[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"$9ZijusqCES":3},{"single":4,"locales":164,"slices":166},{"id":5,"uid":6,"url":7,"type":8,"href":9,"tags":10,"first_publication_date":13,"last_publication_date":14,"slugs":15,"linked_documents":17,"lang":18,"alternate_languages":19,"data":20},"ZnwALhMAACIALWrC","artist-report-claude-monet",null,"article","https:\u002F\u002Fartexplorer-prod.cdn.prismic.io\u002Fapi\u002Fv2\u002Fdocuments\u002Fsearch?ref=aCb60BIAACEA00zN&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22ZnwALhMAACIALWrC%22%29+%5D%5D",[11,12],"Art Investment","Claude Monet ","2024-07-02T09:15:33+0000","2024-07-03T14:13:54+0000",[16],"the-market-landscape-of-monets-water-lilies",[],"en-gb",[],{"title":21,"subtitle":22,"author":23,"copyright_cover":25,"cover_desktop":26,"cover_mobile":36,"thumbnail":42,"published_at":7,"slices":47,"meta_title":89,"meta_description":90,"og_image":91,"slices2":98},"The market landscape of Monet's Water Lilies","A Focus Report on two decades of auctions",{"link_type":24},"Document","Left image: Claude Monet, (detail of) Green Reflections on the Water-Lily Pond (1920-1926) (W 1979), Emil Bührle Collection, on long-term loan at Kunsthaus Zürich. \nRight image: Claude Monet in his studio at Giverny (detail)",{"dimensions":27,"alt":7,"copyright":7,"url":30,"id":31,"edit":32},{"width":28,"height":29},3840,2160,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZnv0aJbWFbowe3pe_Monet_Analysis_Cover-landscape-.jpg?auto=format,compress","Znv0aJbWFbowe3pe",{"x":33,"y":33,"zoom":34,"background":35},0,1,"transparent",{"dimensions":37,"alt":7,"copyright":7,"url":39,"id":40,"edit":41},{"width":38,"height":28},2560,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZnv3RpbWFbowe3qn_Monet_AnalysisArticle_Cover-mobile--portrait-x2.jpg?auto=format,compress","Znv3RpbWFbowe3qn",{"x":33,"y":33,"zoom":34,"background":35},{"dimensions":43,"alt":7,"copyright":7,"url":44,"id":45,"edit":46},{"width":29,"height":28},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZnv3ApbWFbowe3qf_Monet_AnalysisArticle_Thumbnail-portrait-9_16x2.jpg?auto=format,compress","Znv3ApbWFbowe3qf",{"x":33,"y":33,"zoom":34,"background":35},[48],{"variation":49,"version":50,"items":51,"primary":53,"id":87,"slice_type":88,"slice_label":7},"default-slice","sktwi1xtmkfgx8626",[52],{},{"title":54,"content":55},[],[56,61,64,75,84],{"type":57,"text":58,"spans":59,"direction":60},"paragraph","French painter Claude Monet (1840-1926) is a founding father of Impressionism. In the late 19th century, he began working on what would become his life’s work and most celebrated ensemble: the Water Lilies. ",[],"ltr",{"type":57,"text":62,"spans":63,"direction":60},"Our new publication entitled \" Focus Report,\" provides an in-depth analysis of the auction market performance of all Water Lilies paintings sold between 2004 and 2023.",[],{"type":57,"text":65,"spans":66,"direction":60},"Click on the visual below to read the full report.",[67],{"start":68,"end":69,"type":70,"data":71},29,50,"hyperlink",{"link_type":72,"url":73,"target":74},"Web","https:\u002F\u002Fwww.artexplored.com\u002FClaude-Monet-Artist-Report\u002F#\u002Fpage\u002F0","_self",{"type":76,"url":77,"alt":7,"copyright":7,"dimensions":78,"id":80,"edit":81,"linkTo":82},"image","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZnv0ZpbWFbowe3pd_Monet_AnalysisFeatureImage.jpg?auto=format,compress",{"width":28,"height":79},2161,"Znv0ZpbWFbowe3pd",{"x":33,"y":33,"zoom":34,"background":35},{"link_type":72,"url":73,"target":83},"_blank",{"type":57,"text":85,"spans":86,"direction":60},"",[],"text$529b332e-b6f6-4e87-8a3a-7fdda808d05a","text","Art Market: Claude Monet Focus Report","French painter Claude Monet is a founding father of Impressionism. Our new publication entitled \"Claude Monet - Focus Report,\" provides an in-depth analysis of the auction market performance of the renowned painter from 2004 to 2023. It examines the top ten records in Monet's auction history, emphasizing the enduring value and appeal of his work. The report also showcases the high demand and appreciation for his masterpieces over the past two decades. We hope this overview provides you with insights into Monet's artistic legacy and and an understanding of his art market.",{"dimensions":92,"alt":7,"copyright":7,"url":95,"id":96,"edit":97},{"width":93,"height":94},2400,1200,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZnv9D5bWFbowe3vM_Monet_ImageOpengraph.jpg?auto=format,compress","Znv9D5bWFbowe3vM",{"x":33,"y":33,"zoom":34,"background":35},[99,153],{"variation":49,"version":50,"items":100,"primary":148,"id":151,"slice_type":152,"slice_label":7},[101,112,120,128,138],{"post":102},{"id":103,"type":8,"tags":104,"lang":18,"slug":106,"first_publication_date":107,"last_publication_date":108,"uid":109,"link_type":24,"key":110,"isBroken":111},"ZOShthIAACYA1xCI",[105,11],"Francis Bacon","first-artist-report-sheds-light-on-francis-bacons-market","2023-08-24T13:17:37+0000","2023-08-29T15:59:39+0000","artist-report-francis-bacon","06ae1e36-4d8f-475e-a294-90f9911e6229",false,{"post":113},{"id":114,"type":8,"tags":115,"lang":18,"slug":116,"first_publication_date":117,"last_publication_date":118,"uid":116,"link_type":24,"key":119,"isBroken":111},"ZCq3_RAAACMA8eXk",[11],"the-pain-of-rising-interest-rates","2023-04-04T11:07:33+0000","2023-07-26T13:50:18+0000","e05fa8f2-fdf9-4bd7-982a-ccd0371baaac",{"post":121},{"id":122,"type":8,"tags":123,"lang":18,"slug":124,"first_publication_date":125,"last_publication_date":126,"uid":124,"link_type":24,"key":127,"isBroken":111},"ZBmoCREAACIAZDGt",[11],"the-art-of-diversification","2023-03-21T12:52:11+0000","2024-02-12T16:32:14+0000","6f4187f7-0840-4528-ac4e-f79cc5bd964d",{"post":129},{"id":130,"type":8,"tags":131,"lang":18,"slug":133,"first_publication_date":134,"last_publication_date":135,"uid":136,"link_type":24,"key":137,"isBroken":111},"ZAh0SRAAACsAvyne",[132],"Henri Matisse","the-creative-twilight-of-matisses-career","2023-03-08T15:49:21+0000","2023-07-13T14:13:58+0000","henri-matisse-exhibition-in-philadelphia-highlights","1c95fb0b-ab2f-47af-a476-990bf2691dcb",{"post":139},{"id":140,"type":8,"tags":141,"lang":18,"slug":143,"first_publication_date":144,"last_publication_date":145,"uid":146,"link_type":24,"key":147,"isBroken":111},"ZAiOihAAACoAv4s1",[142],"Renaissance","dutch-art-for-arts-sake-and-tudor-renaissance-majesty","2023-03-08T15:48:43+0000","2023-07-13T14:29:58+0000","the-dutch-and-tudors-renaissance","14576743-ac3f-44f5-b4cc-42138d5975e6",{"slides_per_view":7,"max_slides_count":7,"tag":149,"type":8,"title":150,"paralax":111},{"link_type":24},"Articles","carousel$c83bc1bd-aa66-4eb2-8946-ff5fecfc9a8d","carousel",{"variation":49,"version":50,"items":154,"primary":159,"id":163,"slice_type":152,"slice_label":7},[155,157],{"post":156},{"link_type":24},{"post":158},{"link_type":24},{"slides_per_view":7,"max_slides_count":7,"tag":160,"type":161,"title":162,"paralax":111},{"link_type":24},"podcast","Listen to Audiocasts","carousel$d5bbbc96-2ecf-4ae1-8eb3-a5ba196d0816",{"en":165},{"slug":6},[167,1082],{"slice":99,"payload":168},[169,313,465,577,907],{"id":103,"uid":109,"url":7,"type":8,"href":170,"tags":171,"first_publication_date":107,"last_publication_date":108,"slugs":172,"linked_documents":174,"lang":18,"alternate_languages":175,"data":176},"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",[105,11],[106,173],"artist-report-francis-bacon-the-last-modern-master",[],[],{"title":177,"subtitle":178,"author":179,"copyright_cover":180,"cover_desktop":181,"cover_mobile":188,"thumbnail":194,"published_at":199,"slices":200,"meta_title":277,"meta_description":278,"og_image":279,"slices2":284},"First Artist Report sheds light on Francis Bacon's market","A unique view of his auction sales over the past 20 years",{"link_type":24},"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":182,"alt":183,"copyright":180,"url":184,"id":185,"edit":186},{"width":28,"height":29},"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":33,"y":33,"zoom":34,"background":187},"#fff",{"dimensions":189,"alt":183,"copyright":180,"url":191,"id":192,"edit":193},{"width":190,"height":28},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":33,"y":33,"zoom":34,"background":187},{"dimensions":195,"alt":183,"copyright":180,"url":196,"id":197,"edit":198},{"width":29,"height":28},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F2e32c7eb-1c48-4dc3-9eae-cd1e054db673_9_16-1.jpg?auto=compress,format","ZOShBBIAACYA1w1L",{"x":33,"y":33,"zoom":34,"background":187},"2023-08-24",[201],{"variation":49,"version":50,"items":202,"primary":204,"id":87,"slice_type":88,"slice_label":7},[203],{},{"title":205,"content":206},[],[207,210,217,224],{"type":57,"text":208,"spans":209},"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":57,"text":211,"spans":212},"Click on the visual below to read the full report. ",[213],{"start":68,"end":214,"type":70,"data":215},51,{"link_type":72,"url":216,"target":83},"https:\u002F\u002Fwww.artexplored.com\u002FFrancis-Bacon-Artist-Report\u002Findex.html#\u002Fpage\u002F0",{"type":76,"url":218,"alt":7,"copyright":219,"dimensions":220,"id":221,"edit":222,"linkTo":223},"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":28,"height":29},"ZOzeKBAAACAA-bcF",{"x":33,"y":33,"zoom":34,"background":187},{"link_type":72,"url":216,"target":83},{"type":57,"text":225,"spans":226},"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.",[227,231,235,238,241,244,253,256,259,264,267,270,273],{"start":228,"end":229,"type":70,"data":230},449,476,{"link_type":72,"url":216,"target":83},{"start":232,"end":233,"type":234},646,676,"em",{"start":236,"end":237,"type":234},1027,1041,{"start":239,"end":240,"type":234},1128,1172,{"start":242,"end":243,"type":234},1474,1522,{"start":245,"end":246,"type":70,"data":247},1702,1746,{"id":248,"type":249,"tags":250,"lang":18,"slug":251,"first_publication_date":252,"last_publication_date":252,"link_type":24,"isBroken":111},"ZOSoqBIAACgA1zFg","definition",[],"arttactic","2023-08-22T12:23:07+0000",{"start":254,"end":255,"type":234},1936,1958,{"start":257,"end":258,"type":234},1964,1965,{"start":260,"end":261,"type":70,"data":262},2461,2486,{"link_type":72,"url":263,"target":83},"https:\u002F\u002Fwww.artexplored.com\u002FFrancis-Bacon-Artist-Report\u002Findex.html#\u002Fpage\u002F26",{"start":265,"end":266,"type":234},2914,2946,{"start":268,"end":269,"type":234},2983,3006,{"start":271,"end":272,"type":234},3011,3012,{"start":274,"end":275,"type":70,"data":276},3053,3064,{"link_type":72,"url":263,"target":83},"Artist