[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"$6HhEhIPSe1":3},{"collection":4},{"page":5,"results_per_page":6,"results_size":6,"total_results_size":7,"total_pages":8,"next_page":9,"prev_page":10,"results":11,"version":3433,"license":3434},1,16,30,2,"https:\u002F\u002Fartexplorer-prod.cdn.prismic.io\u002Fapi\u002Fv2\u002Fdocuments\u002Fsearch?ref=aCb60BIAACEA00zN&q=%5B%5Bat%28document.type%2C+%22article%22%29%5D%5D&page=2&pageSize=16&graphQuery=%7B%0A++++++article+%7B%0A++++++++...articleFields%0A++++++++author+%7B%0A++++++++++...authorFields%0A++++++++%7D%0A++++++%7D%0A++++%7D&lang=en-gb",null,[12,431,676,841,1072,1340,1425,1539,1821,2068,2165,2291,2565,2859,3032,3170],{"id":13,"uid":14,"url":10,"type":15,"href":16,"tags":17,"first_publication_date":19,"last_publication_date":20,"slugs":21,"linked_documents":23,"lang":24,"alternate_languages":25,"data":26},"ZqOmgxAAACEAyGP7","hidden-gem-at-the-nationalmusee-um-feschmaart","article","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",[18],"Gustav Klimt","2024-07-26T13:48:30+0000","2024-07-31T15:55:16+0000",[22],"a-mysterious-portrait",[],"en-gb",[],{"title":27,"subtitle":28,"author":29,"copyright_cover":10,"cover_desktop":82,"cover_mobile":89,"thumbnail":95,"published_at":98,"slices":99,"meta_title":323,"meta_description":324,"og_image":325,"slices2":332},"Klimt, Matsch, and a Ghanaian Prince in turn-of-the-century Vienna","Twin portraits illuminate the friendship and break-up between the painters",{"id":30,"type":31,"tags":32,"lang":24,"slug":33,"first_publication_date":34,"last_publication_date":35,"uid":33,"data":36,"link_type":79,"key":80,"isBroken":81},"ZBBz5xAAAKdKzSXy","author",[],"lea-nedwed","2023-03-14T13:17:30+0000","2024-07-10T17:09:39+0000",{"description":37,"short_description":54,"job":58,"thumbnail":59,"cover":69,"uid":33,"title":63,"og_image":72,"meta_description":75,"meta_title":63},[38,43,46,49,51],{"type":39,"text":40,"spans":41,"direction":42},"paragraph","Léa is a managing editor at ArtExplored, where she produces in-depth art market reports and educational content. ",[],"ltr",{"type":39,"text":44,"spans":45,"direction":42}," ",[],{"type":39,"text":47,"spans":48,"direction":42},"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":39,"text":44,"spans":50,"direction":42},[],{"type":39,"text":52,"spans":53,"direction":42},"She holds degrees in Law from the Sorbonne, Art Appraisal and Trade from IESA, and an MBA in the Business of Art from ICART.",[],[55],{"type":39,"text":56,"spans":57,"direction":42},"Lea is a managing editor and content producer at ArtExplored. ",[],"Managing Editor",{"dimensions":60,"alt":63,"copyright":10,"url":64,"id":65,"edit":66},{"width":61,"height":62},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":67,"y":67,"zoom":5,"background":68},0,"transparent",{"dimensions":70,"alt":63,"copyright":10,"url":64,"id":65,"edit":71},{"width":61,"height":62},{"x":67,"y":67,"zoom":5,"background":68},{"dimensions":73,"alt":10,"copyright":10,"url":64,"id":65,"edit":74},{"width":61,"height":62},{"x":67,"y":67,"zoom":5,"background":68},[76],{"type":39,"text":77,"spans":78},"Léa Nedwed is a senior writer at ArtExplored",[],"Document","8192c08d-3de1-4e17-a661-dc6430b14a5c",false,{"dimensions":83,"alt":10,"copyright":10,"url":86,"id":87,"edit":88},{"width":84,"height":85},16000,9000,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZqOfcB5LeNNTxhmF_Landscape_16.9_Web_Header_HiddenGems_V6_.jpg?auto=format,compress","ZqOfcB5LeNNTxhmF",{"x":67,"y":67,"zoom":5,"background":68},{"dimensions":90,"alt":10,"copyright":10,"url":92,"id":93,"edit":94},{"width":91,"height":84},10667,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZqOgAB5LeNNTxhmY_Portrait_3.2_Web_Thumbnail_HiddenGems4.jpg?auto=format,compress","ZqOgAB5LeNNTxhmY",{"x":67,"y":67,"zoom":5,"background":68},{"dimensions":96,"alt":10,"copyright":10,"url":92,"id":93,"edit":97},{"width":91,"height":84},{"x":67,"y":67,"zoom":5,"background":68},"2024-07-29",[100,117,133,151,168,193,202,214,236,245,262,274,301,310],{"variation":101,"version":102,"items":103,"primary":104,"id":115,"slice_type":116,"slice_label":10},"default-slice","sktwi1xtmkfgx8626",[],{"title":105,"content":106},[],[107,110,112],{"type":39,"text":108,"spans":109,"direction":42},"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":39,"text":44,"spans":111,"direction":42},[],{"type":39,"text":113,"spans":114,"direction":42},"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","text",{"variation":118,"version":102,"items":119,"primary":120,"id":131,"slice_type":132,"slice_label":10},"centered-slice",[],{"image1":121,"label":10,"copyright":127},{"dimensions":122,"alt":10,"copyright":10,"url":124,"id":125,"edit":126},{"width":123,"height":123},2160,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZqOhCx5LeNNTxhnR_FranzvonMatsch-Square.jpg?auto=format,compress","ZqOhCx5LeNNTxhnR",{"x":67,"y":67,"zoom":5,"background":68},[128],{"type":39,"text":129,"spans":130,"direction":42},"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$581a16cf-b400-443f-95ef-696551be2e71","image",{"variation":101,"version":102,"items":134,"primary":135,"id":150,"slice_type":116,"slice_label":10},[],{"title":136,"content":141},[137],{"type":138,"text":139,"spans":140,"direction":42},"heading1","A mysterious portrait",[],[142,145,147],{"type":39,"text":143,"spans":144,"direction":42},"The newly acquired painting is presented in its (presumably) original, beautifully crafted bamboo frame. From the corners of the frame protrude four tubers–the roots of the bamboo–enhancing its exotic allure. Its quasi-photographic quality and frontal, naturalistic depiction of a black man in bust form make it challenging to date at first glance. The painting appears academic with its polished finish and the model’s classical pose, yet it diverges from tradition through its unconventional choice of subject.",[],{"type":39,"text":44,"spans":146,"direction":42},[],{"type":39,"text":148,"spans":149,"direction":42},"A black figure wears a piece of cloth in a toga-like fashion, draped over his left shoulder and leaving the right one bare. Set against a simple clay-green background, he lacks contextual markers. The museum acquired it at a 2021 Sotheby's auction, simply as “Portrait of an African Man”. Its author, Austrian painter Franz von Matsch (1861-1942), was active in Vienna from the late 19th to the mid-20th century. Reflecting an era when Black representation in European art expanded alongside migration from Africa and Haiti, such works broke away from prevailing stereotypes. However, the context in which this portrait was created unveils more complex realities. While interpreting the artist’s perspective solely through the painting proves challenging, it nevertheless offers profound insights into anthropology and social relations in modern Europe.",[],"text$b4cb4442-fba2-4a3d-9ed3-7f3a2a3ca55a",{"variation":101,"version":102,"items":152,"primary":153,"id":167,"slice_type":116,"slice_label":10},[],{"title":154,"content":158},[155],{"type":138,"text":156,"spans":157,"direction":42},"Matsch and Klimt: partners in art",[],[159,162,164],{"type":39,"text":160,"spans":161,"direction":42},"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":39,"text":44,"spans":163,"direction":42},[],{"type":39,"text":165,"spans":166,"direction":42},"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$5f3b82d7-a73d-4039-9852-2a47bf8110de",{"variation":118,"version":102,"items":169,"primary":180,"id":192,"slice_type":132,"slice_label":10},[170],{"image":171,"title":178,"subtitle":179},{"dimensions":172,"alt":10,"copyright":10,"url":175,"id":176,"edit":177},{"width":173,"height":174},1920,2413,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZqOjhB5LeNNTxhoK_Klimtpainting2.png?auto=format,compress","ZqOjhB5LeNNTxhoK",{"x":67,"y":67,"zoom":5,"background":68},"Gustav Klimt (1862-1918)","Portrait of William Nii Nortey Dowuona, c. 1897",{"image1":181,"label":10,"copyright":188},{"dimensions":182,"alt":10,"copyright":10,"url":185,"id":186,"edit":187},{"width":183,"height":184},3840,2560,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZqOqcR5LeNNTxhrQ_GustavKlimtlandscape3_2.jpg?auto=format,compress","ZqOqcR5LeNNTxhrQ",{"x":67,"y":67,"zoom":5,"background":68},[189],{"type":39,"text":190,"spans":191,"direction":42},"Gustav Klimt (1862-1918), Portrait of William Nii Nortey Dowuona, c. 1897\n\n(Click to view the full image)",[],"image$d8c5583d-c0ef-4f3e-a78c-a493b58b6b37",{"variation":101,"version":102,"items":194,"primary":195,"id":201,"slice_type":116,"slice_label":10},[],{"title":196,"content":197},[],[198],{"type":39,"text":199,"spans":200,"direction":42},"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":101,"version":102,"items":203,"primary":204,"id":213,"slice_type":116,"slice_label":10},[],{"title":205,"content":209},[206],{"type":138,"text":207,"spans":208,"direction":42},"Investigating identity",[],[210],{"type":39,"text":211,"spans":212,"direction":42},"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$4a43e929-6358-422a-bc1e-5fa06cd95e72",{"variation":101,"version":102,"items":215,"primary":225,"id":235,"slice_type":132,"slice_label":10},[216],{"image":217,"title":224,"subtitle":10},{"dimensions":218,"alt":10,"copyright":10,"url":221,"id":222,"edit":223},{"width":219,"height":220},2634,1517,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZqOk8h5LeNNTxhpX_printWienerTiergarten1897_SMK%5B31%5D2.png?auto=format,compress","ZqOk8h5LeNNTxhpX",{"x":67,"y":67,"zoom":5,"background":68},"A group of Ga people from Ghana at Vienna’s Tiergarten circa 1897.",{"image1":226,"label":10,"copyright":231},{"dimensions":227,"alt":10,"copyright":10,"url":228,"id":229,"edit":230},{"width":183,"height":184},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZqOk6h5LeNNTxhpW_GapeopleLandscape3_2.jpg?auto=format,compress","ZqOk6h5LeNNTxhpW",{"x":67,"y":67,"zoom":5,"background":68},[232],{"type":39,"text":233,"spans":234,"direction":42},"A group of Ga people from Ghana at Vienna’s Tiergarten circa 1897.\n\n(Click to view the full image.)",[],"image$f6b14082-d44d-4c8d-8b4b-a272c5c292e3",{"variation":101,"version":102,"items":237,"primary":238,"id":244,"slice_type":116,"slice_label":10},[],{"title":239,"content":240},[],[241],{"type":39,"text":242,"spans":243,"direction":42},"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":101,"version":102,"items":246,"primary":247,"id":261,"slice_type":116,"slice_label":10},[],{"title":248,"content":252},[249],{"type":138,"text":250,"spans":251,"direction":42},"Breaking with artistic conventions",[],[253,256,258],{"type":39,"text":254,"spans":255,"direction":42},"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":39,"text":44,"spans":257,"direction":42},[],{"type":39,"text":259,"spans":260,"direction":42},"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":101,"version":102,"items":263,"primary":264,"id":273,"slice_type":116,"slice_label":10},[],{"title":265,"content":269},[266],{"type":138,"text":267,"spans":268,"direction":42},"The Ghanaian Prince awaits his twin portrait",[],[270],{"type":39,"text":271,"spans":272,"direction":42},"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$49b51a06-a118-446d-962b-15e468711c46",{"variation":275,"version":102,"items":276,"primary":289,"id":300,"slice_type":132,"slice_label":10},"double-slice",[277,282],{"image":278,"title":281,"subtitle":10},{"dimensions":279,"alt":10,"copyright":10,"url":92,"id":93,"edit":280},{"width":91,"height":84},{"x":67,"y":67,"zoom":5,"background":68},"Matsch",{"image":283,"title":288,"subtitle":10},{"dimensions":284,"alt":10,"copyright":10,"url":285,"id":286,"edit":287},{"width":184,"height":183},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZqOjRB5LeNNTxhoC_GustavKlimt-3_2portrait.jpg?auto=format,compress","ZqOjRB5LeNNTxhoC",{"x":67,"y":67,"zoom":5,"background":68},"Klimt",{"image1":290,"image2":293,"label":10,"copyright":296},{"dimensions":291,"alt":10,"copyright":10,"url":92,"id":93,"edit":292},{"width":91,"height":84},{"x":67,"y":67,"zoom":5,"background":68},{"dimensions":294,"alt":10,"copyright":10,"url":285,"id":286,"edit":295},{"width":184,"height":183},{"x":67,"y":67,"zoom":5,"background":68},[297],{"type":39,"text":298,"spans":299,"direction":42},"Franz von Matsch’s and Gustav Klimt’s portraits of William Nii Nortey Dowuona circa 1897 (Matsch: left \u002F Klimt: right).\n\n(Click to view the full image)",[],"image$bd4ac8de-e7ea-4a73-b1b5-4ca49000c0b3",{"variation":101,"version":102,"items":302,"primary":303,"id":309,"slice_type":116,"slice_label":10},[],{"title":304,"content":305},[],[306],{"type":39,"text":307,"spans":308,"direction":42},"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":101,"version":102,"items":311,"primary":312,"id":322,"slice_type":132,"slice_label":10},[],{"image1":313,"label":10,"copyright":318},{"dimensions":314,"alt":10,"copyright":10,"url":315,"id":316,"edit":317},{"width":183,"height":184},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZqOmbx5LeNNTxhpv_Nationalmus%C3%A9eumF%C3%ABschmaart-landscape3_2.jpg?auto=format,compress","ZqOmbx5LeNNTxhpv",{"x":67,"y":67,"zoom":5,"background":68},[319],{"type":39,"text":320,"spans":321,"direction":42},"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 Matsch.",{"dimensions":326,"alt":10,"copyright":10,"url":329,"id":330,"edit":331},{"width":327,"height":328},2400,1200,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZqOnHB5LeNNTxhp-_HiddenGemattheNationalmus%C3%A9eumF%C3%ABschmaart-ImageOpengraph.jpg?auto=format,compress","ZqOnHB5LeNNTxhp-",{"x":67,"y":67,"zoom":5,"background":68},[333,417,424],{"variation":101,"version":102,"items":334,"primary":412,"id":415,"slice_type":416,"slice_label":10},[335,344,354,365,375,384,394,402],{"post":336},{"id":337,"type":15,"tags":338,"lang":24,"slug":340,"first_publication_date":341,"last_publication_date":342,"uid":340,"link_type":79,"key":343,"isBroken":81},"ZoZklBMAACIAPKk1",[339],"Francis 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The late 1980s and early 1990s marked a pivotal period for Richter, as he developed his signature squeegee technique and rose to international acclaim.",[470,480],{"start":471,"end":472,"type":473,"data":474},308,337,"hyperlink",{"id":475,"type":476,"tags":477,"lang":24,"slug":478,"first_publication_date":479,"last_publication_date":479,"link_type":79,"isBroken":81},"ZmxKyxIAACEAJeVC","definition",[],"signature-squeegee-technique","2024-06-14T13:51:09+0000",{"start":471,"end":481,"type":482},336,"strong",{"type":39,"text":484,"spans":485,"direction":42},"Consequently, paintings created between 1985 and 1994 are highly coveted in Richter's market, generating an impressive $2.1 billion from 295 lots sold between 2004 and 2023. 