[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"$9ZijusqCES":3},{"single":4,"locales":303,"slices":305},{"id":5,"uid":6,"url":7,"type":8,"href":9,"tags":10,"first_publication_date":14,"last_publication_date":15,"slugs":16,"linked_documents":18,"lang":19,"alternate_languages":20,"data":21},"ZurRuhAAACEAByVL","are-rothko-rooms-facing-extinction",null,"article","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",[11,12,13],"Rothko","Mark Rothko","Rothko Rooms","2024-09-18T13:51:01+0000","2024-10-16T14:19:35+0000",[17],"a-natural-disaster-strikes-the-rothko-chapel",[],"en-gb",[],{"title":22,"subtitle":23,"author":24,"copyright_cover":7,"cover_desktop":78,"cover_mobile":86,"thumbnail":92,"published_at":95,"slices":96,"meta_title":246,"meta_description":247,"og_image":248,"slices2":255},"Are Rothko Rooms facing extinction?","Rare ensembles by the American painter are especially prone to damage",{"id":25,"type":26,"tags":27,"lang":19,"slug":28,"first_publication_date":29,"last_publication_date":30,"uid":28,"data":31,"link_type":75,"key":76,"isBroken":77},"ZBBz5xAAAKdKzSXy","author",[],"lea-nedwed","2023-03-14T13:17:30+0000","2024-07-10T17:09:39+0000",{"description":32,"short_description":49,"job":53,"thumbnail":54,"cover":65,"uid":28,"title":58,"og_image":68,"meta_description":71,"meta_title":58},[33,38,41,44,46],{"type":34,"text":35,"spans":36,"direction":37},"paragraph","Léa is a managing editor at ArtExplored, where she produces in-depth art market reports and educational content. ",[],"ltr",{"type":34,"text":39,"spans":40,"direction":37}," ",[],{"type":34,"text":42,"spans":43,"direction":37},"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":34,"text":39,"spans":45,"direction":37},[],{"type":34,"text":47,"spans":48,"direction":37},"She holds degrees in Law from the Sorbonne, Art Appraisal and Trade from IESA, and an MBA in the Business of Art from ICART.",[],[50],{"type":34,"text":51,"spans":52,"direction":37},"Lea is a managing editor and content producer at ArtExplored. ",[],"Managing Editor",{"dimensions":55,"alt":58,"copyright":7,"url":59,"id":60,"edit":61},{"width":56,"height":57},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":62,"y":62,"zoom":63,"background":64},0,1,"transparent",{"dimensions":66,"alt":58,"copyright":7,"url":59,"id":60,"edit":67},{"width":56,"height":57},{"x":62,"y":62,"zoom":63,"background":64},{"dimensions":69,"alt":7,"copyright":7,"url":59,"id":60,"edit":70},{"width":56,"height":57},{"x":62,"y":62,"zoom":63,"background":64},[72],{"type":34,"text":73,"spans":74},"Léa Nedwed is a senior writer at ArtExplored",[],"Document","a5776645-7ce8-40de-b9c9-8cdd4b546fec",false,{"dimensions":79,"alt":82,"copyright":7,"url":83,"id":84,"edit":85},{"width":80,"height":81},16000,9000,"The Rothko Chapel, Houston (Texas) (left) and the Rothko Room at Japan’s Kawamura Memorial DIC Museum of Art (right) © Sophie Whaley ","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZurQu7VsGrYSvilj_Landscape_16.9_Web_Header_Rothko3.png?auto=format,compress","ZurQu7VsGrYSvilj",{"x":62,"y":62,"zoom":63,"background":64},{"dimensions":87,"alt":7,"copyright":7,"url":89,"id":90,"edit":91},{"width":88,"height":80},10667,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZurii7VsGrYSvjb9_Thumbnail_Portrait_3.2_Rothko_V4.jpg?auto=format,compress","Zurii7VsGrYSvjb9",{"x":62,"y":62,"zoom":63,"background":64},{"dimensions":93,"alt":7,"copyright":7,"url":89,"id":90,"edit":94},{"width":88,"height":80},{"x":62,"y":62,"zoom":63,"background":64},"2024-10-05",[97,112,125,142,154,188,203,222],{"variation":98,"version":99,"items":100,"primary":101,"id":110,"slice_type":111,"slice_label":7},"default-slice","sktwi1xtmkfgx8626",[],{"title":102,"content":103},[],[104,107],{"type":34,"text":105,"spans":106,"direction":37},"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":34,"text":108,"spans":109,"direction":37},"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$30b164fa-2695-45f9-bb94-fad49df69004","text",{"variation":98,"version":99,"items":113,"primary":114,"id":124,"slice_type":111,"slice_label":7},[],{"title":115,"content":120},[116],{"type":117,"text":118,"spans":119,"direction":37},"heading1","A natural disaster strikes the Rothko Chapel",[],[121],{"type":34,"text":122,"spans":123,"direction":37},"This summer, the Rothko Chapel in Houston, Texas, was critically impacted by a severe storm, which caused water to leak through the roof and damage three of the fourteen paintings housed within. Ironically, the skylight—designed to provide ideal lighting in keeping with Rothko’s vision—became the very entry point for the water that compromised the works it was intended to illuminate. ",[],"text$b918ede1-594c-4be7-a108-8053e6571783",{"variation":126,"version":99,"items":127,"primary":135,"id":140,"slice_type":141,"slice_label":7},"centered-slice",[128],{"image":129,"title":134,"subtitle":7},{"dimensions":130,"alt":7,"copyright":7,"url":131,"id":132,"edit":133},{"width":80,"height":88},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZurQ7rVsGrYSvimS_Visuals_Landscape_3.2_Rothko_.jpg?auto=format,compress","ZurQ7rVsGrYSvimS",{"x":62,"y":62,"zoom":63,"background":64},"Interior of the Rothko Chapel, Houston (Texas) © Sophie Whaley",{"image1":136,"label":134,"copyright":139},{"dimensions":137,"alt":7,"copyright":7,"url":131,"id":132,"edit":138},{"width":80,"height":88},{"x":62,"y":62,"zoom":63,"background":64},[],"image$c974a3ca-921e-4225-8516-3bd5d9b96291","image",{"variation":98,"version":99,"items":143,"primary":144,"id":153,"slice_type":111,"slice_label":7},[],{"title":145,"content":146},[],[147,150],{"type":34,"text":148,"spans":149,"direction":37},"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":34,"text":151,"spans":152,"direction":37},"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":98,"version":99,"items":155,"primary":156,"id":187,"slice_type":111,"slice_label":7},[],{"title":157,"content":161},[158],{"type":117,"text":159,"spans":160,"direction":37},"Water incident previously damaged Menil Rothko",[],[162,178],{"type":34,"text":163,"spans":164,"direction":37},"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.  ",[165,173],{"start":166,"end":167,"type":168,"data":169},46,87,"hyperlink",{"link_type":170,"url":171,"target":172},"Web","https:\u002F\u002Fwww.menil.org\u002Fcollection\u002Fobjects\u002F7811-untitled","_self",{"start":174,"end":175,"type":168,"data":176},567,659,{"link_type":170,"url":177,"target":172},"https:\u002F\u002Fwww.culturalheritage.org\u002Fdocs\u002Fdefault-source\u002Fpublications\u002Fperiodicals\u002Fannual-meeting\u002F2022-program-and-abstract-book.pdf?sfvrsn=4f021720_16",{"type":34,"text":179,"spans":180,"direction":37},"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.  ",[181],{"start":182,"end":183,"type":168,"data":184},164,215,{"link_type":170,"url":185,"target":186},"https:\u002F\u002Farchive.is\u002Fo\u002FyKci6\u002Fhttps:\u002Fsr.ithaka.org\u002Fpublications\u002Fhow-have-art-museums-been-impacted-by-climate-change\u002F","_blank","text$49ad930f-dc02-4270-9675-88e0e88fd5c7",{"variation":126,"version":99,"items":189,"primary":197,"id":202,"slice_type":141,"slice_label":7},[190],{"image":191,"title":196,"subtitle":7},{"dimensions":192,"alt":7,"copyright":7,"url":193,"id":194,"edit":195},{"width":80,"height":88},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZurUo7VsGrYSvi0K_Visuals_Landscape_3.2_Rothko_2.jpg?auto=format,compress","ZurUo7VsGrYSvi0K",{"x":62,"y":62,"zoom":63,"background":64},"Rothko Room at Japan’s Kawamura Memorial DIC Museum of Art © Sophie Whaley",{"image1":198,"label":196,"copyright":201},{"dimensions":199,"alt":7,"copyright":7,"url":193,"id":194,"edit":200},{"width":80,"height":88},{"x":62,"y":62,"zoom":63,"background":64},[],"image$d5d726cd-5921-47cd-8463-a1796e7e5de2",{"variation":98,"version":99,"items":204,"primary":205,"id":221,"slice_type":111,"slice_label":7},[],{"title":206,"content":210},[207],{"type":117,"text":208,"spans":209,"direction":37},"Uncertain fate for Japan's Rothko Room",[],[211],{"type":34,"text":212,"spans":213,"direction":37},"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. ",[214,218],{"start":215,"end":216,"type":217},234,248,"em",{"start":219,"end":220,"type":217},538,553,"text$24c83861-a478-4a64-bf16-d97804570695",{"variation":98,"version":99,"items":223,"primary":224,"id":245,"slice_type":111,"slice_label":7},[],{"title":225,"content":229},[226],{"type":117,"text":227,"spans":228,"direction":37},"From vandalism to digital revival: efforts in the UK and the US ",[],[230,233,242],{"type":34,"text":231,"spans":232,"direction":37},"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":34,"text":234,"spans":235,"direction":37},"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.  ",[236,239],{"start":237,"end":238,"type":217},154,168,{"start":240,"end":241,"type":217},245,261,{"type":34,"text":243,"spans":244,"direction":37},"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$6e69228b-5ffe-4a5e-8224-71cd3e92f45c","Are Rothko Rooms Facing Extinction?","Mark Rothko, one of the most influential painters of the post-war era, is celebrated globally, with his artworks held in major museums. Yet, there are only five Rothko rooms in public institutions worldwide—spaces that permanently display groups of his paintings conceived as cohesive sets. These ensembles, however, have been particularly vulnerable to damage over time. 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Matsch, and a Ghanaian Prince in turn-of-the-century Vienna","Twin portraits illuminate the friendship and break-up between the 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Picasso, Giorgio de Chirico, Pierre Soulages, Richard Serra—these illustrious names in the history of art draw visitors to Luxembourg's Nationalmusée um Fëschmaart. Yet, alongside these masters, the museum also showcases long-forgotten artists who are equally deserving of our attention.",[],{"type":34,"text":39,"spans":371,"direction":37},[],{"type":34,"text":373,"spans":374,"direction":37},"Ruud Priem, the museum's Head of Department and Curator of Fine Arts, recently oversaw the acquisition of a striking portrait. With a decade at Amsterdam's Rijksmuseum and collaborations worldwide, Priem has engaged deeply with celebrated masterpieces while demonstrating a discerning eye for overlooked treasures.",[],"text$ed331b5a-ad55-419e-9cc4-6ef4d8537b08",{"variation":126,"version":99,"items":377,"primary":378,"id":389,"slice_type":141,"slice_label":7},[],{"image1":379,"label":7,"copyright":385},{"dimensions":380,"alt":7,"copyright":7,"url":382,"id":383,"edit":384},{"width":381,"height":381},2160,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZqOhCx5LeNNTxhnR_FranzvonMatsch-Square.jpg?auto=format,compress","ZqOhCx5LeNNTxhnR",{"x":62,"y":62,"zoom":63,"background":64},[386],{"type":34,"text":387,"spans":388,"direction":37},"Franz von Matsch (1861-1942), Portrait of William Nii Nortey Dowuona, Prince of the Ga people from Osu in the Grand Accra region of Ghana, West Africa, 1897, oil on canvas, Collection MNAHA",[],"image$581a16cf-b400-443f-95ef-696551be2e71",{"variation":98,"version":99,"items":391,"primary":392,"id":406,"slice_type":111,"slice_label":7},[],{"title":393,"content":397},[394],{"type":117,"text":395,"spans":396,"direction":37},"A mysterious portrait",[],[398,401,403],{"type":34,"text":399,"spans":400,"direction":37},"The newly acquired painting is presented in its (presumably) original, beautifully crafted bamboo frame. From the corners of the frame protrude four tubers–the roots of the bamboo–enhancing its exotic allure. Its quasi-photographic quality and frontal, naturalistic depiction of a black man in bust form make it