[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"$9ZijusqCES":3},{"single":4,"locales":248,"slices":250},{"id":5,"uid":6,"url":7,"type":8,"href":9,"tags":10,"first_publication_date":12,"last_publication_date":13,"slugs":14,"linked_documents":19,"lang":20,"alternate_languages":21,"data":22},"ZAiOihAAACoAv4s1","the-dutch-and-tudors-renaissance",null,"article","https:\u002F\u002Fartexplorer-prod.cdn.prismic.io\u002Fapi\u002Fv2\u002Fdocuments\u002Fsearch?ref=aCb60BIAACEA00zN&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22ZAiOihAAACoAv4s1%22%29+%5D%5D",[11],"Renaissance","2023-03-08T15:48:43+0000","2023-07-13T14:29:58+0000",[15,16,17,18],"dutch-art-for-arts-sake-and-tudor-renaissance-majesty","dutch-art-for-arts-sake-and-tudor-terror-at-the-met-in-new-york","in-praise-of-painting-dutch-masterpieces-at-the-met-is-a-nod-to-art-for-arts-sake-while-the-tudors-art-and-majesty-in-renaissance-england-favours-luxury-over-the-periods-terror-and-genius.","the-dutch-and-tudors",[],"en-gb",[],{"title":23,"subtitle":24,"author":25,"copyright_cover":77,"cover_desktop":78,"cover_mobile":87,"thumbnail":93,"published_at":7,"slices":96,"meta_title":182,"meta_description":183,"og_image":184,"slices2":191},"Dutch art for art's sake and Tudor Renaissance majesty","The Met in New York praises two periods of vital painting",{"id":26,"type":27,"tags":28,"lang":20,"slug":29,"first_publication_date":30,"last_publication_date":31,"uid":32,"data":33,"link_type":74,"key":75,"isBroken":76},"ZBBfzBAAACgAzQAo","author",[],"william-corwin","2023-03-14T11:51:45+0000","2023-07-10T00:55:46+0000","will-corwin",{"description":34,"short_description":48,"job":52,"thumbnail":53,"cover":64,"uid":32,"title":57,"og_image":67,"meta_description":70,"meta_title":57},[35,39,42,45],{"type":36,"text":37,"spans":38},"paragraph","William Corwin covers art news and features in North America. He is a sculptor, journalist, and curator from New York. He has exhibited at The Clocktower, LaMama and Geary galleries in New York, as well as galleries in London, Hamburg, Beijing and Taipei. ",[],{"type":36,"text":40,"spans":41},"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":36,"text":43,"spans":44},"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":36,"text":46,"spans":47},"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.",[],[49],{"type":36,"text":50,"spans":51},"William Corwin covers North America for ArtExplored",[],"Art Writer (North America)",{"dimensions":54,"alt":57,"copyright":57,"url":58,"id":59,"edit":60},{"width":55,"height":56},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":61,"y":61,"zoom":62,"background":63},0,1,"#fff",{"dimensions":65,"alt":57,"copyright":7,"url":58,"id":59,"edit":66},{"width":55,"height":56},{"x":61,"y":61,"zoom":62,"background":63},{"dimensions":68,"alt":57,"copyright":57,"url":58,"id":59,"edit":69},{"width":55,"height":56},{"x":61,"y":61,"zoom":62,"background":63},[71],{"type":36,"text":72,"spans":73},"Will Corwin covers North America for ArtExplored",[],"Document","33816c4f-320d-4007-aa18-441ebb50e2b5",false,"Hatfield House Image © Hatfield House, Hertfordshire, UK\u002FBridgeman Images",{"dimensions":79,"alt":82,"copyright":83,"url":84,"id":85,"edit":86},{"width":80,"height":81},3840,2160,"Attributed to Marcus Gheeraerts the Younger, (Flemish, 1561–1635\u002F36)Elizabeth I (The Rainbow Portrait), ca. 1602Oil on canvas50 3\u002F8 x 40 in. (128 x 101.6 cm)Reproduced with the permission of the Marquess of Salisbury, Hatfield House Image ","© Hatfield House, Hertfordshire, UK\u002FBridgeman Images","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fc3ab5b97-9a34-49c7-ab58-547e31b38c81_Slide+16_9+-+61.jpg?auto=compress,format","ZCU93RAAACIA6WHE",{"x":61,"y":61,"zoom":62,"background":63},{"dimensions":88,"alt":89,"copyright":83,"url":90,"id":91,"edit":92},{"width":81,"height":80},"Attributed to Marcus Gheeraerts the Younger,\n(Flemish, 1561–1635\u002F36)\nElizabeth I (The Rainbow Portrait), ca. 1602\nOil on canvas\n50 3\u002F8 x 40 in. (128 x 101.6 cm)\nReproduced with the permission of the Marquess of Salisbury, Hatfield House Image ","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fbd3be585-5447-461d-959e-7b27d6ab3ea3_9_16.jpg?auto=compress,format","ZCU-oBAAACQA6WMn",{"x":61,"y":61,"zoom":62,"background":63},{"dimensions":94,"alt":89,"copyright":83,"url":90,"id":91,"edit":95},{"width":81,"height":80},{"x":61,"y":61,"zoom":62,"background":63},[97,127,172],{"variation":98,"version":99,"items":100,"primary":102,"id":125,"slice_type":126,"slice_label":7},"default-slice","sktwi1xtmkfgx8626",[101],{},{"title":103,"content":108},[104],{"type":105,"text":106,"spans":107},"heading1","",[],[109],{"type":36,"text":110,"spans":111},"A nondescript octagonal ring of a gallery, lacking a beginning, middle, and end – and most of all without hierarchy – is a significant spot to exhibit the Dutch masterpieces of the Met. Free from religious requisites and an oppressive need to depict institutions of power and control and their representatives, Dutch painters focused on art simply to be enjoyed in the home rather than with an overwhelming purpose to educate or inculcate: it was the start of art for art’s sake on a societal scale. The Met’s collection includes Vermeer, Rembrandt, Hals, de Hooch, as well as many other genre painters. There is a single painting by a woman, the wonderful Margaretha Haverman. Her career is sadly represented by only a sole masterfully rendered still life of grapes, roses, and tulips in A Vase of Flowers (1716). In Praise of Painting: Dutch Masterpieces at the Met is punctuated by didactic texts that inform us of the Dutch Republic’s newfound freedom from Catholic control, social mobility, and cultural diversity fueled by the influx of refugees from religious persecution elsewhere in Europe. There are still numerous depictions of religious themes, such as Rembrandt’s The Toilet of Bathsheba (1643) and Vermeer’s Allegory of the Catholic Faith (1670-72). Yet both painters felt confident enough in their creative independence to make the images their own: Rembrandt’s Bathsheba is not an idealised body type, but the body of a middle-aged person with all the curves and wrinkles. Vermeer’s allegory is much more about the props and details he uses – the glisten of the crushed serpent’s scales, and pool of blood under its body, the out-of-focus globe he renders with such perfection under the model’s foot. This foot is not about theology but the juxtaposition of form and texture. \n\nMost of In Praise of Painting displays the honest, and often unflattering portraits of Holland’s ambitious middle class, conservatively attired in black with white ruffs and wimples. In Gerard Ter Borch The Younger’s paired portraits of Burgomaster Jan van Duren and Margaretha van Haexbergen, two prominent citizens, we find a class of art patrons new to the institution of commissioning art, but willing to be unexpectedly adventurous in allowing an artist to depict them. Jan and Margaretha are not the life-size half-portraits of Rembrandt, but lilliputian presences: Jan stands next to a red velvet-covered table on which he has placed his black hat, while Margarethe stands with her arm on a red velvet upholstered chair. They are dwarfed by their murky greenish-brown backgrounds, rejecting the idea of the portrait as grandiose; it’s a cross-over between portrait and interior, and becomes a space of narrative. Then there is the sweet, cautious, and unsettled look of Vermeer’s Study of a Young Woman (1665-67), also not flattering, but a very human portrait. Her pale moon face and inky background have the drama of a saintly portrait or a depiction of the Virgin Mary, but none of the insistence of religious decorum.",[112,116,119,122],{"start":113,"end":114,"type":115},789,806,"em",{"start":117,"end":118,"type":115},1177,1200,{"start":120,"end":121,"type":115},1222,1253,{"start":123,"end":124,"type":115},2781,2803,"text$6fd25e55-b20d-493f-9fb2-8e5af4b313d8","text",{"variation":128,"version":99,"items":129,"primary":150,"id":170,"slice_type":171,"slice_label":7},"double-slice",[130,140],{"image":131,"title":138,"subtitle":139},{"dimensions":132,"alt":7,"copyright":7,"url":135,"id":136,"edit":137},{"width":133,"height":134},1920,2503,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F6875f026-a421-441e-bb25-9435a4f07298_Original+-+2+7.jpg?auto=compress,format","ZKbVihEAACQAWk_U",{"x":61,"y":61,"zoom":62,"background":63},"A Vase of Flowers","Margaretha Haverman",{"image":141,"title":148,"subtitle":149},{"dimensions":142,"alt":7,"copyright":7,"url":145,"id":146,"edit":147},{"width":143,"height":144},2186,1722,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fe5a30ac3-83f8-4119-bc59-0e5d31b34193_Original+-+3+7.jpg?auto=compress,format","ZKbVihEAACMAWk_V",{"x":61,"y":61,"zoom":62,"background":63},"The Triumph of Hercules","Raphael (Raffaello Sanzio orSanti)",{"image1":151,"image2":158,"label":7,"copyright":166},{"dimensions":152,"alt":154,"copyright":7,"url":155,"id":156,"edit":157},{"width":80,"height":153},2561,"Margaretha Haverman (Dutch, active by 1716–died1722 or later). A Vase of Flowers, 1716. Oil on wood","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F416d62da-b624-4bbc-813c-851b10c50b72_3_2+%285%29.jpg?auto=compress,format","ZLAI4xIAACEAakPT",{"x":61,"y":61,"zoom":62,"background":63},{"dimensions":159,"alt":162,"copyright":7,"url":163,"id":164,"edit":165},{"width":160,"height":161},3456,2305,"Design attributed to Raphael (Raffaello Sanzio orSanti) (Italian, Urbino 1483–1520 Rome)The Triumph of Hercules, ca. 1540Wool, silk, and gilt-metal- and silver-wrapped thread 15 ft. 11 5\u002F16 in. x 21 ft. 1 15\u002F16 in. (486 × 645 cm) Royal Collection Trust \u002F © Her Majesty Queen Elizabeth II 2022 ","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F91a42d40-6f6a-4534-b466-7fbf666b02fb_3_2+%287%29.jpg?auto=compress,format","ZLAJFhIAACIAakTO",{"x":61,"y":61,"zoom":62,"background":63},[167],{"type":36,"text":168,"spans":169},"(From left to right)\n1° Margaretha Haverman (Dutch, active by 1716–died1722 or later). A Vase of Flowers, 1716. Oil on wood. The Metropolitan Museum of Art, New York, Purchase, 1871 (71.6)\n\n2° Design attributed to Raphael (Raffaello Sanzio orSanti) (Italian, Urbino 1483–1520 Rome) The Triumph of Hercules. Royal Collection Trust \u002F © Her Majesty Queen\n\nThe Metropolitan Museum of Art, New York, Purchase, 1871 (71.6)\u002F © Her Majesty Queen",[],"image$65c01bc4-ccf3-4a20-82b6-15556996679a","image",{"variation":98,"version":99,"items":173,"primary":175,"id":181,"slice_type":126,"slice_label":7},[174],{},{"title":176,"content":177},[],[178],{"type":36,"text":179,"spans":180},"Contrasting sharply with the Dutch touch and choice of subject is The Tudors: Art and Majesty in Renaissance England, an aspiring blockbuster exhibition of the gold-encrusted and tapestry-wrapped courts of Henry VIII, Mary I and Elizabeth I. It’s a missed opportunity to capture an epoch so fraught with genius and terror: here it has been simply distilled down to luxury. While the various nefarious activities and\u002For beheadings of the sitters are dryly recorded in the texts accompanying the works, as in Holbein the Younger’s stiff and ominous crayon drawing of Anne Boleyn, or Nicholas Hilliard’s loving miniature of a man, probably Robert Devereux second Earl of Essex: both were beheaded, the former lover by Henry, the latter lover by Elizabeth. The show overall is pristine, precious, and staid – but the viewer really should feel nauseous with the constantly shifting sands of allegiances and political gamesmanship, and fear. The reality seeps through a bit here and there – a full-length life-size portrait of Henry VIII standing astride and gazing piercingly out at the viewer was painted so often by Holbein the Younger’s studio that no single work could be attributed to the master. The exhibition does not highlight the sense of terror that infused every aspect of English court life under Henry – a level of politically-directed state murder that easily rivalled Stalin’s political circles.  Nor are there many references to Shakespeare or Marlowe under the reign of Elizabeth I. The accumulation of paintings and drawings by Hans Holbein the Younger is astounding, with several paintings of Henry VIII (from 1537, and 1540), Sir Thomas More (1527), Robert Cheseman (1533), Edward VI as a Child (1538), Hermann von Wedigh III (1532), and drawings of Anne Boleyn and miniatures of various courtiers. Much more context and gory detail were needed to bring to life this very gory and brilliant dynasty.\n\nBoth In Praise of Painting and The Tudors gently alludes to the wrongs committed by Europeans during various periods – the reliance of enforced labour as well as wholesale pilfering of indigenous resources in order to pay for the opulence of the English court and the prosperity of the Dutch middle class, as well as political terror and oppression on their own home turf. The Metropolitan Museum’s galleries of European painting have recently been re-hung because new skylights have been installed, lightening the mood of the galleries substantially. The curatorial staff have taken advantage of the closing of the galleries in order to reconfigure and re-explain much of the work. They have combined sculpture and painting, as some authentic approximation of how the two might have been viewed, mostly in mansions and palaces most of us would never have been allowed to enter. Francois Duquesnoy’s placid Bacchus seated on a Panther (ca. 1635) is a bizarre palimpsest of four classical fragments assembled and finished off by the artist, it is placed in front of the equally fanciful, but frenetic Wolf and Fox Hunt (1616) by Rubens. The humans and beasts in these works interact in contrasting modes of peace and violence, which creates an exciting tension in the air.  We are reminded by the wall texts that many of the individuals who commissioned, purchased, or were memorialised in the portraits benefitted from forced labour and unpaid-for resources. The pairing of Juan de Pareja (1650) and María Teresa, Infanta of Spain is moving, as both were intrinsic to the development of their painter Velazquez, and he couldn’t have existed without either. On a “meta” scale, the two portraits describe Spain in a nutshell: empire and slavery. \n\nMost effective though in making the Met seem more diverse, is the addition of the magical Afro-Futurist room downstairs on the main floor. It is a hallucinatory and hypothetical exercise in imagining a site for the history of African American creativity in a space that is mostly free of colonial and racist shadows. The curators have chosen the idea of a small house in Seneca Village – a town of formerly enslaved and indigenous people which thrived in what is now Manhattan’s Central Park and is decorated with the photography of Trans artist Tourmaline, a woodblock print by Elizabeth Catlett, and ceramics by Roberto Lugo, among many others. The curators have created an imaginary space of domestic tranquillity, strengthened by a sense of justice and equality. A sensibility which the Afro-futurist room shares with the Dutch interiors and meditative still-lifes seen in In Praise of Painting, a semi-parallel culture in which class differences were mitigated and just about anybody was able to enjoy art.",[],"text$d2f8b0b3-152f-4d9c-8542-b12b247dc0c1","The Dutch and Tudors: Double blockbuster show at the Met in New York","An exhibition at The Met in New York showcases masterpiecees of the Dutch Golden Age and Tudor period.",{"dimensions":185,"alt":187,"copyright":7,"url":188,"id":189,"edit":190},{"width":186,"height":118},2400,"Attributed to Marcus Gheeraerts the Younger, (Flemish, 1561–1635\u002F36) Elizabeth I (The Rainbow Portrait), ca. 1602. Image © Hatfield House, Hertfordshire, UK\u002FBridgeman Images","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F80c53dbc-b680-41ba-9a49-6a6da73dfeba_The+dutch+and+tudors+Image+Opengraph.jpg?auto=compress,format","ZK_8tRIAACIAahhV",{"x":61,"y":61,"zoom":62,"background":63},[192,238],{"variation":98,"version":99,"items":193,"primary":232,"id":236,"slice_type":237,"slice_label":7},[194,202,213,222],{"post":195},{"id":196,"type":197,"tags":198,"lang":7,"slug":199,"first_publication_date":7,"last_publication_date":7,"link_type":74,"key":200,"isBroken":201},"ZIiKuhAAACIAqAYV","broken_type",[],"-","33a4d670-c218-4ee4-abbb-dcf7b5a1c4cc",true,{"post":203},{"id":204,"type":8,"tags":205,"lang":20,"slug":208,"first_publication_date":209,"last_publication_date":210,"uid":211,"link_type":74,"key":212,"isBroken":76},"ZAiU1xAAACgAv6oU",[206,207],"Paul Cezanne","Impressionism","cezannes-timeless-paintings-eclipse-the-contradictions","2023-03-08T15:47:36+0000","2023-07-13T14:02:05+0000","paul-cezanne-cubism-tate","639e6bf7-6d03-4c20-8383-0f16f716cc4c",{"post":214},{"id":215,"type":8,"tags":216,"lang":20,"slug":218,"first_publication_date":219,"last_publication_date":220,"uid":218,"link_type":74,"key":221,"isBroken":76},"ZBmoCREAACIAZDGt",[217],"Art Investment","the-art-of-diversification","2023-03-21T12:52:11+0000","2024-02-12T16:32:14+0000","18b6ef7e-7cce-47ba-8808-97f9976dafbb",{"post":223},{"id":224,"type":8,"tags":225,"lang":20,"slug":227,"first_publication_date":228,"last_publication_date":229,"uid":230,"link_type":74,"key":231,"isBroken":76},"ZAhxkRAAACkAvx0D",[226],"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","1ef5f107-1445-4c3d-86a7-2f60479fb98b",{"slides_per_view":7,"max_slides_count":233,"tag":234,"type":8,"title":235,"paralax":7},3,{"link_type":74},"Read more","carousel$4b0f96f6-7e65-4ea6-8a10-8988cdad6236","carousel",{"variation":98,"version":99,"items":239,"primary":242,"id":247,"slice_type":237,"slice_label":7},[240],{"post":241},{"link_type":74},{"slides_per_view":7,"max_slides_count":243,"tag":244,"type":245,"title":246,"paralax":7},6,{"link_type":74},"video","Masterpieces Decrypted","carousel$27d83d84-877b-4971-b526-d454777873fb",{"en":249},{"slug":6},[251,2892],{"slice":192,"payload":252},[253,469,595,902,1283,1516,1680,1911,2177,2262,2364,2645],{"id":204,"uid":211,"url":7,"type":8,"href":254,"tags":255,"first_publication_date":209,"last_publication_date":210,"slugs":256,"linked_documents":261,"lang":20,"alternate_languages":262,"data":263},"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",[206,207],[208,257,258,259,260],"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",[],[],{"title":264,"subtitle":265,"author":266,"copyright_cover":270,"cover_desktop":271,"cover_mobile":278,"thumbnail":284,"published_at":7,"slices":287,"meta_title":413,"meta_description":414,"og_image":415,"slices2":421},"Cezanne’s timeless paintings eclipse the contradictions","Was the French post-Impressionist wracked with self-doubt?",{"id":267,"type":197,"tags":268,"lang":7,"slug":199,"first_publication_date":7,"last_publication_date":7,"link_type":74,"key":269,"isBroken":201},"ZBG-rRAAAKdKz1Y6",[],"13ada83f-9f7f-4f02-84cd-00e352ed7ea1","Paul Cezanne Portrait of the Artist with Pink Background 1875. \nParis, Musée d'Orsay, donation de M. Philippe Meyer, 2000.",{"dimensions":272,"alt":273,"copyright":274,"url":275,"id":276,"edit":277},{"width":80,"height":81},"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":61,"y":61,"zoom":62,"background":63},{"dimensions":279,"alt":273,"copyright":280,"url":281,"id":282,"edit":283},{"width":81,"height":80},"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":61,"y":61,"zoom":62,"background":63},{"dimensions":285,"alt":273,"copyright":280,"url":281,"id":282,"edit":286},{"width":81,"height":80},{"x":61,"y":61,"zoom":62,"background":63},[288,324,363],{"variation":98,"version":99,"items":289,"primary":291,"id":323,"slice_type":126,"slice_label":7},[290],{},{"title":292,"content":295},[293],{"type":105,"text":106,"spans":294},[],[296],{"type":36,"text":297,"spans":298},"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.”",[299,302,305,315],{"start":300,"end":301,"type":115},11,12,{"start":303,"end":304,"type":115},124,159,{"start":306,"end":307,"type":308,"data":309},724,743,"hyperlink",{"id":310,"type":311,"tags":312,"lang":20,"slug":313,"first_publication_date":314,"last_publication_date":314,"link_type":74,"isBroken":76},"ZKx-uxEAACIAc2F8","definition",[],"post-impressionism","2023-07-10T21:57:18+0000",{"start":316,"end":317,"type":308,"data":318},2554,2560,{"id":319,"type":311,"tags":320,"lang":20,"slug":321,"first_publication_date":322,"last_publication_date":322,"link_type":74,"isBroken":76},"ZKx-4hEAACMAc2It",[],"cubism","2023-07-10T21:57:57+0000","text$b0a5077c-99b4-474d-8864-2f52ed496d40",{"variation":128,"version":99,"items":325,"primary":342,"id":362,"slice_type":171,"slice_label":7},[326,334],{"image":327,"title":330,"subtitle":206},{"dimensions":328,"alt":330,"copyright":7,"url":331,"id":332,"edit":333},{"width":133,"height":329},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":61,"y":61,"zoom":62,"background":63},{"image":335,"title":338,"subtitle":206},{"dimensions":336,"alt":338,"copyright":7,"url":339,"id":340,"edit":341},{"width":133,"height":337},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":61,"y":61,"zoom":62,"background":63},{"image1":343,"image2":350,"label":357,"copyright":358},{"dimensions":344,"alt":345,"copyright":346,"url":347,"id":348,"edit":349},{"width":81,"height":81},"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":61,"y":61,"zoom":62,"background":63},{"dimensions":351,"alt":352,"copyright":353,"url":354,"id":355,"edit":356},{"width":81,"height":81},"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":61,"y":61,"zoom":62,"background":63},"Left to right",[359],{"type":36,"text":360,"spans":361},"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",{"variation":98,"version":99,"items":364,"primary":366,"id":412,"slice_type":126,"slice_label":7},[365],{},{"title":367,"content":368},[],[369],{"type":36,"text":370,"spans":371},"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. ",[372,375,383,386,391,399,407],{"start":233,"end":373,"type":374},4,"strong",{"start":376,"end":377,"type":308,"data":378},282,295,{"id":379,"type":311,"tags":380,"lang":20,"slug":381,"first_publication_date":382,"last_publication_date":382,"link_type":74,"isBroken":76},"ZKx_AREAACEAc2K6",[],"still-lifes","2023-07-10T21:58:29+0000",{"start":384,"end":385,"type":115},1076,1097,{"start":387,"end":388,"type":308,"data":389},1334,1345,{"id":379,"type":311,"tags":390,"lang":20,"slug":381,"first_publication_date":382,"last_publication_date":382,"link_type":74,"isBroken":76},[],{"start":392,"end":393,"type":308,"data":394},1561,1573,{"id":395,"type":311,"tags":396,"lang":20,"slug":397,"first_publication_date":398,"last_publication_date":398,"link_type":74,"isBroken":76},"ZKx_JhEAACEAc2Nh",[],"composition","2023-07-10T21:59:08+0000",{"start":400,"end":401,"type":308,"data":402},1596,1614,{"id":403,"type":311,"tags":404,"lang":20,"slug":405,"first_publication_date":406,"last_publication_date":406,"link_type":74,"isBroken":76},"ZKx_UhEAACIAc2Qp",[],"linear-perspective","2023-07-10T21:59:50+0000",{"start":408,"end":409,"type":308,"data":410},1939,1949,{"id":379,"type":311,"tags":411,"lang":20,"slug":381,"first_publication_date":382,"last_publication_date":382,"link_type":74,"isBroken":76},[],"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":416,"alt":417,"copyright":7,"url":418,"id":419,"edit":420},{"width":186,"height":118},"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":61,"y":61,"zoom":62,"background":63},[422,457,464],{"variation":98,"version":99,"items":423,"primary":454,"id":456,"slice_type":237,"slice_label":7},[424,434,444],{"post":425},{"id":426,"type":8,"tags":427,"lang":20,"slug":429,"first_publication_date":430,"last_publication_date":431,"uid":432,"link_type":74,"key":433,"isBroken":76},"ZAsH0xAAACoAxJdf",[428],"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","c2a1fb41-8abe-4218-be03-fe0eead3d935",{"post":435},{"id":436,"type":8,"tags":437,"lang":20,"slug":439,"first_publication_date":440,"last_publication_date":441,"uid":442,"link_type":74,"key":443,"isBroken":76},"ZAnvehAAACsAwsA4",[438],"Picasso ","yue-minjun-returns-with-lockdown-inspired-paintings","2023-03-10T18:08:04+0000","2023-07-13T14:05:10+0000","yue-minjun-surrealist-paintings","23a45376-e49b-4be0-83a4-3499c2f4808c",{"post":445},{"id":446,"type":8,"tags":447,"lang":20,"slug":449,"first_publication_date":450,"last_publication_date":451,"uid":452,"link_type":74,"key":453,"isBroken":76},"ZAh0SRAAACsAvyne",[448],"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","ab4b5c1f-9342-45ea-bd8a-5e318b3ccc8d",{"slides_per_view":7,"max_slides_count":7,"tag":455,"type":8,"title":235,"paralax":7},{"link_type":74},"carousel$bd5484d6-dc34-4542-ad94-c4b8d94a9e01",{"variation":98,"version":99,"items":458,"primary":459,"id":463,"slice_type":237,"slice_label":7},[],{"slides_per_view":7,"max_slides_count":7,"tag":460,"type":461,"title":462,"paralax":7},{"link_type":74},"podcast","Listen to audiocasts","carousel$9a75ff80-735f-432f-b315-f02e9fa92056",{"variation":98,"version":99,"items":465,"primary":466,"id":468,"slice_type":237,"slice_label":7},[],{"slides_per_view":7,"max_slides_count":7,"tag":467,"type":245,"title":246,"paralax":7},{"link_type":74},"carousel$69869a12-4746-44ae-b6a4-d4be96d10868",{"id":215,"uid":218,"url":7,"type":8,"href":470,"tags":471,"first_publication_date":219,"last_publication_date":220,"slugs":472,"linked_documents":474,"lang":20,"alternate_languages":475,"data":476},"https:\u002F\u002Fartexplorer-prod.cdn.prismic.io\u002Fapi\u002Fv2\u002Fdocuments\u002Fsearch?ref=aCb60BIAACEA00zN&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22ZBmoCREAACIAZDGt%22%29+%5D%5D",[217],[218,473],"buying-art-can-lower-the-overall-risks-of-your-investment-portfolio-by-helping-to-maximise-returns-while-limiting-losses-in-a-downturn.",[],[],{"title":477,"subtitle":478,"author":479,"copyright_cover":7,"cover_desktop":520,"cover_mobile":526,"thumbnail":531,"published_at":7,"slices":534,"meta_title":477,"meta_description":553,"og_image":554,"slices2":560},"The art of diversification ","Buy art, lower risk, maximize returns – is it so simple?",{"id":480,"type":27,"tags":481,"lang":20,"slug":483,"first_publication_date":484,"last_publication_date":485,"uid":483,"data":486,"link_type":74,"key":519,"isBroken":76},"ZBB4GBAAACgAzS2z",[482],"Robert Budden","robert-budden","2023-03-14T13:35:25+0000","2023-07-10T00:56:54+0000",{"description":487,"short_description":497,"job":501,"thumbnail":502,"cover":509,"uid":483,"title":482,"og_image":512,"meta_description":515,"meta_title":482},[488,491,494],{"type":36,"text":489,"spans":490},"Robert Budden is ArtExplored's Art Market Editor. He is a financial journalist with expertise in personal finance and investment. He spent most of his journalistic career writing for the Financial Times where he held a number of roles including Deputy Markets Editor, Personal Finance Editor and Chief Media Correspondent. ",[],{"type":36,"text":492,"spans":493},"He has written extensively on many areas of personal finance and investment from hedge funds and mutual funds to stocks and shares, junk bonds and financial market instruments as well as alternative investments such as wine.",[],{"type":36,"text":495,"spans":496},"He has won around a dozen awards for journalism including Pensions Journalist of the Year (Business Journalist of the Year Awards), Investment Trust Journalist of the Year (Association of Investment Companies) and Pensions and Investment Journalist of the Year (Aon). He has frequently appeared on TV and radio for a number of  broadcasters including CNN, CNBC, Sky News and the BBC.",[],[498],{"type":36,"text":499,"spans":500},"Robert Budden covers the financial and art market for ArtExplored. ",[],"Art Market Editor",{"dimensions":503,"alt":482,"copyright":7,"url":506,"id":507,"edit":508},{"width":504,"height":505},2291,2446,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Ff845a770-a008-44c8-9879-c9f3b0b5e52a_Robert+Budden.jpg?auto=compress,format","ZIsQqxAAACEAs6bQ",{"x":61,"y":61,"zoom":62,"background":63},{"dimensions":510,"alt":482,"copyright":7,"url":506,"id":507,"edit":511},{"width":504,"height":505},{"x":61,"y":61,"zoom":62,"background":63},{"dimensions":513,"alt":482,"copyright":482,"url":506,"id":507,"edit":514},{"width":504,"height":505},{"x":61,"y":61,"zoom":62,"background":63},[516],{"type":36,"text":517,"spans":518},"Robert Budden is a finance and art markets writer at ArtExplored",[],"0f7c791d-7a96-4384-9697-3c74f4bb1444",{"dimensions":521,"alt":522,"copyright":7,"url":523,"id":524,"edit":525},{"width":80,"height":81},"The Money Changers","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fae565da2-21f2-4c7c-b5ab-d8817755c291_Slide+16_9+-+88.jpg?auto=compress,format","ZLAO6xIAACAAamGW",{"x":61,"y":61,"zoom":62,"background":63},{"dimensions":527,"alt":522,"copyright":7,"url":528,"id":529,"edit":530},{"width":81,"height":80},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F97040616-ff96-4d3a-ae2b-c1382d478718_9_16+%286%29.jpg?auto=compress,format","ZLAO7BIAACIAamGd",{"x":61,"y":61,"zoom":62,"background":63},{"dimensions":532,"alt":522,"copyright":7,"url":528,"id":529,"edit":533},{"width":81,"height":80},{"x":61,"y":61,"zoom":62,"background":63},[535],{"variation":98,"version":99,"items":536,"primary":538,"id":552,"slice_type":126,"slice_label":7},[537],{},{"title":539,"content":542},[540],{"type":105,"text":106,"spans":541},[],[543,546,549],{"type":36,"text":544,"spans":545},"Buying art can lower the overall risks of your investment portfolio by helping to maximise returns while limiting losses in a downturn. The perfect investment would be one that behaves like cash – i.e., that doesn’t depreciate – yet performs like tech stocks during the dot-com boom. Sadly, no such investment exists.  \n\nThis is something the Chinese appear to have long understood. Indeed, the Chinese word for “risk” consists of two separate symbols: “danger” and “opportunity,” clearly explaining that risk brings with it the possibility of both losses and gains.   \n\nThis understanding is deeply ingrained in the psyche of any good wealth manager or financial adviser. Underpinning every investment approach is appetite for risk – in essence, an investor’s ability and willingness to stomach losses in the pursuit of profits.   \n\nThe other key tenet of savvy investing – first popularised by Nobel prize winner and father of modern portfolio theory Harry Markowitz – is diversification.   \n\nThe idea is that, by spreading investments across different securities (like shares in different companies) and different asset classes (like bonds or even wine or art), investors can maximise their financial returns while limiting losses in a downturn. When one asset is falling in value, another might be falling more slowly or even rising in price, cushioning the overall blows of challenging investment markets yet maintaining a long-term aim of delivering decent gains.  \n\nThis concept has been so rigorously tested by academics and investors of all shapes and sizes that it is pretty much universally adopted by all professional investors from pension funds and endowments to the world’s biggest global asset and wealth managers.  \n\nThe test to check whether another investment makes sense for diversification purposes is to look at how closely it performs with another. The tool used to do this is called correlation. It measures how closely one asset (or a particular stock or bond) has performed against another. Correlation is ranked between minus one and one with zero denoting that there is no performance relationship at all, while one signifies that two assets rise and fall in tandem. A negative correlation indicates that when one asset rises in price the other falls.   \n\nMost long-term investors will own equities and bonds as core holdings in their portfolios. So typical diversification assets might include property, private equity, hedge funds, or even art and other collectables. \n\nLike property or private equity, research indicates that art can also prove to be an effective diversification asset. Measured from 2000 to the end of June 2021, European Old Masters and Impressionist art had a “low” correlation of just 0.23 with the S&P 500 index of leading US stocks, according to data provider Artnet, indicating art has a noticeably different performance profile to US equities.   \n\nIn terms of how much of their wealth investors might want to tie up in art and other collectables, that will depend on multiple factors, not least personal and emotional ones. But, as a good guide, investment advisers suggest up to around 5% of total assets held in art and collectables can provide useful diversification benefits.  \n\nBut beware, not all art performs the same and some artworks will prove better diversification tools than others. Also measured from 2000 to the end of June 2021, Global Contemporary Art and Global Post-War Art had correlations with the S&P 500 of 0.72 and 0.70 respectively, according to Artnet, pointing to a strong performance relationship with equities.   \n\nFurthermore, it is important to look at the period over which correlation figures are calculated as they can vary significantly over time.   \n\nTake bonds and equities. From the late 1990s until very recently, high-quality government bonds had a negative correlation with equities: when stock markets fell, investors tended to rush towards the safe havens of US and German government bonds, driving up their prices during stock market turmoil. But this relationship changed in 2022, as rising inflation and interest rates hurt both bonds and equities. As a result, the correlation between the two moved from negative to positive.   ",[],{"type":36,"text":547,"spans":548},"\n\nNo one has a crystal ball. Similar changes could happen to art or within a particular art genre if it falls in or out of favour. The fact no one can accurately predict the future only underlines why it makes sense to put one’s investment eggs in a wide variety of baskets.   ",[],{"type":36,"text":550,"spans":551},"  ",[],"text$70e5d07e-6002-443b-907d-2b4441f2272c","Buying art can lower the overall risks of your investment portfolio by helping to maximise returns while limiting losses in a downturn.",{"dimensions":555,"alt":556,"copyright":7,"url":557,"id":558,"edit":559},{"width":186,"height":118},"The Money Changers \u002F The art of diversification  \u002F Article : Art investment ","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fa1fd309d-8dbb-485f-a5af-9cdca078b85b_Image+Opengraph+The+art+of+diversification.jpg?auto=compress,format","ZK_8tRIAACIAahhS",{"x":61,"y":61,"zoom":62,"background":63},[561],{"variation":98,"version":99,"items":562,"primary":591,"id":594,"slice_type":237,"slice_label":7},[563,572,582],{"post":564},{"id":565,"type":461,"tags":566,"lang":20,"slug":567,"first_publication_date":568,"last_publication_date":569,"uid":570,"link_type":74,"key":571,"isBroken":76},"ZHc1QRAAACUAkmFm",[217],"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","71fd4332-c816-4d18-9fce-d916bb5b9692",{"post":573},{"id":574,"type":461,"tags":575,"lang":20,"slug":577,"first_publication_date":578,"last_publication_date":579,"uid":580,"link_type":74,"key":581,"isBroken":76},"ZA8MXBAAACgAyr6g",[576],"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","bb4fcc83-e140-4aab-b3f3-3c3811e2abd0",{"post":583},{"id":584,"type":461,"tags":585,"lang":20,"slug":586,"first_publication_date":587,"last_publication_date":588,"uid":589,"link_type":74,"key":590,"isBroken":76},"ZBNBcxAAACMAXuYT",[226],"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","88ea377c-0614-49b2-97b3-de918e29b457",{"slides_per_view":233,"max_slides_count":233,"tag":592,"type":461,"title":593,"paralax":7},{"link_type":74},"Art Explored Audiocasts","carousel$36c78bbe-e63c-4051-818f-baa909fb67e2",{"id":224,"uid":230,"url":7,"type":8,"href":596,"tags":597,"first_publication_date":228,"last_publication_date":229,"slugs":598,"linked_documents":602,"lang":20,"alternate_languages":603,"data":604},"https:\u002F\u002Fartexplorer-prod.cdn.prismic.io\u002Fapi\u002Fv2\u002Fdocuments\u002Fsearch?ref=aCb60BIAACEA00zN&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22ZAhxkRAAACkAvx0D%22%29+%5D%5D",[226],[227,599,600,601],"do-we-know-modigliani-any-better-through-modigliani-up-close","the-show-at-the-barnes-foundation-in-philadelphia-serves-up-technical-discoveries-new-insights-and-fascinating-secrets-about-the-italian-artist-who-died-in-1920.","a-century-of-enigma",[],[],{"title":605,"subtitle":606,"author":607,"copyright_cover":635,"cover_desktop":636,"cover_mobile":641,"thumbnail":646,"published_at":7,"slices":649,"meta_title":605,"meta_description":875,"og_image":876,"slices2":881},"Amedeo Modigliani through the microscope","Delve into the artist’s enduring appeal and his use of materials",{"id":26,"type":27,"tags":608,"lang":20,"slug":29,"first_publication_date":30,"last_publication_date":31,"uid":32,"data":609,"link_type":74,"key":634,"isBroken":76},[],{"description":610,"short_description":619,"job":52,"thumbnail":622,"cover":625,"uid":32,"title":57,"og_image":628,"meta_description":631,"meta_title":57},[611,613,615,617],{"type":36,"text":37,"spans":612},[],{"type":36,"text":40,"spans":614},[],{"type":36,"text":43,"spans":616},[],{"type":36,"text":46,"spans":618},[],[620],{"type":36,"text":50,"spans":621},[],{"dimensions":623,"alt":57,"copyright":57,"url":58,"id":59,"edit":624},{"width":55,"height":56},{"x":61,"y":61,"zoom":62,"background":63},{"dimensions":626,"alt":57,"copyright":7,"url":58,"id":59,"edit":627},{"width":55,"height":56},{"x":61,"y":61,"zoom":62,"background":63},{"dimensions":629,"alt":57,"copyright":57,"url":58,"id":59,"edit":630},{"width":55,"height":56},{"x":61,"y":61,"zoom":62,"background":63},[632],{"type":36,"text":72,"spans":633},[],"366d922a-3b87-4d9d-9cb1-1f52a3f24567","Amedeo Modigliani. Portrait of Manuel Humbert, 1916. Collection of Bruce and Robbi Toll",{"dimensions":637,"alt":635,"copyright":635,"url":638,"id":639,"edit":640},{"width":80,"height":81},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Ff2bff450-b453-49b3-8275-f309d8550cac_Slide+16_9+-+71.jpg?auto=compress,format","ZCrhUBAAACIA8jIN",{"x":61,"y":61,"zoom":62,"background":63},{"dimensions":642,"alt":635,"copyright":635,"url":643,"id":644,"edit":645},{"width":81,"height":80},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F2f4d958a-edad-4383-81cc-013dbafd4c07_9_16.jpg?auto=compress,format","ZCrhUBAAACEA8jIO",{"x":61,"y":61,"zoom":62,"background":63},{"dimensions":647,"alt":635,"copyright":635,"url":643,"id":644,"edit":648},{"width":81,"height":80},{"x":61,"y":61,"zoom":62,"background":63},[650,665,691,716,770,818],{"variation":98,"version":99,"items":651,"primary":653,"id":664,"slice_type":126,"slice_label":7},[652],{},{"title":654,"content":657},[655],{"type":105,"text":106,"spans":656},[],[658],{"type":36,"text":659,"spans":660},"What is it about the eyes in Amedeo Modigliani’s painting? The majority of sitters in his paintings in Philadelphia’s Barnes Foundation exhibition Modigliani Up Close simply have grey blank spaces instead of eyeballs, rendering their faces more like masks. In Self-Portrait (1919), the very first canvas one encounters in the exhibition, the artist’s body lilts gently to the right and directs its empty pupil-less gaze slightly over our shoulder. Oddly, this missing ingredient doesn’t detract from the sense of personality we get from the bemused rakish Italian-Jewish artist clutching his palette to his chest. He would die a year later, and his eight-month-pregnant wife and muse, Jeanne Hébuterne would commit suicide the day after by jumping out of a window. She inhabits seven of the paintings in Modigliani Up Close. \n\nLegends and questionable anecdotes immediately began to swirl about the artist following his untimely death, and his radical, oft-ridiculed painting style, enigmatic eyeless faces, and penchant for painting lovers only fueled mounting interest in his work. His paintings have continued to grow in value, and he has simultaneously become a darling of forgers. ",[661],{"start":662,"end":663,"type":115},260,273,"text$a67971ff-df84-4025-858d-6c9279383f76",{"variation":666,"version":99,"items":667,"primary":679,"id":690,"slice_type":171,"slice_label":7},"centered-slice",[668],{"image":669,"title":673,"subtitle":678},{"dimensions":670,"alt":673,"copyright":674,"url":675,"id":676,"edit":677},{"width":671,"height":672},2220,3497,"Amedeo Modigliani. Self Portrait, 1919","Amedeo Modigliani. Self Portrait, 1919\nMuseu de Arte Contemporanea da Universidade de São Paulo, Gift of Yolanda Penteado and Francisco Matarazzo Sobrinho 1963.2.16 \u002F MAC USP Collection [Museu de Arte Contemporânea da USP Collection, São Paulo, Brazil]","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fd0755ded-040e-45b2-b9c3-2d9a517e70cd_Amedeo+Modigliani.+Self+Portrait_+1919.jpg?auto=compress,format","ZCvgvRAAACQA887p",{"x":61,"y":61,"zoom":62,"background":63},"Museu de Arte Contemporanea da Universidade de São Paulo, Gift of Yolanda Penteado and Francisco Matarazzo Sobrinho 1963.2.16 \u002F MAC USP Collection [Museu de Arte Contemporânea da USP Collection, São Paulo, Brazil]",{"image1":680,"label":7,"copyright":686},{"dimensions":681,"alt":673,"copyright":682,"url":683,"id":684,"edit":685},{"width":81,"height":81},"Amedeo Modigliani. Self Portrait, 1919\n\nMuseu de Arte Contemporanea da Universidade de São Paulo, Gift of Yolanda Penteado and Francisco Matarazzo Sobrinho 1963.2.16 \u002F MAC USP Collection [Museu de Arte Contemporânea da USP Collection, São Paulo, Brazil] ","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fff260219-ad0d-4ed6-8984-bd6d70622700_carr%C3%A9.jpg?auto=compress,format","ZCv2xBAAACMA8_fn",{"x":61,"y":61,"zoom":62,"background":63},[687],{"type":36,"text":688,"spans":689},"Amedeo Modigliani. Self Portrait, 1919 Museu de Arte Contemporanea da Universidade de São Paulo, Gift of Yolanda Penteado and Francisco Matarazzo Sobrinho 1963.2.16 \u002F MAC USP Collection [Museu de Arte Contemporânea da USP Collection, São Paulo, Brazil] \n\n(Click on the image for full screen version)",[],"image$1092fce7-7b4c-4d00-9068-e79f33a5327e",{"variation":98,"version":99,"items":692,"primary":694,"id":715,"slice_type":126,"slice_label":7},[693],{},{"title":695,"content":696},[],[697],{"type":36,"text":698,"spans":699},"Modigliani Up Close brilliantly uses the science of painting conservation and such initially daunting technologies and methodologies as X-ray fluorescence mercury mapping and the Thread Count Automation Project to sift through the forgeries and myths about the fabled artist and begin to paint a portrait of the man who captured others so profoundly.\n\nLike a meticulous prosecutorial team building a sturdy case, the curators of the exhibition, a combination of academics and conservators – Barbara Buckley, Simonetta Fraquelli, Nancy Ireson, and Annette King – construct a narrative based on data gleaned from samples and scans. We watch the 22-year-old Italian artist, new to the burgeoning Parisian art scene in 1906, begin by slumming it – buying old canvases and painting his own images over them, as in The Pretty Housewife (1915). Or Modigliani simply recycled a canvas – more than a few times – such as the palimpsest-like double-sided painting Nude with a Hat (recto), Maud Abrantès (verso) (1908);  X-radiography has revealed an additional pair of portraits lying below the final paintings. The curators are quick to affirm that this was common practice among bohemians at the time (and before and since). But other details, such as Modigliani’s use of a previous artist’s colours in the basket in the hand of The Pretty Housewife, and his penchant for reusing canvases even when he had adequate funds to purchase fresh canvas and stretchers, seem to indicate individual aesthetic choices such as pulling inspiration from an already existing painting and adding an unexpected depth to his own, or a fascination with the unexpected textures of recycled paintings, respectively.",[700,703,706,709,712],{"start":701,"end":702,"type":115},19,20,{"start":704,"end":705,"type":115},809,829,{"start":707,"end":708,"type":115},953,968,{"start":710,"end":711,"type":115},978,991,{"start":713,"end":714,"type":115},1320,1340,"text$5ad4abeb-89f3-4a3f-aaad-592b9d816757",{"variation":128,"version":99,"items":717,"primary":751,"id":769,"slice_type":171,"slice_label":7},[718,729,740],{"image":719,"title":723,"subtitle":728},{"dimensions":720,"alt":723,"copyright":724,"url":725,"id":726,"edit":727},{"width":721,"height":722},2016,2580,"Amedeo Modigliani, Portrait of Maud Abrantes (verso), 1908.","Amedeo Modigliani, Portrait of Maud Abrantes (verso), 1908.\n\nReuben and Edith Hecht Museum, University of Haifa Photograph © Hecht Museum, University of Haifa, Photo: Shay Levy","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F22a4964f-b691-4a6e-8a93-2901c5b00109_Amedeo+Modigliani_+Portrait+of+Maud+Abrantes+%28verso%29%2C+1908.jpg?auto=compress,format","ZCvlKRAAACIA89bD",{"x":61,"y":61,"zoom":62,"background":63},"© Hecht Museum, University of Haifa, Photo: Shay Levy",{"image":730,"title":734,"subtitle":739},{"dimensions":731,"alt":734,"copyright":735,"url":736,"id":737,"edit":738},{"width":732,"height":733},2269,3254,"Amedeo Modigliani. Nude with a Hat (recto), 1908","Amedeo Modigliani. Nude with a Hat (recto), 1908\n\nReuben and Edith Hecht Museum, University of Haifa, Israel. Hecht Museum, Haifa\nPhotograph © Hecht Museum, University of Haifa, Photo: Shay Levy","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F45fe459c-32d5-4b5b-b33c-38c70b4e9780_Amedeo+Modigliani.+Nude+with+a+Hat+%28recto%29_+1908.jpg?auto=compress,format","ZCvrmRAAACEA8-MM",{"x":61,"y":61,"zoom":62,"background":63},"Photograph © Hecht Museum, University of Haifa, Photo: Shay Levy",{"image":741,"title":749,"subtitle":750},{"dimensions":742,"alt":745,"copyright":745,"url":746,"id":747,"edit":748},{"width":743,"height":744},3078,6922,"Amedeo Modigliani. The Pretty Housewife (La Jolie ménagère), 1915. The Barnes Foundation, BF327","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F59d0de05-5978-4561-aa9d-bf1613b86f42_Amedeo+Modigliani.+The+Pretty+Housewife+%28La+Jolie+m%C3%A9nag%C3%A8re%29.jpg?auto=compress,format","ZCvlKRAAACIA89bF",{"x":61,"y":61,"zoom":62,"background":63},"Amedeo Modigliani. The Pretty Housewife (La Jolie ménagère), 1915","The Barnes Foundation, BF327",{"image1":752,"image2":757,"label":764,"copyright":765},{"dimensions":753,"alt":723,"copyright":724,"url":754,"id":755,"edit":756},{"width":317,"height":80},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F64064168-6512-4b7e-96a0-965ca948bac9_3_2+Amedeo+Modigliani_+Portrait+of+Maud+Abrantes+%28verso%29%2C+1908.jpg?auto=compress,format","ZCvkXhAAACMA89VU",{"x":61,"y":61,"zoom":62,"background":63},{"dimensions":758,"alt":745,"copyright":745,"url":761,"id":762,"edit":763},{"width":759,"height":760},1921,2881,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F10fc6719-5bd3-434c-9fdf-a581aef66428_3_2+Amedeo+Modigliani.+The+Pretty+Housewife+%28La+Jolie+m%C3%A9nag%C3%A8re%29.jpg?auto=compress,format","ZCvkmhAAACEA89XK",{"x":61,"y":61,"zoom":62,"background":63},"From left to right",[766],{"type":36,"text":767,"spans":768},"Portrait of Maud Abrantes(verso), 1908. Reuben and Edith Hecht Museum, University of Haifa Photograph © Hecht Museum, University of Haifa, Photo: Shay Levy\nThe Pretty Housewife (La Jolie ménagère), 1915. The Barnes Foundation, BF327\n(Click on the image for full screen version)",[],"image$a1012e0b-ed7a-4c95-a115-95a957842670",{"variation":98,"version":99,"items":771,"primary":773,"id":817,"slice_type":126,"slice_label":7},[772],{},{"title":774,"content":775},[],[776,815],{"type":36,"text":777,"spans":778},"The Thread Count Automation Project has been able to identify the signature pattern of threads in a roll of canvas and can place various paintings on the same roll. As Modigliani and his art dealer were purchasing premade canvases from manufacturers in Paris and the south of France, this path of research can authenticate a Modigliani painting beyond reasonable doubt. Modigliani’s Le Nu Couché (sur la côté gauche) (1917) sold in 2018 for $157.2 million, and considering that 20 out of 21 paintings were declared forgeries at a 2017 exhibition at the Palazzo Ducale in Genoa titled Modigliani, the need to prove that the works were actually created by the artist himself has become a significant concern.