“I will show your Lordship what a woman can do”: Artemisia Gentileschi’s compelling feminist life – Hyperallergic Arguably, the sexual assault she suffered aged 17 at the hands of her father Orazio’s colleague Agostino Tassi has come to define her, if not in art historical terms then certainly in the popular imagination; her images of powerful female figures are easily summarized in auction or museum blurbs as avatars for feminist strength in defiance of (or revenge against) this singular biographical event. The 2020 show made inroads toward shaking off this reductive and emotionally driven interpretation. Barker deliberately sets out to correct “panegyric” accounts of her life and work, bringing together the most recent art historical developments and discoveries of primary documents to flesh out her biography, and asserting that we “have only begun to get to know her.”
For more on this powerful artist, you really must check out these reviews of her (and others’) paintings of Judith and Holofernes, both part one and part two, that I shared a while back.
And it was nice to see Sheffield’s Women of Steel statue as today’s Bing background image.
A horrible act of vandalism in a Russian art gallery occurred last December.
Vandal added eyes to figures in painting by Malevich’s student – The Art Newspaper Russia Anna Leporskaya’s painting “Three Figures” (1932-1934) from the collection of the State Tretyakov Gallery, provided for the exhibition “The World as Non-Objectivity. The Birth of a New Art” to the Yekaterinburg Foundation “Presidential Center of B.N. Yeltsin”, as it became known to our publication, suffered from the hands of a vandal. An unknown person drew small eyes with a ballpoint pen on the abstract faces of two figures in the picture.
A somewhat different set of art gallery eyes than Chris Eckert’s, certainly, but still a case for the local police, surely?
Russian police won’t investigate after vandal draws eyes on painting at museum – ARTnews Once the damage was reported, law enforcement agencies refused to open a criminal case because there were no signs of a crime as defined by the Criminal Code of the Russian Federation. Since the image did not look fundamentally different, and since the painting was no longer in Yekaterinburg at that time (it had returned to Moscow for restoration by the time police got involved), the Ministry of Culture of the Russian Federation sent a complaint to the Russian Prosecutor General’s Office about the refusal to initiate a criminal case. When asked about the subject, Alexander Drozdov, executive director of the Yeltsin Center, said, “We were not even slightly puzzled when police decided not to open the case, because based on their damage assessment there was no legal grounds for [an investigation]. They say ‘no,’ you obey. We’re law-abiding citizens.”
“Bored” security guard draws eyes on faceless Russian painting on his first day – It’s Nice That Anna Leporskaya’s Three Figures, a painting on display at the Boris Yeltsin Presidential Center, has been vandalised by a security worker, who scribbled small eyes on two of the figures with a ballpoint pen. In what is possibly one of the worst first-day-on-the-job horror stories in recent history, the security guard had apparently worked at the gallery for less than 24 hours before he drew on the painting; Three Figures is insured for approximately £740,000.
Van Gogh. Self-Portraits – The Courtauld Van Gogh. Self-Portraits takes as its springboard Van Gogh’s iconic Self-Portrait with Bandaged Ear, one of the most celebrated works in The Courtauld’s collection, and will bring together around half of the self-portraits Van Gogh created during his short years as a painter. This will be the first time that the full span of Van Gogh’s self-portraiture has been explored in an exhibition. Several works in the exhibition were last together in Van Gogh’s studio and have never been reunited, until now.
I very much like the sound of it. It’s great to see one of my favourite portraits of his is included.
Van Gogh Self-Portraits at the Courtauld Gallery review: beg, borrow or steal, you have to see this – Evening Standard It would be easy to phone-in a Van Gogh self-portraits show, but the Courtauld’s is rigorous and thoughtful, with smart pairings and groupings. And it has a compelling argument: that we inevitably see the artist’s paintings of himself through the prism of his mental health and suicide, but they should instead be seen as him pursuing a unique artistic language despite rather than because of his illness. Yes, they were vehicles for expression, but it was a more rational pursuit rather than one governed only by torment.