challenging to date at first glance. The painting appears academic with its polished finish and the model’s classical pose, yet it diverges from tradition through its unconventional choice of subject.",[],{"type":34,"text":39,"spans":402,"direction":37},[],{"type":34,"text":404,"spans":405,"direction":37},"A black figure wears a piece of cloth in a toga-like fashion, draped over his left shoulder and leaving the right one bare. Set against a simple clay-green background, he lacks contextual markers. The museum acquired it at a 2021 Sotheby's auction, simply as “Portrait of an African Man”. Its author, Austrian painter Franz von Matsch (1861-1942), was active in Vienna from the late 19th to the mid-20th century. Reflecting an era when Black representation in European art expanded alongside migration from Africa and Haiti, such works broke away from prevailing stereotypes. However, the context in which this portrait was created unveils more complex realities. While interpreting the artist’s perspective solely through the painting proves challenging, it nevertheless offers profound insights into anthropology and social relations in modern Europe.",[],"text$b4cb4442-fba2-4a3d-9ed3-7f3a2a3ca55a",{"variation":98,"version":99,"items":408,"primary":409,"id":423,"slice_type":111,"slice_label":7},[],{"title":410,"content":414},[411],{"type":117,"text":412,"spans":413,"direction":37},"Matsch and Klimt: partners in art",[],[415,418,420],{"type":34,"text":416,"spans":417,"direction":37},"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":34,"text":39,"spans":419,"direction":37},[],{"type":34,"text":421,"spans":422,"direction":37},"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$5f3b82d7-a73d-4039-9852-2a47bf8110de",{"variation":126,"version":99,"items":425,"primary":436,"id":448,"slice_type":141,"slice_label":7},[426],{"image":427,"title":434,"subtitle":435},{"dimensions":428,"alt":7,"copyright":7,"url":431,"id":432,"edit":433},{"width":429,"height":430},1920,2413,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZqOjhB5LeNNTxhoK_Klimtpainting2.png?auto=format,compress","ZqOjhB5LeNNTxhoK",{"x":62,"y":62,"zoom":63,"background":64},"Gustav Klimt (1862-1918)","Portrait of William Nii Nortey Dowuona, c. 1897",{"image1":437,"label":7,"copyright":444},{"dimensions":438,"alt":7,"copyright":7,"url":441,"id":442,"edit":443},{"width":439,"height":440},3840,2560,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZqOqcR5LeNNTxhrQ_GustavKlimtlandscape3_2.jpg?auto=format,compress","ZqOqcR5LeNNTxhrQ",{"x":62,"y":62,"zoom":63,"background":64},[445],{"type":34,"text":446,"spans":447,"direction":37},"Gustav Klimt (1862-1918), Portrait of William Nii Nortey Dowuona, c. 1897\n\n(Click to view the full image)",[],"image$d8c5583d-c0ef-4f3e-a78c-a493b58b6b37",{"variation":98,"version":99,"items":450,"primary":451,"id":457,"slice_type":111,"slice_label":7},[],{"title":452,"content":453},[],[454],{"type":34,"text":455,"spans":456,"direction":37},"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":98,"version":99,"items":459,"primary":460,"id":469,"slice_type":111,"slice_label":7},[],{"title":461,"content":465},[462],{"type":117,"text":463,"spans":464,"direction":37},"Investigating identity",[],[466],{"type":34,"text":467,"spans":468,"direction":37},"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$4a43e929-6358-422a-bc1e-5fa06cd95e72",{"variation":98,"version":99,"items":471,"primary":481,"id":491,"slice_type":141,"slice_label":7},[472],{"image":473,"title":480,"subtitle":7},{"dimensions":474,"alt":7,"copyright":7,"url":477,"id":478,"edit":479},{"width":475,"height":476},2634,1517,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZqOk8h5LeNNTxhpX_printWienerTiergarten1897_SMK%5B31%5D2.png?auto=format,compress","ZqOk8h5LeNNTxhpX",{"x":62,"y":62,"zoom":63,"background":64},"A group of Ga people from Ghana at Vienna’s Tiergarten circa 1897.",{"image1":482,"label":7,"copyright":487},{"dimensions":483,"alt":7,"copyright":7,"url":484,"id":485,"edit":486},{"width":439,"height":440},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZqOk6h5LeNNTxhpW_GapeopleLandscape3_2.jpg?auto=format,compress","ZqOk6h5LeNNTxhpW",{"x":62,"y":62,"zoom":63,"background":64},[488],{"type":34,"text":489,"spans":490,"direction":37},"A group of Ga people from Ghana at Vienna’s Tiergarten circa 1897.\n\n(Click to view the full image.)",[],"image$f6b14082-d44d-4c8d-8b4b-a272c5c292e3",{"variation":98,"version":99,"items":493,"primary":494,"id":500,"slice_type":111,"slice_label":7},[],{"title":495,"content":496},[],[497],{"type":34,"text":498,"spans":499,"direction":37},"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":98,"version":99,"items":502,"primary":503,"id":517,"slice_type":111,"slice_label":7},[],{"title":504,"content":508},[505],{"type":117,"text":506,"spans":507,"direction":37},"Breaking with artistic conventions",[],[509,512,514],{"type":34,"text":510,"spans":511,"direction":37},"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":34,"text":39,"spans":513,"direction":37},[],{"type":34,"text":515,"spans":516,"direction":37},"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":98,"version":99,"items":519,"primary":520,"id":529,"slice_type":111,"slice_label":7},[],{"title":521,"content":525},[522],{"type":117,"text":523,"spans":524,"direction":37},"The Ghanaian Prince awaits his twin portrait",[],[526],{"type":34,"text":527,"spans":528,"direction":37},"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$49b51a06-a118-446d-962b-15e468711c46",{"variation":531,"version":99,"items":532,"primary":545,"id":556,"slice_type":141,"slice_label":7},"double-slice",[533,538],{"image":534,"title":537,"subtitle":7},{"dimensions":535,"alt":7,"copyright":7,"url":354,"id":355,"edit":536},{"width":88,"height":80},{"x":62,"y":62,"zoom":63,"background":64},"Matsch",{"image":539,"title":544,"subtitle":7},{"dimensions":540,"alt":7,"copyright":7,"url":541,"id":542,"edit":543},{"width":440,"height":439},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZqOjRB5LeNNTxhoC_GustavKlimt-3_2portrait.jpg?auto=format,compress","ZqOjRB5LeNNTxhoC",{"x":62,"y":62,"zoom":63,"background":64},"Klimt",{"image1":546,"image2":549,"label":7,"copyright":552},{"dimensions":547,"alt":7,"copyright":7,"url":354,"id":355,"edit":548},{"width":88,"height":80},{"x":62,"y":62,"zoom":63,"background":64},{"dimensions":550,"alt":7,"copyright":7,"url":541,"id":542,"edit":551},{"width":440,"height":439},{"x":62,"y":62,"zoom":63,"background":64},[553],{"type":34,"text":554,"spans":555,"direction":37},"Franz von Matsch’s and Gustav Klimt’s portraits of William Nii Nortey Dowuona circa 1897 (Matsch: left \u002F Klimt: right).