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All right reserved, DACS 2024 \u002F Photo : Tom Lucas \u002F MNAHA",{"dimensions":717,"alt":10,"copyright":10,"url":718,"id":719,"edit":720},{"width":183,"height":123},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZoZjCB5LeNNTwyJp_Slide16_9-5-.jpg?auto=format,compress","ZoZjCB5LeNNTwyJp",{"x":67,"y":67,"zoom":5,"background":68},{"dimensions":722,"alt":10,"copyright":10,"url":723,"id":724,"edit":725},{"width":123,"height":183},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZoamfR5LeNNTwy5c_9_16-2-.jpg?auto=format,compress","ZoamfR5LeNNTwy5c",{"x":67,"y":67,"zoom":5,"background":68},{"dimensions":727,"alt":10,"copyright":10,"url":723,"id":724,"edit":728},{"width":123,"height":183},{"x":67,"y":67,"zoom":5,"background":68},"2024-07-04",[731,751,774,796,814],{"variation":101,"version":102,"items":732,"primary":733,"id":750,"slice_type":116,"slice_label":10},[],{"title":734,"content":735},[],[736,739,744,747],{"type":39,"text":737,"spans":738,"direction":42},"“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":39,"text":740,"spans":741,"direction":42},"Art connections reimagined",[742],{"start":67,"end":743,"type":522},26,{"type":39,"text":745,"spans":746,"direction":42},"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":39,"text":748,"spans":749,"direction":42},"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$77aa420a-ca9c-439c-bfee-4c8e3fd8e774",{"variation":275,"version":102,"items":752,"primary":753,"id":773,"slice_type":132,"slice_label":10},[],{"image1":754,"image2":761,"label":768,"copyright":769},{"dimensions":755,"alt":10,"copyright":10,"url":758,"id":759,"edit":760},{"width":756,"height":757},4423,6463,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZoZ6XR5LeNNTwyb6_2017-246-002a--.jpg?auto=format,compress","ZoZ6XR5LeNNTwyb6",{"x":67,"y":67,"zoom":5,"background":68},{"dimensions":762,"alt":10,"copyright":10,"url":765,"id":766,"edit":767},{"width":763,"height":764},4380,6324,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZoZ6Sh5LeNNTwyb4_2017-246-001a--.jpg?auto=format,compress","ZoZ6Sh5LeNNTwyb4",{"x":67,"y":67,"zoom":5,"background":68},"From left to right",[770],{"type":39,"text":771,"spans":772,"direction":42},"Aida Silvestri (b. 1978), Kidan. Eritrea to London on foot, by car, lorry, boat train and aeroplane, 2017 © Collection MNAHA, Photo: Tom Lucas; Aida Silvestri (b. 1978), Biniam. Eritrea to London by car, boat, lorry, train and aeroplane, 2017 © Collection MNAHA, Photo: Tom Lucas",[],"image$af33763b-bb06-4f72-8234-5c3a44222c01",{"variation":101,"version":102,"items":775,"primary":776,"id":795,"slice_type":116,"slice_label":10},[],{"title":777,"content":778},[],[779,784,787,792],{"type":39,"text":780,"spans":781,"direction":42},"A Francis Bacon in resonance",[782],{"start":67,"end":783,"type":522},28,{"type":39,"text":785,"spans":786,"direction":42},"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":39,"text":788,"spans":789,"direction":42},"Portraits in the post-war era",[790],{"start":67,"end":791,"type":522},29,{"type":39,"text":793,"spans":794,"direction":42},"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":118,"version":102,"items":797,"primary":798,"id":813,"slice_type":132,"slice_label":10},[],{"image1":799,"label":10,"copyright":809},{"dimensions":800,"alt":10,"copyright":10,"url":803,"id":804,"edit":805},{"width":801,"height":802},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":806,"y":807,"zoom":808,"background":68},1519,315,1.21,[810],{"type":39,"text":811,"spans":812,"direction":42},"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":101,"version":102,"items":815,"primary":816,"id":832,"slice_type":116,"slice_label":10},[],{"title":817,"content":818},[],[819,824],{"type":39,"text":820,"spans":821,"direction":42},"An artwork loaned by the public",[822],{"start":67,"end":823,"type":522},31,{"type":39,"text":825,"spans":826,"direction":42},"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.",[827],{"start":828,"end":829,"type":473,"data":830},224,240,{"link_type":579,"url":831,"target":581},"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":836,"alt":10,"copyright":10,"url":837,"id":838,"edit":839},{"width":327,"height":328},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZpTyAB5LeNNTxJwp_FrancisBaconnationalmus%C3%A9eImageOpengraph.jpg?auto=format,compress","ZpTyAB5LeNNTxJwp",{"x":67,"y":67,"zoom":5,"background":68},[],{"id":842,"uid":843,"url":10,"type":15,"href":844,"tags":845,"first_publication_date":849,"last_publication_date":850,"slugs":851,"linked_documents":853,"lang":24,"alternate_languages":854,"data":855},"ZurRuhAAACEAByVL","are-rothko-rooms-facing-extinction","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",[846,847,848],"Rothko","Mark Rothko","Rothko Rooms","2024-09-18T13:51:01+0000","2024-10-16T14:19:35+0000",[852],"a-natural-disaster-strikes-the-rothko-chapel",[],[],{"title":856,"subtitle":857,"author":858,"copyright_cover":10,"cover_desktop":888,"cover_mobile":894,"thumbnail":899,"published_at":902,"slices":903,"meta_title":1043,"meta_description":1044,"og_image":1045,"slices2":1050},"Are Rothko Rooms facing extinction?","Rare ensembles by the American painter are especially prone to damage",{"id":30,"type":31,"tags":859,"lang":24,"slug":33,"first_publication_date":34,"last_publication_date":35,"uid":33,"data":860,"link_type":79,"key":887,"isBroken":81},[],{"description":861,"short_description":872,"job":58,"thumbnail":875,"cover":878,"uid":33,"title":63,"og_image":881,"meta_description":884,"meta_title":63},[862,864,866,868,870],{"type":39,"text":40,"spans":863,"direction":42},[],{"type":39,"text":44,"spans":865,"direction":42},[],{"type":39,"text":47,"spans":867,"direction":42},[],{"type":39,"text":44,"spans":869,"direction":42},[],{"type":39,"text":52,"spans":871,"direction":42},[],[873],{"type":39,"text":56,"spans":874,"direction":42},[],{"dimensions":876,"alt":63,"copyright":10,"url":64,"id":65,"edit":877},{"width":61,"height":62},{"x":67,"y":67,"zoom":5,"background":68},{"dimensions":879,"alt":63,"copyright":10,"url":64,"id":65,"edit":880},{"width":61,"height":62},{"x":67,"y":67,"zoom":5,"background":68},{"dimensions":882,"alt":10,"copyright":10,"url":64,"id":65,"edit":883},{"width":61,"height":62},{"x":67,"y":67,"zoom":5,"background":68},[885],{"type":39,"text":77,"spans":886},[],"e42990a3-e1fb-403f-8113-81bf5c084df5",{"dimensions":889,"alt":890,"copyright":10,"url":891,"id":892,"edit":893},{"width":84,"height":85},"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":67,"y":67,"zoom":5,"background":68},{"dimensions":895,"alt":10,"copyright":10,"url":896,"id":897,"edit":898},{"width":91,"height":84},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZurii7VsGrYSvjb9_Thumbnail_Portrait_3.2_Rothko_V4.jpg?auto=format,compress","Zurii7VsGrYSvjb9",{"x":67,"y":67,"zoom":5,"background":68},{"dimensions":900,"alt":10,"copyright":10,"url":896,"id":897,"edit":901},{"width":91,"height":84},{"x":67,"y":67,"zoom":5,"background":68},"2024-10-05",[904,916,928,943,955,986,1001,1019],{"variation":101,"version":102,"items":905,"primary":906,"id":915,"slice_type":116,"slice_label":10},[],{"title":907,"content":908},[],[909,912],{"type":39,"text":910,"spans":911,"direction":42},"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":39,"text":913,"spans":914,"direction":42},"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$30b164fa-2695-45f9-bb94-fad49df69004",{"variation":101,"version":102,"items":917,"primary":918,"id":927,"slice_type":116,"slice_label":10},[],{"title":919,"content":923},[920],{"type":138,"text":921,"spans":922,"direction":42},"A natural disaster strikes the Rothko Chapel",[],[924],{"type":39,"text":925,"spans":926,"direction":42},"This summer, the Rothko Chapel in Houston, Texas, was critically impacted by a severe storm, which caused water to leak through the roof and damage three of the fourteen paintings housed within. Ironically, the skylight—designed to provide ideal lighting in keeping with Rothko’s vision—became the very entry point for the water that compromised the works it was intended to illuminate. ",[],"text$b918ede1-594c-4be7-a108-8053e6571783",{"variation":118,"version":102,"items":929,"primary":937,"id":942,"slice_type":132,"slice_label":10},[930],{"image":931,"title":936,"subtitle":10},{"dimensions":932,"alt":10,"copyright":10,"url":933,"id":934,"edit":935},{"width":84,"height":91},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZurQ7rVsGrYSvimS_Visuals_Landscape_3.2_Rothko_.jpg?auto=format,compress","ZurQ7rVsGrYSvimS",{"x":67,"y":67,"zoom":5,"background":68},"Interior of the Rothko Chapel, Houston (Texas) © Sophie Whaley",{"image1":938,"label":936,"copyright":941},{"dimensions":939,"alt":10,"copyright":10,"url":933,"id":934,"edit":940},{"width":84,"height":91},{"x":67,"y":67,"zoom":5,"background":68},[],"image$c974a3ca-921e-4225-8516-3bd5d9b96291",{"variation":101,"version":102,"items":944,"primary":945,"id":954,"slice_type":116,"slice_label":10},[],{"title":946,"content":947},[],[948,951],{"type":39,"text":949,"spans":950,"direction":42},"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":39,"text":952,"spans":953,"direction":42},"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":101,"version":102,"items":956,"primary":957,"id":985,"slice_type":116,"slice_label":10},[],{"title":958,"content":962},[959],{"type":138,"text":960,"spans":961,"direction":42},"Water incident previously damaged Menil Rothko",[],[963,976],{"type":39,"text":964,"spans":965,"direction":42},"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.  ",[966,971],{"start":967,"end":968,"type":473,"data":969},46,87,{"link_type":579,"url":970,"target":581},"https:\u002F\u002Fwww.menil.org\u002Fcollection\u002Fobjects\u002F7811-untitled",{"start":972,"end":973,"type":473,"data":974},567,659,{"link_type":579,"url":975,"target":581},"https:\u002F\u002Fwww.culturalheritage.org\u002Fdocs\u002Fdefault-source\u002Fpublications\u002Fperiodicals\u002Fannual-meeting\u002F2022-program-and-abstract-book.pdf?sfvrsn=4f021720_16",{"type":39,"text":977,"spans":978,"direction":42},"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.  ",[979],{"start":980,"end":981,"type":473,"data":982},164,215,{"link_type":579,"url":983,"target":984},"https:\u002F\u002Farchive.is\u002Fo\u002FyKci6\u002Fhttps:\u002Fsr.ithaka.org\u002Fpublications\u002Fhow-have-art-museums-been-impacted-by-climate-change\u002F","_blank","text$49ad930f-dc02-4270-9675-88e0e88fd5c7",{"variation":118,"version":102,"items":987,"primary":995,"id":1000,"slice_type":132,"slice_label":10},[988],{"image":989,"title":994,"subtitle":10},{"dimensions":990,"alt":10,"copyright":10,"url":991,"id":992,"edit":993},{"width":84,"height":91},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZurUo7VsGrYSvi0K_Visuals_Landscape_3.2_Rothko_2.jpg?auto=format,compress","ZurUo7VsGrYSvi0K",{"x":67,"y":67,"zoom":5,"background":68},"Rothko Room at Japan’s Kawamura Memorial DIC Museum of Art © Sophie Whaley",{"image1":996,"label":994,"copyright":999},{"dimensions":997,"alt":10,"copyright":10,"url":991,"id":992,"edit":998},{"width":84,"height":91},{"x":67,"y":67,"zoom":5,"background":68},[],"image$d5d726cd-5921-47cd-8463-a1796e7e5de2",{"variation":101,"version":102,"items":1002,"primary":1003,"id":1018,"slice_type":116,"slice_label":10},[],{"title":1004,"content":1008},[1005],{"type":138,"text":1006,"spans":1007,"direction":42},"Uncertain fate for Japan's Rothko Room",[],[1009],{"type":39,"text":1010,"spans":1011,"direction":42},"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. ",[1012,1015],{"start":1013,"end":1014,"type":522},234,248,{"start":1016,"end":1017,"type":522},538,553,"text$24c83861-a478-4a64-bf16-d97804570695",{"variation":101,"version":102,"items":1020,"primary":1021,"id":1042,"slice_type":116,"slice_label":10},[],{"title":1022,"content":1026},[1023],{"type":138,"text":1024,"spans":1025,"direction":42},"From vandalism to digital revival: efforts in the UK and the US ",[],[1027,1030,1039],{"type":39,"text":1028,"spans":1029,"direction":42},"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":39,"text":1031,"spans":1032,"direction":42},"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.  ",[1033,1036],{"start":1034,"end":1035,"type":522},154,168,{"start":1037,"end":1038,"type":522},245,261,{"type":39,"text":1040,"spans":1041,"direction":42},"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. 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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":39,"text":1141,"spans":1142,"direction":42}," 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":39,"text":1144,"spans":1145,"direction":42}," 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.  ",[1146],{"start":1147,"end":1148,"type":522},221,222,{"type":39,"text":1150,"spans":1151,"direction":42}," 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":39,"text":1153,"spans":1154,"direction":42},"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":39,"text":1156,"spans":1157,"direction":42},"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":39,"text":1159,"spans":1160,"direction":42},"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. ",[1161,1164,1167,1170],{"start":1162,"end":1163,"type":522},117,124,{"start":1165,"end":1166,"type":522},366,375,{"start":1168,"end":1169,"type":522},417,424,{"start":1171,"end":1172,"type":522},597,611,"text$5d4db630-15e5-4f2a-ad40-e2d4a0e2bdb1",{"variation":118,"version":102,"items":1175,"primary":1184,"id":1189,"slice_type":132,"slice_label":10},[1176],{"image":1177,"title":10,"subtitle":10},{"dimensions":1178,"alt":10,"copyright":10,"url":1181,"id":1182,"edit":1183},{"width":1179,"height":1180},1157,771,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZ8sQUBsAHJWomPGS_3_2-1.jpg?auto=format,compress","Z8sQUBsAHJWomPGS",{"x":67,"y":67,"zoom":5,"background":68},{"image1":1185,"label":10,"copyright":1188},{"dimensions":1186,"alt":10,"copyright":10,"url":1181,"id":1182,"edit":1187},{"width":1179,"height":1180},{"x":67,"y":67,"zoom":5,"background":68},[],"image$2403c4d2-29b0-4191-a331-06df34822581",{"variation":101,"version":102,"items":1191,"primary":1192,"id":1216,"slice_type":116,"slice_label":10},[],{"title":1193,"content":1194},[],[1195,1198],{"type":39,"text":1196,"spans":1197,"direction":42},"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":39,"text":1199,"spans":1200,"direction":42},"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). ",[1201,1204,1207,1210,1213],{"start":1202,"end":1203,"type":522},174,177,{"start":1205,"end":1206,"type":522},246,255,{"start":1208,"end":1209,"type":522},393,398,{"start":1211,"end":1212,"type":522},575,584,{"start":1214,"end":1215,"type":522},615,619,"text$267b9a24-f04e-4d3e-a723-16059b1b0b53",{"variation":118,"version":102,"items":1218,"primary":1225,"id":1230,"slice_type":132,"slice_label":10},[1219],{"image":1220,"title":10,"subtitle":10},{"dimensions":1221,"alt":10,"copyright":10,"url":1222,"id":1223,"edit":1224},{"width":1179,"height":1180},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZ8sQURsAHJWomPGT_3_2-2.jpg?auto=format,compress","Z8sQURsAHJWomPGT",{"x":67,"y":67,"zoom":5,"background":68},{"image1":1226,"label":10,"copyright":1229},{"dimensions":1227,"alt":10,"copyright":10,"url":1222,"id":1223,"edit":1228},{"width":1179,"height":1180},{"x":67,"y":67,"zoom":5,"background":68},[],"image$39ce1e84-2bbd-45e4-acfd-d572d0591631",{"variation":118,"version":102,"items":1232,"primary":1239,"id":1244,"slice_type":132,"slice_label":10},[1233],{"image":1234,"title":10,"subtitle":10},{"dimensions":1235,"alt":10,"copyright":10,"url":1236,"id":1237,"edit":1238},{"width":1179,"height":1180},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZ8sQTxsAHJWomPGR_3_2.jpg?auto=format,compress","Z8sQTxsAHJWomPGR",{"x":67,"y":67,"zoom":5,"background":68},{"image1":1240,"label":10,"copyright":1243},{"dimensions":1241,"alt":10,"copyright":10,"url":1236,"id":1237,"edit":1242},{"width":1179,"height":1180},{"x":67,"y":67,"zoom":5,"background":68},[],"image$b9e2dd4d-b61f-4d16-a6d8-c15d7944fbe6",{"variation":101,"version":102,"items":1246,"primary":1247,"id":1258,"slice_type":116,"slice_label":10},[],{"title":1248,"content":1249},[],[1250],{"type":39,"text":1251,"spans":1252,"direction":42},"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).",[1253,1256],{"start":1254,"end":1255,"type":522},47,55,{"start":1257,"end":1034,"type":522},151,"text$5d2a8f3b-6a5f-4f4d-8b38-a05de8d582ac",{"variation":118,"version":102,"items":1260,"primary":1269,"id":1274,"slice_type":132,"slice_label":10},[1261],{"image":1262,"title":10,"subtitle":10},{"dimensions":1263,"alt":10,"copyright":10,"url":1266,"id":1267,"edit":1268},{"width":1264,"height":1265},2268,1359,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZ8seFxsAHJWomPOa_GRAPH.jpg?auto=format,compress","Z8seFxsAHJWomPOa",{"x":67,"y":67,"zoom":5,"background":68},{"image1":1270,"label":10,"copyright":1273},{"dimensions":1271,"alt":10,"copyright":10,"url":1266,"id":1267,"edit":1272},{"width":1264,"height":1265},{"x":67,"y":67,"zoom":5,"background":68},[],"image$0eb724a7-a208-4d35-be87-67a241ea8d4c",{"variation":101,"version":102,"items":1276,"primary":1277,"id":1292,"slice_type":116,"slice_label":10},[],{"title":1278,"content":1279},[],[1280,1289],{"type":39,"text":1281,"spans":1282,"direction":42}," 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. 