‘Magical, mysterious and electrifyingly intimate’ – Van Gogh: Self-Portraits review – The Guardian One of the star attractions in the collection of the Courtauld Gallery in London is Vincent van Gogh’s Self-Portrait with Bandaged Ear, which was painted in January 1889. The artist had mutilated his left ear two days before Christmas, following a quarrel with Paul Gauguin, with whom he had been sharing a house in Arles. Van Gogh looks pale and introspective, clean-shaven, dressed for the winter chill in his yellow room, an easel behind him and a Japanese print on the wall (the Courtauld owns this print, too, but it was stolen in the 1980s and never recovered). The Dutch artist has the hunted look of a man not yet ready to re-enter the world, except through his painting. The open blue door on the right is the same blue door that appears in the picture of his straw-bottomed yellow chair, which now hangs in the same room at the Courtauld. You can take the chair as a kind of self-portrait, too. It is as if he has stepped out for a second, leaving his pipe and tobacco pouch on the seat.
A trip down to the capital is in order, I think. And whilst we’re there, we might visit this other Van Gogh exhibition. It takes a very different approach, similar to that one in Paris.
Van Gogh Exhibition: The Immersive Experience – London Van Gogh: The Immersive Experience is a 20,000 square foot light and sound spectacular featuring two-story projections of the artist’s most compelling works. Encounter the brilliance of one of history’s greatest artists in 360 degrees.
Your first look at the eye-popping, immersive Van Gogh exhibition – Time Out As you can see from the photos, Van Gogh’s paintings are beamed hyper-sharp all over the floors and walls, using dozens of cutting-edge projectors. The all-encompassing sight of iconic works like Starry Night and Wheatfield with Crows (complete with flying birds, natch) knock a lot of socks off (particularly when augmented and combined with VR headsets).
That recent post about the not-really-“homecoming” of the Nedra Sky Disc got me thinking about those culturally significant artefacts and paintings that really do need to go home. Here’s a brief list of recent articles from The Art Newspaper to get us started. I’m sure there are unfortunately many more.
It doesn’t always work, though. Take this exhibition of the works of Marisol Escobar and Andy Warhol, for instance, “the queen and king of Pop“.
Does a pairing with Warhol do Marisol any favors? – Hyperallergic The basic plan of this show reveals an unfortunate curatorial lapse. To put Warhol’s famous works alongside Marisol’s now relatively unknown art does no favors for her. Rather than lift up her art, this strategy makes it look marginal and obscure, a minor version of what he did with such success. Jeffrey Deitch, whose judgments I take seriously, says in the catalogue, “Marisol, for me, was one of the geniuses who defined contemporary art. . . .” I would love to see a full Marisol show, so as to come to grips with her work on its own terms. These present comparisons don’t do that.
Honey, we shrunk the art! The return of the micro gallery – Elephant Simon Martin believes it’s the little things that count. As the coronavirus pandemic forced museums the world over to temporarily close, the director of Pallant House Gallery quietly reached out to a cohort of British contemporary artists with a simple yet challenging proposition: to create a small-scale artwork measuring no more than 15 sq cm.
More than 30 creative luminaries have contributed original works to the 2021 Model Art Gallery, ranging from a pair of terracotta vessels by studio potter Magdalene Odundo and a painting by Sean Scully, to a Julian Opie sculpture and a miniature print from photographer Khadija Saye, the only work from her Crowned series not destroyed in the Grenfell Tower fire which took her life.
It’s not the first time the Chichester institution has scaled down: the earliest model gallery in Pallant House Gallery’s collection, The Thirty Four Gallery, debuted in 1934 after art dealer Sydney Burney invited his contemporaries (including Henry Moore, Barbara Hepworth and Vanessa Bell) to create miniature artworks to fill a dollhouse for a charitable cause. Lost for decades, some of the works were later rediscovered in a suitcase by Burney’s grandson. The model was recreated by Pallant House Gallery in 1997 based on photographs of the original designed by the architect Marshall Sisson.
Following on from yesterday’s post on successful and unsuccessful restoration projects, here are a few more. Let’s start with this example of when a more cartoony, less realistic painting was deliberate rather than the result of a botched job.
Ghent altarpiece restorations reveal the alarmingly humanoid face of the famous mystic lamb – Smithsonian Magazine To be fair, the lamb—which features prominently in a panel appropriately titled Adoration of the Mystic Lamb—is meant to represent Christ himself. But perched atop its fluffy woolly-white body, the penetrating, close-set eyes, full pink lips and flared nostrils of the original lamb are, at a minimum, eye-catching, if not alarmingly anthropomorphic. Its “cartoonish” appearance is a marked departure from the serene, naturalistic style characterizing the rest of the scene surrounding it, as well as the other panels, Hélène Dubois, the head of the Royal Institute’s restoration project, tells Hannah McGivern at the Art Newspaper.
