[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"$9ZijusqCES":3},{"single":4,"locales":240,"slices":242},{"id":5,"uid":6,"url":7,"type":8,"href":9,"tags":10,"first_publication_date":13,"last_publication_date":14,"slugs":15,"linked_documents":21,"lang":22,"alternate_languages":23,"data":24},"ZAiU1xAAACgAv6oU","paul-cezanne-cubism-tate",null,"article","https:\u002F\u002Fartexplorer-prod.cdn.prismic.io\u002Fapi\u002Fv2\u002Fdocuments\u002Fsearch?ref=aCb60BIAACEA00zN&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22ZAiU1xAAACgAv6oU%22%29+%5D%5D",[11,12],"Paul Cezanne","Impressionism","2023-03-08T15:47:36+0000","2023-07-13T14:02:05+0000",[16,17,18,19,20],"cezannes-timeless-paintings-eclipse-the-contradictions","realising-ones-sensations-with-cezanne","the-once-in-a-generation-show-outlined-how-the-french-painter-battled-crushing-self-doubt-and-severe-criticism-to-pioneer-a-new-way-of-painting-that-scrutinised-human-perception.","the-once-in-a-generation-show-outlines-how-the-french-painter-battled-crushing-self-doubt-and-severe-criticism-to-pioneer-a-new-way-of-painting-that-scrutinised-human-perception.","realising-ones-sensations-with-cezanne-at-the-tate",[],"en-gb",[],{"title":25,"subtitle":26,"author":27,"copyright_cover":35,"cover_desktop":36,"cover_mobile":48,"thumbnail":54,"published_at":7,"slices":57,"meta_title":177,"meta_description":178,"og_image":179,"slices2":187},"Cezanne’s timeless paintings eclipse the contradictions","Was the French post-Impressionist wracked with self-doubt?",{"id":28,"type":29,"tags":30,"lang":7,"slug":31,"first_publication_date":7,"last_publication_date":7,"link_type":32,"key":33,"isBroken":34},"ZBG-rRAAAKdKz1Y6","broken_type",[],"-","Document","689c1648-c227-49b3-a9dc-dee3abfcd75e",true,"Paul Cezanne Portrait of the Artist with Pink Background 1875. \nParis, Musée d'Orsay, donation de M. Philippe Meyer, 2000.",{"dimensions":37,"alt":40,"copyright":41,"url":42,"id":43,"edit":44},{"width":38,"height":39},3840,2160,"Paul Cezanne Portrait of the Artist with Pink Background 1875. Paris, Musée d'Orsay, donation de M. Philippe Meyer, 2000. ","Photo (C) RMN-Grand Palais (musée d'Orsay) \u002F Adrien Didierjean","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fe3174c42-733a-4e7f-ab52-912995acd74a_Cover+Landscape.jpg?auto=compress,format","ZB2qnBAAACEAzZR2",{"x":45,"y":45,"zoom":46,"background":47},0,1,"#fff",{"dimensions":49,"alt":40,"copyright":50,"url":51,"id":52,"edit":53},{"width":39,"height":38},"Photo (C) RMN-Grand Palais (musée d'Orsay) \u002F Adrien Didierjean\n","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F718b020a-3043-400d-be30-8d4e9128391c_Cover+Portrait.jpg?auto=compress,format","ZB2qnxAAACEAzZSE",{"x":45,"y":45,"zoom":46,"background":47},{"dimensions":55,"alt":40,"copyright":50,"url":51,"id":52,"edit":56},{"width":39,"height":38},{"x":45,"y":45,"zoom":46,"background":47},[58,95,137],{"variation":59,"version":60,"items":61,"primary":63,"id":93,"slice_type":94,"slice_label":7},"default-slice","sktwi1xtmkfgx8626",[62],{},{"title":64,"content":69},[65],{"type":66,"text":67,"spans":68},"heading1","",[],[70],{"type":71,"text":72,"spans":73},"paragraph","Visitors to The EY Exhibition: Cezanne at the Tate Modern are greeted by an enigmatic vision of Paul Cezanne (1839-1906) in Self-Portrait with Pink Background (1875). It's his attempt to show himself as a “self-assured and sophisticated modern man,” but it appears he failed, at least from where this writer was standing. His shy, suspicious gaze – pupils wedged into the corners of his eyes – is far from confident, and his unkempt beard and messy hair defy his effort to look cosmopolitan. His brushwork and palette, on the other hand, are incredibly assured.\n\nDespite his brilliant command of paint, it's well documented that Cezanne’s self-belief was often in tatters. He may have been ahead of his time as a pioneer of Post-Impressionism but this didn’t translate into commercial success for the majority of his life, and it wasn’t until he was 35 that he sold a painting to someone he didn’t already know. “I find I am lacking in canvases that might be submitted for the delectation of art lovers,” he wrote in 1887, aged 48. “Wanting to offer for critical appraisal only those studies that might pass muster, I cannot take part in any exhibition.” \n\nHe was always an outsider in Paris after he moved there from the south of France in 1861. He cultivated a reputation for himself as a maverick artist from Provence who rejected voguish tastes and he broke with tradition to paint “modern scenes of violence and degradation. The sexualised imagery he often included alludes to society’s discrimination against women as well as a preoccupation with their changing roles in public life,” as the Tate puts it. But his life and art were rooted in uncertainty. Cezanne’s childhood friend, the writer Émile Zola, summed up the artist’s existential crisis in correspondence to one of their mutual pals: “Paul may have the genius of a great painter but he’ll never have the genius to become one. The slightest obstacle sends him into despair.” \n\nZola’s proclamation was justified but ultimately false. One way or another, Cezanne’s faltering confidence and refusal to conform stoked his interrogation of what it meant to be a modern artist, an endeavour that spanned his entire career, and today he is widely regarded as one of the greatest post-Impressionists. He reinvented painting and – alongside Georges Seurat, Vincent van Gogh, and Paul Gauguin – abandoned his contemporaries’ concern with the naturalistic and spontaneous rendering of light and colour in favour of more symbolism, order, and structure, paving the way for avant-garde movements like Cubism. As Henri Matisse once said, Cezanne was a “sort of god of painting.”",[74,78,81,88],{"start":75,"end":76,"type":77},11,12,"em",{"start":79,"end":80,"type":77},124,159,{"start":82,"end":83,"type":84,"data":85},724,743,"hyperlink",{"link_type":86,"url":87},"Web","#definition-ZKx-uxEAACIAc2F8",{"start":89,"end":90,"type":84,"data":91},2554,2560,{"link_type":86,"url":92},"#definition-ZKx-4hEAACMAc2It","text$b0a5077c-99b4-474d-8864-2f52ed496d40","text",{"variation":96,"version":60,"items":97,"primary":115,"id":135,"slice_type":136,"slice_label":7},"double-slice",[98,107],{"image":99,"title":103,"subtitle":11},{"dimensions":100,"alt":103,"copyright":7,"url":104,"id":105,"edit":106},{"width":101,"height":102},1920,1543,"Still Life with Apples © The J Paul Getty Museum","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F22b30ba0-fe19-44d1-87c6-cd4ce92787ba_Original+-+1+1.jpg?auto=compress,format","ZKbWKBEAACMAWlK8",{"x":45,"y":45,"zoom":46,"background":47},{"image":108,"title":111,"subtitle":11},{"dimensions":109,"alt":111,"copyright":7,"url":112,"id":113,"edit":114},{"width":101,"height":110},2312,"Seated Man © Museo Nacional Thyssen-Bornemisza, Madrid","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fd9f997fa-9091-4b90-a3b6-4ae6e29066d5_Original+-+3+4.jpg?auto=compress,format","ZKbWKBEAACMAWlLA",{"x":45,"y":45,"zoom":46,"background":47},{"image1":116,"image2":123,"label":130,"copyright":131},{"dimensions":117,"alt":118,"copyright":119,"url":120,"id":121,"edit":122},{"width":39,"height":39},"Paul Cezanne Still Life with Apples 1893–1894","Paul Cezanne Still Life with Apples 1893–1894. The J Paul Getty Museum","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F5b6c03d6-f695-4285-a49d-22d4c5dc563b_carre%CC%81-1.jpg?auto=compress,format","ZCv5khAAACEA8_08",{"x":45,"y":45,"zoom":46,"background":47},{"dimensions":124,"alt":125,"copyright":126,"url":127,"id":128,"edit":129},{"width":39,"height":39},"Paul Cezanne Seated Man 1905-6 ","© Museo Nacional Thyssen-Bornemisza, Madrid","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F4c86d9e3-7f32-425c-8456-7d782a8ebfe9_carre%CC%81-3.jpg?auto=compress,format","ZCv6ShAAACMA8_6a",{"x":45,"y":45,"zoom":46,"background":47},"Left to right",[132],{"type":71,"text":133,"spans":134},"Paul Cezanne Still Life with Apples 1893–1894 © The J Paul Getty Museum\nPaul Cezanne Seated Man 1905-6 © Museo Nacional Thyssen-Bornemisza, Madrid",[],"image$d59cf3c1-e4ab-4682-9125-05c3eaa3032e","image",{"variation":59,"version":60,"items":138,"primary":140,"id":176,"slice_type":94,"slice_label":7},[139],{},{"title":141,"content":142},[],[143],{"type":71,"text":144,"spans":145},"The EY Exhibition: Cezanne is split into two halves. The first explores the artist in the context of time, delving into his life, relationships, and creative circles he was part of, while the second half shows groups of works that are rooted in various themes, including his radical still-lifes and instantly recognisable paintings of bathers. \n\nIt must be said, there is something a little obscene about celebrating the career of a struggling artist who, like Van Gogh, enjoyed limited commercial success during his lifetime, under the auspices of Ernst & Young (EY), one of the world’s largest accounting firms. The fact that the exhibition is in the Tate’s Eyal Ofer galleries, named after the Israeli billionaire shipping and real estate magnate, also elicits a wry smile, but Cezanne’s mesmerising paintings eclipse the contradictions. \n\nPlastered on the gallery walls are bold pithy statements by the artist that counter his crippling periods of self-doubt – “I paint as I see, as I feel” and “With an apple I will astonish Paris.” His apples still astonish. On show is The Basket of Apples (c.1893), it is an example of how Cezanne sought more structure and subsequently shaped future art movements, leading Pablo Picasso to hail him as the “father of us all.” He was obsessed with painting the fruit (he created more than 270 still lifes featuring apples), which he used to investigate our relationship with the object world, and The Basket of Apples rejected realistic representation in favour of distorting objects to create several perspectives. The composition challenges the idea of linear perspective and instead champions human perspective, which Cezanne argued was far more complex than simply viewing an object from a frozen point in time. The painting contains one of his iconic titled tables, and the heavy modelling, bold brushstrokes, and vibrant colours give the painting a dynamism and density that a more realistic still life could never possess. “Painting from nature is not copying the object,” Cezanne wrote, “it is realising one's sensations.”\n\nCezanne's success was therefore employing art to scrutinise human perception with unmatched honesty and curiosity. As Natalia Sidlina, curator of international art at Tate Modern and lead curator of the exhibition, explains, “Cezanne put questions at the core of what he was doing, he put the process ahead of the result.\"\n\nThe EY Exhibition: Cezanne\n5 October 2022 - 12 March 2023. The Tate Modern, London. ",[146,150,155,158,162,167,172],{"start":147,"end":148,"type":149},3,4,"strong",{"start":151,"end":152,"type":84,"data":153},282,295,{"link_type":86,"url":154},"#definition-ZKx_AREAACEAc2K6",{"start":156,"end":157,"type":77},1076,1097,{"start":159,"end":160,"type":84,"data":161},1334,1345,{"link_type":86,"url":154},{"start":163,"end":164,"type":84,"data":165},1561,1573,{"link_type":86,"url":166},"#definition-ZKx_JhEAACEAc2Nh",{"start":168,"end":169,"type":84,"data":170},1596,1614,{"link_type":86,"url":171},"#definition-ZKx_UhEAACIAc2Qp",{"start":173,"end":174,"type":84,"data":175},1939,1949,{"link_type":86,"url":154},"text$7f57865c-5f41-4edb-b550-bbdb4f67ff5a","‘Realising one’s sensations’ with Cézanne at the Tate","ArtExplored looks at the connection between Paul Cézanne's work and phenomenologist Maurice Merleau-Ponty's view of the French Post-Impressionist painter against the backdrop of his recent retrospective at the Tate.",{"dimensions":180,"alt":183,"copyright":7,"url":184,"id":185,"edit":186},{"width":181,"height":182},2400,1200,"Paul Cezanne Portrait of the Artist with Pink Background 1875. Paris, Musée d'Orsay, donation de M. Philippe Meyer, 2000. Photo (C) RMN-Grand Palais (musée d'Orsay) \u002F Adrien Didierjean","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F6f1129ec-1165-43ad-b9a4-c89a591a9e1d_Paul+Cezanne+Image+Opengraph.jpg?auto=compress,format","ZK_8thIAACIAahhg",{"x":45,"y":45,"zoom":46,"background":47},[188,226,233],{"variation":59,"version":60,"items":189,"primary":221,"id":224,"slice_type":225,"slice_label":7},[190,201,211],{"post":191},{"id":192,"type":8,"tags":193,"lang":22,"slug":195,"first_publication_date":196,"last_publication_date":197,"uid":198,"link_type":32,"key":199,"isBroken":200},"ZAsH0xAAACoAxJdf",[194],"Paul Gaugin","emma-talbot-and-gaugins-take-on-natures-false-refuge","2023-03-10T15:25:03+0000","2023-07-13T13:47:05+0000","paul-gaugin-emma-talbot-nature-crisis","9c31443a-834e-4a6f-a460-89a7251eb75e",false,{"post":202},{"id":203,"type":8,"tags":204,"lang":22,"slug":206,"first_publication_date":207,"last_publication_date":208,"uid":209,"link_type":32,"key":210,"isBroken":200},"ZAnvehAAACsAwsA4",[205],"Picasso ","yue-minjun-returns-with-lockdown-inspired-paintings","2023-03-10T18:08:04+0000","2023-07-13T14:05:10+0000","yue-minjun-surrealist-paintings","af87d2c8-9403-41dc-8dff-951229be5738",{"post":212},{"id":213,"type":8,"tags":214,"lang":22,"slug":216,"first_publication_date":217,"last_publication_date":218,"uid":219,"link_type":32,"key":220,"isBroken":200},"ZAh0SRAAACsAvyne",[215],"Henri Matisse","the-creative-twilight-of-matisses-career","2023-03-08T15:49:21+0000","2023-07-13T14:13:58+0000","henri-matisse-exhibition-in-philadelphia-highlights","fa7efe79-8d8d-4cb7-8f73-f2be689e13cd",{"slides_per_view":7,"max_slides_count":7,"tag":222,"type":8,"title":223,"paralax":7},{"link_type":32},"Read more","carousel$bd5484d6-dc34-4542-ad94-c4b8d94a9e01","carousel",{"variation":59,"version":60,"items":227,"primary":228,"id":232,"slice_type":225,"slice_label":7},[],{"slides_per_view":7,"max_slides_count":7,"tag":229,"type":230,"title":231,"paralax":7},{"link_type":32},"podcast","Listen to audiocasts","carousel$9a75ff80-735f-432f-b315-f02e9fa92056",{"variation":59,"version":60,"items":234,"primary":235,"id":239,"slice_type":225,"slice_label":7},[],{"slides_per_view":7,"max_slides_count":7,"tag":236,"type":237,"title":238,"paralax":7},{"link_type":32},"video","Masterpieces Decrypted","carousel$69869a12-4746-44ae-b6a4-d4be96d10868",{"en":241},{"slug":6},[243,1483,2053],{"slice":188,"payload":244},[245,495,777,1100],{"id":192,"uid":198,"url":7,"type":8,"href":246,"tags":247,"first_publication_date":196,"last_publication_date":197,"slugs":248,"linked_documents":254,"lang":22,"alternate_languages":255,"data":256},"https:\u002F\u002Fartexplorer-prod.cdn.prismic.io\u002Fapi\u002Fv2\u002Fdocuments\u002Fsearch?ref=aCb60BIAACEA00zN&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22ZAsH0xAAACoAxJdf%22%29+%5D%5D",[194],[195,249,250,251,252,253],"emma-talbot-and-paul-gaugins-take-on-natures-false-refuge","fabio-pariante-talks-to-the-british-artist-about-featuring-at-the-venice-biennale-dealing-with-tragedy-and-how-the-art-world-is-tackling-climate-change.","fabio-pariante-talks-to-the-british-artist-about-the-venice-biennale-dealing-with-tragedy-and-climate-change.","artexplorer-talks-to-the-british-artist-about-the-venice-biennale-dealing-with-tragedy-and-climate-change.","crisis-art",[],[],{"title":257,"subtitle":258,"author":259,"copyright_cover":296,"cover_desktop":297,"cover_mobile":304,"thumbnail":309,"published_at":7,"slices":312,"meta_title":430,"meta_description":431,"og_image":432,"slices2":438},"Emma Talbot and Gaugin’s take on nature’s false refuge","She talks about her work at Venice and Gaugin’s influence",{"id":260,"type":261,"tags":262,"lang":22,"slug":263,"first_publication_date":264,"last_publication_date":265,"uid":263,"data":266,"link_type":32,"key":295,"isBroken":200},"ZBBhKRAAACsAzQKh","author",[],"fabio-pariante","2023-03-14T11:57:35+0000","2023-07-10T00:51:39+0000",{"description":267,"short_description":271,"job":275,"thumbnail":276,"cover":283,"uid":263,"twitter":286,"title":287,"og_image":288,"meta_description":291,"meta_title":287},[268],{"type":71,"text":269,"spans":270},"Fabio Pariante covers art stories in Europe, especially Italy, for ArtExplored. A journalist and professor, he has a master's degree in Languages and Intercultural Communication in the Euro-Mediterranean Area in Intercultural Studies entitled, \"The Arab Spring in the era of web 2.0: the role of social networks\". In 2011, under the patronage of the Presidency of the Italian Republic, he won the Giovannini Prize in Rome for his three-year degree thesis in the History of Contemporary Art entitled \"Net.Art: the art of networking\". Among the artistic projects he is co-founder of the Marina Abramovic Institute in New York and collaborates with some museums and contemporary art galleries. Among the Italian and foreign newsrooms there are Wired Italia, Corriere della Sera - Dove and MuseumWeek. ",[],[272],{"type":71,"text":273,"spans":274},"Fabio Pariante is an art writer for ArtExplored and covers stories in Europe, especially Italy. ",[],"Art Writer - Europe",{"dimensions":277,"alt":7,"copyright":7,"url":280,"id":281,"edit":282},{"width":278,"height":279},1497,1998,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F23d3f467-037b-406e-9b8a-b46a0e29f848_Fabio+Pariante.jpg?auto=compress,format","ZIxYRRAAACMAuOXV",{"x":45,"y":45,"zoom":46,"background":47},{"dimensions":284,"alt":7,"copyright":7,"url":280,"id":281,"edit":285},{"width":278,"height":279},{"x":45,"y":45,"zoom":46,"background":47},"https:\u002F\u002Ftwitter.com\u002FFabioPariante?lang=it","Fabio Pariante",{"dimensions":289,"alt":7,"copyright":7,"url":280,"id":281,"edit":290},{"width":278,"height":279},{"x":45,"y":45,"zoom":46,"background":47},[292],{"type":71,"text":293,"spans":294},"Fabio Pariante covers art stories in Europe, especially Italy, for ArtExplored ",[],"04d32f68-d22f-43cf-80b2-7aa7f4d724ee","Emma Talbot, 59th International Art Exhibition of the Venice Biennale, 2022. Photo by the artist.",{"dimensions":298,"alt":299,"copyright":300,"url":301,"id":302,"edit":303},{"width":38,"height":39},"\"Where Do We Come From? What Are We ?Where Are We Going?