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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":39,"text":1376,"spans":1377,"direction":42},"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.",[1378],{"start":1379,"end":1380,"type":522},90,113,{"type":39,"text":1382,"spans":1383,"direction":42},"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":39,"text":1385,"spans":1386,"direction":42},"ArtExplored’s latest Focus Report delves into the market for these specific works that have impressive sell-through rate sale.",[],{"type":39,"text":1388,"spans":1389,"direction":42},"Click on the visual below to read the full 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market landscape of Monet's Water Lilies","A Focus Report on two decades of auctions",{"link_type":79},"Left image: Claude Monet, (detail of) Green Reflections on the Water-Lily Pond (1920-1926) (W 1979), Emil Bührle Collection, on long-term loan at Kunsthaus Zürich. \nRight image: Claude Monet in his studio at Giverny (detail)",{"dimensions":1437,"alt":10,"copyright":10,"url":1438,"id":1439,"edit":1440},{"width":183,"height":123},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZnv0aJbWFbowe3pe_Monet_Analysis_Cover-landscape-.jpg?auto=format,compress","Znv0aJbWFbowe3pe",{"x":67,"y":67,"zoom":5,"background":68},{"dimensions":1442,"alt":10,"copyright":10,"url":1443,"id":1444,"edit":1445},{"width":184,"height":183},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZnv3RpbWFbowe3qn_Monet_AnalysisArticle_Cover-mobile--portrait-x2.jpg?auto=format,compress","Znv3RpbWFbowe3qn",{"x":67,"y":67,"zoom":5,"background":68},{"dimensions":1447,"alt":10,"copyright":10,"url":1448,"id":1449,"edit":1450},{"width":123,"height":183},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZnv3ApbWFbowe3qf_Monet_AnalysisArticle_Thumbnail-portrait-9_16x2.jpg?auto=format,compress","Znv3ApbWFbowe3qf",{"x":67,"y":67,"zoom":5,"background":68},[1452],{"variation":101,"version":102,"items":1453,"primary":1455,"id":1478,"slice_type":116,"slice_label":10},[1454],{},{"title":1456,"content":1457},[],[1458,1461,1464,1469,1476],{"type":39,"text":1459,"spans":1460,"direction":42},"French painter Claude Monet (1840-1926) is a founding father of Impressionism. In the late 19th century, he began working on what would become his life’s work and most celebrated ensemble: the Water Lilies. ",[],{"type":39,"text":1462,"spans":1463,"direction":42},"Our new publication entitled \" Focus Report,\" provides an in-depth analysis of the auction market performance of all Water Lilies paintings sold between 2004 and 2023.",[],{"type":39,"text":1388,"spans":1465,"direction":42},[1466],{"start":791,"end":1392,"type":473,"data":1467},{"link_type":579,"url":1468,"target":581},"https:\u002F\u002Fwww.artexplored.com\u002FClaude-Monet-Artist-Report\u002F#\u002Fpage\u002F0",{"type":132,"url":1470,"alt":10,"copyright":10,"dimensions":1471,"id":1473,"edit":1474,"linkTo":1475},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZnv0ZpbWFbowe3pd_Monet_AnalysisFeatureImage.jpg?auto=format,compress",{"width":183,"height":1472},2161,"Znv0ZpbWFbowe3pd",{"x":67,"y":67,"zoom":5,"background":68},{"link_type":579,"url":1468,"target":984},{"type":39,"text":464,"spans":1477,"direction":42},[],"text$529b332e-b6f6-4e87-8a3a-7fdda808d05a","Art Market: Claude Monet Focus Report","French painter Claude Monet is a founding father of Impressionism. Our new publication entitled \"Claude Monet - Focus Report,\" provides an in-depth analysis of the auction market performance of the renowned painter from 2004 to 2023. It examines the top ten records in Monet's auction history, emphasizing the enduring value and appeal of his work. The report also showcases the high demand and appreciation for his masterpieces over the past two decades. We hope this overview provides you with insights into Monet's artistic legacy and and an understanding of his art 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Matisse","the-creative-twilight-of-matisses-career","2023-03-08T15:49:21+0000","2023-07-13T14:13:58+0000","henri-matisse-exhibition-in-philadelphia-highlights","3d0a4db3-5911-48ca-ac2c-58ea7c246483",{"post":1516},{"id":1517,"type":15,"tags":1518,"lang":24,"slug":1520,"first_publication_date":1521,"last_publication_date":1522,"uid":1523,"link_type":79,"key":1524,"isBroken":81},"ZAiOihAAACoAv4s1",[1519],"Renaissance","dutch-art-for-arts-sake-and-tudor-renaissance-majesty","2023-03-08T15:48:43+0000","2023-07-13T14:29:58+0000","the-dutch-and-tudors-renaissance","7d4c5de2-b0fd-4206-be4a-685040137792",{"slides_per_view":10,"max_slides_count":10,"tag":1526,"type":15,"title":1527,"paralax":81},{"link_type":79},"Articles","carousel$c83bc1bd-aa66-4eb2-8946-ff5fecfc9a8d",{"variation":101,"version":102,"items":1530,"primary":1535,"id":1538,"slice_type":416,"slice_label":10},[1531,1533],{"post":1532},{"link_type":79},{"post":1534},{"link_type":79},{"slides_per_view":10,"max_slides_count":10,"tag":1536,"type":421,"title":1537,"paralax":81},{"link_type":79},"Listen to Audiocasts","carousel$d5bbbc96-2ecf-4ae1-8eb3-a5ba196d0816",{"id":356,"uid":363,"url":10,"type":15,"href":1540,"tags":1541,"first_publication_date":361,"last_publication_date":362,"slugs":1542,"linked_documents":1543,"lang":24,"alternate_languages":1544,"data":1545},"https:\u002F\u002Fartexplorer-prod.cdn.prismic.io\u002Fapi\u002Fv2\u002Fdocuments\u002Fsearch?ref=aCb60BIAACEA00zN&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22ZRwVthAAACgAzNbe%22%29+%5D%5D",[358,359],[360],[],[],{"title":1546,"subtitle":1547,"author":1548,"copyright_cover":1578,"cover_desktop":1579,"cover_mobile":1585,"thumbnail":1590,"published_at":1593,"slices":1594,"meta_title":1546,"meta_description":1547,"og_image":1804,"slices2":1807},"How Caravaggio shocked the art world","The Italian painter's artistic expression disrupted Renaissance idealism.",{"id":30,"type":31,"tags":1549,"lang":24,"slug":33,"first_publication_date":34,"last_publication_date":35,"uid":33,"data":1550,"link_type":79,"key":1577,"isBroken":81},[],{"description":1551,"short_description":1562,"job":58,"thumbnail":1565,"cover":1568,"uid":33,"title":63,"og_image":1571,"meta_description":1574,"meta_title":63},[1552,1554,1556,1558,1560],{"type":39,"text":40,"spans":1553,"direction":42},[],{"type":39,"text":44,"spans":1555,"direction":42},[],{"type":39,"text":47,"spans":1557,"direction":42},[],{"type":39,"text":44,"spans":1559,"direction":42},[],{"type":39,"text":52,"spans":1561,"direction":42},[],[1563],{"type":39,"text":56,"spans":1564,"direction":42},[],{"dimensions":1566,"alt":63,"copyright":10,"url":64,"id":65,"edit":1567},{"width":61,"height":62},{"x":67,"y":67,"zoom":5,"background":68},{"dimensions":1569,"alt":63,"copyright":10,"url":64,"id":65,"edit":1570},{"width":61,"height":62},{"x":67,"y":67,"zoom":5,"background":68},{"dimensions":1572,"alt":10,"copyright":10,"url":64,"id":65,"edit":1573},{"width":61,"height":62},{"x":67,"y":67,"zoom":5,"background":68},[1575],{"type":39,"text":77,"spans":1576},[],"8fc66e6c-72c2-4c0a-91da-f8491b773e06","Caravaggio, The Calling of Saint Matthew, c. 1599–1600, Contarelli Chapel, San Luigi dei Francesi, Rome",{"dimensions":1580,"alt":1578,"copyright":10,"url":1581,"id":1582,"edit":1583},{"width":183,"height":123},"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":67,"y":67,"zoom":5,"background":1584},"#fff",{"dimensions":1586,"alt":1578,"copyright":10,"url":1587,"id":1588,"edit":1589},{"width":123,"height":183},"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":67,"y":67,"zoom":5,"background":1584},{"dimensions":1591,"alt":1578,"copyright":10,"url":1587,"id":1588,"edit":1592},{"width":123,"height":183},{"x":67,"y":67,"zoom":5,"background":1584},"2023-10-03",[1595,1618,1658,1671,1690,1713,1731,1752,1768,1789],{"variation":101,"version":102,"items":1596,"primary":1598,"id":1617,"slice_type":116,"slice_label":10},[1597],{},{"title":1599,"content":1602},[1600],{"type":138,"text":464,"spans":1601},[],[1603,1606,1609,1612,1615],{"type":39,"text":1604,"spans":1605},"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":39,"text":1607,"spans":1608},"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":39,"text":1610,"spans":1611},"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":39,"text":1613,"spans":1614},"The contrast was so striking that today, Caravaggio’s visceral, intensely realistic paintings are generally considered to mark the birth of modernism. ",[],{"type":39,"text":464,"spans":1616},[],"text$fb6c2b9f-265e-4d75-b1c6-791319302da5",{"variation":275,"version":102,"items":1619,"primary":1641,"id":1657,"slice_type":132,"slice_label":10},[1620,1630],{"image":1621,"title":1625,"subtitle":1629},{"dimensions":1622,"alt":1625,"copyright":10,"url":1626,"id":1627,"edit":1628},{"width":1623,"height":1624},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":67,"y":67,"zoom":5,"background":1584},"Raphael",{"image":1631,"title":1639,"subtitle":1640},{"dimensions":1632,"alt":1635,"copyright":10,"url":1636,"id":1637,"edit":1638},{"width":1633,"height":1634},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":67,"y":67,"zoom":5,"background":1584},"Caravaggio, Madonna and Child with St. Anne, 1605-06, Galleria Borghèse.","Caravaggio",{"image1":1642,"image2":1647,"label":1652,"copyright":1653},{"dimensions":1643,"alt":1625,"copyright":10,"url":1644,"id":1645,"edit":1646},{"width":184,"height":183},"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":67,"y":67,"zoom":5,"background":1584},{"dimensions":1648,"alt":1635,"copyright":10,"url":1649,"id":1650,"edit":1651},{"width":184,"height":183},"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":67,"y":67,"zoom":5,"background":1584},"Click to see full size image",[1654],{"type":39,"text":1655,"spans":1656},"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":101,"version":102,"items":1659,"primary":1661,"id":1670,"slice_type":116,"slice_label":10},[1660],{},{"title":1662,"content":1663},[],[1664,1667],{"type":39,"text":1665,"spans":1666,"direction":42},"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":39,"text":1668,"spans":1669,"direction":42},"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":101,"version":102,"items":1672,"primary":1674,"id":1689,"slice_type":116,"slice_label":10},[1673],{},{"title":1675,"content":1679},[1676],{"type":138,"text":1677,"spans":1678},"1. Excessive realism",[],[1680],{"type":39,"text":1681,"spans":1682},"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. ",[1683,1686],{"start":1684,"end":1685,"type":522},812,843,{"start":1687,"end":1688,"type":522},859,878,"text$021cc275-d9e7-4eb4-b6b8-d996d01650fc",{"variation":118,"version":102,"items":1691,"primary":1702,"id":1712,"slice_type":132,"slice_label":10},[1692],{"image":1693,"title":1701,"subtitle":1640},{"dimensions":1694,"alt":1697,"copyright":10,"url":1698,"id":1699,"edit":1700},{"width":1695,"height":1696},2172,3277,"Caravaggio, Death of the Virgin, 1601-06, Louvre Museum ","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F02aec4ac-9859-4ebb-88f6-15795aaba6f7_Death_of_the_Virgin-Caravaggio_%281606%29+7+%281%29.jpg?auto=compress,format","ZSP3sBAAACMAcrrM",{"x":67,"y":67,"zoom":5,"background":1584},"Caravaggio, Death of the Virgin, 1601-06, Louvre Museum",{"image1":1703,"label":1652,"copyright":1709},{"dimensions":1704,"alt":1697,"copyright":10,"url":1706,"id":1707,"edit":1708},{"width":1705,"height":1705},1080,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F3394ab72-49a3-4248-970d-4ca77c0d4d5c_Death_of_the_Virgin-Caravaggio+carr%C3%A9.jpg?auto=compress,format","ZSP3QxAAACIAcriu",{"x":67,"y":67,"zoom":5,"background":1584},[1710],{"type":39,"text":1701,"spans":1711},[],"image$e42529db-7fcb-4ee2-b10a-93fbaa3a638a",{"variation":101,"version":102,"items":1714,"primary":1716,"id":1730,"slice_type":116,"slice_label":10},[1715],{},{"title":1717,"content":1721},[1718],{"type":138,"text":1719,"spans":1720},"2. Intense emotions",[],[1722,1728],{"type":39,"text":1723,"spans":1724,"direction":42},"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.  ",[1725],{"start":1726,"end":1727,"type":522},546,573,{"type":39,"text":44,"spans":1729,"direction":42},[],"text$b312f4dc-ae01-4a02-98fd-be228e8cb12b",{"variation":101,"version":102,"items":1732,"primary":1742,"id":1751,"slice_type":132,"slice_label":10},[1733],{"image":1734,"title":1738,"subtitle":1640},{"dimensions":1735,"alt":1738,"copyright":10,"url":1739,"id":1740,"edit":1741},{"width":1736,"height":1737},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":67,"y":67,"zoom":5,"background":1584},{"image1":1743,"label":1652,"copyright":1748},{"dimensions":1744,"alt":1738,"copyright":10,"url":1745,"id":1746,"edit":1747},{"width":183,"height":123},"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":67,"y":67,"zoom":5,"background":1584},[1749],{"type":39,"text":1738,"spans":1750},[],"image$80860967-9263-461e-b86d-7e00a17ade0b",{"variation":101,"version":102,"items":1753,"primary":1755,"id":1767,"slice_type":116,"slice_label":10},[1754],{},{"title":1756,"content":1760},[1757],{"type":138,"text":1758,"spans":1759},"3. Dramatic staging",[],[1761],{"type":39,"text":1762,"spans":1763},"Caravaggio heightened the dramatic impact of his painted scenes thanks to various techniques, such as emphasising the contrast between light and shadow, known as tenebrism. The subjects appear artificially lit and set against a dark background, as if they are on a theatre stage. This draws the viewer’s eye to the action and the main elements of the story, and adds  narrative depth and emotional intensity. Extreme lighting can also be combined with unusual viewpoints and exaggerated motion, giving the paintings a greater sense of drama as illustrated by The Conversion on the Way to Damascus (c. 1600-01). The light that strikes the Roman centurion Saul as he falls from his horse evokes spiritual lighting and brings the main character into sharp focus. In comparison, the old groom is not illuminated to such an extent by the divine light, and he lurks in the shadows as a result. Painted from a low perspective, the scene is structured along strong diagonals that give the illusion of movement.  ",[1764],{"start":1765,"end":1766,"type":522},559,596,"text$ca4b7ffd-0a69-4a42-b022-5459468b088e",{"variation":118,"version":102,"items":1769,"primary":1779,"id":1788,"slice_type":132,"slice_label":10},[1770],{"image":1771,"title":1775,"subtitle":1640},{"dimensions":1772,"alt":1775,"copyright":10,"url":1776,"id":1777,"edit":1778},{"width":1773,"height":1774},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":67,"y":67,"zoom":5,"background":1584},{"image1":1780,"label":1652,"copyright":1785},{"dimensions":1781,"alt":1775,"copyright":10,"url":1782,"id":1783,"edit":1784},{"width":123,"height":123},"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":67,"y":67,"zoom":5,"background":1584},[1786],{"type":39,"text":1775,"spans":1787},[],"image$b586692f-d1cf-498b-91c0-8a97703e008f",{"variation":101,"version":102,"items":1790,"primary":1792,"id":1803,"slice_type":116,"slice_label":10},[1791],{},{"title":1793,"content":1794},[],[1795],{"type":39,"text":1796,"spans":1797,"direction":42},"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. The dramatic nature and proximity of his work gives it a cinematic feel, leading film director Martin Scorsese to say that Caravaggio “would have been a great film-maker.”",[1798],{"start":1799,"end":1800,"type":473,"data":1801},639,676,{"link_type":579,"url":1802,"target":984},"https:\u002F\u002Funframed.lacma.org\u002F2013\u002F01\u002F17\u002Fcaravaggio-pioneer-of-modern-cinematography","text$6df315f4-4cce-4ca3-b5b6-bdf826f6b794",{"dimensions":1805,"alt":1578,"copyright":10,"url":1581,"id":1582,"edit":1806},{"width":183,"height":123},{"x":67,"y":67,"zoom":5,"background":1584},[1808,1813],{"variation":101,"version":102,"items":1809,"primary":1810,"id":1812,"slice_type":416,"slice_label":10},[],{"slides_per_view":10,"max_slides_count":10,"tag":1811,"type":15,"title":414,"paralax":81},{"link_type":79},"carousel$5ce9c604-1c09-4c04-8abd-795bebc0fbd9",{"variation":101,"version":102,"items":1814,"primary":1817,"id":1820,"slice_type":416,"slice_label":10},[1815],{"post":1816},{"link_type":79},{"slides_per_view":10,"max_slides_count":10,"tag":1818,"type":421,"title":1819,"paralax":81},{"link_type":79},"Audiocasts","carousel$6debec33-b6c2-4298-aab4-060c0e780112",{"id":367,"uid":373,"url":10,"type":15,"href":1822,"tags":1823,"first_publication_date":371,"last_publication_date":372,"slugs":1824,"linked_documents":1825,"lang":24,"alternate_languages":1826,"data":1827},"https:\u002F\u002Fartexplorer-prod.cdn.prismic.io\u002Fapi\u002Fv2\u002Fdocuments\u002Fsearch?ref=aCb60BIAACEA00zN&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22ZoUo6RMAACAAOs_e%22%29+%5D%5D",[348,369],[370],[],[],{"title":1828,"subtitle":1829,"author":1830,"copyright_cover":1860,"cover_desktop":1861,"cover_mobile":1866,"thumbnail":1871,"published_at":10,"slices":1874,"meta_title":2032,"meta_description":2033,"og_image":2034,"slices2":2039},"Monet’s iconic series: from Haystacks to Water Lilies","Pioneering marketing concepts",{"id":30,"type":31,"tags":1831,"lang":24,"slug":33,"first_publication_date":34,"last_publication_date":35,"uid":33,"data":1832,"link_type":79,"key":1859,"isBroken":81},[],{"description":1833,"short_description":1844,"job":58,"thumbnail":1847,"cover":1850,"uid":33,"title":63,"og_image":1853,"meta_description":1856,"meta_title":63},[1834,1836,1838,1840,1842],{"type":39,"text":40,"spans":1835,"direction":42},[],{"type":39,"text":44,"spans":1837,"direction":42},[],{"type":39,"text":47,"spans":1839,"direction":42},[],{"type":39,"text":44,"spans":1841,"direction":42},[],{"type":39,"text":52,"spans":1843,"direction":42},[],[1845],{"type":39,"text":56,"spans":1846,"direction":42},[],{"dimensions":1848,"alt":63,"copyright":10,"url":64,"id":65,"edit":1849},{"width":61,"height":62},{"x":67,"y":67,"zoom":5,"background":68},{"dimensions":1851,"alt":63,"copyright":10,"url":64,"id":65,"edit":1852},{"width":61,"height":62},{"x":67,"y":67,"zoom":5,"background":68},{"dimensions":1854,"alt":10,"copyright":10,"url":64,"id":65,"edit":1855},{"width":61,"height":62},{"x":67,"y":67,"zoom":5,"background":68},[1857],{"type":39,"text":77,"spans":1858},[],"b10fe5bb-f5af-4775-badd-5587adb6ac54","From 