For that reason, during the century or so that the painting hung in its full, unadulterated glory, onlookers gazing upon the lamb probably got a more “intense interaction” than they bargained for, Dubois suggests. Perhaps the anomalous nature of this riveting stare was part of the motivation behind a spate of modifications to the painting in 1550, when a second set of artists swapped the lamb’s soul-penetrating gaze for a more “impassive and … neutral” expression, restorers explained in a statement, as reported by Flanders Today’s Lisa Bradshaw in 2018.
As we read yesterday with the Vermeer, these restoration projects can take years…
The restoration of Rembrandt’s The Night Watch begins: Watch the painstaking process on-site and online – Open Culture “It is like a military operation in the planning,” said Dibbets, and it has required the utmost precision and expert teams of restorers, data experts, art historians, and the professionals who moved the enormous painting into the glass case it will occupy during this intense period. The crew of restorers will work from digital images taken with a macro X-ray fluorescence scanner, a technique, says Dibbets, that allowed them to “make a full body scan” and “discover which pigments [Rembrandt] used.”
…but here’s an approach I wasn’t expecting with this painting.
AI helps return Rembrandt’s The Night Watch to original size – The Guardian In 1715, three-quarters of a century after it was painted, the canvas was trimmed – 60cm (2ft) cut from the left side of the painting, 22cm (9ins) from the top, 12cm from the bottom and 7cm from the right – so that the masterpiece might fit between two doors at Amsterdam’s city hall. But using high-resolution photography of what is left of the original, computer learning of Rembrandt’s techniques and a contemporary copy of the full painting by Gerrit Lundens hanging in London’s National Gallery, the Rijksmuseum in Amsterdam was able to reproduce the work in all its glory.
I’m a big fan of Antony Gormley’s spooky and solemn sculptures on Crosby beach near Liverpool, so I was happy to read that they’re being looked after.
Antony Gormley asks for ‘vandalised’ beach sculptures to be cleaned – The Guardian Antony Gormley has asked for paint to be removed from his iron men sculptures on Crosby beach after they were embellished with colourful outfits by an unknown artist. At least nine of the famous group of statues, which face out to sea and have been standing naked on the Merseyside beach for a decade, have been brightly decorated in the past week.
Antony Gormley hopes Crosby statues last 1,000 years after reset – The Guardian One hundred cast-iron statues modelled on Gormley were installed in 2005 at Crosby beach, spread across 3km (2 miles) of the foreshore and stretching almost 1km out to sea. The installation, Another Place, was only supposed to last 16 months in Crosby, and the men were almost sent packing early amid safety complaints including cases of the coastguard being called out to “rescue” them. Sixteen years on, the artwork has become a tourist attraction for the Sefton borough of Merseyside and a beloved local institution. But unnoticed by all but the keenest eye, 10 of the men have been missing in action for the past few years after their concrete support piles disintegrated, plunging them face-first into the mud.
Of course, restoration isn’t just limited to paintings and sculptures. There are people who also want to restore … letters of the alphabet?
Petition · Restore the ampersand as the 27th letter of the alphabet – Change.org The ampersand dates all the way back to 45 AD and Johannes Gutenberg even included it on his first printing press in 1440. During the 19th century, American schoolchildren were taught to end their ABC’s with “X, Y, Z, and per se and” because the ampersand was indeed the 27th letter. But then it mysteriously and inexplicably disappeared from the alphabet. […]
This isn’t just for us. Think of all the uses of the ampersand out there, and all the people and organizations that could benefit from allowing the ampersand back into our alphabet. We’re not asking for much. And to be completely honest, we’re not exactly sure who calls the shots on these sorts of things, but having Merriam-Webster on our side seems like a good start.
For law firms, the ampersand is a character worth saving – ABA Journal Paul Hastings, Norton Rose Fulbright, Hogan Lovells, Proskauer Rose, Baker Botts: the list of new BigLaw titles built on the corpses of ampersands is almost endless. All these firms discarded their ampersands as if they were ashamed of them. The BigLaw ampersand now stands on the precipice of extinction. Accordingly, it is up to BigLaw partners and associates to see to its survival. You’re thinking, “But what can I do? I’m only one lawyer among tens of thousands?” You have answered your own question: You are one of tens of thousands. Your voice, added to the voices of your brother and sister lawyers across the land, can be a mighty chorus demanding the restoration of the ampersand to its rightful place in American law.