\n\nLike a druid’s mystical circle of stones, eight of Modigliani’s delicate and slender female heads form a klatch at the centre of the first gallery in Modigliani Up Close. This in part mimics the arrangement of the artist’s sculptural practice in the Cubist room of the Salon d’Automne in 1912, preserved in photographs. The sacred geometry of the presentation also pulls from accounts from the artist’s contemporaries of his inclination to create a temple-like atmosphere in his studio, with candles nestled on the crowns of his heads casting flickering shadows across the sinuous features. Conservators discovered wax traces on the sculptures, confirming this enlightening anecdote. Analysis of the limestone, and the block’s original shape before the carving began, offers another fascinating detail: that Modigliani purchased (or stole) pieces of stone destined for door jambs and lintels in buildings in Paris. Did these long narrow architectural elements inspire the artist to make elongated sculptural forms, or was he searching out blocks of this shape?\n\nThe first gallery flows into a room of elongated languorous gently writhing nudes: Nude with Coral Necklace (1917), Nude (1917), Seated Nude with a Skirt (1917), Reclining Nude (1917), and Reclining Nude (1919). Encompassed by a sea of pinks, much like being encircled by the ring of beige oolitic limestone in the first gallery, the viewer can watch Modigliani tweaking and refining his vision, he tilts his model’s hips forward and back, plays with line versus alternating shades of colour, and tries different props in order to heighten the sense of erotic connection between the sitter and the artist\u002Fviewer. Each of the galleries allows the viewer to explore the artist’s investigations based on type: light-filled portraits of bored pink-cheeked boys roped into modelling during his convalescence in 1918-19 in the south of France and in the final room a magnificent trio of large format paintings of the ill-fated lover Jeanne Hébuterne: Jeanne Hébuterne in a Yellow Sweater (1918-1919), Portrait of Jeanne Hébuterne (1918), and Jeanne Hébuterne (1919). Modigliani Up Close does not end in the allotted gallery space: because of the esoteric requirements of Albert Barnes himself – the paintings in the permanent galleries cannot be moved from their existing arrangement on the walls, so the visitor has to visit the foundation’s collection in order to see several of Modigliani’s greatest masterpieces, such as the aforementioned The Pretty Housewife, as well as the roguish portrait of the artist’s dealer Leopold Zborowski (1919), and Boy in a Sailor Suit (1917). Modigliani and his friend Soutine were some of the earliest artists to enter Barnes’ collection, and by seeing the paintings amongst Renoirs, Picassos, and Matisses, we begin to understand the mysterious Modigliani, who died so young, in the art ecosystem in which he was a vital part.\n\nModigliani Up Close\n16 October 2022 - 29 January 2023. The Barnes Foundation, Philadelphia. ",[779,782,785,788,791,794,797,800,803,806,809,812],{"start":780,"end":781,"type":115},383,417,{"start":783,"end":784,"type":115},1853,1877,{"start":786,"end":787,"type":115},1886,1890,{"start":789,"end":790,"type":115},1899,1923,{"start":792,"end":793,"type":115},1932,1946,{"start":795,"end":796,"type":115},1959,1973,{"start":798,"end":799,"type":115},2715,2751,{"start":801,"end":802,"type":115},2765,2793,{"start":804,"end":805,"type":115},2806,2822,{"start":807,"end":808,"type":115},3208,3228,{"start":810,"end":811,"type":115},3285,3302,{"start":813,"end":814,"type":115},3315,3335,{"type":36,"text":106,"spans":816},[],"text$2ea10c84-da5e-40d2-bab2-464d2beac4af",{"variation":666,"version":99,"items":819,"primary":864,"id":874,"slice_type":171,"slice_label":7},[820,831,842,853],{"image":821,"title":825,"subtitle":830},{"dimensions":822,"alt":825,"copyright":826,"url":827,"id":828,"edit":829},{"width":823,"height":824},6754,4354,"Amedeo Modigliani. Reclining Nude from the Back (Nu couché de dos), 1917, Oil on canvas","Amedeo Modigliani. Reclining Nude from the Back (Nu couché de dos), 1917, Oil on canvas\nThe Barnes Foundation, BF576.","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Ff2a3354c-49ba-4747-b3d5-8d781f7ffc05_Amedeo+Modigliani.+Nude+with+Coral+Necklace_+1917.jpg?auto=compress,format","ZCrk4hAAACMA8jhn",{"x":61,"y":61,"zoom":62,"background":63},"The Barnes Foundation, BF576.",{"image":832,"title":836,"subtitle":841},{"dimensions":833,"alt":836,"copyright":837,"url":838,"id":839,"edit":840},{"width":834,"height":835},3593,2342,"Amedeo Modigliani. Nude with Coral Necklace, 1917","Amedeo Modigliani. Nude with Coral Necklace, 1917\n\nAllen Memorial Art Museum, Oberlin College, Oberlin, Ohio. Gift of Joseph and Enid Bissett 1955.59","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F6ba2efc4-2477-4c5b-980f-3cd2ce3934a0_Amedeo+Modigliani.+Nude+with+Coral+Necklace_+1917.jpg?auto=compress,format","ZCvz9xAAACQA8_J9",{"x":61,"y":61,"zoom":62,"background":63},"Allen Memorial Art Museum, Oberlin College, Oberlin, Ohio. Gift of Joseph and Enid Bissett 1955.59",{"image":843,"title":847,"subtitle":852},{"dimensions":844,"alt":847,"copyright":848,"url":849,"id":850,"edit":851},{"width":845,"height":846},3003,4606,"Amedeo Modigliani. Jeanne Hébuterne with Yellow Sweater, 1918–19","Amedeo Modigliani. Jeanne Hébuterne with Yellow Sweater, 1918–19\n\nSolomon R. Guggenheim Museum, New York.\nSolomon R. Guggenheim Founding Collection, by gift, 37.533\u002F Photo credit: The Solomon R. Guggenheim Foundation \u002F Art Resource, NY","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F8fc4043f-1bfb-498a-a0ca-460a135f7db6_Amedeo+Modigliani.+Jeanne+H%C3%A9buterne+with+Yellow+Sweater_+1918%E2%80%9319.jpg?auto=compress,format","ZCvvURAAACQA8-nr",{"x":61,"y":61,"zoom":62,"background":63},"Photo credit: The Solomon R. Guggenheim Foundation \u002F Art Resource, NY",{"image":854,"title":858,"subtitle":863},{"dimensions":855,"alt":858,"copyright":859,"url":860,"id":861,"edit":862},{"width":856,"height":857},2354,2938,"Amedeo Modigliani, Jeanne Hébuterne, 1919","Amedeo Modigliani, Jeanne Hébuterne, 1919. The Metropolitan Museum of Art, New York, Gift of Mr. and Mrs. Nate B. Spingold, 1956 (56.184.2)\nImage © The Metropolitan Museum of Art. Image source: Art Resource","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fcbb5b1f1-530d-4b67-b8f4-203be68f5433_Amedeo+Modigliani_+Jeanne+H%C3%A9buterne%2C+1919.jpg?auto=compress,format","ZCvyhRAAACIA8-_G",{"x":61,"y":61,"zoom":62,"background":63},"Image © The Metropolitan Museum of Art. Image source: Art Resource",{"image1":865,"label":7,"copyright":870},{"dimensions":866,"alt":825,"copyright":826,"url":867,"id":868,"edit":869},{"width":80,"height":317},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F4e0c35f5-0dc0-41de-94c7-22cb7b1cbb82_3_2-2.jpg?auto=compress,format","ZCrkGhAAACEA8jb-",{"x":61,"y":61,"zoom":62,"background":63},[871],{"type":36,"text":872,"spans":873},"Amedeo Modigliani. Reclining Nude from the Back (Nu couché de dos), 1917, Oil on canvas\nThe Barnes Foundation, BF576.\n(Click on the image to see the carrousel)",[],"image$701d999b-2f59-4f4a-b8fb-e3487ab2bb96","ArtExplored delves into the mystery and allure of Modigliani's art and the impact of 'Modigliani Up Close.' Discover the enduring fascination with this Italian artist.",{"dimensions":877,"alt":635,"copyright":7,"url":878,"id":879,"edit":880},{"width":186,"height":118},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fbfd24834-ef66-4ac5-84f3-b8f7ed9ab67f_Amedo+Modigliani+Image+Opengraph.jpg?auto=compress,format","ZK_8thIAACMAahhe",{"x":61,"y":61,"zoom":62,"background":63},[882,887,894],{"variation":98,"version":99,"items":883,"primary":884,"id":886,"slice_type":237,"slice_label":7},[],{"slides_per_view":7,"max_slides_count":7,"tag":885,"type":8,"title":235,"paralax":7},{"link_type":74},"carousel$76399f61-581f-4422-989a-c4d3a51b684f",{"variation":98,"version":99,"items":888,"primary":891,"id":893,"slice_type":237,"slice_label":7},[889],{"post":890},{"link_type":74},{"slides_per_view":7,"max_slides_count":7,"tag":892,"type":461,"title":462,"paralax":7},{"link_type":74},"carousel$454b3fee-0d33-4b7c-8484-8a1534e794eb",{"variation":98,"version":99,"items":895,"primary":898,"id":901,"slice_type":237,"slice_label":7},[896],{"post":897},{"link_type":74},{"slides_per_view":7,"max_slides_count":7,"tag":899,"type":245,"title":900,"paralax":7},{"link_type":74},"Discover more artists","carousel$f1aa84e6-dafc-432c-8410-d664d47c9613",{"id":903,"uid":904,"url":7,"type":8,"href":905,"tags":906,"first_publication_date":908,"last_publication_date":909,"slugs":910,"linked_documents":912,"lang":20,"alternate_languages":913,"data":914},"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",[907],"Gustav Klimt","2024-07-26T13:48:30+0000","2024-07-31T15:55:16+0000",[911],"a-mysterious-portrait",[],[],{"title":915,"subtitle":916,"author":917,"copyright_cover":7,"cover_desktop":965,"cover_mobile":972,"thumbnail":978,"published_at":981,"slices":982,"meta_title":1195,"meta_description":1196,"og_image":1197,"slices2":1202},"Klimt, Matsch, and a Ghanaian Prince in turn-of-the-century Vienna","Twin portraits illuminate the friendship and break-up between the painters",{"id":918,"type":27,"tags":919,"lang":20,"slug":920,"first_publication_date":921,"last_publication_date":922,"uid":920,"data":923,"link_type":74,"key":964,"isBroken":76},"ZBBz5xAAAKdKzSXy",[],"lea-nedwed","2023-03-14T13:17:30+0000","2024-07-10T17:09:39+0000",{"description":924,"short_description":940,"job":944,"thumbnail":945,"cover":954,"uid":920,"title":949,"og_image":957,"meta_description":960,"meta_title":949},[925,929,932,935,937],{"type":36,"text":926,"spans":927,"direction":928},"Léa is a managing editor at ArtExplored, where she produces in-depth art market reports and educational content. ",[],"ltr",{"type":36,"text":930,"spans":931,"direction":928}," ",[],{"type":36,"text":933,"spans":934,"direction":928},"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":36,"text":930,"spans":936,"direction":928},[],{"type":36,"text":938,"spans":939,"direction":928},"She holds degrees in Law from the Sorbonne, Art Appraisal and Trade from IESA, and an MBA in the Business of Art from ICART.",[],[941],{"type":36,"text":942,"spans":943,"direction":928},"Lea is a managing editor and content producer at ArtExplored. ",[],"Managing Editor",{"dimensions":946,"alt":949,"copyright":7,"url":950,"id":951,"edit":952},{"width":947,"height":948},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":61,"y":61,"zoom":62,"background":953},"transparent",{"dimensions":955,"alt":949,"copyright":7,"url":950,"id":951,"edit":956},{"width":947,"height":948},{"x":61,"y":61,"zoom":62,"background":953},{"dimensions":958,"alt":7,"copyright":7,"url":950,"id":951,"edit":959},{"width":947,"height":948},{"x":61,"y":61,"zoom":62,"background":953},[961],{"type":36,"text":962,"spans":963},"Léa Nedwed is a senior writer at ArtExplored",[],"9756bf94-830f-4e77-ac0d-63e2063721ee",{"dimensions":966,"alt":7,"copyright":7,"url":969,"id":970,"edit":971},{"width":967,"height":968},16000,9000,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZqOfcB5LeNNTxhmF_Landscape_16.9_Web_Header_HiddenGems_V6_.jpg?auto=format,compress","ZqOfcB5LeNNTxhmF",{"x":61,"y":61,"zoom":62,"background":953},{"dimensions":973,"alt":7,"copyright":7,"url":975,"id":976,"edit":977},{"width":974,"height":967},10667,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZqOgAB5LeNNTxhmY_Portrait_3.2_Web_Thumbnail_HiddenGems4.jpg?auto=format,compress","ZqOgAB5LeNNTxhmY",{"x":61,"y":61,"zoom":62,"background":953},{"dimensions":979,"alt":7,"copyright":7,"url":975,"id":976,"edit":980},{"width":974,"height":967},{"x":61,"y":61,"zoom":62,"background":953},"2024-07-29",[983,997,1010,1027,1044,1066,1075,1087,1109,1118,1135,1147,1173,1182],{"variation":98,"version":99,"items":984,"primary":985,"id":996,"slice_type":126,"slice_label":7},[],{"title":986,"content":987},[],[988,991,993],{"type":36,"text":989,"spans":990,"direction":928},"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":36,"text":930,"spans":992,"direction":928},[],{"type":36,"text":994,"spans":995,"direction":928},"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":666,"version":99,"items":998,"primary":999,"id":1009,"slice_type":171,"slice_label":7},[],{"image1":1000,"label":7,"copyright":1005},{"dimensions":1001,"alt":7,"copyright":7,"url":1002,"id":1003,"edit":1004},{"width":81,"height":81},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZqOhCx5LeNNTxhnR_FranzvonMatsch-Square.jpg?auto=format,compress","ZqOhCx5LeNNTxhnR",{"x":61,"y":61,"zoom":62,"background":953},[1006],{"type":36,"text":1007,"spans":1008,"direction":928},"Franz von Matsch (1861-1942), Portrait of William Nii Nortey Dowuona, Prince of the Ga people from Osu in the Grand Accra region of Ghana, West Africa, 1897, oil on canvas, Collection MNAHA",[],"image$581a16cf-b400-443f-95ef-696551be2e71",{"variation":98,"version":99,"items":1011,"primary":1012,"id":1026,"slice_type":126,"slice_label":7},[],{"title":1013,"content":1017},[1014],{"type":105,"text":1015,"spans":1016,"direction":928},"A mysterious portrait",[],[1018,1021,1023],{"type":36,"text":1019,"spans":1020,"direction":928},"The newly acquired painting is presented in its (presumably) original, beautifully crafted bamboo frame. From the corners of the frame protrude four tubers–the roots of the bamboo–enhancing its exotic allure. Its quasi-photographic quality and frontal, naturalistic depiction of a black man in bust form make it challenging to date at first glance. The painting appears academic with its polished finish and the model’s classical pose, yet it diverges from tradition through its unconventional choice of subject.",[],{"type":36,"text":930,"spans":1022,"direction":928},[],{"type":36,"text":1024,"spans":1025,"direction":928},"A black figure wears a piece of cloth in a toga-like fashion, draped over his left shoulder and leaving the right one bare. Set against a simple clay-green background, he lacks contextual markers. The museum acquired it at a 2021 Sotheby's auction, simply as “Portrait of an African Man”. Its author, Austrian painter Franz von Matsch (1861-1942), was active in Vienna from the late 19th to the mid-20th century. Reflecting an era when Black representation in European art expanded alongside migration from Africa and Haiti, such works broke away from prevailing stereotypes. However, the context in which this portrait was created unveils more complex realities. While interpreting the artist’s perspective solely through the painting proves challenging, it nevertheless offers profound insights into anthropology and social relations in modern Europe.",[],"text$b4cb4442-fba2-4a3d-9ed3-7f3a2a3ca55a",{"variation":98,"version":99,"items":1028,"primary":1029,"id":1043,"slice_type":126,"slice_label":7},[],{"title":1030,"content":1034},[1031],{"type":105,"text":1032,"spans":1033,"direction":928},"Matsch and Klimt: partners in art",[],[1035,1038,1040],{"type":36,"text":1036,"spans":1037,"direction":928},"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":36,"text":930,"spans":1039,"direction":928},[],{"type":36,"text":1041,"spans":1042,"direction":928},"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$5f3b82d7-a73d-4039-9852-2a47bf8110de",{"variation":666,"version":99,"items":1045,"primary":1055,"id":1065,"slice_type":171,"slice_label":7},[1046],{"image":1047,"title":1053,"subtitle":1054},{"dimensions":1048,"alt":7,"copyright":7,"url":1050,"id":1051,"edit":1052},{"width":133,"height":1049},2413,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZqOjhB5LeNNTxhoK_Klimtpainting2.png?auto=format,compress","ZqOjhB5LeNNTxhoK",{"x":61,"y":61,"zoom":62,"background":953},"Gustav Klimt (1862-1918)","Portrait of William Nii Nortey Dowuona, c. 1897",{"image1":1056,"label":7,"copyright":1061},{"dimensions":1057,"alt":7,"copyright":7,"url":1058,"id":1059,"edit":1060},{"width":80,"height":317},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZqOqcR5LeNNTxhrQ_GustavKlimtlandscape3_2.jpg?auto=format,compress","ZqOqcR5LeNNTxhrQ",{"x":61,"y":61,"zoom":62,"background":953},[1062],{"type":36,"text":1063,"spans":1064,"direction":928},"Gustav Klimt (1862-1918), Portrait of William Nii Nortey Dowuona, c. 1897\n\n(Click to view the full image)",[],"image$d8c5583d-c0ef-4f3e-a78c-a493b58b6b37",{"variation":98,"version":99,"items":1067,"primary":1068,"id":1074,"slice_type":126,"slice_label":7},[],{"title":1069,"content":1070},[],[1071],{"type":36,"text":1072,"spans":1073,"direction":928},"Priem highlights these portraits as testaments not only to artistic camaraderie but also to the rift that possibly fractured the painters’ bond—a bullet hole in Matsch's work mirrors a dagger gash in Klimt's. An eye for an eye...",[],"text$c4881e79-a305-4079-bf28-d01b6806f52b",{"variation":98,"version":99,"items":1076,"primary":1077,"id":1086,"slice_type":126,"slice_label":7},[],{"title":1078,"content":1082},[1079],{"type":105,"text":1080,"spans":1081,"direction":928},"Investigating identity",[],[1083],{"type":36,"text":1084,"spans":1085,"direction":928},"In a 2012 publication, art historian Tobias Natter questioned the dating and subject of Klimt’s portrait. Natter speculated that it might depict an African sculpture Klimt admired at Brussels’ Musée du Congo in 1914. Enter Alfred Weidinger, Vienna’s Belvedere Museum’s former vice-president, who established the link between Klimt’s and Matsch’s portraits to around 1897. This was not only the year when Klimt began incorporating flowers into the backgrounds of his works, but also the year a group of Ga people from Ghana were “hired” to “perform” in Vienna’s “Tiergarten” (German for “zoo”).",[],"text$4a43e929-6358-422a-bc1e-5fa06cd95e72",{"variation":98,"version":99,"items":1088,"primary":1098,"id":1108,"slice_type":171,"slice_label":7},[1089],{"image":1090,"title":1097,"subtitle":7},{"dimensions":1091,"alt":7,"copyright":7,"url":1094,"id":1095,"edit":1096},{"width":1092,"height":1093},2634,1517,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZqOk8h5LeNNTxhpX_printWienerTiergarten1897_SMK%5B31%5D2.png?auto=format,compress","ZqOk8h5LeNNTxhpX",{"x":61,"y":61,"zoom":62,"background":953},"A group of Ga people from Ghana at Vienna’s Tiergarten circa 1897.",{"image1":1099,"label":7,"copyright":1104},{"dimensions":1100,"alt":7,"copyright":7,"url":1101,"id":1102,"edit":1103},{"width":80,"height":317},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZqOk6h5LeNNTxhpW_GapeopleLandscape3_2.jpg?auto=format,compress","ZqOk6h5LeNNTxhpW",{"x":61,"y":61,"zoom":62,"background":953},[1105],{"type":36,"text":1106,"spans":1107,"direction":928},"A group of Ga people from Ghana at Vienna’s Tiergarten circa 1897.\n\n(Click to view the full image.)",[],"image$f6b14082-d44d-4c8d-8b4b-a272c5c292e3",{"variation":98,"version":99,"items":1110,"primary":1111,"id":1117,"slice_type":126,"slice_label":7},[],{"title":1112,"content":1113},[],[1114],{"type":36,"text":1115,"spans":1116,"direction":928},"During the late 19th century, “human zoos” sprang up across Europe, fuelling a fascination with the exotic at the height of colonial rule, explains Charline Zeitoun, science journalist and deputy editor-in-chief at CNRS. German wild animal importer Carl Hagenberg, known as the “King of the Zoos”, also popularised “ethnic shows”. Inuits, Nubians, Dahomeans, Amerindians, Koreans and other peoples were exhibited in reconstructed villages and asked to perform dances, wear imaginary costumes and even embody cannibalistic and brutal personas. This dehumanising industry aimed to attract an ever-growing audience while trying to legitimise the colonial and civilising enterprise. Such stagings were a resounding success with a Western public that could be described as voyeuristic, fascinated by the unusual and the exotic. “More than a billion visitors are said to have flocked to see this type of exhibition between 1870 and 1940” (“Plus d’un milliard de visiteurs se seraient pressés pour voir ce type d’exhibitions entre 1870 et 1940”), states Zeitoun.",[],"text$fef5c538-5ed3-48be-b23e-be746761f777",{"variation":98,"version":99,"items":1119,"primary":1120,"id":1134,"slice_type":126,"slice_label":7},[],{"title":1121,"content":1125},[1122],{"type":105,"text":1123,"spans":1124,"direction":928},"Breaking with artistic conventions",[],[1126,1129,1131],{"type":36,"text":1127,"spans":1128,"direction":928},"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":36,"text":930,"spans":1130,"direction":928},[],{"type":36,"text":1132,"spans":1133,"direction":928},"Matsch’s portrayal sharply contrasts with long-prevailing depictions of young African men and women in orientalist attire or as domestic pages, emphasising the absolute domination and prosperity of their masters. Instead, the man here is neither a mere decorative motif nor a stereotype; he is presented in a dignified and attentive portrait. As the Orsay exhibition catalogue highlights, artists of this era played a key role in challenging racist and colonial ideologies.",[],"text$657902fd-4faf-4c2e-881d-e6527ceccc5d",{"variation":98,"version":99,"items":1136,"primary":1137,"id":1146,"slice_type":126,"slice_label":7},[],{"title":1138,"content":1142},[1139],{"type":105,"text":1140,"spans":1141,"direction":928},"The Ghanaian Prince awaits his twin portrait",[],[1143],{"type":36,"text":1144,"spans":1145,"direction":928},"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$49b51a06-a118-446d-962b-15e468711c46",{"variation":128,"version":99,"items":1148,"primary":1161,"id":1172,"slice_type":171,"slice_label":7},[1149,1154],{"image":1150,"title":1153,"subtitle":7},{"dimensions":1151,"alt":7,"copyright":7,"url":975,"id":976,"edit":1152},{"width":974,"height":967},{"x":61,"y":61,"zoom":62,"background":953},"Matsch",{"image":1155,"title":1160,"subtitle":7},{"dimensions":1156,"alt":7,"copyright":7,"url":1157,"id":1158,"edit":1159},{"width":317,"height":80},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZqOjRB5LeNNTxhoC_GustavKlimt-3_2portrait.jpg?auto=format,compress","ZqOjRB5LeNNTxhoC",{"x":61,"y":61,"zoom":62,"background":953},"Klimt",{"image1":1162,"image2":1165,"label":7,"copyright":1168},{"dimensions":1163,"alt":7,"copyright":7,"url":975,"id":976,"edit":1164},{"width":974,"height":967},{"x":61,"y":61,"zoom":62,"background":953},{"dimensions":1166,"alt":7,"copyright":7,"url":1157,"id":1158,"edit":1167},{"width":317,"height":80},{"x":61,"y":61,"zoom":62,"background":953},[1169],{"type":36,"text":1170,"spans":1171,"direction":928},"Franz von Matsch’s and Gustav Klimt’s portraits of William Nii Nortey Dowuona circa 1897 (Matsch: left \u002F Klimt: right).\n\n(Click to view the full image)",[],"image$bd4ac8de-e7ea-4a73-b1b5-4ca49000c0b3",{"variation":98,"version":99,"items":1174,"primary":1175,"id":1181,"slice_type":126,"slice_label":7},[],{"title":1176,"content":1177},[],[1178],{"type":36,"text":1179,"spans":1180,"direction":928},"Exceptionally, the travel diaries of these Ghanaian \"actors\" have survived and, along with the two portraits, will be the focus of an Austrian documentary set for release in 2025, states the Nationalmusée’s Curator. This might allow the model to shift from being an observed subject to becoming an observer, providing us with a most interesting testimony.",[],"text$d70576b5-f405-435e-8a30-2e6013de9b76",{"variation":98,"version":99,"items":1183,"primary":1184,"id":1194,"slice_type":171,"slice_label":7},[],{"image1":1185,"label":7,"copyright":1190},{"dimensions":1186,"alt":7,"copyright":7,"url":1187,"id":1188,"edit":1189},{"width":80,"height":317},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZqOmbx5LeNNTxhpv_Nationalmus%C3%A9eumF%C3%ABschmaart-landscape3_2.jpg?auto=format,compress","ZqOmbx5LeNNTxhpv",{"x":61,"y":61,"zoom":62,"background":953},[1191],{"type":36,"text":1192,"spans":1193,"direction":928},"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":1198,"alt":7,"copyright":7,"url":1199,"id":1200,"edit":1201},{"width":186,"height":118},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZqOnHB5LeNNTxhp-_HiddenGemattheNationalmus%C3%A9eumF%C3%ABschmaart-ImageOpengraph.jpg?auto=format,compress","ZqOnHB5LeNNTxhp-",{"x":61,"y":61,"zoom":62,"background":953},[1203,1273,1278],{"variation":98,"version":99,"items":1204,"primary":1270,"id":1272,"slice_type":237,"slice_label":7},[1205,1214,1223,1234,1244,1253,1262,1266],{"post":1206},{"id":1207,"type":8,"tags":1208,"lang":20,"slug":1210,"first_publication_date":1211,"last_publication_date":1212,"uid":1210,"link_type":74,"key":1213,"isBroken":76},"ZoZklBMAACIAPKk1",[1209],"Francis Bacon","a-new-face-at-luxembourgs-nationalmusee-um-feschmaart","2024-07-04T17:25:15+0000","2024-07-24T15:42:33+0000","5f7a2b01-205a-47da-8978-ed3b4e24bd8e",{"post":1215},{"id":1216,"type":8,"tags":1217,"lang":20,"slug":1219,"first_publication_date":1220,"last_publication_date":1221,"uid":1219,"link_type":74,"key":1222,"isBroken":76},"ZmsEqBIAACEAI9lL",[217,1218],"Gerhard Richter","gerhard-richters-market-milestones","2024-06-13T15:21:44+0000","2024-07-18T13:22:00+0000","408544fa-4576-41c4-b099-66f1cd07b92d",{"post":1224},{"id":1225,"type":8,"tags":1226,"lang":20,"slug":1229,"first_publication_date":1230,"last_publication_date":1231,"uid":1232,"link_type":74,"key":1233,"isBroken":76},"ZRwVthAAACgAzNbe",[1227,1228],"Caravaggio ","Baroque","1.