Posts Tagged ‘old masters’
“Make visible what, without you, might perhaps never have been seen”*…
Lawrence Weschler is no stranger to controversy. In 2000 he published an article in The New Yorker, recounting a theory that David Hockey had shared with him, that ignited a fire storm in the art world– and that burns (or at least smolders) to this day.
And he’s at it again…
A few months back—in the lee of the Rijksmuseum’s epic Vermeer show and Ren’s [Wechsler’s] controversial Atlantic magazine article (featured in our Issue #39) on Vermeer and Benjamin Binstock’s intriguing contention that eight of the thirty-four paintings conventionally attributed to the Delft master were in fact by his daughter Maria—the eminent curator Helen Molesworth invited Ren and Claudia Swan (the historian behind Rarities of These Lands and other classics on the Dutch Golden Age) to engage in a conversation evaluating both that show and Binstock’s thesis for an episode of her ongoing Dialogues podcast, out of the David Zwirner Gallery. And indeed, that half-hour episode dropped yesterday—and we thought you might enjoy hearing it here. Spoiler alert: Two of the top people in the field seem decidedly open to Binstock’s theory…
Fascinating: “Vermeer’s Daughter?”
* Robert Bresson
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As we argue over attribution, we might send grateful birthday greetings to Leon Battista Alberti; he was born on this date in 1404. The archetypical Renaissance humanist polymath, Alberti was an author, artist, architect, poet, priest, linguist, philosopher, cartographer, and cryptographer. Indeed, with Johannes Trithemius, he is considered the father of cryptography. And he collaborated with Toscanelli on the maps used by Columbus on his first voyage.
But he is surely best remembered as the man who “wrote the book” on perspective: he authored of the first general treatise– De Pictura (1434)– on the the laws of perspective, which built on and extended Brunelleschi’s work to describe the approach and technique that established the science of projective geometry… and fueled the progress of painting, sculpture, and architecture from the Greek- and Arabic-influenced formalism of the High Middle Ages to the more naturalistic (and Latinate) styles of Renaissance.
“Which painting in the National Gallery would I save if there was a fire? The one nearest the door of course.”*…
The remarkable tale of the Louvre’s successful efforts to protect its treasures from Nazi looting…
… With due respect to the Monuments Men (and unsung Monuments Women), before the Allies arrived to rescue many of Europe’s priceless works of art, French civil servants, students, and workmen did it themselves, saving most of the Louvre’s entire collection. The hero of the story, Jacques Jaujard, director of France’s National Museums, has gone down in history as “the man who saved the Louvre” — also the title of an award-winning French documentary (see trailer below). Mental Floss provides context for Jaujard’s heroism:
After Germany annexed Austria in March of 1938, Jaujard… lost whatever small hope he had that war might be avoided. He knew Britain’s policy of appeasement wasn’t going to keep the Nazi wolf from the door, and an invasion of France was sure to bring destruction of cultural treasures via bombings, looting, and wholesale theft. So, together with the Louvre’s curator of paintings René Huyghe, Jaujard crafted a secret plan to evacuate almost all of the Louvre’s art, which included 3600 paintings alone.
On the day Germany and the Soviet Union signed the Nonaggression Pact, August 25, 1939, Jaujard closed the Louvre for “repairs” for three days while staff, “students from the École du Louvre, and workers from the Grands Magazines du Louvre department store took paintings out of their frames… and moved statues and other objects from their displays with wooden crates.”
The statues included the three ton Winged Nike of Samothrace (see a photo of its move here), the Egyptian Old Kingdom Seated Scribe, and the Venus de Milo. All of these, like the other works of art, would be moved to chateaus in the countryside for safe keeping. On August 28, “hundreds of trucks organized into convoys carried 1000 crates of ancient and 268 crates of paintings and more” into the Loire Valley.
Included in that haul of treasures was the Mona Lisa, placed in a custom case, cushioned with velvet. Where other works received labels of yellow, green, and red dots according to their level of importance, the Mona Lisa was marked with three red dots — the only work to receive such high priority. It was transported by ambulance, gently strapped to a stretcher. After leaving the museum, the painting would be moved five times, “including to Loire Valley castles and a quiet abbey.” The Nazis would loot much of what was left in the Louvre, and force it to re-open in 1940 with most of its galleries starkly empty. But the Mona Lisa — at the top of Hitler’s list of artworks to expropriate — remained safe, as did many thousands more artworks Jaujard believed were the “heritage of all humanity”…
How France Hid the Mona Lisa & Other Louvre Masterpieces During World War II, from @openculture.
* George Bernard Shaw
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As we say thanks for safekeeping, we might send Romantic birthday greetings to a painter whose works were among those saved by the Louvre; he was born on this date in 1798. Breaking with the neoclassical tendencies of contemporaries (like his rival Ingres), Delacroix took his inspiration from Reubens and the Venetian Renaissance, emerging from the outset of his career as a leader of the French Romantic movement. Together with Ingres, Delacroix is considered one of the last old Masters of painting, and one of the few who was ever photographed (see below).
Also a fine lithographer, Delacroix illustrated various works of Shakespeare, Walter Scott, and Goethe.
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