"items":4227,"primary":4274,"id":4275,"slice_type":4052,"slice_label":7},[4228,4234,4240,4245,4250,4255,4262,4267],{"speaker":4229,"content":4230},"RB",[4231],{"type":57,"text":4232,"spans":4233},"Inflation is something we’ve forgotten about for quite a long time because we haven’t had much of it. Then, it came back with a vengeance. Can you remind us why inflation is important and why investors should be concerned about it?",[],{"speaker":4235,"content":4236},"LS",[4237],{"type":57,"text":4238,"spans":4239},"Inflation is significant because it complicates everybody’s job. It complicates the investor’s job to yield returns. It complicates the household spending budget. It makes policymakers worried about how to finance social protection. It makes companies look after their margins like a hawk. Inflation is bad because it means the price of money is decreasing.\n\nIt’s true for the past ten years, and some may say since the 70s, at least in our part of the world, like in the US and Europe, that we haven’t seen much inflation. Recently, it has become a concern for investors because inflation can impact the value of their investments. When prices rise, the purchasing power of money decreases, which can lead to a loss in the real value of your investments. Even if an investment rises in price, if that price rise is less than the inflation rate, then the investor has lost money. That’s the direct effect. \n\nThe response to inflation is also through an increase in interest rates. Of course, an increase in interest rates leads to higher financing costs. If you want to use a bit of a mortgage to buy a house, or if you want to use some debt to invest, you’re also losing on that front, which is the overall cost of financing is much higher these days than it used to be just 12 months ago. It’s mostly through the value and the returns and, maybe, through the leverage angle that we see inflation bite investors. It’s creating concerns today about the future returns of investments.",[],{"speaker":4229,"content":4241},[4242],{"type":57,"text":4243,"spans":4244},"If you are a long-term investor, ideally, you want an investment that will give you a good real return above inflation. What investments are best to protect you in an inflation environment? And would you include our investments in those?",[],{"speaker":4235,"content":4246},[4247],{"type":57,"text":4248,"spans":4249},"There are many ways of investing during inflation. Beyond the more alternative investment space, like art or good wine, you have real estate, for example. Investing in a property with rental income is a good hedge against inflation because rental spaces are indexed on inflation (because the rent price is indexed on inflation). Even in the bond markets, with so-called inflation-linked bonds, you can buy a protection, a hedge. \n \n Also, in the vanilla bond market, to protect your returns and your payment of coupons from inflation, the equity market is known to be – when inflation is not too high – a good hedge against inflation. This is because you expect that those companies in the stock market should outperform the cost of inflation. They should pass on some of the increasing costs to the customers through pricing power and still make margins. Your investments should benefit from that. Many investments can be tweaked to become inflation-proof in a way. \n \n What I find interesting is that when you look historically, art has been a good hedge against inflation. The numbers are there to show it. It depends on the geography and how you account for it because there are different costs associated with it and various types of art. But if you go for quality and a buy-and-hold strategy and manage the overall cost of the transaction, art has proven to be quite resilient to higher inflation periods.",[],{"speaker":4229,"content":4251},[4252],{"type":57,"text":4253,"spans":4254},"Was that also true in higher inflation periods like the 70s?",[],{"speaker":4235,"content":4256},[4257,4260],{"type":57,"text":4258,"spans":4259},"It’s hard to know. There are a few long-term studies. Christoph Spaniers, a researcher at the University of Leeds, says you can look at art as giving good returns but there will be differences between countries and areas of art. \n\nOverall, it has worked over the past 30, 40, and 50 years. As you can imagine, the art market is less liquid than others. You don’t see as much price discovery as in the SP500, the FTSE, or some of the indices that have been there for some time. \n\nMore recently, in the last year, we’ve seen a surge in inflation. It’s spectacular - that’s why people have been talking about the 70s. But it’s a very different moment. \n\nCentral banks are much more serious about killing inflation. We don’t have the same competitive environment or