[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"$9ZijusqCES":3},{"single":4,"locales":257,"slices":259},{"id":5,"uid":6,"url":7,"type":8,"href":9,"tags":10,"first_publication_date":12,"last_publication_date":13,"slugs":14,"linked_documents":16,"lang":17,"alternate_languages":18,"data":19},"ZPHrjxAAACIA03J7","art-market-female-artists",null,"article","https:\u002F\u002Fartexplorer-prod.cdn.prismic.io\u002Fapi\u002Fv2\u002Fdocuments\u002Fsearch?ref=aCb60BIAACEA00zN&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22ZPHrjxAAACIA03J7%22%29+%5D%5D",[11],"Art Investment","2023-09-01T15:20:24+0000","2023-09-11T09:27:39+0000",[15],"a-new-dawn-of-increased-sales-for-female-artists",[],"en-gb",[],{"title":20,"subtitle":21,"author":22,"copyright_cover":74,"cover_desktop":75,"cover_mobile":82,"thumbnail":87,"published_at":7,"slices":90,"meta_title":20,"meta_description":196,"og_image":197,"slices2":200},"A new dawn of increased sales for female artists?","Sales are on the up but it’s hard to know if the positive trajectory will continue",{"id":23,"type":24,"tags":25,"lang":17,"slug":26,"first_publication_date":27,"last_publication_date":28,"uid":29,"data":30,"link_type":71,"key":72,"isBroken":73},"ZBBfzBAAACgAzQAo","author",[],"william-corwin","2023-03-14T11:51:45+0000","2023-07-10T00:55:46+0000","will-corwin",{"description":31,"short_description":45,"job":49,"thumbnail":50,"cover":61,"uid":29,"title":54,"og_image":64,"meta_description":67,"meta_title":54},[32,36,39,42],{"type":33,"text":34,"spans":35},"paragraph","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":33,"text":37,"spans":38},"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":33,"text":40,"spans":41},"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":33,"text":43,"spans":44},"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.",[],[46],{"type":33,"text":47,"spans":48},"William Corwin covers North America for ArtExplored",[],"Art Writer (North America)",{"dimensions":51,"alt":54,"copyright":54,"url":55,"id":56,"edit":57},{"width":52,"height":53},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":58,"y":58,"zoom":59,"background":60},0,1,"#fff",{"dimensions":62,"alt":54,"copyright":7,"url":55,"id":56,"edit":63},{"width":52,"height":53},{"x":58,"y":58,"zoom":59,"background":60},{"dimensions":65,"alt":54,"copyright":54,"url":55,"id":56,"edit":66},{"width":52,"height":53},{"x":58,"y":58,"zoom":59,"background":60},[68],{"type":33,"text":69,"spans":70},"Will Corwin covers North America for ArtExplored",[],"Document","75599b22-0af9-46fc-8121-f9236eb4a4e6",false,"Self-Portrait as the Allegory of Painting, Artemisia Gentileschi, Royal Collection",{"dimensions":76,"alt":7,"copyright":7,"url":79,"id":80,"edit":81},{"width":77,"height":78},3840,2160,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fa02a5c0e-9b52-44ce-b475-d21fdf9519e7_La+Pittura+-+Artemisia+Gentileschi+-+Slide+16_9.jpg?auto=compress,format","ZPHXmRAAACQA0xF5",{"x":58,"y":58,"zoom":59,"background":60},{"dimensions":83,"alt":7,"copyright":7,"url":84,"id":85,"edit":86},{"width":78,"height":77},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F5d8d8c51-b755-49db-ab32-40722c1b8545_La+Pittura+-+Artemisia+Gentileschi+-+9_16.jpg?auto=compress,format","ZPHX5xAAACIA0xL3",{"x":58,"y":58,"zoom":59,"background":60},{"dimensions":88,"alt":7,"copyright":7,"url":84,"id":85,"edit":89},{"width":78,"height":77},{"x":58,"y":58,"zoom":59,"background":60},[91],{"variation":92,"version":93,"items":94,"primary":96,"id":194,"slice_type":195,"slice_label":7},"default-slice","sktwi1xtmkfgx8626",[95],{},{"title":97,"content":98},[],[99,111,114,125,128,151,154,157,160,168,171,174,182,191],{"type":33,"text":100,"spans":101},"It’s ironic that the top reported sale for the 2023 Basel Art Fair was Louise Bourgeois’ terrifying Spider IV (1996) at $22.5 million. A conflicted symbol of both care and trauma, is this shiny bronze arachnid the harbinger of a new era of expanded sales for female artists, or a lonely outlier and merely an expression of the market’s adulation of enshrined dead masters, regardless of gender or race? ",[102,106],{"start":103,"end":104,"type":105},100,110,"em",{"start":103,"end":104,"type":107,"data":108},"hyperlink",{"link_type":109,"url":110},"Web","#definition-ZPHruRAAACMA03M7",{"type":33,"text":112,"spans":113},"Inquiring among a range of industry experts, gallerists, and artists, ArtExplored found that there isn’t a clear answer, but a complicated web of potential paths, promising beginnings, and consistent unchanging realities that point to a murky, possibly brighter future. ",[],{"type":33,"text":115,"spans":116},"However, in terms of female Old Masters, the market has improved markedly of late with increasing demand leading auction houses to organise sales focusing exclusively on these artists – something they would have never dared to promote a few years ago. Take Artemisia Gentileschi, for example – her record sale was set in 2019 when the Getty Museum purchased her Lucretia (1623-25) for $5.3 million (six times its high estimate), and world-wide she has had five exhibitions in 2023 alone.",[117,120],{"start":118,"end":119,"type":105},362,371,{"start":121,"end":122,"type":107,"data":123},412,428,{"link_type":109,"url":124},"#definition-ZPHsCRAAACMA03T2",{"type":33,"text":126,"spans":127},"\nBut back to Basel Art Fair. While many of the sales were of now-passed women now become household names, such as Alice Neel ($2.8 million) and Meret Oppenheim ($225,000-275,000), there were sales for living women artists as well: Roni Horn ($2.5 million), Amy Sillman ($450,000), Firelei Báez ($350,000), Tracy Emin ($970,000), and Senga Nengudi ($90,000). ",[],{"type":33,"text":129,"spans":130},"Obviously, this is a literal improvement over a past which saw the occasional female or two as acknowledged members of Abstract Expressionism, Minimalism, or Post-Modernism, but a recent survey – the Burns Halperin Report – paints a disappointing picture of almost glacially-slow incremental change for both women artists and those from minorities.  \n\nArtists in general are very aware of the fad potential of any market movement, whether it’s a passing interest in figuration, political art, or in a particular “type” of artist. “There’s a lot of activity now, there’s a lot of visibility, but how does that trickle down and how does that impact future generations; not just in the moment?” muses Shervone Neckles, a multimedia artist who represented her home country of Grenada at the 2019 Venice Biennale.",[131,136,141,146],{"start":132,"end":133,"type":107,"data":134},119,141,{"link_type":109,"url":135},"#definition-ZPH_CBAAACEA09Eg",{"start":137,"end":138,"type":107,"data":139},143,153,{"link_type":109,"url":140},"#definition-ZPH-5BAAACQA09Br",{"start":142,"end":143,"type":107,"data":144},158,172,{"link_type":109,"url":145},"#definition-ZPH-wRAAACEA08-6",{"start":147,"end":148,"type":107,"data":149},199,221,{"link_type":109,"url":150},"https:\u002F\u002Fstudioburns.media\u002Fheres-every-element-of-the-2022-burns-halperin-report-all-in-one-place\u002F",{"type":33,"text":152,"spans":153}," “I’m looking for that deep thoughtful investment which doesn’t just happen through the artwork, it’s also the amount of scholarship that’s being done on women artists.” Herein lies the problem: while according to the Burns Halperin Report, sales of women artists overall expanded 174.2% between 2008 and 2021, this resulted in only 11% of acquisitions by US museums (of the 31 institutions represented in the report). Considering that’s half the population, this falls far short of gender equity. ",[],{"type":33,"text":155,"spans":156},"\nCollector’s attitudes on the other hand may be changing. Irene Kim, global head of VIP relations for Art Basel, feels there’s been a sea change in terms of collector mentality: “Most Collectors buy whatever they want and like, but these days if you are a collector that’s cognisant to build an overall narrative, it’s about what your mission is; what is your collection focus.”  Certain collectors stand out: Pamela Joyner focuses her collection primarily on contemporary African American artists, while Komal Shah collects work by contemporary women artists, and just published Making Their Mark: Art by Women in the Shah Garg Collection (2023).",[],{"type":33,"text":158,"spans":159},"Still, change is slow, and going by the statistics, seems to be largely based on the market for long established and dead women artists. ",[],{"type":33,"text":161,"spans":162},"A gallery that has been instrumental in informing the wider art world of the sheer quantity and variety of talented women painters beyond the five main characters of Mary Gabriel’s 9th Street Women – is the New York gallery Berry Campbell. Founded in 2013 by Christine Berry and Martha Campbell, the gallery sought out the not-household names of women Abstract Expressionists. “We were going through the rosters of important exhibitions from the 1950s, and realising that the names that you don’t know tend to be names of women artists. So that you might see Willem de Kooning and Jackson Pollock on an exhibition list, but there’s also Perle Fine, Judith Godwin, and Yvonne Thomas: we said who are these artists and what does the art look like?” ",[163],{"start":164,"end":165,"type":107,"data":166},142,163,{"link_type":109,"url":167},"#definition-ZPH_3RAAACMA09Uk",{"type":33,"text":169,"spans":170},"Based on that strategy, Berry Campbell has grown from a modest two-room gallery to a large museum-quality exhibition space. “The Denver Art Museum Show [Women of Abstract Expressionism, 2016, curated by Gwen Chanzit] was probably a turning point,” says Berry, “when that exhibition happened is when people, museums, collectors realised this can be a focus, in the past they wouldn’t want to do a show of the women artists alone, but I think by Denver doing that show it allowed other museums and galleries to go ahead and say we can single out the women.” She does also feel Gabriel’s 9th Street Women “made these women come into mass consciousness.” ",[],{"type":33,"text":172,"spans":173},"And the results have been staggering. In the case of Abstract Expressionist Perle Fine (1905-1988), Berry Campbell exhibited her work in 2015 with prices ranging from $40,000-45,000. Now Fine’s works are selling for just under $1 million. According to the Burns Halperin Report, the biggest sellers in the auction market are by far Post-war and Contemporary women artists, which reached a peak of just under $600 million in 2018, but as the authors of the report are quick to point out, the sales of a single artist, Pablo Picasso (6.23 billion), exceeds the total sales of all women (6.2 billion) overall, between 2008 and 2022.",[],{"type":33,"text":175,"spans":176},"Do these modest increases translate to artists working in the primary market?",[177],{"start":178,"end":179,"type":107,"data":180},61,76,{"link_type":109,"url":181},"#definition-ZPIALhAAACIA09aW",{"type":33,"text":183,"spans":184}," Talking to painter North American Emily Mae Smith, who exemplifies the contemporary artist working internationally within the market; showing with Frederick Petzel in New York and Perrotin in Paris, among others, one gets the sense that she would rather tie her fate to the world of collectors and market convulsions. “It’s funny how we sometimes go oh that’s just the market, it’s not moral, but actually there is no moral: I feel there’s this false separation between what is academic or understood by the “higher minds” of our industry – which are the artists and the writers and the curators – and that’s different from the collectors, but I don’t think it is. In my experience with academia, I have actually been treated more fairly, and had more access in the capitalistic art industry than I had in academia.” In effect, Smith argues, the realisation that women and artists of colour are simply a sound investment nudges progress much faster and more efficiently than the slow and convoluted instigation of diversity, equity, and inclusion (DEI) programmes in museums and universities.",[185,188],{"start":186,"end":187,"type":105},387,392,{"start":189,"end":190,"type":105},419,424,{"type":33,"text":192,"spans":193},"",[],"text$decb3b0f-5387-4e55-92ca-ba5c2966deea","text","Sales are on the up for female artists but it’s hard to know if the positive trajectory will 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Modigliani","amedeo-modigliani-through-the-microscope","2023-03-08T15:49:55+0000","2023-07-13T14:21:18+0000","amadeo-modigliani-a-century-of-enigma","49fcc2c8-3fc7-40d6-93bc-c3ac4aca0c1a",{"slides_per_view":7,"max_slides_count":7,"tag":254,"type":8,"title":255,"paralax":7},{"link_type":71},"More articles","carousel$a0acf46d-90de-4685-a504-212bc0852bcc",{"en":258},{"slug":6},[260,841],{"slice":201,"payload":261},[262,431,532,685],{"id":263,"uid":264,"url":7,"type":207,"href":265,"tags":266,"first_publication_date":268,"last_publication_date":269,"slugs":270,"linked_documents":276,"lang":17,"alternate_languages":277,"data":278},"ZBGaLhAAACgAzxTK","conservator-julia-nagal-discusses-how-restoring-paintings","https:\u002F\u002Fartexplorer-prod.cdn.prismic.io\u002Fapi\u002Fv2\u002Fdocuments\u002Fsearch?ref=aCb60BIAACEA00zN&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22ZBGaLhAAACgAzxTK%22%29+%5D%5D",[267],"Picasso ","2023-03-16T16:45:51+0000","2023-08-31T21:35:17+0000",[271,272,273,274,275],"julia-nagle-how-is-science-improving-art-conservation-techniques","how-is-science-improving-art-conservation-techniques","how-is-science-improving-art-restoration-techniques","how-has-the-art-restoration-industry-changed-over-the-last-couple-of-decades","how-restoring-paintings-has-changed-over-the-last-couple-of-decades",[],[],{"title":279,"subtitle":7,"color":7,"source":280,"published_at":288,"duration":289,"cover":290,"copyright_cover":7,"description":295,"narrator_copyright":299,"music_copyright":7,"mixing_copyright":7,"deezer_external":300,"spotify_external":302,"apple_podcast_external":305,"slices":306,"meta_title":366,"meta_description":367,"og_image":368,"slices2":376},"Julia Nagle: How is science improving art conservation techniques?",{"link_type":281,"key":282,"kind":283,"id":284,"url":285,"name":286,"size":287},"Media","8c69021d-e7d2-4b86-a666-c5f5321d6575","file","ZJL5khEAACkAEYIk","https:\u002F\u002Fartexplorer-prod.cdn.prismic.io\u002Fartexplorer-prod\u002F20903495-2838-423f-86f5-5007e709f134_230616_ARTEXPLORED_AUDIOCAST_JULIA_NAGEL.mp3","230616_ARTEXPLORED_AUDIOCAST_JULIA_NAGEL.mp3","8512043","2023-08-10",713,{"dimensions":291,"alt":7,"copyright":7,"url":292,"id":293,"edit":294},{"width":78,"height":78},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Ff5376d69-fccc-487a-bbe5-8e4c2e0e37eb_carr%C3%A9.jpg?auto=compress,format","ZK_u3hIAACMAafCn",{"x":58,"y":58,"zoom":59,"background":60},[296],{"type":33,"text":297,"spans":298},"Julia Nagle set up her own studio in 2009 (Julia Nagle Conservation) and it is now the official conservator for Frieze Masters and Frieze London art fairs, while it also works with private collectors, insurers, commercial galleries, and public institutions worldwide. Julia explains how restoration and conservation techniques have advanced over the years.",[],"George Nelson, Julia Nagle",{"link_type":301},"Any",{"link_type":109,"key":303,"url":304},"2531dc00-3195-417a-b368-e3efdfc12181","https:\u002F\u002Fopen.spotify.com\u002Fepisode\u002F6m3DK4JetPQ5UJnx0GVG0x",{"link_type":301},[307],{"variation":92,"version":93,"items":308,"primary":363,"id":364,"slice_type":365,"slice_label":7},[309,315,321,327,333,338,343,348,353,358],{"speaker":310,"content":311},"GN ",[312],{"type":33,"text":313,"spans":314},"Hi Julia, thanks for talking to me today. Before we start, just to avoid any confusion, could you please explain the difference between a conservator and a restorer? ",[],{"speaker":316,"content":317},"JN ",[318],{"type":33,"text":319,"spans":320},"A conservator is just a bit more of a modern term, but we also say restorer as well because people often don’t know what you mean. So, it’s just a more modern term because what we’re trying to do is really preserve things and sort of protect them as opposed to actually take them back in time to some previous state, so we sort of acknowledge the fact that ageing happens for example, by calling ourselves conservators a bit more than restorers.  ",[],{"speaker":322,"content":323},"GN",[324],{"type":33,"text":325,"spans":326},"How quickly is conservation developing and have there been any scientific or technological breakthroughs in the last few years, few decades, that have been real game changers for the industry? ",[],{"speaker":328,"content":329},"JN",[330],{"type":33,"text":331,"spans":332},"Technical art history is a discipline that has grown over the last 20 years, 30 years possibly and we’ve got all sorts of methods of analysing paint films without destroying the painting itself and imaging and things like using X-rays, all sorts of different technologies to understand what’s actually in a painting in the first place. And also to see when we’ve cleaned a surface, for example, you can look at it with a scanning electron microscope and you can see on a massively enlarged image, quite what you’ve actually done to the surface of the painting that might not be visible to the naked eye. So, you can really fine-tune your own techniques to ensure that what you’ve done hasn’t sort of leached a paint film or scratched it microscopically or anything like that. So, I think, possibly, for me anyway, I would say, the kind of analysis and the imaging and the understanding of what you’re actually doing on a much finer level than what the eye can just see is just huge. I mean there have been really important breakthroughs on how to clean acrylic paints because they’re fairly new, they’ve really been in use since about the 1950s and they do respond very differently to water compared to oil paints, for example. So, there’s been a huge amount of research there. A lot of it was EU-funded so I don’t know how that will carry on now, but there’ve been some interesting breakthroughs in nanotechnology and introducing gels for using water in a safe way, not as a liquid, but you can take dirt off of very complex surfaces using gels rather than using liquid water, so yeah, just even sort of technologies on how to safely use water and how to adjust, very finely tune the PH of water so that you can safely clean a film that you might not be able to clean otherwise and so really sort of fine adjustments with our own materials.  ",[],{"speaker":322,"content":334},[335],{"type":33,"text":336,"spans":337},"Do you have a preference regarding a particular period or movement when it comes to conservation?  ",[],{"speaker":328,"content":339},[340],{"type":33,"text":341,"spans":342},"I really loved working with older paintings, I really, really enjoyed my time doing that. I did it for about 10 years so it’s not that I dislike it, but it’s just fascinating working with modern artists and contemporary artists, and I think as a female, there are fantastic older ladies working… it’s a much less sort of a sexist world I think nowadays, and you know there are many, many more artists from different backgrounds and a lot, lot more women artists now who are recognised and that’s been fantastic working with them. I find a lot of the older women really, really inspiring. So, we’ve worked with Faith Ringgold at the Serpentine and Caroline Kunsman we worked with recently, and I think it’s really interesting the messages that people have got. I mean they are, the art there is, it's expressing our modern culture and expressing kind of issues of the day, and so as I really enjoy that side of it as well and understanding what messages people are trying to put forward and helping them to do that where we can. Also, there’s a lot of research that has to go into understanding what the artist’s intention was. Which is all really interesting and fun to do but it’s also great when you can just ask the artist and they’re there as well. I think it’s a really nice collaboration and I think one thing that I found which I think would surprise quite a lot of people is how much contemporary artists are really interested in their materials and interested in their techniques. And I really want to support artists, that’s what we are trying to do. We’re trying to get the art out there, trying to support artists and having their work exhibited in the way they want it to be seen and there are some really important messages to be understood from it.",[],{"speaker":322,"content":344},[345],{"type":33,"text":346,"spans":347},"You mentioned to me before we started speaking, Julia, that you once worked on a painting that had been vandalised by someone’s lover in a jealous fit of rage, like a very intense lovers’ tiff I think. Can you just explain a bit more about that story? ",[],{"speaker":328,"content":349},[350],{"type":33,"text":351,"spans":352},"A lovers’ tiff..... the person took bathroom paint, red bathroom paint and painted in big letters, big angry letters all over a painting, so that took a huge amount of time to remove the paint from the original painting but we did manage to do that. But yes, when someone’s angry as well they really press the paint in. So, we ended up using a porcupine spine to pick out tiny bits of paint from bubbles in the paint film where it kind of got pressed into these little crevasses in the paint film so we used a porcupine spine under the microscope to pick out all these little spots of paint to clean it. ",[],{"speaker":322,"content":354},[355],{"type":33,"text":356,"spans":357},"Do you have a favourite painting that you’ve ever restored or conserved and if so, why, why is it that painting? ",[],{"speaker":328,"content":359},[360],{"type":33,"text":361,"spans":362},"It’s very hard to say because you because it’s very hard to have a favourite and to pick out a favourite. It’s a great privilege to be able to touch what we can’t afford and to spend that one-on-one time, intimate time with great artists. So, you know, sitting in front of a Picasso, I had to clean off fly spots, fly faeces basically for a whole day but you’re sitting with a wonderful painting and so it’s always a privilege to work with wonderful art, and to have that one-on-one relationship, even if it’s for a temporary period.  ",[],{},"text_interview$78ced8c2-13ce-4812-b9d5-51bfdc9511f9","text_interview","How is science improving art restoration techniques?","Conservator Julia Nagle discusses how restoring paintings has changed over the the last couple of decades.",{"dimensions":369,"alt":372,"copyright":7,"url":373,"id":374,"edit":375},{"width":370,"height":371},2400,1200,"ArtExplored audiocast with art conservator Julia Nagle","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F3f6680c6-48db-447c-93da-63b1e3a18f2d_Audiocast+Opengraph+How+is+science+improving+art+restoration+techniques_.jpg?auto=compress,format","ZK_XhhIAACAAaY5G",{"x":58,"y":58,"zoom":59,"background":60},[377,422],{"variation":92,"version":93,"items":378,"primary":417,"id":421,"slice_type":210,"slice_label":7},[379,388,398,408],{"post":380},{"id":381,"type":207,"tags":382,"lang":17,"slug":383,"first_publication_date":384,"last_publication_date":385,"uid":386,"link_type":71,"key":387,"isBroken":73},"ZHc1QRAAACUAkmFm",[11],"ludovic-subran-is-art-a-good-hedge-against-inflation","2023-05-31T11:53:41+0000","2023-08-31T21:34:18+0000","is-investing-in-art-a-good-hedge-against-inflation","c92e69d3-bca4-491e-ac2e-6fa3b6471f0e",{"post":389},{"id":390,"type":207,"tags":391,"lang":17,"slug":393,"first_publication_date":394,"last_publication_date":395,"uid":396,"link_type":71,"key":397,"isBroken":73},"ZA8MXBAAACgAyr6g",[392],"Conservation 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Audiocast","carousel$a3497cfe-0f72-49d4-871f-4d5b7a083b9d",{"variation":92,"version":93,"items":423,"primary":426,"id":430,"slice_type":210,"slice_label":7},[424],{"post":425},{"link_type":71},{"slides_per_view":418,"max_slides_count":427,"tag":428,"type":8,"title":429,"paralax":7},3,{"link_type":71},"Explore","carousel$37958bb9-5f44-4ea6-8ace-820083cac27c",{"id":381,"uid":386,"url":7,"type":207,"href":432,"tags":433,"first_publication_date":384,"last_publication_date":385,"slugs":434,"linked_documents":436,"lang":17,"alternate_languages":437,"data":438},"https:\u002F\u002Fartexplorer-prod.cdn.prismic.io\u002Fapi\u002Fv2\u002Fdocuments\u002Fsearch?ref=aCb60BIAACEA00zN&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22ZHc1QRAAACUAkmFm%22%29+%5D%5D",[11],[383,435,386],"is-art-a-good-hedge-against-inflation",[],[],{"title":439,"subtitle":7,"color":7,"source":440,"published_at":7,"duration":446,"cover":447,"copyright_cover":7,"description":452,"narrator_copyright":456,"music_copyright":7,"mixing_copyright":7,"deezer_external":457,"spotify_external":458,"apple_podcast_external":461,"slices":462,"meta_title":515,"meta_description":516,"og_image":517,"slices2":523},"Ludovic Subran: Is art a good hedge against inflation?",{"link_type":281,"key":441,"kind":283,"id":442,"url":443,"name":444,"size":445},"7fa8ae55-8590-4af5-86f7-7dd025f71e80","ZJL3CBEAACgAEXYE","https:\u002F\u002Fartexplorer-prod.cdn.prismic.io\u002Fartexplorer-prod\u002Fafad441f-2150-4d4b-9fec-c1f9d51604ea_230616_ARTEXPLORED_AUDIOCAST_LUDOVIC_SUBRAN.mp3","230616_ARTEXPLORED_AUDIOCAST_LUDOVIC_SUBRAN.mp3","9661355",603,{"dimensions":448,"alt":7,"copyright":7,"url":449,"id":450,"edit":451},{"width":78,"height":78},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F1d826534-1e01-4f9b-a802-3e4c69cf46f5_carr%C3%A9-4.jpg?auto=compress,format","ZK_u3hIAACIAafCl",{"x":58,"y":58,"zoom":59,"background":60},[453],{"type":33,"text":454,"spans":455},"ArtExplored's finance and markets editor Robert Budden talks to Ludovic Subran, the chief economist at Allianz SE, about the damaging effects inflation can have on investment strategies and art's proven record as a hedge against rising prices. ",[],"Robert Budden, Ludovic Subran",{"link_type":301},{"link_type":109,"key":459,"url":460},"c548a504-03e8-44b6-86cb-169f1613dd7a","https:\u002F\u002Fopen.spotify.com\u002Fepisode\u002F7EDbEuCntvDhUUUYH5lfMh",{"link_type":301},[463],{"variation":92,"version":93,"items":464,"primary":513,"id":514,"slice_type":365,"slice_label":7},[465,471,477,482,487,492,500,505],{"speaker":466,"content":467},"RB",[468],{"type":33,"text":469,"spans":470},"Inflation is something we’ve forgotten about for quite a long time because we haven’t had much of it. Then, it came back with a vengeance. Can you remind us why inflation is important and why investors should be concerned about it?",[],{"speaker":472,"content":473},"LS",[474],{"type":33,"text":475,"spans":476},"Inflation is significant because it complicates everybody’s job. It complicates the investor’s job to yield returns. It complicates the household spending budget. It makes policymakers worried about how to finance social protection. It makes companies look after their margins like a hawk. Inflation is bad because it means the price of money is decreasing.\n\nIt’s true for the past ten years, and some may say since the 70s, at least in our part of the world, like in the US and Europe, that we haven’t seen much inflation. Recently, it has become a concern for investors because inflation can impact the value of their investments. When prices rise, the purchasing power of money decreases, which can lead to a loss in the real value of your investments. Even if an investment rises in price, if that price rise is less than the inflation rate, then the investor has lost money. That’s the direct effect. \n\nThe response to inflation is also through an increase in interest rates. Of course, an increase in interest rates leads to higher financing costs. If you want to use a bit of a mortgage to buy a house, or if you want to use some debt to invest, you’re also losing on that front, which is the overall cost of financing is much higher these days than it used to be just 12 months ago. It’s mostly through the value and the returns and, maybe, through the leverage angle that we see inflation bite investors. It’s creating concerns today about the future returns of investments.",[],{"speaker":466,"content":478},[479],{"type":33,"text":480,"spans":481},"If you are a long-term investor, ideally, you want an investment that will give you a good real return above inflation. What investments are best to protect you in an inflation environment? And would you include our investments in those?",[],{"speaker":472,"content":483},[484],{"type":33,"text":485,"spans":486},"There are many ways of investing during inflation. Beyond the more alternative investment space, like art or good wine, you have real estate, for example. Investing in a property with rental income is a good hedge against inflation because rental spaces are indexed on inflation (because the rent price is indexed on inflation). Even in the bond markets, with so-called inflation-linked bonds, you can buy a protection, a hedge. \n \n Also, in the vanilla bond market, to protect your returns and your payment of coupons from inflation, the equity market is known to be – when inflation is not too high – a good hedge against inflation. This is because you expect that those companies in the stock market should outperform the cost of inflation. They should pass on some of the increasing costs to the customers through pricing power and still make margins. Your investments should benefit from that. Many investments can be tweaked to become inflation-proof in a way. \n \n What I find interesting is that when you look historically, art has been a good hedge against inflation. The numbers are there to show it. It depends on the geography and how you account for it because there are different costs associated with it and various types of art. But if you go for quality and a buy-and-hold strategy and manage the overall cost of the transaction, art has proven to be quite resilient to higher inflation periods.",[],{"speaker":466,"content":488},[489],{"type":33,"text":490,"spans":491},"Was that also true in higher inflation periods like the 70s?",[],{"speaker":472,"content":493},[494,497],{"type":33,"text":495,"spans":496},"It’s hard to know. There are a few long-term studies. Christoph Spaniers, a researcher at the University of Leeds, says you can look at art as giving good returns but there will be differences between countries and areas of art. \n\nOverall, it has worked over the past 30, 40, and 50 years. As you can imagine, the art market is less liquid than others. You