-excessive-realism","2023-10-04T15:22:54+0000","2024-07-08T10:37:58+0000","how-caravaggio-shocked-the-art-world","adb08711-d3ed-4ad5-996e-f86ac9a1d8f2",{"post":1235},{"id":1236,"type":8,"tags":1237,"lang":20,"slug":1239,"first_publication_date":1240,"last_publication_date":1241,"uid":1242,"link_type":74,"key":1243,"isBroken":76},"ZoUo6RMAACAAOs_e",[217,1238],"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","1dc813e5-2e9a-4412-b92d-dcb862a5bcbc",{"post":1245},{"id":1246,"type":8,"tags":1247,"lang":20,"slug":1248,"first_publication_date":1249,"last_publication_date":1250,"uid":1251,"link_type":74,"key":1252,"isBroken":76},"ZnwALhMAACIALWrC",[217,1238],"the-market-landscape-of-monets-water-lilies","2024-07-02T09:15:33+0000","2024-07-03T14:13:54+0000","artist-report-claude-monet","b534eb95-a0b3-4c78-9721-17e01afa3d10",{"post":1254},{"id":1255,"type":8,"tags":1256,"lang":20,"slug":1257,"first_publication_date":1258,"last_publication_date":1259,"uid":1260,"link_type":74,"key":1261,"isBroken":76},"ZP7wwRIAACUAhvx4",[1238,207],"fraternal-patronage-sparked-monets-rise-to-fame","2023-09-12T10:44:07+0000","2023-09-13T12:12:00+0000","claude-monet-leon-monet-impressionism","7852541e-6ea8-4fa1-8ab5-d5a3649a7982",{"post":1263},{"id":196,"type":197,"tags":1264,"lang":7,"slug":199,"first_publication_date":7,"last_publication_date":7,"link_type":74,"key":1265,"isBroken":201},[],"d41340d2-eed4-4ef7-9903-387d62da8528",{"post":1267},{"id":436,"type":8,"tags":1268,"lang":20,"slug":439,"first_publication_date":440,"last_publication_date":441,"uid":442,"link_type":74,"key":1269,"isBroken":76},[438],"45d73739-b1d5-456b-b0da-7448c7f95beb",{"slides_per_view":7,"max_slides_count":7,"tag":1271,"type":8,"title":235,"paralax":76},{"link_type":74},"carousel$c3c2ccad-14cd-465a-b3be-f5445f8b9e50",{"variation":98,"version":99,"items":1274,"primary":1275,"id":1277,"slice_type":237,"slice_label":7},[],{"slides_per_view":7,"max_slides_count":7,"tag":1276,"type":461,"title":462,"paralax":76},{"link_type":74},"carousel$ab31fc86-a46c-4047-bcbc-44e30e718b90",{"variation":98,"version":99,"items":1279,"primary":1280,"id":1282,"slice_type":237,"slice_label":7},[],{"slides_per_view":7,"max_slides_count":7,"tag":1281,"type":245,"title":900,"paralax":76},{"link_type":74},"carousel$37b53b0e-263c-48f5-8f6b-d97c378b20d5",{"id":1216,"uid":1219,"url":7,"type":8,"href":1284,"tags":1285,"first_publication_date":1220,"last_publication_date":1221,"slugs":1286,"linked_documents":1287,"lang":20,"alternate_languages":1288,"data":1289},"https:\u002F\u002Fartexplorer-prod.cdn.prismic.io\u002Fapi\u002Fv2\u002Fdocuments\u002Fsearch?ref=aCb60BIAACEA00zN&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22ZmsEqBIAACEAI9lL%22%29+%5D%5D",[217,1218],[1219],[],[],{"title":1290,"subtitle":1291,"author":1292,"copyright_cover":7,"cover_desktop":1293,"cover_mobile":1301,"thumbnail":1306,"published_at":7,"slices":1309,"meta_title":1460,"meta_description":1461,"og_image":1462,"slices2":1468},"Gerhard Richter’s market milestones","Late eighties to early nineties paintings",{"link_type":74},{"dimensions":1294,"alt":7,"copyright":7,"url":1295,"id":1296,"edit":1297},{"width":80,"height":81},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZoUgth5LeNNTwvwk_RichterVisualsforArticles2-4-.jpg?auto=format%2Ccompress&rect=137%2C169%2C2572%2C1447&w=3840&h=2160","ZoUgth5LeNNTwvwk",{"x":1298,"y":1299,"zoom":1300,"background":953},137,169,1.24,{"dimensions":1302,"alt":7,"copyright":7,"url":1303,"id":1304,"edit":1305},{"width":81,"height":80},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZo61yB5LeNNTxAFK_Richter_AnalysisArticle_Thumbnail_WhiteV51.jpg?auto=format,compress","Zo61yB5LeNNTxAFK",{"x":61,"y":61,"zoom":62,"background":953},{"dimensions":1307,"alt":7,"copyright":7,"url":1303,"id":1304,"edit":1308},{"width":81,"height":80},{"x":61,"y":61,"zoom":62,"background":953},[1310,1334,1358,1370,1388,1397,1413,1435,1451],{"variation":98,"version":99,"items":1311,"primary":1313,"id":552,"slice_type":126,"slice_label":7},[1312],{},{"title":1314,"content":1317},[1315],{"type":105,"text":106,"spans":1316},[],[1318,1331],{"type":36,"text":1319,"spans":1320,"direction":928},"Throughout his career, German artist Gerhard Richter (b. 1932) continually pushed the boundaries of painting, skillfully transitioning between abstract forms and representational images to create a diverse body of work. The late 1980s and early 1990s marked a pivotal period for Richter, as he developed his signature squeegee technique and rose to international acclaim.",[1321,1329],{"start":1322,"end":1323,"type":308,"data":1324},308,337,{"id":1325,"type":311,"tags":1326,"lang":20,"slug":1327,"first_publication_date":1328,"last_publication_date":1328,"link_type":74,"isBroken":76},"ZmxKyxIAACEAJeVC",[],"signature-squeegee-technique","2024-06-14T13:51:09+0000",{"start":1322,"end":1330,"type":374},336,{"type":36,"text":1332,"spans":1333,"direction":928},"Consequently, paintings created between 1985 and 1994 are highly coveted in Richter's market, generating an impressive $2.1 billion from 295 lots sold between 2004 and 2023. This segment's value nearly doubles Van Gogh's auction market which stands at $1.3 billion from just 66 lots sold over the past two decades.",[],{"variation":666,"version":99,"items":1335,"primary":1347,"id":1357,"slice_type":171,"slice_label":7},[1336],{"image":1337,"title":7,"subtitle":7},{"dimensions":1338,"alt":7,"copyright":7,"url":1341,"id":1342,"edit":1343},{"width":1339,"height":1340},2947,1992,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZmwFMZm069VX1v1f_RichterVisualsforArticles-28.jpg?auto=format%2Ccompress&rect=181%2C122%2C2585%2C1747&w=2947&h=1992","ZmwFMZm069VX1v1f",{"x":1344,"y":1345,"zoom":1346,"background":953},181,122,1.14,{"image1":1348,"label":7,"copyright":1356},{"dimensions":1349,"alt":7,"copyright":7,"url":1350,"id":1351,"edit":1352},{"width":80,"height":317},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZmwFHJm069VX1v1d_VanGogh%27svsRichterlandscape3_2.jpg?auto=format%2Ccompress&rect=384%2C256%2C3072%2C2048&w=3840&h=2560","ZmwFHJm069VX1v1d",{"x":1353,"y":1354,"zoom":1355,"background":953},384,256,1.25,[],"image$19a02077-12cb-4921-a909-1bdc1a62fbcb",{"variation":98,"version":99,"items":1359,"primary":1360,"id":1369,"slice_type":126,"slice_label":7},[],{"title":1361,"content":1362},[],[1363],{"type":36,"text":1364,"spans":1365,"direction":928},"Richter's works from this period particularly captivated buyers between 2008 and 2012. Notably, Abstraktes Bild (809-4), a painting from 1994, made Richter the most expensive living artist in 2012. Having set several auction records for the artist, these works now occupy nine of his top ten sales.",[1366],{"start":1367,"end":1368,"type":115},96,119,"text$ee13476c-9a3e-4d89-88b8-8238b36170b0",{"variation":666,"version":99,"items":1371,"primary":1380,"id":1387,"slice_type":171,"slice_label":7},[1372],{"image":1373,"title":7,"subtitle":7},{"dimensions":1374,"alt":7,"copyright":7,"url":1377,"id":1378,"edit":1379},{"width":1375,"height":1376},1822,2356,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZmsJr5m069VX1uYh_RichterVisualsforArticles-21.jpg?auto=format,compress","ZmsJr5m069VX1uYh",{"x":61,"y":61,"zoom":62,"background":953},{"image1":1381,"label":7,"copyright":1386},{"dimensions":1382,"alt":7,"copyright":7,"url":1383,"id":1384,"edit":1385},{"width":317,"height":80},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZmsIppm069VX1uXx_Richter3_2.jpg?auto=format,compress","ZmsIppm069VX1uXx",{"x":61,"y":61,"zoom":62,"background":953},[],"image$9218cfd6-ae59-45d9-9b61-646d8053d5d9",{"variation":98,"version":99,"items":1389,"primary":1390,"id":1396,"slice_type":126,"slice_label":7},[],{"title":1391,"content":1392},[],[1393],{"type":36,"text":1394,"spans":1395,"direction":928},"The market for Richter’s 1985-1994 paintings has shown remarkable resilience, even during the pandemic downturn. In 2020, \"Abstraktes Bild (649-2),\" a 1987 painting, made Richter the most expensive Western artist at an Asian auction when it was acquired by the Pola Museum in Hakone, Japan. By 2021, annual sales in this segment reached their highest level in six years.",[],"text$7275b4de-13b5-4e81-bee5-3e0d41cfb077",{"variation":666,"version":99,"items":1398,"primary":1407,"id":1412,"slice_type":171,"slice_label":7},[1399],{"image":1400,"title":7,"subtitle":7},{"dimensions":1401,"alt":7,"copyright":7,"url":1404,"id":1405,"edit":1406},{"width":1402,"height":1403},2320,1450,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZoa42h5LeNNTwzGK_Richter_AnalysisArticle_Graph_V1.jpg?auto=format,compress","Zoa42h5LeNNTwzGK",{"x":61,"y":61,"zoom":62,"background":953},{"image1":1408,"label":7,"copyright":1411},{"dimensions":1409,"alt":7,"copyright":7,"url":1404,"id":1405,"edit":1410},{"width":1402,"height":1403},{"x":61,"y":61,"zoom":62,"background":953},[],"image$a61a6c61-9b4c-4c70-a5db-73eb386d5b0a",{"variation":98,"version":99,"items":1414,"primary":1415,"id":1434,"slice_type":126,"slice_label":7},[],{"title":1416,"content":1417},[],[1418,1428],{"type":36,"text":1419,"spans":1420,"direction":928},"Richter's auction records in this category are consistently set by monumental \"Abstrakte Bilder\" (abstract paintings) measuring 200 cm or more. These works have solidified Richter’s status as a central figure in the art market since the 2010s. For more insights, ArtExplored's Focus Report, highlights the evolution of the market for these specific paintings over the last twenty years.",[1421],{"start":1422,"end":1423,"type":308,"data":1424},263,289,{"link_type":1425,"url":1426,"target":1427},"Web","https:\u002F\u002Fartexplored.com\u002Farticle\u002Fartist-report-gerhard-richter","_self",{"type":36,"text":1429,"spans":1430,"direction":928},"In 2017, Richter announced his retirement from painting, concentrating instead on works on paper. He leaves behind an impressive oeuvre, comprising 3,819 paintings created over six decades, a quarter of them between 1985 and 1994. His reputation remains so well-established that for the past decade, at least one museum exhibition featuring his work has been organised worldwide each year.",[1431],{"start":1432,"end":1433,"type":115},129,135,"text$5f9b1e63-e6bb-4f77-8396-1934978a98cb",{"variation":666,"version":99,"items":1436,"primary":1445,"id":1450,"slice_type":171,"slice_label":7},[1437],{"image":1438,"title":7,"subtitle":7},{"dimensions":1439,"alt":7,"copyright":7,"url":1442,"id":1443,"edit":1444},{"width":1440,"height":1441},1811,1641,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZmsKEpm069VX1uYw_RichterVisualsforArticles.jpg?auto=format,compress","ZmsKEpm069VX1uYw",{"x":61,"y":61,"zoom":62,"background":953},{"image1":1446,"label":7,"copyright":1449},{"dimensions":1447,"alt":7,"copyright":7,"url":1442,"id":1443,"edit":1448},{"width":1440,"height":1441},{"x":61,"y":61,"zoom":62,"background":953},[],"image$34d5dc5f-c92a-438d-8d0f-03d3e4897ef6",{"variation":98,"version":99,"items":1452,"primary":1453,"id":1459,"slice_type":126,"slice_label":7},[],{"title":1454,"content":1455},[],[1456],{"type":36,"text":1457,"spans":1458,"direction":928},"The information in this article has been analysed by ArtExplored and is based on proprietary data.",[],"text$c9d09c01-d732-49d0-9051-f790ca199b2b","Gerhard Richter’s Market Milestones Late Eighties to Early Nineties","Richter’s paintings created between 1985 and 1994 are highly coveted in the art market. Read the ArtExplored Focus Report to find out more about the paintings that consistently set auction records in this category: monumental Abstrakte Bilder.",{"dimensions":1463,"alt":7,"copyright":7,"url":1465,"id":1466,"edit":1467},{"width":1464,"height":118},2388,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZnwHGJbWFbowe3z2_Richter_AnalysisArticle_Opengraph.jpg?auto=format,compress","ZnwHGJbWFbowe3z2",{"x":61,"y":61,"zoom":62,"background":953},[1469],{"variation":98,"version":99,"items":1470,"primary":1506,"id":1515,"slice_type":237,"slice_label":7},[1471,1480,1484,1493,1497],{"post":1472},{"id":1473,"type":8,"tags":1474,"lang":20,"slug":1475,"first_publication_date":1476,"last_publication_date":1477,"uid":1478,"link_type":74,"key":1479,"isBroken":76},"ZnwEZhMAAB8ALXHW",[217,1218],"evaluating-the-market-for-richters-iconic-abstrakte-bilder","2024-07-02T17:11:07+0000","2024-07-04T09:16:04+0000","artist-report-gerhard-richter","e5b06e0e-029b-4c9d-bf6e-d6aa9c584dbc",{"post":1481},{"id":1246,"type":8,"tags":1482,"lang":20,"slug":1248,"first_publication_date":1249,"last_publication_date":1250,"uid":1251,"link_type":74,"key":1483,"isBroken":76},[217,1238],"13982626-dc52-4466-8737-410d2cef15d4",{"post":1485},{"id":1486,"type":8,"tags":1487,"lang":20,"slug":1488,"first_publication_date":1489,"last_publication_date":1490,"uid":1491,"link_type":74,"key":1492,"isBroken":76},"ZOShthIAACYA1xCI",[1209,217],"first-artist-report-sheds-light-on-francis-bacons-market","2023-08-24T13:17:37+0000","2023-08-29T15:59:39+0000","artist-report-francis-bacon","7ab6cb01-f4e4-4f2b-a2d4-539e7726b883",{"post":1494},{"id":215,"type":8,"tags":1495,"lang":20,"slug":218,"first_publication_date":219,"last_publication_date":220,"uid":218,"link_type":74,"key":1496,"isBroken":76},[217],"87a526f7-2532-40d3-8260-6cb4775c1bdb",{"post":1498},{"id":1499,"type":8,"tags":1500,"lang":20,"slug":1501,"first_publication_date":1502,"last_publication_date":1503,"uid":1504,"link_type":74,"key":1505,"isBroken":76},"ZBmiNxEAACUAZCbn",[217],"is-art-a-sound-investment","2023-03-21T12:40:31+0000","2024-02-12T16:32:00+0000","investment-art-market-assets-painting","618bcc1a-83cc-4165-897b-f18cab965d62",{"slides_per_view":233,"max_slides_count":373,"tag":1507,"type":8,"title":235,"paralax":76},{"id":1508,"type":1509,"tags":1510,"lang":20,"slug":1511,"first_publication_date":1512,"last_publication_date":1513,"uid":1511,"link_type":74,"key":1514,"isBroken":76},"ZBnnjBIAACIAc6Df","tag",[217],"art-investment","2023-03-21T17:21:31+0000","2023-06-12T15:34:07+0000","f05aba84-5166-459a-abf7-b0cb29c0b4e8","carousel$4b20f160-2667-4f75-b8c5-099514bb50d0",{"id":1207,"uid":1210,"url":7,"type":8,"href":1517,"tags":1518,"first_publication_date":1211,"last_publication_date":1212,"slugs":1519,"linked_documents":1520,"lang":20,"alternate_languages":1521,"data":1522},"https:\u002F\u002Fartexplorer-prod.cdn.prismic.io\u002Fapi\u002Fv2\u002Fdocuments\u002Fsearch?ref=aCb60BIAACEA00zN&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22ZoZklBMAACIAPKk1%22%29+%5D%5D",[1209],[1210],[],[],{"title":1523,"subtitle":1524,"author":1525,"copyright_cover":1555,"cover_desktop":1556,"cover_mobile":1561,"thumbnail":1566,"published_at":1569,"slices":1570,"meta_title":1672,"meta_description":1673,"og_image":1674,"slices2":1679},"A new face at Luxembourg's Nationalmusée um Fëschmaart","The only publicly exhibited Francis Bacon in the country is also publicly listed",{"id":918,"type":27,"tags":1526,"lang":20,"slug":920,"first_publication_date":921,"last_publication_date":922,"uid":920,"data":1527,"link_type":74,"key":1554,"isBroken":76},[],{"description":1528,"short_description":1539,"job":944,"thumbnail":1542,"cover":1545,"uid":920,"title":949,"og_image":1548,"meta_description":1551,"meta_title":949},[1529,1531,1533,1535,1537],{"type":36,"text":926,"spans":1530,"direction":928},[],{"type":36,"text":930,"spans":1532,"direction":928},[],{"type":36,"text":933,"spans":1534,"direction":928},[],{"type":36,"text":930,"spans":1536,"direction":928},[],{"type":36,"text":938,"spans":1538,"direction":928},[],[1540],{"type":36,"text":942,"spans":1541,"direction":928},[],{"dimensions":1543,"alt":949,"copyright":7,"url":950,"id":951,"edit":1544},{"width":947,"height":948},{"x":61,"y":61,"zoom":62,"background":953},{"dimensions":1546,"alt":949,"copyright":7,"url":950,"id":951,"edit":1547},{"width":947,"height":948},{"x":61,"y":61,"zoom":62,"background":953},{"dimensions":1549,"alt":7,"copyright":7,"url":950,"id":951,"edit":1550},{"width":947,"height":948},{"x":61,"y":61,"zoom":62,"background":953},[1552],{"type":36,"text":962,"spans":1553},[],"686ce32b-a9b9-4cdf-9273-050417761261","Francis Bacon (1909-1992), Three Studies for Portrait of George Dyer, 1963, oil on canvas, in three parts, 35.5 x 30.5 cm (each). The first publicly listed Masterpiece on Artex Global Markets. Owned by Art Share 002. © The Estate of Francis Bacon. All right reserved, DACS 2024 \u002F Photo : Tom Lucas \u002F MNAHA",{"dimensions":1557,"alt":7,"copyright":7,"url":1558,"id":1559,"edit":1560},{"width":80,"height":81},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZoZjCB5LeNNTwyJp_Slide16_9-5-.jpg?auto=format,compress","ZoZjCB5LeNNTwyJp",{"x":61,"y":61,"zoom":62,"background":953},{"dimensions":1562,"alt":7,"copyright":7,"url":1563,"id":1564,"edit":1565},{"width":81,"height":80},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZoamfR5LeNNTwy5c_9_16-2-.jpg?auto=format,compress","ZoamfR5LeNNTwy5c",{"x":61,"y":61,"zoom":62,"background":953},{"dimensions":1567,"alt":7,"copyright":7,"url":1563,"id":1564,"edit":1568},{"width":81,"height":80},{"x":61,"y":61,"zoom":62,"background":953},"2024-07-04",[1571,1591,1613,1635,1653],{"variation":98,"version":99,"items":1572,"primary":1573,"id":1590,"slice_type":126,"slice_label":7},[],{"title":1574,"content":1575},[],[1576,1579,1584,1587],{"type":36,"text":1577,"spans":1578,"direction":928},"“Three Studies for Portrait of George Dyer” (1963), a triptych by Francis Bacon (1909-1992), joined the MNAHA’s Nationalmusée um Fëschmaart’s extensive Modern and Contemporary art collection on 25th June 2024. On loan to the institution for the next two years, this is the only work by the British painter to be exhibited in Luxembourg.",[],{"type":36,"text":1580,"spans":1581,"direction":928},"Art connections reimagined",[1582],{"start":61,"end":1583,"type":115},26,{"type":36,"text":1585,"spans":1586,"direction":928},"After years of renovation, the museum’s Modern and Contemporary section reopened in March 2024 with a new thematic display entitled “Collections\u002FRevelations”. Instead of adhering to a typical chronological approach, curator Ruud Priem aimed to foster dialogue among artworks spanning different periods. Observant visitors will notice the connections between pieces that resonate with each other in one way or the other. For instance, juxtaposed bourgeois portraits from the late 19th century, highlighting a certain wealth and social status, face Aida Silvestri’s blurred photographs of Eritrean refugees who lost all their possessions and relationships when fleeing their homeland, explains Priem.",[],{"type":36,"text":1588,"spans":1589,"direction":928},"Together, works from the collection take on a new dimension and offer an overall narrative around five themes: Chaos, Nature, Forms and Shapes, Colour, and Faces.",[],"text$77aa420a-ca9c-439c-bfee-4c8e3fd8e774",{"variation":128,"version":99,"items":1592,"primary":1593,"id":1612,"slice_type":171,"slice_label":7},[],{"image1":1594,"image2":1601,"label":764,"copyright":1608},{"dimensions":1595,"alt":7,"copyright":7,"url":1598,"id":1599,"edit":1600},{"width":1596,"height":1597},4423,6463,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZoZ6XR5LeNNTwyb6_2017-246-002a--.jpg?auto=format,compress","ZoZ6XR5LeNNTwyb6",{"x":61,"y":61,"zoom":62,"background":953},{"dimensions":1602,"alt":7,"copyright":7,"url":1605,"id":1606,"edit":1607},{"width":1603,"height":1604},4380,6324,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZoZ6Sh5LeNNTwyb4_2017-246-001a--.jpg?auto=format,compress","ZoZ6Sh5LeNNTwyb4",{"x":61,"y":61,"zoom":62,"background":953},[1609],{"type":36,"text":1610,"spans":1611,"direction":928},"Aida Silvestri (b. 1978), Kidan. Eritrea to London on foot, by car, lorry, boat train and aeroplane, 2017 © Collection MNAHA, Photo: Tom Lucas; Aida Silvestri (b. 1978), Biniam. Eritrea to London by car, boat, lorry, train and aeroplane, 2017 © Collection MNAHA, Photo: Tom Lucas",[],"image$af33763b-bb06-4f72-8234-5c3a44222c01",{"variation":98,"version":99,"items":1614,"primary":1615,"id":1634,"slice_type":126,"slice_label":7},[],{"title":1616,"content":1617},[],[1618,1623,1626,1631],{"type":36,"text":1619,"spans":1620,"direction":928},"A Francis Bacon in resonance",[1621],{"start":61,"end":1622,"type":115},28,{"type":36,"text":1624,"spans":1625,"direction":928},"In this latest chapter, one of the new faces is Francis Bacon’s muse and lover, George Dyer—portrayed three times over. This emotionally charged triptych goes beyond the model’s physical appearance to explore the complexities of his inner self. Severely contorted, the shifting faces have much to say about Dyer’s personality. He looks simultaneously strong, almost raging, yet also fragile and profoundly distressed. This painting is also a key element in the artist’s relationship with his muse. Bacon had met Dyer a few months prior, and this work marks the very first portrait he created of him. More reminiscent of muscle and tissue than skin, the painting’s raw, carnal quality aligns with Bacon’s general concerns about human mortality. Deviating from traditional representations, this troubling depiction is positioned near the “Chaos” section, resonating with its thematic surroundings.",[],{"type":36,"text":1627,"spans":1628,"direction":928},"Portraits in the post-war era",[1629],{"start":61,"end":1630,"type":115},29,{"type":36,"text":1632,"spans":1633,"direction":928},"Portraits were central to Bacon’s practice. However, after the Second World War, this age-old genre was not widespread among celebrated artists who mainly explored non-figurative tendencies. A self-taught painter, Francis Bacon managed to revive the art of portraiture, which, as well as being out of fashion, had been severely impacted by the growing accessibility of photography. Bacon’s disturbing imagery is among the most poignant portrayals of humankind and earned him widespread acclaim early in his career. Meanwhile, other artists who adopted a more traditional approach to portraiture found their works less popular and often overlooked, despite their inherent quality. Such is the case of Swedish painter Owe Zerge (1894-1983) whose outdated aesthetic of smooth, ultra-realistic painting failed to win him recognition. Today, one of Zerge’s well-dressed young boys sits next to Bacon's triptych portrait but appears too absorbed in introspection to even notice Dyer's recent arrival.",[],"text$aa285098-521e-418b-b095-04ce0110d44c",{"variation":666,"version":99,"items":1636,"primary":1637,"id":1652,"slice_type":171,"slice_label":7},[],{"image1":1638,"label":7,"copyright":1648},{"dimensions":1639,"alt":7,"copyright":7,"url":1642,"id":1643,"edit":1644},{"width":1640,"height":1641},5315,4100,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZoZ64h5LeNNTwycI__TOM7054.jpg?auto=format%2Ccompress&rect=1519%2C315%2C3796%2C2928&w=5315&h=4100","ZoZ64h5LeNNTwycI",{"x":1645,"y":1646,"zoom":1647,"background":953},1519,315,1.21,[1649],{"type":36,"text":1650,"spans":1651,"direction":928},"Francis Bacon (1909-1992), Three Studies for Portrait of George Dyer, 1963, oil on canvas, in three parts, 35.5 x 30.5 cm (each) © The Estate of Francis Bacon. All right reserved, DACS 2024 (left) and Owe Zerge (1894-1983), Portrait représentant Bertil (right). Photo : Tom Lucas \u002F MNAHA",[],"image$67cd7379-8d83-496e-a923-017578121246",{"variation":98,"version":99,"items":1654,"primary":1655,"id":1671,"slice_type":126,"slice_label":7},[],{"title":1656,"content":1657},[],[1658,1663],{"type":36,"text":1659,"spans":1660,"direction":928},"An artwork loaned by the public",[1661],{"start":61,"end":1662,"type":115},31,{"type":36,"text":1664,"spans":1665,"direction":928},"On loan from Art Share 002, “Three Studies for Portrait of George Dyer” (1963) is the first publicly owned artwork, with its shares trading on a regulated exchange compliant with the European MiFID II legislative framework. A new initiative to democratise art and broaden access to investing in iconic masterpieces is now complemented by the physical artwork's accessibility to all. As visitors stroll through the galleries of the