Report: Francis Bacon","Francis Bacon, one of the most important artists of the post-World War II period, continues to dominate the modern art market. Sales prices of his paintings remain a match for the world’s leading iconic artists, the first ever Artist Report from ArtExplored reveals.",{"dimensions":280,"alt":183,"copyright":7,"url":281,"id":282,"edit":283},{"width":93,"height":94},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F8c25d210-31fe-477a-a90d-13fdc56540e6_First+artist+report+Image+Opengraph.jpg?auto=compress,format","ZO4VphAAAB8A_zUi",{"x":33,"y":33,"zoom":34,"background":187},[285,305],{"variation":49,"version":50,"items":286,"primary":303,"id":151,"slice_type":152,"slice_label":7},[287,291,295,299],{"post":288},{"id":114,"type":8,"tags":289,"lang":18,"slug":116,"first_publication_date":117,"last_publication_date":118,"uid":116,"link_type":24,"key":290,"isBroken":111},[11],"dd0453e8-8349-4923-bbbe-96bfe3e96961",{"post":292},{"id":122,"type":8,"tags":293,"lang":18,"slug":124,"first_publication_date":125,"last_publication_date":126,"uid":124,"link_type":24,"key":294,"isBroken":111},[11],"53bcbd49-e3e1-40c2-821c-b913bd8c4df5",{"post":296},{"id":130,"type":8,"tags":297,"lang":18,"slug":133,"first_publication_date":134,"last_publication_date":135,"uid":136,"link_type":24,"key":298,"isBroken":111},[132],"e3ce7a5b-85d0-4f06-82b0-d90f81e2081b",{"post":300},{"id":140,"type":8,"tags":301,"lang":18,"slug":143,"first_publication_date":144,"last_publication_date":145,"uid":146,"link_type":24,"key":302,"isBroken":111},[142],"bc4560ba-f17a-4c01-99d8-db1ffb9ce66b",{"slides_per_view":7,"max_slides_count":7,"tag":304,"type":8,"title":150,"paralax":7},{"link_type":24},{"variation":49,"version":50,"items":306,"primary":311,"id":163,"slice_type":152,"slice_label":7},[307,309],{"post":308},{"link_type":24},{"post":310},{"link_type":24},{"slides_per_view":7,"max_slides_count":7,"tag":312,"type":161,"title":162,"paralax":7},{"link_type":24},{"id":114,"uid":116,"url":7,"type":8,"href":314,"tags":315,"first_publication_date":117,"last_publication_date":118,"slugs":316,"linked_documents":317,"lang":18,"alternate_languages":318,"data":319},"https:\u002F\u002Fartexplorer-prod.cdn.prismic.io\u002Fapi\u002Fv2\u002Fdocuments\u002Fsearch?ref=aCb60BIAACEA00zN&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22ZCq3_RAAACMA8eXk%22%29+%5D%5D",[11],[116],[],[],{"title":320,"subtitle":321,"author":322,"copyright_cover":7,"cover_desktop":364,"cover_mobile":370,"thumbnail":376,"published_at":7,"slices":379,"meta_title":320,"meta_description":420,"og_image":421,"slices2":427},"The pain of rising interest rates","How are art and other assets being affected by the current economic climate?",{"id":323,"type":324,"tags":325,"lang":18,"slug":327,"first_publication_date":328,"last_publication_date":329,"uid":327,"data":330,"link_type":24,"key":363,"isBroken":111},"ZBB4GBAAACgAzS2z","author",[326],"Robert Budden","robert-budden","2023-03-14T13:35:25+0000","2023-07-10T00:56:54+0000",{"description":331,"short_description":341,"job":345,"thumbnail":346,"cover":353,"uid":327,"title":326,"og_image":356,"meta_description":359,"meta_title":326},[332,335,338],{"type":57,"text":333,"spans":334},"Robert Budden is ArtExplored's Art Market Editor. He is a financial journalist with expertise in personal finance and investment. He spent most of his journalistic career writing for the Financial Times where he held a number of roles including Deputy Markets Editor, Personal Finance Editor and Chief Media Correspondent. ",[],{"type":57,"text":336,"spans":337},"He has written extensively on many areas of personal finance and investment from hedge funds and mutual funds to stocks and shares, junk bonds and financial market instruments as well as alternative investments such as wine.",[],{"type":57,"text":339,"spans":340},"He has won around a dozen awards for journalism including Pensions Journalist of the Year (Business Journalist of the Year Awards), Investment Trust Journalist of the Year (Association of Investment Companies) and Pensions and Investment Journalist of the Year (Aon). He has frequently appeared on TV and radio for a number of  broadcasters including CNN, CNBC, Sky News and the BBC.",[],[342],{"type":57,"text":343,"spans":344},"Robert Budden covers the financial and art market for ArtExplored. ",[],"Art Market Editor",{"dimensions":347,"alt":326,"copyright":7,"url":350,"id":351,"edit":352},{"width":348,"height":349},2291,2446,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Ff845a770-a008-44c8-9879-c9f3b0b5e52a_Robert+Budden.jpg?auto=compress,format","ZIsQqxAAACEAs6bQ",{"x":33,"y":33,"zoom":34,"background":187},{"dimensions":354,"alt":326,"copyright":7,"url":350,"id":351,"edit":355},{"width":348,"height":349},{"x":33,"y":33,"zoom":34,"background":187},{"dimensions":357,"alt":326,"copyright":326,"url":350,"id":351,"edit":358},{"width":348,"height":349},{"x":33,"y":33,"zoom":34,"background":187},[360],{"type":57,"text":361,"spans":362},"Robert Budden is a finance and art markets writer at ArtExplored",[],"205f4e5e-adb7-4f9a-a1e8-2a17441961e5",{"dimensions":365,"alt":366,"copyright":366,"url":367,"id":368,"edit":369},{"width":28,"height":29},"Woman Holding a Balance, c. 1664\u002F Johannes Vermeer","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fa5e5b65e-ff6b-4325-819a-71d67cbba630_Slide+16_9+-+79+%282%29.jpg?auto=compress,format","ZGHvmhEAACUApPmY",{"x":33,"y":33,"zoom":34,"background":187},{"dimensions":371,"alt":366,"copyright":372,"url":373,"id":374,"edit":375},{"width":29,"height":28},"National Gallery of Art","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F56538155-2209-41ba-a6be-daea07942cea_9_16.jpg?auto=compress,format","ZC12aBAAACIA9n5Z",{"x":33,"y":33,"zoom":34,"background":187},{"dimensions":377,"alt":366,"copyright":372,"url":373,"id":374,"edit":378},{"width":29,"height":28},{"x":33,"y":33,"zoom":34,"background":187},[380,392],{"variation":49,"version":50,"items":381,"primary":383,"id":391,"slice_type":88,"slice_label":7},[382],{},{"title":384,"content":385},[],[386,389],{"type":57,"text":387,"spans":388},"Global supply chains are yet to normal following the Covid pandemic with an ensuing scarcity of key products and components driving up costs. Meanwhile, the war in Ukraine has hit energy and food prices. The combined result has been rocketing inflation reaching heights in Western economies not seen since the 1980s. Consumers and businesses have been feeling the pain. \n\nInvestors have been suffering too as central banks have reacted with the fastest tightening cycle in decades. Although some feel they could have acted more swiftly and decisively, central banks around the globe have been hiking interest rates at an aggressive pace as they seek to stave off inflation amid fears it could become embedded. By raising rates, central banks hope to discourage investment and spending and thereby dampen economic growth and, crucially, inflation. \n\nIn little over a year, the Federal Reserve – the US central bank – has raised interest rates from close to zero to a current range of between 5% and 5.25%, the highest since 2007. Over a similar timeframe, the European Central Bank increased its main interest rate from -0.5% to 3.5%, the fastest tightening since the creation of the single currency. The Bank of England's interest rate currently stands at 5% from just 0.25% at the end of 2021. Markets are pricing in more hikes before the year end. \n\nAt the same time, with the exception of Japan, the last of the remaining quantitative easing programmes – where central banks print money to underpin flagging economies – have been all but reversed, thereby removing another vital support to bond and equity markets.  \n\nThe burning question for investors now is when the current tightening cycle will come to an end as cuts in rates are usually accompanied by a rally in equity and bond markets. Falling rates could also prove supportive for art markets as lower rates could encourage collectors to move money out of their savings and into art and collectables. \n\nClouding the outlook are risks in the banking sector (an argument for holding off on further rate rises or even for cutting rates) and inflation which is receding more slowly than hoped in some Western economies (an argument for hiking rates).  ",[],{"type":57,"text":85,"spans":390},[],"text$a5d537f4-f765-4154-a3b5-30cca263458c",{"variation":49,"version":50,"items":393,"primary":395,"id":419,"slice_type":88,"slice_label":7},[394],{},{"title":396,"content":397},[],[398,417],{"type":57,"text":399,"spans":400},"While some further interest rate rises are certainly likely – particularly as not all central banks are at the same stage in their hiking cycles – most analysts believe interest rates are now at or close to their peaks. Following banking turmoil in the US and Switzerland, investors trimmed their expectations for global interest rate rises with interest rate swaps briefly indicating that many of the world’s major central banks will not raise rates further. In some cases, swap rates indicated that central banks will begin cutting rates before the year end. Since then, amid signs that inflation is proving more stubborn, markets have begun pricing in further rate rises this year.  \n\nBelow we look at key investment asset classes showing how they have performed in the current tightening cycle and how they might be impacted by future interest rate decisions.'\n\nArt and collectables \n\nMost art dealers and advisers do not believe the art market is too affected by interest rates. But when rates climb to very high levels, like in the late 1980s when Bank of England base rates touched 15%, this can affect sentiment as some investors and collectors instead choose to put their money in the bank. \n\nRates have climbed rapidly – albeit from very low levels – in recent months. But investors looking for clear signs that the art and collectables markets were impacted will be disappointed. \n\nLast year was characterised by auctions of a number of single-owner collections, including works by Microsoft founder Paul Allen and US investor Anne Bass. Such single-owner sales at Christie’s, Sotheby’s and Phillips totalled almost $2.7bn in 2022, a five-year high. Total sales of fine art reached $15.9bn in 2022, according to Artnet, down slightly against 2021 but still the second-highest total since 2018.  \n\nThe Knight Frank Luxury Investment index, which covers art and collectables such as cars, watches, and wine, rose 16% in 2022, led by art up 29% and followed by cars 25% higher. Such performance strongly supports the theory that art is a store of value during uncertain financial markets. \n\nWith rates likely to stabilise towards the end of 2023, the interest rate environment is unlikely to influence art markets much. Of far greater importance will be geopolitical concerns and the economic outlook.\n\nEquities \n\nSince the beginning of 2022, the approximate start of the current tightening cycle, to the end of April 2023, the FTSE All World index of global stocks is around 13% lower. Last year, US stocks had their worst year since 2008 with the S&P 500 basket of leading stocks down over 19% and the tech-heavy Nasdaq index down a third. Geopolitical concerns and fears of recession clearly weighed on stocks. But rising interest rates also played a major role – particularly for growth companies like tech stocks – as their valuations using discounted cash flow models are particularly sensitive to interest rates. \n\nGoing forward, from the protracted war in Ukraine to possible – albeit receding – risks of recession, perils remain for stocks and shares. But with inflation expected to continue to fall and pivots from major central banks on the horizon, there is reason to hope that stock market volatility will be significantly lower in 2023.\n\nBonds\n\nDuring a period of rapidly rising interest rates, it is hardly surprising that bond investors have been hammered. Over 2022, the FTSE World Government Bond index, consisting of the sovereign debt of over 20 countries including the US, Japan, and the UK, fell over 18%. In reaction to rising interest rates, yields on benchmark 10-year US Treasury bonds have climbed from around 1.5% to over 3.65% in the 16 months to mid-May 2023. For holders of these bonds, this has meant losses as when bond yields rise their capital values fall.  \n\nAccording to Edward McQuarrie, an investment historian and professor emeritus at Santa Clara University, last year was the worst year on record for the US bond market, reflecting in great part the speed and depth of rate rises. Unusually, bonds and equities fell in unison, a rare occurrence that has only been witnessed 2% of the time since 1926, according to Goldman Sachs.\n\nToday’s higher bond yields provide investors with a bigger buffer to absorb any further interest rate increases. With possible rate cuts in sight, 10-year benchmark bond yields could actually fall over 2023, providing modest gains for bond investors. What is almost certain, is that the worst for bond investors is now behind us. \n\nProperty \n\nInterest rate rises are generally not good for property returns as the majority of property purchases are funded by debt. Rising borrowing costs deter new investors, in turn driving down prices.\n\nYet rising rates are not always bad news as they are frequently accompanied by strong economic growth and low unemployment, both positive factors for property prices and rents. It’s just that, over this last year, rate rises have coincided with a deteriorating economic outlook, a bad recipe for the sector. \n\nOver 2022 the FTSE Nareit All Equity REITs index, which covers US commercial real estate, posted a total return of -24.9%. UK property fell 10.4% last year according to MSCI’s monthly UK property index, with most of the declines coming in the second half of the year as interest rate rises started to bite. Even so, it was still possible to make money from property in 2022 and returns varied widely with commercial offices amongst the worst hit. \n\nFew are predicting a strong rebound in property prices this year. But with interest rates expected to level off, some stability should return to the property market in 2023.  ",[401,405,408,411,414],{"start":402,"end":403,"type":404},866,889,"strong",{"start":406,"end":407,"type":404},2311,2322,{"start":409,"end":410,"type":404},2928,2930,{"start":412,"end":413,"type":404},3260,3267,{"start":415,"end":416,"type":404},4512,4523,{"type":57,"text":85,"spans":418},[],"text$29448cfe-65cb-41d9-9bb6-314c94adabf3","As central banks have hiked interest rates, how are the main asset classes - including also art and collectables - faring and what lies in store with the future direction of interest rates?",{"dimensions":422,"alt":423,"copyright":7,"url":424,"id":425,"edit":426},{"width":93,"height":94},"Woman Holding a Balance, c. 1664\u002F Johannes Vermeer \u002F The pain of rising interest rates \u002F  Article : Art investment ","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F77aa07c5-e2af-4453-8e18-b880701537e5_Image+Opengraph+The+pain+of+rising+interest+rates.jpg?auto=compress,format","ZK_8txIAACEAahhj",{"x":33,"y":33,"zoom":34,"background":187},[428,459],{"variation":49,"version":50,"items":429,"primary":453,"id":458,"slice_type":152,"slice_label":7},[430,439,443],{"post":431},{"id":432,"type":8,"tags":433,"lang":18,"slug":434,"first_publication_date":435,"last_publication_date":436,"uid":437,"link_type":24,"key":438,"isBroken":111},"ZBmiNxEAACUAZCbn",[11],"is-art-a-sound-investment","2023-03-21T12:40:31+0000","2024-02-12T16:32:00+0000","investment-art-market-assets-painting","4931a7f9-038d-43b4-88c7-19a5cffc463b",{"post":440},{"id":122,"type":8,"tags":441,"lang":18,"slug":124,"first_publication_date":125,"last_publication_date":126,"uid":124,"link_type":24,"key":442,"isBroken":111},[11],"e95e7d25-95b1-47c9-9087-db0c98b09750",{"post":444},{"id":445,"type":8,"tags":446,"lang":18,"slug":448,"first_publication_date":449,"last_publication_date":450,"uid":451,"link_type":24,"key":452,"isBroken":111},"ZAhxkRAAACkAvx0D",[447],"Amedeo Modigliani","amedeo-modigliani-through-the-microscope","2023-03-08T15:49:55+0000","2023-07-13T14:21:18+0000","amadeo-modigliani-a-century-of-enigma","30ad6c93-ad2f-4094-bb1d-64a83239a61f",{"slides_per_view":454,"max_slides_count":454,"tag":455,"type":456,"title":457,"paralax":7},3,{"link_type":24},"*","Read more","carousel$abfa6941-f26c-43d1-812f-9c8e25bcd803",{"variation":49,"version":50,"items":460,"primary":461,"id":464,"slice_type":152,"slice_label":7},[],{"slides_per_view":7,"max_slides_count":7,"tag":462,"type":161,"title":463,"paralax":7},{"link_type":24},"Listen to audiocasts","carousel$2492f3a6-546a-409e-902f-d3b2d002164a",{"id":122,"uid":124,"url":7,"type":8,"href":466,"tags":467,"first_publication_date":125,"last_publication_date":126,"slugs":468,"linked_documents":470,"lang":18,"alternate_languages":471,"data":472},"https:\u002F\u002Fartexplorer-prod.cdn.prismic.io\u002Fapi\u002Fv2\u002Fdocuments\u002Fsearch?ref=aCb60BIAACEA00zN&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22ZBmoCREAACIAZDGt%22%29+%5D%5D",[11],[124,469],"buying-art-can-lower-the-overall-risks-of-your-investment-portfolio-by-helping-to-maximise-returns-while-limiting-losses-in-a-downturn.",[],[],{"title":473,"subtitle":474,"author":475,"copyright_cover":7,"cover_desktop":501,"cover_mobile":507,"thumbnail":512,"published_at":7,"slices":515,"meta_title":473,"meta_description":535,"og_image":536,"slices2":542},"The art of diversification ","Buy art, lower risk, maximize returns – is it so simple?",{"id":323,"type":324,"tags":476,"lang":18,"slug":327,"first_publication_date":328,"last_publication_date":329,"uid":327,"data":477,"link_type":24,"key":500,"isBroken":111},[326],{"description":478,"short_description":485,"job":345,"thumbnail":488,"cover":491,"uid":327,"title":326,"og_image":494,"meta_description":497,"meta_title":326},[479,481,483],{"type":57,"text":333,"spans":480},[],{"type":57,"text":336,"spans":482},[],{"type":57,"text":339,"spans":484},[],[486],{"type":57,"text":343,"spans":487},[],{"dimensions":489,"alt":326,"copyright":7,"url":350,"id":351,"edit":490},{"width":348,"height":349},{"x":33,"y":33,"zoom":34,"background":187},{"dimensions":492,"alt":326,"copyright":7,"url":350,"id":351,"edit":493},{"width":348,"height":349},{"x":33,"y":33,"zoom":34,"background":187},{"dimensions":495,"alt":326,"copyright":326,"url":350,"id":351,"edit":496},{"width":348,"height":349},{"x":33,"y":33,"zoom":34,"background":187},[498],{"type":57,"text":361,"spans":499},[],"14f5b83e-8398-431b-b5c7-b56d6152ab5d",{"dimensions":502,"alt":503,"copyright":7,"url":504,"id":505,"edit":506},{"width":28,"height":29},"The Money Changers","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fae565da2-21f2-4c7c-b5ab-d8817755c291_Slide+16_9+-+88.jpg?auto=compress,format","ZLAO6xIAACAAamGW",{"x":33,"y":33,"zoom":34,"background":187},{"dimensions":508,"alt":503,"copyright":7,"url":509,"id":510,"edit":511},{"width":29,"height":28},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F97040616-ff96-4d3a-ae2b-c1382d478718_9_16+%286%29.jpg?auto=compress,format","ZLAO7BIAACIAamGd",{"x":33,"y":33,"zoom":34,"background":187},{"dimensions":513,"alt":503,"copyright":7,"url":509,"id":510,"edit":514},{"width":29,"height":28},{"x":33,"y":33,"zoom":34,"background":187},[516],{"variation":49,"version":50,"items":517,"primary":519,"id":534,"slice_type":88,"slice_label":7},[518],{},{"title":520,"content":524},[521],{"type":522,"text":85,"spans":523},"heading1",[],[525,528,531],{"type":57,"text":526,"spans":527},"Buying art can lower the overall risks of your investment portfolio by helping to maximise returns while limiting losses in a downturn. The perfect investment would be one that behaves like cash – i.e., that doesn’t depreciate – yet performs like tech stocks during the dot-com boom. Sadly, no such investment exists.  \n\nThis is something the Chinese appear to have long understood. Indeed, the Chinese word for “risk” consists of two separate symbols: “danger” and “opportunity,” clearly explaining that risk brings with it the possibility of both losses and gains.   \n\nThis understanding is deeply ingrained in the psyche of any good wealth manager or financial adviser. Underpinning every investment approach is appetite for risk – in essence, an investor’s ability and willingness to stomach losses in the pursuit of profits.   \n\nThe other key tenet of savvy investing – first popularised by Nobel prize winner and father of modern portfolio theory Harry Markowitz – is diversification.   \n\nThe idea is that, by spreading investments across different securities (like shares in different companies) and different asset classes (like bonds or even wine or art), investors can maximise their financial returns while limiting losses in a downturn. When one asset is falling in value, another might be falling more slowly or even rising in price, cushioning the overall blows of challenging investment markets yet maintaining a long-term aim of delivering decent gains.  \n\nThis concept has been so rigorously tested by academics and investors of all shapes and sizes that it is pretty much universally adopted by all professional investors from pension funds and endowments to the world’s biggest global asset and wealth managers.  \n\nThe test to check whether another investment makes sense for diversification purposes is to look at how closely it performs with another. The tool used to do this is called correlation. It measures how closely one asset (or a particular stock or bond) has performed against another. Correlation is ranked between minus one and one with zero denoting that there is no performance relationship at all, while one signifies that two assets rise and fall in tandem. A negative correlation indicates that when one asset rises in price the other falls.   \n\nMost long-term investors will own equities and bonds as core holdings in their portfolios. So typical diversification assets might include property, private equity, hedge funds, or even art and other collectables. \n\nLike property or private equity, research indicates that art can also prove to be an effective diversification asset. Measured from 2000 to the end of June 2021, European Old Masters and Impressionist art had a “low” correlation of just 0.23 with the S&P 500 index of leading US stocks, according to data provider Artnet, indicating art has a noticeably different performance profile to US equities.   \n\nIn terms of how much of their wealth investors might want to tie up in art and other collectables, that will depend on multiple factors, not least personal and emotional ones. But, as a good guide, investment advisers suggest up to around 5% of total assets held in art and collectables can provide useful diversification benefits.  \n\nBut beware, not all art performs the same and some artworks will prove better diversification tools than others. Also measured from 2000 to the end of June 2021, Global Contemporary Art and Global Post-War Art had correlations with the S&P 500 of 0.72 and 0.70 respectively, according to Artnet, pointing to a strong performance relationship with equities.   \n\nFurthermore, it is important to look at the period over which correlation figures are calculated as they can vary significantly over time.   \n\nTake bonds and equities. From the late 1990s until very recently, high-quality government bonds had a negative correlation with equities: when stock markets fell, investors tended to rush towards the safe havens of US and German government bonds, driving up their prices during stock market turmoil. But this relationship changed in 2022, as rising inflation and interest rates hurt both bonds and equities. As a result, the correlation between the two moved from negative to positive.   ",[],{"type":57,"text":529,"spans":530},"\n\nNo one has a crystal ball. Similar changes could happen to art or within a particular art genre if it falls in or out of favour. The fact no one can accurately predict the future only underlines why it makes sense to put one’s investment eggs in a wide variety of baskets.   ",[],{"type":57,"text":532,"spans":533},"  ",[],"text$70e5d07e-6002-443b-907d-2b4441f2272c","Buying art can lower the overall risks of your investment portfolio by helping to maximise returns while limiting losses in a downturn.",{"dimensions":537,"alt":538,"copyright":7,"url":539,"id":540,"edit":541},{"width":93,"height":94},"The Money Changers \u002F The art of diversification  \u002F Article : Art investment ","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fa1fd309d-8dbb-485f-a5af-9cdca078b85b_Image+Opengraph+The+art+of+diversification.jpg?auto=compress,format","ZK_8tRIAACIAahhS",{"x":33,"y":33,"zoom":34,"background":187},[543],{"variation":49,"version":50,"items":544,"primary":573,"id":576,"slice_type":152,"slice_label":7},[545,554,564],{"post":546},{"id":547,"type":161,"tags":548,"lang":18,"slug":549,"first_publication_date":550,"last_publication_date":551,"uid":552,"link_type":24,"key":553,"isBroken":111},"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","25bb8420-1c8a-478d-afc4-6819fd012202",{"post":555},{"id":556,"type":161,"tags":557,"lang":18,"slug":559,"first_publication_date":560,"last_publication_date":561,"uid":562,"link_type":24,"key":563,"isBroken":111},"ZA8MXBAAACgAyr6g",[558],"Conservation ","curtis-dowling-fakes-and-forgeries-in-art","2023-03-13T11:44:46+0000","2023-08-31T21:34:49+0000","curtis-dowling-art-forgery-fakes","d03840f3-3483-4f15-ae1e-82bd43570917",{"post":565},{"id":566,"type":161,"tags":567,"lang":18,"slug":568,"first_publication_date":569,"last_publication_date":570,"uid":571,"link_type":24,"key":572,"isBroken":111},"ZBNBcxAAACMAXuYT",[447],"simonetta-fraquelli--annette-king-modiglianis-enduring-appeal-and-spotting-his-fakes","2023-03-16T16:19:49+0000","2023-08-31T21:33:41+0000","why-does-amedeo-modigliani-have-such-enduring-appeal","9ea1389d-dfc4-4771-9ae6-ddd237d48855",{"slides_per_view":454,"max_slides_count":454,"tag":574,"type":161,"title":575,"paralax":7},{"link_type":24},"Art Explored Audiocasts","carousel$36c78bbe-e63c-4051-818f-baa909fb67e2",{"id":130,"uid":136,"url":7,"type":8,"href":578,"tags":579,"first_publication_date":134,"last_publication_date":135,"slugs":580,"linked_documents":588,"lang":18,"alternate_languages":589,"data":590},"https:\u002F\u002Fartexplorer-prod.cdn.prismic.io\u002Fapi\u002Fv2\u002Fdocuments\u002Fsearch?ref=aCb60BIAACEA00zN&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22ZAh0SRAAACsAvyne%22%29+%5D%5D",[132],[133,581,582,583,584,585,586,587],"the-highs-and-lows-of-henri-matisses-career","the-highs-and-lows-of-henri-matisse","matisse-exhibition-in-philadelphia-highlights-french-artists-highs-and-lows","henri-matisse-hit-a-creative-wall-in-1930-but-a-commission-to-decorate-the-main-gallery-of-the-barnes-foundation-in-the-city-of-brotherly-love-turned-his-practice-around-as-matisse-in-the-30s-shows.","henri-matisse-hit-a-creative-wall-in-1930-but-a-commission-to-decorate-the-main-gallery-of-the-barnes-foundation-in-the-city-of-brotherly-love-turned-his-practice-around-as-matisse-in-the-30s-highlights.","henri-matisse-hit-a-creative-wall-in-1930-but-a-commission-to-decorate-the-main-gallery-of-the-barnes-foundation-in-the-city-of-brotherly-love-turned-his-practice-around.","from-experimentation-to-failure-to-renewal",[],[],{"title":591,"subtitle":592,"author":593,"copyright_cover":637,"cover_desktop":638,"cover_mobile":645,"thumbnail":651,"published_at":654,"slices":655,"meta_title":847,"meta_description":848,"og_image":849,"slices2":855},"The creative twilight of Matisse's career","After a blip in 1930, he made several iconic works",{"id":594,"type":324,"tags":595,"lang":18,"slug":596,"first_publication_date":597,"last_publication_date":598,"uid":599,"data":600,"link_type":24,"key":636,"isBroken":111},"ZBBfzBAAACgAzQAo",[],"william-corwin","2023-03-14T11:51:45+0000","2023-07-10T00:55:46+0000","will-corwin",{"description":601,"short_description":614,"job":618,"thumbnail":619,"cover":626,"uid":599,"title":622,"og_image":629,"meta_description":632,"meta_title":622},[602,605,608,611],{"type":57,"text":603,"spans":604},"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":57,"text":606,"spans":607},"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":57,"text":609,"spans":610},"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":57,"text":612,"spans":613},"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.",[],[615],{"type":57,"text":616,"spans":617},"William Corwin covers North America for ArtExplored",[],"Art Writer (North America)",{"dimensions":620,"alt":622,"copyright":622,"url":623,"id":624,"edit":625},{"width":621,"height":272},2660,"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":33,"y":33,"zoom":34,"background":187},{"dimensions":627,"alt":622,"copyright":7,"url":623,"id":624,"edit":628},{"width":621,"height":272},{"x":33,"y":33,"zoom":34,"background":187},{"dimensions":630,"alt":622,"copyright":622,"url":623,"id":624,"edit":631},{"width":621,"height":272},{"x":33,"y":33,"zoom":34,"background":187},[633],{"type":57,"text":634,"spans":635},"Will Corwin covers North America for ArtExplored",[],"7b0bde38-c61c-4687-adcf-81ae061eaf51","Henri Matisse, “Oil Study for Barnes Mural, Ocher Harmony”, Oil on canvas. Musée Matisse Nice, France. \n© 2022 Succession H. Matisse\u002FArtists Rights Society (ARS), New York.",{"dimensions":639,"alt":640,"copyright":641,"url":642,"id":643,"edit":644},{"width":28,"height":29},"Henri, Matisse, “Oil Study for Barnes Mural, Ocher Harmony”, 1930–31. 