\", 2021, acrylic on silk","Emma Talbot, 59th International Art Exhibition of the Venice Biennale, 2022. Photo the artist","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F19af2fa0-4f11-49b9-b73a-f3042db79aeb_Slide+16_9+-+63+%281%29.jpg?auto=compress,format","ZGJOdhEAACUApsU9",{"x":45,"y":45,"zoom":46,"background":47},{"dimensions":305,"alt":299,"copyright":300,"url":306,"id":307,"edit":308},{"width":39,"height":38},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F0494fd6e-c987-4c10-a7e5-d8999757a082_9_16+%286%29.jpg?auto=compress,format","ZGJOdxEAACMApsU-",{"x":45,"y":45,"zoom":46,"background":47},{"dimensions":310,"alt":299,"copyright":300,"url":306,"id":307,"edit":311},{"width":39,"height":38},{"x":45,"y":45,"zoom":46,"background":47},[313,323,350],{"variation":314,"version":60,"items":315,"primary":317,"id":322,"slice_type":94,"slice_label":7},"heading-slice",[316],{},{"content":318},[319],{"type":71,"text":320,"spans":321},"Fabio Pariante (FP) talks to British artist Emma Talbot (ET) about how the art world is tackling climate change, her work at the Venice Biennale, and art therapy. ",[],"text$9cf6d492-69fd-478c-b9a6-d0ba622b26d2",{"variation":324,"version":60,"items":325,"primary":327,"id":348,"slice_type":349,"slice_label":7},"centered-slice",[326],{},{"embed":328},{"is_plus":329,"account_type":330,"width":331,"height":332,"duration":333,"description":67,"thumbnail_url_with_play_button":334,"upload_date":335,"video_id":336,"uri":337,"embed_url":338,"type":237,"version":339,"title":340,"author_name":341,"author_url":342,"provider_name":343,"provider_url":344,"cache_age":7,"thumbnail_url":345,"thumbnail_width":152,"thumbnail_height":346,"html":347},"0","advanced",426,240,254,"https:\u002F\u002Fi.vimeocdn.com\u002Ffilter\u002Foverlay?src0=https%3A%2F%2Fi.vimeocdn.com%2Fvideo%2F1647393993-bcef99cf9d856088f02c95daa34c6441d50f24e8919aac003f66f5bd4bebaff2-d_295x166&src1=http%3A%2F%2Ff.vimeocdn.com%2Fp%2Fimages%2Fcrawler_play.png","2023-04-03 10:17:05",814263679,"\u002Fvideos\u002F814263679","https:\u002F\u002Fvimeo.com\u002F814263679","1.0","All That is Buried_2020_video_Emma Talbot","Artexplorer","https:\u002F\u002Fvimeo.com\u002Fuser195017802","Vimeo","https:\u002F\u002Fvimeo.com\u002F","https:\u002F\u002Fi.vimeocdn.com\u002Fvideo\u002F1647393993-bcef99cf9d856088f02c95daa34c6441d50f24e8919aac003f66f5bd4bebaff2-d_295x166",166,"\u003Ciframe src=\"https:\u002F\u002Fplayer.vimeo.com\u002Fvideo\u002F814263679?h=b6da6268cd&app_id=122963\" width=\"426\" height=\"240\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture\" allowfullscreen title=\"All That is Buried_2020_video_Emma Talbot\">\u003C\u002Fiframe>","embed$751a817b-1264-4c1f-a662-736fabca9964","embed",{"variation":324,"version":60,"items":351,"primary":427,"id":428,"slice_type":429,"slice_label":7},[352,361,374,380,385,390,398,403,417,422],{"speaker":353,"content":354},"FB",[355],{"type":71,"text":356,"spans":357},"Hi Emma, could you tell us about Where Do We Come From, What Are We, Where Are We Going? at Venice?",[358],{"start":359,"end":360,"type":77},33,89,{"speaker":362,"content":363},"ET",[364],{"type":71,"text":365,"spans":366},"I had a conversation with Cecilia Alemani, the curator of The Milk of Dreams, when she invited me to make work for the 2022 Venice Biennale, about the subject of the exhibition, about what it meant to be human, about our relationships to ecology and technology, and immediately afterwards the three existential questions that form the title of Paul Gauguin’s painting were in my mind. I thought it was interesting that Gauguin had hoped to escape to a natural idyll in Tahiti – but when he got there, he found that the place was already corrupted by Western colonisation. I thought that it paralleled our contemporary ideas of nature as a place of escape (or to escape to) – when we have already corrupted and exhausted the natural world. It led me to think about our complex relationships with nature, in the context of how humans are driven to control and dominate, to see themselves at the centre – and how strange and parasitic human behaviour is. These ideas are cast against a backdrop of ecological disaster, marking some of the most urgent issues of our time. I think Alemani’s biennale seeks to mark our time and tell our urgent stories.",[367,370],{"start":368,"end":369,"type":77},58,76,{"start":368,"end":369,"type":84,"data":371},{"link_type":86,"url":372,"target":373},"https:\u002F\u002Fwww.ceciliaalemani.com\u002Fprojects\u002Fthe-milk-of-dreams","_blank",{"speaker":375,"content":376},"FP",[377],{"type":71,"text":378,"spans":379},"Regarding the climate crisis, the world is changing very quickly. The environment, nature, and societies are changing. What do you think about this?",[],{"speaker":362,"content":381},[382],{"type":71,"text":383,"spans":384},"I think we’re living in volatile, disturbing times and we need to urgently address the climate crisis. I see a lot of accelerationist right wing politics driving governmental decisions across the globe and have wanted to use my work to advocate for the idea that power could be put to different uses. What I mean is, the world could be a fairer and more caring place. Not only caring for humans and better social structures, but for the planet. We could seek to find systems that were less based on accumulation and greed. This is not a utopian fantasy. During the pandemic, lots of writers and thinkers (like Arundhati Roy) were articulating similar ideas – because without change, we’re in danger of sleepwalking into disaster.",[],{"speaker":375,"content":386},[387],{"type":71,"text":388,"spans":389},"How is the art world dealing with climate change?",[],{"speaker":362,"content":391},[392],{"type":71,"text":393,"spans":394},"In the first lockdown, when galleries and museums were shut, I really did ask myself what art was for and what it did. I was really encouraged by the writing of Isabelle Stengers, Latour, Haraway, Le Guin, and others who reinforced the importance of story-telling as a way of sharing, explaining, and recounting the multiple experiences of our time. It was useful because it inspired me to extend the narratives in my work by teaching myself to make animation – a medium that meant I could share work on virtual platforms when real spaces were closed. It also made me really try to articulate ideas that shaped our time. I think art has a great capacity to open up thinking and to offer insights, using means that are unexpected. I’ve addressed the climate emergency in recent work (through L’Età\u002FThe Age the Max Mara Prize exhibition at Whitechapel Gallery and Maramotti Collection, and my Frieze London special project 21st Century Herbal) by exploring the principles of permaculture and researching the various properties of plants. I also incorporated the use of sustainable materials where possible and reduced the carbon footprint of the transportation of my work. Several large exhibitions are addressing the subject of ecology and climate emergency. Bringing sustained attention to a subject is what brings about change.",[395],{"start":396,"end":397,"type":77},921,940,{"speaker":375,"content":399},[400],{"type":71,"text":401,"spans":402},"Meditation has become an important aspect of your life since the death of your husband. You have said it helps you to deal with the pain of losing a loved one. Can you tell us more about this?",[],{"speaker":362,"content":404},[405],{"type":71,"text":406,"spans":407},"After I became a widow, I just wanted to account for the feelings I encountered every day – to account mostly for grief and personal survival. I wanted to get out all the thoughts and emotions that made up my experience of being alive. Over time, the work has begun to also address issues outside of myself, the kinds of contemporary politics (technology, ecology, feminism, ageing, power structures, urbanism) that shape our lives – the kinds of things that preoccupy us and form the zeitgeist. Whether the ideas in my work are realised in drawing, 3D making, painting or animation really depends on finding the right materiality to suit my ambitions for each work.",[408],{"start":409,"end":410,"type":84,"data":411},485,495,{"id":412,"type":413,"tags":414,"lang":22,"slug":415,"first_publication_date":416,"last_publication_date":416,"link_type":32,"isBroken":200},"ZKyA0BEAACEAc2r5","definition",[],"zeitgeist","2023-07-10T22:06:12+0000",{"speaker":375,"content":418},[419],{"type":71,"text":420,"spans":421},"Any exciting projects in the pipeline?",[],{"speaker":362,"content":423},[424],{"type":71,"text":425,"spans":426},"In 2023, I have exhibitions in China, Belgium, Italy, Ireland, and Germany. I have solo exhibitions at Kunsthalle Giessen and Kesselhaus, Berlin for which I’m making all new work. I’m just at the beginning of researching, but I’m excited to develop my work in terms of content and materiality, building on what I’ve recently been doing.",[],{},"text_interview$636a657b-3c4d-4fa5-ad77-cc6e050ae322","text_interview","Emma Talbot and Gaugin's take on nature's false refuge","Join us for an intimate conversation with British artist Emma Talbot as she discusses the transformative power of art, and her experience showcasing her work at the Venice Biennale.",{"dimensions":433,"alt":434,"copyright":7,"url":435,"id":436,"edit":437},{"width":181,"height":182},"\"Where Do We Come From? What Are We ?Where Are We Going?\", 2021, acrylic on silk, Emma Talbot, 59th International Art Exhibition of the Venice Biennale, 2022. Photo the artist","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F2a09547d-f997-489e-adb7-a78338c411d0_Emma+Talbot+and+Gaugin+Image+Opengraph.jpg?auto=compress,format","ZK_8thIAACEAahhZ",{"x":45,"y":45,"zoom":46,"background":47},[439,480,487],{"variation":59,"version":60,"items":440,"primary":477,"id":479,"slice_type":225,"slice_label":7},[441,452,462,467],{"post":442},{"id":443,"type":8,"tags":444,"lang":22,"slug":447,"first_publication_date":448,"last_publication_date":449,"uid":450,"link_type":32,"key":451,"isBroken":200},"ZAsCaBAAACoAxIyA",[445,446],"Interview","Da Vinci","unravelling-da-vincis-mysteries-with-the-worlds-top-expert","2023-03-10T15:48:09+0000","2023-07-13T14:09:03+0000","leonardo-da-vinci-alessandro-vezzosi","c6621c45-ccfe-48dd-823c-7e0351c447e7",{"post":453},{"id":454,"type":8,"tags":455,"lang":22,"slug":457,"first_publication_date":458,"last_publication_date":459,"uid":460,"link_type":32,"key":461,"isBroken":200},"ZAsMvxAAACsAxKCC",[456],"Van  Gogh","the-making-of-van-gogh","2023-03-10T15:15:24+0000","2023-07-13T13:45:59+0000","van-gogh-in-rome","9bcdd4c8-46a1-4435-82d7-9361f940378b",{"post":463},{"id":464,"type":29,"tags":465,"lang":7,"slug":31,"first_publication_date":7,"last_publication_date":7,"link_type":32,"key":466,"isBroken":34},"ZAh5NhAAACsAv0Ej",[],"39ae9e94-f6ac-4bfd-aac5-953cc3074d2c",{"post":468},{"id":469,"type":8,"tags":470,"lang":22,"slug":472,"first_publication_date":473,"last_publication_date":474,"uid":475,"link_type":32,"key":476,"isBroken":200},"ZAhnGRAAACsAvuo9",[471],"Jean-Michel Basquiat","king-pleasure-a-beautifully-crafted-intro-to-jean-michel-basquiat","2023-03-08T15:46:50+0000","2023-07-26T14:11:21+0000","jean-michel-basquiat-king-pleasure","1cebcce9-abd3-4c60-aac6-f39beb9dcb5d",{"slides_per_view":148,"max_slides_count":7,"tag":478,"type":8,"title":223,"paralax":7},{"link_type":32},"carousel$8db072b5-de26-4fdd-bcd7-251b791e6ee6",{"variation":59,"version":60,"items":481,"primary":484,"id":486,"slice_type":225,"slice_label":7},[482],{"post":483},{"link_type":32},{"slides_per_view":7,"max_slides_count":7,"tag":485,"type":230,"title":231,"paralax":7},{"link_type":32},"carousel$4750a791-13fd-4e94-bf7c-df6b2c118fb0",{"variation":59,"version":60,"items":488,"primary":491,"id":494,"slice_type":225,"slice_label":7},[489],{"post":490},{"link_type":32},{"slides_per_view":7,"max_slides_count":7,"tag":492,"type":237,"title":493,"paralax":7},{"link_type":32},"Discover more artists","carousel$86ce9b56-5ae4-4f58-8b4a-fb6fe7575426",{"id":203,"uid":209,"url":7,"type":8,"href":496,"tags":497,"first_publication_date":207,"last_publication_date":208,"slugs":498,"linked_documents":502,"lang":22,"alternate_languages":503,"data":504},"https:\u002F\u002Fartexplorer-prod.cdn.prismic.io\u002Fapi\u002Fv2\u002Fdocuments\u002Fsearch?ref=aCb60BIAACEA00zN&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22ZAnvehAAACsAwsA4%22%29+%5D%5D",[205],[206,499,500,501],"contemporary-chinese-artist-yue-minjun-is-back-with-lockdown-inspired-surrealist-paintings","yue-minjun-on-the-inspiration-behind-his-latest-works-lingering-ambivalence-over-the-future-of-humanity-and-fascination-with-picasso.","yue-minjun-is-back-with-new-lockdown-inspired-surrealist-paintings",[],[],{"title":505,"subtitle":506,"author":507,"copyright_cover":542,"cover_desktop":543,"cover_mobile":550,"thumbnail":555,"published_at":7,"slices":558,"meta_title":737,"meta_description":738,"og_image":739,"slices2":745},"Yue Minjun returns with lockdown-inspired paintings","The Chinese artist's creativity blossomed in COVID exile",{"id":508,"type":261,"tags":509,"lang":22,"slug":511,"first_publication_date":512,"last_publication_date":513,"uid":511,"data":514,"link_type":32,"key":541,"isBroken":200},"ZBByxhAAAKdKzSPv",[510],"Kala Barba-Court","kala-barba-court","2023-03-14T13:12:41+0000","2023-07-10T00:54:37+0000",{"description":515,"short_description":519,"job":523,"thumbnail":524,"cover":531,"uid":511,"title":510,"og_image":534,"meta_description":537,"meta_title":510},[516],{"type":71,"text":517,"spans":518},"Kala Barba-Court covers Asia for ArtExplored. Born in Manila, She is a freelance writer and editorial manager of New York-based PlainMagazine. She contributes art, architecture, design and lifestyle articles to various online platforms and print publications including Fubiz, Shopikon, UntappedCities, SmartShanghai and Shanghai Family. Prior to arriving in Shanghai in 2019, she has lived in France, Qatar, Saudi Arabia, Italy, Algeria, and Russia.",[],[520],{"type":71,"text":521,"spans":522},"Kala Barba-Court covers Asia for ArtExplored",[],"Art Writer (Asia)",{"dimensions":525,"alt":510,"copyright":7,"url":528,"id":529,"edit":530},{"width":526,"height":527},1447,1591,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F9a934165-298a-45c5-be69-63433b33337c_kalacourt-profile.jpg?auto=compress,format","ZHYDyhAAACYAMRXm",{"x":45,"y":45,"zoom":46,"background":47},{"dimensions":532,"alt":510,"copyright":7,"url":528,"id":529,"edit":533},{"width":526,"height":527},{"x":45,"y":45,"zoom":46,"background":47},{"dimensions":535,"alt":510,"copyright":510,"url":528,"id":529,"edit":536},{"width":526,"height":527},{"x":45,"y":45,"zoom":46,"background":47},[538],{"type":71,"text":539,"spans":540},"Kala Barba-Court covers Asia for ArtExplored. ",[],"c698da9c-11c2-4a59-9025-2a2a668f2ae6","Hibiscus Moscheutos, 2021.