\n\n(Click to view the full image)",[],"image$bd4ac8de-e7ea-4a73-b1b5-4ca49000c0b3",{"variation":98,"version":99,"items":558,"primary":559,"id":565,"slice_type":111,"slice_label":7},[],{"title":560,"content":561},[],[562],{"type":34,"text":563,"spans":564,"direction":37},"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":98,"version":99,"items":567,"primary":568,"id":578,"slice_type":141,"slice_label":7},[],{"image1":569,"label":7,"copyright":574},{"dimensions":570,"alt":7,"copyright":7,"url":571,"id":572,"edit":573},{"width":439,"height":440},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZqOmbx5LeNNTxhpv_Nationalmus%C3%A9eumF%C3%ABschmaart-landscape3_2.jpg?auto=format,compress","ZqOmbx5LeNNTxhpv",{"x":62,"y":62,"zoom":63,"background":64},[575],{"type":34,"text":576,"spans":577,"direction":37},"Nationalmusée um Fëschmaart, Luxembourg © Sophie Whaley",[],"image$60e6c030-caa3-475e-9b8b-dc7f2ca2aff8","How Klimt and Matsch rendered a Ghanaian Prince in turn-of-the-century Vienna","At the Nationalmusée um Fëschmaart in Luxembourg, visitors can discover a mysterious portrait by Franz von Matsch. The Austrian painter, active in Vienna at the turn of the century, was once part of iconic artist Gustav Klimt's inner circle. Both painters seemingly sat side-by-side to portray this enigmatic sitter, recently identified as a Ghanaian Prince. He is also the subject of a long-lost painting by Gustav Klimt, unseen for a century. Most curiously, these portraits shed light on the friendship and break-up between Klimt and Matsch.",{"dimensions":582,"alt":7,"copyright":7,"url":583,"id":584,"edit":585},{"width":250,"height":251},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZqOnHB5LeNNTxhp-_HiddenGemattheNationalmus%C3%A9eumF%C3%ABschmaart-ImageOpengraph.jpg?auto=format,compress","ZqOnHB5LeNNTxhp-",{"x":62,"y":62,"zoom":63,"background":64},[587,651,658],{"variation":98,"version":99,"items":588,"primary":647,"id":650,"slice_type":302,"slice_label":7},[589,593,602,606,610,619,629,637],{"post":590},{"id":270,"type":8,"tags":591,"lang":19,"slug":273,"first_publication_date":274,"last_publication_date":275,"uid":273,"link_type":75,"key":592,"isBroken":77},[272],"deabaa6d-1a21-4aea-86c3-b5881029d1dd",{"post":594},{"id":595,"type":8,"tags":596,"lang":19,"slug":598,"first_publication_date":599,"last_publication_date":600,"uid":598,"link_type":75,"key":601,"isBroken":77},"ZmsEqBIAACEAI9lL",[292,597],"Gerhard 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","yue-minjun-returns-with-lockdown-inspired-paintings","2023-03-10T18:08:04+0000","2023-07-13T14:05:10+0000","yue-minjun-surrealist-paintings","552aee82-c6f7-4c2f-af7f-a0c5a7a8af4f",{"slides_per_view":7,"max_slides_count":7,"tag":648,"type":8,"title":649,"paralax":77},{"link_type":75},"Read more","carousel$c3c2ccad-14cd-465a-b3be-f5445f8b9e50",{"variation":98,"version":99,"items":652,"primary":653,"id":657,"slice_type":302,"slice_label":7},[],{"slides_per_view":7,"max_slides_count":7,"tag":654,"type":655,"title":656,"paralax":77},{"link_type":75},"podcast","Listen to audiocasts","carousel$ab31fc86-a46c-4047-bcbc-44e30e718b90",{"variation":98,"version":99,"items":659,"primary":660,"id":664,"slice_type":302,"slice_label":7},[],{"slides_per_view":7,"max_slides_count":7,"tag":661,"type":662,"title":663,"paralax":77},{"link_type":75},"video","Discover more artists","carousel$37b53b0e-263c-48f5-8f6b-d97c378b20d5",{"id":270,"uid":273,"url":7,"type":8,"href":666,"tags":667,"first_publication_date":274,"last_publication_date":275,"slugs":668,"linked_documents":669,"lang":19,"alternate_languages":670,"data":671},"https:\u002F\u002Fartexplorer-prod.cdn.prismic.io\u002Fapi\u002Fv2\u002Fdocuments\u002Fsearch?ref=aCb60BIAACEA00zN&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22ZoZklBMAACIAPKk1%22%29+%5D%5D",[272],[273],[],[],{"title":672,"subtitle":673,"author":674,"copyright_cover":704,"cover_desktop":705,"cover_mobile":710,"thumbnail":715,"published_at":718,"slices":719,"meta_title":822,"meta_description":823,"og_image":824,"slices2":829},"A new face at Luxembourg's Nationalmusée um Fëschmaart","The only publicly exhibited Francis Bacon in the country is also publicly listed",{"id":25,"type":26,"tags":675,"lang":19,"slug":28,"first_publication_date":29,"last_publication_date":30,"uid":28,"data":676,"link_type":75,"key":703,"isBroken":77},[],{"description":677,"short_description":688,"job":53,"thumbnail":691,"cover":694,"uid":28,"title":58,"og_image":697,"meta_description":700,"meta_title":58},[678,680,682,684,686],{"type":34,"text":35,"spans":679,"direction":37},[],{"type":34,"text":39,"spans":681,"direction":37},[],{"type":34,"text":42,"spans":683,"direction":37},[],{"type":34,"text":39,"spans":685,"direction":37},[],{"type":34,"text":47,"spans":687,"direction":37},[],[689],{"type":34,"text":51,"spans":690,"direction":37},[],{"dimensions":692,"alt":58,"copyright":7,"url":59,"id":60,"edit":693},{"width":56,"height":57},{"x":62,"y":62,"zoom":63,"background":64},{"dimensions":695,"alt":58,"copyright":7,"url":59,"id":60,"edit":696},{"width":56,"height":57},{"x":62,"y":62,"zoom":63,"background":64},{"dimensions":698,"alt":7,"copyright":7,"url":59,"id":60,"edit":699},{"width":56,"height":57},{"x":62,"y":62,"zoom":63,"background":64},[701],{"type":34,"text":73,"spans":702},[],"f5f86b0f-e239-457b-afaf-ac50a5aeae16","Francis