don’t see as much price discovery as in the SP500, the FTSE, or some of the indices that have been there for some time. \n\nMore recently, in the last year, we’ve seen a surge in inflation. It’s spectacular - that’s why people have been talking about the 70s. But it’s a very different moment. \n\nCentral banks are much more serious about killing inflation. We don’t have the same competitive environment or wage indexation. There is no wage-price spiral we saw in the 70s. Maybe we will also be more cognisant of fiscal spending than in the 70s. \n\nBut who would have thought that we would have 10% inflation in the Western Hemisphere, right? It has made many people look back into, for example, the performance of art in the long run when diversifying the portfolio and how much people have been making from this investment. \n\nIn the long run, contemporary art has shown a strong price appreciation of close to 15% over the past 30 years. Even during periods of high inflation, it does compare quite well to the equity market, which is usually ten, or real estate, which is also ten, and also for gold, which is in the tune of seven or eight. \n\nThere is a form of resilience and a good investment in periods of high inflation of blue chip art compared to the variability of the overall transaction.",[],{"type":33,"text":498,"spans":499}," ",[],{"speaker":466,"content":501},[502],{"type":33,"text":503,"spans":504},"It’s unusual where we are now, with the economies slowing in many countries worldwide, with interest rates rising and the edging away of central banks pumping money into the economy. What does all this mean for art markets and investment markets?",[],{"speaker":472,"content":506},[507],{"type":33,"text":508,"spans":509},"This is where you get the second aspect of inflation that could worry people. When you have lower growth and high inflation, people worry about their income’s purchasing power. \n\nArt is an investment you usually make after investing in more traditional things. It’s more something you do in a layered and structured approach, like with residual savings. \n\nWe’ve seen, for example, people turning to art because they had excess hoarding from COVID. They weren’t going out or travelling. They had extra savings to put into art. Of course, since then, inflation has eroded some of these excess savings and they had to tap into their more liquid investments to ensure they could protect their living standards.\n\nThe good news for the art market is this hedonistic dividend. The idea is that you put money into art not only because you expect solid, regular returns, like in the bond market. You don’t invest in art as you invest in the equity market because you believe in a company’s strategy and you’ve seen this company and its management making good decisions. \n\nWhen you invest in art there is a sense of je ne sais quoi, as we say in French, which is emotional, refined and one of the reasons why it is a resilient segment. It has continued to attract Gen Z, for example. We’ve seen several new platforms that show, just like the Robin Hood generation when it came to equity investment in the US, more young people are interested in this form of investment. This is despite the income and wealth shock of ’22 and relative fears about the recession, higher financing costs and central banks not being done with increasing interest rates. \n\nThe sentiment is not as good, but there is a form of resilience among investors, especially in the segment of investors educated about art. They know why they go there and are not necessarily looking for high-frequency trading, trying to time the market, but more into a buy-and-hold strategy. They know this investment will be a positive one for their portfolio in the long run, a bit diversifying because it’s not as correlated as the other asset classes.",[510],{"start":511,"end":512,"type":105},1106,1122,{},"text_interview$3b969a72-6120-4632-baed-d07430cdce58","Is art a good hedge against inflation?","Ludovic Subran highlights art's proven record as a hedge against rising prices",{"dimensions":518,"alt":519,"copyright":7,"url":520,"id":521,"edit":522},{"width":370,"height":371},"Art Explored audiocast with Ludovic Subran, the chief economist at Allianz SE","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Ff4eafce7-614a-469a-8ea3-2f61431c4c1d_Audiocast+Opengraph+Is+art+a+good+hedge+against+inflation+_.jpg?auto=compress,format","ZK_XhhIAACMAaY5F",{"x":58,"y":58,"zoom":59,"background":60},[524],{"variation":92,"version":93,"items":525,"primary":528,"id":531,"slice_type":210,"slice_label":7},[526],{"post":527},{"link_type":71},{"slides_per_view":7,"max_slides_count":7,"tag":529,"type":207,"title":530,"paralax":7},{"link_type":71},"Explore Audiocasts","carousel$ee4f582c-a0fd-486b-99f6-2ee753e8198d",{"id":410,"uid":415,"url":7,"type":207,"href":533,"tags":534,"first_publication_date":413,"last_publication_date":414,"slugs":535,"linked_documents":541,"lang":17,"alternate_languages":542,"data":543},"https:\u002F\u002Fartexplorer-prod.cdn.prismic.io\u002Fapi\u002Fv2\u002Fdocuments\u002Fsearch?ref=aCb60BIAACEA00zN&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22ZBNBcxAAACMAXuYT%22%29+%5D%5D",[247],[412,536,537,538,539,540],"why-are-the-eyes-in-modiglianis-paintings-so-mysterious","modiglianis-enduring-appeal-and-spotting-his-fakes","why-are-amedeo-modiglianis-paintings-so-captivating","why-is-amedeo-modiglianis-work-so-captivating-and-why-do-so-many-art-forgers-copy-his-work","why-does-amedeo-modigliani-have-such-enduring-appeal...-and-why-do-so-many-art-forgers-copy-his-work",[],[],{"title":544,"subtitle":7,"color":545,"source":546,"published_at":7,"duration":552,"cover":553,"copyright_cover":7,"description":558,"narrator_copyright":562,"music_copyright":7,"mixing_copyright":7,"deezer_external":563,"spotify_external":564,"apple_podcast_external":567,"slices":568,"meta_title":644,"meta_description":645,"og_image":646,"slices2":652},"Simonetta Fraquelli & Annette King: Modigliani's enduring appeal and spotting his fakes!","#ffd9a5",{"link_type":281,"key":547,"kind":283,"id":548,"url":549,"name":550,"size":551},"d823dcd3-c84c-4065-857d-92c552cbbe33","ZJQkvhEAACkAFt8n","https:\u002F\u002Fartexplorer-prod.cdn.prismic.io\u002Fartexplorer-prod\u002Fa63fe7fc-00bf-448e-b33f-17349a947691_230616_ARTEXPLORED_AUDIOCAST_SIMONETTA_FRAQUELLI.mp3","230616_ARTEXPLORED_AUDIOCAST_SIMONETTA_FRAQUELLI.mp3","9859499",600,{"dimensions":554,"alt":7,"copyright":7,"url":555,"id":556,"edit":557},{"width":78,"height":78},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F7e5f9781-4dfb-4dcc-9c8c-93373690ccd5_carr%C3%A9-1.jpg?auto=compress,format","ZK_u3hIAACEAafCo",{"x":58,"y":58,"zoom":59,"background":60},[559],{"type":33,"text":560,"spans":561},"ArtExplored's North American art writer Will Corwin discusses why Modigliani's work continues to be so popular, his use of colour, and his subjects' mysterious eyes with Simonetta Fraquelli and Annette King, the co-curators of Modigliani Up Close, the artist's retrospective at the Barnes Foundation in Philadelphia. ",[],"George Nelson, William Corwin, Simonetta Fraquelli, and Annette King",{"link_type":301},{"link_type":109,"key":565,"url":566},"07d80b36-a779-4f2b-a26d-6c64c1999b5f","https:\u002F\u002Fopen.spotify.com\u002Fepisode\u002F3hgiJBJvW5wc5Xtl7Jsz5f",{"link_type":301},[569],{"variation":92,"version":93,"items":570,"primary":642,"id":643,"slice_type":365,"slice_label":7},[571,577,583,588,596,602,607,612,617,622,627,632,637],{"speaker":572,"content":573},"WC",[574],{"type":33,"text":575,"spans":576},"Hi Simonetta and Annette, can you start by telling us why now is the right time for a Modigliani exhibition at the Barnes Foundation?",[],{"speaker":578,"content":579},"SF",[580],{"type":33,"text":581,"spans":582},"Annette and I both contributed and worked on an exhibition that was held at the Tate in 2017, a major Modigliani retrospective. And when we were working on that together with our colleague Nancy Ireson, we started looking at the technical conservation aspects of all the paintings, and we convinced the lenders to that exhibition to also look at their works. And from there came a series of articles that were published in the Burlington and further studies. And when the opportunity came at the Barnes to do a show, we felt that given that they had such a great collection of Modiglianis which had hitherto not been studied and which could benefit from being in a way catalogued and looked at carefully, also from a conservator’s point of view, we thought this was kind of a unique opportunity to build on what we had already done with the previous show and the previous research and to bring together a new group of paintings and to kind of further this work on the artist, which does open new kinds of avenues of research and understanding and really to be able to move forward with the artist in a way that had hitherto not be done, at least prior to the Tate show.",[],{"speaker":572,"content":584},[585],{"type":33,"text":586,"spans":587},"So, what is it about Modigliani’s work that gives him such enduring appeal?",[],{"speaker":589,"content":590},"AK",[591,594],{"type":33,"text":592,"spans":593},"He's an amazing colourist, so the colours really appeal and he seems to capture the essence of the subject without being too realistic or too representational but also there's a real elegance of form and because he was a classically trained artist, the more we looked at these paintings, the more we realised that he was bringing that to the paintings so they have a very pleasing harmony which may not first be evident. So, I think there's a lot about his paintings that really do appeal. And the sculptures.  ",[],{"type":33,"text":498,"spans":595},[],{"speaker":597,"content":598},"SM",[599],{"type":33,"text":600,"spans":601},"If I can also add to that in terms of his appeal, I mean, he's an artist who since the early 1920s and shortly after his death became a favourite both with collectors and with the public. And that has endured, as Annette says, all the way through. He was always a little bit outside of any specific group. I mean, he wasn't connected with the Futurists or the Surrealists or the Cubists, and he forged his own path, which I think has been one that the general viewer has been able to connect with in a way that perhaps other artists have not been so accessible. His art is in many ways, even though I think it seems very on the surface, simple and direct, is actually, as our conservation studies have shown, much more sophisticated and much more worked out than maybe one would immediately think.",[],{"speaker":572,"content":603},[604],{"type":33,"text":605,"spans":606},"As curators, how did you strike a balance between the formal assessment of his artworks and the technical scientific viewpoints, which have such a strong focus in the show?",[],{"speaker":589,"content":608},[609],{"type":33,"text":610,"spans":611},"So, as we mentioned, the Tate exhibition was the beginning of this project and close looking has always been an important part of the conservator’s role, but also an art historian's role. And as we discussed the paintings, we were looking at very different aspects of the paintings, but bringing them together gave us a much more rounded view of each work and then connecting with all the other conservators and curators from the lending institutions we realised that we could then extend the story of each painting into a much more rounded view of his development, his career. And it just made sense for us all to share our findings and look for patterns of material use techniques that emerged throughout his career, creating a bigger picture of how he was working and how his working methods changed, and for example, you bring up the canvas project. It was called the Thread Count Automation Project run by Don Johnson in Texas. He developed software that could sort of look at digital X-rays and match canvas weave anomalies, placing paintings on the same role of canvas, which is fascinating in itself, but it gave us an insight into the materials he was using. So, we realised there were practically no matches before 1917 and then after Zborowski began supporting him, there was much more consistency. So, it seems that the supplies are coming through to the Zborowski, he's buying them and supplying Modigliani. Also, he favoured certain formats, the marine format. It also gave us an insight into colour makers and how they were producing these canvases. So, producing different sizes and formats on each role to get the maximum number of canvases from each role and there are lots of intricacies within those findings that we were still trying to work out, but it was a fascinating insight into his use of canvases and where they were coming from. And in terms of the balance, it was quite difficult, and it took a lot of discussion between us. So, I'll hand over Sim now.",[],{"speaker":578,"content":613},[614],{"type":33,"text":615,"spans":616},"I think that both Nancy and I were very keen that we wanted to work with Annette and with Barbara and have them, as conservators, be part of the curatorial team. But we were also very concerned – not concerned – it’s not the right word. conscious of the fact that when you present an exhibition, you have to do it in such a way to engage the viewer. And I think I could speak for Nancy as well. We wanted the conservation material to be accessible and to be present in the presentation, but we also wanted the show to work visually as an exhibition. And we wanted to draw out certain kinds of visual connections between the individual, for example, between the sculptures and the paintings, or between the group of nudes in a way that allowed the conservation material to be present, but at the same time didn't detract from the paintings themselves. Because one of the problems sometimes with exhibitions where they do have a lot of conservation material is that you find that the viewers end up looking just at the conservation material, not at the paintings themselves. So, I think we were very conscious, all four of us, of creating kind of a visual balance within the exhibition that still allowed you to appreciate the works, but then had this other layer of conservation information available to you. Of course, the catalogue has much more than the exhibition does, and perhaps one could find in other exhibitions or other projects ways of including more technical information through digital ways or whatever into the exhibition itself, but very keen that the paintings and the sculptures would stand in their own right as well.",[],{"speaker":572,"content":618},[619],{"type":33,"text":620,"spans":621},"And my penultimate question, why have there been so many forgeries of his work?",[],{"speaker":578,"content":623},[624],{"type":33,"text":625,"spans":626},"I think that when you have an artist who has a market, inevitably there are forgeries. And his market has been very strong since almost after the day he died. And he wasn't super prolific. He painted a number of paintings, but nowhere near like Picasso’s output. But, where there's a great market, I think there are always forgeries, and unfortunately, his market has always been very strong, and consequently, there have been many forgeries over the