\nPHOTO: Tang Contemporary and Yue Minjun",{"dimensions":544,"alt":545,"copyright":546,"url":547,"id":548,"edit":549},{"width":38,"height":39},"Hibiscus Moscheutos, 2021. ","PHOTO: Tang Contemporary and Yue Minjun","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F81d3d210-6c8b-47fe-8dec-b9d9ecc99207_Slide+16_9+-+66.jpg?auto=compress,format","ZCrr7xAAACIA8kYd",{"x":45,"y":45,"zoom":46,"background":47},{"dimensions":551,"alt":545,"copyright":7,"url":552,"id":553,"edit":554},{"width":39,"height":38},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F59ef27d2-608a-4662-b73c-c827154d8ee2_9_16+%288%29.jpg?auto=compress,format","ZGTk-BEAADChsZn6",{"x":45,"y":45,"zoom":46,"background":47},{"dimensions":556,"alt":545,"copyright":7,"url":552,"id":553,"edit":557},{"width":39,"height":38},{"x":45,"y":45,"zoom":46,"background":47},[559,600,614,642],{"variation":59,"version":60,"items":560,"primary":562,"id":599,"slice_type":94,"slice_label":7},[561],{},{"title":563,"content":566},[564],{"type":66,"text":67,"spans":565},[],[567],{"type":71,"text":568,"spans":569},"Last year was a big 12 months for artist Yue Minjun; after a decade-long hiatus, he returned with two solo shows at Tang Contemporary Art's Hong Kong and Beijing galleries in March and December, respectively. Although stylistically similar to his iconic “laughing man” portraits, Yue’s most recent offerings are delightful deviations from what we've come to expect from him.\n\nDuring the height of 2020's Covid restrictions, Yue found himself stranded in Dali, a historical town in China's southwestern Yunnan province. For the next six months, he was unable to return to his home in Beijing. But if this unexpected exile in a region known for its flower meadows and cherry blossoms taught him anything, it's that there were certainly worse places to be stuck during the pandemic. Having spent the last ten years researching and exploring new possibilities for artistic creation, this picturesque landscape inspired Flowers, a collection of surreal oil paintings in which facial features are swapped for vibrant blooms. \n\nYue's flower-faced characters appear in scenes inspired by cultural and personal references. Hibiscus Moscheutos, which features three swimsuit-clad women, is a nod to the Chinese “beauty calendars” that gained popularity in the 1980s following the dreary fashion of the Mao era, while the painting Geranium, Camellia, and Other Ten Flowers is lifted from a photograph of his former classmates. Throughout, flowers become decorative decoys that conceal expressions and thoughts behind a universal symbol of beauty.\n\nThat said, Yue's art is no stranger to ambiguity. In the 90s he shot to fame with his iconic Laughter series, an ongoing project of self-portraits with grotesquely exaggerated grins bordering on menacing. Laughter’s cheerful compositions, punchy pop art colours, and propaganda poster aesthetics were used as smoke screens to cleverly hide Yue's commentaries on social, political, and cultural issues in plain sight. This satirical, almost passive-aggressive approach to expressing societal disenchantment established him as a leading figure of China's cynical realism movement in the 1990s alongside Fang Lijun and Liu Wei. ",[570,573,576,579,582,585,588,591],{"start":571,"end":572,"type":77},915,922,{"start":574,"end":575,"type":77},1114,1133,{"start":577,"end":578,"type":77},1320,1328,{"start":580,"end":581,"type":77},1330,1338,{"start":583,"end":584,"type":77},1344,1361,{"start":586,"end":587,"type":77},1630,1638,{"start":589,"end":590,"type":77},1742,1752,{"start":592,"end":593,"type":84,"data":594},1783,1791,{"id":595,"type":413,"tags":596,"lang":22,"slug":597,"first_publication_date":598,"last_publication_date":598,"link_type":32,"isBroken":200},"ZKx-jxEAACQAc2C3",[],"pop-art","2023-07-10T21:56:35+0000","text$e20321a1-edc6-487e-bd86-c2af77a6f36e",{"variation":324,"version":60,"items":601,"primary":602,"id":613,"slice_type":136,"slice_label":7},[],{"image1":603,"label":7,"copyright":609},{"dimensions":604,"alt":605,"copyright":546,"url":606,"id":607,"edit":608},{"width":39,"height":39},"Picasso Series 1, 2021","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F7f403dff-29ba-4cac-85a3-73b364c790c0_carr%C3%A9-2.jpg?auto=compress,format","ZCrsYRAAACMA8kby",{"x":45,"y":45,"zoom":46,"background":47},[610],{"type":71,"text":611,"spans":612},"Picasso Series 1, 2021\nPHOTO: Tang Contemporary and Yue Minjun",[],"image$53413f6e-65a0-40b1-911d-e7391001a319",{"variation":59,"version":60,"items":615,"primary":617,"id":641,"slice_type":94,"slice_label":7},[616],{},{"title":618,"content":619},[],[620],{"type":71,"text":621,"spans":622},"In addition to Flowers, Yue pays tribute to the great classic Western paintings in his Classic Recreation series. “Paying tribute to the past masters is to look back and remind ourselves of the countless mistakes we have made through history,” says Yue.  In the same vein as his flower portraits, he recreates canvases of Georges de la Tour's The Fortune Teller (c. 1630), Vermeer's Girl with a Pearl Earring (c. 1665), and Da Vinci's Lady with an Ermine (c. 1489-91), hiding each face behind lilium, hibiscus, and peach blossoms. \n\nMaking its first public appearance is the large-scale artwork Picasso and I. This impressive tableau is Yue's homage to Picasso's Guernica (1937), a piece he considers “the greatest work that expresses the subject of war.” “Picasso is my favourite artist, especially his bold and changeable style,” he explains. “Guernica exposes the harm and destruction that war brings to mankind. I want to borrow the energy of this work, which reveals the ugly side of human beings.” By replacing pained expressions with cut-outs of his smiling face, Yue coaxes the gory context away from the shadows and into the light.",[623,626,629,632,635,638],{"start":624,"end":625,"type":77},343,361,{"start":627,"end":628,"type":77},383,409,{"start":630,"end":631,"type":77},435,455,{"start":633,"end":634,"type":77},595,608,{"start":636,"end":637,"type":77},663,672,{"start":639,"end":640,"type":77},846,854,"text$8bc6aa87-120d-49b3-b199-fe0008123e58",{"variation":324,"version":60,"items":643,"primary":726,"id":736,"slice_type":136,"slice_label":7},[644,654,662,672,682,690,699,708,717],{"image":645,"title":653,"subtitle":546},{"dimensions":646,"alt":649,"copyright":7,"url":650,"id":651,"edit":652},{"width":647,"height":648},1040,1300,"Rose, 2020. PHOTO: Tang Contemporary and Yue Minjun","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F038565ae-8afe-4c1e-9cc8-6c9e676b4214_09+ROSE.jpeg?auto=compress,format","ZCrs5BAAACEA8kff",{"x":45,"y":45,"zoom":46,"background":47},"Rose, 2020.",{"image":655,"title":661,"subtitle":546},{"dimensions":656,"alt":546,"copyright":7,"url":658,"id":659,"edit":660},{"width":648,"height":657},1038,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F26bfb18d-52a8-41af-8e41-1ce02aad85e5_01+HIBISCUS+YM.jpeg?auto=compress,format","ZCrs5hAAACQA8kfl",{"x":45,"y":45,"zoom":46,"background":47},"Hibiscus Moscheutos, 2021.",{"image":663,"title":671,"subtitle":546},{"dimensions":664,"alt":667,"copyright":7,"url":668,"id":669,"edit":670},{"width":665,"height":666},682,880,"Picasso Series 1, 2021. PHOTO: Tang Contemporary and Yue Minjun","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F2e9e5fce-b581-4081-8dbc-e9be1d35f807_05-PICASSO-SERIES-1.jpg?auto=compress,format","ZCrs5xAAACQA8kfn",{"x":45,"y":45,"zoom":46,"background":47},"Picasso Series 1, 2021.",{"image":673,"title":681,"subtitle":546},{"dimensions":674,"alt":677,"copyright":7,"url":678,"id":679,"edit":680},{"width":675,"height":676},2000,929,"Picasso and I, 2022. PHOTO: Tang Contemporary and Yue Minjun","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F1a27984c-81c9-4f37-9e82-2fc68670ca3f_06+PICASSO+AND+I.jpeg?auto=compress,format","ZCrswRAAACIA8kem",{"x":45,"y":45,"zoom":46,"background":47},"Picasso and I, 2022.",{"image":683,"title":689,"subtitle":546},{"dimensions":684,"alt":7,"copyright":7,"url":686,"id":687,"edit":688},{"width":685,"height":666},644,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fce802965-68d3-4c08-8efa-c7110173faa3_08-PICASSO-SERIES-3.jpg?auto=compress,format","ZCrswRAAACEA8kek",{"x":45,"y":45,"zoom":46,"background":47},"Picasso Series 3, 2021",{"image":691,"title":698,"subtitle":546},{"dimensions":692,"alt":694,"copyright":7,"url":695,"id":696,"edit":697},{"width":693,"height":666},687,"Picasso Series 2, 2021. PHOTO: Tang Contemporary and Yue Minjun","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F19116841-434a-4fc0-b194-60138720ac59_07-PICASSO-SERIES-2.jpg?auto=compress,format","ZCrswRAAACIA8kei",{"x":45,"y":45,"zoom":46,"background":47},"Picasso Series 2, 2021.",{"image":700,"title":704,"subtitle":546},{"dimensions":701,"alt":704,"copyright":7,"url":705,"id":706,"edit":707},{"width":702,"height":703},1392,871,"Picasso Series 3, 2021. PHOTO: Tang Contemporary and Yue Minjun","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F7e3a14fb-0fbc-4487-a57f-c2b5b27e059b_04-GERANIUM.jpg?auto=compress,format","ZCrswRAAACMA8kel",{"x":45,"y":45,"zoom":46,"background":47},{"image":709,"title":716,"subtitle":546},{"dimensions":710,"alt":712,"copyright":7,"url":713,"id":714,"edit":715},{"width":648,"height":711},1036,"Lilium, 2021. PHOTO: Tang Contemporary and Yue Minjun","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F5ca1ed06-3638-4596-848f-a23a04dcf5bb_02+LILIUM.jpeg?auto=compress,format","ZCrswRAAACMA8keh",{"x":45,"y":45,"zoom":46,"background":47},"Lilium, 2021.",{"image":718,"title":725,"subtitle":546},{"dimensions":719,"alt":721,"copyright":7,"url":722,"id":723,"edit":724},{"width":720,"height":648},1034,"Peach Blossom, 2020. PHOTO: Tang Contemporary and Yue Minjun","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F9cc1c6fa-d730-4961-a040-a84aa12bbeef_03+PEACH+BLOSSOM.jpeg?auto=compress,format","ZCrswRAAACQA8keg",{"x":45,"y":45,"zoom":46,"background":47},"Peach Blossom, 2020.",{"image1":727,"label":7,"copyright":732},{"dimensions":728,"alt":649,"copyright":7,"url":729,"id":730,"edit":731},{"width":39,"height":39},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F40304c01-160c-449d-a136-e34f293cbbf2_carr%C3%A9-1.jpg?auto=compress,format","ZCrspxAAACMA8kd0",{"x":45,"y":45,"zoom":46,"background":47},[733],{"type":71,"text":734,"spans":735},"Rose, 2020. \nPHOTO: Tang Contemporary and Yue Minjun",[],"image$f03a8014-2941-4c5a-abcb-ff711e40c6d7","Yue Minjun is back with new lockdown-inspired surrealist paintings","Contemporary Chinese artist Yue Minjun talks to ArtExplored about the inspiration behind his latest works, lingering ambivalence over the future of humanity, and fascination with Picasso.",{"dimensions":740,"alt":741,"copyright":7,"url":742,"id":743,"edit":744},{"width":181,"height":182},"Hibiscus Moscheutos, 2021. PHOTO: Tang Contemporary and Yue Minjun","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fbf48504d-bd4b-48de-8db2-378b21ca4748_Yue+Minjun+Image+Opengraph.jpg?auto=compress,format","ZK_8tRIAACAAahhU",{"x":45,"y":45,"zoom":46,"background":47},[746,762,769],{"variation":59,"version":60,"items":747,"primary":750,"id":761,"slice_type":225,"slice_label":7},[748],{"post":749},{"link_type":32},{"slides_per_view":147,"max_slides_count":7,"tag":751,"type":8,"title":760,"paralax":7},{"id":752,"type":753,"tags":754,"lang":22,"slug":756,"first_publication_date":757,"last_publication_date":758,"uid":756,"link_type":32,"key":759,"isBroken":200},"ZA9DbxAAACsAyy4v","tag",[755],"Asia","asia","2023-03-13T15:44:39+0000","2023-03-13T17:11:07+0000","d7909319-5d66-41a8-a46f-b66a765c481c","Related Articles","carousel$4c2b04d1-a653-444c-b626-dcd52d39e4da",{"variation":59,"version":60,"items":763,"primary":766,"id":768,"slice_type":225,"slice_label":7},[764],{"post":765},{"link_type":32},{"slides_per_view":7,"max_slides_count":7,"tag":767,"type":230,"title":231,"paralax":7},{"link_type":32},"carousel$723a8e9c-c747-4d22-9383-9677d174cb23",{"variation":59,"version":60,"items":770,"primary":773,"id":776,"slice_type":225,"slice_label":7},[771],{"post":772},{"link_type":32},{"slides_per_view":7,"max_slides_count":7,"tag":774,"type":237,"title":775,"paralax":7},{"link_type":32},"Discover more arstists","carousel$2c36a4b3-bb68-4334-b845-1ca92b016f7f",{"id":213,"uid":219,"url":7,"type":8,"href":778,"tags":779,"first_publication_date":217,"last_publication_date":218,"slugs":780,"linked_documents":788,"lang":22,"alternate_languages":789,"data":790},"https:\u002F\u002Fartexplorer-prod.cdn.prismic.io\u002Fapi\u002Fv2\u002Fdocuments\u002Fsearch?ref=aCb60BIAACEA00zN&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22ZAh0SRAAACsAvyne%22%29+%5D%5D",[215],[216,781,782,783,784,785,786,787],"the-highs-and-lows-of-henri-matisses-career","the-highs-and-lows-of-henri-matisse","matisse-exhibition-in-philadelphia-highlights-french-artists-highs-and-lows","henri-matisse-hit-a-creative-wall-in-1930-but-a-commission-to-decorate-the-main-gallery-of-the-barnes-foundation-in-the-city-of-brotherly-love-turned-his-practice-around-as-matisse-in-the-30s-shows.","henri-matisse-hit-a-creative-wall-in-1930-but-a-commission-to-decorate-the-main-gallery-of-the-barnes-foundation-in-the-city-of-brotherly-love-turned-his-practice-around-as-matisse-in-the-30s-highlights.","henri-matisse-hit-a-creative-wall-in-1930-but-a-commission-to-decorate-the-main-gallery-of-the-barnes-foundation-in-the-city-of-brotherly-love-turned-his-practice-around.","from-experimentation-to-failure-to-renewal",[],[],{"title":791,"subtitle":792,"author":793,"copyright_cover":838,"cover_desktop":839,"cover_mobile":846,"thumbnail":852,"published_at":855,"slices":856,"meta_title":1044,"meta_description":1045,"og_image":1046,"slices2":1052},"The creative twilight of Matisse's career","After a blip in 1930, he made several iconic works",{"id":794,"type":261,"tags":795,"lang":22,"slug":796,"first_publication_date":797,"last_publication_date":798,"uid":799,"data":800,"link_type":32,"key":837,"isBroken":200},"ZBBfzBAAACgAzQAo",[],"william-corwin","2023-03-14T11:51:45+0000","2023-07-10T00:55:46+0000","will-corwin",{"description":801,"short_description":814,"job":818,"thumbnail":819,"cover":827,"uid":799,"title":823,"og_image":830,"meta_description":833,"meta_title":823},[802,805,808,811],{"type":71,"text":803,"spans":804},"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":71,"text":806,"spans":807},"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":71,"text":809,"spans":810},"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":71,"text":812,"spans":813},"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.",[],[815],{"type":71,"text":816,"spans":817},"William Corwin covers North America for ArtExplored",[],"Art Writer (North America)",{"dimensions":820,"alt":823,"copyright":823,"url":824,"id":825,"edit":826},{"width":821,"height":822},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":45,"y":45,"zoom":46,"background":47},{"dimensions":828,"alt":823,"copyright":7,"url":824,"id":825,"edit":829},{"width":821,"height":822},{"x":45,"y":45,"zoom":46,"background":47},{"dimensions":831,"alt":823,"copyright":823,"url":824,"id":825,"edit":832},{"width":821,"height":822},{"x":45,"y":45,"zoom":46,"background":47},[834],{"type":71,"text":835,"spans":836},"Will Corwin covers North America for ArtExplored",[],"2afc4fd1-42f2-462d-9c49-e75fd5ea84c5","Henri Matisse, “Oil Study for Barnes Mural, Ocher Harmony”, Oil on canvas. Musée Matisse Nice, France. \n© 2022 Succession H. Matisse\u002FArtists Rights Society (ARS), New York.",{"dimensions":840,"alt":841,"copyright":842,"url":843,"id":844,"edit":845},{"width":38,"height":39},"Henri, Matisse, “Oil Study for Barnes Mural, Ocher Harmony”, 1930–31. 