[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"$9ZijusqCES":3},{"single":4,"locales":387,"slices":389},{"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},"ZP7wwRIAACUAhvx4","claude-monet-leon-monet-impressionism",null,"article","https:\u002F\u002Fartexplorer-prod.cdn.prismic.io\u002Fapi\u002Fv2\u002Fdocuments\u002Fsearch?ref=aCb60BIAACEA00zN&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22ZP7wwRIAACUAhvx4%22%29+%5D%5D",[11,12],"Claude Monet ","Impressionism","2023-09-12T10:44:07+0000","2023-09-13T12:12:00+0000",[16],"fraternal-patronage-sparked-monets-rise-to-fame",[],"en-gb",[],{"title":21,"subtitle":22,"author":23,"copyright_cover":75,"cover_desktop":76,"cover_mobile":83,"thumbnail":88,"published_at":93,"slices":94,"meta_title":21,"meta_description":22,"og_image":315,"slices2":323},"Fraternal patronage sparked Monet’s rise to fame","Claude’s brother, Leon, is lesser-known but a vital player in the history of Impressionism",{"id":24,"type":25,"tags":26,"lang":18,"slug":28,"first_publication_date":29,"last_publication_date":30,"uid":28,"data":31,"link_type":72,"key":73,"isBroken":74},"ZBB5phAAACoAzTBT","author",[27],"Tahney Fosdike","tahney-fosdike","2023-03-14T13:42:01+0000","2023-07-10T00:53:55+0000",{"description":32,"short_description":46,"job":50,"thumbnail":51,"cover":60,"uid":28,"twitter":63,"title":27,"og_image":64,"instagram":67,"meta_description":68,"meta_title":27},[33,37,40,43],{"type":34,"text":35,"spans":36},"paragraph","Tahney is a writer and social media producer at ArtExplored. She is an Australian writer and editor living in France. ",[],{"type":34,"text":38,"spans":39},"She holds a Master of Art Curatorship from the University of Melbourne and has worked with leading cultural organisations, such as Arts Project Australia, the Melbourne Holocaust Museum and the Environmental Film Festival Australia. ",[],{"type":34,"text":41,"spans":42},"Her art and non-fiction writing can be found in Artshub, Australian Book Review, Beat Magazine, Betches, Metro Magazine, Art Almanac, Zee Feed, Little White Lies, Plinth, Mamamia, and Archer Magazine, among others. ",[],{"type":34,"text":44,"spans":45},"She holds the position of Art Editor with The Suburban Review and also curates and critiques arts writing in her monthly newsletter Sticky Teeth, and occasionally creates travel vlogs. ",[],[47],{"type":34,"text":48,"spans":49},"Tahney is a writer and ArtExplored's social media producer. ",[],"Art writer and social media producer",{"dimensions":52,"alt":27,"copyright":7,"url":54,"id":55,"edit":56},{"width":53,"height":53},800,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fca500ea5-9efb-4349-8ad5-0ab8c0b94de6_TAHNEY+FOSDIKE.jpg?auto=compress,format","ZHYDyhAAACQAMRXk",{"x":57,"y":57,"zoom":58,"background":59},0,1,"#fff",{"dimensions":61,"alt":27,"copyright":7,"url":54,"id":55,"edit":62},{"width":53,"height":53},{"x":57,"y":57,"zoom":58,"background":59},"https:\u002F\u002Ftwitter.com\u002Ftahnsuperdry",{"dimensions":65,"alt":7,"copyright":7,"url":54,"id":55,"edit":66},{"width":53,"height":53},{"x":57,"y":57,"zoom":58,"background":59},"http:\u002F\u002Finstagram.com\u002Ftahnsuperdry\u002F",[69],{"type":34,"text":70,"spans":71},"Tahney Fosdike is a writer and social media producer at ArtExplored.",[],"Document","9eef76fa-f3bf-444f-a0a7-41caf1a6701f",false,"Detail of Portrait de Léon Monet, 1874, Claude Monet",{"dimensions":77,"alt":75,"copyright":7,"url":80,"id":81,"edit":82},{"width":78,"height":79},3840,2160,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F708c1710-34c0-4f03-905a-cd1da06d0124_Detail+of+Portrait+de+L%C3%A9on+Monet_+1874%2C+Claude+Monet+-+Slide+16_9.jpg?auto=compress,format","ZQBcaRIAACUAjW7-",{"x":57,"y":57,"zoom":58,"background":59},{"dimensions":84,"alt":75,"copyright":7,"url":85,"id":86,"edit":87},{"width":79,"height":78},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Ffbaccb0e-448b-4590-9ec6-0b777899e53f_Detail+of+Portrait+de+L%C3%A9on+Monet_+1874%2C+Claude+Monet+-+9_16+%282%29.jpg?auto=compress,format","ZQBfGxIAACUAjX0O",{"x":57,"y":57,"zoom":58,"background":59},{"dimensions":89,"alt":75,"copyright":7,"url":90,"id":91,"edit":92},{"width":79,"height":78},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F7b14d95d-1c63-40f2-8307-57c1a6c20153_Detail+of+Portrait+de+L%C3%A9on+Monet_+1874%2C+Claude+Monet+-+9_16.jpg?auto=compress,format","ZQBcaRIAACMAjW7_",{"x":57,"y":57,"zoom":58,"background":59},"2023-09-11",[95,150,180,193,236,257,294],{"variation":96,"version":97,"items":98,"primary":100,"id":148,"slice_type":149,"slice_label":7},"default-slice","sktwi1xtmkfgx8626",[99],{},{"title":101,"content":102},[],[103],{"type":34,"text":104,"spans":105},"With “piqued curiosity,” curator and 19th century painting specialist Géraldine Lefebvre discovered that French artist Claude Monet’s career was in sync with the privileges afforded by his brother Leon, whose name she saw “here and there but not much else.” But through her research, he quickly lost his status as a historical footnote. Like Lefebvre’s own interest in his little-known name within the history of Impressionism, Leon also had a desire to make visible the movement’s once unknown artists. Lefebvre’s exhibition at the Musée du Luxembourg in Paris titled Leon Monet. Brother of the artist and collector (15 March-16 July, 2023) placed Claude and other Impressionist artists’ forward trajectory within the orbit of their advocate, Leon. \n\nIn 1856, Claude met Eugène Boudin, an artist also local to Normandy. Later, Claude would say, “If I have become a painter, it is entirely due to Boudin.” 15-year-old Claude had been selling caricatures of locals, which Boudin encouraged him to abandon to fill notebooks of nature sketches. The older artist also introduced Claude to painting en plein air, a practice eventually leading to his Impressionism, Sunrise (1872), a painting cornerstoning the Impressionist movement.  Its scene – the seaside in Le Havre, Claude’s hometown – also appeared in his The Beach at Sainte-Adresse (1864). The painting, marking the site of their shared childhood, belonged to Claude’s older brother. Leon often purchased works by Claude and other  Impressionists (his collection formed the Musée du Luxembourg exhibition), including his younger brother’s sketchbooks. At the exhibition, they revealed a note: “Childhood memory, to my dear brother.”\n\nFamilial cornerstones precede and, maybe, counterbalance Claude’s other art world entry points. Though, less sentimentally, the Monet brothers had their conflicts. Leon rejected Claude’s 1874 portrait of him (for reasons unknown) and never displayed it. Lefebvre showed it for the first time publicly at the Musée du Luxembourg: Claude’s portrayal of his brother with blushed cheeks, a gently expressive man, finally seen alongside the early Impressionists as the kind, pragmatic patron they needed. \n\nClaude needed an enabling sibling like Leon. The artist once said, \"Never, even as a child, would I bend to a rule.” Lacking compromise for art, he refused to join the family business. In Paris, Claude often left his sick wife alone all day to paint outside and attempted suicide due to financial and art world worries. With Claude’s troubles in art came blessings, thanks to his brother. At an early Impressionist auction in 1875, Leon bought his work, and that of fellow artists, spiking Claude’s prices when he had little clientele (or money and food). Claude needed to benefit from such “principles of popularity” at a time when the art world rejected Impressionism; Leon’s attention helped  buoy the starving artist’s reputation into, what would be, lasting cultural affection. \n\nAlong with Leon’s patronage, other forces carried Claude and other early Impressionists along as they forged new paths. Amid shifting demands of modern life, caused by the Industrial Revolution and Haussmann’s renovation of Paris (though lovingly captured in Impressionist works like Pierre-Auguste Renoir’s Paris, The Institute at the Quai Malaquais (1872), the artists often left their city. They took advantage of new railway lines with practices more portable than ever due to popular innovations: the collapsible paint tube, French easel, and the pochade box. Claude, and his peers, became transient. ",[106,113,118,120,123,126,132,137,140,143],{"start":107,"end":108,"type":109,"data":110},413,426,"hyperlink",{"link_type":111,"url":112},"Web","#definition-ZKyA7xEAACIAc2uK",{"start":114,"end":115,"type":109,"data":116},1094,1106,{"link_type":111,"url":117},"#definition-ZQAfaBIAACUAjEii",{"start":114,"end":115,"type":119},"em",{"start":121,"end":122,"type":119},1145,1167,{"start":124,"end":125,"type":119},1308,1336,{"start":127,"end":128,"type":109,"data":129},2470,2509,{"link_type":111,"url":130,"target":131},"https:\u002F\u002Fwww.theguardian.com\u002Fartanddesign\u002F2017\u002Ffeb\u002F19\u002Fmonet-art-painting-impressionism-documentary","_blank",{"start":133,"end":134,"type":109,"data":135},2672,2695,{"link_type":111,"url":136,"target":131},"https:\u002F\u002Fapnews.com\u002Farticle\u002Fclaude-monet-brother-leon-impressionism-paris-exhibit-278777074d0c9dc1fc593dac08183d28",{"start":138,"end":139,"type":119},2781,2807,{"start":141,"end":142,"type":119},3283,3325,{"start":144,"end":145,"type":109,"data":146},3527,3538,{"link_type":111,"url":147},"#definition-ZQAgEhIAACQAjEre","text$11d8d43f-a689-43a5-95af-876d30e88f70","text",{"variation":151,"version":97,"items":152,"primary":164,"id":178,"slice_type":179,"slice_label":7},"centered-slice",[153],{"image":154,"title":162,"subtitle":163},{"dimensions":155,"alt":158,"copyright":7,"url":159,"id":160,"edit":161},{"width":156,"height":157},1997,1668,"Camille Pissarro - Le Quai Malaquais et l'Institut (1903)","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fb6644768-68f5-4f04-8cd4-8b4e42cde861_Camille_Pissarro+-+Le+Quai+Malaquais+et+l%27Institut+%281903%29.jpg?auto=compress,format","ZP7prRIAACUAhtoZ",{"x":57,"y":57,"zoom":58,"background":59},"Le Quai Malaquais et l'Institut (1903)","Camille Pissarro",{"image1":165,"label":173,"copyright":174},{"dimensions":166,"alt":169,"copyright":7,"url":170,"id":171,"edit":172},{"width":167,"height":168},3648,2432,"Camille_Pissarro - Le Quai Malaquais et l'Institut (1903)","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F4c41ec19-7553-4ad1-9e6d-73ac96762e1e_Camille_Pissarro+-+Le+Quai+Malaquais+et+l%27Institut+%281903%29+3_2+%282%29.jpg?auto=compress,format","ZP7zxBIAACIAhwr8",{"x":57,"y":57,"zoom":58,"background":59},"Click to see full size image",[175],{"type":34,"text":176,"spans":177},"Le Quai Malaquais et l'Institut (1903) by Camille Pissarro",[],"image$8e5c9405-41d9-4acf-9153-b88d585d3f10","image",{"variation":96,"version":97,"items":181,"primary":183,"id":192,"slice_type":149,"slice_label":7},[182],{},{"title":184,"content":185},[],[186],{"type":34,"text":187,"spans":188},"Their outside-the-studio, in-nature environments often intersected with the Monets’ coastal family homes and favourite places in Honfleur, Étretat, and Les Petites-Dalles. Leon, their frequent host, manoeuvred their activities toward merit; he directly funded Claude and continued to collect Impressionist works, despite a lack of institutional interest. Claude and others’ palettes also took artistic fame from Leon, a colour chemistand Industrialist forming part of a revolution in synthetic textile dyes. Up to 80% of Impressionist works used Leon’s new, more vivid colours, including Monet’s infamous green seen as early as Camille (1866). ",[189],{"start":190,"end":191,"type":119},628,635,"text$2e339096-866b-4cf2-a6b5-a4a0f13fbb94",{"variation":194,"version":97,"items":195,"primary":217,"id":235,"slice_type":179,"slice_label":7},"double-slice",[196,207],{"image":197,"title":206,"subtitle":202},{"dimensions":198,"alt":201,"copyright":202,"url":203,"id":204,"edit":205},{"width":199,"height":200},1321,1981,"vue de l’exposition 10 Léon Monet, frère de l’artiste et collectionneur - Musée du Luxembourg ","© Didier Plowy pour la Rmn-GP scénographie Hubert Le Gall","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Feefcb18c-6400-4457-8f33-7d7dd8aa10de_vue+de+l%E2%80%99exposition+10+L%C3%A9on+Monet_+fr%C3%A8re+de+l%E2%80%99artiste+et+collectionneur+-+Mus%C3%A9e+du+Luxembourg+%C2%A9+Didier+Plowy+pour+la+Rmn-GP+sc%C3%A9nographie+Hubert+Le+Gall.jpg?auto=compress,format","ZP7syBIAACQAhuka",{"x":57,"y":57,"zoom":58,"background":59},"Vue de l’exposition 10 Léon Monet, frère de l’artiste et collectionneur - Musée du Luxembourg",{"image":208,"title":216,"subtitle":202},{"dimensions":209,"alt":212,"copyright":202,"url":213,"id":214,"edit":215},{"width":210,"height":211},1452,966,"vue de