First full image of ‘new’ Vermeer with uncovered Cupid released by Dresden museum – The Art Newspaper Art lovers get ready to be struck by Cupid’s arrow, as the first image of the completed restoration of Johannes Vermeer’s Girl Reading a Letter at an Open Window (around 1657-59) has been released today by Dresden’s Gemäldegalerie Alte Meister, fully revealing a hidden image of Cupid. The change to the composition in one of Vermeer’s most famous paintings is so great that the German museum is dubbing it a “new” Vermeer in publicity materials.
A restored Vermeer painting reveals a hidden Cupid artwork hanging in the background – Colossal The new restoration—dive into the lengthy process in the video below—is just one of the mysteries that’s surrounded “Girl Reading a Letter at an Open Window” since its creation between 1657–59. Originally attributed to Rembrandt and later to Pieter de Hooch, the artwork wasn’t properly credited until 1880. The piece is evocative of another one of Vermeer’s works, “Lady Standing at a Virginal,” though, which similarly features a painting within a painting by showing a solitary figure standing near a window with Cupid on the wall behind her.
There’s something very hypnotic and life-affirming about watching such intricate restorations. Here are a few more.
The Museum of Modern Art: Microscopically reweaving a 1907 painting – YouTube To ready Paula Modersohn-Becker’s “Self Portrait” (1907) for MoMA’s reopening in October, conservator Diana Hartman tackles the question of how to repair holes in the painting’s canvas. She figures out that a curved needle typically used in eye surgery might allow her to avoid removing the work from its original stretcher. And her inventiveness doesn’t end there: Using an adhesive made from a sturgeon bladder, she secures linen thread to the needle to darn the pieces back together with the help of a microscope.
Tate: Restoring Rothko – YouTube Mark Rothko’s ‘Black on Maroon’ 1958 goes back on public view at Tate Modern on 13 May 2014, following 18 months of intensive work by the Conservation team and colleagues across Tate. The painting, one of the iconic Seagram murals which Rothko donated to Tate in 1970, was vandalised with graffiti ink in October 2012. It has since been the subject of detailed research and restoration by the core treatment team of Rachel Barker, Bronwyn Ormsby and Patricia Smithen.
Baumgartner Restoration: Ex Multis Ad Unum – Restoring a split painting, narrated – YouTube One of the challenges that the conservator often faces is before being able to embark upon the work of restoring the painting the old conservation attempts and materials must first be addressed. That is, before the “do” comes a lot of “undo.” Unknown materials and motives can be frustrating and difficult to address yet with experience and resources these can be overcome.
There seems to be no shortage of examples of restoration going wrong — though I don’t know why it’s Spain so often.
Worshipping at the altar of Beast Jesus – Hyperallergic Instead of trying to restore the restoration, the people behind the Santuario de Misericordia decided to make Giménez’s bizarre creation work in their favor — something they may have learned from the wise people of Pisa, who never tried to straighten their famous tower.
Botched Spanish sculpture restoration evokes the infamy of Beast Jesus – Hyperallergic The wooden statue is housed in the town’s St. Michael’s Church. Before-and-after photo comparisons show a badly damaged but tonally subtle and complex sculpture that has been updated with a cartoonish palette. The makeover has not only changed the facial expression of Saint George to a kind of dumbfounded stare, but also obliterated many of the details in his ornate armor, which now resembles that of a toy knight.
15th century Virgin Mary sculpture gets a very special makeover – Hyperallergic “I’m not a professional painter, but I’ve always enjoyed it, and these images really were in need of painting,” María Luisa Menéndez, the local tobacco shopkeeper responsible for this latest painting fiasco said in a statement to the newspaper El Comercio, adding that the local clergy had given her permission. “So I painted them the best I could, with the colors that seemed right, and the neighbors like it.”
How ‘Monkey Christ’ brought new life to a quiet Spanish town – The Guardian Between August and December 2012, 45,824 people visited the sanctuary. The numbers may have dropped off since then, but Borja still receives 16,000 visitors a year – more than four times the number who came before Giménez picked up her brushes. Not only has the picture’s fame provided jobs for the sanctuary-museum’s two caretakers, it also helps fund places at Borja’s care home for the elderly, a haven for those who would not otherwise be able to afford to live there.