Nationalmusée um Fëschmaart, they can contemplate a public collection of art. For the first time, they also can appreciate a painting they can choose to co-own.",[1666],{"start":1667,"end":1668,"type":308,"data":1669},224,240,{"link_type":1425,"url":1670,"target":1427},"https:\u002F\u002Fwww.artexgm.com","text$70395200-3677-4f7f-bc3b-bbed1b241602","Francis Bacon's portrait of George Dyer is the new face at Luxembourg's Nationalmusée um Fëschmaart","“Three Studies for Portrait of George Dyer” (1963), a triptych by Francis Bacon (1909-1992), joined the MNAHA’s Nationalmusée um Fëschmaart’s extensive Modern and Contemporary art collection on 25th June 2024. On loan to the institution for the next two years, this is the only work by the British painter to be exhibited in Luxembourg. On loan from Art Share 002, “Three Studies for Portrait of George Dyer” (1963) is the first publicly owned artwork, with its shares trading on ARTEX Global Markets, a regulated exchange. This new initiative to democratise art and broaden access to investing in iconic masterpieces is now complemented by the physical artwork's accessibility to all.",{"dimensions":1675,"alt":7,"copyright":7,"url":1676,"id":1677,"edit":1678},{"width":186,"height":118},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZpTyAB5LeNNTxJwp_FrancisBaconnationalmus%C3%A9eImageOpengraph.jpg?auto=format,compress","ZpTyAB5LeNNTxJwp",{"x":61,"y":61,"zoom":62,"background":953},[],{"id":1681,"uid":1682,"url":7,"type":8,"href":1683,"tags":1684,"first_publication_date":1688,"last_publication_date":1689,"slugs":1690,"linked_documents":1692,"lang":20,"alternate_languages":1693,"data":1694},"ZurRuhAAACEAByVL","are-rothko-rooms-facing-extinction","https:\u002F\u002Fartexplorer-prod.cdn.prismic.io\u002Fapi\u002Fv2\u002Fdocuments\u002Fsearch?ref=aCb60BIAACEA00zN&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22ZurRuhAAACEAByVL%22%29+%5D%5D",[1685,1686,1687],"Rothko","Mark Rothko","Rothko Rooms","2024-09-18T13:51:01+0000","2024-10-16T14:19:35+0000",[1691],"a-natural-disaster-strikes-the-rothko-chapel",[],[],{"title":1695,"subtitle":1696,"author":1697,"copyright_cover":7,"cover_desktop":1727,"cover_mobile":1733,"thumbnail":1738,"published_at":1741,"slices":1742,"meta_title":1882,"meta_description":1883,"og_image":1884,"slices2":1889},"Are Rothko Rooms facing extinction?","Rare ensembles by the American painter are especially prone to damage",{"id":918,"type":27,"tags":1698,"lang":20,"slug":920,"first_publication_date":921,"last_publication_date":922,"uid":920,"data":1699,"link_type":74,"key":1726,"isBroken":76},[],{"description":1700,"short_description":1711,"job":944,"thumbnail":1714,"cover":1717,"uid":920,"title":949,"og_image":1720,"meta_description":1723,"meta_title":949},[1701,1703,1705,1707,1709],{"type":36,"text":926,"spans":1702,"direction":928},[],{"type":36,"text":930,"spans":1704,"direction":928},[],{"type":36,"text":933,"spans":1706,"direction":928},[],{"type":36,"text":930,"spans":1708,"direction":928},[],{"type":36,"text":938,"spans":1710,"direction":928},[],[1712],{"type":36,"text":942,"spans":1713,"direction":928},[],{"dimensions":1715,"alt":949,"copyright":7,"url":950,"id":951,"edit":1716},{"width":947,"height":948},{"x":61,"y":61,"zoom":62,"background":953},{"dimensions":1718,"alt":949,"copyright":7,"url":950,"id":951,"edit":1719},{"width":947,"height":948},{"x":61,"y":61,"zoom":62,"background":953},{"dimensions":1721,"alt":7,"copyright":7,"url":950,"id":951,"edit":1722},{"width":947,"height":948},{"x":61,"y":61,"zoom":62,"background":953},[1724],{"type":36,"text":962,"spans":1725},[],"495c99da-04d2-4802-9c42-6255dad7905f",{"dimensions":1728,"alt":1729,"copyright":7,"url":1730,"id":1731,"edit":1732},{"width":967,"height":968},"The Rothko Chapel, Houston (Texas) (left) and the Rothko Room at Japan’s Kawamura Memorial DIC Museum of Art (right) © Sophie Whaley ","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZurQu7VsGrYSvilj_Landscape_16.9_Web_Header_Rothko3.png?auto=format,compress","ZurQu7VsGrYSvilj",{"x":61,"y":61,"zoom":62,"background":953},{"dimensions":1734,"alt":7,"copyright":7,"url":1735,"id":1736,"edit":1737},{"width":974,"height":967},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZurii7VsGrYSvjb9_Thumbnail_Portrait_3.2_Rothko_V4.jpg?auto=format,compress","Zurii7VsGrYSvjb9",{"x":61,"y":61,"zoom":62,"background":953},{"dimensions":1739,"alt":7,"copyright":7,"url":1735,"id":1736,"edit":1740},{"width":974,"height":967},{"x":61,"y":61,"zoom":62,"background":953},"2024-10-05",[1743,1755,1767,1782,1794,1825,1840,1858],{"variation":98,"version":99,"items":1744,"primary":1745,"id":1754,"slice_type":126,"slice_label":7},[],{"title":1746,"content":1747},[],[1748,1751],{"type":36,"text":1749,"spans":1750,"direction":928},"In the mid-twentieth century, American painter Mark Rothko unveiled what would become his signature style: vertical stacks of rectangular shapes that seem to float mysteriously on a field of colour. The sublime, captured on canvas. With their velvety textures, diffused contours, and radiant inner light, Rothko’s paintings elude reproduction in photographs; they demand to be seen in person, up close. The artist originally intended for them to be displayed without frames or protective glass, encouraging viewers to stand as near as possible, to lose themselves in the work. This intimacy, however, comes at a cost, leaving the delicate surfaces especially prone to damage.",[],{"type":36,"text":1752,"spans":1753,"direction":928},"Compounding the issue, Rothko’s complex painting technique also defies conventional restoration methods. The artist was famously secretive about his process, layering multiple thin coats of paint that fused into one another, often employing a wide range of media. As a result, his work has been studied in greater detail by painting conservators, using increasingly sophisticated techniques over the years. Only through a deeper understanding of the artist’s methods can conservation efforts be both effective and successful.   ",[],"text$30b164fa-2695-45f9-bb94-fad49df69004",{"variation":98,"version":99,"items":1756,"primary":1757,"id":1766,"slice_type":126,"slice_label":7},[],{"title":1758,"content":1762},[1759],{"type":105,"text":1760,"spans":1761,"direction":928},"A natural disaster strikes the Rothko Chapel",[],[1763],{"type":36,"text":1764,"spans":1765,"direction":928},"This summer, the Rothko Chapel in Houston, Texas, was critically impacted by a severe storm, which caused water to leak through the roof and damage three of the fourteen paintings housed within. Ironically, the skylight—designed to provide ideal lighting in keeping with Rothko’s vision—became the very entry point for the water that compromised the works it was intended to illuminate. ",[],"text$b918ede1-594c-4be7-a108-8053e6571783",{"variation":666,"version":99,"items":1768,"primary":1776,"id":1781,"slice_type":171,"slice_label":7},[1769],{"image":1770,"title":1775,"subtitle":7},{"dimensions":1771,"alt":7,"copyright":7,"url":1772,"id":1773,"edit":1774},{"width":967,"height":974},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZurQ7rVsGrYSvimS_Visuals_Landscape_3.2_Rothko_.jpg?auto=format,compress","ZurQ7rVsGrYSvimS",{"x":61,"y":61,"zoom":62,"background":953},"Interior of the Rothko Chapel, Houston (Texas) © Sophie Whaley",{"image1":1777,"label":1775,"copyright":1780},{"dimensions":1778,"alt":7,"copyright":7,"url":1772,"id":1773,"edit":1779},{"width":967,"height":974},{"x":61,"y":61,"zoom":62,"background":953},[],"image$c974a3ca-921e-4225-8516-3bd5d9b96291",{"variation":98,"version":99,"items":1783,"primary":1784,"id":1793,"slice_type":126,"slice_label":7},[],{"title":1785,"content":1786},[],[1787,1790],{"type":36,"text":1788,"spans":1789,"direction":928},"One of only a few ‘Rothko Rooms’ in the world, the chapel is a non-denominational sanctuary, open to all religions; a quiet space for reflection and spiritual growth. Commissioned in the 1960s by art patrons John and Dominique de Menil, Rothko himself oversaw every detail of its design, from the tiled floor to the skylight, and, of course, the paintings inside. Completed in 1971, a year after Rothko's death, the chapel now draws over 100,000 visitors annually. ",[],{"type":36,"text":1791,"spans":1792,"direction":928},"In preparation for its 50th anniversary, the Rothko Chapel underwent a complete renovation starting in 2019, ensuring it was ready for the 2021 jubilee. The $35 million project, which included a new glass roof to better protect the artworks, also saw the redevelopment of the chapel’s campus with the addition of new buildings due for completion in 2026. Despite these extensive efforts—and what executive director David Leslie described as “several measures (...) to address climate change” as reported in the Washington Post— the chapel could not withstand the recent storm. After all, the region has long been vulnerable to natural disasters. ",[],"text$9620b58d-0a95-4cbc-b315-df3effc9dfa6",{"variation":98,"version":99,"items":1795,"primary":1796,"id":1824,"slice_type":126,"slice_label":7},[],{"title":1797,"content":1801},[1798],{"type":105,"text":1799,"spans":1800,"direction":928},"Water incident previously damaged Menil Rothko",[],[1802,1815],{"type":36,"text":1803,"spans":1804,"direction":928},"Before the Chapel's 50th anniversary, another Rothko painting from the Menil Collection was marred by water damage, leaving a drip mark across the two-meter-high canvas. The impact was intensified by Rothko’s choice not to use protective varnish, leaving the delicate paint layers exposed, coupled with his use of water-sensitive media to build his complex surfaces. Paintings Conservator Anne Schmid, then a Mellon Fellow in Painting Conservation at the Menil Collection, restored the artwork in 2020 after an extensive period of research, examination, and testing. In her observations for the American Institute of Conservation’s 50th Annual Meeting in 2022, she noted that each section of the painting—the fields of different colour and materiality—had responded differently to the damage, requiring a bespoke approach for each one. As a result, the painstaking process successfully returned the painting to a condition suitable for display.  ",[1805,1810],{"start":1806,"end":1807,"type":308,"data":1808},46,87,{"link_type":1425,"url":1809,"target":1427},"https:\u002F\u002Fwww.menil.org\u002Fcollection\u002Fobjects\u002F7811-untitled",{"start":1811,"end":1812,"type":308,"data":1813},567,659,{"link_type":1425,"url":1814,"target":1427},"https:\u002F\u002Fwww.culturalheritage.org\u002Fdocs\u002Fdefault-source\u002Fpublications\u002Fperiodicals\u002Fannual-meeting\u002F2022-program-and-abstract-book.pdf?sfvrsn=4f021720_16",{"type":36,"text":1816,"spans":1817,"direction":928},"While the full extent of the recent damage to the chapel's panels remains unclear, it is evident that the climate crisis is putting artworks at risk. According to  Ithaka S+R’s 2022 Art Museum Director Survey Report, which included about 180 U.S. participants, thirty-five percent said their museums had suffered damage due to climate change, while only half had taken steps to prepare for such risks.  ",[1818],{"start":1819,"end":1820,"type":308,"data":1821},164,215,{"link_type":1425,"url":1822,"target":1823},"https:\u002F\u002Farchive.is\u002Fo\u002FyKci6\u002Fhttps:\u002Fsr.ithaka.org\u002Fpublications\u002Fhow-have-art-museums-been-impacted-by-climate-change\u002F","_blank","text$49ad930f-dc02-4270-9675-88e0e88fd5c7",{"variation":666,"version":99,"items":1826,"primary":1834,"id":1839,"slice_type":171,"slice_label":7},[1827],{"image":1828,"title":1833,"subtitle":7},{"dimensions":1829,"alt":7,"copyright":7,"url":1830,"id":1831,"edit":1832},{"width":967,"height":974},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZurUo7VsGrYSvi0K_Visuals_Landscape_3.2_Rothko_2.jpg?auto=format,compress","ZurUo7VsGrYSvi0K",{"x":61,"y":61,"zoom":62,"background":953},"Rothko Room at Japan’s Kawamura Memorial DIC Museum of Art © Sophie Whaley",{"image1":1835,"label":1833,"copyright":1838},{"dimensions":1836,"alt":7,"copyright":7,"url":1830,"id":1831,"edit":1837},{"width":967,"height":974},{"x":61,"y":61,"zoom":62,"background":953},[],"image$d5d726cd-5921-47cd-8463-a1796e7e5de2",{"variation":98,"version":99,"items":1841,"primary":1842,"id":1857,"slice_type":126,"slice_label":7},[],{"title":1843,"content":1847},[1844],{"type":105,"text":1845,"spans":1846,"direction":928},"Uncertain fate for Japan's Rothko Room",[],[1848],{"type":36,"text":1849,"spans":1850,"direction":928},"Only five public spaces in the world permanently house groups of Rothko paintings conceived as sets—and now, yet another of these spaces faces an uncertain future. Japan’s Kawamura Memorial DIC Museum of Art, home to part of Rothko’s Seagram Murals, recently announced it will temporarily close in January 2025. Its owner, DIC Global, is considering downsizing the collection or shuttering the museum altogether. Either scenario could result in the liquidation of assets, potentially jeopardising the paintings’ integrity as a group. The Seagram Murals, originally commissioned for the Four Seasons restaurant in New York’s Seagram Building, were once part of an even larger ensemble. Beyond the DIC Museum, they are now divided among the Tate, Washington’s National Gallery of Art, and Rothko’s heirs. Of these, only the Tate offers a permanent display, though it too faced significant challenges. ",[1851,1854],{"start":1852,"end":1853,"type":115},234,248,{"start":1855,"end":1856,"type":115},538,553,"text$24c83861-a478-4a64-bf16-d97804570695",{"variation":98,"version":99,"items":1859,"primary":1860,"id":1881,"slice_type":126,"slice_label":7},[],{"title":1861,"content":1865},[1862],{"type":105,"text":1863,"spans":1864,"direction":928},"From vandalism to digital revival: efforts in the UK and the US ",[],[1866,1869,1878],{"type":36,"text":1867,"spans":1868,"direction":928},"Over a decade ago, the British institution endured a severe act of vandalism when a painting was tagged with ink in its bottom right-hand corner, the ink seeping through to the canvas. It took nearly twenty months to “eradicate all visible evidence of the ink under normal gallery conditions.”  ",[],{"type":36,"text":1870,"spans":1871,"direction":928},"But more unconventional techniques were employed in an effort to restore—at least to some degree—the lost vibrancy of Rothko’s compromised paintings. The Harvard Murals, one of three ensembles commissioned to Rothko alongside the chapel and the Seagram Murals, had mysteriously shifted from red to blue. Hidden away in storage for nearly thirty years, the five panels were reintroduced to the public with a novel approach: projecting coloured light onto them. This digital reconstruction, painstakingly assembled pixel by pixel, aimed to create the illusion of the original. One might question how this differs from immersive art experiences that project paintings onto walls. Yet, it involves far more: it meticulously considers factors such as reflectance, ambient light blending with the projector’s beam, and various other variables. Meanwhile, the materiality of the paint persists, creating a compelling interplay between the physical and the digital.  ",[1872,1875],{"start":1873,"end":1874,"type":115},154,168,{"start":1876,"end":1877,"type":115},245,261,{"type":36,"text":1879,"spans":1880,"direction":928},"Regardless of the nature of the damage, Rothko rooms are particularly vulnerable. Designed as cohesive units, these ensembles are compromised the moment even a single canvas is affected. Conservators have gone to extraordinary lengths, sometimes employing groundbreaking techniques, to preserve these invaluable works and ensure the artist’s vision remains intact for the public. ",[],"text$6e69228b-5ffe-4a5e-8224-71cd3e92f45c","Are Rothko Rooms Facing Extinction?","Mark Rothko, one of the most influential painters of the post-war era, is celebrated globally, with his artworks held in major museums. Yet, there are only five Rothko rooms in public institutions worldwide—spaces that permanently display groups of his paintings conceived as cohesive sets. These ensembles, however, have been particularly vulnerable to damage over time. Conservators have spared no efforts, often employing innovative techniques, to preserve Rothko’s invaluable artworks and maintain the integrity of these iconic collections.",{"dimensions":1885,"alt":7,"copyright":7,"url":1886,"id":1887,"edit":1888},{"width":186,"height":118},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZurUBLVsGrYSvix-_ImageOpengraph-1-.jpg?auto=format,compress","ZurUBLVsGrYSvix-",{"x":61,"y":61,"zoom":62,"background":953},[1890],{"variation":98,"version":99,"items":1891,"primary":1908,"id":1910,"slice_type":237,"slice_label":7},[1892,1896,1900,1904],{"post":1893},{"id":903,"type":8,"tags":1894,"lang":20,"slug":911,"first_publication_date":908,"last_publication_date":909,"uid":904,"link_type":74,"key":1895,"isBroken":76},[907],"b0df417e-b2c3-4e1b-b547-b6b2c4b5c6d9",{"post":1897},{"id":1207,"type":8,"tags":1898,"lang":20,"slug":1210,"first_publication_date":1211,"last_publication_date":1212,"uid":1210,"link_type":74,"key":1899,"isBroken":76},[1209],"ad27ab48-5092-44a0-afc3-0627051f9fb4",{"post":1901},{"id":1225,"type":8,"tags":1902,"lang":20,"slug":1229,"first_publication_date":1230,"last_publication_date":1231,"uid":1232,"link_type":74,"key":1903,"isBroken":76},[1227,1228],"0daa966a-01ec-4454-a5ef-7edfc8037c33",{"post":1905},{"id":1236,"type":8,"tags":1906,"lang":20,"slug":1239,"first_publication_date":1240,"last_publication_date":1241,"uid":1242,"link_type":74,"key":1907,"isBroken":76},[217,1238],"8671ed94-8d1e-4a2c-9951-1ecd5989233f",{"slides_per_view":7,"max_slides_count":7,"tag":1909,"type":8,"title":7,"paralax":76},{"link_type":74},"carousel$313e3ddb-40c3-4c7f-8a0c-5dd8b3ae85a9",{"id":1912,"uid":1913,"url":7,"type":8,"href":1914,"tags":1915,"first_publication_date":1917,"last_publication_date":1918,"slugs":1919,"linked_documents":1921,"lang":20,"alternate_languages":1922,"data":1923},"Z35MmBAAACAAvENe","a-dominant-force-in-the-art-market-andy-warhol-rac","https:\u002F\u002Fartexplorer-prod.cdn.prismic.io\u002Fapi\u002Fv2\u002Fdocuments\u002Fsearch?ref=aCb60BIAACEA00zN&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22Z35MmBAAACAAvENe%22%29+%5D%5D",[1916,217],"Andy Warhol","2025-03-07T16:29:27+0000","2025-03-07T16:42:04+0000",[1920],"the-pop-icon-who-redefined-art-and-market-value",[],[],{"title":1924,"subtitle":1925,"author":1926,"copyright_cover":7,"cover_desktop":1956,"cover_mobile":1961,"thumbnail":1966,"published_at":1969,"slices":1970,"meta_title":1924,"meta_description":1925,"og_image":2138,"slices2":2141},"The pop icon who redefined art and market value","Warhol’s iconic portraits: from Marilyn Monroe to Mao Zedong",{"id":918,"type":27,"tags":1927,"lang":20,"slug":920,"first_publication_date":921,"last_publication_date":922,"uid":920,"data":1928,"link_type":74,"key":1955,"isBroken":76},[],{"description":1929,"short_description":1940,"job":944,"thumbnail":1943,"cover":1946,"uid":920,"title":949,"og_image":1949,"meta_description":1952,"meta_title":949},[1930,1932,1934,1936,1938],{"type":36,"text":926,"spans":1931,"direction":928},[],{"type":36,"text":930,"spans":1933,"direction":928},[],{"type":36,"text":933,"spans":1935,"direction":928},[],{"type":36,"text":930,"spans":1937,"direction":928},[],{"type":36,"text":938,"spans":1939,"direction":928},[],[1941],{"type":36,"text":942,"spans":1942,"direction":928},[],{"dimensions":1944,"alt":949,"copyright":7,"url":950,"id":951,"edit":1945},{"width":947,"height":948},{"x":61,"y":61,"zoom":62,"background":953},{"dimensions":1947,"alt":949,"copyright":7,"url":950,"id":951,"edit":1948},{"width":947,"height":948},{"x":61,"y":61,"zoom":62,"background":953},{"dimensions":1950,"alt":7,"copyright":7,"url":950,"id":951,"edit":1951},{"width":947,"height":948},{"x":61,"y":61,"zoom":62,"background":953},[1953],{"type":36,"text":962,"spans":1954},[],"6fd091ad-1724-478e-aae1-6caaf42a8fdd",{"dimensions":1957,"alt":7,"copyright":7,"url":1958,"id":1959,"edit":1960},{"width":80,"height":81},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZ35L3ZbqstJ99KWh_Yourparagraphtext.png?auto=format,compress","Z35L3ZbqstJ99KWh",{"x":61,"y":61,"zoom":62,"background":953},{"dimensions":1962,"alt":7,"copyright":7,"url":1963,"id":1964,"edit":1965},{"width":81,"height":80},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZ8mAmRsAHJWomLkl_COUV_WARHOL4.jpg?auto=format,compress","Z8mAmRsAHJWomLkl",{"x":61,"y":61,"zoom":62,"background":953},{"dimensions":1967,"alt":7,"copyright":7,"url":1963,"id":1964,"edit":1968},{"width":81,"height":80},{"x":61,"y":61,"zoom":62,"background":953},"2025-03-07",[1971,2011,2027,2054,2068,2082,2096,2112,2130],{"variation":98,"version":99,"items":1972,"primary":1973,"id":2010,"slice_type":126,"slice_label":7},[],{"title":1974,"content":1975},[],[1976,1979,1982,1988,1991,1994,1997],{"type":36,"text":1977,"spans":1978,"direction":928},"A dominant force in the art market, Andy Warhol racks up records on the global stage. His most iconic paintings, now cultural touchstones, fetch sky-high prices at auction, making him one of the best-selling artists in history. Equally notable is Warhol’s impressive sales volume, which rivals Picasso’s – a testament to his extensive output across a broad range of mediums, and, by extension, price points.  ",[],{"type":36,"text":1980,"spans":1981,"direction":928}," Like all truly enduring artists, Warhol cultivated an instantly recognisable style. But more than that, his most iconic works have become so deeply ingrained in our visual culture that his distinctive aesthetic is readily identifiable to virtually anyone who comes across it today. ",[],{"type":36,"text":1983,"spans":1984,"direction":928}," Known as the “Pope of Pop Art”, Warhol is widely regarded as the preeminent American painter of the modern era and even as one of the two defining figures of 20th-century Western art, alongside, once more, Pablo Picasso. Shaped by the rise of consumerism and postwar industrial expansion, Warhol’s best-known works elevated the banal imagery of popular culture to the status of high art, overturning well-established conventions in the process.  ",[1985],{"start":1986,"end":1987,"type":115},221,222,{"type":36,"text":1989,"spans":1990,"direction":928}," In perfect harmony with this shifting social and economic landscape, Warhol employed a mechanised approach inspired by mass production to create his works. Through various printing techniques, Warhol was not only able to replicate his motifs but also distance himself from the act of creation, imbuing his work with a deliberate sense of detachment. This way, he established a new standard for the role of the artist—one that continues to develop and influence the art world today, from Damien Hirst to Jeff Koons’ factory-like production. ",[],{"type":36,"text":1992,"spans":1993,"direction":928},"Warhol explored silkscreen printing techniques, frequently layering printed motifs over hand-painted backgrounds. He experimented with variations in colour and repetition, creating entire series of unique artworks around a single subject.  ",[],{"type":36,"text":1995,"spans":1996,"direction":928},"Warhol’s fascination soon gravitated toward movie stars—true pop icons—with Marilyn Monroe at its zenith. He also turned his focus to public figures like Jackie Kennedy and even Mao Zedong, exploring the media-driven narratives that surrounded them. In hindsight, Warhol’s work anticipated the media’s expanding influence on culture—shaping public visibility, fueling consumerism, and transforming celebrity into a product for mass consumption. ",[],{"type":36,"text":1998,"spans":1999,"direction":928},"For more than three decades, Warhol’s auction records have been driven by his most iconic portraits. In 1989, a 1964 Marilyn against a red background commanded $4 million, setting a new high for the artist at auction. Since then, Warhol’s top record has been eclipsed six times, with standout works featuring Marilyn Monroe, Mao Zedong, and even the darkly resonant Car Crash series. The current record-holder—a 1964 Marilyn on a blue background—achieved an astonishing $195 million in 2022, securing its place as the second most expensive artwork ever sold at auction, behind Leonardo da Vinci’s Salvator Mundi. ",[2000,2002,2005,2007],{"start":2001,"end":303,"type":115},117,{"start":2003,"end":2004,"type":115},366,375,{"start":781,"end":2006,"type":115},424,{"start":2008,"end":2009,"type":115},597,611,"text$5d4db630-15e5-4f2a-ad40-e2d4a0e2bdb1",{"variation":666,"version":99,"items":2012,"primary":2021,"id":2026,"slice_type":171,"slice_label":7},[2013],{"image":2014,"title":7,"subtitle":7},{"dimensions":2015,"alt":7,"copyright":7,"url":2018,"id":2019,"edit":2020},{"width":2016,"height":2017},1157,771,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZ8sQUBsAHJWomPGS_3_2-1.jpg?auto=format,compress","Z8sQUBsAHJWomPGS",{"x":61,"y":61,"zoom":62,"background":953},{"image1":2022,"label":7,"copyright":2025},{"dimensions":2023,"alt":7,"copyright":7,"url":2018,"id":2019,"edit":2024},{"width":2016,"height":2017},{"x":61,"y":61,"zoom":62,"background":953},[],"image$2403c4d2-29b0-4191-a331-06df34822581",{"variation":98,"version":99,"items":2028,"primary":2029,"id":2053,"slice_type":126,"slice_label":7},[],{"title":2030,"content":2031},[],[2032,2035],{"type":36,"text":2033,"spans":2034,"direction":928},"The journey to Warhol’s nine-figure auction record has been marked by a steady stream of high-priced sales in the $10 million-plus range. Since 1998, an impressive 60 lots have crossed the $17 million threshold, with 18 fetching over $40 million. This trajectory reflects the robust confidence in Warhol’s market over the years. ",[],{"type":36,"text":2036,"spans":2037,"direction":928},"Returning to Warhol’s portrayals of Marilyn and Mao, the highest auction sales were recorded for his historic 1960s depictions of the Hollywood icon and the inaugural \"early Mao\" portraits from 1972. According to ArtExplored’s data, these iconic Marilyns amassed $443.6 million ($532.1 million adjusted for inflation) from 12 lots sold at auction between 2004 and 2023. By contrast, the early Maos generated a total of $97.3 million ($128.7 million adjusted for inflation) from only 3 sales. Their average sales prices are virtually neck-and-neck at $44.3 million for iconic Marilyns versus $42.9 million for early Maos (inflation-adjusted). ",[2038,2041,2044,2047,2050],{"start":2039,"end":2040,"type":115},174,177,{"start":2042,"end":2043,"type":115},246,255,{"start":2045,"end":2046,"type":115},393,398,{"start":2048,"end":2049,"type":115},575,584,{"start":2051,"end":2052,"type":115},615,619,"text$267b9a24-f04e-4d3e-a723-16059b1b0b53",{"variation":666,"version":99,"items":2055,"primary":2062,"id":2067,"slice_type":171,"slice_label":7},[2056],{"image":2057,"title":7,"subtitle":7},{"dimensions":2058,"alt":7,"copyright":7,"url":2059,"id":2060,"edit":2061},{"width":2016,"height":2017},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZ8sQURsAHJWomPGT_3_2-2.jpg?auto=format,compress","Z8sQURsAHJWomPGT",{"x":61,"y":61,"zoom":62,"background":953},{"image1":2063,"label":7,"copyright":2066},{"dimensions":2064,"alt":7,"copyright":7,"url":2059,"id":2060,"edit":2065},{"width":2016,"height":2017},{"x":61,"y":61,"zoom":62,"background":953},[],"image$39ce1e84-2bbd-45e4-acfd-d572d0591631",{"variation":666,"version":99,"items":2069,"primary":2076,"id":2081,"slice_type":171,"slice_label":7},[2070],{"image":2071,"title":7,"subtitle":7},{"dimensions":2072,"alt":7,"copyright":7,"url":2073,"id":2074,"edit":2075},{"width":2016,"height":2017},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZ8sQTxsAHJWomPGR_3_2.jpg?auto=format,compress","Z8sQTxsAHJWomPGR",{"x":61,"y":61,"zoom":62,"background":953},{"image1":2077,"label":7,"copyright":2080},{"dimensions":2078,"alt":7,"copyright":7,"url":2073,"id":2074,"edit":2079},{"width":2016,"height":2017},{"x":61,"y":61,"zoom":62,"background":953},[],"image$b9e2dd4d-b61f-4d16-a6d8-c15d7944fbe6",{"variation":98,"version":99,"items":2083,"primary":2084,"id":2095,"slice_type":126,"slice_label":7},[],{"title":2085,"content":2086},[],[2087],{"type":36,"text":2088,"spans":2089,"direction":928},"A closer look at these sales reveals that five Marilyns were resold during this period, averaging CAGR of 14.2% (11.8% adjusted), while the sole early Mao resale outperformed with a striking 21.7% CAGR (19.2% adjusted).",[2090,2093],{"start":2091,"end":2092,"type":115},47,55,{"start":2094,"end":1873,"type":115},151,"text$5d2a8f3b-6a5f-4f4d-8b38-a05de8d582ac",{"variation":666,"version":99,"items":2097,"primary":2106,"id":2111,"slice_type":171,"slice_label":7},[2098],{"image":2099,"title":7,"subtitle":7},{"dimensions":2100,"alt":7,"copyright":7,"url":2103,"id":2104,"edit":2105},{"width":2101,"height":2102},2268,1359,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZ8seFxsAHJWomPOa_GRAPH.jpg?auto=format,compress","Z8seFxsAHJWomPOa",{"x":61,"y":61,"zoom":62,"background":953},{"image1":2107,"label":7,"copyright":2110},{"dimensions":2108,"alt":7,"copyright":7,"url":2103,"id":2104,"edit":2109},{"width":2101,"height":2102},{"x":61,"y":61,"zoom":62,"background":953},[],"image$0eb724a7-a208-4d35-be87-67a241ea8d4c",{"variation":98,"version":99,"items":2113,"primary":2114,"id":2129,"slice_type":126,"slice_label":7},[],{"title":2115,"content":2116},[],[2117,2126],{"type":36,"text":2118,"spans":2119,"direction":928}," Though Marilyn remains the definitive icon of Warhol’s portraits—her image appearing in his work from 1962, shortly after her tragic death, until the end of his life—the Mao series marks a critical turning point. It signals Warhol’s renewed commitment to painting, emerging after a four-year hiatus following a near-fatal shooting. The early Maos, created in 1972, were his first noncommissioned paintings since the incident, featuring a curious choice of subject that appears to oscillate between celebration and critique. Bridging two distinct periods in Warhol’s career, they formally recall his early portraits of film stars while introducing a new painterly technique that anticipates the evolution of his later work. Unconventionally, Warhol produced the early Maos entirely on his own, using an exceptionally large screen to print the two-meter-tall figures, without his assistants’ usual help. In another departure from his typical methods, Warhol applied the paint afterward, employing gestural brushstrokes that starkly contrasted the mechanical precision of his earlier Pop aesthetic.",[2120,2123],{"start":2121,"end":2122,"type":115},343,347,{"start":2124,"end":2125,"type":115},768,772,{"type":36,"text":2127,"spans":2128,"direction":928}," Throughout his prolific career, Warhol constantly reinvented himself, yet he remained an enigmatic figure—an aspect he skillfully exploited. This mystique, along with his unique persona, undoubtedly played a significant role in the market success of his unconventional work.",[],"text$a79896e1-f699-4d2a-b739-e422e52fd36f",{"variation":98,"version":99,"items":2131,"primary":2132,"id":2137,"slice_type":126,"slice_label":7},[],{"title":2133,"content":2134},[],[2135],{"type":36,"text":1457,"spans":2136,"direction":928},[],"text$a7c74f6e-691e-48fc-87ac-89417d622840",{"dimensions":2139,"alt":7,"copyright":7,"url":1958,"id":1959,"edit":2140},{"width":80,"height":81},{"x":61,"y":61,"zoom":62,"background":953},[2142],{"variation":98,"version":99,"items":2143,"primary":2173,"id":2176,"slice_type":237,"slice_label":7},[2144,2155,2165,2169],{"post":2145},{"id":2146,"type":8,"tags":2147,"lang":20,"slug":2150,"first_publication_date":2151,"last_publication_date":2152,"uid":2153,"link_type":74,"key":2154,"isBroken":76},"Z8bjHRIAACUAkcqN",[1916,2148,217,2149],"Focus Report","Art Market","evaluating-the-market-for-andy-warhols-mao-paintings","2025-03-05T10:44:49+0000","2025-03-05T11:01:22+0000","andy-warhol-1928-1987-also-known-as-the-pope-of-po","c65e9130-6f1d-4384-8423-5419e16d316b",{"post":2156},{"id":2157,"type":8,"tags":2158,"lang":20,"slug":2160,"first_publication_date":2161,"last_publication_date":2162,"uid":2163,"link_type":74,"key":2164,"isBroken":76},"ZAhnGRAAACsAvuo9",[2159],"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","85ec0a00-a7a1-4cb6-a70d-5e781ac29db5",{"post":2166},{"id":1473,"type":8,"tags":2167,"lang":20,"slug":1475,"first_publication_date":1476,"last_publication_date":1477,"uid":1478,"link_type":74,"key":2168,"isBroken":76},[217,1218],"23cc6c62-d80b-438f-ada0-59fc17fb1b7e",{"post":2170},{"id":1499,"type":8,"tags":2171,"lang":20,"slug":1501,"first_publication_date":1502,"last_publication_date":1503,"uid":1504,"link_type":74,"key":2172,"isBroken":76},[217],"3489e1ea-80d2-4b3b-b0ed-3d7f947f1e5e",{"slides_per_view":7,"max_slides_count":7,"tag":2174,"type":2175,"title":7,"paralax":76},{"link_type":74},"*","carousel$852c5a3c-c421-41ce-a56f-8e29bc5ca317",{"id":2146,"uid":2153,"url":7,"type":8,"href":2178,"tags":2179,"first_publication_date":2151,"last_publication_date":2152,"slugs":2180,"linked_documents":2181,"lang":20,"alternate_languages":2182,"data":2183},"https:\u002F\u002Fartexplorer-prod.cdn.prismic.io\u002Fapi\u002Fv2\u002Fdocuments\u002Fsearch?ref=aCb60BIAACEA00zN&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22Z8bjHRIAACUAkcqN%22%29+%5D%5D",[1916,2148,217,2149],[2150],[],[],{"title":2184,"subtitle":2185,"author":2186,"copyright_cover":7,"cover_desktop":2187,"cover_mobile":2192,"thumbnail":2199,"published_at":2202,"slices":2203,"meta_title":2184,"meta_description":2222,"og_image":2233,"slices2":2238},"Evaluating the Market for Andy Warhol’s Mao Paintings","Between 2004 and 2023",{"link_type":74},{"dimensions":2188,"alt":7,"copyright":7,"url":2189,"id":2190,"edit":2191},{"width":80,"height":81},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZ8dRshsAHJWomHXb_FocusReport_Horizontal_Warhol_Mao.jpg?auto=format,compress","Z8dRshsAHJWomHXb",{"x":61,"y":61,"zoom":62,"background":953},{"dimensions":2193,"alt":7,"copyright":7,"url":2196,"id":2197,"edit":2198},{"width":2194,"height":2195},2480,3508,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZ8dK0BsAHJWomHOb_Andy_Warhol_FocusReportVertical.jpg?auto=format,compress","Z8dK0BsAHJWomHOb",{"x":61,"y":61,"zoom":62,"background":953},{"dimensions":2200,"alt":7,"copyright":7,"url":2196,"id":2197,"edit":2201},{"width":2194,"height":2195},{"x":61,"y":61,"zoom":62,"background":953},"2025-03-05",[2204],{"variation":98,"version":99,"items":2205,"primary":2206,"id":2232,"slice_type":126,"slice_label":7},[],{"title":2207,"content":2208},[],[2209,2212,2218,2221,2224],{"type":36,"text":2210,"spans":2211,"direction":928},"Andy Warhol (1928-1987), also known as the “Pope of Pop Art”, is widely regarded as the preeminent American painter of the modern era and even as one of the two defining figures of 20th-century Western art, alongside Pablo Picasso.",[],{"type":36,"text":2213,"spans":2214,"direction":928},"Current record-holder of the second most expensive artwork ever sold at auction, with his Shot Sage Blue Marilyn (1964) sold for $195 million in 2022, Warhol’s predominance on the art market is undeniable.",[2215],{"start":2216,"end":2217,"type":115},90,113,{"type":36,"text":2219,"spans":2220,"direction":928},"His other instantly recognizable portrait is his interpretation of Mao’s picture from the “Little Red Book”, a series that totalized $331 million in revenue (in inflation-adjusted prices) at auction between 2004 and 2023.",[],{"type":36,"text":2222,"spans":2223,"direction":928},"ArtExplored’s latest Focus Report delves into the market for these specific works that have impressive sell-through rate sale.",[],{"type":36,"text":2225,"spans":2226,"direction":928},"Click on the visual below to read the full report.",[2227],{"start":2228,"end":2229,"type":308,"data":2230},34,50,{"link_type":1425,"url":2231,"target":1427},"https:\u002F\u002Fwww.artexplored.com\u002FAndy-Warhol-Mao-Focus-Report\u002F#\u002Fpage\u002F0","text$cdbc175d-bc36-41d5-976e-ad5b4ce5a7a8",{"dimensions":2234,"alt":7,"copyright":7,"url":2235,"id":2236,"edit":2237},{"width":186,"height":118},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZ8gIJxsAHJWomIJV_FocusReport_Horizontal_Warhol_Mao_OpenGraphImage.jpg?auto=format,compress","Z8gIJxsAHJWomIJV",{"x":61,"y":61,"zoom":62,"background":953},[2239],{"variation":98,"version":99,"items":2240,"primary":2257,"id":2261,"slice_type":237,"slice_label":7},[2241,2245,2249,2253],{"post":2242},{"id":1912,"type":8,"tags":2243,"lang":20,"slug":1920,"first_publication_date":1917,"last_publication_date":1918,"uid":1913,"link_type":74,"key":2244,"isBroken":76},[1916,217],"b51f7dad-da56-47b4-9c57-d0f7da5dc4a0",{"post":2246},{"id":1473,"type":8,"tags":2247,"lang":20,"slug":1475,"first_publication_date":1476,"last_publication_date":1477,"uid":1478,"link_type":74,"key":2248,"isBroken":76},[217,1218],"322a1c69-f905-4638-be2e-35b132907a8a",{"post":2250},{"id":2157,"type":8,"tags":2251,"lang":20,"slug":2160,"first_publication_date":2161,"last_publication_date":2162,"uid":2163,"link_type":74,"key":2252,"isBroken":76},[2159],"b90e4fa1-8e84-436e-b05f-da4effb254c1",{"post":2254},{"id":1499,"type":8,"tags":2255,"lang":20,"slug":1501,"first_publication_date":1502,"last_publication_date":1503,"uid":1504,"link_type":74,"key":2256,"isBroken":76},[217],"ba4b2d67-1fa0-41e0-a5e2-1ca79f6acf43",{"slides_per_view":7,"max_slides_count":7,"tag":2258,"type":8,"title":7,"paralax":76},{"id":1508,"type":1509,"tags":2259,"lang":20,"slug":1511,"first_publication_date":1512,"last_publication_date":1513,"uid":1511,"link_type":74,"key":2260,"isBroken":76},[217],"854792a2-d2c4-4593-975c-62788e128507","carousel$349594a3-b41b-47f2-aa71-c7ac0d603f69",{"id":1246,"uid":1251,"url":7,"type":8,"href":2263,"tags":2264,"first_publication_date":1249,"last_publication_date":1250,"slugs":2265,"linked_documents":2266,"lang":20,"alternate_languages":2267,"data":2268},"https:\u002F\u002Fartexplorer-prod.cdn.prismic.io\u002Fapi\u002Fv2\u002Fdocuments\u002Fsearch?ref=aCb60BIAACEA00zN&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22ZnwALhMAACIALWrC%22%29+%5D%5D",[217,1238],[1248],[],[],{"title":2269,"subtitle":2270,"author":2271,"copyright_cover":2272,"cover_desktop":2273,"cover_mobile":2278,"thumbnail":2283,"published_at":7,"slices":2288,"meta_title":2316,"meta_description":2317,"og_image":2318,"slices2":2323},"The market landscape of Monet's Water Lilies","A Focus Report on two decades of auctions",{"link_type":74},"Left image: Claude Monet, (detail of) Green Reflections on the Water-Lily Pond (1920-1926) (W 1979), Emil Bührle Collection, on long-term loan at Kunsthaus Zürich. \nRight image: Claude Monet in his studio at Giverny (detail)",{"dimensions":2274,"alt":7,"copyright":7,"url":2275,"id":2276,"edit":2277},{"width":80,"height":81},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZnv0aJbWFbowe3pe_Monet_Analysis_Cover-landscape-.jpg?auto=format,compress","Znv0aJbWFbowe3pe",{"x":61,"y":61,"zoom":62,"background":953},{"dimensions":2279,"alt":7,"copyright":7,"url":2280,"id":2281,"edit":2282},{"width":317,"height":80},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZnv3RpbWFbowe3qn_Monet_AnalysisArticle_Cover-mobile--portrait-x2.jpg?auto=format,compress","Znv3RpbWFbowe3qn",{"x":61,"y":61,"zoom":62,"background":953},{"dimensions":2284,"alt":7,"copyright":7,"url":2285,"id":2286,"edit":2287},{"width":81,"height":80},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZnv3ApbWFbowe3qf_Monet_AnalysisArticle_Thumbnail-portrait-9_16x2.jpg?auto=format,compress","Znv3ApbWFbowe3qf",{"x":61,"y":61,"zoom":62,"background":953},[2289],{"variation":98,"version":99,"items":2290,"primary":2292,"id":2315,"slice_type":126,"slice_label":7},[2291],{},{"title":2293,"content":2294},[],[2295,2298,2301,2306,2313],{"type":36,"text":2296,"spans":2297,"direction":928},"French painter Claude Monet (1840-1926) is a founding father of Impressionism. In the late 19th century, he began working on what would become his life’s work and most celebrated ensemble: the Water Lilies. ",[],{"type":36,"text":2299,"spans":2300,"direction":928},"Our new publication entitled \" Focus Report,\" provides an in-depth analysis of the auction market performance of all Water Lilies paintings sold between 2004 and 2023.",[],{"type":36,"text":2225,"spans":2302,"direction":928},[2303],{"start":1630,"end":2229,"type":308,"data":2304},{"link_type":1425,"url":2305,"target":1427},"https:\u002F\u002Fwww.artexplored.com\u002FClaude-Monet-Artist-Report\u002F#\u002Fpage\u002F0",{"type":171,"url":2307,"alt":7,"copyright":7,"dimensions":2308,"id":2310,"edit":2311,"linkTo":2312},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZnv0ZpbWFbowe3pd_Monet_AnalysisFeatureImage.jpg?auto=format,compress",{"width":80,"height":2309},2161,"Znv0ZpbWFbowe3pd",{"x":61,"y":61,"zoom":62,"background":953},{"link_type":1425,"url":2305,"target":1823},{"type":36,"text":106,"spans":2314,"direction":928},[],"text$529b332e-b6f6-4e87-8a3a-7fdda808d05a","Art Market: Claude Monet Focus Report","French painter Claude Monet is a founding father of Impressionism. Our new publication entitled \"Claude Monet - Focus Report,\" provides an in-depth analysis of the auction market performance of the renowned painter from 2004 to 2023. It examines the top ten records in Monet's auction history, emphasizing the enduring value and appeal of his work. The report also showcases the high demand and appreciation for his masterpieces over the past two decades. We hope this overview provides you with insights into Monet's artistic legacy and and an understanding of his art market.",{"dimensions":2319,"alt":7,"copyright":7,"url":2320,"id":2321,"edit":2322},{"width":186,"height":118},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZnv9D5bWFbowe3vM_Monet_ImageOpengraph.jpg?auto=format,compress","Znv9D5bWFbowe3vM",{"x":61,"y":61,"zoom":62,"background":953},[2324,2354],{"variation":98,"version":99,"items":2325,"primary":2350,"id":2353,"slice_type":237,"slice_label":7},[2326,2330,2338,2342,2346],{"post":2327},{"id":1486,"type":8,"tags":2328,"lang":20,"slug":1488,"first_publication_date":1489,"last_publication_date":1490,"uid":1491,"link_type":74,"key":2329,"isBroken":76},[1209,217],"f4b70481-7c57-41ee-83ac-d60377e7df3b",{"post":2331},{"id":2332,"type":8,"tags":2333,"lang":20,"slug":2334,"first_publication_date":2335,"last_publication_date":2336,"uid":2334,"link_type":74,"key":2337,"isBroken":76},"ZCq3_RAAACMA8eXk",[217],"the-pain-of-rising-interest-rates","2023-04-04T11:07:33+0000","2023-07-26T13:50:18+0000","6e79c54c-eddb-476a-8695-3eb0793b055c",{"post":2339},{"id":215,"type":8,"tags":2340,"lang":20,"slug":218,"first_publication_date":219,"last_publication_date":220,"uid":218,"link_type":74,"key":2341,"isBroken":76},[217],"a2655078-f698-493c-b9c4-decb7f0ed46e",{"post":2343},{"id":446,"type":8,"tags":2344,"lang":20,"slug":449,"first_publication_date":450,"last_publication_date":451,"uid":452,"link_type":74,"key":2345,"isBroken":76},[448],"a4628389-9cb1-4d3e-aafe-d53784e12284",{"post":2347},{"id":5,"type":8,"tags":2348,"lang":20,"slug":15,"first_publication_date":12,"last_publication_date":13,"uid":6,"link_type":74,"key":2349,"isBroken":76},[11],"37980a0e-65a1-4362-8d70-06de59331de7",{"slides_per_view":7,"max_slides_count":7,"tag":2351,"type":8,"title":2352,"paralax":76},{"link_type":74},"Articles","carousel$c83bc1bd-aa66-4eb2-8946-ff5fecfc9a8d",{"variation":98,"version":99,"items":2355,"primary":2360,"id":2363,"slice_type":237,"slice_label":7},[2356,2358],{"post":2357},{"link_type":74},{"post":2359},{"link_type":74},{"slides_per_view":7,"max_slides_count":7,"tag":2361,"type":461,"title":2362,"paralax":76},{"link_type":74},"Listen to Audiocasts","carousel$d5bbbc96-2ecf-4ae1-8eb3-a5ba196d0816",{"id":1225,"uid":1232,"url":7,"type":8,"href":2365,"tags":2366,"first_publication_date":1230,"last_publication_date":1231,"slugs":2367,"linked_documents":2368,"lang":20,"alternate_languages":2369,"data":2370},"https:\u002F\u002Fartexplorer-prod.cdn.prismic.io\u002Fapi\u002Fv2\u002Fdocuments\u002Fsearch?ref=aCb60BIAACEA00zN&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22ZRwVthAAACgAzNbe%22%29+%5D%5D",[1227,1228],[1229],[],[],{"title":2371,"subtitle":2372,"author":2373,"copyright_cover":2403,"cover_desktop":2404,"cover_mobile":2409,"thumbnail":2414,"published_at":2417,"slices":2418,"meta_title":2371,"meta_description":2372,"og_image":2628,"slices2":2631},"How Caravaggio shocked the art world","The Italian painter's artistic expression disrupted Renaissance idealism.",{"id":918,"type":27,"tags":2374,"lang":20,"slug":920,"first_publication_date":921,"last_publication_date":922,"uid":920,"data":2375,"link_type":74,"key":2402,"isBroken":76},[],{"description":2376,"short_description":2387,"job":944,"thumbnail":2390,"cover":2393,"uid":920,"title":949,"og_image":2396,"meta_description":2399,"meta_title":949},[2377,2379,2381,2383,2385],{"type":36,"text":926,"spans":2378,"direction":928},[],{"type":36,"text":930,"spans":2380,"direction":928},[],{"type":36,"text":933,"spans":2382,"direction":928},[],{"type":36,"text":930,"spans":2384,"direction":928},[],{"type":36,"text":938,"spans":2386,"direction":928},[],[2388],{"type":36,"text":942,"spans":2389,"direction":928},[],{"dimensions":2391,"alt":949,"copyright":7,"url":950,"id":951,"edit":2392},{"width":947,"height":948},{"x":61,"y":61,"zoom":62,"background":953},{"dimensions":2394,"alt":949,"copyright":7,"url":950,"id":951,"edit":2395},{"width":947,"height":948},{"x":61,"y":61,"zoom":62,"background":953},{"dimensions":2397,"alt":7,"copyright":7,"url":950,"id":951,"edit":2398},{"width":947,"height":948},{"x":61,"y":61,"zoom":62,"background":953},[2400],{"type":36,"text":962,"spans":2401},[],"ccb22994-e0ef-4142-a68a-8b889ac2c71d","Caravaggio, The Calling of Saint Matthew, c. 1599–1600, Contarelli Chapel, San Luigi dei Francesi, Rome",{"dimensions":2405,"alt":2403,"copyright":7,"url":2406,"id":2407,"edit":2408},{"width":80,"height":81},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F97ff7fcb-cfb5-4312-85db-1b7ab6ed594d_The+Calling+of+Saint+Matthew+Caravaggo+Slide+16_9.jpg?auto=compress,format","ZSQANRAAACMAcuaY",{"x":61,"y":61,"zoom":62,"background":63},{"dimensions":2410,"alt":2403,"copyright":7,"url":2411,"id":2412,"edit":2413},{"width":81,"height":80},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F2156bc40-1972-4b09-a6fe-a10527ed2a6a_The_Calling_of_Saint_Matthew-Caravaggo_%281599-1600%29+4The+Calling+of+Saint+Matthew.jpg?auto=compress,format","ZRwOihAAACcAzLq_",{"x":61,"y":61,"zoom":62,"background":63},{"dimensions":2415,"alt":2403,"copyright":7,"url":2411,"id":2412,"edit":2416},{"width":81,"height":80},{"x":61,"y":61,"zoom":62,"background":63},"2023-10-03",[2419,2442,2482,2495,2514,2537,2555,2576,2592,2613],{"variation":98,"version":99,"items":2420,"primary":2422,"id":2441,"slice_type":126,"slice_label":7},[2421],{},{"title":2423,"content":2426},[2424],{"type":105,"text":106,"spans":2425},[],[2427,2430,2433,2436,2439],{"type":36,"text":2428,"spans":2429},"Michelangelo Merisi da Caravaggio was born on 29 September, 1571 in Milan, Italy. The renowned Italian painter marked the beginning of a new era in art history by creating striking paintings that were ahead of their time. ",[],{"type":36,"text":2431,"spans":2432},"Caravaggio shattered the idealised, almost artificial nature of Renaissance art with his radical style that was completely different from his immediate predecessors such as Raphael and Michelangelo. ",[],{"type":36,"text":2434,"spans":2435},"Often described as tormented and violent, his works – most of which are religious – sparked passionate debate among viewers at the time, when people were accustomed to paintings of graceful Madonnas in idyllic settings.   ",[],{"type":36,"text":2437,"spans":2438},"The contrast was so striking that today, Caravaggio’s visceral, intensely realistic paintings are generally considered to mark the birth of modernism. ",[],{"type":36,"text":106,"spans":2440},[],"text$fb6c2b9f-265e-4d75-b1c6-791319302da5",{"variation":128,"version":99,"items":2443,"primary":2465,"id":2481,"slice_type":171,"slice_label":7},[2444,2454],{"image":2445,"title":2449,"subtitle":2453},{"dimensions":2446,"alt":2449,"copyright":7,"url":2450,"id":2451,"edit":2452},{"width":2447,"height":2448},2402,3055,"Raphael, The Madonna of the Meadow, c. 1505, Kunsthistorisches Museum Wien, Gemäldegalerie","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F24a15f5a-8d4c-487a-8b87-59449141fe4f_Raphael_Madonna_of_the_Meadow.jpg?auto=compress,format","ZSPz5BAAACUAcqeQ",{"x":61,"y":61,"zoom":62,"background":63},"Raphael",{"image":2455,"title":2463,"subtitle":2464},{"dimensions":2456,"alt":2459,"copyright":7,"url":2460,"id":2461,"edit":2462},{"width":2457,"height":2458},2675,3687,"Caravaggio, Madonna and Child with St. Anne, 1605-06, Galleria Borghèse. ","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F6af62cbd-0544-4aa7-b2b0-7ccc0d38d705_Madonna_and_Child_with_St._Anne-Caravaggio_%28c+6+%283%29.jpg?auto=compress,format","ZSP0oRAAACUAcqtg",{"x":61,"y":61,"zoom":62,"background":63},"Caravaggio, Madonna and Child with St. Anne, 1605-06, Galleria Borghèse.","Caravaggio",{"image1":2466,"image2":2471,"label":2476,"copyright":2477},{"dimensions":2467,"alt":2449,"copyright":7,"url":2468,"id":2469,"edit":2470},{"width":317,"height":80},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fdc7cff88-d8c6-4402-8717-d3e3f0bdabf8_The+Madonna+of+the+Meadow+3_2.jpg?auto=compress,format","ZSPyfBAAACUAcqAP",{"x":61,"y":61,"zoom":62,"background":63},{"dimensions":2472,"alt":2459,"copyright":7,"url":2473,"id":2474,"edit":2475},{"width":317,"height":80},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F843d12ad-5bdb-403b-a404-0cce567d8042_Madonna+and+Child+with+St.