l’exposition 11 Léon Monet, frère de l’artiste et collectionneur - Musée du Luxembourg ","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fd0ce0b52-c1b5-48dd-b411-901dafce36ae_vue+de+l%E2%80%99exposition+11+L%C3%A9on+Monet_+fr%C3%A8re+de+l%E2%80%99artiste+et+collectionneur+-+Mus%C3%A9e+du+Luxembourg+%C2%A9+Didier+Plowy+pour+la+Rmn-GP+sc%C3%A9nographie+Hubert+Le+Gall.jpg?auto=compress,format","ZP7szBIAACUAhukt",{"x":57,"y":57,"zoom":58,"background":59},"Vue de l’exposition 11 Léon Monet, frère de l’artiste et collectionneur - Musée du Luxembourg",{"image1":218,"image2":225,"label":230,"copyright":231},{"dimensions":219,"alt":221,"copyright":7,"url":222,"id":223,"edit":224},{"width":78,"height":220},2560,"vue de l’exposition 10 Léon Monet, frère de l’artiste et collectionneur - Musée du Luxembourg","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fdb8c9bc6-0279-45ad-b9f0-c7ebc26366e3_vue+de+l%E2%80%99exposition+10+L%C3%A9on+Monet_+fr%C3%A8re+de+l%E2%80%99artiste+et+collectionneur+-+Mus%C3%A9e+du+Luxembourg+%C2%A9+Didier+Plowy+pour+la+Rmn-GP+sc%C3%A9nographie+Hubert+Le+Gall+3_23_2.jpg?auto=compress,format","ZP70ZBIAACMAhw3r",{"x":57,"y":57,"zoom":58,"background":59},{"dimensions":226,"alt":212,"copyright":7,"url":227,"id":228,"edit":229},{"width":78,"height":220},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F87285fd9-3c9e-43d9-84d3-7a24dcd13c84_vue+de+l%E2%80%99exposition+11+L%C3%A9on+Monet_+fr%C3%A8re+de+l%E2%80%99artiste+et+collectionneur+-+Mus%C3%A9e+du+Luxembourg+%C2%A9+Didier+Plowy+pour+la+Rmn-GP+sc%C3%A9nographie+Hubert+Le+Gall+3_23_2.jpg?auto=compress,format","ZP70ZBIAACMAhw3q",{"x":57,"y":57,"zoom":58,"background":59},"From left to right",[232],{"type":34,"text":233,"spans":234},"Vue de l’exposition 10 et 11 Léon Monet, frère de l’artiste et collectionneur - Musée du Luxembourg © Didier Plowy pour la Rmn-GP scénographie Hubert Le Gall\n\n(Click to see full size images)",[],"image$d77e61f3-e728-4bb0-81bc-77e2aee1ec36",{"variation":96,"version":97,"items":237,"primary":239,"id":256,"slice_type":149,"slice_label":7},[238],{},{"title":240,"content":241},[],[242],{"type":34,"text":243,"spans":244},"The work of Claude and his peers continued to place themselves in proximity to their ally. Camille Pissarro, a Danish-French Impressionist and Neo-Impressionist painter that had set up his easel at sea while visiting Leon in Normandy, also came to his friend’s home in the French city of Rouen in Normandy in 1883. He sketched the town, with the brown murkiness of The Stone Bridge and Barges in Rouen (1883) less electric than other Impressionist landscapes, like the bright white and blues of Sisley’s Road to Louveciennes, Snow Effect (1874). Though, unlike Pissarro’s attention to its industrialisation, Claude, at first, didn’t often come to his brother’s city. In 1892, some 20 years after his last visit, he stayed and mediated the damp, grey city. The peachy yet shadowy General View of Rouen(1892) features the cathedral he would repetitively paint in an ongoing series between 1892-1894.",[245,248,251,254],{"start":246,"end":247,"type":119},365,401,{"start":249,"end":250,"type":119},504,537,{"start":252,"end":253,"type":119},544,545,{"start":255,"end":53,"type":119},779,"text$5c7a32b7-b2c4-4d32-8f0d-733463f79e74",{"variation":194,"version":97,"items":258,"primary":277,"id":293,"slice_type":179,"slice_label":7},[259,267],{"image":260,"title":266,"subtitle":202},{"dimensions":261,"alt":262,"copyright":202,"url":263,"id":264,"edit":265},{"width":200,"height":199},"vue de l’exposition 7 Léon Monet, frère de l’artiste et collectionneur - Musée du Luxembourg","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F36470f15-3cca-4753-ad79-77242d9b6e48_vue+de+l%E2%80%99exposition+7+L%C3%A9on+Monet_+fr%C3%A8re+de+l%E2%80%99artiste+et+collectionneur+-+Mus%C3%A9e+du+Luxembourg+%C2%A9+Didier+Plowy+pour+la+Rmn-GP+sc%C3%A9nographie+Hubert+Le+Gall.jpg?auto=compress,format","ZP7u4BIAACIAhvMl",{"x":57,"y":57,"zoom":58,"background":59},"Vue de l’exposition 7 Léon Monet, frère de l’artiste et collectionneur - Musée du Luxembourg",{"image":268,"title":272,"subtitle":276},{"dimensions":269,"alt":272,"copyright":7,"url":273,"id":274,"edit":275},{"width":270,"height":271},3200,2229,"Alfred Sisley, Route de Louveciennes effet de neige 1874","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F759bbc1e-3ede-4bc0-8e6c-0fec7bd39cb9_Alfred_Sisley__Route_de_Louveciennes_effet_de_neige_1874.jpg?auto=compress,format","ZQAiJxIAACMAjFTq",{"x":57,"y":57,"zoom":58,"background":59},"Sisley, anonyme, Monet",{"image1":278,"image2":284,"label":230,"copyright":289},{"dimensions":279,"alt":280,"copyright":7,"url":281,"id":282,"edit":283},{"width":78,"height":220},"vue de l’exposition 7 Léon Monet, frère de l’artiste et collectionneur - Musée du Luxembourg ","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F60722392-59f5-42bd-aa3f-2b9a2217d88a_vue+de+l%E2%80%99exposition+7+L%C3%A9on+Monet_+fr%C3%A8re+de+l%E2%80%99artiste+et+collectionneur+-+Mus%C3%A9e+du+Luxembourg+%C2%A9+Didier+Plowy+pour+la+Rmn-GP+sc%C3%A9nographie+Hubert+Le+Gall+3_23_2.jpg?auto=compress,format","ZP70txIAACQAhw-c",{"x":57,"y":57,"zoom":58,"background":59},{"dimensions":285,"alt":272,"copyright":7,"url":286,"id":287,"edit":288},{"width":78,"height":220},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fcb9d37bc-02e4-4454-834e-56a8c5761436_Alfred+Sisley_+Route+de+Louveciennes+effet+de+neige+1874+3_2.jpg?auto=compress,format","ZQAh2RIAACQAjFN3",{"x":57,"y":57,"zoom":58,"background":59},[290],{"type":34,"text":291,"spans":292},"1° Vue de l’exposition 7 Léon Monet, frère de l’artiste et collectionneur - Musée du Luxembourg © Didier Plowy pour la Rmn-GP scénographie Hubert Le Gall\n\n2° Alfred Sisley, Route de Louveciennes effet de neige 1874 by Sisley, anonyme, Monet\n\n(Click to see full size images)",[],"image$407d6317-542f-4b69-9a9d-af9529cff0df",{"variation":96,"version":97,"items":295,"primary":297,"id":314,"slice_type":149,"slice_label":7},[296],{},{"title":298,"content":299},[],[300,303,311],{"type":34,"text":301,"spans":302},"The nature-loving artist that became obsessed with a landmark in his brother’s hometown went on to say, “Everything changes, even stone.” Sibling love, too, is malleable. Lefebvre’s exhibition is fresh, despite Claude being a well-covered artist, as historians long thought the brothers estranged. But only in the later years did they drift apart. In the early 1900s, family and work interlinked (as was the Monet way). Exposed to chemicals at Leon’s factory, Claude’s son Jean contracted a fatal respiratory infection. Leon’s daughter Adrienne suffered from the same illness, and Leon blamed Jean for spreading it. The brothers might have never spoken again.  ",[],{"type":34,"text":304,"spans":305},"Contrasting with the timeless and calming appeal of gazing at Claude’s works, the artist, as Peter C. Baker wrote for the New Yorker, existed “in the actual world, always shifting… with all the complications and constraints that existence in the world entails.” Claude wrote to Leon’s widow, following his 1917 passing, “I regret not being able to see my brother one last time, and tell him to forget everything that took us apart.” ",[306],{"start":307,"end":308,"type":109,"data":309},93,132,{"link_type":111,"url":310},"https:\u002F\u002Fwww.newyorker.com\u002Fbooks\u002Fpage-turner\u002Fthe-real-world-of-monet",{"type":34,"text":312,"spans":313},"Françoise Cauvin, Leon’s granddaughter, who adored her uncle Claude, eventually corrected their disrupted affection trailed by historical absence. She posed for a photograph with Claude’s portrait of Leon at her 1950s wedding and made a wish before her 2017 death: that her uncle and grandfather’s bond, along with their portrait, resurface. At the Musée du Luxembourg, their trust in one another became tangible again. Research into Leon is young, though its representation real: a network’s care and commitment – financial, emotional, scientific – sustains artists. Leon’s support, Françoise’s request, Lefebvre’s curiosity, and whatever follows, make this symbiosis continue to turn",[],"text$1cfc4bb9-3df8-4c32-9b20-d36499ca0400",{"dimensions":316,"alt":319,"copyright":202,"url":320,"id":321,"edit":322},{"width":317,"height":318},2400,1200,"vue de l’exposition 3 Léon Monet, frère de l’artiste et collectionneur - Musée du Luxembourg ","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fb09d3a68-9bb7-4604-9b17-a0a0b3be94cf_Image+Opengraph+-+Monet.jpg?auto=compress,format","ZP7wpBIAACQAhvve",{"x":57,"y":57,"zoom":58,"background":59},[324,371,380],{"variation":96,"version":97,"items":325,"primary":366,"id":369,"slice_type":370,"slice_label":7},[326,336,347,356],{"post":327},{"id":328,"type":8,"tags":329,"lang":18,"slug":331,"first_publication_date":332,"last_publication_date":333,"uid":334,"link_type":72,"key":335,"isBroken":74},"ZPHrjxAAACIA03J7",[330],"Art Investment","a-new-dawn-of-increased-sales-for-female-artists","2023-09-01T15:20:24+0000","2023-09-11T09:27:39+0000","art-market-female-artists","a5707a1d-57ff-486d-9c10-82520021297d",{"post":337},{"id":338,"type":8,"tags":339,"lang":18,"slug":342,"first_publication_date":343,"last_publication_date":344,"uid":345,"link_type":72,"key":346,"isBroken":74},"ZIn28RAAACMArpTW",[340,341],"Paul Cezanne","Pablo Picasso","a-voyeurs-view-of-myth-desire-and-summer","2023-06-14T17:20:52+0000","2024-02-12T16:31:18+0000","bathers-a-long-and-cold-winter","6f1caa53-ad40-4c27-b4ff-0e61c467c6ad",{"post":348},{"id":349,"type":8,"tags":350,"lang":18,"slug":351,"first_publication_date":352,"last_publication_date":353,"uid":354,"link_type":72,"key":355,"isBroken":74},"ZBmiNxEAACUAZCbn",[330],"is-art-a-sound-investment","2023-03-21T12:40:31+0000","2024-02-12T16:32:00+0000","investment-art-market-assets-painting","7e5f9f83-f85a-4a53-b846-05a065a2ed33",{"post":357},{"id":358,"type":8,"tags":359,"lang":18,"slug":361,"first_publication_date":362,"last_publication_date":363,"uid":364,"link_type":72,"key":365,"isBroken":74},"ZCajPxAAACEA67FU",[360],"Edvard Munch","emins-love-of-munch-is-rooted-in-pain","2023-04-03T09:56:03+0000","2023-07-13T14:37:18+0000","the-contemporary-artist-from-the-british-seaside-town","cf034db4-e2f5-4c41-9364-109d9e8eea38",{"slides_per_view":7,"max_slides_count":7,"tag":367,"type":8,"title":368,"paralax":7},{"link_type":72},"Read more","carousel$881ea61c-7d54-46dd-8e8e-e1b0f8722b74","carousel",{"variation":96,"version":97,"items":372,"primary":375,"id":379,"slice_type":370,"slice_label":7},[373],{"post":374},{"link_type":72},{"slides_per_view":7,"max_slides_count":7,"tag":376,"type":377,"title":378,"paralax":7},{"link_type":72},"podcast","Listen to audiocasts","carousel$39780291-a7a3-433f-9561-a7cdbd3b0191",{"variation":96,"version":97,"items":381,"primary":382,"id":386,"slice_type":370,"slice_label":7},[],{"slides_per_view":7,"max_slides_count":7,"tag":383,"type":384,"title":385,"paralax":7},{"link_type":72},"video","Discover more artists","carousel$c451ce05-e1be-46f8-b0b6-a6350dc05490",{"en":388},{"slug":6},[390,1345,1922],{"slice":324,"payload":391},[392,635,930,1123],{"id":328,"uid":334,"url":7,"type":8,"href":393,"tags":394,"first_publication_date":332,"last_publication_date":333,"slugs":395,"linked_documents":396,"lang":18,"alternate_languages":397,"data":398},"https:\u002F\u002Fartexplorer-prod.cdn.prismic.io\u002Fapi\u002Fv2\u002Fdocuments\u002Fsearch?ref=aCb60BIAACEA00zN&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22ZPHrjxAAACIA03J7%22%29+%5D%5D",[330],[331],[],[],{"title":399,"subtitle":400,"author":401,"copyright_cover":446,"cover_desktop":447,"cover_mobile":452,"thumbnail":457,"published_at":7,"slices":460,"meta_title":399,"meta_description":583,"og_image":584,"slices2":587},"A new dawn of increased sales for female artists?","Sales are on the up but it’s hard to know if the positive trajectory will continue",{"id":402,"type":25,"tags":403,"lang":18,"slug":404,"first_publication_date":405,"last_publication_date":406,"uid":407,"data":408,"link_type":72,"key":445,"isBroken":74},"ZBBfzBAAACgAzQAo",[],"william-corwin","2023-03-14T11:51:45+0000","2023-07-10T00:55:46+0000","will-corwin",{"description":409,"short_description":422,"job":426,"thumbnail":427,"cover":435,"uid":407,"title":431,"og_image":438,"meta_description":441,"meta_title":431},[410,413,416,419],{"type":34,"text":411,"spans":412},"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":34,"text":414,"spans":415},"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":34,"text":417,"spans":418},"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":34,"text":420,"spans":421},"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.",[],[423],{"type":34,"text":424,"spans":425},"William