13 inches × 34 9\u002F16 inches, Oil on canvas. Musée Matisse Nice, France. ","© 2022 Succession H. Matisse\u002FArtists Rights Society (ARS), New York.\n","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F9f6c4d9a-c18f-412d-a49a-f0566ea52584_Cover+Matisse.jpg?auto=compress,format","ZCLiSxAAACEA5UHC",{"x":45,"y":45,"zoom":46,"background":47},{"dimensions":847,"alt":848,"copyright":842,"url":849,"id":850,"edit":851},{"width":39,"height":38},"Henri, Matisse, “Oil Study for Barnes Mural, Ocher Harmony”, 1930–31. 13 inches × 34 9\u002F16 inches, Oil on canvas. Musée Matisse Nice, France.","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fea3a1109-6609-4e42-8ee4-353d5d04bead_Portrait+Matisse.jpg?auto=compress,format","ZCLinRAAACIA5UNg",{"x":45,"y":45,"zoom":46,"background":47},{"dimensions":853,"alt":848,"copyright":842,"url":849,"id":850,"edit":854},{"width":39,"height":38},{"x":45,"y":45,"zoom":46,"background":47},"2023-03-08",[857,892,910,958,996],{"variation":59,"version":60,"items":858,"primary":860,"id":891,"slice_type":94,"slice_label":7},[859],{},{"title":861,"content":864},[862],{"type":66,"text":67,"spans":863},[],[865],{"type":71,"text":866,"spans":867},"French artist Henri Matisse hit a creative wall in 1930 but a commission to decorate the main gallery of The Barnes Foundation in Philadelphia turned his practice around, as the exhibition Matisse in the 1930s shows. \n\nA stark sketch of the legs and torso of a dancer with one knee lifted carefree, in ink on tracing paper and close to three metres high, alerts the viewer to the energy, grace, and erotic surprise that Matisse could still summon at the age of 60. The Matisse exhibition in Philadelphia explores the painter’s output from that age onwards, and not surprisingly, chooses the painter’s mural The Dance, a commission he created for Albert Barnes nearby in Merion PA (now on view at The Barnes Foundation in Philadelphia), as the landmark with which to punctuate his period of renewed creativity.\n\nThe first two galleries in the exhibition bring the visitor up to speed on what Matisse had been working on post-Fauve (1905-1908): odalisques, interiors, portraits, mythological, and ethereal groups of figures that he never stopped painting, just now post-1930, with renewed vigour. The full-size sketch of the dancer for the Barnes Foundation mural holds court in a long gallery with one wall lined with sketches for the project; in pencil, pen, and watercolour. On the other side of the room is exhibited a series of etchings and illustrations Matisse created for the poetry of Stephane Mallarmé in 1930-31. The painter always focused both on the desires of his collectors, like Barnes, and appealing to a wider public in the form of illustrations and less expensive prints. Matisse’s Odalisque Couchée aux Magnolias (1923) sold in 2018 at Christie's for $80,750,000, unlike most painters, Matisse has never gone out of style. He was an artist who managed to consistently challenge himself and the viewer, while ticking off enough boxes to maintain consistent popularity with both the public and collectors. Philadelphia’s encyclopedic coverage of Matisse’s mature period offers a window on an artist whose abstract goal “what I am after, above all, is expression” materialised into overwhelming adoration from the public, and if the lines at the museum are any indication – an adulation that continues to grow.",[868,871,880,882],{"start":869,"end":870,"type":77},607,616,{"start":872,"end":873,"type":84,"data":874},924,930,{"id":875,"type":413,"tags":876,"lang":22,"slug":877,"first_publication_date":878,"last_publication_date":879,"link_type":32,"isBroken":200},"ZKge5REAACMAYDKW",[],"fauve","2023-07-07T14:19:20+0000","2023-07-11T05:10:52+0000",{"start":881,"end":586,"type":77},1599,{"start":883,"end":884,"type":84,"data":885},2021,2030,{"id":886,"type":413,"tags":887,"lang":22,"slug":888,"first_publication_date":889,"last_publication_date":890,"link_type":32,"isBroken":200},"ZKgfpREAACQAYDY6",[],"abstract","2023-07-07T14:22:33+0000","2023-07-10T21:51:41+0000","text$762ca395-9d44-4978-a1cc-01ab23a848fb",{"variation":324,"version":60,"items":893,"primary":894,"id":909,"slice_type":136,"slice_label":7},[],{"image1":895,"label":904,"copyright":905},{"dimensions":896,"alt":899,"copyright":900,"url":901,"id":902,"edit":903},{"width":897,"height":898},2881,1921,"Henri Matisse, “Odalisque with Grey Trousers” 1926-1927. 21 1\u002F4 × 25 9\u002F16 inches, Oil on canvas. Musée de l'Orangerie. "," © 2022 Succession H. Matisse\u002FArtists Rights Society (ARS), New York.","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F6be1443e-2456-48f4-8dcd-53a7ebadb2f8_3_2.jpg?auto=compress,format","ZCLfXBAAACEA5TOt",{"x":45,"y":45,"zoom":46,"background":47},"Odalisque with Grey Trousers",[906],{"type":71,"text":907,"spans":908},"© 2022 Succession H. Matisse\u002FArtists Rights Society (ARS), New York.",[],"image$2665798f-f9fd-40b2-9e31-cdf311492dba",{"variation":59,"version":60,"items":911,"primary":913,"id":957,"slice_type":94,"slice_label":7},[912],{},{"title":914,"content":915},[],[916],{"type":71,"text":917,"spans":918},"The premise of the show – that Matisse was “struggling” at the end of the 20’s – is overstated. The painter turned 60 in 1929 and was by then one of the most famous living artists. The notion that he was concerned with his relevance as an artist at that age, and in an art market that had been struck by the 1929 crash as much as any other industry, does not seem extraordinary. Matisse had always been about interacting with the viewer; he welcomed constant feedback from visitors to his studio and had set up a school, the Academie Matisse (1907-1911), in which he, initially at least, had a very hands-on interaction with students. He strove more to accommodate and comfort – perhaps because he himself was something of a nervous wreck (and an insomniac) if we are to believe Hilary Spurling’s in-depth biography, Matisse the Master (2005). Matisse moved from perceived crisis to crisis; his painting was meant to be a relaxing tonic for himself, and so it was to his audience as well – “what I dream of is an art of balance, of purity and serenity, devoid of troubling or depressing subject matter… a soothing calming influence on the mind, something like a good armchair that provides relaxation from fatigue.”\n\nThis is abundantly clear in the subjects Matisse chose to paint: in particular the nude female figure. The artist had initially been buoyed from 1904-1917, financially and with publicity, by adventurous collectors, including Sarah Stein (1870-1953) sister-in-law of Gertrude, and in particular Sergei Shchukin (1854-1936), the Russian textile magnate, who had taken great risks socially by purchasing works such as The Dance (the 1910 original), and The Red Studio (1911): erotic or avant-garde abstract subjects. But it was the nude female form that Matisse realised would play well with collectors, and Matisse in the 1930s presents these works, such as the realistically drawn luxuriating and sensuous Large Odalisque in Striped Pantaloons (1925) to the far more abstract lithe and elongated Large Reclining Nude (1935). The latter is presented with the series of black-and-white photographs which Matisse took to record his process. Here we see another ingredient of the master’s charismatic technique: while the curves and volumes of the nude seem to flow and her proportions seem effortlessly constructed; Matisse agonised over every inch of the painting and erased and repainted passages on a daily basis. Regardless of all the sweat, Matisse made the painting look spontaneous, and viewers and collectors responded.\n\nThe succeeding rooms of the exhibition display his calming, colourful and beautiful aesthetic to the design of wall hangings and tapestries. He came to a realisation that his once vilified style was now neatly adjacent to a decorative aesthetic, and two paintings: Papeete – Tahiti (Window in Tahiti; Tahiti 1) (1935) and Window at Tahiti II (1935-36) are full-size preparatory sketches for tapestries. Much like his cagey use of the craze for orientalism twenty years earlier, Matisse, in his series of Rumanian blouse paintings incorporates fashion trends into his time-tested odalisque format – incorporating the Romanian blouse – an embroidered peasant outfit popular in the south of France at the time, as in Still Life with Sleeping Woman (1940). ",[919,922,925,928,937,940,945,948,951,954],{"start":920,"end":921,"type":77},817,836,{"start":923,"end":924,"type":77},1632,1641,{"start":926,"end":927,"type":77},1667,1681,{"start":929,"end":930,"type":84,"data":931},1700,1721,{"id":932,"type":413,"tags":933,"lang":22,"slug":934,"first_publication_date":935,"last_publication_date":936,"link_type":32,"isBroken":200},"ZKgfVBEAACEAYDS3",[],"avant-garde","2023-07-07T14:21:11+0000","2023-07-10T21:52:39+0000",{"start":938,"end":939,"type":77},1922,1959,{"start":941,"end":942,"type":84,"data":943},1983,1992,{"id":886,"type":413,"tags":944,"lang":22,"slug":888,"first_publication_date":889,"last_publication_date":890,"link_type":32,"isBroken":200},[],{"start":946,"end":947,"type":77},2012,2032,{"start":949,"end":950,"type":77},2807,2853,{"start":952,"end":953,"type":77},2864,2883,{"start":955,"end":956,"type":77},3256,3286,"text$e54e7715-26e8-470a-83f0-3dc73f966334",{"variation":96,"version":60,"items":959,"primary":977,"id":995,"slice_type":136,"slice_label":7},[960,968],{"image":961,"title":967,"subtitle":215},{"dimensions":962,"alt":7,"copyright":7,"url":964,"id":965,"edit":966},{"width":101,"height":963},2521,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F79aad45d-82b5-42e8-b930-1e24ce85a542_Original+-+2+17.jpg?auto=compress,format","ZKbRihEAACIAWjwV",{"x":45,"y":45,"zoom":46,"background":47},"Window at Tahiti II",{"image":969,"title":976,"subtitle":215},{"dimensions":970,"alt":972,"copyright":7,"url":973,"id":974,"edit":975},{"width":101,"height":971},1363,"Henri Matisse ","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fef0a40da-0cbc-40b0-af82-5dce57fcb4df_Original+-+1+13.jpg?auto=compress,format","ZKbR0BEAACIAWj1y",{"x":45,"y":45,"zoom":46,"background":47},"Large Reclining Nude",{"image1":978,"image2":985,"label":7,"copyright":992},{"dimensions":979,"alt":980,"copyright":981,"url":982,"id":983,"edit":984},{"width":39,"height":39},"Henri Matisse \"Window at Tahiti II\" 1935. 7 feet 9 11\u002F16 inches × 6 feet 1\u002F16 inches.","Gouache on canvas Musée départemental Matisse, Le Cateau-Cambrésis, France © 2022 Succession H. Matisse\u002FArtists Rights Society (ARS), New York.\n","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F808c6b9c-c2b0-4ab0-adae-3ff5b5f3cbc7_Carre%E2%95%A0%C3%BC+-+2.jpg?auto=compress,format","ZCK1ExAAACEA5GQy",{"x":45,"y":45,"zoom":46,"background":47},{"dimensions":986,"alt":987,"copyright":988,"url":989,"id":990,"edit":991},{"width":39,"height":39},"Henri Matisse \"Large Reclining Nude\" 1935. 26 1\u002F8 × 36 3\u002F4 inches (66.4 × 93.3 cm). ","Oil on canvas Baltimore Museum of Art: The Cone Collection, formed by Dr. Claribel Cone and Miss Etta Cone of Baltimore, Maryland, 1950.258. © 2022 Succession H. Matisse\u002FArtists Rights Society (ARS), New York.","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F813a17e1-7f03-4c9a-bccf-c47743bdc6ad_Carre%E2%95%A0%C3%BC+-+1.jpg?auto=compress,format","ZCKwChAAACQA5ExC",{"x":45,"y":45,"zoom":46,"background":47},[993],{"type":71,"text":907,"spans":994},[],"image$2691b396-1683-4def-99d8-4666efe03347",{"variation":59,"version":60,"items":997,"primary":999,"id":1043,"slice_type":94,"slice_label":7},[998],{},{"title":1000,"content":1001},[],[1002],{"type":71,"text":1003,"spans":1004},"As the show progresses, Matisse begins to start imitating himself, the paintings become less daring and the application of paint and composition anaemic. A mantelpiece created for Nelson A. Rockerfeller’s apartment in New York, The Song (Le Chant) (1938), depicts four fashionably dressed ladies reading, napping, and whispering to each other, but there is none of the rawness, sensuality, or ritual abandon of the Barnes mural. And the colour scheme of the Barnes, an enigmatic selection of greys and pinks, is here replaced in The Song by complementary reds, blacks, and greens. Matisse perhaps was aware that the greatest achievement of his renaissance in the 30s was revisiting his early innovations and reworking them and “upping their visibility.” He also revisited designing sets and costumes for dance performances. He had designed the production for Le Chant du Rossignol for Diaghilev’s Ballet Russe in 1920, and Matisse in the 1930s briefly considers his design – in the form of entrancing black and white clips – of Rouge et Noire (Red and Black) (1937) a collaboration with Dmitri Shostakovich for the Ballet Russe de Monte Carlo. Also briefly alluded to is the kernel of the idea that would eventually become Matisse’s last period, and a truly innovative series that would again place him centre stage in the eyes of the world – his cut.-outs, represented by two works Two Dancers (1937-38) and Small Dancer on Red Background (1938). These collages originated from the painter’s process of using painted pieces of paper to block out his compositions. The cut-outs were simple, expressive and perfect in their way, and they managed to be effortless and pleasing while not even seeming to consider the painter’s slowly fading physical skills – yet another brilliant stroke for Matisse.