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), 1920-1926.",{"dimensions":1862,"alt":10,"copyright":10,"url":1863,"id":1864,"edit":1865},{"width":183,"height":123},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZoUqDh5LeNNTwwDM_HeaderShortFormandAnalysisArticles31.jpg?auto=format%2Ccompress&rect=0%2C0%2C4294%2C2415&w=3840&h=2160","ZoUqDh5LeNNTwwDM",{"x":67,"y":67,"zoom":5,"background":68},{"dimensions":1867,"alt":10,"copyright":10,"url":1868,"id":1869,"edit":1870},{"width":123,"height":183},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZoew3B5LeNNTwz9O_Monet_AnalysisArticle_Thumbnail_V71.jpg?auto=format,compress","Zoew3B5LeNNTwz9O",{"x":67,"y":67,"zoom":5,"background":68},{"dimensions":1872,"alt":10,"copyright":10,"url":1868,"id":1869,"edit":1873},{"width":123,"height":183},{"x":67,"y":67,"zoom":5,"background":68},[1875,1887,1902,1919,1933,1949,1963,1972,1994,2011,2022],{"variation":101,"version":102,"items":1876,"primary":1877,"id":1886,"slice_type":116,"slice_label":10},[],{"title":1878,"content":1879},[],[1880,1883],{"type":39,"text":1881,"spans":1882,"direction":42},"French 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":39,"text":1884,"spans":1885,"direction":42},"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":118,"version":102,"items":1888,"primary":1889,"id":1901,"slice_type":132,"slice_label":10},[],{"image1":1890,"label":10,"copyright":1897},{"dimensions":1891,"alt":10,"copyright":10,"url":1894,"id":1895,"edit":1896},{"width":1892,"height":1893},3224,2530,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZoVRQR5LeNNTwway_Meules_-1890-91-_Claude_Monet_-W1273-1.jpg?auto=format,compress","ZoVRQR5LeNNTwway",{"x":67,"y":67,"zoom":5,"background":68},[1898],{"type":39,"text":1899,"spans":1900,"direction":42},"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":101,"version":102,"items":1903,"primary":1904,"id":1918,"slice_type":116,"slice_label":10},[],{"title":1905,"content":1906},[],[1907],{"type":39,"text":1908,"spans":1909,"direction":42},"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 $43.9 million per painting when adjusted for inflation.",[1910],{"start":1911,"end":1912,"type":473,"data":1913},313,325,{"id":1914,"type":476,"tags":1915,"lang":24,"slug":1916,"first_publication_date":1917,"last_publication_date":1917,"link_type":79,"isBroken":81},"ZoVYqBMAACIAOxzG",[369],"inflation-adjusted-value","2024-07-05T09:06:02+0000","text$f5583f6c-9428-4bdc-81cf-82d67858d03b",{"variation":118,"version":102,"items":1920,"primary":1927,"id":1932,"slice_type":132,"slice_label":10},[1921],{"image":1922,"title":10,"subtitle":10},{"dimensions":1923,"alt":10,"copyright":10,"url":1924,"id":1925,"edit":1926},{"width":556,"height":557},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZoa4_x5LeNNTwzGQ_Monet_Visuals_Graph_V3.jpg?auto=format,compress","Zoa4_x5LeNNTwzGQ",{"x":67,"y":67,"zoom":5,"background":68},{"image1":1928,"label":10,"copyright":1931},{"dimensions":1929,"alt":10,"copyright":10,"url":1924,"id":1925,"edit":1930},{"width":556,"height":557},{"x":67,"y":67,"zoom":5,"background":68},[],"image$529b332e-b6f6-4e87-8a3a-7fdda808d05a",{"variation":101,"version":102,"items":1934,"primary":1935,"id":1948,"slice_type":116,"slice_label":10},[],{"title":1936,"content":1937},[],[1938,1946],{"type":39,"text":1939,"spans":1940,"direction":42},"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.",[1941],{"start":1942,"end":1943,"type":473,"data":1944},216,228,{"id":1914,"type":476,"tags":1945,"lang":24,"slug":1916,"first_publication_date":1917,"last_publication_date":1917,"link_type":79,"isBroken":81},[369],{"type":39,"text":464,"spans":1947,"direction":42},[],"text$7441ef86-c33c-4755-9d67-d8fc8c4412bf",{"variation":118,"version":102,"items":1950,"primary":1957,"id":1962,"slice_type":132,"slice_label":10},[1951],{"image":1952,"title":10,"subtitle":10},{"dimensions":1953,"alt":10,"copyright":10,"url":1954,"id":1955,"edit":1956},{"width":492,"height":493},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZoZ3fh5LeNNTwyZ2_Monet_Visuals_TwoFigures_Horizontal_V2-04.jpg?auto=format,compress","ZoZ3fh5LeNNTwyZ2",{"x":67,"y":67,"zoom":5,"background":68},{"image1":1958,"label":10,"copyright":1961},{"dimensions":1959,"alt":10,"copyright":10,"url":1954,"id":1955,"edit":1960},{"width":492,"height":493},{"x":67,"y":67,"zoom":5,"background":68},[],"image$59180e0e-bcd1-401f-8b45-3e3aa63a40ad",{"variation":101,"version":102,"items":1964,"primary":1965,"id":1971,"slice_type":116,"slice_label":10},[],{"title":1966,"content":1967},[],[1968],{"type":39,"text":1969,"spans":1970,"direction":42},"Monet’s market for these series peaked in 2015 at over $268 million, driven by a high volume of lots. In 2022, the market reached an unprecedented $379 million in combined revenue through successive sales of Water Lilies, London, and Venice Views. Prices for these paintings that year ranged from $30.4 million to over $75 million ($32.6 million to $80.5 million when adjusted for inflation). The variations in price are attributed to several factors, one of the most important for Monet being the subtle differences in colour, reflections, air, and atmosphere that make each work unique.",[],"text$8cb5859f-6d8c-4169-81ad-4028aa6273e8",{"variation":275,"version":102,"items":1973,"primary":1974,"id":1993,"slice_type":132,"slice_label":10},[],{"image1":1975,"image2":1982,"label":768,"copyright":1989},{"dimensions":1976,"alt":10,"copyright":10,"url":1979,"id":1980,"edit":1981},{"width":1977,"height":1978},922,592,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZoUwSB5LeNNTwwIA_Waterloo_Bridge%2C_soleil_voil%C3%A9_-1903-_Claude_Monet_-W_1591-.jpg?auto=format,compress","ZoUwSB5LeNNTwwIA",{"x":67,"y":67,"zoom":5,"background":68},{"dimensions":1983,"alt":10,"copyright":10,"url":1986,"id":1987,"edit":1988},{"width":1984,"height":1985},851,548,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZoUwmR5LeNNTwwIP_Waterloo_Bridge%2C_effet_de_brume_-1904-_Claude_Monet_-W_1582-.jpg?auto=format,compress","ZoUwmR5LeNNTwwIP",{"x":67,"y":67,"zoom":5,"background":68},[1990],{"type":39,"text":1991,"spans":1992,"direction":42},"Two Waterloo Bridge paintings were sold in 2022: Waterloo Bridge, soleil voilé (Waterloo Bridge, Hazy Sun) (W 1591) (1901) on the left, auctioned in September for $76 million ($80.5 million when adjusted for inflation), and Waterloo Bridge, effet de brume (Waterloo Bridge, Mist Effect) (W 1582) (1901) on the right, auctioned for $37.5 million ($39.3 million when adjusted for inflation).",[],"image$6b8561fb-b899-464b-b06e-66bd73e0e044",{"variation":101,"version":102,"items":1995,"primary":1996,"id":2010,"slice_type":116,"slice_label":10},[],{"title":1997,"content":1998},[],[1999,2007],{"type":39,"text":2000,"spans":2001,"direction":42},"When adjusted for inflation, the highest prices in Monet’s iconic series are typically achieved by Water Lilies, holding 7 of the top 10 auction sales, alongside two Haystacks and a view of the Houses of Parliament in London. These top sales prices range from $69.1 million to $134 million, with half achieved between 2018 and 2023.",[2002],{"start":2003,"end":2004,"type":473,"data":2005},99,111,{"link_type":579,"url":2006,"target":581},"https:\u002F\u002Fartexplored.com\u002Farticle\u002Fartist-report-claude-monet",{"type":39,"text":2008,"spans":2009,"direction":42},"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. When adjusted for inflation, 94% of these lots exceed $10 million, with 37% surpassing the $50 million mark, placing them at the pinnacle of the art market.",[],"text$aa27e125-412f-44a4-bd16-8ef8efb15fb0",{"variation":118,"version":102,"items":2012,"primary":2013,"id":2021,"slice_type":132,"slice_label":10},[],{"image1":2014,"label":10,"copyright":2020},{"dimensions":2015,"alt":10,"copyright":10,"url":2017,"id":2018,"edit":2019},{"width":2016,"height":184},2826,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZoVVhR5LeNNTwwey_Monet_PieChart1.jpg?auto=format,compress","ZoVVhR5LeNNTwwey",{"x":67,"y":67,"zoom":5,"background":68},[],"image$7a0876a3-ff00-4557-bccd-391981461aee",{"variation":101,"version":102,"items":2023,"primary":2024,"id":2031,"slice_type":116,"slice_label":10},[],{"title":2025,"content":2026},[],[2027,2029],{"type":39,"text":611,"spans":2028,"direction":42},[],{"type":39,"text":464,"spans":2030,"direction":42},[],"text$e9bc73ed-e1d6-4fcb-988b-a5b0a3790df9","Monet’s Iconic Series: From Haystacks to Water Lilies","French 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 was revolutionary at the time. This approach led to creative marketing strategies, conveying a sense of exclusivity and attracting eager buyers. Paintings from the Haystacks, Water Lilies, London, and Venice series have consistently achieved Monet's highest auction sales over the last twenty years.",{"dimensions":2035,"alt":10,"copyright":10,"url":2036,"id":2037,"edit":2038},{"width":327,"height":328},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZoVUkx5LeNNTwweb_ImageOpengraph.jpg?auto=format,compress","ZoVUkx5LeNNTwweb",{"x":67,"y":67,"zoom":5,"background":68},[2040,2060],{"variation":101,"version":102,"items":2041,"primary":2058,"id":1528,"slice_type":416,"slice_label":10},[2042,2046,2050,2054],{"post":2043},{"id":1495,"type":15,"tags":2044,"lang":24,"slug":1497,"first_publication_date":1498,"last_publication_date":1499,"uid":1497,"link_type":79,"key":2045,"isBroken":81},[348],"7d228da2-b239-4dc5-9db1-3025ddccfca1",{"post":2047},{"id":649,"type":15,"tags":2048,"lang":24,"slug":651,"first_publication_date":652,"last_publication_date":653,"uid":651,"link_type":79,"key":2049,"isBroken":81},[348],"b4805b17-e3cc-4cd1-8fa9-750e752e6ee7",{"post":2051},{"id":1507,"type":15,"tags":2052,"lang":24,"slug":1510,"first_publication_date":1511,"last_publication_date":1512,"uid":1513,"link_type":79,"key":2053,"isBroken":81},[1509],"cfe7c3ba-26df-4495-bca5-3c63cddadbec",{"post":2055},{"id":1517,"type":15,"tags":2056,"lang":24,"slug":1520,"first_publication_date":1521,"last_publication_date":1522,"uid":1523,"link_type":79,"key":2057,"isBroken":81},[1519],"7879cf83-4b20-412c-aa32-c1092cee0f9b",{"slides_per_view":10,"max_slides_count":10,"tag":2059,"type":15,"title":1527,"paralax":81},{"link_type":79},{"variation":101,"version":102,"items":2061,"primary":2066,"id":1538,"slice_type":416,"slice_label":10},[2062,2064],{"post":2063},{"link_type":79},{"post":2065},{"link_type":79},{"slides_per_view":10,"max_slides_count":10,"tag":2067,"type":421,"title":1537,"paralax":81},{"link_type":79},{"id":627,"uid":632,"url":10,"type":15,"href":2069,"tags":2070,"first_publication_date":630,"last_publication_date":631,"slugs":2071,"linked_documents":2072,"lang":24,"alternate_languages":2073,"data":2074},"https:\u002F\u002Fartexplorer-prod.cdn.prismic.io\u002Fapi\u002Fv2\u002Fdocuments\u002Fsearch?ref=aCb60BIAACEA00zN&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22ZnwEZhMAAB8ALXHW%22%29+%5D%5D",[348,349],[629],[],[],{"title":2075,"subtitle":2076,"author":2077,"copyright_cover":10,"cover_desktop":2078,"cover_mobile":2083,"thumbnail":2089,"published_at":10,"slices":2092,"meta_title":2128,"meta_description":2129,"og_image":2130,"slices2":2136},"Evaluating the market for Richter’s iconic Abstrakte Bilder","Spotlight on 1985-1994 paintings",{"link_type":79},{"dimensions":2079,"alt":10,"copyright":10,"url":2080,"id":2081,"edit":2082},{"width":183,"height":123},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZoZdIR5LeNNTwyDC_Slide16_9_GRichterFocusReportHeader.jpg?auto=format,compress","ZoZdIR5LeNNTwyDC",{"x":67,"y":67,"zoom":5,"background":68},{"dimensions":2084,"alt":10,"copyright":10,"url":2086,"id":2087,"edit":2088},{"width":2085,"height":183},2154,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZoZc0B5LeNNTwyC8_Richter_ShortFormArticle_Thumbnail_V41.jpg?auto=format,compress","ZoZc0B5LeNNTwyC8",{"x":67,"y":67,"zoom":5,"background":68},{"dimensions":2090,"alt":10,"copyright":10,"url":2086,"id":2087,"edit":2091},{"width":2085,"height":183},{"x":67,"y":67,"zoom":5,"background":68},[2093],{"variation":101,"version":102,"items":2094,"primary":2096,"id":1478,"slice_type":116,"slice_label":10},[2095],{},{"title":2097,"content":2098},[],[2099,2102,2108,2114,2120,2126],{"type":39,"text":2100,"spans":2101,"direction":42},"Gerhard Richter (b. 1932) is one of the most influential figures in contemporary art, having garnered global critical acclaim for his diverse work. 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":39,"text":2103,"spans":2104,"direction":42},"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. ",[2105],{"start":2106,"end":2107,"type":522},81,98,{"type":39,"text":2109,"spans":2110,"direction":42},"ArtExplored’s latest Focus Report delves into the market for these specific works that attract considerable market interest.  ",[2111],{"start":2112,"end":2113,"type":522},21,33,{"type":39,"text":2115,"spans":2116,"direction":42},"Click on the visual below to read the full report. ",[2117],{"start":791,"end":1392,"type":473,"data":2118},{"link_type":579,"url":2119,"target":581},"https:\u002F\u002Fwww.artexplored.com\u002FGerhard-Richter-Artist-Report\u002F#\u002Fpage\u002F0",{"type":132,"url":2121,"alt":10,"copyright":10,"dimensions":2122,"id":2123,"edit":2124,"linkTo":2125},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZnwG35bWFbowe3zy_Richter_Analysis_Article_Feature_Image.jpg?auto=format,compress",{"width":183,"height":123},"ZnwG35bWFbowe3zy",{"x":67,"y":67,"zoom":5,"background":68},{"link_type":579,"url":2119,"target":984},{"type":39,"text":464,"spans":2127,"direction":42},[],"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":2131,"alt":10,"copyright":10,"url":2133,"id":2134,"edit":2135},{"width":2132,"height":328},2386,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZoZdfx5LeNNTwyDI_Richter_ShortFormArticle_Header_V32_Opengraph.jpg?auto=format,compress","ZoZdfx5LeNNTwyDI",{"x":67,"y":67,"zoom":5,"background":68},[2137,2157],{"variation":101,"version":102,"items":2138,"primary":2155,"id":1528,"slice_type":416,"slice_label":10},[2139,2143,2147,2151],{"post":2140},{"id":640,"type":15,"tags":2141,"lang":24,"slug":642,"first_publication_date":643,"last_publication_date":644,"uid":645,"link_type":79,"key":2142,"isBroken":81},[339,348],"e95c5b09-dae9-4643-883e-236faaf16e26",{"post":2144},{"id":377,"type":15,"tags":2145,"lang":24,"slug":379,"first_publication_date":380,"last_publication_date":381,"uid":382,"link_type":79,"key":2146,"isBroken":81},[348,369],"fd805eca-78b6-4bc0-b08f-b2ddacab1df9",{"post":2148},{"id":1507,"type":15,"tags":2149,"lang":24,"slug":1510,"first_publication_date":1511,"last_publication_date":1512,"uid":1513,"link_type":79,"key":2150,"isBroken":81},[1509],"7ab663b1-e5e0-4954-affc-791a069ffa97",{"post":2152},{"id":1517,"type":15,"tags":2153,"lang":24,"slug":1520,"first_publication_date":1521,"last_publication_date":1522,"uid":1523,"link_type":79,"key":2154,"isBroken":81},[1519],"38d448cd-44be-4c81-b779-1d943e2945cd",{"slides_per_view":10,"max_slides_count":10,"tag":2156,"type":15,"title":1527,"paralax":81},{"link_type":79},{"variation":101,"version":102,"items":2158,"primary":2163,"id":1538,"slice_type":416,"slice_label":10},[2159,2161],{"post":2160},{"link_type":79},{"post":2162},{"link_type":79},{"slides_per_view":10,"max_slides_count":10,"tag":2164,"type":421,"title":1537,"paralax":81},{"link_type":79},{"id":649,"uid":651,"url":10,"type":15,"href":2166,"tags":2167,"first_publication_date":652,"last_publication_date":653,"slugs":2168,"linked_documents":2170,"lang":24,"alternate_languages":2171,"data":2172},"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",[348],[651,2169],"buying-art-can-lower-the-overall-risks-of-your-investment-portfolio-by-helping-to-maximise-returns-while-limiting-losses-in-a-downturn.",[],[],{"title":2173,"subtitle":2174,"author":2175,"copyright_cover":10,"cover_desktop":2216,"cover_mobile":2222,"thumbnail":2227,"published_at":10,"slices":2230,"meta_title":2173,"meta_description":2248,"og_image":2249,"slices2":2255},"The art of diversification ","Buy art, lower risk, maximize returns – is it so simple?",{"id":2176,"type":31,"tags":2177,"lang":24,"slug":2179,"first_publication_date":2180,"last_publication_date":2181,"uid":2179,"data":2182,"link_type":79,"key":2215,"isBroken":81},"ZBB4GBAAACgAzS2z",[2178],"Robert