13 inches × 34 9\u002F16 inches, Oil on canvas. Musée Matisse Nice, France. ","© 2022 Succession H. Matisse\u002FArtists Rights Society (ARS), New York.\n","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F9f6c4d9a-c18f-412d-a49a-f0566ea52584_Cover+Matisse.jpg?auto=compress,format","ZCLiSxAAACEA5UHC",{"x":33,"y":33,"zoom":34,"background":187},{"dimensions":646,"alt":647,"copyright":641,"url":648,"id":649,"edit":650},{"width":29,"height":28},"Henri, Matisse, “Oil Study for Barnes Mural, Ocher Harmony”, 1930–31. 13 inches × 34 9\u002F16 inches, Oil on canvas. Musée Matisse Nice, France.","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fea3a1109-6609-4e42-8ee4-353d5d04bead_Portrait+Matisse.jpg?auto=compress,format","ZCLinRAAACIA5UNg",{"x":33,"y":33,"zoom":34,"background":187},{"dimensions":652,"alt":647,"copyright":641,"url":648,"id":649,"edit":653},{"width":29,"height":28},{"x":33,"y":33,"zoom":34,"background":187},"2023-03-08",[656,692,711,759,799],{"variation":49,"version":50,"items":657,"primary":659,"id":691,"slice_type":88,"slice_label":7},[658],{},{"title":660,"content":663},[661],{"type":522,"text":85,"spans":662},[],[664],{"type":57,"text":665,"spans":666},"French artist Henri Matisse hit a creative wall in 1930 but a commission to decorate the main gallery of The Barnes Foundation in Philadelphia turned his practice around, as the exhibition Matisse in the 1930s shows. \n\nA stark sketch of the legs and torso of a dancer with one knee lifted carefree, in ink on tracing paper and close to three metres high, alerts the viewer to the energy, grace, and erotic surprise that Matisse could still summon at the age of 60. The Matisse exhibition in Philadelphia explores the painter’s output from that age onwards, and not surprisingly, chooses the painter’s mural The Dance, a commission he created for Albert Barnes nearby in Merion PA (now on view at The Barnes Foundation in Philadelphia), as the landmark with which to punctuate his period of renewed creativity.\n\nThe first two galleries in the exhibition bring the visitor up to speed on what Matisse had been working on post-Fauve (1905-1908): odalisques, interiors, portraits, mythological, and ethereal groups of figures that he never stopped painting, just now post-1930, with renewed vigour. The full-size sketch of the dancer for the Barnes Foundation mural holds court in a long gallery with one wall lined with sketches for the project; in pencil, pen, and watercolour. On the other side of the room is exhibited a series of etchings and illustrations Matisse created for the poetry of Stephane Mallarmé in 1930-31. The painter always focused both on the desires of his collectors, like Barnes, and appealing to a wider public in the form of illustrations and less expensive prints. Matisse’s Odalisque Couchée aux Magnolias (1923) sold in 2018 at Christie's for $80,750,000, unlike most painters, Matisse has never gone out of style. He was an artist who managed to consistently challenge himself and the viewer, while ticking off enough boxes to maintain consistent popularity with both the public and collectors. Philadelphia’s encyclopedic coverage of Matisse’s mature period offers a window on an artist whose abstract goal “what I am after, above all, is expression” materialised into overwhelming adoration from the public, and if the lines at the museum are any indication – an adulation that continues to grow.",[667,670,679,682],{"start":668,"end":669,"type":234},607,616,{"start":671,"end":672,"type":70,"data":673},924,930,{"id":674,"type":249,"tags":675,"lang":18,"slug":676,"first_publication_date":677,"last_publication_date":678,"link_type":24,"isBroken":111},"ZKge5REAACMAYDKW",[],"fauve","2023-07-07T14:19:20+0000","2023-07-11T05:10:52+0000",{"start":680,"end":681,"type":234},1599,1630,{"start":683,"end":684,"type":70,"data":685},2021,2030,{"id":686,"type":249,"tags":687,"lang":18,"slug":688,"first_publication_date":689,"last_publication_date":690,"link_type":24,"isBroken":111},"ZKgfpREAACQAYDY6",[],"abstract","2023-07-07T14:22:33+0000","2023-07-10T21:51:41+0000","text$762ca395-9d44-4978-a1cc-01ab23a848fb",{"variation":693,"version":50,"items":694,"primary":695,"id":710,"slice_type":76,"slice_label":7},"centered-slice",[],{"image1":696,"label":705,"copyright":706},{"dimensions":697,"alt":700,"copyright":701,"url":702,"id":703,"edit":704},{"width":698,"height":699},2881,1921,"Henri Matisse, “Odalisque with Grey Trousers” 1926-1927. 21 1\u002F4 × 25 9\u002F16 inches, Oil on canvas. Musée de l'Orangerie. "," © 2022 Succession H. Matisse\u002FArtists Rights Society (ARS), New York.","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F6be1443e-2456-48f4-8dcd-53a7ebadb2f8_3_2.jpg?auto=compress,format","ZCLfXBAAACEA5TOt",{"x":33,"y":33,"zoom":34,"background":187},"Odalisque with Grey Trousers",[707],{"type":57,"text":708,"spans":709},"© 2022 Succession H. Matisse\u002FArtists Rights Society (ARS), New York.",[],"image$2665798f-f9fd-40b2-9e31-cdf311492dba",{"variation":49,"version":50,"items":712,"primary":714,"id":758,"slice_type":88,"slice_label":7},[713],{},{"title":715,"content":716},[],[717],{"type":57,"text":718,"spans":719},"The premise of the show – that Matisse was “struggling” at the end of the 20’s – is overstated. The painter turned 60 in 1929 and was by then one of the most famous living artists. The notion that he was concerned with his relevance as an artist at that age, and in an art market that had been struck by the 1929 crash as much as any other industry, does not seem extraordinary. Matisse had always been about interacting with the viewer; he welcomed constant feedback from visitors to his studio and had set up a school, the Academie Matisse (1907-1911), in which he, initially at least, had a very hands-on interaction with students. He strove more to accommodate and comfort – perhaps because he himself was something of a nervous wreck (and an insomniac) if we are to believe Hilary Spurling’s in-depth biography, Matisse the Master (2005). Matisse moved from perceived crisis to crisis; his painting was meant to be a relaxing tonic for himself, and so it was to his audience as well – “what I dream of is an art of balance, of purity and serenity, devoid of troubling or depressing subject matter… a soothing calming influence on the mind, something like a good armchair that provides relaxation from fatigue.”\n\nThis is abundantly clear in the subjects Matisse chose to paint: in particular the nude female figure. The artist had initially been buoyed from 1904-1917, financially and with publicity, by adventurous collectors, including Sarah Stein (1870-1953) sister-in-law of Gertrude, and in particular Sergei Shchukin (1854-1936), the Russian textile magnate, who had taken great risks socially by purchasing works such as The Dance (the 1910 original), and The Red Studio (1911): erotic or avant-garde abstract subjects. But it was the nude female form that Matisse realised would play well with collectors, and Matisse in the 1930s presents these works, such as the realistically drawn luxuriating and sensuous Large Odalisque in Striped Pantaloons (1925) to the far more abstract lithe and elongated Large Reclining Nude (1935). The latter is presented with the series of black-and-white photographs which Matisse took to record his process. Here we see another ingredient of the master’s charismatic technique: while the curves and volumes of the nude seem to flow and her proportions seem effortlessly constructed; Matisse agonised over every inch of the painting and erased and repainted passages on a daily basis. Regardless of all the sweat, Matisse made the painting look spontaneous, and viewers and collectors responded.