\n\nMatisse in the 1930s\n20 October 2022 – 29 January 2023. Philadelphia Museum of Art\n",[1005,1008,1011,1014,1017,1026,1029,1032,1037,1040],{"start":1006,"end":1007,"type":77},228,248,{"start":1009,"end":1010,"type":77},529,537,{"start":1012,"end":1013,"type":77},897,910,{"start":1015,"end":1016,"type":77},1028,1058,{"start":1018,"end":1019,"type":84,"data":1020},1347,1356,{"id":1021,"type":413,"tags":1022,"lang":22,"slug":1023,"first_publication_date":1024,"last_publication_date":1025,"link_type":32,"isBroken":200},"ZKvblBEAACEAcFrd",[],"cut-outs","2023-07-10T10:21:12+0000","2023-07-10T21:51:04+0000",{"start":1027,"end":1028,"type":77},1382,1395,{"start":1030,"end":1031,"type":77},1409,1439,{"start":1033,"end":1034,"type":84,"data":1035},1568,1578,{"id":1021,"type":413,"tags":1036,"lang":22,"slug":1023,"first_publication_date":1024,"last_publication_date":1025,"link_type":32,"isBroken":200},[],{"start":1038,"end":1039,"type":77},1819,1820,{"start":1041,"end":1042,"type":77},1881,1882,"text$378b39bb-a9d8-4cb4-9ba8-47135ab3da2f","From experimentation, to failure, to renewal: Matisse exhibition in Philadelphia highlights artist’s highs and lows","ArtExplored discovers how Henri Matisse's creative block in 1930 led him to experimentation and renewal which resulted in stunning paintings.",{"dimensions":1047,"alt":1048,"copyright":7,"url":1049,"id":1050,"edit":1051},{"width":181,"height":182},"Henri, Matisse, “Oil Study for Barnes Mural, Ocher Harmony”, 1930–31. Musée Matisse Nice, France. © 2022 Succession H. Matisse\u002FArtists Rights Society (ARS), New York.","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fed5d0b3b-da3a-4eaf-bb49-15811032b132_Image+Opengraph+Matisse.jpg?auto=compress,format","ZK_8thIAACAAahhh",{"x":45,"y":45,"zoom":46,"background":47},[1053,1086,1093],{"variation":59,"version":60,"items":1054,"primary":1083,"id":1085,"slice_type":225,"slice_label":7},[1055,1065,1069,1073],{"post":1056},{"id":1057,"type":8,"tags":1058,"lang":22,"slug":1060,"first_publication_date":1061,"last_publication_date":1062,"uid":1063,"link_type":32,"key":1064,"isBroken":200},"ZAhxkRAAACkAvx0D",[1059],"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","e002f40b-d64e-41bb-8d71-f846c22ec475",{"post":1066},{"id":5,"type":8,"tags":1067,"lang":22,"slug":16,"first_publication_date":13,"last_publication_date":14,"uid":6,"link_type":32,"key":1068,"isBroken":200},[11,12],"203056ad-5adc-40cd-9eae-074753c116fa",{"post":1070},{"id":443,"type":8,"tags":1071,"lang":22,"slug":447,"first_publication_date":448,"last_publication_date":449,"uid":450,"link_type":32,"key":1072,"isBroken":200},[445,446],"800e9e39-fd4c-4031-af54-49d5f9a54fd0",{"post":1074},{"id":1075,"type":8,"tags":1076,"lang":22,"slug":1078,"first_publication_date":1079,"last_publication_date":1080,"uid":1081,"link_type":32,"key":1082,"isBroken":200},"ZAiOihAAACoAv4s1",[1077],"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","37b629c6-87bc-4b9e-b36a-7602bf6bc2c7",{"slides_per_view":7,"max_slides_count":7,"tag":1084,"type":8,"title":223,"paralax":7},{"link_type":32},"carousel$2453d285-d38d-46a0-bea0-acac66f7e43f",{"variation":59,"version":60,"items":1087,"primary":1090,"id":1092,"slice_type":225,"slice_label":7},[1088],{"post":1089},{"link_type":32},{"slides_per_view":7,"max_slides_count":7,"tag":1091,"type":230,"title":231,"paralax":7},{"link_type":32},"carousel$1a56a7f1-5854-44db-8853-098836a1483c",{"variation":59,"version":60,"items":1094,"primary":1097,"id":1099,"slice_type":225,"slice_label":7},[1095],{"post":1096},{"link_type":32},{"slides_per_view":7,"max_slides_count":7,"tag":1098,"type":237,"title":493,"paralax":7},{"link_type":32},"carousel$179b8f13-fc10-4456-a17b-dcf2d3f1d997",{"id":1101,"uid":1102,"url":7,"type":8,"href":1103,"tags":1104,"first_publication_date":1106,"last_publication_date":1107,"slugs":1108,"linked_documents":1110,"lang":22,"alternate_languages":1111,"data":1112},"ZqOmgxAAACEAyGP7","hidden-gem-at-the-nationalmusee-um-feschmaart","https:\u002F\u002Fartexplorer-prod.cdn.prismic.io\u002Fapi\u002Fv2\u002Fdocuments\u002Fsearch?ref=aCb60BIAACEA00zN&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22ZqOmgxAAACEAyGP7%22%29+%5D%5D",[1105],"Gustav Klimt","2024-07-26T13:48:30+0000","2024-07-31T15:55:16+0000",[1109],"a-mysterious-portrait",[],[],{"title":1113,"subtitle":1114,"author":1115,"copyright_cover":7,"cover_desktop":1163,"cover_mobile":1170,"thumbnail":1176,"published_at":1179,"slices":1180,"meta_title":1393,"meta_description":1394,"og_image":1395,"slices2":1400},"Klimt, Matsch, and a Ghanaian Prince in turn-of-the-century Vienna","Twin portraits illuminate the friendship and break-up between the painters",{"id":1116,"type":261,"tags":1117,"lang":22,"slug":1118,"first_publication_date":1119,"last_publication_date":1120,"uid":1118,"data":1121,"link_type":32,"key":1162,"isBroken":200},"ZBBz5xAAAKdKzSXy",[],"lea-nedwed","2023-03-14T13:17:30+0000","2024-07-10T17:09:39+0000",{"description":1122,"short_description":1138,"job":1142,"thumbnail":1143,"cover":1152,"uid":1118,"title":1147,"og_image":1155,"meta_description":1158,"meta_title":1147},[1123,1127,1130,1133,1135],{"type":71,"text":1124,"spans":1125,"direction":1126},"Léa is a managing editor at ArtExplored, where she produces in-depth art market reports and educational content. ",[],"ltr",{"type":71,"text":1128,"spans":1129,"direction":1126}," ",[],{"type":71,"text":1131,"spans":1132,"direction":1126},"Her prior experience includes working with an art advisory service in London and Hong Kong, focusing on Post-War and Contemporary art. There, she gained extensive knowledge of the global art market. She managed daily operations and ensured the smooth running of high-profile exhibitions held annually alongside significant fairs in London, Hong Kong, and Seoul. Léa also contributed to a Paris-based non-profit that fundraised for cultural institutions by working closely with globally renowned art collectors. ",[],{"type":71,"text":1128,"spans":1134,"direction":1126},[],{"type":71,"text":1136,"spans":1137,"direction":1126},"She holds degrees in Law from the Sorbonne, Art Appraisal and Trade from IESA, and an MBA in the Business of Art from ICART.",[],[1139],{"type":71,"text":1140,"spans":1141,"direction":1126},"Lea is a managing editor and content producer at ArtExplored. ",[],"Managing Editor",{"dimensions":1144,"alt":1147,"copyright":7,"url":1148,"id":1149,"edit":1150},{"width":1145,"height":1146},533,800,"Léa Nedwed","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F6d191cd1-efb6-4857-ae83-8d44a38fb195_LC%E2%95%A0%C2%BAa+NEDWED+%28Art+Cataloguer%29+%28BW%29.png?auto=compress,format","ZHYDyhAAACYAMRXl",{"x":45,"y":45,"zoom":46,"background":1151},"transparent",{"dimensions":1153,"alt":1147,"copyright":7,"url":1148,"id":1149,"edit":1154},{"width":1145,"height":1146},{"x":45,"y":45,"zoom":46,"background":1151},{"dimensions":1156,"alt":7,"copyright":7,"url":1148,"id":1149,"edit":1157},{"width":1145,"height":1146},{"x":45,"y":45,"zoom":46,"background":1151},[1159],{"type":71,"text":1160,"spans":1161},"Léa Nedwed is a senior writer at ArtExplored",[],"322d8d87-5261-4cfa-b129-b52f3082cbec",{"dimensions":1164,"alt":7,"copyright":7,"url":1167,"id":1168,"edit":1169},{"width":1165,"height":1166},16000,9000,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZqOfcB5LeNNTxhmF_Landscape_16.9_Web_Header_HiddenGems_V6_.jpg?auto=format,compress","ZqOfcB5LeNNTxhmF",{"x":45,"y":45,"zoom":46,"background":1151},{"dimensions":1171,"alt":7,"copyright":7,"url":1173,"id":1174,"edit":1175},{"width":1172,"height":1165},10667,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZqOgAB5LeNNTxhmY_Portrait_3.2_Web_Thumbnail_HiddenGems4.jpg?auto=format,compress","ZqOgAB5LeNNTxhmY",{"x":45,"y":45,"zoom":46,"background":1151},{"dimensions":1177,"alt":7,"copyright":7,"url":1173,"id":1174,"edit":1178},{"width":1172,"height":1165},{"x":45,"y":45,"zoom":46,"background":1151},"2024-07-29",[1181,1195,1208,1225,1242,1264,1273,1285,1307,1316,1333,1345,1371,1380],{"variation":59,"version":60,"items":1182,"primary":1183,"id":1194,"slice_type":94,"slice_label":7},[],{"title":1184,"content":1185},[],[1186,1189,1191],{"type":71,"text":1187,"spans":1188,"direction":1126},"Pablo Picasso, Giorgio de Chirico, Pierre Soulages, Richard Serra—these illustrious names in the history of art draw visitors to Luxembourg's Nationalmusée um Fëschmaart. Yet, alongside these masters, the museum also showcases long-forgotten artists who are equally deserving of our attention.",[],{"type":71,"text":1128,"spans":1190,"direction":1126},[],{"type":71,"text":1192,"spans":1193,"direction":1126},"Ruud Priem, the museum's Head of Department and Curator of Fine Arts, recently oversaw the acquisition of a striking portrait. With a decade at Amsterdam's Rijksmuseum and collaborations worldwide, Priem has engaged deeply with celebrated masterpieces while demonstrating a discerning eye for overlooked treasures.",[],"text$ed331b5a-ad55-419e-9cc4-6ef4d8537b08",{"variation":324,"version":60,"items":1196,"primary":1197,"id":1207,"slice_type":136,"slice_label":7},[],{"image1":1198,"label":7,"copyright":1203},{"dimensions":1199,"alt":7,"copyright":7,"url":1200,"id":1201,"edit":1202},{"width":39,"height":39},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZqOhCx5LeNNTxhnR_FranzvonMatsch-Square.jpg?auto=format,compress","ZqOhCx5LeNNTxhnR",{"x":45,"y":45,"zoom":46,"background":1151},[1204],{"type":71,"text":1205,"spans":1206,"direction":1126},"Franz von Matsch (1861-1942), Portrait of William Nii Nortey Dowuona, Prince of the Ga people from Osu in the Grand Accra region of Ghana, West Africa, 1897, oil on canvas, Collection MNAHA",[],"image$581a16cf-b400-443f-95ef-696551be2e71",{"variation":59,"version":60,"items":1209,"primary":1210,"id":1224,"slice_type":94,"slice_label":7},[],{"title":1211,"content":1215},[1212],{"type":66,"text":1213,"spans":1214,"direction":1126},"A mysterious portrait",[],[1216,1219,1221],{"type":71,"text":1217,"spans":1218,"direction":1126},"The newly acquired painting is presented in its (presumably) original, beautifully crafted bamboo frame. From the corners of the frame protrude four tubers–the roots of the bamboo–enhancing its exotic allure. Its quasi-photographic quality and frontal, naturalistic depiction of a black man in bust form make it challenging to date at first glance. The painting appears academic with its polished finish and the model’s classical pose, yet it diverges from tradition through its unconventional choice of subject.",[],{"type":71,"text":1128,"spans":1220,"direction":1126},[],{"type":71,"text":1222,"spans":1223,"direction":1126},"A black figure wears a piece of cloth in a toga-like fashion, draped over his left shoulder and leaving the right one bare. Set against a simple clay-green background, he lacks contextual markers. The museum acquired it at a 2021 Sotheby's auction, simply as “Portrait of an African Man”. Its author, Austrian painter Franz von Matsch (1861-1942), was active in Vienna from the late 19th to the mid-20th century. Reflecting an era when Black representation in European art expanded alongside migration from Africa and Haiti, such works broke away from prevailing stereotypes. However, the context in which this portrait was created unveils more complex realities. While interpreting the artist’s perspective solely through the painting proves challenging, it nevertheless offers profound insights into anthropology and social relations in modern Europe.",[],"text$b4cb4442-fba2-4a3d-9ed3-7f3a2a3ca55a",{"variation":59,"version":60,"items":1226,"primary":1227,"id":1241,"slice_type":94,"slice_label":7},[],{"title":1228,"content":1232},[1229],{"type":66,"text":1230,"spans":1231,"direction":1126},"Matsch and Klimt: partners in art",[],[1233,1236,1238],{"type":71,"text":1234,"spans":1235,"direction":1126},"In the 1870s, Franz von Matsch trained alongside Gustav Klimt and his brother Ernst at Vienna's School of Applied Arts, all steeped in conservative academic traditions. After their studies, in 1883, the trio collaborated on public commissions until Gustav Klimt distanced himself from the traditional painting style. Favouring artistic innovation, Klimt's art underwent a major shift in 1895, and two years later, he co-founded the Vienna Secession, one of the most avant-garde movements of the time.",[],{"type":71,"text":1128,"spans":1237,"direction":1126},[],{"type":71,"text":1239,"spans":1240,"direction":1126},"Despite their diverging paths, Klimt and Matsch appear to have maintained a close relationship, as evidenced by their joint portrayal of the man in a toga. This enigmatic sitter is also the subject of one of Klimt's paintings, which depicts him in three-quarter view. The portrait itself is shrouded in mystery, having last been seen in public at a 1928 retrospective marking the 10th anniversary of Klimt's death. A black-and-white photograph from a 1923 auction catalogue is the only visual trace of the painting that exists today.",[],"text$5f3b82d7-a73d-4039-9852-2a47bf8110de",{"variation":324,"version":60,"items":1243,"primary":1253,"id":1263,"slice_type":136,"slice_label":7},[1244],{"image":1245,"title":1251,"subtitle":1252},{"dimensions":1246,"alt":7,"copyright":7,"url":1248,"id":1249,"edit":1250},{"width":101,"height":1247},2413,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZqOjhB5LeNNTxhoK_Klimtpainting2.png?auto=format,compress","ZqOjhB5LeNNTxhoK",{"x":45,"y":45,"zoom":46,"background":1151},"Gustav Klimt (1862-1918)","Portrait of William Nii Nortey Dowuona, c. 1897",{"image1":1254,"label":7,"copyright":1259},{"dimensions":1255,"alt":7,"copyright":7,"url":1256,"id":1257,"edit":1258},{"width":38,"height":90},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZqOqcR5LeNNTxhrQ_GustavKlimtlandscape3_2.jpg?auto=format,compress","ZqOqcR5LeNNTxhrQ",{"x":45,"y":45,"zoom":46,"background":1151},[1260],{"type":71,"text":1261,"spans":1262,"direction":1126},"Gustav Klimt (1862-1918), Portrait of William Nii Nortey Dowuona, c. 1897\n\n(Click to view the full image)",[],"image$d8c5583d-c0ef-4f3e-a78c-a493b58b6b37",{"variation":59,"version":60,"items":1265,"primary":1266,"id":1272,"slice_type":94,"slice_label":7},[],{"title":1267,"content":1268},[],[1269],{"type":71,"text":1270,"spans":1271,"direction":1126},"Priem highlights these portraits as testaments not only to artistic camaraderie but also to the rift that possibly fractured the painters’ bond—a bullet hole in Matsch's work mirrors a dagger gash in Klimt's. An eye for an eye...",[],"text$c4881e79-a305-4079-bf28-d01b6806f52b",{"variation":59,"version":60,"items":1274,"primary":1275,"id":1284,"slice_type":94,"slice_label":7},[],{"title":1276,"content":1280},[1277],{"type":66,"text":1278,"spans":1279,"direction":1126},"Investigating identity",[],[1281],{"type":71,"text":1282,"spans":1283,"direction":1126},"In a 2012 publication, art historian Tobias Natter questioned the dating and subject of Klimt’s portrait. Natter speculated that it might depict an African sculpture Klimt admired at Brussels’ Musée du Congo in 1914. Enter Alfred Weidinger, Vienna’s Belvedere Museum’s former vice-president, who established the link between Klimt’s and Matsch’s portraits to around 1897. This was not only the year when Klimt began incorporating flowers into the backgrounds of his works, but also the year a group of Ga people from Ghana were “hired” to “perform” in Vienna’s “Tiergarten” (German for “zoo”).",[],"text$4a43e929-6358-422a-bc1e-5fa06cd95e72",{"variation":59,"version":60,"items":1286,"primary":1296,"id":1306,"slice_type":136,"slice_label":7},[1287],{"image":1288,"title":1295,"subtitle":7},{"dimensions":1289,"alt":7,"copyright":7,"url":1292,"id":1293,"edit":1294},{"width":1290,"height":1291},2634,1517,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZqOk8h5LeNNTxhpX_printWienerTiergarten1897_SMK%5B31%5D2.png?auto=format,compress","ZqOk8h5LeNNTxhpX",{"x":45,"y":45,"zoom":46,"background":1151},"A group of Ga people from Ghana at Vienna’s Tiergarten circa 1897.",{"image1":1297,"label":7,"copyright":1302},{"dimensions":1298,"alt":7,"copyright":7,"url":1299,"id":1300,"edit":1301},{"width":38,"height":90},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZqOk6h5LeNNTxhpW_GapeopleLandscape3_2.jpg?auto=format,compress","ZqOk6h5LeNNTxhpW",{"x":45,"y":45,"zoom":46,"background":1151},[1303],{"type":71,"text":1304,"spans":1305,"direction":1126},"A group of Ga people from Ghana at Vienna’s Tiergarten circa 1897.