wage indexation. There is no wage-price spiral we saw in the 70s. Maybe we will also be more cognisant of fiscal spending than in the 70s. \n\nBut who would have thought that we would have 10% inflation in the Western Hemisphere, right? It has made many people look back into, for example, the performance of art in the long run when diversifying the portfolio and how much people have been making from this investment. \n\nIn the long run, contemporary art has shown a strong price appreciation of close to 15% over the past 30 years. Even during periods of high inflation, it does compare quite well to the equity market, which is usually ten, or real estate, which is also ten, and also for gold, which is in the tune of seven or eight. \n\nThere is a form of resilience and a good investment in periods of high inflation of blue chip art compared to the variability of the overall transaction.",[],{"type":57,"text":456,"spans":4261},[],{"speaker":4229,"content":4263},[4264],{"type":57,"text":4265,"spans":4266},"It’s unusual where we are now, with the economies slowing in many countries worldwide, with interest rates rising and the edging away of central banks pumping money into the economy. What does all this mean for art markets and investment markets?",[],{"speaker":4235,"content":4268},[4269],{"type":57,"text":4270,"spans":4271},"This is where you get the second aspect of inflation that could worry people. When you have lower growth and high inflation, people worry about their income’s purchasing power. \n\nArt is an investment you usually make after investing in more traditional things. It’s more something you do in a layered and structured approach, like with residual savings. \n\nWe’ve seen, for example, people turning to art because they had excess hoarding from COVID. They weren’t going out or travelling. They had extra savings to put into art. Of course, since then, inflation has eroded some of these excess savings and they had to tap into their more liquid investments to ensure they could protect their living standards.\n\nThe good news for the art market is this hedonistic dividend. The idea is that you put money into art not only because you expect solid, regular returns, like in the bond market. You don’t invest in art as you invest in the equity market because you believe in a company’s strategy and you’ve seen this company and its management making good decisions. \n\nWhen you invest in art there is a sense of je ne sais quoi, as we say in French, which is emotional, refined and one of the reasons why it is a resilient segment. It has continued to attract Gen Z, for example. We’ve seen several new platforms that show, just like the Robin Hood generation when it came to equity investment in the US, more young people are interested in this form of investment. This is despite the income and wealth shock of ’22 and relative fears about the recession, higher financing costs and central banks not being done with increasing interest rates. \n\nThe sentiment is not as good, but there is a form of resilience among investors, especially in the segment of investors educated about art. They know why they go there and are not necessarily looking for high-frequency trading, trying to time the market, but more into a buy-and-hold strategy. They know this investment will be a positive one for their portfolio in the long run, a bit diversifying because it’s not as correlated as the other asset classes.",[4272],{"start":2647,"end":4273,"type":523},1122,{},"text_interview$3b969a72-6120-4632-baed-d07430cdce58","Is art a good hedge against inflation?","Ludovic Subran highlights art's proven record as a hedge against rising prices",{"dimensions":4279,"alt":4280,"copyright":7,"url":4281,"id":4282,"edit":4283},{"width":770,"height":115},"Art Explored audiocast with Ludovic Subran, the chief economist at Allianz SE","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Ff4eafce7-614a-469a-8ea3-2f61431c4c1d_Audiocast+Opengraph+Is+art+a+good+hedge+against+inflation+_.jpg?auto=compress,format","ZK_XhhIAACMAaY5F",{"x":29,"y":29,"zoom":30,"background":31},[4285],{"variation":88,"version":89,"items":4286,"primary":4289,"id":4292,"slice_type":158,"slice_label":7},[4287],{"post":4288},{"link_type":61},{"slides_per_view":7,"max_slides_count":7,"tag":4290,"type":376,"title":4291,"paralax":7},{"link_type":61},"Explore Audiocasts","carousel$ee4f582c-a0fd-486b-99f6-2ee753e8198d",{"id":404,"uid":410,"url":7,"type":376,"href":4294,"tags":4295,"first_publication_date":408,"last_publication_date":409,"slugs":4296,"linked_documents":4302,"lang":16,"alternate_languages":4303,"data":4304},"https:\u002F\u002Fartexplorer-prod.cdn.prismic.io\u002Fapi\u002Fv2\u002Fdocuments\u002Fsearch?ref=aCb60BIAACEA00zN&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22ZBNBcxAAACMAXuYT%22%29+%5D%5D",[406],[407,4297,4298,4299,4300,4301],"why-are-the-eyes-in-modiglianis-paintings-so-mysterious","modiglianis-enduring-appeal-and-spotting-his-fakes","why-are-amedeo-modiglianis-paintings-so-captivating","why-is-amedeo-modiglianis-work-so-captivating-and-why-do-so-many-art-forgers-copy-his-work","why-does-amedeo-modigliani-have-such-enduring-appeal...