\n\nThe succeeding rooms of the exhibition display his calming, colourful and beautiful aesthetic to the design of wall hangings and tapestries. He came to a realisation that his once vilified style was now neatly adjacent to a decorative aesthetic, and two paintings: Papeete – Tahiti (Window in Tahiti; Tahiti 1) (1935) and Window at Tahiti II (1935-36) are full-size preparatory sketches for tapestries. Much like his cagey use of the craze for orientalism twenty years earlier, Matisse, in his series of Rumanian blouse paintings incorporates fashion trends into his time-tested odalisque format – incorporating the Romanian blouse – an embroidered peasant outfit popular in the south of France at the time, as in Still Life with Sleeping Woman (1940). ",[720,723,726,729,738,741,746,749,752,755],{"start":721,"end":722,"type":234},817,836,{"start":724,"end":725,"type":234},1632,1641,{"start":727,"end":728,"type":234},1667,1681,{"start":730,"end":731,"type":70,"data":732},1700,1721,{"id":733,"type":249,"tags":734,"lang":18,"slug":735,"first_publication_date":736,"last_publication_date":737,"link_type":24,"isBroken":111},"ZKgfVBEAACEAYDS3",[],"avant-garde","2023-07-07T14:21:11+0000","2023-07-10T21:52:39+0000",{"start":739,"end":740,"type":234},1922,1959,{"start":742,"end":743,"type":70,"data":744},1983,1992,{"id":686,"type":249,"tags":745,"lang":18,"slug":688,"first_publication_date":689,"last_publication_date":690,"link_type":24,"isBroken":111},[],{"start":747,"end":748,"type":234},2012,2032,{"start":750,"end":751,"type":234},2807,2853,{"start":753,"end":754,"type":234},2864,2883,{"start":756,"end":757,"type":234},3256,3286,"text$e54e7715-26e8-470a-83f0-3dc73f966334",{"variation":760,"version":50,"items":761,"primary":780,"id":798,"slice_type":76,"slice_label":7},"double-slice",[762,771],{"image":763,"title":770,"subtitle":132},{"dimensions":764,"alt":7,"copyright":7,"url":767,"id":768,"edit":769},{"width":765,"height":766},1920,2521,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F79aad45d-82b5-42e8-b930-1e24ce85a542_Original+-+2+17.jpg?auto=compress,format","ZKbRihEAACIAWjwV",{"x":33,"y":33,"zoom":34,"background":187},"Window at Tahiti II",{"image":772,"title":779,"subtitle":132},{"dimensions":773,"alt":775,"copyright":7,"url":776,"id":777,"edit":778},{"width":765,"height":774},1363,"Henri Matisse ","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fef0a40da-0cbc-40b0-af82-5dce57fcb4df_Original+-+1+13.jpg?auto=compress,format","ZKbR0BEAACIAWj1y",{"x":33,"y":33,"zoom":34,"background":187},"Large Reclining Nude",{"image1":781,"image2":788,"label":7,"copyright":795},{"dimensions":782,"alt":783,"copyright":784,"url":785,"id":786,"edit":787},{"width":29,"height":29},"Henri Matisse \"Window at Tahiti II\" 1935. 7 feet 9 11\u002F16 inches × 6 feet 1\u002F16 inches.","Gouache on canvas Musée départemental Matisse, Le Cateau-Cambrésis, France © 2022 Succession H. Matisse\u002FArtists Rights Society (ARS), New York.\n","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F808c6b9c-c2b0-4ab0-adae-3ff5b5f3cbc7_Carre%E2%95%A0%C3%BC+-+2.jpg?auto=compress,format","ZCK1ExAAACEA5GQy",{"x":33,"y":33,"zoom":34,"background":187},{"dimensions":789,"alt":790,"copyright":791,"url":792,"id":793,"edit":794},{"width":29,"height":29},"Henri Matisse \"Large Reclining Nude\" 1935. 26 1\u002F8 × 36 3\u002F4 inches (66.4 × 93.3 cm). ","Oil on canvas Baltimore Museum of Art: The Cone Collection, formed by Dr. Claribel Cone and Miss Etta Cone of Baltimore, Maryland, 1950.258. © 2022 Succession H. Matisse\u002FArtists Rights Society (ARS), New York.","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F813a17e1-7f03-4c9a-bccf-c47743bdc6ad_Carre%E2%95%A0%C3%BC+-+1.jpg?auto=compress,format","ZCKwChAAACQA5ExC",{"x":33,"y":33,"zoom":34,"background":187},[796],{"type":57,"text":708,"spans":797},[],"image$2691b396-1683-4def-99d8-4666efe03347",{"variation":49,"version":50,"items":800,"primary":802,"id":846,"slice_type":88,"slice_label":7},[801],{},{"title":803,"content":804},[],[805],{"type":57,"text":806,"spans":807},"As the show progresses, Matisse begins to start imitating himself, the paintings become less daring and the application of paint and composition anaemic. A mantelpiece created for Nelson A. Rockerfeller’s apartment in New York, The Song (Le Chant) (1938), depicts four fashionably dressed ladies reading, napping, and whispering to each other, but there is none of the rawness, sensuality, or ritual abandon of the Barnes mural. And the colour scheme of the Barnes, an enigmatic selection of greys and pinks, is here replaced in The Song by complementary reds, blacks, and greens. Matisse perhaps was aware that the greatest achievement of his renaissance in the 30s was revisiting his early innovations and reworking them and “upping their visibility.” He also revisited designing sets and costumes for dance performances. He had designed the production for Le Chant du Rossignol for Diaghilev’s Ballet Russe in 1920, and Matisse in the 1930s briefly considers his design – in the form of entrancing black and white clips – of Rouge et Noire (Red and Black) (1937) a collaboration with Dmitri Shostakovich for the Ballet Russe de Monte Carlo. Also briefly alluded to is the kernel of the idea that would eventually become Matisse’s last period, and a truly innovative series that would again place him centre stage in the eyes of the world – his cut.-outs, represented by two works Two Dancers (1937-38) and Small Dancer on Red Background (1938). These collages originated from the painter’s process of using painted pieces of paper to block out his compositions. The cut-outs were simple, expressive and perfect in their way, and they managed to be effortless and pleasing while not even seeming to consider the painter’s slowly fading physical skills – yet another brilliant stroke for Matisse.\n\nMatisse in the 1930s\n20 October 2022 – 29 January 2023. 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Musée Matisse Nice, France. © 2022 Succession H. 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(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":33,"y":33,"zoom":34,"background":187},{"dimensions":956,"alt":957,"copyright":951,"url":958,"id":959,"edit":960},{"width":29,"height":28},"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":33,"y":33,"zoom":34,"background":187},{"dimensions":962,"alt":957,"copyright":951,"url":958,"id":959,"edit":963},{"width":29,"height":28},{"x":33,"y":33,"zoom":34,"background":187},[965,988,1029],{"variation":49,"version":50,"items":966,"primary":968,"id":987,"slice_type":88,"slice_label":7},[967],{},{"title":969,"content":972},[970],{"type":522,"text":85,"spans":971},[],[973],{"type":57,"text":974,"spans":975},"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.",[976,979,981,984],{"start":977,"end":978,"type":234},789,806,{"start":980,"end":94,"type":234},1177,{"start":982,"end":983,"type":234},1222,1253,{"start":985,"end":986,"type":234},2781,2803,"text$6fd25e55-b20d-493f-9fb2-8e5af4b313d8",{"variation":760,"version":50,"items":989,"primary":1009,"id":1028,"slice_type":76,"slice_label":7},[990,999],{"image":991,"title":997,"subtitle":998},{"dimensions":992,"alt":7,"copyright":7,"url":994,"id":995,"edit":996},{"width":765,"height":993},2503,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F6875f026-a421-441e-bb25-9435a4f07298_Original+-+2+7.jpg?auto=compress,format","ZKbVihEAACQAWk_U",{"x":33,"y":33,"zoom":34,"background":187},"A Vase of Flowers","Margaretha Haverman",{"image":1000,"title":1007,"subtitle":1008},{"dimensions":1001,"alt":7,"copyright":7,"url":1004,"id":1005,"edit":1006},{"width":1002,"height":1003},2186,1722,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fe5a30ac3-83f8-4119-bc59-0e5d31b34193_Original+-+3+7.jpg?auto=compress,format","ZKbVihEAACMAWk_V",{"x":33,"y":33,"zoom":34,"background":187},"The Triumph of Hercules","Raphael (Raffaello Sanzio orSanti)",{"image1":1010,"image2":1016,"label":7,"copyright":1024},{"dimensions":1011,"alt":1012,"copyright":7,"url":1013,"id":1014,"edit":1015},{"width":28,"height":190},"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":33,"y":33,"zoom":34,"background":187},{"dimensions":1017,"alt":1020,"copyright":7,"url":1021,"id":1022,"edit":1023},{"width":1018,"height":1019},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":33,"y":33,"zoom":34,"background":187},[1025],{"type":57,"text":1026,"spans":1027},"(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":49,"version":50,"items":1030,"primary":1032,"id":1038,"slice_type":88,"slice_label":7},[1031],{},{"title":1033,"content":1034},[],[1035],{"type":57,"text":1036,"spans":1037},"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":1042,"alt":1043,"copyright":7,"url":1044,"id":1045,"edit":1046},{"width":93,"height":94},"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":33,"y":33,"zoom":34,"background":187},[1048,1073],{"variation":49,"version":50,"items":1049,"primary":1070,"id":1072,"slice_type":152,"slice_label":7},[1050,1058,1062,1066],{"post":1051},{"id":1052,"type":1053,"tags":1054,"lang":7,"slug":1055,"first_publication_date":7,"last_publication_date":7,"link_type":24,"key":1056,"isBroken":1057},"ZIiKuhAAACIAqAYV","broken_type",[],"-","7c9b15a8-4425-4e49-8146-77d4dfdce410",true,{"post":1059},{"id":864,"type":8,"tags":1060,"lang":18,"slug":868,"first_publication_date":869,"last_publication_date":870,"uid":871,"link_type":24,"key":1061,"isBroken":111},[866,867],"1c3c7d28-43ae-4448-a8df-af4fc16d61b9",{"post":1063},{"id":122,"type":8,"tags":1064,"lang":18,"slug":124,"first_publication_date":125,"last_publication_date":126,"uid":124,"link_type":24,"key":1065,"isBroken":111},[11],"3b2c392e-965f-4eb9-9bb4-9c779d34e17d",{"post":1067},{"id":445,"type":8,"tags":1068,"lang":18,"slug":448,"first_publication_date":449,"last_publication_date":450,"uid":451,"link_type":24,"key":1069,"isBroken":111},[447],"bcf234ba-f498-48ea-81a5-e8a2209aba71",{"slides_per_view":7,"max_slides_count":454,"tag":1071,"type":8,"title":457,"paralax":7},{"link_type":24},"carousel$4b0f96f6-7e65-4ea6-8a10-8988cdad6236",{"variation":49,"version":50,"items":1074,"primary":1077,"id":1081,"slice_type":152,"slice_label":7},[1075],{"post":1076},{"link_type":24},{"slides_per_view":7,"max_slides_count":1078,"tag":1079,"type":904,"title":1080,"paralax":7},6,{"link_type":24},"Masterpieces Decrypted","carousel$27d83d84-877b-4971-b526-d454777873fb",{"slice":153,"payload":1083},[1084,1233,1334,1487],{"id":1085,"uid":1086,"url":7,"type":161,"href":1087,"tags":1088,"first_publication_date":1090,"last_publication_date":1091,"slugs":1092,"linked_documents":1098,"lang":18,"alternate_languages":1099,"data":1100},"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",[1089],"Picasso ","2023-03-16T16:45:51+0000","2023-08-31T21:35:17+0000",[1093,1094,1095,1096,1097],"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":1101,"subtitle":7,"color":7,"source":1102,"published_at":1110,"duration":1111,"cover":1112,"copyright_cover":7,"description":1117,"narrator_copyright":1121,"music_copyright":7,"mixing_copyright":7,"deezer_external":1122,"spotify_external":1124,"apple_podcast_external":1127,"slices":1128,"meta_title":1188,"meta_description":1189,"og_image":1190,"slices2":1196},"Julia Nagle: How is science improving art conservation techniques?",{"link_type":1103,"key":1104,"kind":1105,"id":1106,"url":1107,"name":1108,"size":1109},"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":1113,"alt":7,"copyright":7,"url":1114,"id":1115,"edit":1116},{"width":29,"height":29},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Ff5376d69-fccc-487a-bbe5-8e4c2e0e37eb_carr%C3%A9.jpg?auto=compress,format","ZK_u3hIAACMAafCn",{"x":33,"y":33,"zoom":34,"background":187},[1118],{"type":57,"text":1119,"spans":1120},"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":1123},"Any",{"link_type":72,"key":1125,"url":1126},"2531dc00-3195-417a-b368-e3efdfc12181","https:\u002F\u002Fopen.spotify.com\u002Fepisode\u002F6m3DK4JetPQ5UJnx0GVG0x",{"link_type":1123},[1129],{"variation":49,"version":50,"items":1130,"primary":1185,"id":1186,"slice_type":1187,"slice_label":7},[1131,1137,1143,1149,1155,1160,1165,1170,1175,1180],{"speaker":1132,"content":1133},"GN ",[1134],{"type":57,"text":1135,"spans":1136},"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":1138,"content":1139},"JN ",[1140],{"type":57,"text":1141,"spans":1142},"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":1144,"content":1145},"GN",[1146],{"type":57,"text":1147,"spans":1148},"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":1150,"content":1151},"JN",[1152],{"type":57,"text":1153,"spans":1154},"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":1144,"content":1156},[1157],{"type":57,"text":1158,"spans":1159},"Do you have a preference regarding a particular period or movement when it comes to conservation?  ",[],{"speaker":1150,"content":1161},[1162],{"type":57,"text":1163,"spans":1164},"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":1144,"content":1166},[1167],{"type":57,"text":1168,"spans":1169},"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":1150,"content":1171},[1172],{"type":57,"text":1173,"spans":1174},"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":1144,"content":1176},[1177],{"type":57,"text":1178,"spans":1179},"Do you have a favourite painting that you’ve ever restored or conserved and if so, why, why is it that painting? ",[],{"speaker":1150,"content":1181},[1182],{"type":57,"text":1183,"spans":1184},"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$78ced8c2-13ce-4812-b9d5-51bfdc9511f9","text_interview","How is science improving art restoration techniques?","Conservator Julia Nagle discusses how restoring paintings has changed over the the last couple of decades.",{"dimensions":1191,"alt":1192,"copyright":7,"url":1193,"id":1194,"edit":1195},{"width":93,"height":94},"ArtExplored audiocast with art conservator Julia Nagle","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F3f6680c6-48db-447c-93da-63b1e3a18f2d_Audiocast+Opengraph+How+is+science+improving+art+restoration+techniques_.jpg?auto=compress,format","ZK_XhhIAACAAaY5G",{"x":33,"y":33,"zoom":34,"background":187},[1197,1225],{"variation":49,"version":50,"items":1198,"primary":1220,"id":1224,"slice_type":152,"slice_label":7},[1199,1203,1207,1216],{"post":1200},{"id":547,"type":161,"tags":1201,"lang":18,"slug":549,"first_publication_date":550,"last_publication_date":551,"uid":552,"link_type":24,"key":1202,"isBroken":111},[11],"c92e69d3-bca4-491e-ac2e-6fa3b6471f0e",{"post":1204},{"id":556,"type":161,"tags":1205,"lang":18,"slug":559,"first_publication_date":560,"last_publication_date":561,"uid":562,"link_type":24,"key":1206,"isBroken":111},[558],"711747af-eeb9-4c96-97ff-07fc86220bf2",{"post":1208},{"id":1209,"type":161,"tags":1210,"lang":18,"slug":1211,"first_publication_date":1212,"last_publication_date":1213,"uid":1214,"link_type":24,"key":1215,"isBroken":111},"ZB3OZRAAACIAzkAv",[558,866],"jorella-andrews-a-phenomenological-take-on-paul-cezanne","2023-03-24T16:23:05+0000","2023-08-31T21:35:53+0000","a-phenomenological-take-on-cezanne","ba5d08c2-33f6-41e6-9140-b21c37ae3e2d",{"post":1217},{"id":566,"type":161,"tags":1218,"lang":18,"slug":568,"first_publication_date":569,"last_publication_date":570,"uid":571,"link_type":24,"key":1219,"isBroken":111},[447],"677f4679-52cb-40f8-82af-e86b677756bb",{"slides_per_view":1221,"max_slides_count":1221,"tag":1222,"type":161,"title":1223,"paralax":7},4,{"link_type":24},"More Audiocast","carousel$a3497cfe-0f72-49d4-871f-4d5b7a083b9d",{"variation":49,"version":50,"items":1226,"primary":1229,"id":1232,"slice_type":152,"slice_label":7},[1227],{"post":1228},{"link_type":24},{"slides_per_view":1221,"max_slides_count":454,"tag":1230,"type":8,"title":1231,"paralax":7},{"link_type":24},"Explore","carousel$37958bb9-5f44-4ea6-8ace-820083cac27c",{"id":547,"uid":552,"url":7,"type":161,"href":1234,"tags":1235,"first_publication_date":550,"last_publication_date":551,"slugs":1236,"linked_documents":1238,"lang":18,"alternate_languages":1239,"data":1240},"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],[549,1237,552],"is-art-a-good-hedge-against-inflation",[],[],{"title":1241,"subtitle":7,"color":7,"source":1242,"published_at":7,"duration":1248,"cover":1249,"copyright_cover":7,"description":1254,"narrator_copyright":1258,"music_copyright":7,"mixing_copyright":7,"deezer_external":1259,"spotify_external":1260,"apple_podcast_external":1263,"slices":1264,"meta_title":1317,"meta_description":1318,"og_image":1319,"slices2":1325},"Ludovic Subran: Is art a good hedge against inflation?",{"link_type":1103,"key":1243,"kind":1105,"id":1244,"url":1245,"name":1246,"size":1247},"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":1250,"alt":7,"copyright":7,"url":1251,"id":1252,"edit":1253},{"width":29,"height":29},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F1d826534-1e01-4f9b-a802-3e4c69cf46f5_carr%C3%A9-4.jpg?auto=compress,format","ZK_u3hIAACIAafCl",{"x":33,"y":33,"zoom":34,"background":187},[1255],{"type":57,"text":1256,"spans":1257},"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":1123},{"link_type":72,"key":1261,"url":1262},"c548a504-03e8-44b6-86cb-169f1613dd7a","https:\u002F\u002Fopen.spotify.com\u002Fepisode\u002F7EDbEuCntvDhUUUYH5lfMh",{"link_type":1123},[1265],{"variation":49,"version":50,"items":1266,"primary":1315,"id":1316,"slice_type":1187,"slice_label":7},[1267,1273,1279,1284,1289,1294,1302,1307],{"speaker":1268,"content":1269},"RB",[1270],{"type":57,"text":1271,"spans":1272},"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":1274,"content":1275},"LS",[1276],{"type":57,"text":1277,"spans":1278},"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":1268,"content":1280},[1281],{"type":57,"text":1282,"spans":1283},"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":1274,"content":1285},[1286],{"type":57,"text":1287,"spans":1288},"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":1268,"content":1290},[1291],{"type":57,"text":1292,"spans":1293},"Was that also true in higher inflation periods like the 70s?",[],{"speaker":1274,"content":1295},[1296,1299],{"type":57,"text":1297,"spans":1298},"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":57,"text":1300,"spans":1301}," ",[],{"speaker":1268,"content":1303},[1304],{"type":57,"text":1305,"spans":1306},"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":1274,"content":1308},[1309],{"type":57,"text":1310,"spans":1311},"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.",[1312],{"start":1313,"end":1314,"type":234},1106,1122,{},"text_interview$3b969a72-6120-4632-baed-d07430cdce58","Is art a good hedge against inflation?","Ludovic Subran highlights art's proven record as a hedge against rising prices",{"dimensions":1320,"alt":1321,"copyright":7,"url":1322,"id":1323,"edit":1324},{"width":93,"height":94},"Art Explored audiocast with Ludovic Subran, the chief economist at Allianz SE","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Ff4eafce7-614a-469a-8ea3-2f61431c4c1d_Audiocast+Opengraph+Is+art+a+good+hedge+against+inflation+_.jpg?auto=compress,format","ZK_XhhIAACMAaY5F",{"x":33,"y":33,"zoom":34,"background":187},[1326],{"variation":49,"version":50,"items":1327,"primary":1330,"id":1333,"slice_type":152,"slice_label":7},[1328],{"post":1329},{"link_type":24},{"slides_per_view":7,"max_slides_count":7,"tag":1331,"type":161,"title":1332,"paralax":7},{"link_type":24},"Explore Audiocasts","carousel$ee4f582c-a0fd-486b-99f6-2ee753e8198d",{"id":566,"uid":571,"url":7,"type":161,"href":1335,"tags":1336,"first_publication_date":569,"last_publication_date":570,"slugs":1337,"linked_documents":1343,"lang":18,"alternate_languages":1344,"data":1345},"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",[447],[568,1338,1339,1340,1341,1342],"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":1346,"subtitle":7,"color":1347,"source":1348,"published_at":7,"duration":1354,"cover":1355,"copyright_cover":7,"description":1360,"narrator_copyright":1364,"music_copyright":7,"mixing_copyright":7,"deezer_external":1365,"spotify_external":1366,"apple_podcast_external":1369,"slices":1370,"meta_title":1446,"meta_description":1447,"og_image":1448,"slices2":1454},"Simonetta Fraquelli & Annette King: Modigliani's enduring appeal and spotting his