Budden","robert-budden","2023-03-14T13:35:25+0000","2023-07-10T00:56:54+0000",{"description":2183,"short_description":2193,"job":2197,"thumbnail":2198,"cover":2205,"uid":2179,"title":2178,"og_image":2208,"meta_description":2211,"meta_title":2178},[2184,2187,2190],{"type":39,"text":2185,"spans":2186},"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":39,"text":2188,"spans":2189},"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":39,"text":2191,"spans":2192},"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.",[],[2194],{"type":39,"text":2195,"spans":2196},"Robert Budden covers the financial and art market for ArtExplored. ",[],"Art Market Editor",{"dimensions":2199,"alt":2178,"copyright":10,"url":2202,"id":2203,"edit":2204},{"width":2200,"height":2201},2291,2446,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Ff845a770-a008-44c8-9879-c9f3b0b5e52a_Robert+Budden.jpg?auto=compress,format","ZIsQqxAAACEAs6bQ",{"x":67,"y":67,"zoom":5,"background":1584},{"dimensions":2206,"alt":2178,"copyright":10,"url":2202,"id":2203,"edit":2207},{"width":2200,"height":2201},{"x":67,"y":67,"zoom":5,"background":1584},{"dimensions":2209,"alt":2178,"copyright":2178,"url":2202,"id":2203,"edit":2210},{"width":2200,"height":2201},{"x":67,"y":67,"zoom":5,"background":1584},[2212],{"type":39,"text":2213,"spans":2214},"Robert Budden is a finance and art markets writer at ArtExplored",[],"704d7807-821c-49fc-9705-31ab7e34f162",{"dimensions":2217,"alt":2218,"copyright":10,"url":2219,"id":2220,"edit":2221},{"width":183,"height":123},"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":67,"y":67,"zoom":5,"background":1584},{"dimensions":2223,"alt":2218,"copyright":10,"url":2224,"id":2225,"edit":2226},{"width":123,"height":183},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F97040616-ff96-4d3a-ae2b-c1382d478718_9_16+%286%29.jpg?auto=compress,format","ZLAO7BIAACIAamGd",{"x":67,"y":67,"zoom":5,"background":1584},{"dimensions":2228,"alt":2218,"copyright":10,"url":2224,"id":2225,"edit":2229},{"width":123,"height":183},{"x":67,"y":67,"zoom":5,"background":1584},[2231],{"variation":101,"version":102,"items":2232,"primary":2234,"id":486,"slice_type":116,"slice_label":10},[2233],{},{"title":2235,"content":2238},[2236],{"type":138,"text":464,"spans":2237},[],[2239,2242,2245],{"type":39,"text":2240,"spans":2241},"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":39,"text":2243,"spans":2244},"\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":39,"text":2246,"spans":2247},"  ",[],"Buying art can lower the overall risks of your investment portfolio by helping to maximise returns while limiting losses in a downturn.",{"dimensions":2250,"alt":2251,"copyright":10,"url":2252,"id":2253,"edit":2254},{"width":327,"height":328},"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":67,"y":67,"zoom":5,"background":1584},[2256],{"variation":101,"version":102,"items":2257,"primary":2287,"id":2290,"slice_type":416,"slice_label":10},[2258,2267,2277],{"post":2259},{"id":2260,"type":421,"tags":2261,"lang":24,"slug":2262,"first_publication_date":2263,"last_publication_date":2264,"uid":2265,"link_type":79,"key":2266,"isBroken":81},"ZHc1QRAAACUAkmFm",[348],"ludovic-subran-is-art-a-good-hedge-against-inflation","2023-05-31T11:53:41+0000","2023-08-31T21:34:18+0000","is-investing-in-art-a-good-hedge-against-inflation","4a42a737-19d9-455c-9c5f-a48a5590b09f",{"post":2268},{"id":2269,"type":421,"tags":2270,"lang":24,"slug":2272,"first_publication_date":2273,"last_publication_date":2274,"uid":2275,"link_type":79,"key":2276,"isBroken":81},"ZA8MXBAAACgAyr6g",[2271],"Conservation ","curtis-dowling-fakes-and-forgeries-in-art","2023-03-13T11:44:46+0000","2023-08-31T21:34:49+0000","curtis-dowling-art-forgery-fakes","b565c3e4-11bb-4f6b-8bb3-887b1b86e933",{"post":2278},{"id":2279,"type":421,"tags":2280,"lang":24,"slug":2282,"first_publication_date":2283,"last_publication_date":2284,"uid":2285,"link_type":79,"key":2286,"isBroken":81},"ZBNBcxAAACMAXuYT",[2281],"Amedeo Modigliani","simonetta-fraquelli--annette-king-modiglianis-enduring-appeal-and-spotting-his-fakes","2023-03-16T16:19:49+0000","2023-08-31T21:33:41+0000","why-does-amedeo-modigliani-have-such-enduring-appeal","e105b3b9-9378-482a-8d05-28fe74ecd8e8",{"slides_per_view":665,"max_slides_count":665,"tag":2288,"type":421,"title":2289,"paralax":10},{"link_type":79},"Art Explored Audiocasts","carousel$36c78bbe-e63c-4051-818f-baa909fb67e2",{"id":2292,"uid":2293,"url":10,"type":15,"href":2294,"tags":2295,"first_publication_date":2297,"last_publication_date":2298,"slugs":2299,"linked_documents":2302,"lang":24,"alternate_languages":2303,"data":2304},"ZBL51xAAACIAXlKc","barbara-kruger-questions-at-moma","https:\u002F\u002Fartexplorer-prod.cdn.prismic.io\u002Fapi\u002Fv2\u002Fdocuments\u002Fsearch?ref=aCb60BIAACEA00zN&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22ZBL51xAAACIAXlKc%22%29+%5D%5D",[2296],"Barbara Kruger","2023-04-05T09:38:50+0000","2024-02-12T16:31:44+0000",[2300,2301],"barbara-kruger-refuses-to-shy-away-from-big-questions","barbara-kruger-refuses-to-shy-away-from-big-questions-at-moma",[],[],{"title":2305,"subtitle":2306,"author":2307,"copyright_cover":2352,"cover_desktop":2353,"cover_mobile":2359,"thumbnail":2364,"published_at":10,"slices":2367,"meta_title":2533,"meta_description":2534,"og_image":2535,"slices2":2541},"Barbara Kruger refuses to shy away from big questions","The American artist’s collages interrogate power and consumerism",{"id":2308,"type":31,"tags":2309,"lang":24,"slug":2310,"first_publication_date":2311,"last_publication_date":2312,"uid":2313,"data":2314,"link_type":79,"key":2351,"isBroken":81},"ZBBfzBAAACgAzQAo",[],"william-corwin","2023-03-14T11:51:45+0000","2023-07-10T00:55:46+0000","will-corwin",{"description":2315,"short_description":2328,"job":2332,"thumbnail":2333,"cover":2341,"uid":2313,"title":2337,"og_image":2344,"meta_description":2347,"meta_title":2337},[2316,2319,2322,2325],{"type":39,"text":2317,"spans":2318},"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":39,"text":2320,"spans":2321},"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":39,"text":2323,"spans":2324},"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":39,"text":2326,"spans":2327},"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.",[],[2329],{"type":39,"text":2330,"spans":2331},"William Corwin covers North America for ArtExplored",[],"Art Writer (North America)",{"dimensions":2334,"alt":2337,"copyright":2337,"url":2338,"id":2339,"edit":2340},{"width":2335,"height":2336},2660,3012,"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":67,"y":67,"zoom":5,"background":1584},{"dimensions":2342,"alt":2337,"copyright":10,"url":2338,"id":2339,"edit":2343},{"width":2335,"height":2336},{"x":67,"y":67,"zoom":5,"background":1584},{"dimensions":2345,"alt":2337,"copyright":2337,"url":2338,"id":2339,"edit":2346},{"width":2335,"height":2336},{"x":67,"y":67,"zoom":5,"background":1584},[2348],{"type":39,"text":2349,"spans":2350},"Will Corwin covers North America for ArtExplored",[],"fe213769-b5c1-4233-abfc-2c04de2e75ea","Installation view of the exhibition \"Barbara Kruger: Thinking of You. I Mean Me. I Mean You\" June 16, 2022–January 2, 2023. IN2497.6. Photograph by Emile Askey.",{"dimensions":2354,"alt":2352,"copyright":2355,"url":2356,"id":2357,"edit":2358},{"width":183,"height":123},"Installation view of the exhibition \"Barbara Kruger: Thinking of You. I Mean Me. I Mean You\"\n\nJune 16, 2022–January 2, 2023. IN2497.6. Photograph by Emile Askey.","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fc450dcb5-a0cb-465d-ab61-7cf40851c730_Slide+16_9+-+77.jpg?auto=compress,format","ZC0-RBAAACQA9hc3",{"x":67,"y":67,"zoom":5,"background":1584},{"dimensions":2360,"alt":2352,"copyright":2355,"url":2361,"id":2362,"edit":2363},{"width":123,"height":183},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Feb4697c4-b039-42a6-8c85-2ae9a70e8d94_9_16.jpg?auto=compress,format","ZC08yhAAACQA9hRW",{"x":67,"y":67,"zoom":5,"background":1584},{"dimensions":2365,"alt":2352,"copyright":2355,"url":2361,"id":2362,"edit":2366},{"width":123,"height":183},{"x":67,"y":67,"zoom":5,"background":1584},[2368,2414,2424,2440,2449,2508],{"variation":101,"version":102,"items":2369,"primary":2371,"id":2413,"slice_type":116,"slice_label":10},[2370],{},{"title":2372,"content":2373},[],[2374,2389,2394,2398],{"type":39,"text":2375,"spans":2376},"Thinking of You, I Mean Me, I Mean You channels the screen of a virus-infected computer: suddenly the screen lights up with disembodied, liberated windows and pop-ups vying for your attention, intrusive, unwanted, but also sneakily exciting. Barbara Kruger’s text-based installation consists of self-adhesive vinyl sheets laminated on almost every surface of the Donald and Catherine Marron Family Atrium, including the floor. The accusatory “You” is the largest word in Kruger’s poetic slogans and mantras. You are not innocent.  What does Barbara Kruger say that you have done? Well for one thing:\n\nYou. You know that women have served all these centuries as looking glasses possessing the magic and delicious power of reflecting the figure of man at twice its natural size. (After Virginia Woolf).\n\nAnd:\n\nYou. You are being seen. Caught in the mind’s eye. Caught in a world in shambles. This thing called “You.” This thing called “Me.” In this moment. In this place. Right Now. Come closer.\n\nUntil finally, you actually are dissolved by the artist herself:\n\nYou. You are here, looking through the looking glass, darkly. Seeing the unseen, the invisible, the barely there. You. Whoever you are. Wherever you are. Etched in memory. Until you, the looker, is gone. Unseen. No More. You too.\n\nThis is a show made for selfies, and that’s the point – putting a finger on the pulse of what defines, or divines, human culture at the current moment is what a good artist is supposed to do. Kruger’s words engage with the idea of the text, the tweet, the doodle, the pop-up – a kind of riotous cascade of politically triggering thoughts, words, intentions, and implications; oriented vertically:\n\nA trace of Grace,",[2377,2380,2383,2386],{"start":2378,"end":2379,"type":522},601,802,{"start":2381,"end":2382,"type":522},808,995,{"start":2384,"end":2385,"type":522},1061,1292,{"start":2387,"end":2388,"type":522},1690,1707,{"type":39,"text":2390,"spans":2391},"A Tragic Error,",[2392],{"start":67,"end":2393,"type":522},15,{"type":39,"text":2395,"spans":2396},"A Smug Embrace,",[2397],{"start":67,"end":2393,"type":522},{"type":39,"text":2399,"spans":2400},"A Flimsy Alibi\n\nOr horizontally:\n\nWar time, war crime, war, gang war, civil war, class war, bidding war, trade war, cold war, race war, world war, war for peace, war without end, war for a world without women, war for me to become you.”\n\nAnd even underfoot:\n\nIf you want a picture of the future, imagine a boot stamping on a human face forever,” George Orwell.\n\nOn top of the multidirectional data streams crawling up and down the walls, most of the viewers were engaging with their own and others’ smartphones to further mediate the artist’s gargantuan piece. It wasn’t easy to gauge whether they were reading the text or just enjoying the spectacle of words coming at them from every direction – it might be that the artist intended the dire meanings of her words to simply sink in over time and multiple viewings of these selfies. Kruger’s immersive installation resonated with other installations in the museum: while her work is almost obsessively current, she does share her notions of formal spatial composition with artists as varied as Matisse, Nancy Spero, and Jacob Lawrence.  \n\nNancy Spero’s immersive and diagrammatic work Notes In Time (1970s) plays with legibility and retards the pace of viewing in order to force a more careful reading. Spero alternates different fonts, printing techniques, and media in order to capture the eye. In bright red her text begins with:",[2401,2402,2404,2407,2410],{"start":67,"end":6,"type":522},{"start":1391,"end":2403,"type":522},238,{"start":2405,"end":2406,"type":522},259,359,{"start":2408,"end":2409,"type":522},1086,1087,{"start":2411,"end":2412,"type":522},1136,1149,"text$22af7712-8015-45a8-94e8-547d2e165b3e",{"variation":101,"version":102,"items":2415,"primary":2417,"id":2422,"slice_type":2423,"slice_label":10},[2416],{},{"quote":2418},[2419],{"type":39,"text":2420,"spans":2421},"“Certainly childbirth is our mortality, we who are women, for it is our battle (Sahagun Aztec book II).”",[],"quote$2b6a1894-7087-4e1a-b00a-5f6fbb60b4ef","quote",{"variation":101,"version":102,"items":2425,"primary":2427,"id":2439,"slice_type":116,"slice_label":10},[2426],{},{"title":2428,"content":2429},[],[2430],{"type":39,"text":2431,"spans":2432},"Then there are mythopoetic interpretations:\n\n“Throughout Male Literary History, Gorgons, Sirens, Mothers of Death and Goddesses of Night Represent Women Who Reject Passivity and Silence.”\n\nOr in different languages, grim fantasies:\n\n“Murder Hope of Women.” (Oskar Kokoshka, 1911)\n\nAnd there is also a substantial quantity of smaller texts – unlike Kruger’s piece which is quick to encompass, one could spend an hour or two with Spero. These printed texts are glued down, stencilled and printed on long scrolls and interspersed with drawings closely mimicking the standardised poses and body types of ancient Egyptian visual culture. Like Spero's and Kruger’s texts, Egyptian Hieroglyphs could move up and down, backwards and forwards; an immensely versatile writing system that could be employed to great aesthetic purpose. Like Kruger, Spero commandeers our body, more gently though, nudging us around the room, rather than jerking our head around as Kruger's works are prone to do.\n\nKruger’s atrium installation is perforated at several levels by a variety of windows and landings, offering multiple viewpoints. We can read the large text from George Orwell writ large on the floor, which we were just standing on, hopping uncomfortably back and forth from letter to letter, trying to make out the whole passage. Like Spero, Kruger is making us read in different ways – Notes in Time works diagrammatically, temporally, and as a collage of form, while Kruger is more about scale and vantage point; up close, far away. Walking up to the third floor of the museum and sitting in Matisse’s immersive paper cut-out installation for his swimming pool, from 1952, we see an odd bedfellow to Kruger’s exercise in destabilising architecture. While Kruger has placed a variety of two-dimensional elliptical and circular forms, large enough (sometimes two or three stories high) to interfere with the linearity of Tanaguchi’s architecture, Matisse similarly disrupts the flatness and linearity of his pool and jogs the movement of the eye. The room is floor-to-ceiling brown. A beige band runs horizontally at shoulder height: ostensibly the zone within which Matisse’s blue semi-figural cutouts will reside. But they don’t. They swim, soar, kick, and flip from this band, though some stay tensely within the lines. Like Kruger, Matisse toys with the notion of following the rules of linearity and containment: in one brief section of his collage, he creates a wholly inadequate bump-out for his frenetic blue shapes. This exception merely proves that they cannot be contained. Jacob Lawrence’s The Migration Series (1940-41) is a much more traditional cycle of images narrating the history of the movement of black Americans out of the south, starting with the First World War. The series of 30 images on display (of a total of 60) are stark and simple, and they gently flow along the wall, each with a text that explains the often highly symbolic and ritualised imagery in the drawings. In image 42 a police officer forms a human X, blocking off a rectangle, a waiting room or police truck, containing two black figures. The text reads:",[2433,2436],{"start":2434,"end":2435,"type":522},1372,1385,{"start":2437,"end":2438,"type":522},2587,2607,"text$e0215e04-f2b4-4afa-8996-54f252bee8fa",{"variation":101,"version":102,"items":2441,"primary":2443,"id":2448,"slice_type":2423,"slice_label":10},[2442],{},{"quote":2444},[2445],{"type":39,"text":2446,"spans":2447},"\"They also made it very difficult for migrants leaving the South. They often went to railroad stations and arrested the Negroes wholesale, which in turn made them miss their trains.\"",[],"quote$c02bd071-3914-4113-9eb3-89c39b10280c",{"variation":101,"version":102,"items":2450,"primary":2452,"id":2507,"slice_type":116,"slice_label":10},[2451],{},{"title":2453,"content":2454},[],[2455,2461,2465,2469,2474,2478,2482,2487,2491,2496,2501],{"type":39,"text":2456,"spans":2457},"Of all four installations, Lawrence’s is the least spatial but is arresting in its literal storytelling and its measured conceptual rhythm for each image. With the exception of Matisse, the installations are all political and use the weighty presence of the artist intruding into the real space of the viewer as a means to impress the importance of the message. Kruger is direct, confrontational, and perhaps to the benefit of the importance of her message against fascism, corruption, and control, ultimately hopeless. Perhaps after circulating from phone to phone and being reposted from Instagram-story-to-feed-to-story again, maybe it will eventually sink in. One can only hope.