-and-why-do-so-many-art-forgers-copy-his-work",[],[],{"title":4305,"subtitle":7,"color":4306,"source":4307,"published_at":7,"duration":116,"cover":4313,"copyright_cover":7,"description":4318,"narrator_copyright":4322,"music_copyright":7,"mixing_copyright":7,"deezer_external":4323,"spotify_external":4324,"apple_podcast_external":4327,"slices":4328,"meta_title":4402,"meta_description":4403,"og_image":4404,"slices2":4410},"Simonetta Fraquelli & Annette King: Modigliani's enduring appeal and spotting his fakes!","#ffd9a5",{"link_type":3939,"key":4308,"kind":3941,"id":4309,"url":4310,"name":4311,"size":4312},"8f538f55-dfba-47f4-85a5-6f1895e1eaa9","ZJQkvhEAACkAFt8n","https:\u002F\u002Fartexplorer-prod.cdn.prismic.io\u002Fartexplorer-prod\u002Fa63fe7fc-00bf-448e-b33f-17349a947691_230616_ARTEXPLORED_AUDIOCAST_SIMONETTA_FRAQUELLI.mp3","230616_ARTEXPLORED_AUDIOCAST_SIMONETTA_FRAQUELLI.mp3","9859499",{"dimensions":4314,"alt":7,"copyright":7,"url":4315,"id":4316,"edit":4317},{"width":25,"height":25},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F7e5f9781-4dfb-4dcc-9c8c-93373690ccd5_carr%C3%A9-1.jpg?auto=compress,format","ZK_u3hIAACEAafCo",{"x":29,"y":29,"zoom":30,"background":31},[4319],{"type":57,"text":4320,"spans":4321},"ArtExplored's North American art writer Will Corwin discusses why Modigliani's work continues to be so popular, his use of colour, and his subjects' mysterious eyes with Simonetta Fraquelli and Annette King, the co-curators of Modigliani Up Close, the artist's retrospective at the Barnes Foundation in Philadelphia. ",[],"George Nelson, William Corwin, Simonetta Fraquelli, and Annette King",{"link_type":67},{"link_type":63,"key":4325,"url":4326},"93bde218-13f1-40e9-95c6-7627423b564c","https:\u002F\u002Fopen.spotify.com\u002Fepisode\u002F3hgiJBJvW5wc5Xtl7Jsz5f",{"link_type":67},[4329],{"variation":88,"version":89,"items":4330,"primary":4400,"id":4401,"slice_type":4052,"slice_label":7},[4331,4336,4341,4346,4354,4360,4365,4370,4375,4380,4385,4390,4395],{"speaker":3968,"content":4332},[4333],{"type":57,"text":4334,"spans":4335},"Hi Simonetta and Annette, can you start by telling us why now is the right time for a Modigliani exhibition at the Barnes Foundation?",[],{"speaker":3974,"content":4337},[4338],{"type":57,"text":4339,"spans":4340},"Annette and I both contributed and worked on an exhibition that was held at the Tate in 2017, a major Modigliani retrospective. And when we were working on that together with our colleague Nancy Ireson, we started looking at the technical conservation aspects of all the paintings, and we convinced the lenders to that exhibition to also look at their works. And from there came a series of articles that were published in the Burlington and further studies. And when the opportunity came at the Barnes to do a show, we felt that given that they had such a great collection of Modiglianis which had hitherto not been studied and which could benefit from being in a way catalogued and looked at carefully, also from a conservator’s point of view, we thought this was kind of a unique opportunity to build on what we had already done with the previous show and the previous research and to bring together a new group of paintings and to kind of further this work on the artist, which does open new kinds of avenues of research and understanding and really to be able to move forward with the artist in a way that had hitherto not be done, at least prior to the Tate show.",[],{"speaker":3968,"content":4342},[4343],{"type":57,"text":4344,"spans":4345},"So, what is it about Modigliani’s work that gives him such enduring appeal?",[],{"speaker":4347,"content":4348},"AK",[4349,4352],{"type":57,"text":4350,"spans":4351},"He's an amazing colourist, so the colours really appeal and he seems to capture the essence of the subject without being too realistic or too representational but also there's a real elegance of form and because he was a classically trained artist, the more we looked at these paintings, the more we realised that he was bringing that to the paintings so they have a very pleasing harmony which may not first be evident. So, I think there's a lot about his paintings that really do appeal. And the sculptures.  ",[],{"type":57,"text":456,"spans":4353},[],{"speaker":4355,"content":4356},"SM",[4357],{"type":57,"text":4358,"spans":4359},"If I can also add to that in terms of his appeal, I mean, he's an artist who since the early 1920s and shortly after his death became a favourite both with collectors and with the public. And that has endured, as Annette says, all the way through. He was always a little bit outside of any specific group. I mean, he wasn't connected with the Futurists or the Surrealists or the Cubists, and he forged his own path, which I think has been one that the general viewer has been able to connect with in a way that perhaps other artists have not been so accessible. His art is in many ways, even though I think it seems very on the surface, simple and direct, is actually, as our conservation studies have shown, much more sophisticated and much more worked out than maybe one would immediately think.",[],{"speaker":3968,"content":4361},[4362],{"type":57,"text":4363,"spans":4364},"As curators, how did you strike a balance between the formal assessment of his artworks and the technical scientific viewpoints, which have such a strong focus in the show?",[],{"speaker":4347,"content":4366},[4367],{"type":57,"text":4368,"spans":4369},"So, as we mentioned, the Tate exhibition was the beginning of this project and close looking has always been an important part of the conservator’s role, but also an art historian's role. And as we discussed the paintings, we were looking at very different aspects of the paintings, but bringing them together gave us a much more rounded view of each work and then connecting with all the other conservators and curators from the lending institutions we realised that we could then extend the story of each painting into a much more rounded view of his development, his career. And it just made sense for us all to share our findings and look for patterns of material use techniques that emerged throughout his career, creating a bigger picture of how he was working and how his working methods changed, and for example, you bring up the canvas project. It was called the Thread Count Automation Project run by Don Johnson in Texas. He developed software that could sort of look at digital X-rays and match canvas weave anomalies, placing paintings on the same role of canvas, which is fascinating in itself, but it gave us an insight into the materials he was using. So, we realised there were practically no matches before 1917 and then after Zborowski began supporting him, there was much more consistency. So, it seems that the supplies are coming through to the Zborowski, he's buying them and supplying Modigliani. Also, he favoured certain formats, the marine format. It also gave us an insight into colour makers and how they were producing these canvases. So, producing different sizes and formats on each role to get the maximum number of canvases from each role and there are lots of intricacies within those findings that we were still trying to work out, but it was a fascinating insight into his use of canvases and where they were coming from. And in terms of the balance, it was quite difficult, and it took a lot of discussion between us. So, I'll hand over Sim now.",[],{"speaker":3974,"content":4371},[4372],{"type":57,"text":4373,"spans":4374},"I think that both Nancy and I were very keen that we wanted to work with Annette and with Barbara and have them, as conservators, be part of the curatorial team. But we were also very concerned – not concerned – it’s not the right word. conscious of the fact that when you present an exhibition, you have to do it in such a way to engage the viewer. And I think I could speak for Nancy as well. We wanted the conservation material to be accessible and to be present in the presentation, but we also wanted the show to work visually as an exhibition. And we wanted to draw out certain kinds of visual connections between the individual, for example, between the sculptures and the paintings, or between the group of nudes in a way that allowed the conservation material to be present, but at the same time didn't detract from the paintings themselves. Because one of the problems sometimes with exhibitions where they do have a lot of conservation material is that you find that the viewers end up looking just at the conservation material, not at the paintings themselves. So, I think we were very conscious, all four of us, of creating kind of a visual balance within the exhibition that still allowed you to appreciate the works, but then had this other layer of conservation information available to you. Of course, the catalogue has much more than the exhibition does, and perhaps one could find in other exhibitions or other projects ways of including more technical information through digital ways or whatever into the exhibition itself, but very keen that the paintings and the sculptures would stand in their own right as well.",[],{"speaker":3968,"content":4376},[4377],{"type":57,"text":4378,"spans":4379},"And