fakes!","#ffd9a5",{"link_type":1103,"key":1349,"kind":1105,"id":1350,"url":1351,"name":1352,"size":1353},"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":1356,"alt":7,"copyright":7,"url":1357,"id":1358,"edit":1359},{"width":29,"height":29},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F7e5f9781-4dfb-4dcc-9c8c-93373690ccd5_carr%C3%A9-1.jpg?auto=compress,format","ZK_u3hIAACEAafCo",{"x":33,"y":33,"zoom":34,"background":187},[1361],{"type":57,"text":1362,"spans":1363},"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":1123},{"link_type":72,"key":1367,"url":1368},"07d80b36-a779-4f2b-a26d-6c64c1999b5f","https:\u002F\u002Fopen.spotify.com\u002Fepisode\u002F3hgiJBJvW5wc5Xtl7Jsz5f",{"link_type":1123},[1371],{"variation":49,"version":50,"items":1372,"primary":1444,"id":1445,"slice_type":1187,"slice_label":7},[1373,1379,1385,1390,1398,1404,1409,1414,1419,1424,1429,1434,1439],{"speaker":1374,"content":1375},"WC",[1376],{"type":57,"text":1377,"spans":1378},"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":1380,"content":1381},"SF",[1382],{"type":57,"text":1383,"spans":1384},"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":1374,"content":1386},[1387],{"type":57,"text":1388,"spans":1389},"So, what is it about Modigliani’s work that gives him such enduring appeal?",[],{"speaker":1391,"content":1392},"AK",[1393,1396],{"type":57,"text":1394,"spans":1395},"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":57,"text":1300,"spans":1397},[],{"speaker":1399,"content":1400},"SM",[1401],{"type":57,"text":1402,"spans":1403},"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":1374,"content":1405},[1406],{"type":57,"text":1407,"spans":1408},"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":1391,"content":1410},[1411],{"type":57,"text":1412,"spans":1413},"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":1380,"content":1415},[1416],{"type":57,"text":1417,"spans":1418},"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":1374,"content":1420},[1421],{"type":57,"text":1422,"spans":1423},"And my penultimate question, why have there been so many forgeries of his work?",[],{"speaker":1380,"content":1425},[1426],{"type":57,"text":1427,"spans":1428},"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":1374,"content":1430},[1431],{"type":57,"text":1432,"spans":1433},"And finally, why are the eyes in Modigliani's paintings so mysterious?",[],{"speaker":1380,"content":1435},[1436],{"type":57,"text":1437,"spans":1438},"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":1391,"content":1440},[1441],{"type":57,"text":1442,"spans":1443},"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":1449,"alt":1450,"copyright":7,"url":1451,"id":1452,"edit":1453},{"width":93,"height":94},"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":33,"y":33,"zoom":34,"background":187},[1455,1472],{"variation":49,"version":50,"items":1456,"primary":1469,"id":1471,"slice_type":152,"slice_label":7},[1457,1461,1465],{"post":1458},{"id":1085,"type":161,"tags":1459,"lang":18,"slug":1093,"first_publication_date":1090,"last_publication_date":1091,"uid":1086,"link_type":24,"key":1460,"isBroken":111},[1089],"cc9634a8-e0e5-4fd9-b0da-df8619c02af3",{"post":1462},{"id":556,"type":161,"tags":1463,"lang":18,"slug":559,"first_publication_date":560,"last_publication_date":561,"uid":562,"link_type":24,"key":1464,"isBroken":111},[558],"06dbce65-3f06-4a73-8bbb-1ee2904100f5",{"post":1466},{"id":1209,"type":161,"tags":1467,"lang":18,"slug":1211,"first_publication_date":1212,"last_publication_date":1213,"uid":1214,"link_type":24,"key":1468,"isBroken":111},[558,866],"fc7fb871-4bda-440e-88d7-efa9d52e76d9",{"slides_per_view":454,"max_slides_count":7,"tag":1470,"type":161,"title":1223,"paralax":7},{"link_type":24},"carousel$18625f0d-cea1-4b21-98e1-454e17a02310",{"variation":49,"version":50,"items":1473,"primary":1476,"id":1486,"slice_type":152,"slice_label":7},[1474],{"post":1475},{"link_type":24},{"slides_per_view":1221,"max_slides_count":7,"tag":1477,"type":8,"title":1485,"paralax":7},{"id":1478,"type":1479,"tags":1480,"lang":18,"slug":1481,"first_publication_date":1482,"last_publication_date":1483,"uid":1481,"link_type":24,"key":1484,"isBroken":111},"ZA9CHxAAAKdKyyuy","tag",[447],"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":1488,"uid":1489,"url":7,"type":161,"href":1490,"tags":1491,"first_publication_date":1492,"last_publication_date":1493,"slugs":1494,"linked_documents":1497,"lang":18,"alternate_languages":1498,"data":1499},"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",[1495,1496,1489],"samantha-friedman-moma-a-rare-glimpse-of-georgia-okeeffe","samantha-friedman-moma-a-rare-glimpse-of-goergia-okeeffe",[],[],{"title":1500,"subtitle":7,"color":1501,"source":1502,"published_at":1110,"duration":1508,"cover":1509,"copyright_cover":1515,"description":1516,"narrator_copyright":1520,"music_copyright":7,"mixing_copyright":7,"deezer_external":1521,"spotify_external":1522,"apple_podcast_external":1525,"slices":1526,"meta_title":1500,"meta_description":1518,"og_image":1613,"slices2":1619},"Samantha Friedman (MoMA): A rare glimpse of Georgia O'Keeffe","#ee5d5d",{"link_type":1103,"key":1503,"kind":1105,"id":1504,"url":1505,"name":1506,"size":1507},"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":1510,"alt":1500,"copyright":7,"url":1512,"id":1513,"edit":1514},{"width":1511,"height":1511},1080,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F7874436e-6b77-4ac5-bf7a-90351fc27438_230811_ARTEXPLORED_AUDIOCAST_SAMANTHA_FRIEDMAN.jpg?auto=compress,format","ZNY9rBEAACAAqwRq",{"x":33,"y":33,"zoom":34,"background":187},"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",[1517],{"type":57,"text":1518,"spans":1519},"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":1123},{"link_type":72,"key":1523,"url":1524},"2d512a63-af04-4df0-bda5-541d755dd3ef","https:\u002F\u002Fopen.spotify.com\u002Fepisode\u002F3mGpDNBundMZ0r8Dquj5Ft",{"link_type":1123},[1527],{"variation":49,"version":50,"items":1528,"primary":1611,"id":1612,"slice_type":1187,"slice_label":7},[1529,1534,1539,1544,1561,1566,1571,1576,1581,1586,1591,1596,1601,1606],{"speaker":1374,"content":1530},[1531],{"type":57,"text":1532,"spans":1533},"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":1380,"content":1535},[1536],{"type":57,"text":1537,"spans":1538},"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":1374,"content":1540},[1541],{"type":57,"text":1542,"spans":1543},"Why did MoMA choose to organise an exhibition focusing solely on O'Keeffe's works on paper?",[],{"speaker":1380,"content":1545},[1546],{"type":57,"text":1547,"spans":1548},"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.",[1549,1552,1555,1558],{"start":1550,"end":1551,"type":234},1367,1379,{"start":1553,"end":1554,"type":234},1410,1415,{"start":1556,"end":1557,"type":234},1517,1530,{"start":1559,"end":1560,"type":234},1558,1564,{"speaker":1374,"content":1562},[1563],{"type":57,"text":1564,"spans":1565},"What is it about O'Keeffe's painting techniques and subject matter that established her reputation as an innovative modernist?",[],{"speaker":1380,"content":1567},[1568],{"type":57,"text":1569,"spans":1570},"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":1374,"content":1572},[1573],{"type":57,"text":1574,"spans":1575},"Which artists influenced O’Keeffe throughout her career?",[],{"speaker":1380,"content":1577},[1578],{"type":57,"text":1579,"spans":1580},"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":1374,"content":1582},[1583],{"type":57,"text":1584,"spans":1585},"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":1380,"content":1587},[1588],{"type":57,"text":1589,"spans":1590},"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":1374,"content":1592},[1593],{"type":57,"text":1594,"spans":1595},"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":1380,"content":1597},[1598],{"type":57,"text":1599,"spans":1600},"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":1374,"content":1602},[1603],{"type":57,"text":1604,"spans":1605},"Have you personally learned anything new about O’Keeffe during your time curating the exhibition?",[],{"speaker":1380,"content":1607},[1608],{"type":57,"text":1609,"spans":1610},"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$08922976-6c78-4426-bb8d-e3f89e236dc8",{"dimensions":1614,"alt":1615,"copyright":7,"url":1616,"id":1617,"edit":1618},{"width":93,"height":94},"Samantha Friedman (MoMA): A rare glimpse of Goergia O'Keeffe","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fe4dceda2-b044-4b5e-8d01-e23ed4c63f12_Audiocast+Opengraph+Samantha+Friedman.jpg?auto=compress,format","ZNZAdxEAAB4AqxGj",{"x":33,"y":33,"zoom":34,"background":187},[1620],{"variation":49,"version":50,"items":1621,"primary":1638,"id":1641,"slice_type":152,"slice_label":7},[1622,1626,1630,1634],{"post":1623},{"id":1209,"type":161,"tags":1624,"lang":18,"slug":1211,"first_publication_date":1212,"last_publication_date":1213,"uid":1214,"link_type":24,"key":1625,"isBroken":111},[558,866],"cb78cdf8-f594-4d16-8560-ae842cb22a2e",{"post":1627},{"id":556,"type":161,"tags":1628,"lang":18,"slug":559,"first_publication_date":560,"last_publication_date":561,"uid":562,"link_type":24,"key":1629,"isBroken":111},[558],"c488db66-af35-4e92-8832-c0e766361098",{"post":1631},{"id":1085,"type":161,"tags":1632,"lang":18,"slug":1093,"first_publication_date":1090,"last_publication_date":1091,"uid":1086,"link_type":24,"key":1633,"isBroken":111},[1089],"41322e8e-f386-4920-b4ea-8a9286535504",{"post":1635},{"id":547,"type":161,"tags":1636,"lang":18,"slug":549,"first_publication_date":550,"last_publication_date":551,"uid":552,"link_type":24,"key":1637,"isBroken":111},[11],"bb23f4e5-36db-4cdf-8e29-39e7ee525d6b",{"slides_per_view":7,"max_slides_count":7,"tag":1639,"type":456,"title":1640,"paralax":7},{"link_type":24},"Listen to more audiocasts","carousel$fa580951-4d76-4c92-968a-5c51a1fd4bfc"]