decades.",[],{"speaker":572,"content":628},[629],{"type":33,"text":630,"spans":631},"And finally, why are the eyes in Modigliani's paintings so mysterious?",[],{"speaker":578,"content":633},[634],{"type":33,"text":635,"spans":636},"This is a question that practically every single person that comes to the Modigliani exhibition asks. So, obviously it does strike a chord. I mean, personally, I think it has to do with his looking at perhaps African masks or sculptures, he does write about looking into the inside person through the eye and sometimes you have an eye that’s open and another one that’s crosshatched. Sometimes you have very ordinary eyes. So, I think there’s a great variety. But I think that the relationship with African artefacts may well be the key to this, but I haven’t really come across really a satisfactory answer to it over the years even though it’s a question that comes up all the time.",[],{"speaker":589,"content":638},[639],{"type":33,"text":640,"spans":641},"And frustratingly he never expressed that in writing or in interviews so we don’t know, but if you do look at the sculptures and panitings you can see a similarity in the eyes of the sculptures and as Simonetta said they were influenced by African art. So, yes, it’s a long-lasting mystery really.",[],{},"text_interview$7a8ae707-b642-460b-b0b5-6e939d3a68f4","Modigliani's enduring appeal and spotting his fakes!","Co-curators of Modigliani Up Close – the artist's retrospective at the Barnes Foundation in Philadelphia – Simonetta Fraquelli and Anette King talk to ArtExplored.",{"dimensions":647,"alt":648,"copyright":7,"url":649,"id":650,"edit":651},{"width":370,"height":371},"ArtExplored audiocast with the co-curators of Modigliani Up Close Simonetta Fraquelli and Annette King","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F74b29019-9ccc-4141-bd26-8eb960af3714_Audiocast+Opengraph+Modigliani%27s+enduring+appeal+and+spotting+his+fakes%21.jpg?auto=compress,format","ZK_XhhIAACMAaY5H",{"x":58,"y":58,"zoom":59,"background":60},[653,670],{"variation":92,"version":93,"items":654,"primary":667,"id":669,"slice_type":210,"slice_label":7},[655,659,663],{"post":656},{"id":263,"type":207,"tags":657,"lang":17,"slug":271,"first_publication_date":268,"last_publication_date":269,"uid":264,"link_type":71,"key":658,"isBroken":73},[267],"cc9634a8-e0e5-4fd9-b0da-df8619c02af3",{"post":660},{"id":390,"type":207,"tags":661,"lang":17,"slug":393,"first_publication_date":394,"last_publication_date":395,"uid":396,"link_type":71,"key":662,"isBroken":73},[392],"06dbce65-3f06-4a73-8bbb-1ee2904100f5",{"post":664},{"id":400,"type":207,"tags":665,"lang":17,"slug":403,"first_publication_date":404,"last_publication_date":405,"uid":406,"link_type":71,"key":666,"isBroken":73},[392,402],"fc7fb871-4bda-440e-88d7-efa9d52e76d9",{"slides_per_view":427,"max_slides_count":7,"tag":668,"type":207,"title":420,"paralax":7},{"link_type":71},"carousel$18625f0d-cea1-4b21-98e1-454e17a02310",{"variation":92,"version":93,"items":671,"primary":674,"id":684,"slice_type":210,"slice_label":7},[672],{"post":673},{"link_type":71},{"slides_per_view":418,"max_slides_count":7,"tag":675,"type":8,"title":683,"paralax":7},{"id":676,"type":677,"tags":678,"lang":17,"slug":679,"first_publication_date":680,"last_publication_date":681,"uid":679,"link_type":71,"key":682,"isBroken":73},"ZA9CHxAAAKdKyyuy","tag",[247],"amedeo-modigliani","2023-03-13T15:44:44+0000","2023-03-20T16:55:09+0000","680be898-66ae-457b-a11a-0f8eab361541","Related Articles","carousel$5a8cbd87-eb7f-4250-8101-f425a76ddcac",{"id":686,"uid":687,"url":7,"type":207,"href":688,"tags":689,"first_publication_date":690,"last_publication_date":691,"slugs":692,"linked_documents":695,"lang":17,"alternate_languages":696,"data":697},"ZNY85BEAAB4AqwCv","samantha-friedman-moma","https:\u002F\u002Fartexplorer-prod.cdn.prismic.io\u002Fapi\u002Fv2\u002Fdocuments\u002Fsearch?ref=aCb60BIAACEA00zN&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22ZNY85BEAAB4AqwCv%22%29+%5D%5D",[],"2023-08-11T14:08:08+0000","2023-09-12T10:38:08+0000",[693,694,687],"samantha-friedman-moma-a-rare-glimpse-of-georgia-okeeffe","samantha-friedman-moma-a-rare-glimpse-of-goergia-okeeffe",[],[],{"title":698,"subtitle":7,"color":699,"source":700,"published_at":288,"duration":706,"cover":707,"copyright_cover":713,"description":714,"narrator_copyright":718,"music_copyright":7,"mixing_copyright":7,"deezer_external":719,"spotify_external":720,"apple_podcast_external":723,"slices":724,"meta_title":698,"meta_description":716,"og_image":811,"slices2":817},"Samantha Friedman (MoMA): A rare glimpse of Georgia O'Keeffe","#ee5d5d",{"link_type":281,"key":701,"kind":283,"id":702,"url":703,"name":704,"size":705},"6eb1318b-0d2d-432c-8158-3a12ac9fab84","ZNY9OBEAAB8AqwJL","https:\u002F\u002Fartexplorer-prod.cdn.prismic.io\u002Fartexplorer-prod\u002F6eae61fd-54d3-4481-9a1d-c0cf9ed55baa_230811_ARTEXPLORED_AUDIOCAST_SAMANTHA_FRIEDMAN.mp3","230811_ARTEXPLORED_AUDIOCAST_SAMANTHA_FRIEDMAN.mp3","15494337",1020,{"dimensions":708,"alt":698,"copyright":7,"url":710,"id":711,"edit":712},{"width":709,"height":709},1080,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F7874436e-6b77-4ac5-bf7a-90351fc27438_230811_ARTEXPLORED_AUDIOCAST_SAMANTHA_FRIEDMAN.jpg?auto=compress,format","ZNY9rBEAACAAqwRq",{"x":58,"y":58,"zoom":59,"background":60},"Georgia O’Keeffe. Evening Star No.III, 1917. Watercolor on paper mounted on board. 8 7\u002F8 x 11 7\u002F8″ (22.7 x 30.4 cm). The Museum of Modern Art, New York. Mr. and Mrs. Donald B. Straus Fund, 1958. © 2022 Georgia O’Keeffe Museum \u002F Artists Rights Society (ARS), New York\u002F",[715],{"type":33,"text":716,"spans":717},"MoMA’s Associate Curator, Department of Drawings and Prints Samantha Friedman, who curated Georgia O’Keeffe: To See Takes Time at MoMA, talks to ArtExplored about why the artist is one of the most significant painters of the 20th century.",[],"Will Corwin, Samantha Freidman",{"link_type":301},{"link_type":109,"key":721,"url":722},"2d512a63-af04-4df0-bda5-541d755dd3ef","https:\u002F\u002Fopen.spotify.com\u002Fepisode\u002F3mGpDNBundMZ0r8Dquj5Ft",{"link_type":301},[725],{"variation":92,"version":93,"items":726,"primary":809,"id":810,"slice_type":365,"slice_label":7},[727,732,737,742,759,764,769,774,779,784,789,794,799,804],{"speaker":572,"content":728},[729],{"type":33,"text":730,"spans":731},"Hi Samantha. Thank you for joining me today to discuss Georgia O'Keeffe and her exhibition To See Takes Time at MoMA. My first question is this. George O'Keeffe was born in Wisconsin to Irish-Hungarian parents and brought up on a farm. How much did this shape her interest in art, and did the landscape and environment in Wisconsin influence her choosing nature as the main subject matter of her work?",[],{"speaker":578,"content":733},[734],{"type":33,"text":735,"spans":736},"I think it's a great way to start in her early days. And I guess I would say I don't know that the landscape of Wisconsin per se shaped her interest in the landscape as a subject for her work specifically. But I will say that that upbringing was crucial in other ways to the artist that she became. Being from a big farm family of seven kids, being extremely self-sufficient, being comfortable in nature, I think were all qualities that very much shaped the person and artist that O'Keeffe would become. Her kind of comfort with the outdoors, her desire for adventure. You know, her family moved to Virginia when she was in her mid-teens so her landscape would shift. But I think from the very beginning, there was a kind of comfort within different landscapes and you know, that she would move across the country in those early years as she was growing as a young artist and a teacher. So I think that was really important for making her the artist she was. ",[],{"speaker":572,"content":738},[739],{"type":33,"text":740,"spans":741},"Why did MoMA choose to organise an exhibition focusing solely on O'Keeffe's works on paper?",[],{"speaker":578,"content":743},[744],{"type":33,"text":745,"spans":746},"I had organised a smaller exhibition a few years ago of post-war drawings from MoMA's collection called Degree Zero Drawing at Mid-Century and among the 80 some works from our collection I included in that show of drawings that were made between 1948 and 1961 was our latest O'Keeffe drawing, which is a 1959 charcoal that's in this exhibition. And when I hung it in that show, I hung it with an Ellsworth Kelly. It looked very at home and happy. And when I would take people through, they were very shocked to learn that this was an O'Keeffe drawing because it didn't conform to people's expectations of the artist. And I found that to be really exciting, that an artist who is so well known could still surprise people with her work that she made work not at the moment we consider to be her heyday of the 20s, and that it looked quite different from the blown-up flower paintings that are maybe the works that people most quickly and easily conjure in their heads when they're thinking of the artist. So, when I researched that drawing, I realised it was part of a series and that in fact most of the works on paper O'Keeffe made were themselves parts of a series, and there hadn't really been an exhibition that looked at bringing her series on paper together. I've been at MoMA for a long time. I'm well acquainted with some of our wonderful works on paper, the Evening Star watercolour, for example, the Train watercolour. I'd seen those works exhibited over the years, but I hadn't known that there were eight Evening Stars, and that there were three Trains. And I figured if I didn't know that, a lot of people probably didn't know that. And then the kind of last piece of the puzzle was realising that it had been 77 years since MoMA had given Georgia O'Keeffe a monographic exhibition. The last one was in 1946. I found that quite shocking, really surprising. It was a fact I had to check numerous times to make sure I had it right. So it seemed it was high time to honour her in that way. And that path that the previous project had led me down through that drawing seemed like an ideal way to do it, to show her in a different light, to shift the focus, to see a side of the artist that was maybe a bit fresh and showed her in a way that was quite different from how many of us encounter her.",[747,750,753,756],{"start":748,"end":749,"type":105},1367,1379,{"start":751,"end":752,"type":105},1410,1415,{"start":754,"end":755,"type":105},1517,1530,{"start":757,"end":758,"type":105},1558,1564,{"speaker":572,"content":760},[761],{"type":33,"text":762,"spans":763},"What is it about O'Keeffe's painting techniques and subject matter that established her reputation as an innovative modernist?",[],{"speaker":578,"content":765},[766],{"type":33,"text":767,"spans":768},"I would say that in these key early years of her developing her visual language – and we're talking about really 1915 to 1917 – we have an artist who is working both within the realm of radical abstraction that many artists in those early decades of the 20th century are embracing. But she's doing it in quite a personal way also. So she trains to be an artist, she trains with different teachers. She's absorbing all of these theories of the day. And at a certain point, she says, 'I have shapes in my head that are not like what anyone taught me.' And so she steps back to listen to those shapes. So she's working in a kind of radically abstract visual language that is resonant with a lot of the innovations that are going on in those decades of the early 20th century. But she's doing it in a way that feels very deeply personal to her. And I think it's that combination, you know, that really makes her language innovative and modern at that at that moment. ",[],{"speaker":572,"content":770},[771],{"type":33,"text":772,"spans":773},"Which artists influenced O’Keeffe throughout her career?",[],{"speaker":578,"content":775},[776],{"type":33,"text":777,"spans":778},"She talks about, in these key years which we're discussing, reading Kandisnky's Concerning the Spiritual in Art, I think Kandinsky was a touchstone for a lot of artists at this moment, talking about these almost synaesthesia qualities of the different arts, the way that visual art might aspire to the condition of music, the idea of different forms of being associated with different sounds, being associated with different colours. And this is really moving for O'Keeffe, really influential. Within the kind of American vein of artists that Alfred Stieglitz is kind of building up, it's Arthur Dove who is the most resonant for O'Keeffe and indeed who are most resonant for each other. O'Keeffe is equally influential to Dove. I think this ability to kind of live in the grey area between nature and abstraction is something that's really important for both of them. And she sees the work by Dove reproduced in an important book, and that kind of sends her on a path of really admiring him. And they would become, you know, close peers and co-admirers. I think it's interesting to note that it's not only draughtsmen and painters who were exciting for O'Keeffe. You know, of course, Alfred Stieglitz, the photographer and gallerist who would become her husband, is introducing her to many circles of photography in this moment. And his younger acolyte, Paul Strand, is someone whose work is really influential to O'Keeffe. She talks about a moment when he showed her lots and lots of his prints and she says, 'I almost lost my mind over them, photographs that are as queer in shapes as Picasso drawings.' She's actually referring to a very particular Picasso drawing. I don't think she was a very general overall admirer of him necessarily, but there was one particular Cubist Picasso drawing that Stieglitz was showing in his gallery that she really took a liking to. So I think, you know, it really runs the gamut. And then, of course, this wasn't really what you were asking, but of course, it goes both ways. She continues to also be really influential for many artists of the next generation. You know, we have letters between her and Yayoi Kusama, between Agnes Martin, this younger generation of artists who are equally influenced by her. So those conversations are very active in both directions. ",[],{"speaker":572,"content":780},[781],{"type":33,"text":782,"spans":783},"How significant is the relationship between O'Keeffe and MoMA, given that she was the first female artist to receive a proper retrospective at the museum? ",[],{"speaker":578,"content":785},[786],{"type":33,"text":787,"spans":788},"Interestingly, I think it's been a complicated relationship over time, right? I mean, it would have to be the first woman artist to receive a retrospective in 1946 and then to go 77 years without another monograph. I thought a lot about whether that's O'Keeffe specific, whether that has to do again with the fact that her popularity or her presence as a kind of an icon might have overshadowed a sense of her seriousness at a certain point. But I think also it has to do with MoMA's complex history with American art pre-1945. Right? We all know that in MoMA's earlier decades, so many curators invited American art, whether it was the Stieglitz circle of modernism, whether it was self-taught or folk art over the years as that kind of canon became