Corwin covers North America for ArtExplored",[],"Art Writer (North America)",{"dimensions":428,"alt":431,"copyright":431,"url":432,"id":433,"edit":434},{"width":429,"height":430},2660,3012,"William Corwin","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F4bbbe5d4-21a0-489e-8fe3-96d3a471c015_William+Corwin+B%26W+Art+Explored.jpg?auto=compress,format","ZIg3ghAAACAApnDS",{"x":57,"y":57,"zoom":58,"background":59},{"dimensions":436,"alt":431,"copyright":7,"url":432,"id":433,"edit":437},{"width":429,"height":430},{"x":57,"y":57,"zoom":58,"background":59},{"dimensions":439,"alt":431,"copyright":431,"url":432,"id":433,"edit":440},{"width":429,"height":430},{"x":57,"y":57,"zoom":58,"background":59},[442],{"type":34,"text":443,"spans":444},"Will Corwin covers North America for ArtExplored",[],"a798eb04-e056-4b9e-9e65-5bb96f0a4363","Self-Portrait as the Allegory of Painting, Artemisia Gentileschi, Royal Collection",{"dimensions":448,"alt":7,"copyright":7,"url":449,"id":450,"edit":451},{"width":78,"height":79},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fa02a5c0e-9b52-44ce-b475-d21fdf9519e7_La+Pittura+-+Artemisia+Gentileschi+-+Slide+16_9.jpg?auto=compress,format","ZPHXmRAAACQA0xF5",{"x":57,"y":57,"zoom":58,"background":59},{"dimensions":453,"alt":7,"copyright":7,"url":454,"id":455,"edit":456},{"width":79,"height":78},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F5d8d8c51-b755-49db-ab32-40722c1b8545_La+Pittura+-+Artemisia+Gentileschi+-+9_16.jpg?auto=compress,format","ZPHX5xAAACIA0xL3",{"x":57,"y":57,"zoom":58,"background":59},{"dimensions":458,"alt":7,"copyright":7,"url":454,"id":455,"edit":459},{"width":79,"height":78},{"x":57,"y":57,"zoom":58,"background":59},[461],{"variation":96,"version":97,"items":462,"primary":464,"id":582,"slice_type":149,"slice_label":7},[463],{},{"title":465,"content":466},[],[467,480,483,497,500,533,536,539,542,553,556,559,570,579],{"type":34,"text":468,"spans":469},"It’s ironic that the top reported sale for the 2023 Basel Art Fair was Louise Bourgeois’ terrifying Spider IV (1996) at $22.5 million. A conflicted symbol of both care and trauma, is this shiny bronze arachnid the harbinger of a new era of expanded sales for female artists, or a lonely outlier and merely an expression of the market’s adulation of enshrined dead masters, regardless of gender or race? ",[470,473],{"start":471,"end":472,"type":119},100,110,{"start":471,"end":472,"type":109,"data":474},{"id":475,"type":476,"tags":477,"lang":18,"slug":478,"first_publication_date":479,"last_publication_date":479,"link_type":72,"isBroken":74},"ZPHruRAAACMA03M7","definition",[],"spider-iv","2023-09-01T13:48:44+0000",{"type":34,"text":481,"spans":482},"Inquiring among a range of industry experts, gallerists, and artists, ArtExplored found that there isn’t a clear answer, but a complicated web of potential paths, promising beginnings, and consistent unchanging realities that point to a murky, possibly brighter future. ",[],{"type":34,"text":484,"spans":485},"However, in terms of female Old Masters, the market has improved markedly of late with increasing demand leading auction houses to organise sales focusing exclusively on these artists – something they would have never dared to promote a few years ago. Take Artemisia Gentileschi, for example – her record sale was set in 2019 when the Getty Museum purchased her Lucretia (1623-25) for $5.3 million (six times its high estimate), and world-wide she has had five exhibitions in 2023 alone.",[486,489],{"start":487,"end":488,"type":119},362,371,{"start":490,"end":491,"type":109,"data":492},412,428,{"id":493,"type":476,"tags":494,"lang":18,"slug":495,"first_publication_date":496,"last_publication_date":496,"link_type":72,"isBroken":74},"ZPHsCRAAACMA03T2",[],"high-estimate","2023-09-01T13:50:05+0000",{"type":34,"text":498,"spans":499},"\nBut back to Basel Art Fair. While many of the sales were of now-passed women now become household names, such as Alice Neel ($2.8 million) and Meret Oppenheim ($225,000-275,000), there were sales for living women artists as well: Roni Horn ($2.5 million), Amy Sillman ($450,000), Firelei Báez ($350,000), Tracy Emin ($970,000), and Senga Nengudi ($90,000). ",[],{"type":34,"text":501,"spans":502},"Obviously, this is a literal improvement over a past which saw the occasional female or two as acknowledged members of Abstract Expressionism, Minimalism, or Post-Modernism, but a recent survey – the Burns Halperin Report – paints a disappointing picture of almost glacially-slow incremental change for both women artists and those from minorities.  \n\nArtists in general are very aware of the fad potential of any market movement, whether it’s a passing interest in figuration, political art, or in a particular “type” of artist. “There’s a lot of activity now, there’s a lot of visibility, but how does that trickle down and how does that impact future generations; not just in the moment?” muses Shervone Neckles, a multimedia artist who represented her home country of Grenada at the 2019 Venice Biennale.",[503,511,519,528],{"start":504,"end":505,"type":109,"data":506},119,141,{"id":507,"type":476,"tags":508,"lang":18,"slug":509,"first_publication_date":510,"last_publication_date":510,"link_type":72,"isBroken":74},"ZPH_CBAAACEA09Eg",[],"abstract-expressionism","2023-09-01T15:11:07+0000",{"start":512,"end":513,"type":109,"data":514},143,153,{"id":515,"type":476,"tags":516,"lang":18,"slug":517,"first_publication_date":518,"last_publication_date":518,"link_type":72,"isBroken":74},"ZPH-5BAAACQA09Br",[],"minimalism","2023-09-01T15:10:31+0000",{"start":520,"end":521,"type":109,"data":522},158,172,{"id":523,"type":476,"tags":524,"lang":18,"slug":525,"first_publication_date":526,"last_publication_date":527,"link_type":72,"isBroken":74},"ZPH-wRAAACEA08-6",[],"post-modernism","2023-09-01T15:09:56+0000","2023-09-01T15:13:20+0000",{"start":529,"end":530,"type":109,"data":531},199,221,{"link_type":111,"url":532},"https:\u002F\u002Fstudioburns.media\u002Fheres-every-element-of-the-2022-burns-halperin-report-all-in-one-place\u002F",{"type":34,"text":534,"spans":535}," “I’m looking for that deep thoughtful investment which doesn’t just happen through the artwork, it’s also the amount of scholarship that’s being done on women artists.” Herein lies the problem: while according to the Burns Halperin Report, sales of women artists overall expanded 174.2% between 2008 and 2021, this resulted in only 11% of acquisitions by US museums (of the 31 institutions represented in the report). Considering that’s half the population, this falls far short of gender equity. ",[],{"type":34,"text":537,"spans":538},"\nCollector’s attitudes on the other hand may be changing. Irene Kim, global head of VIP relations for Art Basel, feels there’s been a sea change in terms of collector mentality: “Most Collectors buy whatever they want and like, but these days if you are a collector that’s cognisant to build an overall narrative, it’s about what your mission is; what is your collection focus.”  Certain collectors stand out: Pamela Joyner focuses her collection primarily on contemporary African American artists, while Komal Shah collects work by contemporary women artists, and just published Making Their Mark: Art by Women in the Shah Garg Collection (2023).",[],{"type":34,"text":540,"spans":541},"Still, change is slow, and going by the statistics, seems to be largely based on the market for long established and dead women artists. ",[],{"type":34,"text":543,"spans":544},"A gallery that has been instrumental in informing the wider art world of the sheer quantity and variety of talented women painters beyond the five main characters of Mary Gabriel’s 9th Street Women – is the New York gallery Berry Campbell. Founded in 2013 by Christine Berry and Martha Campbell, the gallery sought out the not-household names of women Abstract Expressionists. “We were going through the rosters of important exhibitions from the 1950s, and realising that the names that you don’t know tend to be names of women artists. So that you might see Willem de Kooning and Jackson Pollock on an exhibition list, but there’s also Perle Fine, Judith Godwin, and Yvonne Thomas: we said who are these artists and what does the art look like?” ",[545],{"start":546,"end":547,"type":109,"data":548},142,163,{"id":549,"type":476,"tags":550,"lang":18,"slug":551,"first_publication_date":552,"last_publication_date":552,"link_type":72,"isBroken":74},"ZPH_3RAAACMA09Uk",[],"five-main-characters-of-mary-gabriels-9th-street-women","2023-09-01T15:14:40+0000",{"type":34,"text":554,"spans":555},"Based on that strategy, Berry Campbell has grown from a modest two-room gallery to a large museum-quality exhibition space. “The Denver Art Museum Show [Women of Abstract Expressionism, 2016, curated by Gwen Chanzit] was probably a turning point,” says Berry, “when that exhibition happened is when people, museums, collectors realised this can be a focus, in the past they wouldn’t want to do a show of the women artists alone, but I think by Denver doing that show it allowed other museums and galleries to go ahead and say we can single out the women.” She does also feel Gabriel’s 9th Street Women “made these women come into mass consciousness.” ",[],{"type":34,"text":557,"spans":558},"And the results have been staggering. In the case of Abstract Expressionist Perle Fine (1905-1988), Berry Campbell exhibited her work in 2015 with prices ranging from $40,000-45,000. Now Fine’s works are selling for just under $1 million. According to the Burns Halperin Report, the biggest sellers in the auction market are by far Post-war and Contemporary women artists, which reached a peak of just under $600 million in 2018, but as the authors of the report are quick to point out, the sales of a single artist, Pablo Picasso (6.23 billion), exceeds the total sales of all women (6.2 billion) overall, between 2008 and 2022.",[],{"type":34,"text":560,"spans":561},"Do these modest increases translate to artists working in the primary market?",[562],{"start":563,"end":564,"type":109,"data":565},61,76,{"id":566,"type":476,"tags":567,"lang":18,"slug":568,"first_publication_date":569,"last_publication_date":569,"link_type":72,"isBroken":74},"ZPIALhAAACIA09aW",[],"primary-market","2023-09-01T15:16:00+0000",{"type":34,"text":571,"spans":572}," Talking to painter North American Emily Mae Smith, who exemplifies the contemporary artist working internationally within the market; showing with Frederick Petzel in New York and Perrotin in Paris, among others, one gets the sense that she would rather tie her fate to the world of collectors and market convulsions. “It’s funny how we sometimes go oh that’s just the market, it’s not moral, but actually there is no moral: I feel there’s this false separation between what is academic or understood by the “higher minds” of our industry – which are the artists and the writers and the curators – and that’s different from the collectors, but I don’t think it is. In my experience with academia, I have actually been treated more fairly, and had more access in the capitalistic art industry than I had in academia.” In effect, Smith argues, the realisation that women and artists of colour are simply a sound investment nudges progress much faster and more efficiently than the slow and convoluted instigation of diversity, equity, and inclusion (DEI) programmes in museums and universities.",[573,576],{"start":574,"end":575,"type":119},387,392,{"start":577,"end":578,"type":119},419,424,{"type":34,"text":580,"spans":581},"",[],"text$decb3b0f-5387-4e55-92ca-ba5c2966deea","Sales are on the up for female artists but it’s hard to know if the positive trajectory will continue.",{"dimensions":585,"alt":7,"copyright":7,"url":449,"id":450,"edit":586},{"width":78,"height":79},{"x":57,"y":57,"zoom":58,"background":59},[588,595],{"variation":96,"version":97,"items":589,"primary":592,"id":594,"slice_type":370,"slice_label":7},[590],{"post":591},{"link_type":72},{"slides_per_view":7,"max_slides_count":7,"tag":593,"type":377,"title":378,"paralax":7},{"link_type":72},"carousel$fe996508-a474-425e-83eb-b5a1c8f13a42",{"variation":96,"version":97,"items":596,"primary":631,"id":634,"slice_type":370,"slice_label":7},[597,607,611,621],{"post":598},{"id":599,"type":8,"tags":600,"lang":18,"slug":602,"first_publication_date":603,"last_publication_date":604,"uid":605,"link_type":72,"key":606,"isBroken":74},"ZOShthIAACYA1xCI",[601,330],"Francis