Bacon (1909-1992), Three Studies for Portrait of George Dyer, 1963, oil on canvas, in three parts, 35.5 x 30.5 cm (each). The first publicly listed Masterpiece on Artex Global Markets. Owned by Art Share 002. © The Estate of Francis Bacon. All right reserved, DACS 2024 \u002F Photo : Tom Lucas \u002F MNAHA",{"dimensions":706,"alt":7,"copyright":7,"url":707,"id":708,"edit":709},{"width":439,"height":381},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZoZjCB5LeNNTwyJp_Slide16_9-5-.jpg?auto=format,compress","ZoZjCB5LeNNTwyJp",{"x":62,"y":62,"zoom":63,"background":64},{"dimensions":711,"alt":7,"copyright":7,"url":712,"id":713,"edit":714},{"width":381,"height":439},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZoamfR5LeNNTwy5c_9_16-2-.jpg?auto=format,compress","ZoamfR5LeNNTwy5c",{"x":62,"y":62,"zoom":63,"background":64},{"dimensions":716,"alt":7,"copyright":7,"url":712,"id":713,"edit":717},{"width":381,"height":439},{"x":62,"y":62,"zoom":63,"background":64},"2024-07-04",[720,740,763,785,803],{"variation":98,"version":99,"items":721,"primary":722,"id":739,"slice_type":111,"slice_label":7},[],{"title":723,"content":724},[],[725,728,733,736],{"type":34,"text":726,"spans":727,"direction":37},"“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":34,"text":729,"spans":730,"direction":37},"Art connections reimagined",[731],{"start":62,"end":732,"type":217},26,{"type":34,"text":734,"spans":735,"direction":37},"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":34,"text":737,"spans":738,"direction":37},"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$77aa420a-ca9c-439c-bfee-4c8e3fd8e774",{"variation":531,"version":99,"items":741,"primary":742,"id":762,"slice_type":141,"slice_label":7},[],{"image1":743,"image2":750,"label":757,"copyright":758},{"dimensions":744,"alt":7,"copyright":7,"url":747,"id":748,"edit":749},{"width":745,"height":746},4423,6463,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZoZ6XR5LeNNTwyb6_2017-246-002a--.jpg?auto=format,compress","ZoZ6XR5LeNNTwyb6",{"x":62,"y":62,"zoom":63,"background":64},{"dimensions":751,"alt":7,"copyright":7,"url":754,"id":755,"edit":756},{"width":752,"height":753},4380,6324,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZoZ6Sh5LeNNTwyb4_2017-246-001a--.jpg?auto=format,compress","ZoZ6Sh5LeNNTwyb4",{"x":62,"y":62,"zoom":63,"background":64},"From left to right",[759],{"type":34,"text":760,"spans":761,"direction":37},"Aida Silvestri (b. 1978), Kidan. Eritrea to London on foot, by car, lorry, boat train and aeroplane, 2017 © Collection MNAHA, Photo: Tom Lucas; Aida Silvestri (b. 1978), Biniam. Eritrea to London by car, boat, lorry, train and aeroplane, 2017 © Collection MNAHA, Photo: Tom Lucas",[],"image$af33763b-bb06-4f72-8234-5c3a44222c01",{"variation":98,"version":99,"items":764,"primary":765,"id":784,"slice_type":111,"slice_label":7},[],{"title":766,"content":767},[],[768,773,776,781],{"type":34,"text":769,"spans":770,"direction":37},"A Francis Bacon in resonance",[771],{"start":62,"end":772,"type":217},28,{"type":34,"text":774,"spans":775,"direction":37},"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":34,"text":777,"spans":778,"direction":37},"Portraits in the post-war era",[779],{"start":62,"end":780,"type":217},29,{"type":34,"text":782,"spans":783,"direction":37},"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":126,"version":99,"items":786,"primary":787,"id":802,"slice_type":141,"slice_label":7},[],{"image1":788,"label":7,"copyright":798},{"dimensions":789,"alt":7,"copyright":7,"url":792,"id":793,"edit":794},{"width":790,"height":791},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":795,"y":796,"zoom":797,"background":64},1519,315,1.21,[799],{"type":34,"text":800,"spans":801,"direction":37},"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":98,"version":99,"items":804,"primary":805,"id":821,"slice_type":111,"slice_label":7},[],{"title":806,"content":807},[],[808,813],{"type":34,"text":809,"spans":810,"direction":37},"An artwork loaned by the public",[811],{"start":62,"end":812,"type":217},31,{"type":34,"text":814,"spans":815,"direction":37},"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.",[816],{"start":817,"end":818,"type":168,"data":819},224,240,{"link_type":170,"url":820,"target":172},"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":825,"alt":7,"copyright":7,"url":826,"id":827,"edit":828},{"width":250,"height":251},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZpTyAB5LeNNTxJwp_FrancisBaconnationalmus%C3%A9eImageOpengraph.jpg?auto=format,compress","ZpTyAB5LeNNTxJwp",{"x":62,"y":62,"zoom":63,"background":64},[],{"id":279,"uid":286,"url":7,"type":8,"href":831,"tags":832,"first_publication_date":284,"last_publication_date":285,"slugs":833,"linked_documents":834,"lang":19,"alternate_languages":835,"data":836},"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",[281,282],[283],[],[],{"title":837,"subtitle":838,"author":839,"copyright_cover":869,"cover_desktop":870,"cover_mobile":876,"thumbnail":881,"published_at":884,"slices":885,"meta_title":837,"meta_description":838,"og_image":1096,"slices2":1099},"How Caravaggio shocked the art world","The Italian painter's artistic expression disrupted Renaissance