\n\nIn the end, something else begins",[2458],{"start":2459,"end":2460,"type":522},685,717,{"type":39,"text":2462,"spans":2463},"In the end, you’ve had your chance",[2464],{"start":67,"end":1391,"type":522},{"type":39,"text":2466,"spans":2467},"In the end, you win or you lose",[2468],{"start":67,"end":823,"type":522},{"type":39,"text":2470,"spans":2471},"In the end, history happens",[2472],{"start":67,"end":2473,"type":522},27,{"type":39,"text":2475,"spans":2476},"In the end, nothing matters",[2477],{"start":67,"end":2473,"type":522},{"type":39,"text":2479,"spans":2480},"In the end, all is forgotten",[2481],{"start":67,"end":783,"type":522},{"type":39,"text":2483,"spans":2484},"In the end, anything goes",[2485],{"start":67,"end":2486,"type":522},25,{"type":39,"text":2488,"spans":2489},"In the end, you disappear",[2490],{"start":67,"end":2486,"type":522},{"type":39,"text":2492,"spans":2493},"In the end, Lies prevail",[2494],{"start":67,"end":2495,"type":522},24,{"type":39,"text":2497,"spans":2498},"In the end, anger fades",[2499],{"start":67,"end":2500,"type":522},23,{"type":39,"text":2502,"spans":2503},"In the end, hope is lost.\n\nBarbara Kruger: Thinking of You. I Mean Me. I Mean You\n16 July 2022 - 02 January 2023. MoMA, New York",[2504,2505],{"start":67,"end":2473,"type":522},{"start":2106,"end":2506,"type":522},82,"text$75d8266d-9ac6-477e-8a7f-c4cf0b81306a",{"variation":118,"version":102,"items":2509,"primary":2522,"id":2532,"slice_type":132,"slice_label":10},[2510],{"image":2511,"title":2520,"subtitle":2521},{"dimensions":2512,"alt":2515,"copyright":2516,"url":2517,"id":2518,"edit":2519},{"width":2513,"height":2514},2000,1334,"Installation view of the exhibition \"Barbara Kruger: Thinking of You. I Mean Me. I Mean You\" June 16, 2022–January 2, 2023. IN2497.20. Photograph by Emile Askey.","Installation view of the exhibition \"Barbara Kruger: Thinking of You. I Mean Me. I Mean You\"\n\nJune 16, 2022–January 2, 2023. IN2497.20. Photograph by Emile Askey.","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F79d78241-b5d6-44e4-bc12-cfcc0c8a8199_IN2497_020_CCCR-Press-Site-2000x1334.jpg?auto=compress,format","ZC1BJxAAACQA9h1x",{"x":67,"y":67,"zoom":5,"background":1584},"Installation view of the exhibition \"Barbara Kruger: Thinking of You. I Mean Me. I Mean You\"June 16, 2022–January 2, 2023. IN2497.20. Photograph by Emile Askey.","June 16, 2022–January 2, 2023. IN2497.20. Photograph by Emile Askey.",{"image1":2523,"label":10,"copyright":2528},{"dimensions":2524,"alt":2515,"copyright":2516,"url":2525,"id":2526,"edit":2527},{"width":183,"height":184},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fc6bc5bbe-3dc6-4282-81e9-442ad044b8c5_3_2.jpg?auto=compress,format","ZC1BJxAAACMA9h1z",{"x":67,"y":67,"zoom":5,"background":1584},[2529],{"type":39,"text":2530,"spans":2531},"Installation view of the exhibition \"Barbara Kruger: Thinking of You. I Mean Me. I Mean You\"\n\nJune 16, 2022–January 2, 2023. IN2497.20. Photograph by Emile Askey.\n\n(Click for full size picture)",[],"image$6c8be031-f657-4110-95a4-7cf6aa86e160","Barbara Kruger refuses to shy away from big questions at MoMA","Art Explored reviews Barbara Kruger's bold exhibition in New York, featuring her thought-provoking black-and-white collages interrogating power, gender relations, and consumerism.",{"dimensions":2536,"alt":2537,"copyright":10,"url":2538,"id":2539,"edit":2540},{"width":327,"height":328},"Installation view of the exhibition \"Barbara Kruger: Thinking of You. I Mean Me. I Mean You\"June 16, 2022–January 2, 2023. IN2497.6. Photograph by Emile Askey.","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fca78c1d3-eae4-4693-82f3-82629ad26056_BARBARA+KRUGER+Image+Opengraph.jpg?auto=compress,format","ZK_8tRIAACAAahhR",{"x":67,"y":67,"zoom":5,"background":1584},[2542,2551,2558],{"variation":101,"version":102,"items":2543,"primary":2546,"id":2550,"slice_type":416,"slice_label":10},[2544],{"post":2545},{"link_type":79},{"slides_per_view":10,"max_slides_count":10,"tag":2547,"type":15,"title":414,"paralax":10},{"id":2308,"type":31,"tags":2548,"lang":24,"slug":2310,"first_publication_date":2311,"last_publication_date":2312,"uid":2313,"link_type":79,"key":2549,"isBroken":81},[],"7b8edb24-a0b0-4050-b817-17e08dffd534","carousel$a61bcd80-3612-4102-9391-32775326bf36",{"variation":101,"version":102,"items":2552,"primary":2555,"id":2557,"slice_type":416,"slice_label":10},[2553],{"post":2554},{"link_type":79},{"slides_per_view":666,"max_slides_count":10,"tag":2556,"type":421,"title":422,"paralax":10},{"link_type":79},"carousel$ccf2bb88-b1bc-498f-8f40-aea3d6766704",{"variation":101,"version":102,"items":2559,"primary":2562,"id":2564,"slice_type":416,"slice_label":10},[2560],{"post":2561},{"link_type":79},{"slides_per_view":666,"max_slides_count":10,"tag":2563,"type":428,"title":429,"paralax":10},{"link_type":79},"carousel$9d5ee428-77cc-4486-a5b4-974ebd999366",{"id":2566,"uid":2567,"url":10,"type":15,"href":2568,"tags":2569,"first_publication_date":2572,"last_publication_date":2573,"slugs":2574,"linked_documents":2576,"lang":24,"alternate_languages":2577,"data":2578},"ZIn28RAAACMArpTW","bathers-a-long-and-cold-winter","https:\u002F\u002Fartexplorer-prod.cdn.prismic.io\u002Fapi\u002Fv2\u002Fdocuments\u002Fsearch?ref=aCb60BIAACEA00zN&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22ZIn28RAAACMArpTW%22%29+%5D%5D",[2570,2571],"Paul Cezanne","Pablo Picasso","2023-06-14T17:20:52+0000","2024-02-12T16:31:18+0000",[2575],"a-voyeurs-view-of-myth-desire-and-summer",[],[],{"title":2579,"subtitle":2580,"author":2581,"copyright_cover":2585,"cover_desktop":2586,"cover_mobile":2593,"thumbnail":2598,"published_at":10,"slices":2601,"meta_title":2579,"meta_description":2828,"og_image":2829,"slices2":2835},"A voyeur’s view of myth, desire, and summer","‘Bathers’ is an 'ode to the ultimate summer muse' - the bathing nude",{"id":2582,"type":397,"tags":2583,"lang":10,"slug":399,"first_publication_date":10,"last_publication_date":10,"link_type":79,"key":2584,"isBroken":401},"ZBG-rRAAAKdKz1Y6",[],"edf9e162-c807-4474-a466-850c1d3ba8e9","La vague, 1896\nWILLIAM ADOLPHE BOUGUEREAU\n\nOil on Canvas, 121 x 160.5 cm",{"dimensions":2587,"alt":2588,"copyright":2589,"url":2590,"id":2591,"edit":2592},{"width":183,"height":123},"WILLIAM ADOLPHE BOUGUEREAU La vague, 1896","WILLIAM ADOLPHE BOUGUEREAU\nLa vague, 1896","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F0fb48197-8364-452b-b4cb-db115fd5934f_Slide+16_9+William+Adolphe+Bougureau+-+La+Vague.jpg?auto=compress,format","ZIsNTBAAACAAs5eT",{"x":67,"y":67,"zoom":5,"background":1584},{"dimensions":2594,"alt":2588,"copyright":2589,"url":2595,"id":2596,"edit":2597},{"width":123,"height":183},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F20e9f889-0336-4ccd-a2a6-18d90798e5be_9_16+William+Adolphe+Bougureau+-+La+Vague.jpg?auto=compress,format","ZIsNUBAAACAAs5eq",{"x":67,"y":67,"zoom":5,"background":1584},{"dimensions":2599,"alt":2588,"copyright":2589,"url":2595,"id":2596,"edit":2600},{"width":123,"height":183},{"x":67,"y":67,"zoom":5,"background":1584},[2602,2636,2680,2710,2745,2760,2785,2814],{"variation":101,"version":102,"items":2603,"primary":2605,"id":2635,"slice_type":116,"slice_label":10},[2604],{},{"title":2606,"content":2609},[2607],{"type":138,"text":464,"spans":2608},[],[2610],{"type":39,"text":2611,"spans":2612},"Landscape and the nude – two preoccupations that have fixated artists for centuries. Often straddling both subjects is the depiction of the bathing nude, which is rooted in the birth of Venus from the sea. The tradition, however, does not merely deal with ablution. Take, for example, Sandro Botticelli’s striking Birth of Venus (c.1484), Pierre-Auguste Renoir’s The Large Bathers (1884-87), and Pablo Picasso’s radical Bathing Nude (1908) – these iconic works are also linked to themes including voyeurism, purification, and birth. A new group show at Saatchi Yates’ new London space on 14 Bury Street in St. James – titled Bathers – explores the enduring and multi-layered subject of the naked bather by bringing together a major collection of contemporary art alongside renowned Post-War and historical masters such as Picasso, Paul Cezanne, David Hockney, Peter Doig, and Damien Hirst. The show, the gallery says, is “an ode to the ultimate summer muse.”\n\nAs you might expect, Saatchi Yates’ gallery space feels rather aquatic. There is water everywhere daubed in various mediums and wrought in metal, plaster, and formaldehyde. The paintings are like windows through which the viewer – or voyeur – peers at scantily clad or bare bodies drenched, dripping, or drying. The show is brimming with wanton desire; reclining subjects catch your eye, willing you to cast aside any inhibitions, undress, and jump in. French painter William-Adolphe Bouguereau’s La vague (1896), wrapped in a chunky gilt frame, holds a prominent place in the exhibition – it’s one of the earliest works and derives from the classical text The Birth of Venus. It shows an idealised naked figure (said to be the model Odile Charpentier) reposing before a breaking wave. The composition evokes a fantastical atmosphere and she’s looking directly at the viewer with a delicate grin, while her voluptuous pale body follows the beauty standards of the time.",[2613,2616,2619,2622,2632],{"start":2614,"end":2615,"type":522},314,328,{"start":2617,"end":2618,"type":522},363,381,{"start":2620,"end":2621,"type":522},420,432,{"start":2623,"end":1685,"type":473,"data":2624},831,{"id":2625,"type":2626,"tags":2627,"lang":24,"slug":2629,"first_publication_date":2630,"last_publication_date":2631,"uid":2629,"link_type":79,"isBroken":81},"ZA8AjhAAACgAyqkW","artist",[2628],"Paul Cezanne ","paul-cezanne","2023-03-13T10:53:06+0000","2025-05-12T12:12:31+0000",{"start":2633,"end":2634,"type":522},1457,1465,"text$3583c6bf-5bba-436d-94b9-8213c405f3dd",{"variation":275,"version":102,"items":2637,"primary":2659,"id":2679,"slice_type":132,"slice_label":10},[2638,2649],{"image":2639,"title":2647,"subtitle":2648},{"dimensions":2640,"alt":2643,"copyright":10,"url":2644,"id":2645,"edit":2646},{"width":2641,"height":2642},4096,3524,"ANGELA SANTANA Green Bather, 2023 ","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fae30b356-bd1a-41d1-8108-88895a1128cf_Angela+Santana+-+Green+Bather_+2023%2C+Oil+on+Canvas%2C+198x168cm+1+%281%29.jpg?auto=compress,format","ZInzCxAAACMAroI7",{"x":67,"y":67,"zoom":5,"background":1584},"Green Bather, 2023 \nANGELA SANTANA\nCourtesy of Saatchi Yates","Oil on Canvas\n198 x 168 cm",{"image":2650,"title":2657,"subtitle":2658},{"dimensions":2651,"alt":2653,"copyright":10,"url":2654,"id":2655,"edit":2656},{"width":2641,"height":2652},2766,"ANGELA SANTANA The Bathers, 2023 ","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fd3783d4b-e87c-42dd-8491-806f580f348c_Angela+Santana+-+The+Bathers_+2023%2C+Oil+on+Canvas+1.jpg?auto=compress,format","ZInzchAAACIAroQS",{"x":67,"y":67,"zoom":5,"background":1584},"The Bathers, 2023\nANGELA SANTANA\nCourtesy of Saatchi Yates","Oil on Canvas\n244 x 163 cm",{"image1":2660,"image2":2668,"label":2674,"copyright":2675},{"dimensions":2661,"alt":2643,"copyright":2664,"url":2665,"id":2666,"edit":2667},{"width":2662,"height":2663},2881,1921,"ANGELA SANTANA\nGreen Bather, 2023 ","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F4a28c8e3-761e-47e9-bad4-ec61f6c5b832_3_2+Angela+Santana+-+Green+Bather_+2023.jpg?auto=compress,format","ZInyOBAAACIArn56",{"x":67,"y":67,"zoom":5,"background":1584},{"dimensions":2669,"alt":2670,"copyright":10,"url":2671,"id":2672,"edit":2673},{"width":183,"height":184},"Angela Santana - The Bathers","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F29c710dd-44fd-4706-8bbb-2a818bd9a9d7_3_2+Angela+Santana+-+The+Bathers.jpg?auto=compress,format","ZLANcRIAACAAalpR",{"x":67,"y":67,"zoom":5,"background":1584},"Left Painting: ANGELA SANTANA, Green Bather, 2023\nRight Painting: ANGELA SANTANA The Bathers, 2023",[2676],{"type":39,"text":2677,"spans":2678},"Courtesy of Saatchi Yates",[],"image$7fc78d8c-87d9-481a-a9f5-593e4fe1936d",{"variation":101,"version":102,"items":2681,"primary":2683,"id":2709,"slice_type":116,"slice_label":10},[2682],{},{"title":2684,"content":2685},[],[2686],{"type":39,"text":2687,"spans":2688},"It should be pointed out that the majority of artists featured in Bathers are or were men, and the majority of subjects are naked or semi-naked women, so the issue of the male gaze is integral. In recent years, Bouguereau’s work has come under increasing fire for its “patriarchal objectification of women,” and his fetishising of Venus is a case in point. On the contrary, the more recent works in the show, like Angela Santana’s Green Bather and Benjamin Spiers’ Natural Swimmer (both 2023), appear to celebrate the female form as opposed to leering from afar. The bathing nude has evolved.\n\nBouguereau had a classical academic background and was heavily influenced by Renaissance artists like Raphael. He worked with strict structure and composition rules – his work is known for its almost hyper-realistic portrayal of female beauty, unlike modern artists working at the same time who took a completely different approach. One of these modern artists was French Post-Impressionist painter Cezanne. His contribution to Bathers is the painting Nymphs and Satyrs (1867). It was created during his so-called “dark period” at the height of Romanticism when his palette was gloomier, his themes erotic and violent, and technique blunter (he often applied paint with a palette knife instead of a brush). It portrays a nymph being groped and ogled by two satyrs – the viewer is witnessing a sexual assault from afar. The work also places an emphasis on nature, a trait common in both Romantic painting and the subject of the bathing nude. Nymphs and Satyrs predates Cezanne’s celebrated Bathers (1898-05), which reimagined a classical subject in a modern, pictorial expression and greatly influenced future portrayals of the nude. ",[2689,2692,2695,2700,2703,2706],{"start":2690,"end":2691,"type":522},431,443,{"start":2693,"end":2694,"type":522},465,481,{"start":2696,"end":2697,"type":473,"data":2698},993,1001,{"id":2625,"type":2626,"tags":2699,"lang":24,"slug":2629,"first_publication_date":2630,"last_publication_date":2631,"uid":2629,"link_type":79,"isBroken":81},[2628],{"start":2701,"end":2702,"type":522},1046,1063,{"start":2704,"end":2705,"type":522},1535,1553,{"start":2707,"end":2708,"type":522},1582,1590,"text$085dfff0-bd4a-41b2-a420-ba770cdd00c0",{"variation":101,"version":102,"items":2711,"primary":2733,"id":2744,"slice_type":132,"slice_label":10},[2712,2723],{"image":2713,"title":2721,"subtitle":2722},{"dimensions":2714,"alt":2717,"copyright":2717,"url":2718,"id":2719,"edit":2720},{"width":2715,"height":2716},7241,4652,"Danny Fox \nBathers after Bosuns, 2023 ","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Ff53e6369-1ea3-48fa-a55c-40acb29f71b0_Danny+Fox+-+Bathers+after+Bosuns_+2023%2C+Acrylic+on+Canvas%2C+275x420cm.jpg?auto=compress,format","ZIn0pBAAACAAromf",{"x":67,"y":67,"zoom":5,"background":1584},"Bathers after Bosuns, 2023 \nDANNY FOX\nCourtesy of Saatchi Yates","Acrylic on canvas \n275 x 420 cm",{"image":2724,"title":2731,"subtitle":2732},{"dimensions":2725,"alt":2589,"copyright":2589,"url":2728,"id":2729,"edit":2730},{"width":2726,"height":2727},2882,2174,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F6caf65b8-8073-49b4-a6a4-6747a90d4429_William+Adolphe+Bougureau+-+La+Vague_+1896%2C+Oil+on+Canvas%2C+121x160.5cm.jpg?auto=compress,format","ZIn0-BAAACEArosp",{"x":67,"y":67,"zoom":5,"background":1584},"La vague, 1896\nWILLIAM ADOLPHE BOUGUEREAU\nCourtesy of Saatchi Yates","Oil on Canvas,\n121 x 160.5 cm",{"image1":2734,"label":2740,"copyright":2741},{"dimensions":2735,"alt":2717,"copyright":2717,"url":2737,"id":2738,"edit":2739},{"width":183,"height":2736},2561,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F42474c5c-e9e1-4d63-b387-374e460c5ed3_3_2+Danny+Fox+-+Bathers+after+Bosuns_+2023.jpg?auto=compress,format","ZIn0VxAAACIArogt",{"x":67,"y":67,"zoom":5,"background":1584},"Danny Fox \nBathers after Bosuns, 2023",[2742],{"type":39,"text":2677,"spans":2743},[],"image$f82f329c-4563-4fe0-9495-ac7b6fee766e",{"variation":101,"version":102,"items":2746,"primary":2748,"id":2759,"slice_type":116,"slice_label":10},[2747],{},{"title":2749,"content":2750},[],[2751],{"type":39,"text":2752,"spans":2753},"Picasso’s