more entrenched of this linear story of modernism with which the museum had become associated, the idea of American art pre-1945, this realism or these kinds of realisms that preceded abstraction and abstract expressionism, were a little bit sidelined, right? They didn't fit into this story. And so I think that those priorities complicated MoMA's relationship to the artist and to her work. I think that it's really exciting and great news that in the last decade or so, we've really complicated the stories that we're telling such that an artist needn't fit into some of those linear trajectories, and I think that's part of what opens up a place for her in a really exciting way. That being said, I think it really is interesting to look back and even if she hadn't received a monograph in all those years, to look back at some of the group exhibitions in which she was included, there's one in particular that I found to be really interesting an exhibition from 1968 called The Art of the Real that a curator named E.C. Goosen organised. And if you read his catalogue essay for that show, which is available on MoMA's website in the form, he holds her up as a kind of a precursor to Ellsworth Kelly to Jasper Johns in this way that feels at first really strange to the stories we've crafted about modernism but are really exciting. And so it's really interesting to look back at the moments in which she was, you know, held up for her innovations, even if she hadn't received a monograph in all those years. ",[],{"speaker":572,"content":790},[791],{"type":33,"text":792,"spans":793},"What is it about the charcoal drawings O’Keeffe made between 1911 and 1918 that propelled her career in a new direction and brought her work to the attention of the American public? ",[],{"speaker":578,"content":795},[796],{"type":33,"text":797,"spans":798},"These charcoal drawings are just amazing. I mean, the exhibition begins with a number of them, many of which she called specials a kind of loving nickname she would give to these early works when she found them to be particularly successful. They are so bold, they're so abstract. And they also contain the kind of blueprints for her visual language, for her whole career, these kinds of spiral forms, this repertory of marks, the way that she negotiates value, the way that she wipes away areas of mid-tone to achieve bright highlights. Like they're just, um, I mean, in addition to being really innovative, they're absolutely lush and gorgeous. Some of them feel very mysterious. Some of them feel very strange. Critics, even in those years struggled to describe them. Um, you know, they, they talked about a scarecrow or, you know, grasping at different ways to to describe them. There's one special from 1915 that she herself described as the drawing of a headache. So the idea that you might describe a physical sensation in visual terms. So just really radical investigation and exploration. And she was sending a lot of these works. She was rolling them up and sending them in the mail in a tube, which of course, not a method we would use to travel them today to her good friend Anita Pulitzer in New York and really wanting validation, wanting to show these works. Anita shows them to Stieglitz and he includes three of them in an exhibition in 1916 and then gives her a solo show in 1917 and that is what brings her work to the attention of the public. It really is through these charcoal drawings that the public sees O’Keeffe and finds her so captivating. ",[],{"speaker":572,"content":800},[801],{"type":33,"text":802,"spans":803},"Have you personally learned anything new about O’Keeffe during your time curating the exhibition?",[],{"speaker":578,"content":805},[806],{"type":33,"text":807,"spans":808},"I have to say, I don’t even know where to begin with that question because pretty much everything I’ve learned during the making of this show, which I collaborated on with some wonderful colleagues.... If you had asked me five years if O’Keeffe was an artist I even cared about, I would have said no. The idea of her being a very popular artist turned me off. So, the kind of process about learning about her work and her work on paper that I experienced, I hope people who see the show will also experience that same learning curve. I wasn’t coming as an expert, I was coming as a convert and so really, everything was new for me. The most gratifying response to the show that I’ve heard has been ‘I had no idea that O’Keeffe made this work’ because that was my response too. So, it’s really all been new. ",[],{},"text_interview$08922976-6c78-4426-bb8d-e3f89e236dc8",{"dimensions":812,"alt":813,"copyright":7,"url":814,"id":815,"edit":816},{"width":370,"height":371},"Samantha Friedman (MoMA): A rare glimpse of Goergia O'Keeffe","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fe4dceda2-b044-4b5e-8d01-e23ed4c63f12_Audiocast+Opengraph+Samantha+Friedman.jpg?auto=compress,format","ZNZAdxEAAB4AqxGj",{"x":58,"y":58,"zoom":59,"background":60},[818],{"variation":92,"version":93,"items":819,"primary":836,"id":840,"slice_type":210,"slice_label":7},[820,824,828,832],{"post":821},{"id":400,"type":207,"tags":822,"lang":17,"slug":403,"first_publication_date":404,"last_publication_date":405,"uid":406,"link_type":71,"key":823,"isBroken":73},[392,402],"cb78cdf8-f594-4d16-8560-ae842cb22a2e",{"post":825},{"id":390,"type":207,"tags":826,"lang":17,"slug":393,"first_publication_date":394,"last_publication_date":395,"uid":396,"link_type":71,"key":827,"isBroken":73},[392],"c488db66-af35-4e92-8832-c0e766361098",{"post":829},{"id":263,"type":207,"tags":830,"lang":17,"slug":271,"first_publication_date":268,"last_publication_date":269,"uid":264,"link_type":71,"key":831,"isBroken":73},[267],"41322e8e-f386-4920-b4ea-8a9286535504",{"post":833},{"id":381,"type":207,"tags":834,"lang":17,"slug":383,"first_publication_date":384,"last_publication_date":385,"uid":386,"link_type":71,"key":835,"isBroken":73},[11],"bb23f4e5-36db-4cdf-8e29-39e7ee525d6b",{"slides_per_view":7,"max_slides_count":7,"tag":837,"type":838,"title":839,"paralax":7},{"link_type":71},"*","Listen to more audiocasts","carousel$fa580951-4d76-4c92-968a-5c51a1fd4bfc",{"slice":211,"payload":842},[843,1006,1238,1419],{"id":215,"uid":221,"url":7,"type":8,"href":844,"tags":845,"first_publication_date":219,"last_publication_date":220,"slugs":846,"linked_documents":848,"lang":17,"alternate_languages":849,"data":850},"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",[217,11],[218,847],"artist-report-francis-bacon-the-last-modern-master",[],[],{"title":851,"subtitle":852,"author":853,"copyright_cover":854,"cover_desktop":855,"cover_mobile":861,"thumbnail":867,"published_at":872,"slices":873,"meta_title":952,"meta_description":953,"og_image":954,"slices2":959},"First Artist Report sheds light on Francis Bacon's market","A unique view of his auction sales over the past 20 years",{"link_type":71},"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":856,"alt":857,"copyright":854,"url":858,"id":859,"edit":860},{"width":77,"height":78},"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":58,"y":58,"zoom":59,"background":60},{"dimensions":862,"alt":857,"copyright":854,"url":864,"id":865,"edit":866},{"width":863,"height":77},2561,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F893a67ce-3b9b-4137-be48-c12d4fdbb735_Francis+Bacon+Artist+report+ArtExplored+Mobile.jpg?auto=compress,format","ZOSg5RIAACcA1wyu",{"x":58,"y":58,"zoom":59,"background":60},{"dimensions":868,"alt":857,"copyright":854,"url":869,"id":870,"edit":871},{"width":78,"height":77},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F2e32c7eb-1c48-4dc3-9eae-cd1e054db673_9_16-1.jpg?auto=compress,format","ZOShBBIAACYA1w1L",{"x":58,"y":58,"zoom":59,"background":60},"2023-08-24",[874],{"variation":92,"version":93,"items":875,"primary":877,"id":951,"slice_type":195,"slice_label":7},[876],{},{"title":878,"content":879},[],[880,883,892,900],{"type":33,"text":881,"spans":882},"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":33,"text":884,"spans":885},"Click on the visual below to read the full report. ",[886],{"start":887,"end":888,"type":107,"data":889},29,51,{"link_type":109,"url":890,"target":891},"https:\u002F\u002Fwww.artexplored.com\u002FFrancis-Bacon-Artist-Report\u002Findex.html#\u002Fpage\u002F0","_blank",{"type":893,"url":894,"alt":7,"copyright":895,"dimensions":896,"id":897,"edit":898,"linkTo":899},"image","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":77,"height":78},"ZOzeKBAAACAA-bcF",{"x":58,"y":58,"zoom":59,"background":60},{"link_type":109,"url":890,"target":891},{"type":33,"text":901,"spans":902},"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.",[903,907,910,913,916,919,928,931,934,939,942,945,947],{"start":904,"end":905,"type":107,"data":906},449,476,{"link_type":109,"url":890,"target":891},{"start":908,"end":909,"type":105},646,676,{"start":911,"end":912,"type":105},1027,1041,{"start":914,"end":915,"type":105},1128,1172,{"start":917,"end":918,"type":105},1474,1522,{"start":920,"end":921,"type":107,"data":922},1702,1746,{"id":923,"type":924,"tags":925,"lang":17,"slug":926,"first_publication_date":927,"last_publication_date":927,"link_type":71,"isBroken":73},"ZOSoqBIAACgA1zFg","definition",[],"arttactic","2023-08-22T12:23:07+0000",{"start":929,"end":930,"type":105},1936,1958,{"start":932,"end":933,"type":105},1964,1965,{"start":935,"end":936,"type":107,"data":937},2461,2486,{"link_type":109,"url":938,"target":891},"https:\u002F\u002Fwww.artexplored.com\u002FFrancis-Bacon-Artist-Report\u002Findex.html#\u002Fpage\u002F26",{"start":940,"end":941,"type":105},2914,2946,{"start":943,"end":944,"type":105},2983,3006,{"start":946,"end":53,"type":105},3011,{"start":948,"end":949,"type":107,"data":950},3053,3064,{"link_type":109,"url":938,"target":891},"text$529b332e-b6f6-4e87-8a3a-7fdda808d05a","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. 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He contributes to Art Review, ARTnews, Spike Magazine and the Spanish newspaper El País.",[],{"type":33,"text":1032,"spans":1033}," He has been editor in chief of Arte al Límite, and editor-contributor of Momus. Author of the books “Curaduría de Latinoamérica” Vol I (2018), and Vol II (2020), PhD (c) at UAM (Spain) with an international mention at PUCSP (Brazil), and curator of more than 30 exhibitions. Founder, director and editor of the art criticism platform Art on Trial.",[],[1035],{"type":33,"text":1036,"spans":1037},"Juan Jose Santos covers Latin America and Europe for ArtExplored. ",[],"Art Writer - Latin America and Europe",{"dimensions":1040,"alt":1042,"copyright":7,"url":1043,"id":1044,"edit":1045},{"width":1041,"height":77},2560,"Juan José Santos","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F4036a65e-0313-45a6-8fa7-f2f3dd511f14_Juan+3_2.jpg?auto=compress,format","ZPCjAxAAACMAzYus",{"x":58,"y":58,"zoom":59,"background":60},{"dimensions":1047,"alt":1042,"copyright":7,"url":1043,"id":1044,"edit":1048},{"width":1041,"height":77},{"x":58,"y":58,"zoom":59,"background":60},"https:\u002F\u002Ftwitter.com\u002Fandyjuanjol",{"dimensions":1051,"alt":1042,"copyright":7,"url":1052,"id":1053,"edit":1054},{"width":370,"height":371},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fc3ec7fde-0d09-4abb-bcc2-aa6bc79307df_Juan+Image+Opengraph.jpg?auto=compress,format","ZPCiGRAAACMAzYbV",{"x":58,"y":58,"zoom":59,"background":60},[1056],{"type":33,"text":1057,"spans":1058},"Juan José Santos is an art historian, curator and contributor. He covers Latin America and Europe for ArtExplored",[],"922beb0c-57e0-4a44-a72e-02d819989bfd","Tracey Emin Exhibition: The Loneliness of the Soul \u002F Sjelens ensomhet Plan 9 & 10 - MUNCH by: Ivar Kvaal",{"dimensions":1062,"alt":1063,"copyright":1064,"url":1065,"id":1066,"edit":1067},{"width":77,"height":78},"Tracey Emin Exhibition: The Loneliness of the Soul \u002F Sjelens ensomhet Plan 9 & 10 - MUNCH","Tracey Emin Exhibition: The Loneliness of the Soul \u002F Sjelens ensomhet Plan 9 & 10 - MUNCH\n\nby: Ivar Kvaal","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F461cf5a3-1680-4af5-9036-ddf9db077f12_IK_MUNCH_Tracey-Emin_+16_9+-+81.jpg?auto=compress,format","ZFoOQREAACMAgRS3",{"x":58,"y":58,"zoom":59,"background":60},{"dimensions":1069,"alt":1063,"copyright":1064,"url":1070,"id":1071,"edit":1072},{"width":78,"height":77},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F81fad00d-c29e-4759-8a17-9b05d09e6235_IK_MUNCH_Tracey-Emin_9-16.jpg?auto=compress,format","ZFoOQREAACIAgRS4",{"x":58,"y":58,"zoom":59,"background":60},{"dimensions":1074,"alt":1063,"copyright":1064,"url":1070,"id":1071,"edit":1075},{"width":78,"height":77},{"x":58,"y":58,"zoom":59,"background":60},[1077,1113,1128,1164],{"variation":92,"version":93,"items":1078,"primary":1080,"id":1112,"slice_type":195,"slice_label":7},[1079],{},{"title":1081,"content":1085},[1082],{"type":1083,"text":192,"spans":1084},"heading1",[],[1086],{"type":33,"text":1087,"spans":1088},"“I've been in love with this man since I was 18.” The woman who uttered these words was born in 1963 and the recipient of her praise, exactly 100 years earlier, in 1863. What unites them is art... and The Scream (1893). \n\nEdvard Munch's mother died of tuberculosis when he was a child. His sister died of the same disease years later. This loss marked Munch's childhood and adolescence, as well as his excessive alcohol consumption and anxiety. These experiences would later be present in his work as an artist, with an orientation of painting towards the psychological study of lonely, traumatised, anguished, and confused characters. He himself said on one occasion that, just as Leonardo da Vinci had dissected bodies, he dissected souls. He also said that his conflicted personality was the basis of his genius.\n\nA century later, another artist would be born who would not only identify with him but would go so far as to affirm that she wanted to be the mother whom Munch lost too early. Tracey Emin, as she wrote in her 2005 memoir, Strangeland, spent too many years buried in alcoholism and toxic relationships, which she called “a drunken, decadent orgy of creative lust, pushing myself to the wildest extremes.”",[1089,1092,1102],{"start":1090,"end":1091,"type":105},201,218,{"start":1093,"end":1094,"type":107,"data":1095},351,357,{"id":1096,"type":1097,"tags":1098,"lang":17,"slug":1099,"first_publication_date":1100,"last_publication_date":1101,"uid":1099,"link_type":71,"isBroken":73},"ZGstPxAAACIAql0R","artist",[227],"edvard-munch","2023-05-22T09:53:52+0000","2023-07-11T08:41:55+0000",{"start":1103,"end":1104,"type":107,"data":1105},681,700,{"id":1106,"type":1097,"tags":1107,"lang":17,"slug":1109,"first_publication_date":1110,"last_publication_date":1111,"uid":1109,"link_type":71,"isBroken":73},"ZA7_5hAAACsAyqgM",[1108],"Da Vinci","leonardo-da-vinci","2023-03-13T10:50:18+0000","2024-09-20T07:46:03+0000","text$ca1a8aed-a675-4ddc-b968-929fc60e4e25",{"variation":1114,"version":93,"items":1115,"primary":1116,"id":1127,"slice_type":893,"slice_label":7},"centered-slice",[],{"image1":1117,"label":1119,"copyright":1124},{"dimensions":1118,"alt":1119,"copyright":1120,"url":1121,"id":1122,"edit":1123},{"width":77,"height":1041},"Tracey Emin \u002F Edvard Munch: The Loneliness of the Soul","By: Photo © Munchmuseet; artwork © Tracey Emin; Courtesy of Tate, lent by the Duerckheim Collection 2015","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F268eeb5b-9d93-4fb2-9e62-7c68d77c0e00_Sjelens_ensomhet-Bed-Emin+3_2.jpg?auto=compress,format","ZFoP8hEAACUAgRyE",{"x":58,"y":58,"zoom":59,"background":60},[1125],{"type":33,"text":1120,"spans":1126},[],"image$1ef718d8-e8a4-40c4-9d6d-aae649b33d10",{"variation":92,"version":93,"items":1129,"primary":1131,"id":1163,"slice_type":195,"slice_label":7},[1130],{},{"title":1132,"content":1133},[],[1134],{"type":33,"text":1135,"spans":1136},"The first artistic crossover between the two tribulated artists took place in 1998. Emin made Homage to Edvard Munch and All My Dead Children, a haunting video piece filmed on the same Oslo jetty that Munch used for many of his works, including The Scream. In this work, Emin appears naked and prostrate under the Sun, exhaling an animal cry, which, as the title of the work reveals, comes from the desolation caused by the several abortions she suffered: a cry before the nonsensical nature of those deaths. In this video recorded on Super 8 film, Emin’s scream is heard from Munch's nearby house in Åsgårdstrand. It is also an offering to him, even if it is a feminist reading, or precisely because of it. Emin's favourite Munch work is Model by the Wicker Chair (1919-21). When asked why, she said it was because he represented a woman with a “crying body,” and she interpreted it as a scene in which the woman, alone and aware of her ageing, had just suffered an abortion.