\n\n(Click to view the full image.)",[],"image$f6b14082-d44d-4c8d-8b4b-a272c5c292e3",{"variation":59,"version":60,"items":1308,"primary":1309,"id":1315,"slice_type":94,"slice_label":7},[],{"title":1310,"content":1311},[],[1312],{"type":71,"text":1313,"spans":1314,"direction":1126},"During the late 19th century, “human zoos” sprang up across Europe, fuelling a fascination with the exotic at the height of colonial rule, explains Charline Zeitoun, science journalist and deputy editor-in-chief at CNRS. German wild animal importer Carl Hagenberg, known as the “King of the Zoos”, also popularised “ethnic shows”. Inuits, Nubians, Dahomeans, Amerindians, Koreans and other peoples were exhibited in reconstructed villages and asked to perform dances, wear imaginary costumes and even embody cannibalistic and brutal personas. This dehumanising industry aimed to attract an ever-growing audience while trying to legitimise the colonial and civilising enterprise. Such stagings were a resounding success with a Western public that could be described as voyeuristic, fascinated by the unusual and the exotic. “More than a billion visitors are said to have flocked to see this type of exhibition between 1870 and 1940” (“Plus d’un milliard de visiteurs se seraient pressés pour voir ce type d’exhibitions entre 1870 et 1940”), states Zeitoun.",[],"text$fef5c538-5ed3-48be-b23e-be746761f777",{"variation":59,"version":60,"items":1317,"primary":1318,"id":1332,"slice_type":94,"slice_label":7},[],{"title":1319,"content":1323},[1320],{"type":66,"text":1321,"spans":1322,"direction":1126},"Breaking with artistic conventions",[],[1324,1327,1329],{"type":71,"text":1325,"spans":1326,"direction":1126},"Returning to Weidinger, he, along with one of the Belvedere’s Curators Markus Fellinger, identified the figure in both portraits as William Nii Nortey Dowuona, the leader of the Ga people from Osu in Ghana. Dowuona came to Vienna’s “Tiergarten” to perform with a group of 70 warriors and about 50 women and children, all for a modest fee. At the time, the world of show business provided a fertile ground for artists seeking life models that were both affordable and challenged academic conventions. In the catalogue accompanying the 2019 exhibition “Le modèle noir, de Géricault à Matisse” at the Musée d’Orsay in Paris, Estelle Béhué and Isolde Pludermacher note that for 19th-century artists, depicting a Black model marked a significant departure from the beauty standards of the time, which were anchored in the facial features and whiteness of Greek statues.",[],{"type":71,"text":1128,"spans":1328,"direction":1126},[],{"type":71,"text":1330,"spans":1331,"direction":1126},"Matsch’s portrayal sharply contrasts with long-prevailing depictions of young African men and women in orientalist attire or as domestic pages, emphasising the absolute domination and prosperity of their masters. Instead, the man here is neither a mere decorative motif nor a stereotype; he is presented in a dignified and attentive portrait. As the Orsay exhibition catalogue highlights, artists of this era played a key role in challenging racist and colonial ideologies.",[],"text$657902fd-4faf-4c2e-881d-e6527ceccc5d",{"variation":59,"version":60,"items":1334,"primary":1335,"id":1344,"slice_type":94,"slice_label":7},[],{"title":1336,"content":1340},[1337],{"type":66,"text":1338,"spans":1339,"direction":1126},"The Ghanaian Prince awaits his twin portrait",[],[1341],{"type":71,"text":1342,"spans":1343,"direction":1126},"While most black models from this period remain nameless, William Nii Nortey Dowuona’s identity is now memorialised at the Nationalmusée um Fëschmaart. He was Prince of the Ga people from Osu in the Grand Accra region of Ghana, West Africa. Priem hopes to one day reunite this portrait with Klimt’s missing piece, should it still exist and resurface. The twin portraits not only share the same subject but also the same palette, with “the two painters having used the exact same colours”, Priem further explains. Their reunion, if it ever happens, would certainly add an exciting chapter to this story and perhaps unveil further details.",[],"text$49b51a06-a118-446d-962b-15e468711c46",{"variation":96,"version":60,"items":1346,"primary":1359,"id":1370,"slice_type":136,"slice_label":7},[1347,1352],{"image":1348,"title":1351,"subtitle":7},{"dimensions":1349,"alt":7,"copyright":7,"url":1173,"id":1174,"edit":1350},{"width":1172,"height":1165},{"x":45,"y":45,"zoom":46,"background":1151},"Matsch",{"image":1353,"title":1358,"subtitle":7},{"dimensions":1354,"alt":7,"copyright":7,"url":1355,"id":1356,"edit":1357},{"width":90,"height":38},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZqOjRB5LeNNTxhoC_GustavKlimt-3_2portrait.jpg?auto=format,compress","ZqOjRB5LeNNTxhoC",{"x":45,"y":45,"zoom":46,"background":1151},"Klimt",{"image1":1360,"image2":1363,"label":7,"copyright":1366},{"dimensions":1361,"alt":7,"copyright":7,"url":1173,"id":1174,"edit":1362},{"width":1172,"height":1165},{"x":45,"y":45,"zoom":46,"background":1151},{"dimensions":1364,"alt":7,"copyright":7,"url":1355,"id":1356,"edit":1365},{"width":90,"height":38},{"x":45,"y":45,"zoom":46,"background":1151},[1367],{"type":71,"text":1368,"spans":1369,"direction":1126},"Franz von Matsch’s and Gustav Klimt’s portraits of William Nii Nortey Dowuona circa 1897 (Matsch: left \u002F Klimt: right).\n\n(Click to view the full image)",[],"image$bd4ac8de-e7ea-4a73-b1b5-4ca49000c0b3",{"variation":59,"version":60,"items":1372,"primary":1373,"id":1379,"slice_type":94,"slice_label":7},[],{"title":1374,"content":1375},[],[1376],{"type":71,"text":1377,"spans":1378,"direction":1126},"Exceptionally, the travel diaries of these Ghanaian \"actors\" have survived and, along with the two portraits, will be the focus of an Austrian documentary set for release in 2025, states the Nationalmusée’s Curator. This might allow the model to shift from being an observed subject to becoming an observer, providing us with a most interesting testimony.",[],"text$d70576b5-f405-435e-8a30-2e6013de9b76",{"variation":59,"version":60,"items":1381,"primary":1382,"id":1392,"slice_type":136,"slice_label":7},[],{"image1":1383,"label":7,"copyright":1388},{"dimensions":1384,"alt":7,"copyright":7,"url":1385,"id":1386,"edit":1387},{"width":38,"height":90},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZqOmbx5LeNNTxhpv_Nationalmus%C3%A9eumF%C3%ABschmaart-landscape3_2.jpg?auto=format,compress","ZqOmbx5LeNNTxhpv",{"x":45,"y":45,"zoom":46,"background":1151},[1389],{"type":71,"text":1390,"spans":1391,"direction":1126},"Nationalmusée um Fëschmaart, Luxembourg © Sophie Whaley",[],"image$60e6c030-caa3-475e-9b8b-dc7f2ca2aff8","How Klimt and Matsch rendered a Ghanaian Prince in turn-of-the-century Vienna","At the Nationalmusée um Fëschmaart in Luxembourg, visitors can discover a mysterious portrait by Franz von Matsch. The Austrian painter, active in Vienna at the turn of the century, was once part of iconic artist Gustav Klimt's inner circle. Both painters seemingly sat side-by-side to portray this enigmatic sitter, recently identified as a Ghanaian Prince. He is also the subject of a long-lost painting by Gustav Klimt, unseen for a century. Most curiously, these portraits shed light on the friendship and break-up between Klimt and Matsch.",{"dimensions":1396,"alt":7,"copyright":7,"url":1397,"id":1398,"edit":1399},{"width":181,"height":182},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZqOnHB5LeNNTxhp-_HiddenGemattheNationalmus%C3%A9eumF%C3%ABschmaart-ImageOpengraph.jpg?auto=format,compress","ZqOnHB5LeNNTxhp-",{"x":45,"y":45,"zoom":46,"background":1151},[1401,1473,1478],{"variation":59,"version":60,"items":1402,"primary":1470,"id":1472,"slice_type":225,"slice_label":7},[1403,1412,1422,1433,1443,1452,1461,1466],{"post":1404},{"id":1405,"type":8,"tags":1406,"lang":22,"slug":1408,"first_publication_date":1409,"last_publication_date":1410,"uid":1408,"link_type":32,"key":1411,"isBroken":200},"ZoZklBMAACIAPKk1",[1407],"Francis Bacon","a-new-face-at-luxembourgs-nationalmusee-um-feschmaart","2024-07-04T17:25:15+0000","2024-07-24T15:42:33+0000","9197a389-b0ae-43a2-8908-82822686e7ea",{"post":1413},{"id":1414,"type":8,"tags":1415,"lang":22,"slug":1418,"first_publication_date":1419,"last_publication_date":1420,"uid":1418,"link_type":32,"key":1421,"isBroken":200},"ZmsEqBIAACEAI9lL",[1416,1417],"Art Investment","Gerhard Richter","gerhard-richters-market-milestones","2024-06-13T15:21:44+0000","2024-07-18T13:22:00+0000","3b7a76b3-2e61-41d2-a4b1-9f68c9a7c95a",{"post":1423},{"id":1424,"type":8,"tags":1425,"lang":22,"slug":1428,"first_publication_date":1429,"last_publication_date":1430,"uid":1431,"link_type":32,"key":1432,"isBroken":200},"ZRwVthAAACgAzNbe",[1426,1427],"Caravaggio ","Baroque","1.-excessive-realism","2023-10-04T15:22:54+0000","2024-07-08T10:37:58+0000","how-caravaggio-shocked-the-art-world","233db1e4-3e60-4be8-8a00-d801f8599c43",{"post":1434},{"id":1435,"type":8,"tags":1436,"lang":22,"slug":1438,"first_publication_date":1439,"last_publication_date":1440,"uid":1441,"link_type":32,"key":1442,"isBroken":200},"ZoUo6RMAACAAOs_e",[1416,1437],"Claude Monet ","monets-iconic-series-from-haystacks-to-water-lilies","2024-07-04T13:38:46+0000","2024-07-05T08:39:57+0000","monets-iconic-series","4caa8628-e357-4e92-ab1e-332b75371f22",{"post":1444},{"id":1445,"type":8,"tags":1446,"lang":22,"slug":1447,"first_publication_date":1448,"last_publication_date":1449,"uid":1450,"link_type":32,"key":1451,"isBroken":200},"ZnwALhMAACIALWrC",[1416,1437],"the-market-landscape-of-monets-water-lilies","2024-07-02T09:15:33+0000","2024-07-03T14:13:54+0000","artist-report-claude-monet","3d2e0575-7f72-4dc4-8bb2-67c5b1aad769",{"post":1453},{"id":1454,"type":8,"tags":1455,"lang":22,"slug":1456,"first_publication_date":1457,"last_publication_date":1458,"uid":1459,"link_type":32,"key":1460,"isBroken":200},"ZP7wwRIAACUAhvx4",[1437,12],"fraternal-patronage-sparked-monets-rise-to-fame","2023-09-12T10:44:07+0000","2023-09-13T12:12:00+0000","claude-monet-leon-monet-impressionism","f58e7f45-6168-4695-8672-9349206e063d",{"post":1462},{"id":1463,"type":29,"tags":1464,"lang":7,"slug":31,"first_publication_date":7,"last_publication_date":7,"link_type":32,"key":1465,"isBroken":34},"ZIiKuhAAACIAqAYV",[],"3f75c257-b172-4913-b614-008f62951bd9",{"post":1467},{"id":203,"type":8,"tags":1468,"lang":22,"slug":206,"first_publication_date":207,"last_publication_date":208,"uid":209,"link_type":32,"key":1469,"isBroken":200},[205],"8db42803-5f32-4d71-a7c7-e1e884066eea",{"slides_per_view":7,"max_slides_count":7,"tag":1471,"type":8,"title":223,"paralax":200},{"link_type":32},"carousel$c3c2ccad-14cd-465a-b3be-f5445f8b9e50",{"variation":59,"version":60,"items":1474,"primary":1475,"id":1477,"slice_type":225,"slice_label":7},[],{"slides_per_view":7,"max_slides_count":7,"tag":1476,"type":230,"title":231,"paralax":200},{"link_type":32},"carousel$ab31fc86-a46c-4047-bcbc-44e30e718b90",{"variation":59,"version":60,"items":1479,"primary":1480,"id":1482,"slice_type":225,"slice_label":7},[],{"slides_per_view":7,"max_slides_count":7,"tag":1481,"type":237,"title":493,"paralax":200},{"link_type":32},"carousel$37b53b0e-263c-48f5-8f6b-d97c378b20d5",{"slice":226,"payload":1484},[1485,1647,1747,1898],{"id":1486,"uid":1487,"url":7,"type":230,"href":1488,"tags":1489,"first_publication_date":1490,"last_publication_date":1491,"slugs":1492,"linked_documents":1498,"lang":22,"alternate_languages":1499,"data":1500},"ZBGaLhAAACgAzxTK","conservator-julia-nagal-discusses-how-restoring-paintings","https:\u002F\u002Fartexplorer-prod.cdn.prismic.io\u002Fapi\u002Fv2\u002Fdocuments\u002Fsearch?ref=aCb60BIAACEA00zN&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22ZBGaLhAAACgAzxTK%22%29+%5D%5D",[205],"2023-03-16T16:45:51+0000","2023-08-31T21:35:17+0000",[1493,1494,1495,1496,1497],"julia-nagle-how-is-science-improving-art-conservation-techniques","how-is-science-improving-art-conservation-techniques","how-is-science-improving-art-restoration-techniques","how-has-the-art-restoration-industry-changed-over-the-last-couple-of-decades","how-restoring-paintings-has-changed-over-the-last-couple-of-decades",[],[],{"title":1501,"subtitle":7,"color":7,"source":1502,"published_at":1510,"duration":1511,"cover":1512,"copyright_cover":7,"description":1517,"narrator_copyright":1521,"music_copyright":7,"mixing_copyright":7,"deezer_external":1522,"spotify_external":1524,"apple_podcast_external":1527,"slices":1528,"meta_title":1587,"meta_description":1588,"og_image":1589,"slices2":1595},"Julia Nagle: How is science improving art conservation techniques?",{"link_type":1503,"key":1504,"kind":1505,"id":1506,"url":1507,"name":1508,"size":1509},"Media","8c69021d-e7d2-4b86-a666-c5f5321d6575","file","ZJL5khEAACkAEYIk","https:\u002F\u002Fartexplorer-prod.cdn.prismic.io\u002Fartexplorer-prod\u002F20903495-2838-423f-86f5-5007e709f134_230616_ARTEXPLORED_AUDIOCAST_JULIA_NAGEL.mp3","230616_ARTEXPLORED_AUDIOCAST_JULIA_NAGEL.mp3","8512043","2023-08-10",713,{"dimensions":1513,"alt":7,"copyright":7,"url":1514,"id":1515,"edit":1516},{"width":39,"height":39},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Ff5376d69-fccc-487a-bbe5-8e4c2e0e37eb_carr%C3%A9.jpg?auto=compress,format","ZK_u3hIAACMAafCn",{"x":45,"y":45,"zoom":46,"background":47},[1518],{"type":71,"text":1519,"spans":1520},"Julia Nagle set up her own studio in 2009 (Julia Nagle Conservation) and it is now the official conservator for Frieze Masters and Frieze London art fairs, while it also works with private collectors, insurers, commercial galleries, and public institutions worldwide. Julia explains how restoration and conservation techniques have advanced over the years.",[],"George Nelson, Julia Nagle",{"link_type":1523},"Any",{"link_type":86,"key":1525,"url":1526},"2531dc00-3195-417a-b368-e3efdfc12181","https:\u002F\u002Fopen.spotify.com\u002Fepisode\u002F6m3DK4JetPQ5UJnx0GVG0x",{"link_type":1523},[1529],{"variation":59,"version":60,"items":1530,"primary":1585,"id":1586,"slice_type":429,"slice_label":7},[1531,1537,1543,1549,1555,1560,1565,1570,1575,1580],{"speaker":1532,"content":1533},"GN ",[1534],{"type":71,"text":1535,"spans":1536},"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":1538,"content":1539},"JN ",[1540],{"type":71,"text":1541,"spans":1542},"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":1544,"content":1545},"GN",[1546],{"type":71,"text":1547,"spans":1548},"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":1550,"content":1551},"JN",[1552],{"type":71,"text":1553,"spans":1554},"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":1544,"content":1556},[1557],{"type":71,"text":1558,"spans":1559},"Do you have a preference regarding a particular period or movement when it comes to conservation?  ",[],{"speaker":1550,"content":1561},[1562],{"type":71,"text":1563,"spans":1564},"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":1544,"content":1566},[1567],{"type":71,"text":1568,"spans":1569},"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":1550,"content":1571},[1572],{"type":71,"text":1573,"spans":1574},"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":1544,"content":1576},[1577],{"type":71,"text":1578,"spans":1579},"Do you have a favourite painting that you’ve ever restored or conserved and if so, why, why is it that painting? ",[],{"speaker":1550,"content":1581},[1582],{"type":71,"text":1583,"spans":1584},"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","How is science improving art restoration techniques?","Conservator Julia Nagle discusses how restoring paintings has changed over the the last couple of decades.",{"dimensions":1590,"alt":1591,"copyright":7,"url":1592,"id":1593,"edit":1594},{"width":181,"height":182},"ArtExplored audiocast with art conservator Julia Nagle","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F3f6680c6-48db-447c-93da-63b1e3a18f2d_Audiocast+Opengraph+How+is+science+improving+art+restoration+techniques_.jpg?auto=compress,format","ZK_XhhIAACAAaY5G",{"x":45,"y":45,"zoom":46,"background":47},[1596,1639],{"variation":59,"version":60,"items":1597,"primary":1635,"id":1638,"slice_type":225,"slice_label":7},[1598,1607,1617,1626],{"post":1599},{"id":1600,"type":230,"tags":1601,"lang":22,"slug":1602,"first_publication_date":1603,"last_publication_date":1604,"uid":1605,"link_type":32,"key":1606,"isBroken":200},"ZHc1QRAAACUAkmFm",[1416],"ludovic-subran-is-art-a-good-hedge-against-inflation","2023-05-31T11:53:41+0000","2023-08-31T21:34:18+0000","is-investing-in-art-a-good-hedge-against-inflation","c92e69d3-bca4-491e-ac2e-6fa3b6471f0e",{"post":1608},{"id":1609,"type":230,"tags":1610,"lang":22,"slug":1612,"first_publication_date":1613,"last_publication_date":1614,"uid":1615,"link_type":32,"key":1616,"isBroken":200},"ZA8MXBAAACgAyr6g",[1611],"Conservation ","curtis-dowling-fakes-and-forgeries-in-art","2023-03-13T11:44:46+0000","2023-08-31T21:34:49+0000","curtis-dowling-art-forgery-fakes","711747af-eeb9-4c96-97ff-07fc86220bf2",{"post":1618},{"id":1619,"type":230,"tags":1620,"lang":22,"slug":1621,"first_publication_date":1622,"last_publication_date":1623,"uid":1624,"link_type":32,"key":1625,"isBroken":200},"ZB3OZRAAACIAzkAv",[1611,11],"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":1627},{"id":1628,"type":230,"tags":1629,"lang":22,"slug":1630,"first_publication_date":1631,"last_publication_date":1632,"uid":1633,"link_type":32,"key":1634,"isBroken":200},"ZBNBcxAAACMAXuYT",[1059],"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":148,"max_slides_count":148,"tag":1636,"type":230,"title":1637,"paralax":7},{"link_type":32},"More