Bacon","first-artist-report-sheds-light-on-francis-bacons-market","2023-08-24T13:17:37+0000","2023-08-29T15:59:39+0000","artist-report-francis-bacon","49557a86-ca4c-4a70-b005-1e7e23b34261",{"post":608},{"id":358,"type":8,"tags":609,"lang":18,"slug":361,"first_publication_date":362,"last_publication_date":363,"uid":364,"link_type":72,"key":610,"isBroken":74},[360],"74da5109-c7fc-4d5d-8838-b035b58c2fe4",{"post":612},{"id":613,"type":8,"tags":614,"lang":18,"slug":616,"first_publication_date":617,"last_publication_date":618,"uid":619,"link_type":72,"key":620,"isBroken":74},"ZAiOihAAACoAv4s1",[615],"Renaissance","dutch-art-for-arts-sake-and-tudor-renaissance-majesty","2023-03-08T15:48:43+0000","2023-07-13T14:29:58+0000","the-dutch-and-tudors-renaissance","cf196f5d-0838-400a-9a74-b763402eebb0",{"post":622},{"id":623,"type":8,"tags":624,"lang":18,"slug":626,"first_publication_date":627,"last_publication_date":628,"uid":629,"link_type":72,"key":630,"isBroken":74},"ZAhxkRAAACkAvx0D",[625],"Amedeo Modigliani","amedeo-modigliani-through-the-microscope","2023-03-08T15:49:55+0000","2023-07-13T14:21:18+0000","amadeo-modigliani-a-century-of-enigma","c56ba2b0-045b-4ecc-b00e-3132881f3798",{"slides_per_view":7,"max_slides_count":7,"tag":632,"type":8,"title":633,"paralax":7},{"link_type":72},"More articles","carousel$a0acf46d-90de-4685-a504-212bc0852bcc",{"id":338,"uid":345,"url":7,"type":8,"href":636,"tags":637,"first_publication_date":343,"last_publication_date":344,"slugs":638,"linked_documents":639,"lang":18,"alternate_languages":640,"data":641},"https:\u002F\u002Fartexplorer-prod.cdn.prismic.io\u002Fapi\u002Fv2\u002Fdocuments\u002Fsearch?ref=aCb60BIAACEA00zN&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22ZIn28RAAACMArpTW%22%29+%5D%5D",[340,341],[342],[],[],{"title":642,"subtitle":643,"author":644,"copyright_cover":651,"cover_desktop":652,"cover_mobile":659,"thumbnail":664,"published_at":7,"slices":667,"meta_title":642,"meta_description":899,"og_image":900,"slices2":906},"A voyeur’s view of myth, desire, and summer","‘Bathers’ is an 'ode to the ultimate summer muse' - the bathing nude",{"id":645,"type":646,"tags":647,"lang":7,"slug":648,"first_publication_date":7,"last_publication_date":7,"link_type":72,"key":649,"isBroken":650},"ZBG-rRAAAKdKz1Y6","broken_type",[],"-","32d1db9a-66b8-4c82-bf90-d9f7c4948420",true,"La vague, 1896\nWILLIAM ADOLPHE BOUGUEREAU\n\nOil on Canvas, 121 x 160.5 cm",{"dimensions":653,"alt":654,"copyright":655,"url":656,"id":657,"edit":658},{"width":78,"height":79},"WILLIAM ADOLPHE BOUGUEREAU La vague, 1896","WILLIAM ADOLPHE BOUGUEREAU\nLa vague, 1896","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F0fb48197-8364-452b-b4cb-db115fd5934f_Slide+16_9+William+Adolphe+Bougureau+-+La+Vague.jpg?auto=compress,format","ZIsNTBAAACAAs5eT",{"x":57,"y":57,"zoom":58,"background":59},{"dimensions":660,"alt":654,"copyright":655,"url":661,"id":662,"edit":663},{"width":79,"height":78},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F20e9f889-0336-4ccd-a2a6-18d90798e5be_9_16+William+Adolphe+Bougureau+-+La+Vague.jpg?auto=compress,format","ZIsNUBAAACAAs5eq",{"x":57,"y":57,"zoom":58,"background":59},{"dimensions":665,"alt":654,"copyright":655,"url":661,"id":662,"edit":666},{"width":79,"height":78},{"x":57,"y":57,"zoom":58,"background":59},[668,704,748,778,813,829,855,885],{"variation":96,"version":97,"items":669,"primary":671,"id":703,"slice_type":149,"slice_label":7},[670],{},{"title":672,"content":676},[673],{"type":674,"text":580,"spans":675},"heading1",[],[677],{"type":34,"text":678,"spans":679},"Landscape and the nude – two preoccupations that have fixated artists for centuries. Often straddling both subjects is the depiction of the bathing nude, which is rooted in the birth of Venus from the sea. The tradition, however, does not merely deal with ablution. Take, for example, Sandro Botticelli’s striking Birth of Venus (c.1484), Pierre-Auguste Renoir’s The Large Bathers (1884-87), and Pablo Picasso’s radical Bathing Nude (1908) – these iconic works are also linked to themes including voyeurism, purification, and birth. A new group show at Saatchi Yates’ new London space on 14 Bury Street in St. James – titled Bathers – explores the enduring and multi-layered subject of the naked bather by bringing together a major collection of contemporary art alongside renowned Post-War and historical masters such as Picasso, Paul Cezanne, David Hockney, Peter Doig, and Damien Hirst. The show, the gallery says, is “an ode to the ultimate summer muse.”\n\nAs you might expect, Saatchi Yates’ gallery space feels rather aquatic. There is water everywhere daubed in various mediums and wrought in metal, plaster, and formaldehyde. The paintings are like windows through which the viewer – or voyeur – peers at scantily clad or bare bodies drenched, dripping, or drying. The show is brimming with wanton desire; reclining subjects catch your eye, willing you to cast aside any inhibitions, undress, and jump in. French painter William-Adolphe Bouguereau’s La vague (1896), wrapped in a chunky gilt frame, holds a prominent place in the exhibition – it’s one of the earliest works and derives from the classical text The Birth of Venus. It shows an idealised naked figure (said to be the model Odile Charpentier) reposing before a breaking wave. The composition evokes a fantastical atmosphere and she’s looking directly at the viewer with a delicate grin, while her voluptuous pale body follows the beauty standards of the time.",[680,683,686,689,700],{"start":681,"end":682,"type":119},314,328,{"start":684,"end":685,"type":119},363,381,{"start":687,"end":688,"type":119},420,432,{"start":690,"end":691,"type":109,"data":692},831,843,{"id":693,"type":694,"tags":695,"lang":18,"slug":697,"first_publication_date":698,"last_publication_date":699,"uid":697,"link_type":72,"isBroken":74},"ZA8AjhAAACgAyqkW","artist",[696],"Paul Cezanne ","paul-cezanne","2023-03-13T10:53:06+0000","2025-05-12T12:12:31+0000",{"start":701,"end":702,"type":119},1457,1465,"text$3583c6bf-5bba-436d-94b9-8213c405f3dd",{"variation":194,"version":97,"items":705,"primary":727,"id":747,"slice_type":179,"slice_label":7},[706,717],{"image":707,"title":715,"subtitle":716},{"dimensions":708,"alt":711,"copyright":7,"url":712,"id":713,"edit":714},{"width":709,"height":710},4096,3524,"ANGELA SANTANA Green Bather, 2023 ","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fae30b356-bd1a-41d1-8108-88895a1128cf_Angela+Santana+-+Green+Bather_+2023%2C+Oil+on+Canvas%2C+198x168cm+1+%281%29.jpg?auto=compress,format","ZInzCxAAACMAroI7",{"x":57,"y":57,"zoom":58,"background":59},"Green Bather, 2023 \nANGELA SANTANA\nCourtesy of Saatchi Yates","Oil on Canvas\n198 x 168 cm",{"image":718,"title":725,"subtitle":726},{"dimensions":719,"alt":721,"copyright":7,"url":722,"id":723,"edit":724},{"width":709,"height":720},2766,"ANGELA SANTANA The Bathers, 2023 ","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fd3783d4b-e87c-42dd-8491-806f580f348c_Angela+Santana+-+The+Bathers_+2023%2C+Oil+on+Canvas+1.jpg?auto=compress,format","ZInzchAAACIAroQS",{"x":57,"y":57,"zoom":58,"background":59},"The Bathers, 2023\nANGELA SANTANA\nCourtesy of Saatchi Yates","Oil on Canvas\n244 x 163 cm",{"image1":728,"image2":736,"label":742,"copyright":743},{"dimensions":729,"alt":711,"copyright":732,"url":733,"id":734,"edit":735},{"width":730,"height":731},2881,1921,"ANGELA SANTANA\nGreen Bather, 2023 ","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F4a28c8e3-761e-47e9-bad4-ec61f6c5b832_3_2+Angela+Santana+-+Green+Bather_+2023.jpg?auto=compress,format","ZInyOBAAACIArn56",{"x":57,"y":57,"zoom":58,"background":59},{"dimensions":737,"alt":738,"copyright":7,"url":739,"id":740,"edit":741},{"width":78,"height":220},"Angela Santana - The Bathers","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F29c710dd-44fd-4706-8bbb-2a818bd9a9d7_3_2+Angela+Santana+-+The+Bathers.jpg?auto=compress,format","ZLANcRIAACAAalpR",{"x":57,"y":57,"zoom":58,"background":59},"Left Painting: ANGELA SANTANA, Green Bather, 2023\nRight Painting: ANGELA SANTANA The Bathers, 2023",[744],{"type":34,"text":745,"spans":746},"Courtesy of Saatchi Yates",[],"image$7fc78d8c-87d9-481a-a9f5-593e4fe1936d",{"variation":96,"version":97,"items":749,"primary":751,"id":777,"slice_type":149,"slice_label":7},[750],{},{"title":752,"content":753},[],[754],{"type":34,"text":755,"spans":756},"It should be pointed out that the majority of artists featured in Bathers are or were men, and the majority of subjects are naked or semi-naked women, so the issue of the male gaze is integral. In recent years, Bouguereau’s work has come under increasing fire for its “patriarchal objectification of women,” and his fetishising of Venus is a case in point. On the contrary, the more recent works in the show, like Angela Santana’s Green Bather and Benjamin Spiers’ Natural Swimmer (both 2023), appear to celebrate the female form as opposed to leering from afar. The bathing nude has evolved.\n\nBouguereau had a classical academic background and was heavily influenced by Renaissance artists like Raphael. He worked with strict structure and composition rules – his work is known for its almost hyper-realistic portrayal of female beauty, unlike modern artists working at the same time who took a completely different approach. One of these modern artists was French Post-Impressionist painter Cezanne. His contribution to Bathers is the painting Nymphs and Satyrs (1867). It was created during his so-called “dark period” at the height of Romanticism when his palette was gloomier, his themes erotic and violent, and technique blunter (he often applied paint with a palette knife instead of a brush). It portrays a nymph being groped and ogled by two satyrs – the viewer is witnessing a sexual assault from afar. The work also places an emphasis on nature, a trait common in both Romantic painting and the subject of the bathing nude. Nymphs and Satyrs predates Cezanne’s celebrated Bathers (1898-05), which reimagined a classical subject in a modern, pictorial expression and greatly influenced future portrayals of the nude. ",[757,760,763,768,771,774],{"start":758,"end":759,"type":119},431,443,{"start":761,"end":762,"type":119},465,481,{"start":764,"end":765,"type":109,"data":766},993,1001,{"id":693,"type":694,"tags":767,"lang":18,"slug":697,"first_publication_date":698,"last_publication_date":699,"uid":697,"link_type":72,"isBroken":74},[696],{"start":769,"end":770,"type":119},1046,1063,{"start":772,"end":773,"type":119},1535,1553,{"start":775,"end":776,"type":119},1582,1590,"text$085dfff0-bd4a-41b2-a420-ba770cdd00c0",{"variation":96,"version":97,"items":779,"primary":801,"id":812,"slice_type":179,"slice_label":7},[780,791],{"image":781,"title":789,"subtitle":790},{"dimensions":782,"alt":785,"copyright":785,"url":786,"id":787,"edit":788},{"width":783,"height":784},7241,4652,"Danny Fox \nBathers after Bosuns, 2023 ","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Ff53e6369-1ea3-48fa-a55c-40acb29f71b0_Danny+Fox+-+Bathers+after+Bosuns_+2023%2C+Acrylic+on+Canvas%2C+275x420cm.jpg?auto=compress,format","ZIn0pBAAACAAromf",{"x":57,"y":57,"zoom":58,"background":59},"Bathers after Bosuns, 2023 \nDANNY FOX\nCourtesy of Saatchi Yates","Acrylic on canvas \n275 x 420 cm",{"image":792,"title":799,"subtitle":800},{"dimensions":793,"alt":655,"copyright":655,"url":796,"id":797,"edit":798},{"width":794,"height":795},2882,2174,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F6caf65b8-8073-49b4-a6a4-6747a90d4429_William+Adolphe+Bougureau+-+La+Vague_+1896%2C+Oil+on+Canvas%2C+121x160.5cm.jpg?auto=compress,format","ZIn0-BAAACEArosp",{"x":57,"y":57,"zoom":58,"background":59},"La vague, 1896\nWILLIAM ADOLPHE BOUGUEREAU\nCourtesy of Saatchi Yates","Oil on Canvas,\n121 x 160.5 cm",{"image1":802,"label":808,"copyright":809},{"dimensions":803,"alt":785,"copyright":785,"url":805,"id":806,"edit":807},{"width":78,"height":804},2561,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F42474c5c-e9e1-4d63-b387-374e460c5ed3_3_2+Danny+Fox+-+Bathers+after+Bosuns_+2023.jpg?auto=compress,format","ZIn0VxAAACIArogt",{"x":57,"y":57,"zoom":58,"background":59},"Danny Fox \nBathers after Bosuns, 2023",[810],{"type":34,"text":745,"spans":811},[],"image$f82f329c-4563-4fe0-9495-ac7b6fee766e",{"variation":96,"version":97,"items":814,"primary":816,"id":828,"slice_type":149,"slice_label":7},[815],{},{"title":817,"content":818},[],[819],{"type":34,"text":820,"spans":821},"Picasso’s compact Baigneuse (1928) measuring just 19 x 24 cm follows the salacious tone of Bouguereau and Cezanne’s compositions. The Spanish artist explored the theme of the bather with increasingly expressive language and his focus on the motif may have been partly inspired by Cezanne, whom he greatly admired. Both artists painted – and returned to painting – the bathing nude to apply