idealism.",{"id":25,"type":26,"tags":840,"lang":19,"slug":28,"first_publication_date":29,"last_publication_date":30,"uid":28,"data":841,"link_type":75,"key":868,"isBroken":77},[],{"description":842,"short_description":853,"job":53,"thumbnail":856,"cover":859,"uid":28,"title":58,"og_image":862,"meta_description":865,"meta_title":58},[843,845,847,849,851],{"type":34,"text":35,"spans":844,"direction":37},[],{"type":34,"text":39,"spans":846,"direction":37},[],{"type":34,"text":42,"spans":848,"direction":37},[],{"type":34,"text":39,"spans":850,"direction":37},[],{"type":34,"text":47,"spans":852,"direction":37},[],[854],{"type":34,"text":51,"spans":855,"direction":37},[],{"dimensions":857,"alt":58,"copyright":7,"url":59,"id":60,"edit":858},{"width":56,"height":57},{"x":62,"y":62,"zoom":63,"background":64},{"dimensions":860,"alt":58,"copyright":7,"url":59,"id":60,"edit":861},{"width":56,"height":57},{"x":62,"y":62,"zoom":63,"background":64},{"dimensions":863,"alt":7,"copyright":7,"url":59,"id":60,"edit":864},{"width":56,"height":57},{"x":62,"y":62,"zoom":63,"background":64},[866],{"type":34,"text":73,"spans":867},[],"0fe9c9be-a43a-4c48-8672-c484b427f89d","Caravaggio, The Calling of Saint Matthew, c. 1599–1600, Contarelli Chapel, San Luigi dei Francesi, Rome",{"dimensions":871,"alt":869,"copyright":7,"url":872,"id":873,"edit":874},{"width":439,"height":381},"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":62,"y":62,"zoom":63,"background":875},"#fff",{"dimensions":877,"alt":869,"copyright":7,"url":878,"id":879,"edit":880},{"width":381,"height":439},"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":62,"y":62,"zoom":63,"background":875},{"dimensions":882,"alt":869,"copyright":7,"url":878,"id":879,"edit":883},{"width":381,"height":439},{"x":62,"y":62,"zoom":63,"background":875},"2023-10-03",[886,910,950,963,982,1005,1023,1044,1060,1081],{"variation":98,"version":99,"items":887,"primary":889,"id":909,"slice_type":111,"slice_label":7},[888],{},{"title":890,"content":894},[891],{"type":117,"text":892,"spans":893},"",[],[895,898,901,904,907],{"type":34,"text":896,"spans":897},"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":34,"text":899,"spans":900},"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":34,"text":902,"spans":903},"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":34,"text":905,"spans":906},"The contrast was so striking that today, Caravaggio’s visceral, intensely realistic paintings are generally considered to mark the birth of modernism. ",[],{"type":34,"text":892,"spans":908},[],"text$fb6c2b9f-265e-4d75-b1c6-791319302da5",{"variation":531,"version":99,"items":911,"primary":933,"id":949,"slice_type":141,"slice_label":7},[912,922],{"image":913,"title":917,"subtitle":921},{"dimensions":914,"alt":917,"copyright":7,"url":918,"id":919,"edit":920},{"width":915,"height":916},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":62,"y":62,"zoom":63,"background":875},"Raphael",{"image":923,"title":931,"subtitle":932},{"dimensions":924,"alt":927,"copyright":7,"url":928,"id":929,"edit":930},{"width":925,"height":926},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":62,"y":62,"zoom":63,"background":875},"Caravaggio, Madonna and Child with St. Anne, 1605-06, Galleria Borghèse.","Caravaggio",{"image1":934,"image2":939,"label":944,"copyright":945},{"dimensions":935,"alt":917,"copyright":7,"url":936,"id":937,"edit":938},{"width":440,"height":439},"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":62,"y":62,"zoom":63,"background":875},{"dimensions":940,"alt":927,"copyright":7,"url":941,"id":942,"edit":943},{"width":440,"height":439},"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":62,"y":62,"zoom":63,"background":875},"Click to see full size image",[946],{"type":34,"text":947,"spans":948},"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":98,"version":99,"items":951,"primary":953,"id":962,"slice_type":111,"slice_label":7},[952],{},{"title":954,"content":955},[],[956,959],{"type":34,"text":957,"spans":958,"direction":37},"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":34,"text":960,"spans":961,"direction":37},"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":98,"version":99,"items":964,"primary":966,"id":981,"slice_type":111,"slice_label":7},[965],{},{"title":967,"content":971},[968],{"type":117,"text":969,"spans":970},"1. Excessive realism",[],[972],{"type":34,"text":973,"spans":974},"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. ",[975,978],{"start":976,"end":977,"type":217},812,843,{"start":979,"end":980,"type":217},859,878,"text$021cc275-d9e7-4eb4-b6b8-d996d01650fc",{"variation":126,"version":99,"items":983,"primary":994,"id":1004,"slice_type":141,"slice_label":7},[984],{"image":985,"title":993,"subtitle":932},{"dimensions":986,"alt":989,"copyright":7,"url":990,"id":991,"edit":992},{"width":987,"height":988},2172,3277,"Caravaggio, Death of the Virgin, 1601-06, Louvre Museum ","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F02aec4ac-9859-4ebb-88f6-15795aaba6f7_Death_of_the_Virgin-Caravaggio_%281606%29+7+%281%29.jpg?auto=compress,format","ZSP3sBAAACMAcrrM",{"x":62,"y":62,"zoom":63,"background":875},"Caravaggio, Death of the Virgin, 1601-06, Louvre Museum",{"image1":995,"label":944,"copyright":1001},{"dimensions":996,"alt":989,"copyright":7,"url":998,"id":999,"edit":1000},{"width":997,"height":997},1080,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F3394ab72-49a3-4248-970d-4ca77c0d4d5c_Death_of_the_Virgin-Caravaggio+carr%C3%A9.jpg?auto=compress,format","ZSP3QxAAACIAcriu",{"x":62,"y":62,"zoom":63,"background":875},[1002],{"type":34,"text":993,"spans":1003},[],"image$e42529db-7fcb-4ee2-b10a-93fbaa3a638a",{"variation":98,"version":99,"items":1006,"primary":1008,"id":1022,"slice_type":111,"slice_label":7},[1007],{},{"title":1009,"content":1013},[1010],{"type":117,"text":1011,"spans":1012},"2. Intense emotions",[],[1014,1020],{"type":34,"text":1015,"spans":1016,"direction":37},"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.  ",[1017],{"start":1018,"end":1019,"type":217},546,573,{"type":34,"text":39,"spans":1021,"direction":37},[],"text$b312f4dc-ae01-4a02-98fd-be228e8cb12b",{"variation":98,"version":99,"items":1024,"primary":1034,"id":1043,"slice_type":141,"slice_label":7},[1025],{"image":1026,"title":1030,"subtitle":932},{"dimensions":1027,"alt":1030,"copyright":7,"url":1031,"id":1032,"edit":1033},{"width":1028,"height":1029},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":62,"y":62,"zoom":63,"background":875},{"image1":1035,"label":944,"copyright":1040},{"dimensions":1036,"alt":1030,"copyright":7,"url":1037,"id":1038,"edit":1039},{"width":439,"height":381},"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":62,"y":62,"zoom":63,"background":875},[1041],{"type":34,"text":1030,"spans":1042},[],"image$80860967-9263-461e-b86d-7e00a17ade0b",{"variation":98,"version":99,"items":1045,"primary":1047,"id":1059,"slice_type":111,"slice_label":7},[1046],{},{"title":1048,"content":1052},[1049],{"type":117,"text":1050,"spans":1051},"3. Dramatic staging",[],[1053],{"type":34,"text":1054,"spans":1055},"Caravaggio heightened the dramatic impact of his painted scenes thanks to various techniques, such as emphasising the contrast between light and shadow, known as tenebrism. The subjects appear artificially lit and set against a dark background, as if they are on a theatre stage. This draws the viewer’s eye to the action and the main elements of the story, and adds  narrative depth and emotional intensity. Extreme lighting can also be combined with unusual viewpoints and exaggerated motion, giving the paintings a greater sense of drama as illustrated by The Conversion on the Way to Damascus (c. 1600-01). The light that strikes the Roman centurion Saul as he falls from his horse evokes spiritual lighting and brings the main character into sharp focus. In comparison, the old groom is not illuminated to such an extent by the divine light, and he lurks in the shadows as a result. Painted from a low perspective, the scene is structured along strong diagonals that give the illusion of movement.  ",[1056],{"start":1057,"end":1058,"type":217},559,596,"text$ca4b7ffd-0a69-4a42-b022-5459468b088e",{"variation":126,"version":99,"items":1061,"primary":1071,"id":1080,"slice_type":141,"slice_label":7},[1062],{"image":1063,"title":1067,"subtitle":932},{"dimensions":1064,"alt":1067,"copyright":7,"url":1068,"id":1069,"edit":1070},{"width":1065,"height":1066},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":62,"y":62,"zoom":63,"background":875},{"image1":1072,"label":944,"copyright":1077},{"dimensions":1073,"alt":1067,"copyright":7,"url":1074,"id":1075,"edit":1076},{"width":381,"height":381},"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":62,"y":62,"zoom":63,"background":875},[1078],{"type":34,"text":1067,"spans":1079},[],"image$b586692f-d1cf-498b-91c0-8a97703e008f",{"variation":98,"version":99,"items":1082,"primary":1084,"id":1095,"slice_type":111,"slice_label":7},[1083],{},{"title":1085,"content":1086},[],[1087],{"type":34,"text":1088,"spans":1089,"direction":37},"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.”",[1090],{"start":1091,"end":1092,"type":168,"data":1093},639,676,{"link_type":170,"url":1094,"target":186},"https:\u002F\u002Funframed.lacma.org\u002F2013\u002F01\u002F17\u002Fcaravaggio-pioneer-of-modern-cinematography","text$6df315f4-4cce-4ca3-b5b6-bdf826f6b794",{"dimensions":1097,"alt":869,"copyright":7,"url":872,"id":873,"edit":1098},{"width":439,"height":381},{"x":62,"y":62,"zoom":63,"background":875},[1100,1105],{"variation":98,"version":99,"items":1101,"primary":1102,"id":1104,"slice_type":302,"slice_label":7},[],{"slides_per_view":7,"max_slides_count":7,"tag":1103,"type":8,"title":649,"paralax":77},{"link_type":75},"carousel$5ce9c604-1c09-4c04-8abd-795bebc0fbd9",{"variation":98,"version":99,"items":1106,"primary":1109,"id":1112,"slice_type":302,"slice_label":7},[1107],{"post":1108},{"link_type":75},{"slides_per_view":7,"max_slides_count":7,"tag":1110,"type":655,"title":1111,"paralax":77},{"link_type":75},"Audiocasts","carousel$6debec33-b6c2-4298-aab4-060c0e780112",{"id":290,"uid":297,"url":7,"type":8,"href":1114,"tags":1115,"first_publication_date":295,"last_publication_date":296,"slugs":1116,"linked_documents":1117,"lang":19,"alternate_languages":1118,"data":1119},"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",[292,293],[294],[],[],{"title":1120,"subtitle":1121,"author":1122,"copyright_cover":1152,"cover_desktop":1153,"cover_mobile":1158,"thumbnail":1163,"published_at":7,"slices":1166,"meta_title":1330,"meta_description":1331,"og_image":1332,"slices2":1337},"Monet’s iconic series: from Haystacks to Water Lilies","Pioneering marketing concepts",{"id":25,"type":26,"tags":1123,"lang":19,"slug":28,"first_publication_date":29,"last_publication_date":30,"uid":28,"data":1124,"link_type":75,"key":1151,"isBroken":77},[],{"description":1125,"short_description":1136,"job":53,"thumbnail":1139,"cover":1142,"uid":28,"title":58,"og_image":1145,"meta_description":1148,"meta_title":58},[1126,1128,1130,1132,1134],{"type":34,"text":35,"spans":1127,"direction":37},[],{"type":34,"text":39,"spans":1129,"direction":37},[],{"type":34,"text":42,"spans":1131,"direction":37},[],{"type":34,"text":39,"spans":1133,"direction":37},[],{"type":34,"text":47,"spans":1135,"direction":37},[],[1137],{"type":34,"text":51,"spans":1138,"direction":37},[],{"dimensions":1140,"alt":58,"copyright":7,"url":59,"id":60,"edit":1141},{"width":56,"height":57},{"x":62,"y":62,"zoom":63,"background":64},{"dimensions":1143,"alt":58,"copyright":7,"url":59,"id":60,"edit":1144},{"width":56,"height":57},{"x":62,"y":62,"zoom":63,"background":64},{"dimensions":1146,"alt":7,"copyright":7,"url":59,"id":60,"edit":1147},{"width":56,"height":57},{"x":62,"y":62,"zoom":63,"background":64},[1149],{"type":34,"text":73,"spans":1150},[],"78233da8-1066-460e-9770-f4a0dc649628","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":1154,"alt":7,"copyright":7,"url":1155,"id":1156,"edit":1157},{"width":439,"height":381},