Audiocast","carousel$a3497cfe-0f72-49d4-871f-4d5b7a083b9d",{"variation":59,"version":60,"items":1640,"primary":1643,"id":1646,"slice_type":225,"slice_label":7},[1641],{"post":1642},{"link_type":32},{"slides_per_view":148,"max_slides_count":147,"tag":1644,"type":8,"title":1645,"paralax":7},{"link_type":32},"Explore","carousel$37958bb9-5f44-4ea6-8ace-820083cac27c",{"id":1600,"uid":1605,"url":7,"type":230,"href":1648,"tags":1649,"first_publication_date":1603,"last_publication_date":1604,"slugs":1650,"linked_documents":1652,"lang":22,"alternate_languages":1653,"data":1654},"https:\u002F\u002Fartexplorer-prod.cdn.prismic.io\u002Fapi\u002Fv2\u002Fdocuments\u002Fsearch?ref=aCb60BIAACEA00zN&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22ZHc1QRAAACUAkmFm%22%29+%5D%5D",[1416],[1602,1651,1605],"is-art-a-good-hedge-against-inflation",[],[],{"title":1655,"subtitle":7,"color":7,"source":1656,"published_at":7,"duration":1662,"cover":1663,"copyright_cover":7,"description":1668,"narrator_copyright":1672,"music_copyright":7,"mixing_copyright":7,"deezer_external":1673,"spotify_external":1674,"apple_podcast_external":1677,"slices":1678,"meta_title":1730,"meta_description":1731,"og_image":1732,"slices2":1738},"Ludovic Subran: Is art a good hedge against inflation?",{"link_type":1503,"key":1657,"kind":1505,"id":1658,"url":1659,"name":1660,"size":1661},"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":1664,"alt":7,"copyright":7,"url":1665,"id":1666,"edit":1667},{"width":39,"height":39},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F1d826534-1e01-4f9b-a802-3e4c69cf46f5_carr%C3%A9-4.jpg?auto=compress,format","ZK_u3hIAACIAafCl",{"x":45,"y":45,"zoom":46,"background":47},[1669],{"type":71,"text":1670,"spans":1671},"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":1523},{"link_type":86,"key":1675,"url":1676},"c548a504-03e8-44b6-86cb-169f1613dd7a","https:\u002F\u002Fopen.spotify.com\u002Fepisode\u002F7EDbEuCntvDhUUUYH5lfMh",{"link_type":1523},[1679],{"variation":59,"version":60,"items":1680,"primary":1728,"id":1729,"slice_type":429,"slice_label":7},[1681,1687,1693,1698,1703,1708,1715,1720],{"speaker":1682,"content":1683},"RB",[1684],{"type":71,"text":1685,"spans":1686},"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":1688,"content":1689},"LS",[1690],{"type":71,"text":1691,"spans":1692},"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":1682,"content":1694},[1695],{"type":71,"text":1696,"spans":1697},"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":1688,"content":1699},[1700],{"type":71,"text":1701,"spans":1702},"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":1682,"content":1704},[1705],{"type":71,"text":1706,"spans":1707},"Was that also true in higher inflation periods like the 70s?",[],{"speaker":1688,"content":1709},[1710,1713],{"type":71,"text":1711,"spans":1712},"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":71,"text":1128,"spans":1714},[],{"speaker":1682,"content":1716},[1717],{"type":71,"text":1718,"spans":1719},"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":1688,"content":1721},[1722],{"type":71,"text":1723,"spans":1724},"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.",[1725],{"start":1726,"end":1727,"type":77},1106,1122,{},"text_interview$3b969a72-6120-4632-baed-d07430cdce58","Is art a good hedge against inflation?","Ludovic Subran highlights art's proven record as a hedge against rising prices",{"dimensions":1733,"alt":1734,"copyright":7,"url":1735,"id":1736,"edit":1737},{"width":181,"height":182},"Art Explored audiocast with Ludovic Subran, the chief economist at Allianz SE","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Ff4eafce7-614a-469a-8ea3-2f61431c4c1d_Audiocast+Opengraph+Is+art+a+good+hedge+against+inflation+_.jpg?auto=compress,format","ZK_XhhIAACMAaY5F",{"x":45,"y":45,"zoom":46,"background":47},[1739],{"variation":59,"version":60,"items":1740,"primary":1743,"id":1746,"slice_type":225,"slice_label":7},[1741],{"post":1742},{"link_type":32},{"slides_per_view":7,"max_slides_count":7,"tag":1744,"type":230,"title":1745,"paralax":7},{"link_type":32},"Explore Audiocasts","carousel$ee4f582c-a0fd-486b-99f6-2ee753e8198d",{"id":1628,"uid":1633,"url":7,"type":230,"href":1748,"tags":1749,"first_publication_date":1631,"last_publication_date":1632,"slugs":1750,"linked_documents":1756,"lang":22,"alternate_languages":1757,"data":1758},"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",[1059],[1630,1751,1752,1753,1754,1755],"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":1759,"subtitle":7,"color":1760,"source":1761,"published_at":7,"duration":1767,"cover":1768,"copyright_cover":7,"description":1773,"narrator_copyright":1777,"music_copyright":7,"mixing_copyright":7,"deezer_external":1778,"spotify_external":1779,"apple_podcast_external":1782,"slices":1783,"meta_title":1859,"meta_description":1860,"og_image":1861,"slices2":1867},"Simonetta Fraquelli & Annette King: Modigliani's enduring appeal and spotting his fakes!","#ffd9a5",{"link_type":1503,"key":1762,"kind":1505,"id":1763,"url":1764,"name":1765,"size":1766},"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":1769,"alt":7,"copyright":7,"url":1770,"id":1771,"edit":1772},{"width":39,"height":39},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F7e5f9781-4dfb-4dcc-9c8c-93373690ccd5_carr%C3%A9-1.jpg?auto=compress,format","ZK_u3hIAACEAafCo",{"x":45,"y":45,"zoom":46,"background":47},[1774],{"type":71,"text":1775,"spans":1776},"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":1523},{"link_type":86,"key":1780,"url":1781},"07d80b36-a779-4f2b-a26d-6c64c1999b5f","https:\u002F\u002Fopen.spotify.com\u002Fepisode\u002F3hgiJBJvW5wc5Xtl7Jsz5f",{"link_type":1523},[1784],{"variation":59,"version":60,"items":1785,"primary":1857,"id":1858,"slice_type":429,"slice_label":7},[1786,1792,1798,1803,1811,1817,1822,1827,1832,1837,1842,1847,1852],{"speaker":1787,"content":1788},"WC",[1789],{"type":71,"text":1790,"spans":1791},"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":1793,"content":1794},"SF",[1795],{"type":71,"text":1796,"spans":1797},"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":1787,"content":1799},[1800],{"type":71,"text":1801,"spans":1802},"So, what is it about Modigliani’s work that gives him such enduring appeal?",[],{"speaker":1804,"content":1805},"AK",[1806,1809],{"type":71,"text":1807,"spans":1808},"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":71,"text":1128,"spans":1810},[],{"speaker":1812,"content":1813},"SM",[1814],{"type":71,"text":1815,"spans":1816},"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":1787,"content":1818},[1819],{"type":71,"text":1820,"spans":1821},"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":1804,"content":1823},[1824],{"type":71,"text":1825,"spans":1826},"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":1793,"content":1828},[1829],{"type":71,"text":1830,"spans":1831},"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":1787,"content":1833},[1834],{"type":71,"text":1835,"spans":1836},"And my penultimate question, why have there been so many forgeries of his work?",[],{"speaker":1793,"content":1838},[1839],{"type":71,"text":1840,"spans":1841},"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":1787,"content":1843},[1844],{"type":71,"text":1845,"spans":1846},"And finally, why are the eyes in Modigliani's paintings so mysterious?",[],{"speaker":1793,"content":1848},[1849],{"type":71,"text":1850,"spans":1851},"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":1804,"content":1853},[1854],{"type":71,"text":1855,"spans":1856},"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":1862,"alt":1863,"copyright":7,"url":1864,"id":1865,"edit":1866},{"width":181,"height":182},"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":45,"y":45,"zoom":46,"background":47},[1868,1885],{"variation":59,"version":60,"items":1869,"primary":1882,"id":1884,"slice_type":225,"slice_label":7},[1870,1874,1878],{"post":1871},{"id":1486,"type":230,"tags":1872,"lang":22,"slug":1493,"first_publication_date":1490,"last_publication_date":1491,"uid":1487,"link_type":32,"key":1873,"isBroken":200},[205],"cc9634a8-e0e5-4fd9-b0da-df8619c02af3",{"post":1875},{"id":1609,"type":230,"tags":1876,"lang":22,"slug":1612,"first_publication_date":1613,"last_publication_date":1614,"uid":1615,"link_type":32,"key":1877,"isBroken":200},[1611],"06dbce65-3f06-4a73-8bbb-1ee2904100f5",{"post":1879},{"id":1619,"type":230,"tags":1880,"lang":22,"slug":1621,"first_publication_date":1622,"last_publication_date":1623,"uid":1624,"link_type":32,"key":1881,"isBroken":200},[1611,11],"fc7fb871-4bda-440e-88d7-efa9d52e76d9",{"slides_per_view":147,"max_slides_count":7,"tag":1883,"type":230,"title":1637,"paralax":7},{"link_type":32},"carousel$18625f0d-cea1-4b21-98e1-454e17a02310",{"variation":59,"version":60,"items":1886,"primary":1889,"id":1897,"slice_type":225,"slice_label":7},[1887],{"post":1888},{"link_type":32},{"slides_per_view":148,"max_slides_count":7,"tag":1890,"type":8,"title":760,"paralax":7},{"id":1891,"type":753,"tags":1892,"lang":22,"slug":1893,"first_publication_date":1894,"last_publication_date":1895,"uid":1893,"link_type":32,"key":1896,"isBroken":200},"ZA9CHxAAAKdKyyuy",[1059],"amedeo-modigliani","2023-03-13T15:44:44+0000","2023-03-20T16:55:09+0000","680be898-66ae-457b-a11a-0f8eab361541","carousel$5a8cbd87-eb7f-4250-8101-f425a76ddcac",{"id":1899,"uid":1900,"url":7,"type":230,"href":1901,"tags":1902,"first_publication_date":1903,"last_publication_date":1904,"slugs":1905,"linked_documents":1908,"lang":22,"alternate_languages":1909,"data":1910},"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",[1906,1907,1900],"samantha-friedman-moma-a-rare-glimpse-of-georgia-okeeffe","samantha-friedman-moma-a-rare-glimpse-of-goergia-okeeffe",[],[],{"title":1911,"subtitle":7,"color":1912,"source":1913,"published_at":1510,"duration":1919,"cover":1920,"copyright_cover":1926,"description":1927,"narrator_copyright":1931,"music_copyright":7,"mixing_copyright":7,"deezer_external":1932,"spotify_external":1933,"apple_podcast_external":1936,"slices":1937,"meta_title":1911,"meta_description":1929,"og_image":2023,"slices2":2029},"Samantha Friedman (MoMA): A rare glimpse of Georgia O'Keeffe","#ee5d5d",{"link_type":1503,"key":1914,"kind":1505,"id":1915,"url":1916,"name":1917,"size":1918},"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":1921,"alt":1911,"copyright":7,"url":1923,"id":1924,"edit":1925},{"width":1922,"height":1922},1080,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F7874436e-6b77-4ac5-bf7a-90351fc27438_230811_ARTEXPLORED_AUDIOCAST_SAMANTHA_FRIEDMAN.jpg?auto=compress,format","ZNY9rBEAACAAqwRq",{"x":45,"y":45,"zoom":46,"background":47},"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",[1928],{"type":71,"text":1929,"spans":1930},"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":1523},{"link_type":86,"key":1934,"url":1935},"2d512a63-af04-4df0-bda5-541d755dd3ef","https:\u002F\u002Fopen.spotify.com\u002Fepisode\u002F3mGpDNBundMZ0r8Dquj5Ft",{"link_type":1523},[1938],{"variation":59,"version":60,"items":1939,"primary":2021,"id":2022,"slice_type":429,"slice_label":7},[1940,1945,1950,1955,1971,1976,1981,1986,1991,1996,2001,2006,2011,2016],{"speaker":1787,"content":1941},[1942],{"type":71,"text":1943,"spans":1944},"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":1793,"content":1946},[1947],{"type":71,"text":1948,"spans":1949},"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":1787,"content":1951},[1952],{"type":71,"text":1953,"spans":1954},"Why did MoMA choose to organise an exhibition focusing solely on O'Keeffe's works on paper?",[],{"speaker":1793,"content":1956},[1957],{"type":71,"text":1958,"spans":1959},"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.",[1960,1963,1966,1968],{"start":1961,"end":1962,"type":77},1367,1379,{"start":1964,"end":1965,"type":77},1410,1415,{"start":1291,"end":1967,"type":77},1530,{"start":1969,"end":1970,"type":77},1558,1564,{"speaker":1787,"content":1972},[1973],{"type":71,"text":1974,"spans":1975},"What is it about O'Keeffe's painting techniques and subject matter that established her reputation as an innovative modernist?",[],{"speaker":1793,"content":1977},[1978],{"type":71,"text":1979,"spans":1980},"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":1787,"content":1982},[1983],{"type":71,"text":1984,"spans":1985},"Which artists influenced O’Keeffe throughout her career?",[],{"speaker":1793,"content":1987},[1988],{"type":71,"text":1989,"spans":1990},"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":1787,"content":1992},[1993],{"type":71,"text":1994,"spans":1995},"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":1793,"content":1997},[1998],{"type":71,"text":1999,"spans":2000},"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":1787,"content":2002},[2003],{"type":71,"text":2004,"spans":2005},"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":1793,"content":2007},[2008],{"type":71,"text":2009,"spans":2010},"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":1787,"content":2012},[2013],{"type":71,"text":2014,"spans":2015},"Have you personally learned anything new about O’Keeffe during your time curating the exhibition?",[],{"speaker":1793,"content":2017},[2018],{"type":71,"text":2019,"spans":2020},"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$08922976-6c78-4426-bb8d-e3f89e236dc8",{"dimensions":2024,"alt":2025,"copyright":7,"url":2026,"id":2027,"edit":2028},{"width":181,"height":182},"Samantha Friedman (MoMA): A rare glimpse of Goergia O'Keeffe","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fe4dceda2-b044-4b5e-8d01-e23ed4c63f12_Audiocast+Opengraph+Samantha+Friedman.jpg?auto=compress,format","ZNZAdxEAAB4AqxGj",{"x":45,"y":45,"zoom":46,"background":47},[2030],{"variation":59,"version":60,"items":2031,"primary":2048,"id":2052,"slice_type":225,"slice_label":7},[2032,2036,2040,2044],{"post":2033},{"id":1619,"type":230,"tags":2034,"lang":22,"slug":1621,"first_publication_date":1622,"last_publication_date":1623,"uid":1624,"link_type":32,"key":2035,"isBroken":200},[1611,11],"cb78cdf8-f594-4d16-8560-ae842cb22a2e",{"post":2037},{"id":1609,"type":230,"tags":2038,"lang":22,"slug":1612,"first_publication_date":1613,"last_publication_date":1614,"uid":1615,"link_type":32,"key":2039,"isBroken":200},[1611],"c488db66-af35-4e92-8832-c0e766361098",{"post":2041},{"id":1486,"type":230,"tags":2042,"lang":22,"slug":1493,"first_publication_date":1490,"last_publication_date":1491,"uid":1487,"link_type":32,"key":2043,"isBroken":200},[205],"41322e8e-f386-4920-b4ea-8a9286535504",{"post":2045},{"id":1600,"type":230,"tags":2046,"lang":22,"slug":1602,"first_publication_date":1603,"last_publication_date":1604,"uid":1605,"link_type":32,"key":2047,"isBroken":200},[1416],"bb23f4e5-36db-4cdf-8e29-39e7ee525d6b",{"slides_per_view":7,"max_slides_count":7,"tag":2049,"type":2050,"title":2051,"paralax":7},{"link_type":32},"*","Listen to more audiocasts","carousel$fa580951-4d76-4c92-968a-5c51a1fd4bfc",{"slice":233,"payload":2054},[2055,2133,2203,2276],{"id":2056,"uid":2057,"url":7,"type":237,"href":2058,"tags":2059,"first_publication_date":2061,"last_publication_date":2062,"slugs":2063,"linked_documents":2064,"lang":22,"alternate_languages":2065,"data":2066},"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",[2060],"Leonardo da Vinci","2023-03-17T10:25:37+0000","2024-02-20T13:26:23+0000",[],[],[],{"title":2067,"subtitle":7,"description":2068,"serie":2072,"episode":7,"source":2073,"published_at":7,"youtube_external":2076,"vimeo_external":2077,"instagram_external":2078,"duration":2079,"narrator_copyright":7,"music_copyright":7,"editing_copyright":7,"cover_desktop":2080,"cover_mobile":2086,"copyright_cover":7,"thumbnail":2091,"slices":2094,"meta_title":2111,"meta_description":2112,"og_image":2113,"slices2":2118},"The Virgin of the Rocks, 