compact Baigneuse (1928) measuring just 19 x 24 cm follows the salacious tone of Bouguereau and Cezanne’s compositions. The Spanish artist explored the theme of the bather with increasingly expressive language and his focus on the motif may have been partly inspired by Cezanne, whom he greatly admired. Both artists painted – and returned to painting – the bathing nude to apply their own avant-garde visions against the conventions of painting, pushing the boundaries further and further towards symbolism. \"Coming in the wake of Picasso’s Ingresque, Neo-Classical, sometimes almost photorealistic pictures, the raw expressivity of Baigneuse is bracing,” as Christie’s described the work when it was auctioned in 2012. “Here, the figure of a woman is shown as a form of landscape, her body demarcated with the mountain-like peaks of her breasts, her small head a peninsula receding into the distance, the focus on the expanse of open flesh in the foreground.” It is a striking combination of landscape and the nude. The painting is fittingly inconspicuous in scale – it is dwarfed by most of the other paintings – because it likely portrays his young lover, Marie-Therese Walter, whom Picasso hid from his wife and son.",[2754,2756],{"start":2755,"end":743,"type":522},18,{"start":2757,"end":2758,"type":522},644,652,"text$49ce85b4-96ec-453c-b23c-60158bf098ae",{"variation":101,"version":102,"items":2761,"primary":2772,"id":2784,"slice_type":132,"slice_label":10},[2762],{"image":2763,"title":2770,"subtitle":2771},{"dimensions":2764,"alt":10,"copyright":10,"url":2767,"id":2768,"edit":2769},{"width":2765,"height":2766},1870,1472,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F152b81ce-e31f-465b-99a6-8435c657721d_Pablo+Picasso+-+Baigneuse_+1928%2C+Oil+on+Canvas%2C+19x24cm.png?auto=compress,format","ZIn1hBAAACEAro3A",{"x":67,"y":67,"zoom":5,"background":68},"Baigneuse, 1928\nPABLO PICASSO\nCourtesy of Saatchi Yates","Oil on Canvas,\n19 x 24 cm",{"image1":2773,"label":2780,"copyright":2781},{"dimensions":2774,"alt":2775,"copyright":2776,"url":2777,"id":2778,"edit":2779},{"width":183,"height":2736},"PABLO PICASSO Baigneuse, 1928","PABLO PICASSO\nBaigneuse, 1928\n","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F650b5336-f418-440a-a172-d6e597b47cf6_3_2+Pablo+Picasso+-+Baigneuse_+1928.jpg?auto=compress,format","ZIn1WxAAACIAro0I",{"x":67,"y":67,"zoom":5,"background":1584},"PABLO PICASSO\nBaigneuse, 1928",[2782],{"type":39,"text":2677,"spans":2783},[],"image$b02bb431-2570-49e9-aa39-feb6a008d73a",{"variation":101,"version":102,"items":2786,"primary":2788,"id":2813,"slice_type":116,"slice_label":10},[2787],{},{"title":2789,"content":2790},[],[2791],{"type":39,"text":2792,"spans":2793},"Bathers maps the artistic evolution of the bathing nude through the ages and the show’s contemporary works by six artists on Saatchi Yates’ roster: British artists Danny Fox and Benjamin Spiers, Ethiopian artist Tesfaye Urgessa, Korean painter Sujin Lee, American artist Kottie Paloma, and Swiss artist Angela Santana. Cornwall-based Fox’s two painting in the exhibition are dark and mysterious. Bathers after Bosuns (2023) features eerie figures wallowing in murky water. The subjects are reminiscent of French post-Impressionist Paul Gauguin’s work but they are intertwined with menacing mythical creatures emerging from the depths. The water appears at once cold and uninviting yet strangely alluring, like the naked female figures themselves. Urgessa’s take on the topic – Bathers: Honey and Milk 1 and Bathers: Honey and Milk 2 (both 2023) – is more shocking; he has replaced water with blood, which is typical of his practice, which interrogates race and the politics of identity. \n\nOne of the sculptures on show is Damien Hirst’s Two Similar Swimming Forms in Infinite Flight (1993), a pair of baby sharks preserved in the artist’s characteristic formaldehyde and attached to a low metal hoop as if they are swimming in circles forever, frozen in time. It’s a more abstract take on the bathing nude theme. The sculpture may reference the act of birth and immortality, like that enjoyed by the goddess Venus, the matriarch of all bathing nudes. \n\nBathers\n01 June - 10 August. Saatchi Yates, London. 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La vague, 1896 \u002F SAATCHI YATES","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fa556702d-0b13-4b2b-8321-02bee39dc219_Image+Opengraph+Bathers.jpg?auto=compress,format","ZK_8thIAACEAahhY",{"x":67,"y":67,"zoom":5,"background":1584},[2836,2844,2851],{"variation":101,"version":102,"items":2837,"primary":2840,"id":2843,"slice_type":416,"slice_label":10},[2838],{"post":2839},{"link_type":79},{"slides_per_view":10,"max_slides_count":10,"tag":2841,"type":15,"title":2842,"paralax":10},{"link_type":79},"Read More","carousel$5f4ae304-67da-4ef8-be35-942a8537d752",{"variation":101,"version":102,"items":2845,"primary":2848,"id":2850,"slice_type":416,"slice_label":10},[2846],{"post":2847},{"link_type":79},{"slides_per_view":10,"max_slides_count":10,"tag":2849,"type":421,"title":422,"paralax":10},{"link_type":79},"carousel$688c307d-72e8-4a04-ab46-9986aef75509",{"variation":101,"version":102,"items":2852,"primary":2855,"id":2858,"slice_type":416,"slice_label":10},[2853],{"post":2854},{"link_type":79},{"slides_per_view":10,"max_slides_count":10,"tag":2856,"type":428,"title":2857,"paralax":10},{"link_type":79},"Masterpieces Decrypted","carousel$1d660b78-d8e1-41bf-97f4-3c736ccb7885",{"id":657,"uid":662,"url":10,"type":15,"href":2860,"tags":2861,"first_publication_date":660,"last_publication_date":661,"slugs":2862,"linked_documents":2865,"lang":24,"alternate_languages":2866,"data":2867},"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",[348],[659,2863,2864],"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":2868,"subtitle":2869,"author":2870,"copyright_cover":10,"cover_desktop":2896,"cover_mobile":2903,"thumbnail":2908,"published_at":10,"slices":2911,"meta_title":2990,"meta_description":2991,"og_image":2992,"slices2":2998},"Is art a sound investment?","Buying the right painting and sitting on it can be very fruitful",{"id":2176,"type":31,"tags":2871,"lang":24,"slug":2179,"first_publication_date":2180,"last_publication_date":2181,"uid":2179,"data":2872,"link_type":79,"key":2895,"isBroken":81},[2178],{"description":2873,"short_description":2880,"job":2197,"thumbnail":2883,"cover":2886,"uid":2179,"title":2178,"og_image":2889,"meta_description":2892,"meta_title":2178},[2874,2876,2878],{"type":39,"text":2185,"spans":2875},[],{"type":39,"text":2188,"spans":2877},[],{"type":39,"text":2191,"spans":2879},[],[2881],{"type":39,"text":2195,"spans":2882},[],{"dimensions":2884,"alt":2178,"copyright":10,"url":2202,"id":2203,"edit":2885},{"width":2200,"height":2201},{"x":67,"y":67,"zoom":5,"background":1584},{"dimensions":2887,"alt":2178,"copyright":10,"url":2202,"id":2203,"edit":2888},{"width":2200,"height":2201},{"x":67,"y":67,"zoom":5,"background":1584},{"dimensions":2890,"alt":2178,"copyright":2178,"url":2202,"id":2203,"edit":2891},{"width":2200,"height":2201},{"x":67,"y":67,"zoom":5,"background":1584},[2893],{"type":39,"text":2213,"spans":2894},[],"1ab6a03b-1201-4eab-b8b6-1fe53a509848",{"dimensions":2897,"alt":2899,"copyright":10,"url":2900,"id":2901,"edit":2902},{"width":2662,"height":2898},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":67,"y":67,"zoom":5,"background":1584},{"dimensions":2904,"alt":2899,"copyright":2899,"url":2905,"id":2906,"edit":2907},{"width":123,"height":183},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fa6363f49-781b-40dc-9173-db3c111bbcd8_9_16.jpg?auto=compress,format","ZJq19hEAACEAroa_",{"x":67,"y":67,"zoom":5,"background":1584},{"dimensions":2909,"alt":2899,"copyright":2899,"url":2905,"id":2906,"edit":2910},{"width":123,"height":183},{"x":67,"y":67,"zoom":5,"background":1584},[2912,2943,2952,2962,2971,2983],{"variation":101,"version":102,"items":2913,"primary":2915,"id":2942,"slice_type":116,"slice_label":10},[2914],{},{"title":2916,"content":2920},[2917],{"type":138,"text":2918,"spans":2919}," ",[],[2921],{"type":39,"text":2922,"spans":2923},"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. ",[2924,2927,2935],{"start":2925,"end":2926,"type":522},86,94,{"start":2928,"end":2929,"type":473,"data":2930},564,576,{"id":2931,"type":476,"tags":2932,"lang":24,"slug":2933,"first_publication_date":2934,"last_publication_date":2934,"link_type":79,"isBroken":81},"ZK0tLxEAACEAdnWz",[],"andy-warhol","2023-07-11T10:21:41+0000",{"start":2936,"end":1978,"type":473,"data":2937},579,{"id":2938,"type":476,"tags":2939,"lang":24,"slug":2940,"first_publication_date":2941,"last_publication_date":2941,"link_type":79,"isBroken":81},"ZK0uhhEAACMAdnxa",[],"david-hockney","2023-07-11T10:27:29+0000","text$1bdd61da-7e86-40cd-a086-e0b1d9c8e77c",{"variation":101,"version":102,"items":2944,"primary":2946,"id":2951,"slice_type":2423,"slice_label":10},[2945],{},{"quote":2947},[2948],{"type":39,"text":2949,"spans":2950},"\"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",{"variation":101,"version":102,"items":2953,"primary":2955,"id":2961,"slice_type":116,"slice_label":10},[2954],{},{"title":2956,"content":2957},[],[2958],{"type":39,"text":2959,"spans":2960},"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":101,"version":102,"items":2963,"primary":2965,"id":2970,"slice_type":2423,"slice_label":10},[2964],{},{"quote":2966},[2967],{"type":39,"text":2968,"spans":2969},"“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":101,"version":102,"items":2972,"primary":2974,"id":2982,"slice_type":116,"slice_label":10},[2973],{},{"title":2975,"content":2978},[2976],{"type":138,"text":464,"spans":2977},[],[2979],{"type":39,"text":2980,"spans":2981},"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":101,"version":102,"items":2984,"primary":2986,"id":2988,"slice_type":2989,"slice_label":10},[2985],{},{"embed":2987},{},"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":2993,"alt":2994,"copyright":10,"url":2995,"id":2996,"edit":2997},{"width":327,"height":328},"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":67,"y":67,"zoom":5,"background":1584},[2999,3025],{"variation":101,"version":102,"items":3000,"primary":3022,"id":3024,"slice_type":416,"slice_label":10},[3001,3005,3009,3013],{"post":3002},{"id":649,"type":15,"tags":3003,"lang":24,"slug":651,"first_publication_date":652,"last_publication_date":653,"uid":651,"link_type":79,"key":3004,"isBroken":81},[348],"f0bcbf89-a455-4980-a43f-179bca68335d",{"post":3006},{"id":1495,"type":15,"tags":3007,"lang":24,"slug":1497,"first_publication_date":1498,"last_publication_date":1499,"uid":1497,"link_type":79,"key":3008,"isBroken":81},[348],"b7583238-8332-45d2-8a73-d21d3ae6a129",{"post":3010},{"id":2566,"type":15,"tags":3011,"lang":24,"slug":2575,"first_publication_date":2572,"last_publication_date":2573,"uid":2567,"link_type":79,"key":3012,"isBroken":81},[2570,2571],"2f4ce878-4902-493b-a5e0-a1591abc3a07",{"post":3014},{"id":3015,"type":15,"tags":3016,"lang":24,"slug":3017,"first_publication_date":3018,"last_publication_date":3019,"uid":3020,"link_type":79,"key":3021,"isBroken":81},"ZAhxkRAAACkAvx0D",[2281],"amedeo-modigliani-through-the-microscope","2023-03-08T15:49:55+0000","2023-07-13T14:21:18+0000","amadeo-modigliani-a-century-of-enigma","ec017f64-e3af-4e9d-977d-237f37678a6c",{"slides_per_view":10,"max_slides_count":10,"tag":3023,"type":15,"title":414,"paralax":10},{"link_type":79},"carousel$92e64e99-ab0d-4e3e-81c6-19f9532e78dc",{"variation":101,"version":102,"items":3026,"primary":3029,"id":3031,"slice_type":416,"slice_label":10},[3027],{"post":3028},{"link_type":79},{"slides_per_view":10,"max_slides_count":10,"tag":3030,"type":421,"title":422,"paralax":10},{"link_type":79},"carousel$07c6f998-e064-40e5-ae17-9d21d3b880d7",{"id":640,"uid":645,"url":10,"type":15,"href":3033,"tags":3034,"first_publication_date":643,"last_publication_date":644,"slugs":3035,"linked_documents":3037,"lang":24,"alternate_languages":3038,"data":3039},"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",[339,348],[642,3036],"artist-report-francis-bacon-the-last-modern-master",[],[],{"title":3040,"subtitle":3041,"author":3042,"copyright_cover":3043,"cover_desktop":3044,"cover_mobile":3050,"thumbnail":3055,"published_at":3060,"slices":3061,"meta_title":3134,"meta_description":3135,"og_image":3136,"slices2":3141},"First Artist Report sheds light on Francis Bacon's market","A unique view of his auction sales over the past 20 years",{"link_type":79},"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":3045,"alt":3046,"copyright":3043,"url":3047,"id":3048,"edit":3049},{"width":183,"height":123},"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":67,"y":67,"zoom":5,"background":1584},{"dimensions":3051,"alt":3046,"copyright":3043,"url":3052,"id":3053,"edit":3054},{"width":2736,"height":183},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F893a67ce-3b9b-4137-be48-c12d4fdbb735_Francis+Bacon+Artist+report+ArtExplored+Mobile.jpg?auto=compress,format","ZOSg5RIAACcA1wyu",{"x":67,"y":67,"zoom":5,"background":1584},{"dimensions":3056,"alt":3046,"copyright":3043,"url":3057,"id":3058,"edit":3059},{"width":123,"height":183},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F2e32c7eb-1c48-4dc3-9eae-cd1e054db673_9_16-1.jpg?auto=compress,format","ZOShBBIAACYA1w1L",{"x":67,"y":67,"zoom":5,"background":1584},"2023-08-24",[3062],{"variation":101,"version":102,"items":3063,"primary":3065,"id":1478,"slice_type":116,"slice_label":10},[3064],{},{"title":3066,"content":3067},[],[3068,3071,3078,3085],{"type":39,"text":3069,"spans":3070},"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":39,"text":3072,"spans":3073},"Click on the visual below to read the full report. ",[3074],{"start":791,"end":3075,"type":473,"data":3076},51,{"link_type":579,"url":3077,"target":984},"https:\u002F\u002Fwww.artexplored.com\u002FFrancis-Bacon-Artist-Report\u002Findex.html#\u002Fpage\u002F0",{"type":132,"url":3079,"alt":10,"copyright":3080,"dimensions":3081,"id":3082,"edit":3083,"linkTo":3084},"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":183,"height":123},"ZOzeKBAAACAA-bcF",{"x":67,"y":67,"zoom":5,"background":1584},{"link_type":579,"url":3077,"target":984},{"type":39,"text":3086,"spans":3087},"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.",[3088,3092,3094,3097,3100,3103,3111,3114,3117,3122,3125,3128,3130],{"start":3089,"end":3090,"type":473,"data":3091},449,476,{"link_type":579,"url":3077,"target":984},{"start":3093,"end":1800,"type":522},646,{"start":3095,"end":3096,"type":522},1027,1041,{"start":3098,"end":3099,"type":522},1128,1172,{"start":3101,"end":3102,"type":522},1474,1522,{"start":3104,"end":3105,"type":473,"data":3106},1702,1746,{"id":3107,"type":476,"tags":3108,"lang":24,"slug":3109,"first_publication_date":3110,"last_publication_date":3110,"link_type":79,"isBroken":81},"ZOSoqBIAACgA1zFg",[],"arttactic","2023-08-22T12:23:07+0000",{"start":3112,"end":3113,"type":522},1936,1958,{"start":3115,"end":3116,"type":522},1964,1965,{"start":3118,"end":3119,"type":473,"data":3120},2461,2486,{"link_type":579,"url":3121,"target":984},"https:\u002F\u002Fwww.artexplored.com\u002FFrancis-Bacon-Artist-Report\u002Findex.html#\u002Fpage\u002F26",{"start":3123,"end":3124,"type":522},2914,2946,{"start":3126,"end":3127,"type":522},2983,3006,{"start":3129,"end":2336,"type":522},3011,{"start":3131,"end":3132,"type":473,"data":3133},3053,3064,{"link_type":579,"url":3121,"target":984},"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":3137,"alt":3046,"copyright":10,"url":3138,"id":3139,"edit":3140},{"width":327,"height":328},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F8c25d210-31fe-477a-a90d-13fdc56540e6_First+artist+report+Image+Opengraph.jpg?auto=compress,format","ZO4VphAAAB8A_zUi",{"x":67,"y":67,"zoom":5,"background":1584},[3142,3162],{"variation":101,"version":102,"items":3143,"primary":3160,"id":1528,"slice_type":416,"slice_label":10},[3144,3148,3152,3156],{"post":3145},{"id":1495,"type":15,"tags":3146,"lang":24,"slug":1497,"first_publication_date":1498,"last_publication_date":1499,"uid":1497,"link_type":79,"key":3147,"isBroken":81},[348],"72cefb5c-55bf-4648-9738-e06bdd34322f",{"post":3149},{"id":649,"type":15,"tags":3150,"lang":24,"slug":651,"first_publication_date":652,"last_publication_date":653,"uid":651,"link_type":79,"key":3151,"isBroken":81},[348],"424315c1-956c-4591-b93a-3b42f32f3b6e",{"post":3153},{"id":1507,"type":15,"tags":3154,"lang":24,"slug":1510,"first_publication_date":1511,"last_publication_date":1512,"uid":1513,"link_type":79,"key":3155,"isBroken":81},[1509],"5fa2f411-97b6-4fcb-8caa-0f65845d807b",{"post":3157},{"id":1517,"type":15,"tags":3158,"lang":24,"slug":1520,"first_publication_date":1521,"last_publication_date":1522,"uid":1523,"link_type":79,"key":3159,"isBroken":81},[1519],"77f0d108-78c9-4b8a-8e88-bb403d49fe60",{"slides_per_view":10,"max_slides_count":10,"tag":3161,"type":15,"title":1527,"paralax":10},{"link_type":79},{"variation":101,"version":102,"items":3163,"primary":3168,"id":1538,"slice_type":416,"slice_label":10},[3164,3166],{"post":3165},{"link_type":79},{"post":3167},{"link_type":79},{"slides_per_view":10,"max_slides_count":10,"tag":3169,"type":421,"title":1537,"paralax":10},{"link_type":79},{"id":3171,"uid":3172,"url":10,"type":15,"href":3173,"tags":3174,"first_publication_date":3176,"last_publication_date":3177,"slugs":3178,"linked_documents":3182,"lang":24,"alternate_languages":3183,"data":3184},"ZAsMvxAAACsAxKCC","van-gogh-in-rome","https:\u002F\u002Fartexplorer-prod.cdn.prismic.io\u002Fapi\u002Fv2\u002Fdocuments\u002Fsearch?ref=aCb60BIAACEA00zN&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22ZAsMvxAAACsAxKCC%22%29+%5D%5D",[3175],"Van  