+Anne+3_2.jpg?auto=compress,format","ZSPy1hAAACQAcqHM",{"x":61,"y":61,"zoom":62,"background":63},"Click to see full size image",[2478],{"type":36,"text":2479,"spans":2480},"Left to right: Raphael, The Madonna of the Meadow, c. 1505, Kunsthistorisches Museum Wien, Gemäldegalerie; \n\nCaravaggio, Madonna and Child with St. Anne, 1605-06, Galleria Borghèse. ",[],"image$3d4133c9-2b98-47b8-993c-2f9f4f2fa5e1",{"variation":98,"version":99,"items":2483,"primary":2485,"id":2494,"slice_type":126,"slice_label":7},[2484],{},{"title":2486,"content":2487},[],[2488,2491],{"type":36,"text":2489,"spans":2490,"direction":928},"Caravaggio emerged on the art scene when there was a need for renewal, especially since the socio-political context in 16th century-Europe called for a radical change in the representation of the sacred. Faced with the Protestant Reformation and accusations of abuse, the Roman Catholic church resorted to education and used art as a tool to address illiterate audiences who could not read sacred texts. Paintings were required to be more than mediums that represented perfect beauty – they were required to convey a convincing narrative that would stimulate and restore faith among Catholic viewers. ",[],{"type":36,"text":2492,"spans":2493,"direction":928},"In this context, Caravaggio’s painting style and artworks were incredibly innovative. His art was so compelling that it was sometimes rejected by the Church because it was deemed inappropriate. Some of his artworks even had to be repainted because they strayed too far from traditional iconography. Caravaggio’s art made a significant impact on his contemporaries due to three main characteristics: ",[],"text$610331fc-a496-4665-85c3-466db827e9b2",{"variation":98,"version":99,"items":2496,"primary":2498,"id":2513,"slice_type":126,"slice_label":7},[2497],{},{"title":2499,"content":2503},[2500],{"type":105,"text":2501,"spans":2502},"1. Excessive realism",[],[2504],{"type":36,"text":2505,"spans":2506},"Caravaggio firmly believed in the study of reality, so instead of practicing academic drawing, he portrayed ordinary people whom he found on the street. He made fortune tellers and card players the subjects of his works – until then, scenes of everyday life were considered too insignificant to be represented in painting. In his religious works, he used real-life models, including the destitute, beggars, and labourers, to represent biblical figures. He painted them realistically, with all their human flaws. Under the guise of humble characters, Caravaggio’s holy figures resemble those in biblical texts, however, this excessive realism sometimes shocked Caravaggio’s contemporaries. The artist’s use of a well-known courtesan, instantly recognisable to all, as a model for the Virgin Mary sparked outrage (Madonna and Child with St. Anne, 1605-06). His Death of the Virgin (1601-06) also fuelled anger for portraying Mary as a simple woman lying on her deathbed with a swollen stomach. Disturbingly human, this depiction of the Virgin was rejected by the Church but it appealed to private collectors. This painting was acquired by a prominent member of one of Italy’s ruling families – the Duke of Mantua. ",[2507,2510],{"start":2508,"end":2509,"type":115},812,843,{"start":2511,"end":2512,"type":115},859,878,"text$021cc275-d9e7-4eb4-b6b8-d996d01650fc",{"variation":666,"version":99,"items":2515,"primary":2526,"id":2536,"slice_type":171,"slice_label":7},[2516],{"image":2517,"title":2525,"subtitle":2464},{"dimensions":2518,"alt":2521,"copyright":7,"url":2522,"id":2523,"edit":2524},{"width":2519,"height":2520},2172,3277,"Caravaggio, Death of the Virgin, 1601-06, Louvre Museum ","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F02aec4ac-9859-4ebb-88f6-15795aaba6f7_Death_of_the_Virgin-Caravaggio_%281606%29+7+%281%29.jpg?auto=compress,format","ZSP3sBAAACMAcrrM",{"x":61,"y":61,"zoom":62,"background":63},"Caravaggio, Death of the Virgin, 1601-06, Louvre Museum",{"image1":2527,"label":2476,"copyright":2533},{"dimensions":2528,"alt":2521,"copyright":7,"url":2530,"id":2531,"edit":2532},{"width":2529,"height":2529},1080,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F3394ab72-49a3-4248-970d-4ca77c0d4d5c_Death_of_the_Virgin-Caravaggio+carr%C3%A9.jpg?auto=compress,format","ZSP3QxAAACIAcriu",{"x":61,"y":61,"zoom":62,"background":63},[2534],{"type":36,"text":2525,"spans":2535},[],"image$e42529db-7fcb-4ee2-b10a-93fbaa3a638a",{"variation":98,"version":99,"items":2538,"primary":2540,"id":2554,"slice_type":126,"slice_label":7},[2539],{},{"title":2541,"content":2545},[2542],{"type":105,"text":2543,"spans":2544},"2. Intense emotions",[],[2546,2552],{"type":36,"text":2547,"spans":2548,"direction":928},"Working from live models, Caravaggio convincingly captured both the appearance and emotion of his characters. By portraying striking expressions and actions, he sought to reach his audience in a way that had never been done before. The artist immortalised fateful moments that give way to powerful narratives. His stories are also often marked by violence, underlining tragic drama and physical action, and often elicited – and continue to elicit – strong reactions from viewers. This new level of emotional intensity is perfectly exemplified by Judith Beheading Holofernes (c. 1599), a spine-chilling masterpiece. The story of Judith, an ancient heroine of the Old Testament, had been widely represented by other artists before. They often depicted her as a symbol of virtue triumphing over evil, but Caravaggio chose to specifically depict the dramatic climax of the story, when, after tricking the Assyrian General Holofernes, the young Israelite widow callously lops off his head. This sensational painting immortalises the brutal murder, with Judith’s sword slicing through Holofernes’ neck, causing blood to gush out while the heroine’s steely gaze fixes on his wide, terrified eyes.  ",[2549],{"start":2550,"end":2551,"type":115},546,573,{"type":36,"text":930,"spans":2553,"direction":928},[],"text$b312f4dc-ae01-4a02-98fd-be228e8cb12b",{"variation":98,"version":99,"items":2556,"primary":2566,"id":2575,"slice_type":171,"slice_label":7},[2557],{"image":2558,"title":2562,"subtitle":2464},{"dimensions":2559,"alt":2562,"copyright":7,"url":2563,"id":2564,"edit":2565},{"width":2560,"height":2561},3125,2307,"Caravaggio, Judith Beheading Holofernes, ca. 1599, Palazzo Barberini","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F5d43c402-9e59-4c35-8cf5-3abc5ee2b7dd_Judith_Beheading_Holofernes_-_Caravaggio+2Judith+Beheading+Holofernes.jpg?auto=compress,format","ZSP7iBAAACQAcs6F",{"x":61,"y":61,"zoom":62,"background":63},{"image1":2567,"label":2476,"copyright":2572},{"dimensions":2568,"alt":2562,"copyright":7,"url":2569,"id":2570,"edit":2571},{"width":80,"height":81},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F58a74361-e6c1-46ba-b28b-bc2f9547f0e6_Caravaggio_+Judith+Beheading+Holofernes%2C+ca.+1599%2C+Palazzo+Barberini+Slide+16_9.jpg?auto=compress,format","ZSP8oxAAACIActP5",{"x":61,"y":61,"zoom":62,"background":63},[2573],{"type":36,"text":2562,"spans":2574},[],"image$80860967-9263-461e-b86d-7e00a17ade0b",{"variation":98,"version":99,"items":2577,"primary":2579,"id":2591,"slice_type":126,"slice_label":7},[2578],{},{"title":2580,"content":2584},[2581],{"type":105,"text":2582,"spans":2583},"3. Dramatic staging",[],[2585],{"type":36,"text":2586,"spans":2587},"Caravaggio heightened the dramatic impact of his painted scenes thanks to various techniques, such as emphasising the contrast between light and shadow, known as tenebrism. The subjects appear artificially lit and set against a dark background, as if they are on a theatre stage. This draws the viewer’s eye to the action and the main elements of the story, and adds  narrative depth and emotional intensity. Extreme lighting can also be combined with unusual viewpoints and exaggerated motion, giving the paintings a greater sense of drama as illustrated by The Conversion on the Way to Damascus (c. 1600-01). The light that strikes the Roman centurion Saul as he falls from his horse evokes spiritual lighting and brings the main character into sharp focus. In comparison, the old groom is not illuminated to such an extent by the divine light, and he lurks in the shadows as a result. Painted from a low perspective, the scene is structured along strong diagonals that give the illusion of movement.  ",[2588],{"start":2589,"end":2590,"type":115},559,596,"text$ca4b7ffd-0a69-4a42-b022-5459468b088e",{"variation":666,"version":99,"items":2593,"primary":2603,"id":2612,"slice_type":171,"slice_label":7},[2594],{"image":2595,"title":2599,"subtitle":2464},{"dimensions":2596,"alt":2599,"copyright":7,"url":2600,"id":2601,"edit":2602},{"width":2597,"height":2598},6711,8817,"Caravaggio, The Conversion on the Way to Damascus, c. 1600-01, Basilica Parrocchiale Santa Maria del Popolo","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F0d161773-28a4-4ce7-b0c0-1654567da80a_Conversion_on_the_Way_to_Damascus-Caravaggio_%28c.1600-1%29.jpg?auto=compress,format","ZRwegxAAACgAzPv9",{"x":61,"y":61,"zoom":62,"background":63},{"image1":2604,"label":2476,"copyright":2609},{"dimensions":2605,"alt":2599,"copyright":7,"url":2606,"id":2607,"edit":2608},{"width":81,"height":81},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F4e7f380d-c9e4-4bf6-9fa4-211dee91814c_Conversion+on+the+Way+to+Damascus+Caravaggio+carr%C3%A9.jpg?auto=compress,format","ZSP_bBAAACMAcuJz",{"x":61,"y":61,"zoom":62,"background":63},[2610],{"type":36,"text":2599,"spans":2611},[],"image$b586692f-d1cf-498b-91c0-8a97703e008f",{"variation":98,"version":99,"items":2614,"primary":2616,"id":2627,"slice_type":126,"slice_label":7},[2615],{},{"title":2617,"content":2618},[],[2619],{"type":36,"text":2620,"spans":2621,"direction":928},"Caravaggio’s impressive paintings broke away from the conventions of the High Renaissance and laid the foundation for the Baroque era. His distinctive style inspired countless painters, with his direct followers known as Caravaggisti. The artist’s work later fell in to obscurity for centuries until its revolutionary influence was rediscovered at the beginning of the 20th century. Today, his oeuvre continues to exert an influence on younger generations of artists that go beyond the realm of painting. The dramatic nature and proximity of his work gives it a cinematic feel, leading film director Martin Scorsese to say that Caravaggio “would have been a great film-maker.”",[2622],{"start":2623,"end":2624,"type":308,"data":2625},639,676,{"link_type":1425,"url":2626,"target":1823},"https:\u002F\u002Funframed.lacma.org\u002F2013\u002F01\u002F17\u002Fcaravaggio-pioneer-of-modern-cinematography","text$6df315f4-4cce-4ca3-b5b6-bdf826f6b794",{"dimensions":2629,"alt":2403,"copyright":7,"url":2406,"id":2407,"edit":2630},{"width":80,"height":81},{"x":61,"y":61,"zoom":62,"background":63},[2632,2637],{"variation":98,"version":99,"items":2633,"primary":2634,"id":2636,"slice_type":237,"slice_label":7},[],{"slides_per_view":7,"max_slides_count":7,"tag":2635,"type":8,"title":235,"paralax":76},{"link_type":74},"carousel$5ce9c604-1c09-4c04-8abd-795bebc0fbd9",{"variation":98,"version":99,"items":2638,"primary":2641,"id":2644,"slice_type":237,"slice_label":7},[2639],{"post":2640},{"link_type":74},{"slides_per_view":7,"max_slides_count":7,"tag":2642,"type":461,"title":2643,"paralax":76},{"link_type":74},"Audiocasts","carousel$6debec33-b6c2-4298-aab4-060c0e780112",{"id":1236,"uid":1242,"url":7,"type":8,"href":2646,"tags":2647,"first_publication_date":1240,"last_publication_date":1241,"slugs":2648,"linked_documents":2649,"lang":20,"alternate_languages":2650,"data":2651},"https:\u002F\u002Fartexplorer-prod.cdn.prismic.io\u002Fapi\u002Fv2\u002Fdocuments\u002Fsearch?ref=aCb60BIAACEA00zN&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22ZoUo6RMAACAAOs_e%22%29+%5D%5D",[217,1238],[1239],[],[],{"title":2652,"subtitle":2653,"author":2654,"copyright_cover":2684,"cover_desktop":2685,"cover_mobile":2690,"thumbnail":2695,"published_at":7,"slices":2698,"meta_title":2856,"meta_description":2857,"og_image":2858,"slices2":2863},"Monet’s iconic series: from Haystacks to Water Lilies","Pioneering marketing concepts",{"id":918,"type":27,"tags":2655,"lang":20,"slug":920,"first_publication_date":921,"last_publication_date":922,"uid":920,"data":2656,"link_type":74,"key":2683,"isBroken":76},[],{"description":2657,"short_description":2668,"job":944,"thumbnail":2671,"cover":2674,"uid":920,"title":949,"og_image":2677,"meta_description":2680,"meta_title":949},[2658,2660,2662,2664,2666],{"type":36,"text":926,"spans":2659,"direction":928},[],{"type":36,"text":930,"spans":2661,"direction":928},[],{"type":36,"text":933,"spans":2663,"direction":928},[],{"type":36,"text":930,"spans":2665,"direction":928},[],{"type":36,"text":938,"spans":2667,"direction":928},[],[2669],{"type":36,"text":942,"spans":2670,"direction":928},[],{"dimensions":2672,"alt":949,"copyright":7,"url":950,"id":951,"edit":2673},{"width":947,"height":948},{"x":61,"y":61,"zoom":62,"background":953},{"dimensions":2675,"alt":949,"copyright":7,"url":950,"id":951,"edit":2676},{"width":947,"height":948},{"x":61,"y":61,"zoom":62,"background":953},{"dimensions":2678,"alt":7,"copyright":7,"url":950,"id":951,"edit":2679},{"width":947,"height":948},{"x":61,"y":61,"zoom":62,"background":953},[2681],{"type":36,"text":962,"spans":2682},[],"e682aa01-0b0b-4e16-8964-d3c402a079fc","From left to right: (details of) Le Grand Canal (The Grand Canal), 1908; Meules (Grainstacks), 1891; Waterloo Bridge, effet de brume (Waterloo Bridge, Mist Effect), 1901; Le Bassin aux nymphéas, reflets verts (Green Reflections on the Water-Lily Pond), 1920-1926.",{"dimensions":2686,"alt":7,"copyright":7,"url":2687,"id":2688,"edit":2689},{"width":80,"height":81},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZoUqDh5LeNNTwwDM_HeaderShortFormandAnalysisArticles31.jpg?auto=format%2Ccompress&rect=0%2C0%2C4294%2C2415&w=3840&h=2160","ZoUqDh5LeNNTwwDM",{"x":61,"y":61,"zoom":62,"background":953},{"dimensions":2691,"alt":7,"copyright":7,"url":2692,"id":2693,"edit":2694},{"width":81,"height":80},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZoew3B5LeNNTwz9O_Monet_AnalysisArticle_Thumbnail_V71.jpg?auto=format,compress","Zoew3B5LeNNTwz9O",{"x":61,"y":61,"zoom":62,"background":953},{"dimensions":2696,"alt":7,"copyright":7,"url":2692,"id":2693,"edit":2697},{"width":81,"height":80},{"x":61,"y":61,"zoom":62,"background":953},[2699,2711,2726,2743,2757,2773,2787,2796,2818,2835,2846],{"variation":98,"version":99,"items":2700,"primary":2701,"id":2710,"slice_type":126,"slice_label":7},[],{"title":2702,"content":2703},[],[2704,2707],{"type":36,"text":2705,"spans":2706,"direction":928},"French artist Claude Monet (1840-1926), a founder of Impressionism, underwent a pivotal shift in his artistic approach during the late 1880s. He began creating paintings that were conceived, executed, and exhibited in series. A practice that may seem ordinary from a contemporary perspective but was revolutionary at the time. Prior to this period, artists often produced pairs or small sets of related works, but none had envisioned or created large ensembles in the manner Monet did.",[],{"type":36,"text":2708,"spans":2709,"direction":928},"This innovative approach resulted in highly coveted bodies of work and led to creative marketing strategies. Exhibited as cohesive groups with a limited number of paintings, these series conveyed a sense of exclusivity, attracting eager buyers. Today, the demand for Monet's iconic series remains strong, driving impressive sales. His auction record stands at $110.7 million ($134 million when adjusted for inflation), achieved by a painting from the Haystacks series sold at Sotheby’s in 2019.",[],"text$1cb28909-e4a7-4d66-af6d-760b7d4c9760",{"variation":666,"version":99,"items":2712,"primary":2713,"id":2725,"slice_type":171,"slice_label":7},[],{"image1":2714,"label":7,"copyright":2721},{"dimensions":2715,"alt":7,"copyright":7,"url":2718,"id":2719,"edit":2720},{"width":2716,"height":2717},3224,2530,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZoVRQR5LeNNTwway_Meules_-1890-91-_Claude_Monet_-W1273-1.jpg?auto=format,compress","ZoVRQR5LeNNTwway",{"x":61,"y":61,"zoom":62,"background":953},[2722],{"type":36,"text":2723,"spans":2724,"direction":928},"Claude Monet’s Meules (Grainstacks) (W1273), from 1891, sold for $110.7 million at Sotheby’s New York in 2019.",[],"image$70363269-ac05-4037-a9bf-2c128177589c",{"variation":98,"version":99,"items":2727,"primary":2728,"id":2742,"slice_type":126,"slice_label":7},[],{"title":2729,"content":2730},[],[2731],{"type":36,"text":2732,"spans":2733,"direction":928},"Paintings from the Haystacks, Water Lilies, London, and Venice series have consistently achieved Monet's highest auction sales over the last twenty years. When adjusted for inflation, they account for 19 of his top 20 sales. Between 2004 and 2023, paintings auctioned from these four series brought in a combined $2.1 billion from 49 lots sold (out of 54 offered), averaging $43.9 million per painting when adjusted for inflation.",[2734],{"start":2735,"end":2736,"type":308,"data":2737},313,325,{"id":2738,"type":311,"tags":2739,"lang":20,"slug":2740,"first_publication_date":2741,"last_publication_date":2741,"link_type":74,"isBroken":76},"ZoVYqBMAACIAOxzG",[1238],"inflation-adjusted-value","2024-07-05T09:06:02+0000","text$f5583f6c-9428-4bdc-81cf-82d67858d03b",{"variation":666,"version":99,"items":2744,"primary":2751,"id":2756,"slice_type":171,"slice_label":7},[2745],{"image":2746,"title":7,"subtitle":7},{"dimensions":2747,"alt":7,"copyright":7,"url":2748,"id":2749,"edit":2750},{"width":1402,"height":1403},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZoa4_x5LeNNTwzGQ_Monet_Visuals_Graph_V3.jpg?auto=format,compress","Zoa4_x5LeNNTwzGQ",{"x":61,"y":61,"zoom":62,"background":953},{"image1":2752,"label":7,"copyright":2755},{"dimensions":2753,"alt":7,"copyright":7,"url":2748,"id":2749,"edit":2754},{"width":1402,"height":1403},{"x":61,"y":61,"zoom":62,"background":953},[],"image$529b332e-b6f6-4e87-8a3a-7fdda808d05a",{"variation":98,"version":99,"items":2758,"primary":2759,"id":2772,"slice_type":126,"slice_label":7},[],{"title":2760,"content":2761},[],[2762,2770],{"type":36,"text":2763,"spans":2764,"direction":928},"Monet’s iconic series compare favourably with other high-value segments of the art market. Particularly in the Impressionist and Post-Impressionist sales category, they outperformed Van Gogh’s market, which totalled $1.3 billion from 66 lots sold over the same period.",[2765],{"start":2766,"end":2767,"type":308,"data":2768},216,228,{"id":2738,"type":311,"tags":2769,"lang":20,"slug":2740,"first_publication_date":2741,"last_publication_date":2741,"link_type":74,"isBroken":76},[1238],{"type":36,"text":106,"spans":2771,"direction":928},[],"text$7441ef86-c33c-4755-9d67-d8fc8c4412bf",{"variation":666,"version":99,"items":2774,"primary":2781,"id":2786,"slice_type":171,"slice_label":7},[2775],{"image":2776,"title":7,"subtitle":7},{"dimensions":2777,"alt":7,"copyright":7,"url":2778,"id":2779,"edit":2780},{"width":1339,"height":1340},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZoZ3fh5LeNNTwyZ2_Monet_Visuals_TwoFigures_Horizontal_V2-04.jpg?auto=format,compress","ZoZ3fh5LeNNTwyZ2",{"x":61,"y":61,"zoom":62,"background":953},{"image1":2782,"label":7,"copyright":2785},{"dimensions":2783,"alt":7,"copyright":7,"url":2778,"id":2779,"edit":2784},{"width":1339,"height":1340},{"x":61,"y":61,"zoom":62,"background":953},[],"image$59180e0e-bcd1-401f-8b45-3e3aa63a40ad",{"variation":98,"version":99,"items":2788,"primary":2789,"id":2795,"slice_type":126,"slice_label":7},[],{"title":2790,"content":2791},[],[2792],{"type":36,"text":2793,"spans":2794,"direction":928},"Monet’s market for these series peaked in 2015 at over $268 million, driven by a high volume of lots. In 2022, the market reached an unprecedented $379 million in combined revenue through successive sales of Water Lilies, London, and Venice Views. Prices for these paintings that year ranged from $30.4 million to over $75 million ($32.6 million to $80.5 million when adjusted for inflation). The variations in price are attributed to several factors, one of the most important for Monet being the subtle differences in colour, reflections, air, and atmosphere that make each work unique.",[],"text$8cb5859f-6d8c-4169-81ad-4028aa6273e8",{"variation":128,"version":99,"items":2797,"primary":2798,"id":2817,"slice_type":171,"slice_label":7},[],{"image1":2799,"image2":2806,"label":764,"copyright":2813},{"dimensions":2800,"alt":7,"copyright":7,"url":2803,"id":2804,"edit":2805},{"width":2801,"height":2802},922,592,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZoUwSB5LeNNTwwIA_Waterloo_Bridge%2C_soleil_voil%C3%A9_-1903-_Claude_Monet_-W_1591-.jpg?auto=format,compress","ZoUwSB5LeNNTwwIA",{"x":61,"y":61,"zoom":62,"background":953},{"dimensions":2807,"alt":7,"copyright":7,"url":2810,"id":2811,"edit":2812},{"width":2808,"height":2809},851,548,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZoUwmR5LeNNTwwIP_Waterloo_Bridge%2C_effet_de_brume_-1904-_Claude_Monet_-W_1582-.jpg?auto=format,compress","ZoUwmR5LeNNTwwIP",{"x":61,"y":61,"zoom":62,"background":953},[2814],{"type":36,"text":2815,"spans":2816,"direction":928},"Two Waterloo Bridge paintings were sold in 2022: Waterloo Bridge, soleil voilé (Waterloo Bridge, Hazy Sun) (W 1591) (1901) on the left, auctioned in September for $76 million ($80.5 million when adjusted for inflation), and Waterloo Bridge, effet de brume (Waterloo Bridge, Mist Effect) (W 1582) (1901) on the right, auctioned for $37.5 million ($39.3 million when adjusted for inflation).",[],"image$6b8561fb-b899-464b-b06e-66bd73e0e044",{"variation":98,"version":99,"items":2819,"primary":2820,"id":2834,"slice_type":126,"slice_label":7},[],{"title":2821,"content":2822},[],[2823,2831],{"type":36,"text":2824,"spans":2825,"direction":928},"When adjusted for inflation, the highest prices in Monet’s iconic series are typically achieved by Water Lilies, holding 7 of the top 10 auction sales, alongside two Haystacks and a view of the Houses of Parliament in London. These top sales prices range from $69.1 million to $134 million, with half achieved between 2018 and 2023.",[2826],{"start":2827,"end":2828,"type":308,"data":2829},99,111,{"link_type":1425,"url":2830,"target":1427},"https:\u002F\u002Fartexplored.com\u002Farticle\u002Fartist-report-claude-monet",{"type":36,"text":2832,"spans":2833,"direction":928},"With approximately 220 Water Lilies, 30 Haystacks, 95 views of London, and fewer than 40 views of Venice, these iconic series make up less than 20% of Monet’s output of over 2000 paintings, most of which are held by museums worldwide. The few remaining examples available for acquisition highlight auction sales and are sought after by wealthy collectors. When adjusted for inflation, 94% of these lots exceed $10 million, with 37% surpassing the $50 million mark, placing them at the pinnacle of the art market.",[],"text$aa27e125-412f-44a4-bd16-8ef8efb15fb0",{"variation":666,"version":99,"items":2836,"primary":2837,"id":2845,"slice_type":171,"slice_label":7},[],{"image1":2838,"label":7,"copyright":2844},{"dimensions":2839,"alt":7,"copyright":7,"url":2841,"id":2842,"edit":2843},{"width":2840,"height":317},2826,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZoVVhR5LeNNTwwey_Monet_PieChart1.jpg?auto=format,compress","ZoVVhR5LeNNTwwey",{"x":61,"y":61,"zoom":62,"background":953},[],"image$7a0876a3-ff00-4557-bccd-391981461aee",{"variation":98,"version":99,"items":2847,"primary":2848,"id":2855,"slice_type":126,"slice_label":7},[],{"title":2849,"content":2850},[],[2851,2853],{"type":36,"text":1457,"spans":2852,"direction":928},[],{"type":36,"text":106,"spans":2854,"direction":928},[],"text$e9bc73ed-e1d6-4fcb-988b-a5b0a3790df9","Monet’s