Botched Spanish statue that went viral is lovingly unrestored – The Guardian “It’s been a long process because we had to do preliminary tests and take samples to see how we could go about cleaning it and to determine which would be the best materials and methods,” [Carlos Martínez Álava, the head of the Navarre government’s historic heritage department] said. “Today, the statue has the same colours it had before last year’s extremely unfortunate intervention. But we know that we’ve lost part of the original paint along the way.”
Spanish statue bodge-up is a new rival to Borja’s Monkey Christ – The Guardian What was once the smiling face of a woman next to some livestock has been replaced with a crude countenance that bears a passing resemblance to the incumbent US president, Donald Trump. Or one of the Sand People from Star Wars. Or something from a cheese-induced nightmare. Or, to be honest, pretty much anything you wish to project on to it.
Turns out it only takes me a quarter of an hour to go from yeah-it’s-an-ok-painting-I-guess to god-you’re-right-that’s-amazing-I-never-realised.
Great art explained – YouTube I’m James Payne, a curator, gallerist and a passionate art lover. I am on a mission to demystify the art world and discover the stories behind the world’s greatest paintings and sculptures. Each episode will focus on one piece of art and break it down, using clear and concise language free of ‘art-speak’.
I missed Van Gogh’s birthday last month, again. I meant to post these links earlier.
Warrior artist – Dublin Review of Books Anyone who dips into Van Gogh’s letters will be struck by how much and how widely he read. He devoured and used books up as he did the people around him, though he never used people in a malicious way. It was just that few could match or live up to his passionate intensity. As Mariella Guzzoni, an independent scholar and art curator, writes: “It should be said . . . that though Vincent cherished books, he was not a book collector. More precisely, he was a book-user. For him, it was not important to physically possess books, but to make them his own.”
There’s more to his story than just him, though.
The woman who made Vincent van Gogh – The New York Times Twenty-one months after her marriage, Jo was alone, stunned at the fecund dose of life she had just experienced, and at what was left to her from that life: approximately 400 paintings and several hundred drawings by her brother-in-law.
The brothers’ dying so young, Vincent at 37 and Theo at 33, and without the artist having achieved renown — Theo had managed to sell only a few of his paintings — would seem to have ensured that Vincent van Gogh’s work would subsist eternally in a netherworld of obscurity. Instead, his name, art and story merged to form the basis of an industry that stormed the globe, arguably surpassing the fame of any other artist in history. That happened in large part thanks to Jo van Gogh-Bonger. She was small in stature and riddled with self-doubt, had no background in art or business and faced an art world that was a thoroughly male preserve. Her full story has only recently been uncovered. It is only now that we know how van Gogh became van Gogh.
It’s a fascinating read, his sister-in-law Jo van Gogh-Bonger was remarkable. Here’s a photo of her from around 1909.
And there were other important women in his life too.
The fascinating lives of Vincent van Gogh’s three sisters – Hyperallergic Vincent van Gogh’s three sisters — Willemien (Wil), Elisabeth (Lies), and Anna van Gogh — are highlighted in the historical biography The Van Gogh Sisters by Willem-Jan Verlinden (Thames & Hudson). The book was originally published in Dutch in 2016; the English version, translated by Yvette Rosenberg and Brendan Monaghan, includes previously unpublished letters, largely the result of research completed after the Dutch version was first released.
Through letters between the siblings, we read that Lies was frustrated that women didn’t have more professional options that were socially acceptable. We learn about how Wil often copied Vincent’s drawings and was his favorite model, and that the two wrote to each other about art and literature and inquired about one another’s mental health. The book draws you in with stories about the siblings’ pursuits of jobs, love, and artistic curiosities, as well as lush portrayals of each family home.
How Van Gogh paid for his mentally ill sister’s care decades after his death – The Guardian Vincent van Gogh remained penniless throughout his tragic life, which ended in suicide shortly after a stay in a mental asylum. Yet two decades later, paintings he had given to his sister were sold to pay for her stay in a psychiatric hospital, commanding such high prices that the proceeds funded years of treatment, according to letters published in a new book.
Willemien, the youngest of Van Gogh’s three sisters, shared his love of art and literature and, like him, struggled with her mental health. While Van Gogh was committed to an asylum after cutting off part of his ear and giving it to a prostitute in a fit of madness, his sister was institutionalised for almost 40 years until her death in 1941.
In 1909, the oldest sister, Anna, wrote of selling a picture that he had given Willemien, enabling her to pay for medical costs: “I remember when Wil got the painting from Vincent, but what a figure! Who would have thought that Vincent would contribute to Wil’s upkeep in this way?”