1483-1494",[2069],{"type":71,"text":2070,"spans":2071},"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":32},{"link_type":86,"key":2074,"url":2075},"fdbb7ac6-330d-4199-8578-5dad72dac1e8","https:\u002F\u002Fvimeo.com\u002F808259044",{"link_type":1523},{"link_type":1523},{"link_type":1523},140,{"dimensions":2081,"alt":2082,"copyright":7,"url":2083,"id":2084,"edit":2085},{"width":38,"height":39},"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":45,"y":45,"zoom":46,"background":47},{"dimensions":2087,"alt":2082,"copyright":7,"url":2088,"id":2089,"edit":2090},{"width":39,"height":38},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F7b0b859b-8d94-433b-ae7c-907950973b79_9_16-1.jpg?auto=compress,format","ZK_OdBIAACAAaW2j",{"x":45,"y":45,"zoom":46,"background":47},{"dimensions":2092,"alt":2082,"copyright":7,"url":2083,"id":2084,"edit":2093},{"width":38,"height":39},{"x":45,"y":45,"zoom":46,"background":47},[2095],{"variation":59,"version":60,"items":2096,"primary":2098,"id":2110,"slice_type":94,"slice_label":7},[2097],{},{"title":2099,"content":2103},[2100],{"type":66,"text":2101,"spans":2102},"About the painting",[],[2104],{"type":71,"text":2105,"spans":2106},"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. The Virgin of the Rocks (1483-1494) is a brilliant example of his use of geometry to unite his works; the pyramidal composition created by the figures, with Mary’s head forming the top point and the infant John the Baptist and baby Jesus creating the bottom two corners, guides our gaze from one face to the other. Da Vinci’s study of anatomy is on show in the complex bodies and poses of the children, whose gestures respond to one another, while the rocky arch in the background is almost like a theatre set and covered in plants painted with precision, highlighting the artist’s enthusiasm for botany. ",[2107],{"start":2108,"end":2109,"type":77},147,170,"text$6d97b283-cbdc-4d2d-93a4-875bc73187fc","The Virgin Of The Rocks","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. The Virgin of the Rocks (1483-1486) is a brilliant example of his use of geometry to unite his works; the pyramidal composition created by the figures, with Mary’s head forming the top point and the infant John the Baptist and baby Jesus creating the bottom two corners, guides our gaze from one face to the other.",{"dimensions":2114,"alt":2082,"copyright":7,"url":2115,"id":2116,"edit":2117},{"width":181,"height":182},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F28ab5c12-fa74-4822-b26d-a9b5c7f680a5_Video+Opengraph+Leonardo+Da+Vinci+-+The+Virgin+Of+The+Rocks+%281%29.jpg?auto=compress,format","ZK_OvhIAACAAaW4s",{"x":45,"y":45,"zoom":46,"background":47},[2119],{"variation":59,"version":60,"items":2120,"primary":2123,"id":2132,"slice_type":225,"slice_label":7},[2121],{"post":2122},{"link_type":32},{"slides_per_view":148,"max_slides_count":7,"tag":2124,"type":237,"title":2131,"paralax":200},{"id":2125,"type":753,"tags":2126,"lang":22,"slug":2127,"first_publication_date":2128,"last_publication_date":2129,"uid":2127,"link_type":32,"key":2130,"isBroken":200},"ZA9CxRAAACsAyyzc",[2060],"leonardo-da-vinci","2023-03-13T15:44:42+0000","2023-03-22T10:40:28+0000","c41a1f86-3d4c-4e62-b660-e1c9c6ae6e99","Related videos","carousel$722619be-bc92-4238-916a-cf99327ee441",{"id":2134,"uid":2135,"url":7,"type":237,"href":2136,"tags":2137,"first_publication_date":2138,"last_publication_date":2139,"slugs":2140,"linked_documents":2141,"lang":22,"alternate_languages":2142,"data":2143},"ZBHQmBAAAKdKz3cw","the-virgin-and-the-child-saint-anne","https:\u002F\u002Fartexplorer-prod.cdn.prismic.io\u002Fapi\u002Fv2\u002Fdocuments\u002Fsearch?ref=aCb60BIAACEA00zN&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22ZBHQmBAAAKdKz3cw%22%29+%5D%5D",[2060],"2023-03-17T10:59:32+0000","2024-02-20T13:24:55+0000",[],[],[],{"title":2144,"subtitle":7,"description":2145,"serie":2149,"episode":7,"source":2150,"published_at":7,"youtube_external":2153,"vimeo_external":2154,"instagram_external":2155,"duration":2156,"narrator_copyright":7,"music_copyright":7,"editing_copyright":7,"cover_desktop":2157,"cover_mobile":2163,"copyright_cover":2168,"thumbnail":2169,"slices":2172,"meta_title":2185,"meta_description":2186,"og_image":2187,"slices2":2193},"The Virgin and the Child Saint Anne, 1503-1519",[2146],{"type":71,"text":2147,"spans":2148},"The painting is a work of religious devotion and an allegory for lineage; the lamb in Jesus’ hands references his sacrifice on the cross as St. Anne watches over her descendants with a smile on her face.  ",[],{"link_type":32},{"link_type":86,"key":2151,"url":2152},"716f5343-d223-4ba1-a0b8-47f41980d19e","https:\u002F\u002Fvimeo.com\u002F808259481",{"link_type":1523},{"link_type":1523},{"link_type":1523},130,{"dimensions":2158,"alt":2159,"copyright":7,"url":2160,"id":2161,"edit":2162},{"width":38,"height":39},"Leonardo Da Vinci - The Virgin And The Child Saint Anne Video","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F655afdf3-2d09-429d-8d4a-2eaa012f3d0c_Slide+16_9+-+17.jpg?auto=compress,format","ZK_QChIAACEAaXJO",{"x":45,"y":45,"zoom":46,"background":47},{"dimensions":2164,"alt":2159,"copyright":7,"url":2165,"id":2166,"edit":2167},{"width":39,"height":38},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fbbc8b394-5d0f-4b8c-97dc-4dd2eb4af452_9_16-2.jpg?auto=compress,format","ZK_QChIAACIAaXJP",{"x":45,"y":45,"zoom":46,"background":47},"Leonardo Da Vinci - The Virgin And The Child Saint Anne",{"dimensions":2170,"alt":2159,"copyright":7,"url":2160,"id":2161,"edit":2171},{"width":38,"height":39},{"x":45,"y":45,"zoom":46,"background":47},[2173],{"variation":59,"version":60,"items":2174,"primary":2176,"id":2184,"slice_type":94,"slice_label":7},[2175],{},{"title":2177,"content":2180},[2178],{"type":66,"text":2101,"spans":2179},[],[2181],{"type":71,"text":2182,"spans":2183},"The three generations of the Holy Family are portrayed in the painting – St. Anne is holding her daughter Mary on her lap, who is reaching down to the baby Jesus while they look tenderly into each other’s eyes. Their gaze forms a diagonal that unifies the juxtaposition of their bodies within a pyramidal composition, which Leonardo da Vinci employed so often. ",[],"text$95744a9c-2538-46b6-aa14-2e98fd94528e","The Virgin And The Child Saint Anne","The three generations of the Holy Family are portrayed in the painting – St. Anne is holding her daughter Mary on her lap, who is reaching down to the baby Jesus while they look tenderly into each other’s eyes. Their gaze forms a diagonal that unifies the juxtaposition of their bodies within a pyramidal composition, which Leonardo da Vinci employed so often.",{"dimensions":2188,"alt":2189,"copyright":7,"url":2190,"id":2191,"edit":2192},{"width":181,"height":182},"Leonardo Da Vinci - The Virgin And The Child Saint Anne ","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fb1c7424b-3642-46d1-af45-b12e639396b4_Video+Opengraph+Annunciation.jpg?auto=compress,format","ZK_RlRIAACAAaXe6",{"x":45,"y":45,"zoom":46,"background":47},[2194],{"variation":59,"version":60,"items":2195,"primary":2198,"id":2202,"slice_type":225,"slice_label":7},[2196],{"post":2197},{"link_type":32},{"slides_per_view":148,"max_slides_count":7,"tag":2199,"type":237,"title":2131,"paralax":200},{"id":2125,"type":753,"tags":2200,"lang":22,"slug":2127,"first_publication_date":2128,"last_publication_date":2129,"uid":2127,"link_type":32,"key":2201,"isBroken":200},[2060],"5b447c42-6b9c-4e25-8484-548cd69d02d9","carousel$7fb1bc21-286f-4b9c-a016-0f4a55df73f4",{"id":2204,"uid":2205,"url":7,"type":237,"href":2206,"tags":2207,"first_publication_date":2208,"last_publication_date":2209,"slugs":2210,"linked_documents":2211,"lang":22,"alternate_languages":2212,"data":2213},"ZBCOlhAAACsAzVe1","the-annunciation","https:\u002F\u002Fartexplorer-prod.cdn.prismic.io\u002Fapi\u002Fv2\u002Fdocuments\u002Fsearch?ref=aCb60BIAACEA00zN&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22ZBCOlhAAACsAzVe1%22%29+%5D%5D",[2060],"2023-03-14T15:12:19+0000","2024-02-20T13:38:10+0000",[],[],[],{"title":2214,"subtitle":7,"description":2215,"serie":2219,"episode":7,"source":2220,"published_at":7,"youtube_external":2223,"vimeo_external":2224,"instagram_external":2225,"duration":2226,"narrator_copyright":7,"music_copyright":7,"editing_copyright":7,"cover_desktop":2227,"cover_mobile":2233,"copyright_cover":7,"thumbnail":2238,"slices":2241,"meta_title":2260,"meta_description":2261,"og_image":2262,"slices2":2268},"The Annunciation, 1472",[2216],{"type":71,"text":2217,"spans":2218},"Leonardo da Vinci's earliest complete work is punctuated with Christian iconography and depicts the dramatic moment the archangel Gabriel tells Mary that she has been chosen to be the mother of Christ. ",[],{"link_type":32},{"link_type":86,"key":2221,"url":2222},"35c7ae25-9349-4f60-866a-71df5d679cb3","https:\u002F\u002Fvimeo.com\u002F807590075",{"link_type":1523},{"link_type":1523},{"link_type":1523},126,{"dimensions":2228,"alt":2229,"copyright":7,"url":2230,"id":2231,"edit":2232},{"width":38,"height":39},"Leonardo da Vinci - The Annunciation video","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fa75c37f4-3909-4c55-9337-3223a0986c20_Slide+16_9+-+27.jpg?auto=compress,format","ZK_OHRIAACEAaWv_",{"x":45,"y":45,"zoom":46,"background":47},{"dimensions":2234,"alt":2229,"copyright":7,"url":2235,"id":2236,"edit":2237},{"width":39,"height":38},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F661b3a6e-65b5-4133-b6aa-f63466505f1d_9_16-8.jpg?auto=compress,format","ZK_OHRIAACAAaWv-",{"x":45,"y":45,"zoom":46,"background":47},{"dimensions":2239,"alt":2229,"copyright":7,"url":2230,"id":2231,"edit":2240},{"width":38,"height":39},{"x":45,"y":45,"zoom":46,"background":47},[2242],{"variation":59,"version":60,"items":2243,"primary":2245,"id":2259,"slice_type":94,"slice_label":7},[2244],{},{"title":2246,"content":2249},[2247],{"type":66,"text":2101,"spans":2248},[],[2250],{"type":71,"text":2251,"spans":2252},"Thought to be Leonardo da Vinci’s earliest complete work, it was painted between 1473 and 1475. The painting shows the dramatic meeting between the archangel Gabriel and Mary when he tells her that she has been chosen to conceive the son of God. There are several references to Christian iconography, including the lily in Gabriel’s hand, symbolising fertility, and the walled garden – a fecund space shielded from the outside world – representing Mary’s virginity. The Annunciation showcases Da Vinci’s use of geometrics to guide our eye to key elements of the composition, such as the river port in the background, which is veiled in a delicate, mysterious haze thanks to sfumato, a painting technique that the artist eventually mastered. ",[2253,2256],{"start":2254,"end":2255,"type":77},466,482,{"start":2257,"end":2258,"type":77},674,681,"text$290c10f4-787e-4bde-a516-a5a9e63c3dd1","The annunciation","Leonardo da Vinci's earliest complete work is punctuated with Christian iconography and depicts the dramatic moment the archangel Gabriel tells Mary that she has been chosen to be the mother of Christ",{"dimensions":2263,"alt":2264,"copyright":7,"url":2265,"id":2266,"edit":2267},{"width":181,"height":182},"The Annunciation - Leonardo da Vinci","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fa9726136-c3b5-4852-9aeb-25623af7379d_Video+Opengraph+The+Annunciation+-+Leonardo+da+Vinci.jpg?auto=compress,format","ZK_RMhIAACAAaXZY",{"x":45,"y":45,"zoom":46,"background":47},[2269],{"variation":59,"version":60,"items":2270,"primary":2271,"id":2275,"slice_type":225,"slice_label":7},[],{"slides_per_view":148,"max_slides_count":7,"tag":2272,"type":237,"title":2131,"paralax":200},{"id":2125,"type":753,"tags":2273,"lang":22,"slug":2127,"first_publication_date":2128,"last_publication_date":2129,"uid":2127,"link_type":32,"key":2274,"isBroken":200},[2060],"e5c6a320-3a6d-4d51-a8dd-89879e68c02a","carousel$ec720536-d820-42ff-a442-7710929b8156",{"id":2277,"uid":2278,"url":7,"type":237,"href":2279,"tags":2280,"first_publication_date":2281,"last_publication_date":2282,"slugs":2283,"linked_documents":2284,"lang":22,"alternate_languages":2285,"data":2286},"ZBHOMxAAACsAz3JO","saint-john-the-baptiste","https:\u002F\u002Fartexplorer-prod.cdn.prismic.io\u002Fapi\u002Fv2\u002Fdocuments\u002Fsearch?ref=aCb60BIAACEA00zN&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22ZBHOMxAAACsAz3JO%22%29+%5D%5D",[2060],"2023-03-17T11:00:09+0000","2024-02-20T13:37:01+0000",[],[],[],{"title":2287,"subtitle":7,"description":2288,"serie":2292,"episode":7,"source":2293,"published_at":7,"youtube_external":2296,"vimeo_external":2297,"instagram_external":2298,"duration":2299,"narrator_copyright":7,"music_copyright":7,"editing_copyright":7,"cover_desktop":2300,"cover_mobile":2306,"copyright_cover":7,"thumbnail":2312,"slices":2315,"meta_title":2334,"meta_description":2335,"og_image":2336,"slices2":2342},"Saint John the Baptiste, 1508-1519",[2289],{"type":71,"text":2290,"spans":2291},"Dominated by Da Vinci's unrivalled handling of light and darkness, the captivating painting contains one of his iconic smiles. ",[],{"link_type":32},{"link_type":86,"key":2294,"url":2295},"8fa9d5bb-4b25-4098-a088-35ab750fac0a","https:\u002F\u002Fvimeo.com\u002F808259620",{"link_type":1523},{"link_type":1523},{"link_type":1523},131,{"dimensions":2301,"alt":2302,"copyright":7,"url":2303,"id":2304,"edit":2305},{"width":38,"height":39},"Leonardo Da Vinci - Saint John The Baptiste","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fef87f22d-bacd-4427-b65d-c92e2ac09a42_Saint+John+The+Baptiste+-+Covre+Landscape.jpg?auto=compress,format","ZBnxMhIAACAAc7Pa",{"x":45,"y":45,"zoom":46,"background":47},{"dimensions":2307,"alt":2308,"copyright":7,"url":2309,"id":2310,"edit":2311},{"width":39,"height":38},"Leonardo Da Vinci - Saint John The Baptiste ","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fa22c83ab-01d5-423a-b362-3a252fba61f9_Saint+John+The+Baptiste+-+Cover+Portrait.jpg?auto=compress,format","ZBnxORIAACIAc7Pm",{"x":45,"y":45,"zoom":46,"background":47},{"dimensions":2313,"alt":2308,"copyright":7,"url":2303,"id":2304,"edit":2314},{"width":38,"height":39},{"x":45,"y":45,"zoom":46,"background":47},[2316],{"variation":59,"version":60,"items":2317,"primary":2319,"id":2333,"slice_type":94,"slice_label":7},[2318],{},{"title":2320,"content":2323},[2321],{"type":66,"text":2101,"spans":2322},[],[2324],{"type":71,"text":2325,"spans":2326},"Art historians tend to agree that Leonardo da Vinci’s Saint John the Baptist, his final painting, exhibits the finest example of chiaroscuro – the treatment of light and shade – in any of his works. The divine light dancing on the young John’s face, shoulder, and arm is accentuated by the dark background, while the limited palette of colours intensifies the effect. Da Vinci’s focus on light and his exquisite rendering of tone and colour create a great sense of depth – and he achieved a broader range of luminance than any of his contemporaries. ",[2327,2330],{"start":2328,"end":2329,"type":77},54,69,{"start":2331,"end":2332,"type":77},129,141,"text$1c6caab7-178f-47d7-8796-a6fe0f054cfe","Saint John The Baptiste","Art historians tend to agree that Leonardo da Vinci’s Saint John the Baptist, his final painting, exhibits the finest example of chiaroscuro – the treatment of light and shade – in any of his works.",{"dimensions":2337,"alt":2338,"copyright":7,"url":2339,"id":2340,"edit":2341},{"width":181,"height":182},"Leonardo Da Vinci - Saint John The Baptiste video","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fee9e47bd-95b6-4621-9ed2-1412fee205a5_Video+Opengraph++Saint+John+The+Baptiste+-+Leonardo+da+Vinci+%281%29.jpg?auto=compress,format","ZK_SDxIAACIAaXi9",{"x":45,"y":45,"zoom":46,"background":47},[2343],{"variation":59,"version":60,"items":2344,"primary":2347,"id":2351,"slice_type":225,"slice_label":7},[2345],{"post":2346},{"link_type":32},{"slides_per_view":148,"max_slides_count":7,"tag":2348,"type":237,"title":2131,"paralax":200},{"id":2125,"type":753,"tags":2349,"lang":22,"slug":2127,"first_publication_date":2128,"last_publication_date":2129,"uid":2127,"link_type":32,"key":2350,"isBroken":200},[2060],"875be47e-0284-4f37-bace-0a53295211e8","carousel$1a5d2a57-1b2c-4dac-b58d-5f778d847299"]