Gogh","2023-03-10T15:15:24+0000","2023-07-13T13:45:59+0000",[3179,3180,3181,3172],"the-making-of-van-gogh","fabio-pariante-spoke-to-the-exhibitions-co-curator-maria-teresa-benedetti-about-how-the-dutch-painter-saw-beauty-in-hardship.","artexplorer-spoke-to-the-exhibitions-co-curator-maria-teresa-benedetti-about-how-the-dutch-painter-saw-beauty-in-hardship.",[],[],{"title":3185,"subtitle":3186,"author":3187,"copyright_cover":3223,"cover_desktop":3224,"cover_mobile":3232,"thumbnail":3238,"published_at":10,"slices":3241,"meta_title":3393,"meta_description":3394,"og_image":3395,"slices2":3401},"The making of Van Gogh","Landmark show in Rome punctuates vital moments in artist's life",{"id":3188,"type":31,"tags":3189,"lang":24,"slug":3190,"first_publication_date":3191,"last_publication_date":3192,"uid":3190,"data":3193,"link_type":79,"key":3222,"isBroken":81},"ZBBhKRAAACsAzQKh",[],"fabio-pariante","2023-03-14T11:57:35+0000","2023-07-10T00:51:39+0000",{"description":3194,"short_description":3198,"job":3202,"thumbnail":3203,"cover":3210,"uid":3190,"twitter":3213,"title":3214,"og_image":3215,"meta_description":3218,"meta_title":3214},[3195],{"type":39,"text":3196,"spans":3197},"Fabio Pariante covers art stories in Europe, especially Italy, for ArtExplored. A journalist and professor, he has a master's degree in Languages and Intercultural Communication in the Euro-Mediterranean Area in Intercultural Studies entitled, \"The Arab Spring in the era of web 2.0: the role of social networks\". In 2011, under the patronage of the Presidency of the Italian Republic, he won the Giovannini Prize in Rome for his three-year degree thesis in the History of Contemporary Art entitled \"Net.Art: the art of networking\". Among the artistic projects he is co-founder of the Marina Abramovic Institute in New York and collaborates with some museums and contemporary art galleries. Among the Italian and foreign newsrooms there are Wired Italia, Corriere della Sera - Dove and MuseumWeek. ",[],[3199],{"type":39,"text":3200,"spans":3201},"Fabio Pariante is an art writer for ArtExplored and covers stories in Europe, especially Italy. ",[],"Art Writer - Europe",{"dimensions":3204,"alt":10,"copyright":10,"url":3207,"id":3208,"edit":3209},{"width":3205,"height":3206},1497,1998,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F23d3f467-037b-406e-9b8a-b46a0e29f848_Fabio+Pariante.jpg?auto=compress,format","ZIxYRRAAACMAuOXV",{"x":67,"y":67,"zoom":5,"background":1584},{"dimensions":3211,"alt":10,"copyright":10,"url":3207,"id":3208,"edit":3212},{"width":3205,"height":3206},{"x":67,"y":67,"zoom":5,"background":1584},"https:\u002F\u002Ftwitter.com\u002FFabioPariante?lang=it","Fabio Pariante",{"dimensions":3216,"alt":10,"copyright":10,"url":3207,"id":3208,"edit":3217},{"width":3205,"height":3206},{"x":67,"y":67,"zoom":5,"background":1584},[3219],{"type":39,"text":3220,"spans":3221},"Fabio Pariante covers art stories in Europe, especially Italy, for ArtExplored ",[],"72522c58-6341-4fd2-8982-1a4be946abee","Vincent van Gogh Autoritratto Parigi, aprile – giugno 1887Olio su cartone, cm 32,8x24\n© Kröller-Müller Museum, Otterlo, The Netherlands",{"dimensions":3225,"alt":3227,"copyright":3228,"url":3229,"id":3230,"edit":3231},{"width":3226,"height":2898},2880,"Vincent van Gogh \nAutoritratto Parigi, aprile – giugno 1887\nOlio su cartone, cm 32,8x24","© Kröller-Müller Museum, Otterlo, The Netherlands","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F83214aec-15ff-4bd8-8f00-d7af424fd462_Cover+Landscape.jpg?auto=compress,format","ZB2ihRAAACMAzW0s",{"x":67,"y":67,"zoom":5,"background":1584},{"dimensions":3233,"alt":3227,"copyright":3228,"url":3235,"id":3236,"edit":3237},{"width":3234,"height":2662},1620,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F18951e5a-a06f-4790-be02-31df29dc8186_Cover+Portrait.jpg?auto=compress,format","ZB2i1xAAACQAzW6-",{"x":67,"y":67,"zoom":5,"background":1584},{"dimensions":3239,"alt":3227,"copyright":3228,"url":3235,"id":3236,"edit":3240},{"width":3234,"height":2662},{"x":67,"y":67,"zoom":5,"background":1584},[3242,3263,3361],{"variation":101,"version":102,"items":3243,"primary":3245,"id":3262,"slice_type":116,"slice_label":10},[3244],{},{"title":3246,"content":3249},[3247],{"type":138,"text":464,"spans":3248},[],[3250],{"type":39,"text":3251,"spans":3252},"Fabio Pariante (FP) spoke to the exhibition’s co-curator Maria Teresa Benedetti (MTB) about how the Dutch painter saw beauty in hardship. \n\nThe Kröller-Müller Museum in the Netherlands holds one of the world’s most impressive collections of Modern art, including masterpieces by Vincent van Gogh. Several of these works have travelled to Rome’s Palazzo Bonaparte for a show celebrating the Dutch artist, simply titled Van Gogh. \n\nMore than 30,000 visitors queued up to see the show in its first week. Co-curated by Maria Teresa Benedetti and Francesca Villanti, the exhibition has 40 drawings and paintings spread across two levels. There are also letters that the artist sent to his brother, Theo, in which he documented intimate details about his thoughts and artistic practice. \n\nAmong the works on display are Self-Portrait (1887), Old Man in Sorrow (On the Threshold of Eternity) (1890), and The Sower (1888). The latter made headlines at the end of last year when it was targeted by environmental protestors who threw soup at it (luckily its glass cover prevented any lasting damage).",[3253,3256,3259],{"start":3254,"end":3255,"type":522},814,828,{"start":3257,"end":3258,"type":522},836,885,{"start":3260,"end":3261,"type":522},897,906,"text$0be87ab2-a02a-4244-ad89-432ca9d1d7f8",{"variation":101,"version":102,"items":3264,"primary":3358,"id":3359,"slice_type":3360,"slice_label":10},[3265,3271,3289,3294,3299,3304,3309,3316,3329,3334,3339,3344],{"speaker":3266,"content":3267},"FP",[3268],{"type":39,"text":3269,"spans":3270},"Hi Maria, what sets this exhibition apart from previous Van Gogh shows?",[],{"speaker":3272,"content":3273},"MTB",[3274],{"type":39,"text":3275,"spans":3276},"In this exhibition, there is a very clear path that respects the chronology of Van Gogh’s life, during which he only painted for a decade – and didn’t sell any paintings. Half of the paintings on show concern the first five years of his career, when he drew and painted working-class people from his homeland, including farmers, woodcutters, miners, weavers, housewives, and female labourers. This story has not been told before with such care because we were able to call upon the Kröller-Müller Museum’s extensive documentation from this specific period. \n\nThen we move to Van Gogh’s Parisian period, which was a meditative time for him because he collected more work than he produced. After this follows his stay in Arles, his tumultuous friendship with Paul Gauguin, and his time in the asylum of Saint-Rémy, before his eventual suicide. \n\nThis is also a psychological path outlined in the show; during the first five years of his career Van Gogh only used the colour black. It wasn’t until he moved to Paris in 1886 and experienced Impressionism in its final stage, notably at the last and eighth historical Impressionist exhibition, where works by artists including Georges Pierre Seurat and Paul Signac were shown, that his palette changed and became more colourful. ",[3277,3284],{"start":2806,"end":3278,"type":473,"data":3279},1050,{"id":3280,"type":476,"tags":3281,"lang":24,"slug":3282,"first_publication_date":3283,"last_publication_date":3283,"link_type":79,"isBroken":81},"ZKyA7xEAACIAc2uK",[],"impressionism","2023-07-10T22:06:42+0000",{"start":3285,"end":3286,"type":473,"data":3287},1113,1127,{"id":3280,"type":476,"tags":3288,"lang":24,"slug":3282,"first_publication_date":3283,"last_publication_date":3283,"link_type":79,"isBroken":81},[],{"speaker":3266,"content":3290},[3291],{"type":39,"text":3292,"spans":3293},"So, from this period, Van Gogh started using light colours, marking a shift in his practice?",[],{"speaker":3272,"content":3295},[3296],{"type":39,"text":3297,"spans":3298},"Yes, this is something he adopted in his own way – he did not take a scientific approach, like Seurat, for example. Later on, Van Gogh decided to escape the somewhat grey city of Paris and moved to the south of France, which was a vital stage in his career. During this time, his turbulent relationship with Gauguin ultimately led him to slice his ear off. \n\nDespite this, he continued to paint, although he always felt more motivated when he wasn’t in the grips of a crisis. Van Gogh said he wanted to achieve something greater every time he set to work, which inspired him to employ colour in new and original ways.",[],{"speaker":3266,"content":3300},[3301],{"type":39,"text":3302,"spans":3303},"Why wasn’t Van Gogh successful during his lifetime?",[],{"speaker":3272,"content":3305},[3306],{"type":39,"text":3307,"spans":3308},"He once said of himself, 'I feel like an old dog with wet paws who enters a place and disturbs everyone, who nobody likes, who annoys everyone. I know very well that I can't be more than a fourth or fifth-ranked artist.'\n\nHe wasn’t aware of his ability. He obsessively pursued painting but was never rewarded for it, at least commercially, so it seems he wasn’t seeking validation.",[],{"speaker":3266,"content":3310},[3311],{"type":39,"text":3312,"spans":3313},"Self-Portrait (1887) is one of the landmark paintings in the exhibition. What makes this work so profound?",[3314],{"start":67,"end":3315,"type":522},13,{"speaker":3272,"content":3317},[3318],{"type":39,"text":3319,"spans":3320},"The self-portrait on display is the only one that the Kröller-Müller Museum owns. Van Gogh made over 40 self-portraits – he said he wasn’t able to find people to sit for him, which indicates that he lacked social skills. The version in question was painted in Paris, it’s a very expressive and tormented portrait, it is an example of the artist moving towards neo-impressionism, notably in his use of colour.",[3321],{"start":3322,"end":3323,"type":473,"data":3324},360,377,{"id":3325,"type":476,"tags":3326,"lang":24,"slug":3327,"first_publication_date":3328,"last_publication_date":3328,"link_type":79,"isBroken":81},"ZKx_kBEAACQAc2U3",[],"neo-impressionism","2023-07-10T22:00:51+0000",{"speaker":3266,"content":3330},[3331],{"type":39,"text":3332,"spans":3333},"What was the thought process behind choosing works for the show?",[],{"speaker":3272,"content":3335},[3336],{"type":39,"text":3337,"spans":3338},"The criterion was to demonstrate vital moments punctuating Van Gogh’s practice. We chose works that best document his life. Many of them depict working-class people – Van Gogh saw beauty in them. He preferred to paint a peasant girl working in the fields wearing a tattered, sun-faded dress, as opposed to a well-dressed, elegant girl. There is hope in his paintings, despite the hardship. We wanted to highlight this. ",[],{"speaker":3266,"content":3340},[3341],{"type":39,"text":3342,"spans":3343},"What do you want people to take away from the show? Do you want them to feel Van Gogh’s artistic genius, his tormented spirit, physiological pain, or something else? ",[],{"speaker":3272,"content":3345},[3346],{"type":39,"text":3347,"spans":3348},"The pain is there, certainly, but if you take his painting The Sower (1888), for example, the act of sowing represents life and production, it is imbued with spiritual value, and it is about giving meaning to life. However, if you take Old Man in Sorrow (On the Threshold of Eternity), it shows a man bent over crying into his hands, which represents something else completely. These emotions resonate with people. \n\nVan Gogh \n08 October 2022 - 07 May 2023. Palazzo Bonaparte, Rome. \n",[3349,3352,3355],{"start":3350,"end":3351,"type":522},59,69,{"start":3353,"end":3354,"type":522},236,262,{"start":3356,"end":3357,"type":522},283,286,{},"text_interview$f9e424de-d2c9-4ea3-a3d2-98140809fecc","text_interview",{"variation":118,"version":102,"items":3362,"primary":3381,"id":3392,"slice_type":132,"slice_label":10},[3363,3372],{"image":3364,"title":3371,"subtitle":3228},{"dimensions":3365,"alt":3366,"copyright":3367,"url":3368,"id":3369,"edit":3370},{"width":3226,"height":2663},"Vincent Van Gogh\nIl seminatore Arles, 17 – 28 giugno 1888 ca\nOlio su tela, 64,2x80,3 cm","© Kröller-Müller Museum, Otterlo, The\nNetherlands","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fdbf33bf0-cb2a-498e-a4ce-9c12a29641ff_3_2+-+2.jpg?auto=compress,format","ZB2j-BAAACMAzXQy",{"x":67,"y":67,"zoom":5,"background":1584},"Il seminatore Arles, 17 – 28 giugno 1888 ca, Olio su tela, 64,2x80,3 cm",{"image":3373,"title":3377,"subtitle":3228},{"dimensions":3374,"alt":3377,"copyright":10,"url":3378,"id":3379,"edit":3380},{"width":3375,"height":3376},1366,1068,"Il burrone (Les Peiroulets) Saint–Rémy, dicembre 1889, Olio su tela, 73,2x93,3 cm","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fa7cbfbe2-193e-4182-90f9-1c7f5795c2fd_Original+-+1.jpg?auto=compress,format","ZB2krhAAACQAzXeZ",{"x":67,"y":67,"zoom":5,"background":1584},{"image1":3382,"label":10,"copyright":3388},{"dimensions":3383,"alt":3384,"copyright":10,"url":3385,"id":3386,"edit":3387},{"width":183,"height":184},"Vincent Van GoghIl seminatore Arles, 17 – 28 giugno 1888 ca, Olio su tela, ","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fab44f591-b3d3-4a52-9c95-e3fed3ec6397_3_2+Vincent+Van+GoghIl+seminatore+Arles_+17+%E2%80%93+28+giugno+1888+caOlio+su+tela.jpg?auto=compress,format","ZK_-RxIAACIAah0n",{"x":67,"y":67,"zoom":5,"background":1584},[3389],{"type":39,"text":3390,"spans":3391},"Il seminatore Arles, 17 – 28 giugno 1888 ca, Olio su tela, 64,2x80,3 cm\n\n© Kröller-Müller Museum, Otterlo, The Netherlands",[],"image$1a18c755-45e3-423e-83b3-8a7364073391","‘Van Gogh’ in Rome: Landmark show punctuates vital moments in artist’s life","We spoke to the exhibition’s co-curator Maria Teresa Benedetti about how the Dutch painter saw beauty in hardship.",{"dimensions":3396,"alt":3397,"copyright":10,"url":3398,"id":3399,"edit":3400},{"width":327,"height":328},"Vincent van Gogh Autoritratto Parigi, aprile – giugno 1887 Olio su cartone","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F2c55b483-659b-4572-bf33-c1ba023e9940_VAN+GOGH+IN+ROME+Image+Opengraph.jpg?auto=compress,format","ZK_8txIAACMAahhk",{"x":67,"y":67,"zoom":5,"background":1584},[3402,3417,3426],{"variation":101,"version":102,"items":3403,"primary":3406,"id":3416,"slice_type":416,"slice_label":10},[3404],{"post":3405},{"link_type":79},{"slides_per_view":665,"max_slides_count":5,"tag":3407,"type":15,"title":414,"paralax":10},{"id":3408,"type":669,"tags":3409,"lang":24,"slug":3411,"first_publication_date":3412,"last_publication_date":3413,"uid":3414,"link_type":79,"key":3415,"isBroken":81},"ZA9DKRAAAKdKyy2t",[3410],"Vincent van Gogh","van-gogh","2023-03-13T15:44:40+0000","2023-06-21T11:57:47+0000","vincent-van-gogh","a49c333d-458b-42dc-817a-7006c672ca74","carousel$af66427f-2d4c-4666-8dd9-7775eb80c54e",{"variation":101,"version":102,"items":3418,"primary":3421,"id":3425,"slice_type":416,"slice_label":10},[3419],{"post":3420},{"link_type":79},{"slides_per_view":10,"max_slides_count":10,"tag":3422,"type":428,"title":2857,"paralax":10},{"id":3408,"type":669,"tags":3423,"lang":24,"slug":3411,"first_publication_date":3412,"last_publication_date":3413,"uid":3414,"link_type":79,"key":3424,"isBroken":81},[3410],"3207a902-da61-4832-80e4-0845d7546a2f","carousel$3119127d-549b-41a4-825c-d5f0aaf1f7e2",{"variation":101,"version":102,"items":3427,"primary":3430,"id":3432,"slice_type":416,"slice_label":10},[3428],{"post":3429},{"link_type":79},{"slides_per_view":10,"max_slides_count":10,"tag":3431,"type":421,"title":422,"paralax":10},{"link_type":79},"carousel$30fba0e2-d20e-40e2-b0e7-98b73634fa2c","5621b3e","All Rights Reserved"]