Speaking of selling Van Goghs, here’s a very realistic/utterly fake portrait of him by the ‘post photographer’ Bas Uterwijk that’s for sale.
I’m still struggling with all this, to be honest. Am I right in thinking that I can spend 20 Tezos (about £100) on something that’s exactly the same as the 1620×2048 .png file I can download if I right-click on the image on the webpage?
At the same time, the NFT backlash has been furious. Highly visible NFT evangelists make unrealistic claims to be freeing artists from the problems of institutional gatekeepers, but there are clearly still problematic dynamics of race, class, power, and gender that shape these markets too, and artists still find themselves partly reliant on social media platforms and traditional institutions to build audiences and accrue value for their work.
It wasn’t meant to be like this, obviously. Here’s Anil Dash, the man behind the technology.
NFTs weren’t supposed to end like this – The Atlantic The idea behind NFTs was, and is, profound. Technology should be enabling artists to exercise control over their work, to more easily sell it, to more strongly protect against others appropriating it without permission. By devising the technology specifically for artistic use, McCoy and I hoped we might prevent it from becoming yet another method of exploiting creative professionals. But nothing went the way it was supposed to. Our dream of empowering artists hasn’t yet come true, but it has yielded a lot of commercially exploitable hype.
It seems to me that the broken art market is still far from being fixed. I wonder what the folks at Sedition make of all this.
Featured image Works by Vincent on exhibition in Antwerp, Belgium, 1914. Van Gogh Museum Documentation, Amsterdam
Vincent van Gogh: The Starry Night – LEGO Ideas Clips and brackets form the swirling cloud; plates stack to form the hillsides and bushes; curve parts build up to become the cypress tree. My favorite part is the inclined plate stack on the right, capturing the angled brush strokes within the moon-lit cloud. … I love putting the minifigure before the 3D scenery. It is like watching the artist work on the painting in real time.
Venice, 1570s, and Paolo Veronese, who had been commissioned by the Dominicans to paint the Last Supper, finds himself up against the Venetian version of the Spanish Inquisition. His depiction of this biblical scene seemed irregular, to say the least. Perhaps even blasphemous?
The Lost Last Supper – Yale University Press Blog That dog, what is the dog doing there, a dog in the vicinity of Jesus, this is surely blasphemy? He should have painted Mary Magdalene there, should he not? Yes, but he did not think she would look right in that spot. And that bloody nose? That’s not fitting, is it? Yes, but it was intended as a servant who had had an accident. And what about that man there, the one who looks so German, armed with a halberd? That would take some time to explain. Please answer! You see, we painters are accustomed to taking the same liberties as poets and madmen, and so I painted those two halberdiers, one eating and the other drinking at the foot of the stairs, yes, but so that they can immediately be of service, because I believe that a man as wealthy as the host would have had such servants. And that fellow who looks like a court jester, with a parrot on his fist, what is he doing there? He is there for decoration, as is customary. And who is sitting at the Lord’s table? The twelve Apostles. What is Saint Peter doing, the first one sitting there? He is carving the lamb into portions for the whole table. And the man beside him? He is holding up his plate. And the next one? He is picking his teeth with a fork. Who do you think was actually present? I believe there was only Christ and his apostles, but if there is any space remaining in a painting then I fill it with figures of my own invention. So did someone commission you to include Germans and jesters and people of that sort? No, Sirs, but I saw that I had lots of space, so I could add a great deal.
The Holy Tribunal determines that this rabble is not worthy to accompany such a sacred event, and orders the dog, the bloody nose, the tooth-picker, the Germans, all of it, to be painted over. But the artist, with the permission of the Dominicans, has a better idea.
He barely changes the painting at all, he just gives it a different name, and that is what it is still called today in the Accademia: Feast in the House of Levi, and if paintings were allowed to have a subtitle, in this case it might be: or, Hoodwinking the Inquisition.
who took us to his lodging close by, and did shew us a little flower-pot of his doing, the finest thing that ever, I think, I saw in my life; the drops of dew hanging on the leaves, so as I was forced, again and again, to put my finger to it, to feel whether my eyes were deceived or no. He do ask 70l. for it: I had the vanity to bid him 20l.; but a better picture I never saw in my whole life; and it is worth going twenty miles to see it.