their own avant-garde visions against the conventions of painting, pushing the boundaries further and further towards symbolism. \"Coming in the wake of Picasso’s Ingresque, Neo-Classical, sometimes almost photorealistic pictures, the raw expressivity of Baigneuse is bracing,” as Christie’s described the work when it was auctioned in 2012. “Here, the figure of a woman is shown as a form of landscape, her body demarcated with the mountain-like peaks of her breasts, her small head a peninsula receding into the distance, the focus on the expanse of open flesh in the foreground.” It is a striking combination of landscape and the nude. The painting is fittingly inconspicuous in scale – it is dwarfed by most of the other paintings – because it likely portrays his young lover, Marie-Therese Walter, whom Picasso hid from his wife and son.",[822,825],{"start":823,"end":824,"type":119},18,26,{"start":826,"end":827,"type":119},644,652,"text$49ce85b4-96ec-453c-b23c-60158bf098ae",{"variation":96,"version":97,"items":830,"primary":842,"id":854,"slice_type":179,"slice_label":7},[831],{"image":832,"title":840,"subtitle":841},{"dimensions":833,"alt":7,"copyright":7,"url":836,"id":837,"edit":838},{"width":834,"height":835},1870,1472,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F152b81ce-e31f-465b-99a6-8435c657721d_Pablo+Picasso+-+Baigneuse_+1928%2C+Oil+on+Canvas%2C+19x24cm.png?auto=compress,format","ZIn1hBAAACEAro3A",{"x":57,"y":57,"zoom":58,"background":839},"transparent","Baigneuse, 1928\nPABLO PICASSO\nCourtesy of Saatchi Yates","Oil on Canvas,\n19 x 24 cm",{"image1":843,"label":850,"copyright":851},{"dimensions":844,"alt":845,"copyright":846,"url":847,"id":848,"edit":849},{"width":78,"height":804},"PABLO PICASSO Baigneuse, 1928","PABLO PICASSO\nBaigneuse, 1928\n","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F650b5336-f418-440a-a172-d6e597b47cf6_3_2+Pablo+Picasso+-+Baigneuse_+1928.jpg?auto=compress,format","ZIn1WxAAACIAro0I",{"x":57,"y":57,"zoom":58,"background":59},"PABLO PICASSO\nBaigneuse, 1928",[852],{"type":34,"text":745,"spans":853},[],"image$b02bb431-2570-49e9-aa39-feb6a008d73a",{"variation":96,"version":97,"items":856,"primary":858,"id":884,"slice_type":149,"slice_label":7},[857],{},{"title":859,"content":860},[],[861],{"type":34,"text":862,"spans":863},"Bathers maps the artistic evolution of the bathing nude through the ages and the show’s contemporary works by six artists on Saatchi Yates’ roster: British artists Danny Fox and Benjamin Spiers, Ethiopian artist Tesfaye Urgessa, Korean painter Sujin Lee, American artist Kottie Paloma, and Swiss artist Angela Santana. Cornwall-based Fox’s two painting in the exhibition are dark and mysterious. Bathers after Bosuns (2023) features eerie figures wallowing in murky water. The subjects are reminiscent of French post-Impressionist Paul Gauguin’s work but they are intertwined with menacing mythical creatures emerging from the depths. The water appears at once cold and uninviting yet strangely alluring, like the naked female figures themselves. Urgessa’s take on the topic – Bathers: Honey and Milk 1 and Bathers: Honey and Milk 2 (both 2023) – is more shocking; he has replaced water with blood, which is typical of his practice, which interrogates race and the politics of identity. \n\nOne of the sculptures on show is Damien Hirst’s Two Similar Swimming Forms in Infinite Flight (1993), a pair of baby sharks preserved in the artist’s characteristic formaldehyde and attached to a low metal hoop as if they are swimming in circles forever, frozen in time. It’s a more abstract take on the bathing nude theme. The sculpture may reference the act of birth and immortality, like that enjoyed by the goddess Venus, the matriarch of all bathing nudes. \n\nBathers\n01 June - 10 August. Saatchi Yates, London. 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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":34,"text":954,"spans":955},"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":34,"text":957,"spans":958},"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.",[],[960],{"type":34,"text":961,"spans":962},"Robert Budden covers the financial and art market for ArtExplored. ",[],"Art Market Editor",{"dimensions":965,"alt":944,"copyright":7,"url":968,"id":969,"edit":970},{"width":966,"height":967},2291,2446,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Ff845a770-a008-44c8-9879-c9f3b0b5e52a_Robert+Budden.jpg?auto=compress,format","ZIsQqxAAACEAs6bQ",{"x":57,"y":57,"zoom":58,"background":59},{"dimensions":972,"alt":944,"copyright":7,"url":968,"id":969,"edit":973},{"width":966,"height":967},{"x":57,"y":57,"zoom":58,"background":59},{"dimensions":975,"alt":944,"copyright":944,"url":968,"id":969,"edit":976},{"width":966,"height":967},{"x":57,"y":57,"zoom":58,"background":59},[978],{"type":34,"text":979,"spans":980},"Robert Budden is a finance and art markets writer at ArtExplored",[],"72f91af1-4906-421a-9466-742d235d5438",{"dimensions":983,"alt":985,"copyright":7,"url":986,"id":987,"edit":988},{"width":730,"height":984},1621,"Massysm Quentin — The Moneylender and his Wife","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F6cb95598-e3af-4c20-ae64-d8f7775dda0f_Slide+16_9+-+85.jpg?auto=compress,format","ZJq2chEAACIAroje",{"x":57,"y":57,"zoom":58,"background":59},{"dimensions":990,"alt":985,"copyright":985,"url":991,"id":992,"edit":993},{"width":79,"height":78},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fa6363f49-781b-40dc-9173-db3c111bbcd8_9_16.jpg?auto=compress,format","ZJq19hEAACEAroa_",{"x":57,"y":57,"zoom":58,"background":59},{"dimensions":995,"alt":985,"copyright":985,"url":991,"id":992,"edit":996},{"width":79,"height":78},{"x":57,"y":57,"zoom":58,"background":59},[998,1030,1040,1050,1059,1071],{"variation":96,"version":97,"items":999,"primary":1001,"id":1029,"slice_type":149,"slice_label":7},[1000],{},{"title":1002,"content":1006},[1003],{"type":674,"text":1004,"spans":1005}," ",[],[1007],{"type":34,"text":1008,"spans":1009},"It is the sort of gain most investors only dream of. The sale at Sotheby’s in 2017 of Untitled by Jean-Michel Basquiat for $110.5m marked a record for a post-1980 painting by an American artist at the time. Bought for \"just\" $19,000 in 1984, the sale price delivered its owner impressive profits - equating to a compound annual return (before costs) of about 30%. The world’s best-paid hedge fund managers would be immensely proud of that performance.\n\nSuch returns are by no means unique in the art world: some savvy collectors who bought works from the likes of Andy Warhol or David Hockney at the right time will also be sitting on huge gains. Art advisers have many of their own stories about clients who purchased artworks that have increased in value considerably, sometimes over a period of just a few years. \n\nSo, does art make sense as an investment and how has the wider art market performed? \n\nA number of art indices including Sotheby’s Mei Moses, Artprice, and Artnet capture data from multiple sources. Over the 15 years between 2005 and 2020, the Artnet Index for Fine Art produced a compound annual growth rate of 4.9%, against 7.6% (excluding dividends) for the S&P 500, the leading basket of US stocks. ",[1010,1013,1021],{"start":1011,"end":1012,"type":119},86,94,{"start":1014,"end":1015,"type":109,"data":1016},564,576,{"id":1017,"type":476,"tags":1018,"lang":18,"slug":1019,"first_publication_date":1020,"last_publication_date":1020,"link_type":72,"isBroken":74},"ZK0tLxEAACEAdnWz",[],"andy-warhol","2023-07-11T10:21:41+0000",{"start":1022,"end":1023,"type":109,"data":1024},579,592,{"id":1025,"type":476,"tags":1026,"lang":18,"slug":1027,"first_publication_date":1028,"last_publication_date":1028,"link_type":72,"isBroken":74},"ZK0uhhEAACMAdnxa",[],"david-hockney","2023-07-11T10:27:29+0000","text$1bdd61da-7e86-40cd-a086-e0b1d9c8e77c",{"variation":96,"version":97,"items":1031,"primary":1033,"id":1038,"slice_type":1039,"slice_label":7},[1032],{},{"quote":1034},[1035],{"type":34,"text":1036,"spans":1037},"\"You can’t just go out and pay $50,000 for 10 contemporary artists with no history, no secondary market, and no institutional representation and expect to do well. Randomised spending sprees increase the risk of negative performance enormously.\"",[],"quote$63a4a947-8dd2-4b3b-b41b-73029c75031d","quote",{"variation":96,"version":97,"items":1041,"primary":1043,"id":1049,"slice_type":149,"slice_label":7},[1042],{},{"title":1044,"content":1045},[],[1046],{"type":34,"text":1047,"spans":1048},"Over 2022, as inflation and interest rates climbed and stock markets plummeted, the broad Global Artprice index fell 18%. However, the Artprice100 index of leading artists was up 3% in 2022, supporting the dictum that blue chip art is a relative safe haven.\n\nBut how reliable are these numbers? Art advisers urge caution. Art indices only track publicly available data – essentially prices from auctions – immediately cutting out the more opaque private market, which typically accounts for about half of all sales. Indices also only record price changes from artworks that have sold more than once. This limits their accuracy still further by excluding the vast majority of auction transactions – sale debuts, say art advisers. \n\n“You need to look at these indices with a pinch of salt,” says Laurent Issaurat, head of Art Banking Services at Société Générale. “They reflect only a very limited portion of the art market [lots that sell twice or more at auction], don’t include transaction costs and only show the winners in the race. The losers are forgotten. If there is no bidder in the room then an artwork is burned and this is not taken into account [in the indices] at all.” \n\nSuch so-called “survivorship bias” means that indices have a tendency to flatter investment performance. In terms of transaction costs, Philip Hoffman, founder of the Fine Art Group and a former deputy CEO at Christie’s, estimates the typical auction spread between buyer and seller can be as much as 37%.\n\nDespite these limitations, however – if used carefully – art indices can still prove valuable tools, for example, when negotiating purchases or identifying trends, say art specialists. \n\nFor a better guide to long-term art performance, Adriano de Picinati di Torcello, global art and finance coordinator at Deloitte, points to academic studies. One, published in 2011 by Elroy Dimson and Christophe Spaenjers, tracked the performance of the art collection of renowned economist John Maynard Keynes from 1900 to 2010. \n\nThe collection, containing works by major blue chips such as Picasso and Matisse, delivered a respectable real return (after allowing for inflation) of 2.4% a year over the period, comfortably ahead of government bonds and not far behind the total return on stocks and shares. Another paper by Christophe Spaenjers found art returned an impressive 4% a year between 1951 and 2007, again after inflation. \n\nThese are numbers that many long-term investors would be pretty happy with. The challenge, say art advisers, is achieving them as the art market is very diverse ranging from Old Masters to Contemporary and from low to high-end. All can have very different performance profiles.\n\n\"You can’t just go out and pay $50,000 for 10 contemporary artists with no history, no secondary market and no institutional representation and expect to do well. Randomised spending sprees increase the risk of negative performance enormously,” says Eugénie Dumont, art collections manager at Belgian private bank Degroof Petercam. “You need to purchase astutely and put together a collection carefully, based on your taste, your budget and its ultimate purpose while keeping in mind a long-term strategy.”\n\nThere are other points to consider too. While stocks and shares tend to pay dividends, art does not. Instead, there is a cost of ownership of art which includes insurance, maintenance and possibly storage for example. These costs can run from “well under 1%” per annum [of the value of the painting] for \"plain vanilla\" artworks requiring very little maintenance, according to Dumont, to much more for valuable and fragile pieces requiring a specific conservation environment, as well as historical discoveries where provenance and authenticity must be proven.