\n\nThe reading of the work is on an artistic and biographical level. On the one hand, there are aesthetic elements in common: in a recent exhibition at the Royal Academy, Emin pairs her own work with selected works by Munch. Comparing his Crouching Nude (1917-19) and Emin's You Kept it Coming (2019), we see the similarities – the angular lines, the streaks of paint, the foreshortenings, the “expressionist” way of making sensations visible through figures. On the other, there is a union through pain, loneliness, and absence. The artist recently declared, after inaugurating a sculpture that she again dialogues with the Norwegian artist, that she wanted to “give him a mother.”  \n\nPerhaps it all comes down to the fact that for both artists, work and life are inextricably linked. They even shared controversy over an exhibition. A Munch show organised in 1892 sparked a polemic that culminated in its premature closure. It is the so-called “Munch Case,” about which the artist commented: “There had never been such a fun moment; it is incredible that something as innocent as painting has created such a stir.” Emin, the provocative and rebellious artist, must have thought the same about the commotion caused by her work My Bed (1998), showing an unmade bed with sheets stained with bodily fluids and condoms, underwear covered in menstrual blood, and a pair of scattered slippers. This work reflects the depressive phase in the artist's life when she once remained in bed for four days without consuming anything but alcohol. Nowadays, it is inevitable to revisit works by Munch such as The Death of Marat (1907), Weeping Woman (1907–1909), and Reclining Female Nude (1912-13) without thinking about Emin's installation. It seems that, finally, times will also crossover in the same dimension. The inspiration between these two creators, at the present time, seems reciprocal to us.  ",[1137,1139,1142,1145,1148,1151,1154,1157,1160],{"start":1138,"end":133,"type":105},94,{"start":1140,"end":1141,"type":105},245,255,{"start":1143,"end":1144,"type":105},739,764,{"start":1146,"end":1147,"type":105},1214,1228,{"start":1149,"end":1150,"type":105},1250,1268,{"start":1152,"end":1153,"type":105},2203,2209,{"start":1155,"end":1156,"type":105},2570,2588,{"start":1158,"end":1159,"type":105},2597,2610,{"start":1161,"end":1162,"type":105},2628,2649,"text$223d6453-1dcd-4cb5-9c6a-1dd1a5061549",{"variation":1165,"version":93,"items":1166,"primary":1185,"id":1206,"slice_type":893,"slice_label":7},"double-slice",[1167,1176],{"image":1168,"title":1172,"subtitle":7},{"dimensions":1169,"alt":1172,"copyright":7,"url":1173,"id":1174,"edit":1175},{"width":1170,"height":1171},1545,1920,"Tracey Emin Exhibition: The Loneliness of the Soul \u002F Sjelens ensomhet Plan 9 & 10 - MUNCH By: Ivar Kvaal","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fa8836662-7718-41dc-b37d-39b6583267a6_IK_MUNCH_Tracey-Emin_0221_v2+%281%29.jpg?auto=compress,format","ZKbY7BEAACEAWmA5",{"x":58,"y":58,"zoom":59,"background":60},{"image":1177,"title":1180,"subtitle":1184},{"dimensions":1178,"alt":1180,"copyright":7,"url":1181,"id":1182,"edit":1183},{"width":1179,"height":1171},1860,"The Death of Marat (1907) By: Munchmuseet","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F189fcb6b-90c1-4b1b-a5c4-9cb017f00b91_EM_The+Death+of+Marat1907+%281%29.jpg?auto=compress,format","ZKbY7xEAACMAWmBI",{"x":58,"y":58,"zoom":59,"background":60},"Edvard Munch Marats død",{"image1":1186,"image2":1193,"label":1201,"copyright":1202},{"dimensions":1187,"alt":1188,"copyright":1189,"url":1190,"id":1191,"edit":1192},{"width":1041,"height":77},"Tracey Emin Exhibition The Loneliness of the Soul Sjelens ensomhet Plan 9 & 10 - MUNCH","By: Ivar Kvaal","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F64fa6846-50b0-4125-ac1a-4e3da5d6cc8d_Tracey+Emin+Exhibition+The+Loneliness+of+the+Soul++Sjelens+ensomhet+Plan+9+%26+10+-+MUNCH+3_2+%282%29.jpg?auto=compress,format","ZFoUnBEAACUAgTMK",{"x":58,"y":58,"zoom":59,"background":60},{"dimensions":1194,"alt":1196,"copyright":1197,"url":1198,"id":1199,"edit":1200},{"width":1195,"height":1171},1280,"Edvard Munch Marats død \u002F The Death of Marat (1907)","By: Munchmuseet","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F9be3c55a-6146-40d7-a23f-860784cda555_Tracey+Emin+Exhibition+The+Loneliness+of+the+Soul++Sjelens+ensomhet+Plan+9+%26+10+-+MUNCH+3_2+%283%29.jpg?auto=compress,format","ZFoVChEAACIAgTUY",{"x":58,"y":58,"zoom":59,"background":60},"From left to right",[1203],{"type":33,"text":1204,"spans":1205},"1° Tracey Emin Exhibition: The Loneliness of the Soul \u002F Sjelens ensomhet Plan 9 & 10 - MUNCH By: Ivar Kvaal\n\n2° Edvard Munch Marats død \u002F The Death of Marat (1907) By: Munchmuseet",[],"image$9b4d21ca-f33f-4151-aa4e-2c81fc56dd43",{"dimensions":1208,"alt":1209,"copyright":7,"url":1210,"id":1211,"edit":1212},{"width":370,"height":371},"Tracey Emin Exhibition: The Loneliness of the Soul \u002F Sjelens ensomhet Plan 9 & 10 - MUNCH by Ivar Kvaal","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F8c723e7a-c6c4-440b-883f-c3ef4a8c73e8_Image+Opengraph+Munch.jpg?auto=compress,format","ZK_8tRIAACIAahhP",{"x":58,"y":58,"zoom":59,"background":60},[1214,1222,1229],{"variation":92,"version":93,"items":1215,"primary":1218,"id":1221,"slice_type":210,"slice_label":7},[1216],{"post":1217},{"link_type":71},{"slides_per_view":7,"max_slides_count":7,"tag":1219,"type":8,"title":1220,"paralax":7},{"link_type":71},"Read more","carousel$7e24815d-2c78-4532-98cc-854c2cbb153f",{"variation":92,"version":93,"items":1223,"primary":1226,"id":1228,"slice_type":210,"slice_label":7},[1224],{"post":1225},{"link_type":71},{"slides_per_view":7,"max_slides_count":7,"tag":1227,"type":207,"title":208,"paralax":7},{"link_type":71},"carousel$24ceda2d-7d84-44ee-befa-0eb0f3fab16c",{"variation":92,"version":93,"items":1230,"primary":1233,"id":1237,"slice_type":210,"slice_label":7},[1231],{"post":1232},{"link_type":71},{"slides_per_view":7,"max_slides_count":7,"tag":1234,"type":1235,"title":1236,"paralax":7},{"link_type":71},"video","Discover more artists","carousel$a8fad0bf-c604-496a-856d-7b218db6cdd9",{"id":235,"uid":241,"url":7,"type":8,"href":1239,"tags":1240,"first_publication_date":239,"last_publication_date":240,"slugs":1241,"linked_documents":1245,"lang":17,"alternate_languages":1246,"data":1247},"https:\u002F\u002Fartexplorer-prod.cdn.prismic.io\u002Fapi\u002Fv2\u002Fdocuments\u002Fsearch?ref=aCb60BIAACEA00zN&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22ZAiOihAAACoAv4s1%22%29+%5D%5D",[237],[238,1242,1243,1244],"dutch-art-for-arts-sake-and-tudor-terror-at-the-met-in-new-york","in-praise-of-painting-dutch-masterpieces-at-the-met-is-a-nod-to-art-for-arts-sake-while-the-tudors-art-and-majesty-in-renaissance-england-favours-luxury-over-the-periods-terror-and-genius.","the-dutch-and-tudors",[],[],{"title":1248,"subtitle":1249,"author":1250,"copyright_cover":1278,"cover_desktop":1279,"cover_mobile":1286,"thumbnail":1292,"published_at":7,"slices":1295,"meta_title":1370,"meta_description":1371,"og_image":1372,"slices2":1378},"Dutch art for art's sake and Tudor Renaissance majesty","The Met in New York praises two periods of vital painting",{"id":23,"type":24,"tags":1251,"lang":17,"slug":26,"first_publication_date":27,"last_publication_date":28,"uid":29,"data":1252,"link_type":71,"key":1277,"isBroken":73},[],{"description":1253,"short_description":1262,"job":49,"thumbnail":1265,"cover":1268,"uid":29,"title":54,"og_image":1271,"meta_description":1274,"meta_title":54},[1254,1256,1258,1260],{"type":33,"text":34,"spans":1255},[],{"type":33,"text":37,"spans":1257},[],{"type":33,"text":40,"spans":1259},[],{"type":33,"text":43,"spans":1261},[],[1263],{"type":33,"text":47,"spans":1264},[],{"dimensions":1266,"alt":54,"copyright":54,"url":55,"id":56,"edit":1267},{"width":52,"height":53},{"x":58,"y":58,"zoom":59,"background":60},{"dimensions":1269,"alt":54,"copyright":7,"url":55,"id":56,"edit":1270},{"width":52,"height":53},{"x":58,"y":58,"zoom":59,"background":60},{"dimensions":1272,"alt":54,"copyright":54,"url":55,"id":56,"edit":1273},{"width":52,"height":53},{"x":58,"y":58,"zoom":59,"background":60},[1275],{"type":33,"text":69,"spans":1276},[],"323a7d89-c6c1-4c7d-8ec1-e1dd1fc07c5b","Hatfield House Image © Hatfield House, Hertfordshire, UK\u002FBridgeman Images",{"dimensions":1280,"alt":1281,"copyright":1282,"url":1283,"id":1284,"edit":1285},{"width":77,"height":78},"Attributed to Marcus Gheeraerts the Younger, (Flemish, 1561–1635\u002F36)Elizabeth I (The Rainbow Portrait), ca. 1602Oil on canvas50 3\u002F8 x 40 in. (128 x 101.6 cm)Reproduced with the permission of the Marquess of Salisbury, Hatfield House Image ","© Hatfield House, Hertfordshire, UK\u002FBridgeman Images","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fc3ab5b97-9a34-49c7-ab58-547e31b38c81_Slide+16_9+-+61.jpg?auto=compress,format","ZCU93RAAACIA6WHE",{"x":58,"y":58,"zoom":59,"background":60},{"dimensions":1287,"alt":1288,"copyright":1282,"url":1289,"id":1290,"edit":1291},{"width":78,"height":77},"Attributed to Marcus Gheeraerts the Younger,\n(Flemish, 1561–1635\u002F36)\nElizabeth I (The Rainbow Portrait), ca. 1602\nOil on canvas\n50 3\u002F8 x 40 in. (128 x 101.6 cm)\nReproduced with the permission of the Marquess of Salisbury, Hatfield House Image ","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fbd3be585-5447-461d-959e-7b27d6ab3ea3_9_16.jpg?auto=compress,format","ZCU-oBAAACQA6WMn",{"x":58,"y":58,"zoom":59,"background":60},{"dimensions":1293,"alt":1288,"copyright":1282,"url":1289,"id":1290,"edit":1294},{"width":78,"height":77},{"x":58,"y":58,"zoom":59,"background":60},[1296,1319,1360],{"variation":92,"version":93,"items":1297,"primary":1299,"id":1318,"slice_type":195,"slice_label":7},[1298],{},{"title":1300,"content":1303},[1301],{"type":1083,"text":192,"spans":1302},[],[1304],{"type":33,"text":1305,"spans":1306},"A nondescript octagonal ring of a gallery, lacking a beginning, middle, and end – and most of all without hierarchy – is a significant spot to exhibit the Dutch masterpieces of the Met. Free from religious requisites and an oppressive need to depict institutions of power and control and their representatives, Dutch painters focused on art simply to be enjoyed in the home rather than with an overwhelming purpose to educate or inculcate: it was the start of art for art’s sake on a societal scale. The Met’s collection includes Vermeer, Rembrandt, Hals, de Hooch, as well as many other genre painters. There is a single painting by a woman, the wonderful Margaretha Haverman. Her career is sadly represented by only a sole masterfully rendered still life of grapes, roses, and tulips in A Vase of Flowers (1716). In Praise of Painting: Dutch Masterpieces at the Met is punctuated by didactic texts that inform us of the Dutch Republic’s newfound freedom from Catholic control, social mobility, and cultural diversity fueled by the influx of refugees from religious persecution elsewhere in Europe. There are still numerous depictions of religious themes, such as Rembrandt’s The Toilet of Bathsheba (1643) and Vermeer’s Allegory of the Catholic Faith (1670-72). Yet both painters felt confident enough in their creative independence to make the images their own: Rembrandt’s Bathsheba is not an idealised body type, but the body of a middle-aged person with all the curves and wrinkles. Vermeer’s allegory is much more about the props and details he uses – the glisten of the crushed serpent’s scales, and pool of blood under its body, the out-of-focus globe he renders with such perfection under the model’s foot. This foot is not about theology but the juxtaposition of form and texture. \n\nMost of In Praise of Painting displays the honest, and often unflattering portraits of Holland’s ambitious middle class, conservatively attired in black with white ruffs and wimples. In Gerard Ter Borch The Younger’s paired portraits of Burgomaster Jan van Duren and Margaretha van Haexbergen, two prominent citizens, we find a class of art patrons new to the institution of commissioning art, but willing to be unexpectedly adventurous in allowing an artist to depict them. Jan and Margaretha are not the life-size half-portraits of Rembrandt, but lilliputian presences: Jan stands next to a red velvet-covered table on which he has placed his black hat, while Margarethe stands with her arm on a red velvet upholstered chair. They are dwarfed by their murky greenish-brown backgrounds, rejecting the idea of the portrait as grandiose; it’s a cross-over between portrait and interior, and becomes a space of narrative. Then there is the sweet, cautious, and unsettled look of Vermeer’s Study of a Young Woman (1665-67), also not flattering, but a very human portrait. Her pale moon face and inky background have the drama of a saintly portrait or a depiction of the Virgin Mary, but none of the insistence of religious decorum.",[1307,1310,1312,1315],{"start":1308,"end":1309,"type":105},789,806,{"start":1311,"end":371,"type":105},1177,{"start":1313,"end":1314,"type":105},1222,1253,{"start":1316,"end":1317,"type":105},2781,2803,"text$6fd25e55-b20d-493f-9fb2-8e5af4b313d8",{"variation":1165,"version":93,"items":1320,"primary":1340,"id":1359,"slice_type":893,"slice_label":7},[1321,1330],{"image":1322,"title":1328,"subtitle":1329},{"dimensions":1323,"alt":7,"copyright":7,"url":1325,"id":1326,"edit":1327},{"width":1171,"height":1324},2503,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F6875f026-a421-441e-bb25-9435a4f07298_Original+-+2+7.jpg?auto=compress,format","ZKbVihEAACQAWk_U",{"x":58,"y":58,"zoom":59,"background":60},"A Vase of Flowers","Margaretha