Around the time Peyps was poking the painting of Verelst, another northern European painter, Cornelis Norbertus Gijsbrechts, was also causing confusion with the brush, creating his masterpiece known as The Reverse of a Framed Painting (ca. 1670), an image that is, to modern eyes at least, his most striking.
I love it, but I wonder how it was initially shown off. The gag would be wholly lost if this painting of a frame was itself framed. But weren’t all paintings framed?
I’ve been revisiting my post earlier in the week about the online worldwide Van Gogh exhibition. As well as high resolution scans of the actual paintings, the curators have documented the backs of them too — sturdy, wooden frames covered in gallery stickers. They remind me of airport tags on luggage.
Wheatfield with Crows was in Manchester? I would have loved to have seen that.
Dutch museums unveil free digital collection of 1,000+ artworks by Van Gogh – My Modern Met Van Gogh Worldwide is a new project by a group of Dutch museums which presents a digital collection of over 1,000 of the artist’s masterpieces. Building off the digitized collection begun several years ago by the Van Gogh Museum in Amsterdam, almost half of the post-Impressionist works of this prolific artist are now available to view—with scholarly commentary—from the safety of your own home.
Take a wander yourself, there’s so much to take in.
Van Gogh Worldwide Van Gogh Worldwide is a free digital platform providing art-historical and technical data about the work of Vincent van Gogh (1853–1890). The artist produced a total of approximately 2000 artworks, and the aim of Van Gogh Worldwide is to present data for these in an accessible way, via a user-friendly website.
The resolution of each image is wonderful, allowing you to get closer to the paintings than you probably could in real life.
And you can even view the paintings in a raking light, to get a sense of just how heavily textured and expressive these were. Not quite as three-dimensional as Timur Zagirov’s wooden blocks, but still.
A year ago I shared an article about British Airways being fined a record £183,000,000 by the ICO for a data breach in 2018. Here’s an update to that story.
BA fined record £20m for customer data breach – The Guardian The fine is the biggest ever issued by the Information Commissioner’s Office (ICO), but a fraction of the £183m fine initially announced last year. This was reduced after investigators accepted BA’s representations about the circumstances of the attack; and was reduced further to take into account the dire financial position of BA since the onset of Covid-19.
They’re not having an easy time, to say the least. I wonder how successful this auction was for them.
With the exception of Terry Frost’s 1997 painting Colour Down the Side 1968, which is expected to go for £20,000 to £30,000 ($25,000 to $37,000), each work in the online sale is estimated below £15,000 ($19,000).
Well, that Bridget Riley looks to have sold for £1,875,000. That would have helped towards that ICO fine…
Then there’s this odd story about (another) one of his selfies.
Self-portrait or portrait of Theo? – Van Gogh Museum Van Gogh specialists from the museum recently returned to study the two portraits afresh. A publication on photographs of Vincent and Theo contained new insights regarding the likenesses and differences between the physical appearance of the two brothers. Some researchers had also harboured prolonged doubts about the identification made in 2011.
The resulting discussion made it clear that, based on all sources and arguments, it was not possible to determine with certainty which of the brothers is depicted on the portrait that was identified as being of Theo van Gogh in 2011. The decision has therefore been taken to use the title Self-Portrait or Portrait of Theo van Gogh for this painting from now on.
He’s not the only one using ‘deep learning’ networks to understand more about Van Gogh and his work.
MIT CSAIL develops AI to show how artists created their famous paintings – designboom You mightn’t have thought that Vincent van Gogh and artificial intelligence go hand-in-hand, but thanks to a system developed by researchers at MIT Computer Science and Artificial Intelligence Laboratory (CSAIL), we can now see his painting technique like never before. The system, called ‘Timecraft’, takes the image of a finished painting and analyzes how it was likely to have been originally created. The resulting time-lapse videos provide an amazing insight into renowned works from famous artists such as Cezanne and van Gogh.
But let’s not forget what brought us all here in the first place, some incredible imagery.
The first digital art center in Paris, established in a restored 19th-century foundry, the Atelier des Lumières creates monumental digital exhibitions that surround visitors with the pictorial world of the greatest artists.
Van Gogh, Starry Night – Atelier des Lumières The new digital exhibition in the Atelier des Lumières immerses visitors in the paintings of Vincent van Gogh (1853–1890), a genius who was not recognised during his lifetime and who transformed painting. Projected on all the surface of the Atelier, this new visual and musical production retraces the intense life of the artist, who, during the last ten years of his life, painted more than 2,000 pictures, which are now in collections around the world.