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZoUqDh5LeNNTwwDM_HeaderShortFormandAnalysisArticles31.jpg?auto=format%2Ccompress&rect=0%2C0%2C4294%2C2415&w=3840&h=2160","ZoUqDh5LeNNTwwDM",{"x":62,"y":62,"zoom":63,"background":64},{"dimensions":1159,"alt":7,"copyright":7,"url":1160,"id":1161,"edit":1162},{"width":381,"height":439},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZoew3B5LeNNTwz9O_Monet_AnalysisArticle_Thumbnail_V71.jpg?auto=format,compress","Zoew3B5LeNNTwz9O",{"x":62,"y":62,"zoom":63,"background":64},{"dimensions":1164,"alt":7,"copyright":7,"url":1160,"id":1161,"edit":1165},{"width":381,"height":439},{"x":62,"y":62,"zoom":63,"background":64},[1167,1179,1194,1212,1228,1244,1260,1269,1291,1308,1319],{"variation":98,"version":99,"items":1168,"primary":1169,"id":1178,"slice_type":111,"slice_label":7},[],{"title":1170,"content":1171},[],[1172,1175],{"type":34,"text":1173,"spans":1174,"direction":37},"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":34,"text":1176,"spans":1177,"direction":37},"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":126,"version":99,"items":1180,"primary":1181,"id":1193,"slice_type":141,"slice_label":7},[],{"image1":1182,"label":7,"copyright":1189},{"dimensions":1183,"alt":7,"copyright":7,"url":1186,"id":1187,"edit":1188},{"width":1184,"height":1185},3224,2530,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZoVRQR5LeNNTwway_Meules_-1890-91-_Claude_Monet_-W1273-1.jpg?auto=format,compress","ZoVRQR5LeNNTwway",{"x":62,"y":62,"zoom":63,"background":64},[1190],{"type":34,"text":1191,"spans":1192,"direction":37},"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":98,"version":99,"items":1195,"primary":1196,"id":1211,"slice_type":111,"slice_label":7},[],{"title":1197,"content":1198},[],[1199],{"type":34,"text":1200,"spans":1201,"direction":37},"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 $43.9 million per painting when adjusted for inflation.",[1202],{"start":1203,"end":1204,"type":168,"data":1205},313,325,{"id":1206,"type":1207,"tags":1208,"lang":19,"slug":1209,"first_publication_date":1210,"last_publication_date":1210,"link_type":75,"isBroken":77},"ZoVYqBMAACIAOxzG","definition",[293],"inflation-adjusted-value","2024-07-05T09:06:02+0000","text$f5583f6c-9428-4bdc-81cf-82d67858d03b",{"variation":126,"version":99,"items":1213,"primary":1222,"id":1227,"slice_type":141,"slice_label":7},[1214],{"image":1215,"title":7,"subtitle":7},{"dimensions":1216,"alt":7,"copyright":7,"url":1219,"id":1220,"edit":1221},{"width":1217,"height":1218},2320,1450,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZoa4_x5LeNNTwzGQ_Monet_Visuals_Graph_V3.jpg?auto=format,compress","Zoa4_x5LeNNTwzGQ",{"x":62,"y":62,"zoom":63,"background":64},{"image1":1223,"label":7,"copyright":1226},{"dimensions":1224,"alt":7,"copyright":7,"url":1219,"id":1220,"edit":1225},{"width":1217,"height":1218},{"x":62,"y":62,"zoom":63,"background":64},[],"image$529b332e-b6f6-4e87-8a3a-7fdda808d05a",{"variation":98,"version":99,"items":1229,"primary":1230,"id":1243,"slice_type":111,"slice_label":7},[],{"title":1231,"content":1232},[],[1233,1241],{"type":34,"text":1234,"spans":1235,"direction":37},"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.",[1236],{"start":1237,"end":1238,"type":168,"data":1239},216,228,{"id":1206,"type":1207,"tags":1240,"lang":19,"slug":1209,"first_publication_date":1210,"last_publication_date":1210,"link_type":75,"isBroken":77},[293],{"type":34,"text":892,"spans":1242,"direction":37},[],"text$7441ef86-c33c-4755-9d67-d8fc8c4412bf",{"variation":126,"version":99,"items":1245,"primary":1254,"id":1259,"slice_type":141,"slice_label":7},[1246],{"image":1247,"title":7,"subtitle":7},{"dimensions":1248,"alt":7,"copyright":7,"url":1251,"id":1252,"edit":1253},{"width":1249,"height":1250},2947,1992,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZoZ3fh5LeNNTwyZ2_Monet_Visuals_TwoFigures_Horizontal_V2-04.jpg?auto=format,compress","ZoZ3fh5LeNNTwyZ2",{"x":62,"y":62,"zoom":63,"background":64},{"image1":1255,"label":7,"copyright":1258},{"dimensions":1256,"alt":7,"copyright":7,"url":1251,"id":1252,"edit":1257},{"width":1249,"height":1250},{"x":62,"y":62,"zoom":63,"background":64},[],"image$59180e0e-bcd1-401f-8b45-3e3aa63a40ad",{"variation":98,"version":99,"items":1261,"primary":1262,"id":1268,"slice_type":111,"slice_label":7},[],{"title":1263,"content":1264},[],[1265],{"type":34,"text":1266,"spans":1267,"direction":37},"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). 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These top sales prices range from $69.1 million to $134 million, with half achieved between 2018 and 2023.",[1299],{"start":1300,"end":1301,"type":168,"data":1302},99,111,{"link_type":170,"url":1303,"target":172},"https:\u002F\u002Fartexplored.com\u002Farticle\u002Fartist-report-claude-monet",{"type":34,"text":1305,"spans":1306,"direction":37},"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":126,"version":99,"items":1309,"primary":1310,"id":1318,"slice_type":141,"slice_label":7},[],{"image1":1311,"label":7,"copyright":1317},{"dimensions":1312,"alt":7,"copyright":7,"url":1314,"id":1315,"edit":1316},{"width":1313,"height":440},2826,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZoVVhR5LeNNTwwey_Monet_PieChart1.jpg?auto=format,compress","ZoVVhR5LeNNTwwey",{"x":62,"y":62,"zoom":63,"background":64},[],"image$7a0876a3-ff00-4557-bccd-391981461aee",{"variation":98,"version":99,"items":1320,"primary":1321,"id":1329,"slice_type":111,"slice_label":7},[],{"title":1322,"content":1323},[],[1324,1327],{"type":34,"text":1325,"spans":1326,"direction":37},"The information in this article has been analysed by ArtExplored and is based on proprietary data.",[],{"type":34,"text":892,"spans":1328,"direction":37},[],"text$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. 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