Haverman",{"image":1331,"title":1338,"subtitle":1339},{"dimensions":1332,"alt":7,"copyright":7,"url":1335,"id":1336,"edit":1337},{"width":1333,"height":1334},2186,1722,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fe5a30ac3-83f8-4119-bc59-0e5d31b34193_Original+-+3+7.jpg?auto=compress,format","ZKbVihEAACMAWk_V",{"x":58,"y":58,"zoom":59,"background":60},"The Triumph of Hercules","Raphael (Raffaello Sanzio orSanti)",{"image1":1341,"image2":1347,"label":7,"copyright":1355},{"dimensions":1342,"alt":1343,"copyright":7,"url":1344,"id":1345,"edit":1346},{"width":77,"height":863},"Margaretha Haverman (Dutch, active by 1716–died1722 or later). A Vase of Flowers, 1716. Oil on wood","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F416d62da-b624-4bbc-813c-851b10c50b72_3_2+%285%29.jpg?auto=compress,format","ZLAI4xIAACEAakPT",{"x":58,"y":58,"zoom":59,"background":60},{"dimensions":1348,"alt":1351,"copyright":7,"url":1352,"id":1353,"edit":1354},{"width":1349,"height":1350},3456,2305,"Design attributed to Raphael (Raffaello Sanzio orSanti) (Italian, Urbino 1483–1520 Rome)The Triumph of Hercules, ca. 1540Wool, silk, and gilt-metal- and silver-wrapped thread 15 ft. 11 5\u002F16 in. x 21 ft. 1 15\u002F16 in. (486 × 645 cm) Royal Collection Trust \u002F © Her Majesty Queen Elizabeth II 2022 ","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F91a42d40-6f6a-4534-b466-7fbf666b02fb_3_2+%287%29.jpg?auto=compress,format","ZLAJFhIAACIAakTO",{"x":58,"y":58,"zoom":59,"background":60},[1356],{"type":33,"text":1357,"spans":1358},"(From left to right)\n1° Margaretha Haverman (Dutch, active by 1716–died1722 or later). A Vase of Flowers, 1716. Oil on wood. The Metropolitan Museum of Art, New York, Purchase, 1871 (71.6)\n\n2° Design attributed to Raphael (Raffaello Sanzio orSanti) (Italian, Urbino 1483–1520 Rome) The Triumph of Hercules. Royal Collection Trust \u002F © Her Majesty Queen\n\nThe Metropolitan Museum of Art, New York, Purchase, 1871 (71.6)\u002F © Her Majesty Queen",[],"image$65c01bc4-ccf3-4a20-82b6-15556996679a",{"variation":92,"version":93,"items":1361,"primary":1363,"id":1369,"slice_type":195,"slice_label":7},[1362],{},{"title":1364,"content":1365},[],[1366],{"type":33,"text":1367,"spans":1368},"Contrasting sharply with the Dutch touch and choice of subject is The Tudors: Art and Majesty in Renaissance England, an aspiring blockbuster exhibition of the gold-encrusted and tapestry-wrapped courts of Henry VIII, Mary I and Elizabeth I. It’s a missed opportunity to capture an epoch so fraught with genius and terror: here it has been simply distilled down to luxury. While the various nefarious activities and\u002For beheadings of the sitters are dryly recorded in the texts accompanying the works, as in Holbein the Younger’s stiff and ominous crayon drawing of Anne Boleyn, or Nicholas Hilliard’s loving miniature of a man, probably Robert Devereux second Earl of Essex: both were beheaded, the former lover by Henry, the latter lover by Elizabeth. The show overall is pristine, precious, and staid – but the viewer really should feel nauseous with the constantly shifting sands of allegiances and political gamesmanship, and fear. The reality seeps through a bit here and there – a full-length life-size portrait of Henry VIII standing astride and gazing piercingly out at the viewer was painted so often by Holbein the Younger’s studio that no single work could be attributed to the master. The exhibition does not highlight the sense of terror that infused every aspect of English court life under Henry – a level of politically-directed state murder that easily rivalled Stalin’s political circles.  Nor are there many references to Shakespeare or Marlowe under the reign of Elizabeth I. The accumulation of paintings and drawings by Hans Holbein the Younger is astounding, with several paintings of Henry VIII (from 1537, and 1540), Sir Thomas More (1527), Robert Cheseman (1533), Edward VI as a Child (1538), Hermann von Wedigh III (1532), and drawings of Anne Boleyn and miniatures of various courtiers. Much more context and gory detail were needed to bring to life this very gory and brilliant dynasty.\n\nBoth In Praise of Painting and The Tudors gently alludes to the wrongs committed by Europeans during various periods – the reliance of enforced labour as well as wholesale pilfering of indigenous resources in order to pay for the opulence of the English court and the prosperity of the Dutch middle class, as well as political terror and oppression on their own home turf. The Metropolitan Museum’s galleries of European painting have recently been re-hung because new skylights have been installed, lightening the mood of the galleries substantially. The curatorial staff have taken advantage of the closing of the galleries in order to reconfigure and re-explain much of the work. They have combined sculpture and painting, as some authentic approximation of how the two might have been viewed, mostly in mansions and palaces most of us would never have been allowed to enter. Francois Duquesnoy’s placid Bacchus seated on a Panther (ca. 1635) is a bizarre palimpsest of four classical fragments assembled and finished off by the artist, it is placed in front of the equally fanciful, but frenetic Wolf and Fox Hunt (1616) by Rubens. The humans and beasts in these works interact in contrasting modes of peace and violence, which creates an exciting tension in the air.  We are reminded by the wall texts that many of the individuals who commissioned, purchased, or were memorialised in the portraits benefitted from forced labour and unpaid-for resources. The pairing of Juan de Pareja (1650) and María Teresa, Infanta of Spain is moving, as both were intrinsic to the development of their painter Velazquez, and he couldn’t have existed without either. On a “meta” scale, the two portraits describe Spain in a nutshell: empire and slavery. \n\nMost effective though in making the Met seem more diverse, is the addition of the magical Afro-Futurist room downstairs on the main floor. It is a hallucinatory and hypothetical exercise in imagining a site for the history of African American creativity in a space that is mostly free of colonial and racist shadows. The curators have chosen the idea of a small house in Seneca Village – a town of formerly enslaved and indigenous people which thrived in what is now Manhattan’s Central Park and is decorated with the photography of Trans artist Tourmaline, a woodblock print by Elizabeth Catlett, and ceramics by Roberto Lugo, among many others. The curators have created an imaginary space of domestic tranquillity, strengthened by a sense of justice and equality. A sensibility which the Afro-futurist room shares with the Dutch interiors and meditative still-lifes seen in In Praise of Painting, a semi-parallel culture in which class differences were mitigated and just about anybody was able to enjoy art.",[],"text$d2f8b0b3-152f-4d9c-8542-b12b247dc0c1","The Dutch and Tudors: Double blockbuster show at the Met in New York","An exhibition at The Met in New York showcases masterpiecees of the Dutch Golden Age and Tudor period.",{"dimensions":1373,"alt":1374,"copyright":7,"url":1375,"id":1376,"edit":1377},{"width":370,"height":371},"Attributed to Marcus Gheeraerts the Younger, (Flemish, 1561–1635\u002F36) Elizabeth I (The Rainbow Portrait), ca. 1602. Image © Hatfield House, Hertfordshire, UK\u002FBridgeman Images","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F80c53dbc-b680-41ba-9a49-6a6da73dfeba_The+dutch+and+tudors+Image+Opengraph.jpg?auto=compress,format","ZK_8tRIAACIAahhV",{"x":58,"y":58,"zoom":59,"background":60},[1379,1410],{"variation":92,"version":93,"items":1380,"primary":1407,"id":1409,"slice_type":210,"slice_label":7},[1381,1389,1399,1403],{"post":1382},{"id":1383,"type":1384,"tags":1385,"lang":7,"slug":1386,"first_publication_date":7,"last_publication_date":7,"link_type":71,"key":1387,"isBroken":1388},"ZIiKuhAAACIAqAYV","broken_type",[],"-","7d13f2c7-ce1b-4ab6-94f0-9a66bfa8851b",true,{"post":1390},{"id":1391,"type":8,"tags":1392,"lang":17,"slug":1394,"first_publication_date":1395,"last_publication_date":1396,"uid":1397,"link_type":71,"key":1398,"isBroken":73},"ZAiU1xAAACgAv6oU",[402,1393],"Impressionism","cezannes-timeless-paintings-eclipse-the-contradictions","2023-03-08T15:47:36+0000","2023-07-13T14:02:05+0000","paul-cezanne-cubism-tate","58a1f457-be9c-497b-a758-6f940019074f",{"post":1400},{"id":972,"type":8,"tags":1401,"lang":17,"slug":974,"first_publication_date":975,"last_publication_date":976,"uid":974,"link_type":71,"key":1402,"isBroken":73},[11],"97a9bbb6-92d6-4630-a9ac-6a5dbd155dab",{"post":1404},{"id":245,"type":8,"tags":1405,"lang":17,"slug":248,"first_publication_date":249,"last_publication_date":250,"uid":251,"link_type":71,"key":1406,"isBroken":73},[247],"0fb07c12-2ee9-4a7e-930e-5592cf85e3d2",{"slides_per_view":7,"max_slides_count":427,"tag":1408,"type":8,"title":1220,"paralax":7},{"link_type":71},"carousel$4b0f96f6-7e65-4ea6-8a10-8988cdad6236",{"variation":92,"version":93,"items":1411,"primary":1414,"id":1418,"slice_type":210,"slice_label":7},[1412],{"post":1413},{"link_type":71},{"slides_per_view":7,"max_slides_count":1415,"tag":1416,"type":1235,"title":1417,"paralax":7},6,{"link_type":71},"Masterpieces Decrypted","carousel$27d83d84-877b-4971-b526-d454777873fb",{"id":245,"uid":251,"url":7,"type":8,"href":1420,"tags":1421,"first_publication_date":249,"last_publication_date":250,"slugs":1422,"linked_documents":1426,"lang":17,"alternate_languages":1427,"data":1428},"https:\u002F\u002Fartexplorer-prod.cdn.prismic.io\u002Fapi\u002Fv2\u002Fdocuments\u002Fsearch?ref=aCb60BIAACEA00zN&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22ZAhxkRAAACkAvx0D%22%29+%5D%5D",[247],[248,1423,1424,1425],"do-we-know-modigliani-any-better-through-modigliani-up-close","the-show-at-the-barnes-foundation-in-philadelphia-serves-up-technical-discoveries-new-insights-and-fascinating-secrets-about-the-italian-artist-who-died-in-1920.","a-century-of-enigma",[],[],{"title":1429,"subtitle":1430,"author":1431,"copyright_cover":1459,"cover_desktop":1460,"cover_mobile":1465,"thumbnail":1470,"published_at":7,"slices":1473,"meta_title":1429,"meta_description":1697,"og_image":1698,"slices2":1703},"Amedeo Modigliani through the microscope","Delve into the artist’s enduring appeal and his use of materials",{"id":23,"type":24,"tags":1432,"lang":17,"slug":26,"first_publication_date":27,"last_publication_date":28,"uid":29,"data":1433,"link_type":71,"key":1458,"isBroken":73},[],{"description":1434,"short_description":1443,"job":49,"thumbnail":1446,"cover":1449,"uid":29,"title":54,"og_image":1452,"meta_description":1455,"meta_title":54},[1435,1437,1439,1441],{"type":33,"text":34,"spans":1436},[],{"type":33,"text":37,"spans":1438},[],{"type":33,"text":40,"spans":1440},[],{"type":33,"text":43,"spans":1442},[],[1444],{"type":33,"text":47,"spans":1445},[],{"dimensions":1447,"alt":54,"copyright":54,"url":55,"id":56,"edit":1448},{"width":52,"height":53},{"x":58,"y":58,"zoom":59,"background":60},{"dimensions":1450,"alt":54,"copyright":7,"url":55,"id":56,"edit":1451},{"width":52,"height":53},{"x":58,"y":58,"zoom":59,"background":60},{"dimensions":1453,"alt":54,"copyright":54,"url":55,"id":56,"edit":1454},{"width":52,"height":53},{"x":58,"y":58,"zoom":59,"background":60},[1456],{"type":33,"text":69,"spans":1457},[],"774ce4ae-d320-4411-a8cb-56cbe13abd7e","Amedeo Modigliani. Portrait of Manuel Humbert, 1916. Collection of Bruce and Robbi Toll",{"dimensions":1461,"alt":1459,"copyright":1459,"url":1462,"id":1463,"edit":1464},{"width":77,"height":78},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Ff2bff450-b453-49b3-8275-f309d8550cac_Slide+16_9+-+71.jpg?auto=compress,format","ZCrhUBAAACIA8jIN",{"x":58,"y":58,"zoom":59,"background":60},{"dimensions":1466,"alt":1459,"copyright":1459,"url":1467,"id":1468,"edit":1469},{"width":78,"height":77},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F2f4d958a-edad-4383-81cc-013dbafd4c07_9_16.jpg?auto=compress,format","ZCrhUBAAACEA8jIO",{"x":58,"y":58,"zoom":59,"background":60},{"dimensions":1471,"alt":1459,"copyright":1459,"url":1467,"id":1468,"edit":1472},{"width":78,"height":77},{"x":58,"y":58,"zoom":59,"background":60},[1474,1489,1514,1539,1592,1640],{"variation":92,"version":93,"items":1475,"primary":1477,"id":1488,"slice_type":195,"slice_label":7},[1476],{},{"title":1478,"content":1481},[1479],{"type":1083,"text":192,"spans":1480},[],[1482],{"type":33,"text":1483,"spans":1484},"What is it about the eyes in Amedeo Modigliani’s painting? The majority of sitters in his paintings in Philadelphia’s Barnes Foundation exhibition Modigliani Up Close simply have grey blank spaces instead of eyeballs, rendering their faces more like masks. In Self-Portrait (1919), the very first canvas one encounters in the exhibition, the artist’s body lilts gently to the right and directs its empty pupil-less gaze slightly over our shoulder. Oddly, this missing ingredient doesn’t detract from the sense of personality we get from the bemused rakish Italian-Jewish artist clutching his palette to his chest. He would die a year later, and his eight-month-pregnant wife and muse, Jeanne Hébuterne would commit suicide the day after by jumping out of a window. She inhabits seven of the paintings in Modigliani Up Close. \n\nLegends and questionable anecdotes immediately began to swirl about the artist following his untimely death, and his radical, oft-ridiculed painting style, enigmatic eyeless faces, and penchant for painting lovers only fueled mounting interest in his work. His paintings have continued to grow in value, and he has simultaneously become a darling of forgers. ",[1485],{"start":1486,"end":1487,"type":105},260,273,"text$a67971ff-df84-4025-858d-6c9279383f76",{"variation":1114,"version":93,"items":1490,"primary":1502,"id":1513,"slice_type":893,"slice_label":7},[1491],{"image":1492,"title":1496,"subtitle":1501},{"dimensions":1493,"alt":1496,"copyright":1497,"url":1498,"id":1499,"edit":1500},{"width":1494,"height":1495},2220,3497,"Amedeo Modigliani. Self Portrait, 1919","Amedeo Modigliani. Self Portrait, 1919\nMuseu de Arte Contemporanea da Universidade de São Paulo, Gift of Yolanda Penteado and Francisco Matarazzo Sobrinho 1963.2.16 \u002F MAC USP Collection [Museu de Arte Contemporânea da USP Collection, São Paulo, Brazil]","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fd0755ded-040e-45b2-b9c3-2d9a517e70cd_Amedeo+Modigliani.+Self+Portrait_+1919.jpg?auto=compress,format","ZCvgvRAAACQA887p",{"x":58,"y":58,"zoom":59,"background":60},"Museu de Arte Contemporanea da Universidade de São Paulo, Gift of Yolanda Penteado and Francisco Matarazzo Sobrinho 1963.2.16 \u002F MAC USP Collection [Museu de Arte Contemporânea da USP Collection, São Paulo, Brazil]",{"image1":1503,"label":7,"copyright":1509},{"dimensions":1504,"alt":1496,"copyright":1505,"url":1506,"id":1507,"edit":1508},{"width":78,"height":78},"Amedeo Modigliani. Self Portrait, 1919\n\nMuseu de Arte Contemporanea da Universidade de São Paulo, Gift of Yolanda Penteado and Francisco Matarazzo Sobrinho 1963.2.16 \u002F MAC USP Collection [Museu de Arte Contemporânea da USP Collection, São Paulo, Brazil] ","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fff260219-ad0d-4ed6-8984-bd6d70622700_carr%C3%A9.jpg?auto=compress,format","ZCv2xBAAACMA8_fn",{"x":58,"y":58,"zoom":59,"background":60},[1510],{"type":33,"text":1511,"spans":1512},"Amedeo Modigliani. Self Portrait, 1919 Museu de Arte Contemporanea da Universidade de São Paulo, Gift of Yolanda Penteado and Francisco Matarazzo Sobrinho 1963.2.16 \u002F MAC USP Collection [Museu de Arte Contemporânea da USP Collection, São Paulo, Brazil] \n\n(Click on the image for full screen version)",[],"image$1092fce7-7b4c-4d00-9068-e79f33a5327e",{"variation":92,"version":93,"items":1515,"primary":1517,"id":1538,"slice_type":195,"slice_label":7},[1516],{},{"title":1518,"content":1519},[],[1520],{"type":33,"text":1521,"spans":1522},"Modigliani Up Close brilliantly uses the science of painting conservation and such initially daunting technologies and methodologies as X-ray fluorescence mercury mapping and the Thread Count Automation Project to sift through the forgeries and myths about the fabled artist and begin to paint a portrait of the man who captured others so profoundly.