\n",[],"text$855ac36b-1f02-44fb-9321-0d6fb003a622",{"variation":96,"version":97,"items":1051,"primary":1053,"id":1058,"slice_type":1039,"slice_label":7},[1052],{},{"quote":1054},[1055],{"type":34,"text":1056,"spans":1057},"“During Covid art held much of its value. It wasn’t demand that dropped dramatically it was more that, in a very uncertain market, sellers would stop selling.”",[],"quote$2097a3b3-3dde-4bce-bc35-28624f8dbc43",{"variation":96,"version":97,"items":1060,"primary":1062,"id":1070,"slice_type":149,"slice_label":7},[1061],{},{"title":1063,"content":1066},[1064],{"type":674,"text":580,"spans":1065},[],[1067],{"type":34,"text":1068,"spans":1069},"Artworks are also much less liquid than other mainstream investments such as stocks or bonds, meaning they can be complicated and time-consuming to sell. \n\n“Although I have done deals in a day or even in an hour, the average sale probably takes three years,” says the Fine Art Group’s Hoffman, reflecting the time it takes to find the right buyer.\n\nBut there are clear attractions of art as an asset too. If chosen carefully, art has proven a long-term store of value and a good hedge against inflation. Over a 22-year holding period, the British Rail pension fund’s foray into art investments in the 1970s delivered a healthy 13.1% annual investment return (almost 6% after inflation), boosted by timely purchases and disposals. Astutely, the fund sold works by Renoir and Cezanne in 1989 ahead of the sharp correction in the Impressionist art market of the early 1990s. \n\nArt also has a relatively low correlation to mainstream investments like equities, meaning that when stocks and shares are falling, some art investments can hold their value.\n\nWhile this was not really the case during the 2008 financial crisis – the S&P 500 index, the US stock market index, fell about 50% from peak to trough and art sales and prices similarly collapsed during this period – art investments did perform better than equities as the Covid pandemic took hold.\n\n“During Covid art held much of its value,” says Société Générale’s Issaurat. “It wasn’t demand that dropped dramatically it was more that, in a very uncertain market, sellers would stop selling.”\n\nIssaurat adds that because many collectors often hold up to 5% to 15% or so of their overall wealth in art, they don’t have to be forced sellers. In the event that they desperately need cash, most collectors have other – more liquid – assets they can sell first, helping underpin art prices in a downturn.\n\nThis is not to say that the art markets are immune from global economic events. Far from it. Art prices were boosted by quantitative easing as central banks pumped more money into the global economy, say art experts. Rising interest rates have in the past also dampened sentiment in the art markets.\n\n“I was running Christie’s when [interest rates] hit 15% and that crucified the art market,” recalls the Fine Art Group’s Hoffman. “Everybody said ‘Let’s put $10m on deposit and we get $1.5m of interest a year without doing anything’.” \n\nHe thinks a tipping point for the art market might be if interest rates in Western economies start to climb above 8% – still some way above current levels.\n\nTrends currently affecting art prices, according to Kristiane Backer, founder of fine art consultancy Baraka Consultants, include the war in Ukraine and the reopening of China after Covid. “Russian buyers are no longer there but the Chinese seem to be coming back so, for the moment, the art market remains strong,” she says. \n\nIn recent years Backer says she has seen growing numbers of buyers turn to art for investment reasons. \n\n“Art is definitely worth considering if you want to diversify your portfolio,” she says. “But take good advice to buy well and, above all, buy what you like and love.”\n\nMost buyers are unlikely to come across the next Basquiat. But, if they do buy well, they could achieve decent annual positive returns, say art advisers.\n\nThe real dividend of owning artworks, according to Issaurat, however, is “the intellectual or aesthetic enjoyment you get... You just can’t measure this in euros or dollars or pounds.\"",[],"text$adb6ea17-3dab-495b-847c-54d1d2ce0152",{"variation":96,"version":97,"items":1072,"primary":1074,"id":1076,"slice_type":1077,"slice_label":7},[1073],{},{"embed":1075},{},"embed$81701536-8c30-4ed4-ab45-b76831e8db4e","embed","How does investment in art compare to traditional investments?","What returns should you expect when you in invest in art.",{"dimensions":1081,"alt":1082,"copyright":7,"url":1083,"id":1084,"edit":1085},{"width":317,"height":318},"Massysm Quentin — The Moneylender and his Wife \u002F Is art a sound investment? \u002F Article : Art investment ","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fdc35b9d9-3f09-43c3-8b5e-fd1be2538bd2_Image+Opengraph+Is+art+a+sound+investment.jpg?auto=compress,format","ZK_8txIAACMAahhi",{"x":57,"y":57,"zoom":58,"background":59},[1087,1116],{"variation":96,"version":97,"items":1088,"primary":1113,"id":1115,"slice_type":370,"slice_label":7},[1089,1097,1105,1109],{"post":1090},{"id":1091,"type":8,"tags":1092,"lang":18,"slug":1093,"first_publication_date":1094,"last_publication_date":1095,"uid":1093,"link_type":72,"key":1096,"isBroken":74},"ZBmoCREAACIAZDGt",[330],"the-art-of-diversification","2023-03-21T12:52:11+0000","2024-02-12T16:32:14+0000","50996d39-b7ed-4604-b882-04a2ea09d9c2",{"post":1098},{"id":1099,"type":8,"tags":1100,"lang":18,"slug":1101,"first_publication_date":1102,"last_publication_date":1103,"uid":1101,"link_type":72,"key":1104,"isBroken":74},"ZCq3_RAAACMA8eXk",[330],"the-pain-of-rising-interest-rates","2023-04-04T11:07:33+0000","2023-07-26T13:50:18+0000","be68fe6b-e28a-4308-b349-7e0e125c6019",{"post":1106},{"id":338,"type":8,"tags":1107,"lang":18,"slug":342,"first_publication_date":343,"last_publication_date":344,"uid":345,"link_type":72,"key":1108,"isBroken":74},[340,341],"ba3ee1d9-989d-42f7-ad18-34bc48212613",{"post":1110},{"id":623,"type":8,"tags":1111,"lang":18,"slug":626,"first_publication_date":627,"last_publication_date":628,"uid":629,"link_type":72,"key":1112,"isBroken":74},[625],"945c95f5-a777-4a45-9456-c7a8b4698fd4",{"slides_per_view":7,"max_slides_count":7,"tag":1114,"type":8,"title":368,"paralax":7},{"link_type":72},"carousel$92e64e99-ab0d-4e3e-81c6-19f9532e78dc",{"variation":96,"version":97,"items":1117,"primary":1120,"id":1122,"slice_type":370,"slice_label":7},[1118],{"post":1119},{"link_type":72},{"slides_per_view":7,"max_slides_count":7,"tag":1121,"type":377,"title":378,"paralax":7},{"link_type":72},"carousel$07c6f998-e064-40e5-ae17-9d21d3b880d7",{"id":358,"uid":364,"url":7,"type":8,"href":1124,"tags":1125,"first_publication_date":362,"last_publication_date":363,"slugs":1126,"linked_documents":1132,"lang":18,"alternate_languages":1133,"data":1134},"https:\u002F\u002Fartexplorer-prod.cdn.prismic.io\u002Fapi\u002Fv2\u002Fdocuments\u002Fsearch?ref=aCb60BIAACEA00zN&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22ZCajPxAAACEA67FU%22%29+%5D%5D",[360],[361,1127,1128,1129,1130,1131],"test","emins-adoration-of-munch-is-rooted-in-pain","tracey-emins-adoration-of-edvard-munch-is-rooted-in-pain-and-loss","the-artist-from-the-british-seaside-town-of-margate-makes-no-secret-of-her-fascination-with-the-norwegian-painter-and-their-shared-experience-of-death-and-loneliness-has-inspired-some-iconic-works.","the-contemporary-artist-from-the-british-seaside-town-of-margate-makes-no-secret-of-her-fascination-with-the-norwegian-painter-and-their-shared-experience-of-death-and-loneliness-has-inspired-some-iconic-works.",[],[],{"title":1135,"subtitle":1136,"author":1137,"copyright_cover":1176,"cover_desktop":1177,"cover_mobile":1184,"thumbnail":1189,"published_at":7,"slices":1192,"meta_title":1135,"meta_description":1136,"og_image":1317,"slices2":1323},"Emin’s love of Munch is rooted in pain","Their shared loss meant she wanted to be his mother",{"id":1138,"type":25,"tags":1139,"lang":18,"slug":1140,"first_publication_date":1141,"last_publication_date":1142,"uid":1140,"data":1143,"link_type":72,"key":1175,"isBroken":74},"ZBByCRAAACsAzSKL",[],"juan-jose-santos","2023-03-14T13:09:32+0000","2023-08-31T14:26:45+0000",{"description":1144,"short_description":1151,"job":1155,"thumbnail":1156,"cover":1162,"uid":1140,"twitter":1165,"title":1158,"og_image":1166,"meta_description":1171,"meta_title":1158},[1145,1148],{"type":34,"text":1146,"spans":1147},"Juan Jose Santos covers Latin America and Europe for ArtExplored. He contributes to Art Review, ARTnews, Spike Magazine and the Spanish newspaper El País.",[],{"type":34,"text":1149,"spans":1150}," He has been editor in chief of Arte al Límite, and editor-contributor of Momus. Author of the books “Curaduría de Latinoamérica” Vol I (2018), and Vol II (2020), PhD (c) at UAM (Spain) with an international mention at PUCSP (Brazil), and curator of more than 30 exhibitions. Founder, director and editor of the art criticism platform Art on Trial.",[],[1152],{"type":34,"text":1153,"spans":1154},"Juan Jose Santos covers Latin America and Europe for ArtExplored. ",[],"Art Writer - Latin America and Europe",{"dimensions":1157,"alt":1158,"copyright":7,"url":1159,"id":1160,"edit":1161},{"width":220,"height":78},"Juan José Santos","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F4036a65e-0313-45a6-8fa7-f2f3dd511f14_Juan+3_2.jpg?auto=compress,format","ZPCjAxAAACMAzYus",{"x":57,"y":57,"zoom":58,"background":59},{"dimensions":1163,"alt":1158,"copyright":7,"url":1159,"id":1160,"edit":1164},{"width":220,"height":78},{"x":57,"y":57,"zoom":58,"background":59},"https:\u002F\u002Ftwitter.com\u002Fandyjuanjol",{"dimensions":1167,"alt":1158,"copyright":7,"url":1168,"id":1169,"edit":1170},{"width":317,"height":318},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fc3ec7fde-0d09-4abb-bcc2-aa6bc79307df_Juan+Image+Opengraph.jpg?auto=compress,format","ZPCiGRAAACMAzYbV",{"x":57,"y":57,"zoom":58,"background":59},[1172],{"type":34,"text":1173,"spans":1174},"Juan José Santos is an art historian, curator and contributor. He covers Latin America and Europe for ArtExplored",[],"8d5ee9e2-6334-4f11-9644-5c189fc6ddfd","Tracey Emin Exhibition: The Loneliness of the Soul \u002F Sjelens ensomhet Plan 9 & 10 - MUNCH by: Ivar Kvaal",{"dimensions":1178,"alt":1179,"copyright":1180,"url":1181,"id":1182,"edit":1183},{"width":78,"height":79},"Tracey Emin Exhibition: The Loneliness of the Soul \u002F Sjelens ensomhet Plan 9 & 10 - MUNCH","Tracey Emin Exhibition: The Loneliness of the Soul \u002F Sjelens ensomhet Plan 9 & 10 - MUNCH\n\nby: Ivar Kvaal","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F461cf5a3-1680-4af5-9036-ddf9db077f12_IK_MUNCH_Tracey-Emin_+16_9+-+81.jpg?auto=compress,format","ZFoOQREAACMAgRS3",{"x":57,"y":57,"zoom":58,"background":59},{"dimensions":1185,"alt":1179,"copyright":1180,"url":1186,"id":1187,"edit":1188},{"width":79,"height":78},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F81fad00d-c29e-4759-8a17-9b05d09e6235_IK_MUNCH_Tracey-Emin_9-16.jpg?auto=compress,format","ZFoOQREAACIAgRS4",{"x":57,"y":57,"zoom":58,"background":59},{"dimensions":1190,"alt":1179,"copyright":1180,"url":1186,"id":1187,"edit":1191},{"width":79,"height":78},{"x":57,"y":57,"zoom":58,"background":59},[1193,1227,1241,1276],{"variation":96,"version":97,"items":1194,"primary":1196,"id":1226,"slice_type":149,"slice_label":7},[1195],{},{"title":1197,"content":1200},[1198],{"type":674,"text":580,"spans":1199},[],[1201],{"type":34,"text":1202,"spans":1203},"“I've been in love with this man since I was 18.” The woman who uttered these words was born in 1963 and the recipient of her praise, exactly 100 years earlier, in 1863. What unites them is art... and The Scream (1893). \n\nEdvard Munch's mother died of tuberculosis when he was a child. His sister died of the same disease years later. This loss marked Munch's childhood and adolescence, as well as his excessive alcohol consumption and anxiety. These experiences would later be present in his work as an artist, with an orientation of painting towards the psychological study of lonely, traumatised, anguished, and confused characters. He himself said on one occasion that, just as Leonardo da Vinci had dissected bodies, he dissected souls. He also said that his conflicted personality was the basis of his genius.