my penultimate question, why have there been so many forgeries of his work?",[],{"speaker":3974,"content":4381},[4382],{"type":57,"text":4383,"spans":4384},"I think that when you have an artist who has a market, inevitably there are forgeries. And his market has been very strong since almost after the day he died. And he wasn't super prolific. He painted a number of paintings, but nowhere near like Picasso’s output. But, where there's a great market, I think there are always forgeries, and unfortunately, his market has always been very strong, and consequently, there have been many forgeries over the decades.",[],{"speaker":3968,"content":4386},[4387],{"type":57,"text":4388,"spans":4389},"And finally, why are the eyes in Modigliani's paintings so mysterious?",[],{"speaker":3974,"content":4391},[4392],{"type":57,"text":4393,"spans":4394},"This is a question that practically every single person that comes to the Modigliani exhibition asks. So, obviously it does strike a chord. I mean, personally, I think it has to do with his looking at perhaps African masks or sculptures, he does write about looking into the inside person through the eye and sometimes you have an eye that’s open and another one that’s crosshatched. Sometimes you have very ordinary eyes. So, I think there’s a great variety. But I think that the relationship with African artefacts may well be the key to this, but I haven’t really come across really a satisfactory answer to it over the years even though it’s a question that comes up all the time.",[],{"speaker":4347,"content":4396},[4397],{"type":57,"text":4398,"spans":4399},"And frustratingly he never expressed that in writing or in interviews so we don’t know, but if you do look at the sculptures and panitings you can see a similarity in the eyes of the sculptures and as Simonetta said they were influenced by African art. So, yes, it’s a long-lasting mystery really.",[],{},"text_interview$7a8ae707-b642-460b-b0b5-6e939d3a68f4","Modigliani's enduring appeal and spotting his fakes!","Co-curators of Modigliani Up Close – the artist's retrospective at the Barnes Foundation in Philadelphia – Simonetta Fraquelli and Anette King talk to ArtExplored.",{"dimensions":4405,"alt":4406,"copyright":7,"url":4407,"id":4408,"edit":4409},{"width":770,"height":115},"ArtExplored audiocast with the co-curators of Modigliani Up Close Simonetta Fraquelli and Annette King","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F74b29019-9ccc-4141-bd26-8eb960af3714_Audiocast+Opengraph+Modigliani%27s+enduring+appeal+and+spotting+his+fakes%21.jpg?auto=compress,format","ZK_XhhIAACMAaY5H",{"x":29,"y":29,"zoom":30,"background":31},[4411,4429],{"variation":88,"version":89,"items":4412,"primary":4425,"id":4428,"slice_type":158,"slice_label":7},[4413,4417,4421],{"post":4414},{"id":4077,"type":376,"tags":4415,"lang":16,"slug":4079,"first_publication_date":4080,"last_publication_date":4081,"uid":4082,"link_type":61,"key":4416,"isBroken":109},[2374],"50b8bb99-7571-4c48-bc90-e6c0a76f04ee",{"post":4418},{"id":385,"type":376,"tags":4419,"lang":16,"slug":388,"first_publication_date":389,"last_publication_date":390,"uid":391,"link_type":61,"key":4420,"isBroken":109},[387],"ef886209-591f-4923-af60-dc6230068fbf",{"post":4422},{"id":4064,"type":376,"tags":4423,"lang":16,"slug":4066,"first_publication_date":4067,"last_publication_date":4068,"uid":4069,"link_type":61,"key":4424,"isBroken":109},[387,1716],"db47b49d-03ef-4aa8-b429-13880bd18bee",{"slides_per_view":1829,"max_slides_count":7,"tag":4426,"type":376,"title":4427,"paralax":7},{"link_type":61},"More Audiocast","carousel$18625f0d-cea1-4b21-98e1-454e17a02310",{"variation":88,"version":89,"items":4430,"primary":4433,"id":4442,"slice_type":158,"slice_label":7},[4431],{"post":4432},{"link_type":61},{"slides_per_view":154,"max_slides_count":7,"tag":4434,"type":163,"title":4441,"paralax":7},{"id":4435,"type":796,"tags":4436,"lang":16,"slug":4437,"first_publication_date":4438,"last_publication_date":4439,"uid":4437,"link_type":61,"key":4440,"isBroken":109},"ZA9CHxAAAKdKyyuy",[406],"amedeo-modigliani","2023-03-13T15:44:44+0000","2023-03-20T16:55:09+0000","2fe7f9af-923b-4229-a6f3-53816a4be1da","Related Articles","carousel$5a8cbd87-eb7f-4250-8101-f425a76ddcac",[4444],["Reactive",4445],{"id":3703,"uid":106,"url":7,"type":796,"href":4446,"tags":4447,"first_publication_date":3706,"last_publication_date":3707,"slugs":4448,"linked_documents":4449,"lang":16,"alternate_languages":4450,"data":4451},"https:\u002F\u002Fartexplorer-prod.cdn.prismic.io\u002Fapi\u002Fv2\u002Fdocuments\u002Fsearch?ref=aCb60BIAACEA00zN&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22ZA9DKRAAAKdKyy2t%22%29+%5D%5D",[46],[3705,106],[],[],{"name":4452,"weight":4453,"meta_title":7,"meta_description":7,"og_image":4454},"Van Gogh",108,{}]