\n\nLike a meticulous prosecutorial team building a sturdy case, the curators of the exhibition, a combination of academics and conservators – Barbara Buckley, Simonetta Fraquelli, Nancy Ireson, and Annette King – construct a narrative based on data gleaned from samples and scans. We watch the 22-year-old Italian artist, new to the burgeoning Parisian art scene in 1906, begin by slumming it – buying old canvases and painting his own images over them, as in The Pretty Housewife (1915). Or Modigliani simply recycled a canvas – more than a few times – such as the palimpsest-like double-sided painting Nude with a Hat (recto), Maud Abrantès (verso) (1908);  X-radiography has revealed an additional pair of portraits lying below the final paintings. The curators are quick to affirm that this was common practice among bohemians at the time (and before and since). But other details, such as Modigliani’s use of a previous artist’s colours in the basket in the hand of The Pretty Housewife, and his penchant for reusing canvases even when he had adequate funds to purchase fresh canvas and stretchers, seem to indicate individual aesthetic choices such as pulling inspiration from an already existing painting and adding an unexpected depth to his own, or a fascination with the unexpected textures of recycled paintings, respectively.",[1523,1526,1529,1532,1535],{"start":1524,"end":1525,"type":105},19,20,{"start":1527,"end":1528,"type":105},809,829,{"start":1530,"end":1531,"type":105},953,968,{"start":1533,"end":1534,"type":105},978,991,{"start":1536,"end":1537,"type":105},1320,1340,"text$5ad4abeb-89f3-4a3f-aaad-592b9d816757",{"variation":1165,"version":93,"items":1540,"primary":1574,"id":1591,"slice_type":893,"slice_label":7},[1541,1552,1563],{"image":1542,"title":1546,"subtitle":1551},{"dimensions":1543,"alt":1546,"copyright":1547,"url":1548,"id":1549,"edit":1550},{"width":1544,"height":1545},2016,2580,"Amedeo Modigliani, Portrait of Maud Abrantes (verso), 1908.","Amedeo Modigliani, Portrait of Maud Abrantes (verso), 1908.\n\nReuben and Edith Hecht Museum, University of Haifa Photograph © Hecht Museum, University of Haifa, Photo: Shay Levy","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F22a4964f-b691-4a6e-8a93-2901c5b00109_Amedeo+Modigliani_+Portrait+of+Maud+Abrantes+%28verso%29%2C+1908.jpg?auto=compress,format","ZCvlKRAAACIA89bD",{"x":58,"y":58,"zoom":59,"background":60},"© Hecht Museum, University of Haifa, Photo: Shay Levy",{"image":1553,"title":1557,"subtitle":1562},{"dimensions":1554,"alt":1557,"copyright":1558,"url":1559,"id":1560,"edit":1561},{"width":1555,"height":1556},2269,3254,"Amedeo Modigliani. Nude with a Hat (recto), 1908","Amedeo Modigliani. Nude with a Hat (recto), 1908\n\nReuben and Edith Hecht Museum, University of Haifa, Israel. Hecht Museum, Haifa\nPhotograph © Hecht Museum, University of Haifa, Photo: Shay Levy","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F45fe459c-32d5-4b5b-b33c-38c70b4e9780_Amedeo+Modigliani.+Nude+with+a+Hat+%28recto%29_+1908.jpg?auto=compress,format","ZCvrmRAAACEA8-MM",{"x":58,"y":58,"zoom":59,"background":60},"Photograph © Hecht Museum, University of Haifa, Photo: Shay Levy",{"image":1564,"title":1572,"subtitle":1573},{"dimensions":1565,"alt":1568,"copyright":1568,"url":1569,"id":1570,"edit":1571},{"width":1566,"height":1567},3078,6922,"Amedeo Modigliani. The Pretty Housewife (La Jolie ménagère), 1915. The Barnes Foundation, BF327","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F59d0de05-5978-4561-aa9d-bf1613b86f42_Amedeo+Modigliani.+The+Pretty+Housewife+%28La+Jolie+m%C3%A9nag%C3%A8re%29.jpg?auto=compress,format","ZCvlKRAAACIA89bF",{"x":58,"y":58,"zoom":59,"background":60},"Amedeo Modigliani. The Pretty Housewife (La Jolie ménagère), 1915","The Barnes Foundation, BF327",{"image1":1575,"image2":1580,"label":1201,"copyright":1587},{"dimensions":1576,"alt":1546,"copyright":1547,"url":1577,"id":1578,"edit":1579},{"width":1041,"height":77},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F64064168-6512-4b7e-96a0-965ca948bac9_3_2+Amedeo+Modigliani_+Portrait+of+Maud+Abrantes+%28verso%29%2C+1908.jpg?auto=compress,format","ZCvkXhAAACMA89VU",{"x":58,"y":58,"zoom":59,"background":60},{"dimensions":1581,"alt":1568,"copyright":1568,"url":1584,"id":1585,"edit":1586},{"width":1582,"height":1583},1921,2881,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F10fc6719-5bd3-434c-9fdf-a581aef66428_3_2+Amedeo+Modigliani.+The+Pretty+Housewife+%28La+Jolie+m%C3%A9nag%C3%A8re%29.jpg?auto=compress,format","ZCvkmhAAACEA89XK",{"x":58,"y":58,"zoom":59,"background":60},[1588],{"type":33,"text":1589,"spans":1590},"Portrait of Maud Abrantes(verso), 1908. Reuben and Edith Hecht Museum, University of Haifa Photograph © Hecht Museum, University of Haifa, Photo: Shay Levy\nThe Pretty Housewife (La Jolie ménagère), 1915. The Barnes Foundation, BF327\n(Click on the image for full screen version)",[],"image$a1012e0b-ed7a-4c95-a115-95a957842670",{"variation":92,"version":93,"items":1593,"primary":1595,"id":1639,"slice_type":195,"slice_label":7},[1594],{},{"title":1596,"content":1597},[],[1598,1637],{"type":33,"text":1599,"spans":1600},"The Thread Count Automation Project has been able to identify the signature pattern of threads in a roll of canvas and can place various paintings on the same roll. As Modigliani and his art dealer were purchasing premade canvases from manufacturers in Paris and the south of France, this path of research can authenticate a Modigliani painting beyond reasonable doubt. Modigliani’s Le Nu Couché (sur la côté gauche) (1917) sold in 2018 for $157.2 million, and considering that 20 out of 21 paintings were declared forgeries at a 2017 exhibition at the Palazzo Ducale in Genoa titled Modigliani, the need to prove that the works were actually created by the artist himself has become a significant concern.\n\nLike a druid’s mystical circle of stones, eight of Modigliani’s delicate and slender female heads form a klatch at the centre of the first gallery in Modigliani Up Close. This in part mimics the arrangement of the artist’s sculptural practice in the Cubist room of the Salon d’Automne in 1912, preserved in photographs. The sacred geometry of the presentation also pulls from accounts from the artist’s contemporaries of his inclination to create a temple-like atmosphere in his studio, with candles nestled on the crowns of his heads casting flickering shadows across the sinuous features. Conservators discovered wax traces on the sculptures, confirming this enlightening anecdote. Analysis of the limestone, and the block’s original shape before the carving began, offers another fascinating detail: that Modigliani purchased (or stole) pieces of stone destined for door jambs and lintels in buildings in Paris. Did these long narrow architectural elements inspire the artist to make elongated sculptural forms, or was he searching out blocks of this shape?\n\nThe first gallery flows into a room of elongated languorous gently writhing nudes: Nude with Coral Necklace (1917), Nude (1917), Seated Nude with a Skirt (1917), Reclining Nude (1917), and Reclining Nude (1919). Encompassed by a sea of pinks, much like being encircled by the ring of beige oolitic limestone in the first gallery, the viewer can watch Modigliani tweaking and refining his vision, he tilts his model’s hips forward and back, plays with line versus alternating shades of colour, and tries different props in order to heighten the sense of erotic connection between the sitter and the artist\u002Fviewer. Each of the galleries allows the viewer to explore the artist’s investigations based on type: light-filled portraits of bored pink-cheeked boys roped into modelling during his convalescence in 1918-19 in the south of France and in the final room a magnificent trio of large format paintings of the ill-fated lover Jeanne Hébuterne: Jeanne Hébuterne in a Yellow Sweater (1918-1919), Portrait of Jeanne Hébuterne (1918), and Jeanne Hébuterne (1919). Modigliani Up Close does not end in the allotted gallery space: because of the esoteric requirements of Albert Barnes himself – the paintings in the permanent galleries cannot be moved from their existing arrangement on the walls, so the visitor has to visit the foundation’s collection in order to see several of Modigliani’s greatest masterpieces, such as the aforementioned The Pretty Housewife, as well as the roguish portrait of the artist’s dealer Leopold Zborowski (1919), and Boy in a Sailor Suit (1917). Modigliani and his friend Soutine were some of the earliest artists to enter Barnes’ collection, and by seeing the paintings amongst Renoirs, Picassos, and Matisses, we begin to understand the mysterious Modigliani, who died so young, in the art ecosystem in which he was a vital part.\n\nModigliani Up Close\n16 October 2022 - 29 January 2023. The Barnes Foundation, Philadelphia. ",[1601,1604,1607,1610,1613,1616,1619,1622,1625,1628,1631,1634],{"start":1602,"end":1603,"type":105},383,417,{"start":1605,"end":1606,"type":105},1853,1877,{"start":1608,"end":1609,"type":105},1886,1890,{"start":1611,"end":1612,"type":105},1899,1923,{"start":1614,"end":1615,"type":105},1932,1946,{"start":1617,"end":1618,"type":105},1959,1973,{"start":1620,"end":1621,"type":105},2715,2751,{"start":1623,"end":1624,"type":105},2765,2793,{"start":1626,"end":1627,"type":105},2806,2822,{"start":1629,"end":1630,"type":105},3208,3228,{"start":1632,"end":1633,"type":105},3285,3302,{"start":1635,"end":1636,"type":105},3315,3335,{"type":33,"text":192,"spans":1638},[],"text$2ea10c84-da5e-40d2-bab2-464d2beac4af",{"variation":1114,"version":93,"items":1641,"primary":1686,"id":1696,"slice_type":893,"slice_label":7},[1642,1653,1664,1675],{"image":1643,"title":1647,"subtitle":1652},{"dimensions":1644,"alt":1647,"copyright":1648,"url":1649,"id":1650,"edit":1651},{"width":1645,"height":1646},6754,4354,"Amedeo Modigliani. Reclining Nude from the Back (Nu couché de dos), 1917, Oil on canvas","Amedeo Modigliani. Reclining Nude from the Back (Nu couché de dos), 1917, Oil on canvas\nThe Barnes Foundation, BF576.","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Ff2a3354c-49ba-4747-b3d5-8d781f7ffc05_Amedeo+Modigliani.+Nude+with+Coral+Necklace_+1917.jpg?auto=compress,format","ZCrk4hAAACMA8jhn",{"x":58,"y":58,"zoom":59,"background":60},"The Barnes Foundation, BF576.",{"image":1654,"title":1658,"subtitle":1663},{"dimensions":1655,"alt":1658,"copyright":1659,"url":1660,"id":1661,"edit":1662},{"width":1656,"height":1657},3593,2342,"Amedeo Modigliani. Nude with Coral Necklace, 1917","Amedeo Modigliani. Nude with Coral Necklace, 1917\n\nAllen Memorial Art Museum, Oberlin College, Oberlin, Ohio. Gift of Joseph and Enid Bissett 1955.59","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F6ba2efc4-2477-4c5b-980f-3cd2ce3934a0_Amedeo+Modigliani.+Nude+with+Coral+Necklace_+1917.jpg?auto=compress,format","ZCvz9xAAACQA8_J9",{"x":58,"y":58,"zoom":59,"background":60},"Allen Memorial Art Museum, Oberlin College, Oberlin, Ohio. Gift of Joseph and Enid Bissett 1955.59",{"image":1665,"title":1669,"subtitle":1674},{"dimensions":1666,"alt":1669,"copyright":1670,"url":1671,"id":1672,"edit":1673},{"width":1667,"height":1668},3003,4606,"Amedeo Modigliani. Jeanne Hébuterne with Yellow Sweater, 1918–19","Amedeo Modigliani. Jeanne Hébuterne with Yellow Sweater, 1918–19\n\nSolomon R. Guggenheim Museum, New York.\nSolomon R. Guggenheim Founding Collection, by gift, 37.533\u002F Photo credit: The Solomon R. Guggenheim Foundation \u002F Art Resource, NY","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F8fc4043f-1bfb-498a-a0ca-460a135f7db6_Amedeo+Modigliani.+Jeanne+H%C3%A9buterne+with+Yellow+Sweater_+1918%E2%80%9319.jpg?auto=compress,format","ZCvvURAAACQA8-nr",{"x":58,"y":58,"zoom":59,"background":60},"Photo credit: The Solomon R. Guggenheim Foundation \u002F Art Resource, NY",{"image":1676,"title":1680,"subtitle":1685},{"dimensions":1677,"alt":1680,"copyright":1681,"url":1682,"id":1683,"edit":1684},{"width":1678,"height":1679},2354,2938,"Amedeo Modigliani, Jeanne Hébuterne, 1919","Amedeo Modigliani, Jeanne Hébuterne, 1919. The Metropolitan Museum of Art, New York, Gift of Mr. and Mrs. Nate B. Spingold, 1956 (56.184.2)\nImage © The Metropolitan Museum of Art. Image source: Art Resource","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fcbb5b1f1-530d-4b67-b8f4-203be68f5433_Amedeo+Modigliani_+Jeanne+H%C3%A9buterne%2C+1919.jpg?auto=compress,format","ZCvyhRAAACIA8-_G",{"x":58,"y":58,"zoom":59,"background":60},"Image © The Metropolitan Museum of Art. Image source: Art Resource",{"image1":1687,"label":7,"copyright":1692},{"dimensions":1688,"alt":1647,"copyright":1648,"url":1689,"id":1690,"edit":1691},{"width":77,"height":1041},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F4e0c35f5-0dc0-41de-94c7-22cb7b1cbb82_3_2-2.jpg?auto=compress,format","ZCrkGhAAACEA8jb-",{"x":58,"y":58,"zoom":59,"background":60},[1693],{"type":33,"text":1694,"spans":1695},"Amedeo Modigliani. Reclining Nude from the Back (Nu couché de dos), 1917, Oil on canvas\nThe Barnes Foundation, BF576.\n(Click on the image to see the carrousel)",[],"image$701d999b-2f59-4f4a-b8fb-e3487ab2bb96","ArtExplored delves into the mystery and allure of Modigliani's art and the impact of 'Modigliani Up Close.' Discover the enduring fascination with this Italian artist.",{"dimensions":1699,"alt":1459,"copyright":7,"url":1700,"id":1701,"edit":1702},{"width":370,"height":371},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fbfd24834-ef66-4ac5-84f3-b8f7ed9ab67f_Amedo+Modigliani+Image+Opengraph.jpg?auto=compress,format","ZK_8thIAACMAahhe",{"x":58,"y":58,"zoom":59,"background":60},[1704,1709,1716],{"variation":92,"version":93,"items":1705,"primary":1706,"id":1708,"slice_type":210,"slice_label":7},[],{"slides_per_view":7,"max_slides_count":7,"tag":1707,"type":8,"title":1220,"paralax":7},{"link_type":71},"carousel$76399f61-581f-4422-989a-c4d3a51b684f",{"variation":92,"version":93,"items":1710,"primary":1713,"id":1715,"slice_type":210,"slice_label":7},[1711],{"post":1712},{"link_type":71},{"slides_per_view":7,"max_slides_count":7,"tag":1714,"type":207,"title":208,"paralax":7},{"link_type":71},"carousel$454b3fee-0d33-4b7c-8484-8a1534e794eb",{"variation":92,"version":93,"items":1717,"primary":1720,"id":1722,"slice_type":210,"slice_label":7},[1718],{"post":1719},{"link_type":71},{"slides_per_view":7,"max_slides_count":7,"tag":1721,"type":1235,"title":1236,"paralax":7},{"link_type":71},"carousel$f1aa84e6-dafc-432c-8410-d664d47c9613"]