\n\nA century later, another artist would be born who would not only identify with him but would go so far as to affirm that she wanted to be the mother whom Munch lost too early. Tracey Emin, as she wrote in her 2005 memoir, Strangeland, spent too many years buried in alcoholism and toxic relationships, which she called “a drunken, decadent orgy of creative lust, pushing myself to the wildest extremes.”",[1204,1207,1216],{"start":1205,"end":1206,"type":119},201,218,{"start":1208,"end":1209,"type":109,"data":1210},351,357,{"id":1211,"type":694,"tags":1212,"lang":18,"slug":1213,"first_publication_date":1214,"last_publication_date":1215,"uid":1213,"link_type":72,"isBroken":74},"ZGstPxAAACIAql0R",[360],"edvard-munch","2023-05-22T09:53:52+0000","2023-07-11T08:41:55+0000",{"start":1217,"end":1218,"type":109,"data":1219},681,700,{"id":1220,"type":694,"tags":1221,"lang":18,"slug":1223,"first_publication_date":1224,"last_publication_date":1225,"uid":1223,"link_type":72,"isBroken":74},"ZA7_5hAAACsAyqgM",[1222],"Da Vinci","leonardo-da-vinci","2023-03-13T10:50:18+0000","2024-09-20T07:46:03+0000","text$ca1a8aed-a675-4ddc-b968-929fc60e4e25",{"variation":151,"version":97,"items":1228,"primary":1229,"id":1240,"slice_type":179,"slice_label":7},[],{"image1":1230,"label":1232,"copyright":1237},{"dimensions":1231,"alt":1232,"copyright":1233,"url":1234,"id":1235,"edit":1236},{"width":78,"height":220},"Tracey Emin \u002F Edvard Munch: The Loneliness of the Soul","By: Photo © Munchmuseet; artwork © Tracey Emin; Courtesy of Tate, lent by the Duerckheim Collection 2015","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F268eeb5b-9d93-4fb2-9e62-7c68d77c0e00_Sjelens_ensomhet-Bed-Emin+3_2.jpg?auto=compress,format","ZFoP8hEAACUAgRyE",{"x":57,"y":57,"zoom":58,"background":59},[1238],{"type":34,"text":1233,"spans":1239},[],"image$1ef718d8-e8a4-40c4-9d6d-aae649b33d10",{"variation":96,"version":97,"items":1242,"primary":1244,"id":1275,"slice_type":149,"slice_label":7},[1243],{},{"title":1245,"content":1246},[],[1247],{"type":34,"text":1248,"spans":1249},"The first artistic crossover between the two tribulated artists took place in 1998. Emin made Homage to Edvard Munch and All My Dead Children, a haunting video piece filmed on the same Oslo jetty that Munch used for many of his works, including The Scream. In this work, Emin appears naked and prostrate under the Sun, exhaling an animal cry, which, as the title of the work reveals, comes from the desolation caused by the several abortions she suffered: a cry before the nonsensical nature of those deaths. In this video recorded on Super 8 film, Emin’s scream is heard from Munch's nearby house in Åsgårdstrand. It is also an offering to him, even if it is a feminist reading, or precisely because of it. Emin's favourite Munch work is Model by the Wicker Chair (1919-21). When asked why, she said it was because he represented a woman with a “crying body,” and she interpreted it as a scene in which the woman, alone and aware of her ageing, had just suffered an abortion.\n\nThe reading of the work is on an artistic and biographical level. On the one hand, there are aesthetic elements in common: in a recent exhibition at the Royal Academy, Emin pairs her own work with selected works by Munch. Comparing his Crouching Nude (1917-19) and Emin's You Kept it Coming (2019), we see the similarities – the angular lines, the streaks of paint, the foreshortenings, the “expressionist” way of making sensations visible through figures. On the other, there is a union through pain, loneliness, and absence. The artist recently declared, after inaugurating a sculpture that she again dialogues with the Norwegian artist, that she wanted to “give him a mother.”  \n\nPerhaps it all comes down to the fact that for both artists, work and life are inextricably linked. They even shared controversy over an exhibition. A Munch show organised in 1892 sparked a polemic that culminated in its premature closure. It is the so-called “Munch Case,” about which the artist commented: “There had never been such a fun moment; it is incredible that something as innocent as painting has created such a stir.” Emin, the provocative and rebellious artist, must have thought the same about the commotion caused by her work My Bed (1998), showing an unmade bed with sheets stained with bodily fluids and condoms, underwear covered in menstrual blood, and a pair of scattered slippers. This work reflects the depressive phase in the artist's life when she once remained in bed for four days without consuming anything but alcohol. Nowadays, it is inevitable to revisit works by Munch such as The Death of Marat (1907), Weeping Woman (1907–1909), and Reclining Female Nude (1912-13) without thinking about Emin's installation. It seems that, finally, times will also crossover in the same dimension. The inspiration between these two creators, at the present time, seems reciprocal to us.  ",[1250,1251,1254,1257,1260,1263,1266,1269,1272],{"start":1012,"end":505,"type":119},{"start":1252,"end":1253,"type":119},245,255,{"start":1255,"end":1256,"type":119},739,764,{"start":1258,"end":1259,"type":119},1214,1228,{"start":1261,"end":1262,"type":119},1250,1268,{"start":1264,"end":1265,"type":119},2203,2209,{"start":1267,"end":1268,"type":119},2570,2588,{"start":1270,"end":1271,"type":119},2597,2610,{"start":1273,"end":1274,"type":119},2628,2649,"text$223d6453-1dcd-4cb5-9c6a-1dd1a5061549",{"variation":194,"version":97,"items":1277,"primary":1296,"id":1316,"slice_type":179,"slice_label":7},[1278,1287],{"image":1279,"title":1283,"subtitle":7},{"dimensions":1280,"alt":1283,"copyright":7,"url":1284,"id":1285,"edit":1286},{"width":1281,"height":1282},1545,1920,"Tracey Emin Exhibition: The Loneliness of the Soul \u002F Sjelens ensomhet Plan 9 & 10 - MUNCH By: Ivar Kvaal","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fa8836662-7718-41dc-b37d-39b6583267a6_IK_MUNCH_Tracey-Emin_0221_v2+%281%29.jpg?auto=compress,format","ZKbY7BEAACEAWmA5",{"x":57,"y":57,"zoom":58,"background":59},{"image":1288,"title":1291,"subtitle":1295},{"dimensions":1289,"alt":1291,"copyright":7,"url":1292,"id":1293,"edit":1294},{"width":1290,"height":1282},1860,"The Death of Marat (1907) By: Munchmuseet","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F189fcb6b-90c1-4b1b-a5c4-9cb017f00b91_EM_The+Death+of+Marat1907+%281%29.jpg?auto=compress,format","ZKbY7xEAACMAWmBI",{"x":57,"y":57,"zoom":58,"background":59},"Edvard Munch Marats død",{"image1":1297,"image2":1304,"label":230,"copyright":1312},{"dimensions":1298,"alt":1299,"copyright":1300,"url":1301,"id":1302,"edit":1303},{"width":220,"height":78},"Tracey Emin Exhibition The Loneliness of the Soul Sjelens ensomhet Plan 9 & 10 - 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Julia explains how restoration and conservation techniques have advanced over the years.",[],"George Nelson, Julia Nagle",{"link_type":1386},"Any",{"link_type":111,"key":1388,"url":1389},"2531dc00-3195-417a-b368-e3efdfc12181","https:\u002F\u002Fopen.spotify.com\u002Fepisode\u002F6m3DK4JetPQ5UJnx0GVG0x",{"link_type":1386},[1392],{"variation":96,"version":97,"items":1393,"primary":1448,"id":1449,"slice_type":1450,"slice_label":7},[1394,1400,1406,1412,1418,1423,1428,1433,1438,1443],{"speaker":1395,"content":1396},"GN ",[1397],{"type":34,"text":1398,"spans":1399},"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":1401,"content":1402},"JN ",[1403],{"type":34,"text":1404,"spans":1405},"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":1407,"content":1408},"GN",[1409],{"type":34,"text":1410,"spans":1411},"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":1413,"content":1414},"JN",[1415],{"type":34,"text":1416,"spans":1417},"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":1407,"content":1419},[1420],{"type":34,"text":1421,"spans":1422},"Do you have a preference regarding a particular period or movement when it comes to conservation?  ",[],{"speaker":1413,"content":1424},[1425],{"type":34,"text":1426,"spans":1427},"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":1407,"content":1429},[1430],{"type":34,"text":1431,"spans":1432},"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":1413,"content":1434},[1435],{"type":34,"text":1436,"spans":1437},"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":1407,"content":1439},[1440],{"type":34,"text":1441,"spans":1442},"Do you have a favourite painting that you’ve ever restored or conserved and if so, why, why is it that painting? ",[],{"speaker":1413,"content":1444},[1445],{"type":34,"text":1446,"spans":1447},"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":1454,"alt":1455,"copyright":7,"url":1456,"id":1457,"edit":1458},{"width":317,"height":318},"ArtExplored audiocast with art conservator Julia 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","curtis-dowling-fakes-and-forgeries-in-art","2023-03-13T11:44:46+0000","2023-08-31T21:34:49+0000","curtis-dowling-art-forgery-fakes","711747af-eeb9-4c96-97ff-07fc86220bf2",{"post":1482},{"id":1483,"type":377,"tags":1484,"lang":18,"slug":1485,"first_publication_date":1486,"last_publication_date":1487,"uid":1488,"link_type":72,"key":1489,"isBroken":74},"ZB3OZRAAACIAzkAv",[1475,340],"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":1491},{"id":1492,"type":377,"tags":1493,"lang":18,"slug":1494,"first_publication_date":1495,"last_publication_date":1496,"uid":1497,"link_type":72,"key":1498,"isBroken":74},"ZBNBcxAAACMAXuYT",[625],"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","677f4679-52cb-40f8-82af-e86b677756bb",{"slides_per_view":1500,"max_slides_count":1500,"tag":1501,"type":377,"title":1502,"paralax":7},4,{"link_type":72},"More 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Subran: Is art a good hedge against inflation?",{"link_type":1366,"key":1523,"kind":1368,"id":1524,"url":1525,"name":1526,"size":1527},"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":1530,"alt":7,"copyright":7,"url":1531,"id":1532,"edit":1533},{"width":79,"height":79},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F1d826534-1e01-4f9b-a802-3e4c69cf46f5_carr%C3%A9-4.jpg?auto=compress,format","ZK_u3hIAACIAafCl",{"x":57,"y":57,"zoom":58,"background":59},[1535],{"type":34,"text":1536,"spans":1537},"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":1386},{"link_type":111,"key":1541,"url":1542},"c548a504-03e8-44b6-86cb-169f1613dd7a","https:\u002F\u002Fopen.spotify.com\u002Fepisode\u002F7EDbEuCntvDhUUUYH5lfMh",{"link_type":1386},[1545],{"variation":96,"version":97,"items":1546,"primary":1594,"id":1595,"slice_type":1450,"slice_label":7},[1547,1553,1559,1564,1569,1574,1582,1587],{"speaker":1548,"content":1549},"RB",[1550],{"type":34,"text":1551,"spans":1552},"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":1554,"content":1555},"LS",[1556],{"type":34,"text":1557,"spans":1558},"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":1548,"content":1560},[1561],{"type":34,"text":1562,"spans":1563},"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":1554,"content":1565},[1566],{"type":34,"text":1567,"spans":1568},"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":1548,"content":1570},[1571],{"type":34,"text":1572,"spans":1573},"Was that also true in higher inflation periods like the 70s?",[],{"speaker":1554,"content":1575},[1576,1579],{"type":34,"text":1577,"spans":1578},"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":34,"text":1580,"spans":1581}," ",[],{"speaker":1548,"content":1583},[1584],{"type":34,"text":1585,"spans":1586},"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":1554,"content":1588},[1589],{"type":34,"text":1590,"spans":1591},"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.",[1592],{"start":115,"end":1593,"type":119},1122,{},"text_interview$3b969a72-6120-4632-baed-d07430cdce58","Is art a good hedge against inflation?","Ludovic Subran highlights art's proven record as a hedge against rising prices",{"dimensions":1599,"alt":1600,"copyright":7,"url":1601,"id":1602,"edit":1603},{"width":317,"height":318},"Art Explored audiocast with Ludovic Subran, the chief economist at Allianz SE","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Ff4eafce7-614a-469a-8ea3-2f61431c4c1d_Audiocast+Opengraph+Is+art+a+good+hedge+against+inflation+_.jpg?auto=compress,format","ZK_XhhIAACMAaY5F",{"x":57,"y":57,"zoom":58,"background":59},[1605],{"variation":96,"version":97,"items":1606,"primary":1609,"id":1612,"slice_type":370,"slice_label":7},[1607],{"post":1608},{"link_type":72},{"slides_per_view":7,"max_slides_count":7,"tag":1610,"type":377,"title":1611,"paralax":7},{"link_type":72},"Explore Audiocasts","carousel$ee4f582c-a0fd-486b-99f6-2ee753e8198d",{"id":1492,"uid":1497,"url":7,"type":377,"href":1614,"tags":1615,"first_publication_date":1495,"last_publication_date":1496,"slugs":1616,"linked_documents":1622,"lang":18,"alternate_languages":1623,"data":1624},"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",[625],[1494,1617,1618,1619,1620,1621],"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":1625,"subtitle":7,"color":1626,"source":1627,"published_at":7,"duration":1633,"cover":1634,"copyright_cover":7,"description":1639,"narrator_copyright":1643,"music_copyright":7,"mixing_copyright":7,"deezer_external":1644,"spotify_external":1645,"apple_podcast_external":1648,"slices":1649,"meta_title":1725,"meta_description":1726,"og_image":1727,"slices2":1733},"Simonetta Fraquelli & Annette King: Modigliani's enduring appeal and spotting his fakes!","#ffd9a5",{"link_type":1366,"key":1628,"kind":1368,"id":1629,"url":1630,"name":1631,"size":1632},"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":1635,"alt":7,"copyright":7,"url":1636,"id":1637,"edit":1638},{"width":79,"height":79},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F7e5f9781-4dfb-4dcc-9c8c-93373690ccd5_carr%C3%A9-1.jpg?auto=compress,format","ZK_u3hIAACEAafCo",{"x":57,"y":57,"zoom":58,"background":59},[1640],{"type":34,"text":1641,"spans":1642},"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":1386},{"link_type":111,"key":1646,"url":1647},"07d80b36-a779-4f2b-a26d-6c64c1999b5f","https:\u002F\u002Fopen.spotify.com\u002Fepisode\u002F3hgiJBJvW5wc5Xtl7Jsz5f",{"link_type":1386},[1650],{"variation":96,"version":97,"items":1651,"primary":1723,"id":1724,"slice_type":1450,"slice_label":7},[1652,1658,1664,1669,1677,1683,1688,1693,1698,1703,1708,1713,1718],{"speaker":1653,"content":1654},"WC",[1655],{"type":34,"text":1656,"spans":1657},"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":1659,"content":1660},"SF",[1661],{"type":34,"text":1662,"spans":1663},"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":1653,"content":1665},[1666],{"type":34,"text":1667,"spans":1668},"So, what is it about Modigliani’s work that gives him such enduring appeal?",[],{"speaker":1670,"content":1671},"AK",[1672,1675],{"type":34,"text":1673,"spans":1674},"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":34,"text":1580,"spans":1676},[],{"speaker":1678,"content":1679},"SM",[1680],{"type":34,"text":1681,"spans":1682},"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":1653,"content":1684},[1685],{"type":34,"text":1686,"spans":1687},"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":1670,"content":1689},[1690],{"type":34,"text":1691,"spans":1692},"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":1659,"content":1694},[1695],{"type":34,"text":1696,"spans":1697},"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":1653,"content":1699},[1700],{"type":34,"text":1701,"spans":1702},"And my penultimate question, why have there been so many forgeries of his work?",[],{"speaker":1659,"content":1704},[1705],{"type":34,"text":1706,"spans":1707},"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":1653,"content":1709},[1710],{"type":34,"text":1711,"spans":1712},"And finally, why are the eyes in Modigliani's paintings so mysterious?",[],{"speaker":1659,"content":1714},[1715],{"type":34,"text":1716,"spans":1717},"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":1670,"content":1719},[1720],{"type":34,"text":1721,"spans":1722},"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":1728,"alt":1729,"copyright":7,"url":1730,"id":1731,"edit":1732},{"width":317,"height":318},"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":57,"y":57,"zoom":58,"background":59},[1734,1751],{"variation":96,"version":97,"items":1735,"primary":1748,"id":1750,"slice_type":370,"slice_label":7},[1736,1740,1744],{"post":1737},{"id":1348,"type":377,"tags":1738,"lang":18,"slug":1356,"first_publication_date":1353,"last_publication_date":1354,"uid":1349,"link_type":72,"key":1739,"isBroken":74},[1352],"cc9634a8-e0e5-4fd9-b0da-df8619c02af3",{"post":1741},{"id":1473,"type":377,"tags":1742,"lang":18,"slug":1476,"first_publication_date":1477,"last_publication_date":1478,"uid":1479,"link_type":72,"key":1743,"isBroken":74},[1475],"06dbce65-3f06-4a73-8bbb-1ee2904100f5",{"post":1745},{"id":1483,"type":377,"tags":1746,"lang":18,"slug":1485,"first_publication_date":1486,"last_publication_date":1487,"uid":1488,"link_type":72,"key":1747,"isBroken":74},[1475,340],"fc7fb871-4bda-440e-88d7-efa9d52e76d9",{"slides_per_view":1509,"max_slides_count":7,"tag":1749,"type":377,"title":1502,"paralax":7},{"link_type":72},"carousel$18625f0d-cea1-4b21-98e1-454e17a02310",{"variation":96,"version":97,"items":1752,"primary":1755,"id":1765,"slice_type":370,"slice_label":7},[1753],{"post":1754},{"link_type":72},{"slides_per_view":1500,"max_slides_count":7,"tag":1756,"type":8,"title":1764,"paralax":7},{"id":1757,"type":1758,"tags":1759,"lang":18,"slug":1760,"first_publication_date":1761,"last_publication_date":1762,"uid":1760,"link_type":72,"key":1763,"isBroken":74},"ZA9CHxAAAKdKyyuy","tag",[625],"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":1767,"uid":1768,"url":7,"type":377,"href":1769,"tags":1770,"first_publication_date":1771,"last_publication_date":1772,"slugs":1773,"linked_documents":1776,"lang":18,"alternate_languages":1777,"data":1778},"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",[1774,1775,1768],"samantha-friedman-moma-a-rare-glimpse-of-georgia-okeeffe","samantha-friedman-moma-a-rare-glimpse-of-goergia-okeeffe",[],[],{"title":1779,"subtitle":7,"color":1780,"source":1781,"published_at":1373,"duration":1787,"cover":1788,"copyright_cover":1794,"description":1795,"narrator_copyright":1799,"music_copyright":7,"mixing_copyright":7,"deezer_external":1800,"spotify_external":1801,"apple_podcast_external":1804,"slices":1805,"meta_title":1779,"meta_description":1797,"og_image":1892,"slices2":1898},"Samantha Friedman (MoMA): A rare glimpse of Georgia O'Keeffe","#ee5d5d",{"link_type":1366,"key":1782,"kind":1368,"id":1783,"url":1784,"name":1785,"size":1786},"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":1789,"alt":1779,"copyright":7,"url":1791,"id":1792,"edit":1793},{"width":1790,"height":1790},1080,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F7874436e-6b77-4ac5-bf7a-90351fc27438_230811_ARTEXPLORED_AUDIOCAST_SAMANTHA_FRIEDMAN.jpg?auto=compress,format","ZNY9rBEAACAAqwRq",{"x":57,"y":57,"zoom":58,"background":59},"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",[1796],{"type":34,"text":1797,"spans":1798},"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":1386},{"link_type":111,"key":1802,"url":1803},"2d512a63-af04-4df0-bda5-541d755dd3ef","https:\u002F\u002Fopen.spotify.com\u002Fepisode\u002F3mGpDNBundMZ0r8Dquj5Ft",{"link_type":1386},[1806],{"variation":96,"version":97,"items":1807,"primary":1890,"id":1891,"slice_type":1450,"slice_label":7},[1808,1813,1818,1823,1840,1845,1850,1855,1860,1865,1870,1875,1880,1885],{"speaker":1653,"content":1809},[1810],{"type":34,"text":1811,"spans":1812},"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":1659,"content":1814},[1815],{"type":34,"text":1816,"spans":1817},"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":1653,"content":1819},[1820],{"type":34,"text":1821,"spans":1822},"Why did MoMA choose to organise an exhibition focusing solely on O'Keeffe's works on paper?",[],{"speaker":1659,"content":1824},[1825],{"type":34,"text":1826,"spans":1827},"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.",[1828,1831,1834,1837],{"start":1829,"end":1830,"type":119},1367,1379,{"start":1832,"end":1833,"type":119},1410,1415,{"start":1835,"end":1836,"type":119},1517,1530,{"start":1838,"end":1839,"type":119},1558,1564,{"speaker":1653,"content":1841},[1842],{"type":34,"text":1843,"spans":1844},"What is it about O'Keeffe's painting techniques and subject matter that established her reputation as an innovative modernist?",[],{"speaker":1659,"content":1846},[1847],{"type":34,"text":1848,"spans":1849},"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":1653,"content":1851},[1852],{"type":34,"text":1853,"spans":1854},"Which artists influenced O’Keeffe throughout her career?",[],{"speaker":1659,"content":1856},[1857],{"type":34,"text":1858,"spans":1859},"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":1653,"content":1861},[1862],{"type":34,"text":1863,"spans":1864},"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":1659,"content":1866},[1867],{"type":34,"text":1868,"spans":1869},"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":1653,"content":1871},[1872],{"type":34,"text":1873,"spans":1874},"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":1659,"content":1876},[1877],{"type":34,"text":1878,"spans":1879},"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":1653,"content":1881},[1882],{"type":34,"text":1883,"spans":1884},"Have you personally learned anything new about O’Keeffe during your time curating the exhibition?",[],{"speaker":1659,"content":1886},[1887],{"type":34,"text":1888,"spans":1889},"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$08922976-6c78-4426-bb8d-e3f89e236dc8",{"dimensions":1893,"alt":1894,"copyright":7,"url":1895,"id":1896,"edit":1897},{"width":317,"height":318},"Samantha Friedman (MoMA): A rare glimpse of Goergia O'Keeffe","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fe4dceda2-b044-4b5e-8d01-e23ed4c63f12_Audiocast+Opengraph+Samantha+Friedman.jpg?auto=compress,format","ZNZAdxEAAB4AqxGj",{"x":57,"y":57,"zoom":58,"background":59},[1899],{"variation":96,"version":97,"items":1900,"primary":1917,"id":1921,"slice_type":370,"slice_label":7},[1901,1905,1909,1913],{"post":1902},{"id":1483,"type":377,"tags":1903,"lang":18,"slug":1485,"first_publication_date":1486,"last_publication_date":1487,"uid":1488,"link_type":72,"key":1904,"isBroken":74},[1475,340],"cb78cdf8-f594-4d16-8560-ae842cb22a2e",{"post":1906},{"id":1473,"type":377,"tags":1907,"lang":18,"slug":1476,"first_publication_date":1477,"last_publication_date":1478,"uid":1479,"link_type":72,"key":1908,"isBroken":74},[1475],"c488db66-af35-4e92-8832-c0e766361098",{"post":1910},{"id":1348,"type":377,"tags":1911,"lang":18,"slug":1356,"first_publication_date":1353,"last_publication_date":1354,"uid":1349,"link_type":72,"key":1912,"isBroken":74},[1352],"41322e8e-f386-4920-b4ea-8a9286535504",{"post":1914},{"id":1464,"type":377,"tags":1915,"lang":18,"slug":1466,"first_publication_date":1467,"last_publication_date":1468,"uid":1469,"link_type":72,"key":1916,"isBroken":74},[330],"bb23f4e5-36db-4cdf-8e29-39e7ee525d6b",{"slides_per_view":7,"max_slides_count":7,"tag":1918,"type":1919,"title":1920,"paralax":7},{"link_type":72},"*","Listen to more audiocasts","carousel$fa580951-4d76-4c92-968a-5c51a1fd4bfc",{"slice":380,"payload":1923},[1924,2001,2071,2143],{"id":1925,"uid":1926,"url":7,"type":384,"href":1927,"tags":1928,"first_publication_date":1930,"last_publication_date":1931,"slugs":1932,"linked_documents":1933,"lang":18,"alternate_languages":1934,"data":1935},"ZBHR_RAAAKdKz3nM","the-virgin-of-the-rocks","https:\u002F\u002Fartexplorer-prod.cdn.prismic.io\u002Fapi\u002Fv2\u002Fdocuments\u002Fsearch?ref=aCb60BIAACEA00zN&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22ZBHR_RAAAKdKz3nM%22%29+%5D%5D",[1929],"Leonardo da Vinci","2023-03-17T10:25:37+0000","2024-02-20T13:26:23+0000",[],[],[],{"title":1936,"subtitle":7,"description":1937,"serie":1941,"episode":7,"source":1942,"published_at":7,"youtube_external":1945,"vimeo_external":1946,"instagram_external":1947,"duration":1948,"narrator_copyright":7,"music_copyright":7,"editing_copyright":7,"cover_desktop":1949,"cover_mobile":1955,"copyright_cover":7,"thumbnail":1960,"slices":1963,"meta_title":1980,"meta_description":1981,"og_image":1982,"slices2":1987},"The Virgin of the Rocks, 1483-1494",[1938],{"type":34,"text":1939,"spans":1940},"The artist's many academic pursuits – and talents – are evident in this work, which boasts beautifully rendered examples of botany, architecture, and anatomy. ",[],{"link_type":72},{"link_type":111,"key":1943,"url":1944},"fdbb7ac6-330d-4199-8578-5dad72dac1e8","https:\u002F\u002Fvimeo.com\u002F808259044",{"link_type":1386},{"link_type":1386},{"link_type":1386},140,{"dimensions":1950,"alt":1951,"copyright":7,"url":1952,"id":1953,"edit":1954},{"width":78,"height":79},"Leonardo Da Vinci - The Virgin Of The Rocks video","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F47485d6d-a626-4616-a5a9-812ad449678f_Slide+16_9+-+16.jpg?auto=compress,format","ZK_OdBIAACIAaW2m",{"x":57,"y":57,"zoom":58,"background":59},{"dimensions":1956,"alt":1951,"copyright":7,"url":1957,"id":1958,"edit":1959},{"width":79,"height":78},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F7b0b859b-8d94-433b-ae7c-907950973b79_9_16-1.jpg?auto=compress,format","ZK_OdBIAACAAaW2j",{"x":57,"y":57,"zoom":58,"background":59},{"dimensions":1961,"alt":1951,"copyright":7,"url":1952,"id":1953,"edit":1962},{"width":78,"height":79},{"x":57,"y":57,"zoom":58,"background":59},[1964],{"variation":96,"version":97,"items":1965,"primary":1967,"id":1979,"slice_type":149,"slice_label":7},[1966],{},{"title":1968,"content":1972},[1969],{"type":674,"text":1970,"spans":1971},"About the painting",[],[1973],{"type":34,"text":1974,"spans":1975},"Leonardo da Vinci wasn’t only a painter – he was an architect, botanist, mathematician, and anatomist, to name but a few of his academic pursuits. 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