Iconic Series: From Haystacks to Water Lilies","French artist Claude Monet (1840-1926), a founder of Impressionism, underwent a pivotal shift in his artistic approach during the late 1880s. He began creating paintings that were conceived, executed, and exhibited in series. A practice that was revolutionary at the time. This approach led to creative marketing strategies, conveying a sense of exclusivity and attracting eager buyers. Paintings from the Haystacks, Water Lilies, London, and Venice series have consistently achieved Monet's highest auction sales over the last twenty years.",{"dimensions":2859,"alt":7,"copyright":7,"url":2860,"id":2861,"edit":2862},{"width":186,"height":118},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZoVUkx5LeNNTwweb_ImageOpengraph.jpg?auto=format,compress","ZoVUkx5LeNNTwweb",{"x":61,"y":61,"zoom":62,"background":953},[2864,2884],{"variation":98,"version":99,"items":2865,"primary":2882,"id":2353,"slice_type":237,"slice_label":7},[2866,2870,2874,2878],{"post":2867},{"id":2332,"type":8,"tags":2868,"lang":20,"slug":2334,"first_publication_date":2335,"last_publication_date":2336,"uid":2334,"link_type":74,"key":2869,"isBroken":76},[217],"6f017d72-85a0-4b46-a691-f7a230a88185",{"post":2871},{"id":215,"type":8,"tags":2872,"lang":20,"slug":218,"first_publication_date":219,"last_publication_date":220,"uid":218,"link_type":74,"key":2873,"isBroken":76},[217],"0f7bdd9b-785d-492e-95ed-333f83315528",{"post":2875},{"id":446,"type":8,"tags":2876,"lang":20,"slug":449,"first_publication_date":450,"last_publication_date":451,"uid":452,"link_type":74,"key":2877,"isBroken":76},[448],"06ac7c78-e8b1-4d62-bba9-efbb731fada0",{"post":2879},{"id":5,"type":8,"tags":2880,"lang":20,"slug":15,"first_publication_date":12,"last_publication_date":13,"uid":6,"link_type":74,"key":2881,"isBroken":76},[11],"9638441f-ed23-4755-ae79-d87b432f258b",{"slides_per_view":7,"max_slides_count":7,"tag":2883,"type":8,"title":2352,"paralax":76},{"link_type":74},{"variation":98,"version":99,"items":2885,"primary":2890,"id":2363,"slice_type":237,"slice_label":7},[2886,2888],{"post":2887},{"link_type":74},{"post":2889},{"link_type":74},{"slides_per_view":7,"max_slides_count":7,"tag":2891,"type":461,"title":2362,"paralax":76},{"link_type":74},{"slice":238,"payload":2893},[2894,2973,3043,3116,3191,3266,3335,3404,3475,3547,3627,3729,3794,3896,3965,4049,4118,4187],{"id":2895,"uid":2896,"url":7,"type":245,"href":2897,"tags":2898,"first_publication_date":2900,"last_publication_date":2901,"slugs":2902,"linked_documents":2903,"lang":20,"alternate_languages":2904,"data":2905},"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",[2899],"Leonardo da Vinci","2023-03-17T10:25:37+0000","2024-02-20T13:26:23+0000",[],[],[],{"title":2906,"subtitle":7,"description":2907,"serie":2911,"episode":7,"source":2912,"published_at":7,"youtube_external":2915,"vimeo_external":2917,"instagram_external":2918,"duration":2919,"narrator_copyright":7,"music_copyright":7,"editing_copyright":7,"cover_desktop":2920,"cover_mobile":2926,"copyright_cover":7,"thumbnail":2931,"slices":2934,"meta_title":2951,"meta_description":2952,"og_image":2953,"slices2":2958},"The Virgin of the Rocks, 1483-1494",[2908],{"type":36,"text":2909,"spans":2910},"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":74},{"link_type":1425,"key":2913,"url":2914},"4fad6e58-7f1b-43b2-a1b9-a44995292ed7","https:\u002F\u002Fvimeo.com\u002F808259044",{"link_type":2916},"Any",{"link_type":2916},{"link_type":2916},140,{"dimensions":2921,"alt":2922,"copyright":7,"url":2923,"id":2924,"edit":2925},{"width":80,"height":81},"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":61,"y":61,"zoom":62,"background":63},{"dimensions":2927,"alt":2922,"copyright":7,"url":2928,"id":2929,"edit":2930},{"width":81,"height":80},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F7b0b859b-8d94-433b-ae7c-907950973b79_9_16-1.jpg?auto=compress,format","ZK_OdBIAACAAaW2j",{"x":61,"y":61,"zoom":62,"background":63},{"dimensions":2932,"alt":2922,"copyright":7,"url":2923,"id":2924,"edit":2933},{"width":80,"height":81},{"x":61,"y":61,"zoom":62,"background":63},[2935],{"variation":98,"version":99,"items":2936,"primary":2938,"id":2950,"slice_type":126,"slice_label":7},[2937],{},{"title":2939,"content":2943},[2940],{"type":105,"text":2941,"spans":2942},"About the painting",[],[2944],{"type":36,"text":2945,"spans":2946},"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. ",[2947],{"start":2948,"end":2949,"type":115},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":2954,"alt":2922,"copyright":7,"url":2955,"id":2956,"edit":2957},{"width":186,"height":118},"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":61,"y":61,"zoom":62,"background":63},[2959],{"variation":98,"version":99,"items":2960,"primary":2963,"id":2972,"slice_type":237,"slice_label":7},[2961],{"post":2962},{"link_type":74},{"slides_per_view":373,"max_slides_count":7,"tag":2964,"type":245,"title":2971,"paralax":76},{"id":2965,"type":1509,"tags":2966,"lang":20,"slug":2967,"first_publication_date":2968,"last_publication_date":2969,"uid":2967,"link_type":74,"key":2970,"isBroken":76},"ZA9CxRAAACsAyyzc",[2899],"leonardo-da-vinci","2023-03-13T15:44:42+0000","2023-03-22T10:40:28+0000","c900030f-25f6-4844-8e8f-9378f77b05c9","Related videos","carousel$722619be-bc92-4238-916a-cf99327ee441",{"id":2974,"uid":2975,"url":7,"type":245,"href":2976,"tags":2977,"first_publication_date":2978,"last_publication_date":2979,"slugs":2980,"linked_documents":2981,"lang":20,"alternate_languages":2982,"data":2983},"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",[2899],"2023-03-17T10:59:32+0000","2024-02-20T13:24:55+0000",[],[],[],{"title":2984,"subtitle":7,"description":2985,"serie":2989,"episode":7,"source":2990,"published_at":7,"youtube_external":2993,"vimeo_external":2994,"instagram_external":2995,"duration":2996,"narrator_copyright":7,"music_copyright":7,"editing_copyright":7,"cover_desktop":2997,"cover_mobile":3003,"copyright_cover":3008,"thumbnail":3009,"slices":3012,"meta_title":3025,"meta_description":3026,"og_image":3027,"slices2":3033},"The Virgin and the Child Saint Anne, 1503-1519",[2986],{"type":36,"text":2987,"spans":2988},"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":74},{"link_type":1425,"key":2991,"url":2992},"11271762-2418-402b-81f6-27392041db30","https:\u002F\u002Fvimeo.com\u002F808259481",{"link_type":2916},{"link_type":2916},{"link_type":2916},130,{"dimensions":2998,"alt":2999,"copyright":7,"url":3000,"id":3001,"edit":3002},{"width":80,"height":81},"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":61,"y":61,"zoom":62,"background":63},{"dimensions":3004,"alt":2999,"copyright":7,"url":3005,"id":3006,"edit":3007},{"width":81,"height":80},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fbbc8b394-5d0f-4b8c-97dc-4dd2eb4af452_9_16-2.jpg?auto=compress,format","ZK_QChIAACIAaXJP",{"x":61,"y":61,"zoom":62,"background":63},"Leonardo Da Vinci - The Virgin And The Child Saint Anne",{"dimensions":3010,"alt":2999,"copyright":7,"url":3000,"id":3001,"edit":3011},{"width":80,"height":81},{"x":61,"y":61,"zoom":62,"background":63},[3013],{"variation":98,"version":99,"items":3014,"primary":3016,"id":3024,"slice_type":126,"slice_label":7},[3015],{},{"title":3017,"content":3020},[3018],{"type":105,"text":2941,"spans":3019},[],[3021],{"type":36,"text":3022,"spans":3023},"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":3028,"alt":3029,"copyright":7,"url":3030,"id":3031,"edit":3032},{"width":186,"height":118},"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":61,"y":61,"zoom":62,"background":63},[3034],{"variation":98,"version":99,"items":3035,"primary":3038,"id":3042,"slice_type":237,"slice_label":7},[3036],{"post":3037},{"link_type":74},{"slides_per_view":373,"max_slides_count":7,"tag":3039,"type":245,"title":2971,"paralax":76},{"id":2965,"type":1509,"tags":3040,"lang":20,"slug":2967,"first_publication_date":2968,"last_publication_date":2969,"uid":2967,"link_type":74,"key":3041,"isBroken":76},[2899],"f5775998-fd7a-4aef-af56-0032c23bdf92","carousel$7fb1bc21-286f-4b9c-a016-0f4a55df73f4",{"id":3044,"uid":3045,"url":7,"type":245,"href":3046,"tags":3047,"first_publication_date":3048,"last_publication_date":3049,"slugs":3050,"linked_documents":3051,"lang":20,"alternate_languages":3052,"data":3053},"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",[2899],"2023-03-14T15:12:19+0000","2024-02-20T13:38:10+0000",[],[],[],{"title":3054,"subtitle":7,"description":3055,"serie":3059,"episode":7,"source":3060,"published_at":7,"youtube_external":3063,"vimeo_external":3064,"instagram_external":3065,"duration":3066,"narrator_copyright":7,"music_copyright":7,"editing_copyright":7,"cover_desktop":3067,"cover_mobile":3073,"copyright_cover":7,"thumbnail":3078,"slices":3081,"meta_title":3100,"meta_description":3101,"og_image":3102,"slices2":3108},"The Annunciation, 1472",[3056],{"type":36,"text":3057,"spans":3058},"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":74},{"link_type":1425,"key":3061,"url":3062},"232c420d-816a-4105-a66e-c36ed68c6093","https:\u002F\u002Fvimeo.com\u002F807590075",{"link_type":2916},{"link_type":2916},{"link_type":2916},126,{"dimensions":3068,"alt":3069,"copyright":7,"url":3070,"id":3071,"edit":3072},{"width":80,"height":81},"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":61,"y":61,"zoom":62,"background":63},{"dimensions":3074,"alt":3069,"copyright":7,"url":3075,"id":3076,"edit":3077},{"width":81,"height":80},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F661b3a6e-65b5-4133-b6aa-f63466505f1d_9_16-8.jpg?auto=compress,format","ZK_OHRIAACAAaWv-",{"x":61,"y":61,"zoom":62,"background":63},{"dimensions":3079,"alt":3069,"copyright":7,"url":3070,"id":3071,"edit":3080},{"width":80,"height":81},{"x":61,"y":61,"zoom":62,"background":63},[3082],{"variation":98,"version":99,"items":3083,"primary":3085,"id":3099,"slice_type":126,"slice_label":7},[3084],{},{"title":3086,"content":3089},[3087],{"type":105,"text":2941,"spans":3088},[],[3090],{"type":36,"text":3091,"spans":3092},"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. ",[3093,3096],{"start":3094,"end":3095,"type":115},466,482,{"start":3097,"end":3098,"type":115},674,681,"text$290c10f4-787e-4bde-a516-a5a9e63c3dd1","The annunciation","Leonardo da Vinci's earliest complete work is punctuated with Christian iconography and depicts the dramatic moment the archangel Gabriel tells Mary that she has been chosen to be the mother of Christ",{"dimensions":3103,"alt":3104,"copyright":7,"url":3105,"id":3106,"edit":3107},{"width":186,"height":118},"The Annunciation - Leonardo da Vinci","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fa9726136-c3b5-4852-9aeb-25623af7379d_Video+Opengraph+The+Annunciation+-+Leonardo+da+Vinci.jpg?auto=compress,format","ZK_RMhIAACAAaXZY",{"x":61,"y":61,"zoom":62,"background":63},[3109],{"variation":98,"version":99,"items":3110,"primary":3111,"id":3115,"slice_type":237,"slice_label":7},[],{"slides_per_view":373,"max_slides_count":7,"tag":3112,"type":245,"title":2971,"paralax":76},{"id":2965,"type":1509,"tags":3113,"lang":20,"slug":2967,"first_publication_date":2968,"last_publication_date":2969,"uid":2967,"link_type":74,"key":3114,"isBroken":76},[2899],"1380d819-38dd-4526-9584-8ee05247892e","carousel$ec720536-d820-42ff-a442-7710929b8156",{"id":3117,"uid":3118,"url":7,"type":245,"href":3119,"tags":3120,"first_publication_date":3121,"last_publication_date":3122,"slugs":3123,"linked_documents":3124,"lang":20,"alternate_languages":3125,"data":3126},"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",[2899],"2023-03-17T11:00:09+0000","2024-02-20T13:37:01+0000",[],[],[],{"title":3127,"subtitle":7,"description":3128,"serie":3132,"episode":7,"source":3133,"published_at":7,"youtube_external":3136,"vimeo_external":3137,"instagram_external":3138,"duration":3139,"narrator_copyright":7,"music_copyright":7,"editing_copyright":7,"cover_desktop":3140,"cover_mobile":3146,"copyright_cover":7,"thumbnail":3152,"slices":3155,"meta_title":3173,"meta_description":3174,"og_image":3175,"slices2":3181},"Saint John the Baptiste, 1508-1519",[3129],{"type":36,"text":3130,"spans":3131},"Dominated by Da Vinci's unrivalled handling of light and darkness, the captivating painting contains one of his iconic smiles. ",[],{"link_type":74},{"link_type":1425,"key":3134,"url":3135},"56c9fc25-f013-4999-b238-7ce608c67c8c","https:\u002F\u002Fvimeo.com\u002F808259620",{"link_type":2916},{"link_type":2916},{"link_type":2916},131,{"dimensions":3141,"alt":3142,"copyright":7,"url":3143,"id":3144,"edit":3145},{"width":80,"height":81},"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":61,"y":61,"zoom":62,"background":63},{"dimensions":3147,"alt":3148,"copyright":7,"url":3149,"id":3150,"edit":3151},{"width":81,"height":80},"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":61,"y":61,"zoom":62,"background":63},{"dimensions":3153,"alt":3148,"copyright":7,"url":3143,"id":3144,"edit":3154},{"width":80,"height":81},{"x":61,"y":61,"zoom":62,"background":63},[3156],{"variation":98,"version":99,"items":3157,"primary":3159,"id":3172,"slice_type":126,"slice_label":7},[3158],{},{"title":3160,"content":3163},[3161],{"type":105,"text":2941,"spans":3162},[],[3164],{"type":36,"text":3165,"spans":3166},"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. ",[3167,3170],{"start":3168,"end":3169,"type":115},54,69,{"start":1432,"end":3171,"type":115},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":3176,"alt":3177,"copyright":7,"url":3178,"id":3179,"edit":3180},{"width":186,"height":118},"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":61,"y":61,"zoom":62,"background":63},[3182],{"variation":98,"version":99,"items":3183,"primary":3186,"id":3190,"slice_type":237,"slice_label":7},[3184],{"post":3185},{"link_type":74},{"slides_per_view":373,"max_slides_count":7,"tag":3187,"type":245,"title":2971,"paralax":76},{"id":2965,"type":1509,"tags":3188,"lang":20,"slug":2967,"first_publication_date":2968,"last_publication_date":2969,"uid":2967,"link_type":74,"key":3189,"isBroken":76},[2899],"e57fae13-c604-4fb0-9541-7ac9e9540513","carousel$1a5d2a57-1b2c-4dac-b58d-5f778d847299",{"id":3192,"uid":3193,"url":7,"type":245,"href":3194,"tags":3195,"first_publication_date":3196,"last_publication_date":3197,"slugs":3198,"linked_documents":3199,"lang":20,"alternate_languages":3200,"data":3201},"ZBHPBRAAACsAz3QA","mona-lisa","https:\u002F\u002Fartexplorer-prod.cdn.prismic.io\u002Fapi\u002Fv2\u002Fdocuments\u002Fsearch?ref=aCb60BIAACEA00zN&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22ZBHPBRAAACsAz3QA%22%29+%5D%5D",[2899],"2023-03-17T11:33:18+0000","2024-02-20T13:25:12+0000",[],[],[],{"title":3202,"subtitle":7,"description":3203,"serie":3212,"episode":7,"source":3213,"published_at":7,"youtube_external":3216,"vimeo_external":3217,"instagram_external":3218,"duration":3219,"narrator_copyright":7,"music_copyright":7,"editing_copyright":7,"cover_desktop":3220,"cover_mobile":3226,"copyright_cover":7,"thumbnail":3232,"slices":3235,"meta_title":3248,"meta_description":3249,"og_image":3250,"slices2":3256},"Mona Lisa, 1503-1519",[3204],{"type":36,"text":3205,"spans":3206},"Perhaps the most recognisable – and most photographed – painting in the world, Leonardo da Vinci’s Portrait of Lisa Gherardini (1503), aka Mona Lisa, captivates thousands of people every day at the Louvre in Paris. ",[3207,3209],{"start":2827,"end":3208,"type":115},127,{"start":3210,"end":3211,"type":115},139,148,{"link_type":74},{"link_type":1425,"key":3214,"url":3215},"4e5ba004-9369-407f-bbff-476a6619bd6b","https:\u002F\u002Fvimeo.com\u002F808259562",{"link_type":2916},{"link_type":2916},{"link_type":2916},143,{"dimensions":3221,"alt":3222,"copyright":7,"url":3223,"id":3224,"edit":3225},{"width":80,"height":81},"Leonardo Da Vinci - Mona Lisa ","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F1e501603-e7a8-4fb8-8c67-b82c690a83e1_Mona+Lisa+-+Cover+Landscape.jpg?auto=compress,format","ZBnxtBIAACEAc7Tz",{"x":61,"y":61,"zoom":62,"background":63},{"dimensions":3227,"alt":3228,"copyright":7,"url":3229,"id":3230,"edit":3231},{"width":81,"height":80},"Leonardo Da Vinci - Mona Lisa","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F49b9eb91-755b-434f-866e-3450b6b4b98e_Mona+Lisa+-+Cover+Portrait.jpg?auto=compress,format","ZBnxqxIAACEAc7TV",{"x":61,"y":61,"zoom":62,"background":63},{"dimensions":3233,"alt":3228,"copyright":7,"url":3223,"id":3224,"edit":3234},{"width":80,"height":81},{"x":61,"y":61,"zoom":62,"background":63},[3236],{"variation":98,"version":99,"items":3237,"primary":3239,"id":3247,"slice_type":126,"slice_label":7},[3238],{},{"title":3240,"content":3243},[3241],{"type":105,"text":2941,"spans":3242},[],[3244],{"type":36,"text":3245,"spans":3246},"Her mysterious gaze, a look of pure serenity, totally absorbs the viewer. She at once appears completely calm yet bursting with life. However, while Lisa Gherardini’s enigmatic expression usually dominates discourse about the painting, it is important to consider the composition’s other elements because they highlight Da Vinci’s brilliance as a painter. The exact anatomical volumes of the subject, delicate handling of materials, and incredibly detailed background are equally important in making the artwork a masterpiece.  ",[],"text$5b921e23-4389-4ec6-bc14-4db46f79ca09","Mona Lisa","Perhaps the most recognisable – and most photographed – painting in the world, Leonardo da Vinci’s Portrait of Lisa Gherardini (1503), aka Mona Lisa, captivates thousands of people every day at the Louvre in Paris. Her mysterious gaze, a look of pure serenity, totally absorbs the viewer. She at once appears completely calm yet bursting with life.",{"dimensions":3251,"alt":3252,"copyright":7,"url":3253,"id":3254,"edit":3255},{"width":186,"height":118},"Leonardo Da Vinci - Mona Lisa video","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F926fbd4d-8564-4394-b0ad-5cb003c1a77f_Video+Opengraph+Leonardo+Da+Vinci+-+Mona+Lisa.jpg?auto=compress,format","ZK_RsBIAACIAaXf_",{"x":61,"y":61,"zoom":62,"background":63},[3257],{"variation":98,"version":99,"items":3258,"primary":3261,"id":3265,"slice_type":237,"slice_label":7},[3259],{"post":3260},{"link_type":74},{"slides_per_view":373,"max_slides_count":7,"tag":3262,"type":245,"title":2971,"paralax":76},{"id":2965,"type":1509,"tags":3263,"lang":20,"slug":2967,"first_publication_date":2968,"last_publication_date":2969,"uid":2967,"link_type":74,"key":3264,"isBroken":76},[2899],"6186e211-1a5f-4fd6-bc23-bba7290447db","carousel$941ff22d-ef1f-412b-8435-7ba4a93b8630",{"id":3267,"uid":3268,"url":7,"type":245,"href":3269,"tags":3270,"first_publication_date":3271,"last_publication_date":3272,"slugs":3273,"linked_documents":3274,"lang":20,"alternate_languages":3275,"data":3276},"ZBHSYBAAACoAz3qO","the-madonna-of-the-carnation","https:\u002F\u002Fartexplorer-prod.cdn.prismic.io\u002Fapi\u002Fv2\u002Fdocuments\u002Fsearch?ref=aCb60BIAACEA00zN&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22ZBHSYBAAACoAz3qO%22%29+%5D%5D",[2899],"2023-03-17T10:55:56+0000","2024-02-20T13:37:17+0000",[],[],[],{"title":3277,"subtitle":7,"description":3278,"serie":3282,"episode":7,"source":3283,"published_at":7,"youtube_external":3286,"vimeo_external":3287,"instagram_external":3288,"duration":1298,"narrator_copyright":7,"music_copyright":7,"editing_copyright":7,"cover_desktop":3289,"cover_mobile":3295,"copyright_cover":7,"thumbnail":3300,"slices":3303,"meta_title":3318,"meta_description":3319,"og_image":3320,"slices2":3325},"The Madonna of the Carnation,  1475",[3279],{"type":36,"text":3280,"spans":3281},"The painting reflects the strong influence Andrea del Verrocchio, Da Vinci’s mentor, had on the young artist, while also highlighting his fascination with the subtle rendering of materials. ",[],{"link_type":74},{"link_type":1425,"key":3284,"url":3285},"db3a2d2e-f41b-4aee-98f4-5cf7540d4883","https:\u002F\u002Fvimeo.com\u002F807589927",{"link_type":2916},{"link_type":2916},{"link_type":2916},{"dimensions":3290,"alt":3291,"copyright":7,"url":3292,"id":3293,"edit":3294},{"width":80,"height":81},"Leonardo Da Vinci - The Madonna Of The Carnation Video","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fd06c2a0d-bddc-4de9-86a7-3ce47e545338_Slide+16_9+-+20.jpg?auto=compress,format","ZK_N7BIAACAAaWsO",{"x":61,"y":61,"zoom":62,"background":63},{"dimensions":3296,"alt":3291,"copyright":7,"url":3297,"id":3298,"edit":3299},{"width":81,"height":80},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fb434e75d-60c5-425b-a96d-1452d94f0b43_9_16-5.jpg?auto=compress,format","ZK_N7BIAACIAaWsP",{"x":61,"y":61,"zoom":62,"background":63},{"dimensions":3301,"alt":3291,"copyright":7,"url":3292,"id":3293,"edit":3302},{"width":80,"height":81},{"x":61,"y":61,"zoom":62,"background":63},[3304],{"variation":98,"version":99,"items":3305,"primary":3307,"id":3317,"slice_type":126,"slice_label":7},[3306],{},{"title":3308,"content":3311},[3309],{"type":105,"text":2941,"spans":3310},[],[3312],{"type":36,"text":3313,"spans":3314},"Leonardo da Vinci’s The Madonna of the Carnation  captures a tender moment between mother and child (the baby Jesus) but look a little closer and you will see a forewarning – the crimson carnation in Madonna’s hands symbolises the blood that Christ would later spill on the cross. Measuring just 62 x 48 cm, the artwork encapsulates several techniques that bring unity to the composition and demonstrate Da Vinci’s masterful use of paint.",[3315],{"start":702,"end":3316,"type":115},49,"text$6a4355e9-5232-46ea-9d1e-147534c9758e","The Madonna Of The Carnation","Leonardo da Vinci’s The Madonna of the Carnation (1478-1480) captures a tender moment between mother and child (the baby Jesus) but look a little closer and you will see a forewarning – the crimson carnation in Madonna’s hands symbolises the blood that Christ would later spill on the cross.",{"dimensions":3321,"alt":3291,"copyright":7,"url":3322,"id":3323,"edit":3324},{"width":186,"height":118},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F3439bbca-6219-4694-889d-aa001ed18b13_Video+Opengraph+Madonna+of+the+carnation+Leonardo+da+Vinci.jpg?auto=compress,format","ZK_RGhIAACIAaXXf",{"x":61,"y":61,"zoom":62,"background":63},[3326],{"variation":98,"version":99,"items":3327,"primary":3330,"id":3334,"slice_type":237,"slice_label":7},[3328],{"post":3329},{"link_type":74},{"slides_per_view":373,"max_slides_count":7,"tag":3331,"type":245,"title":2971,"paralax":76},{"id":2965,"type":1509,"tags":3332,"lang":20,"slug":2967,"first_publication_date":2968,"last_publication_date":2969,"uid":2967,"link_type":74,"key":3333,"isBroken":76},[2899],"4403a713-013f-4dfa-bb05-e8ade0710d59","carousel$452d8a1e-f9ac-428d-8d7c-0fb2ef7001ef",{"id":3336,"uid":3337,"url":7,"type":245,"href":3338,"tags":3339,"first_publication_date":3340,"last_publication_date":3341,"slugs":3342,"linked_documents":3343,"lang":20,"alternate_languages":3344,"data":3345},"ZBHRkRAAACsAz3kP","lady-with-an-ermin","https:\u002F\u002Fartexplorer-prod.cdn.prismic.io\u002Fapi\u002Fv2\u002Fdocuments\u002Fsearch?ref=aCb60BIAACEA00zN&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22ZBHRkRAAACsAz3kP%22%29+%5D%5D",[2899],"2023-03-17T11:38:39+0000","2024-02-20T13:23:58+0000",[],[],[],{"title":3346,"subtitle":7,"description":3347,"serie":3351,"episode":7,"source":3352,"published_at":7,"youtube_external":3355,"vimeo_external":3356,"instagram_external":3357,"duration":3358,"narrator_copyright":7,"music_copyright":7,"editing_copyright":7,"cover_desktop":3359,"cover_mobile":3365,"copyright_cover":7,"thumbnail":3370,"slices":3373,"meta_title":3386,"meta_description":3387,"og_image":3388,"slices2":3394},"Lady with an Ermine, 1489-1490",[3348],{"type":36,"text":3349,"spans":3350},"One of only four portraits Da Vinci painted of women, the artwork contains a hidden message steeped in secret love. ",[],{"link_type":74},{"link_type":1425,"key":3353,"url":3354},"f4dae8a5-40ef-4384-a623-de00a954eb1e","https:\u002F\u002Fvimeo.com\u002F808259415",{"link_type":2916},{"link_type":2916},{"link_type":2916},138,{"dimensions":3360,"alt":3361,"copyright":7,"url":3362,"id":3363,"edit":3364},{"width":80,"height":81},"Leonardo Da Vinci - Lady With An Ermine video","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Febd5f631-0093-417e-bd95-4ccc9c561814_Slide+16_9+-+21.jpg?auto=compress,format","ZK_O_BIAACEAaW6t",{"x":61,"y":61,"zoom":62,"background":63},{"dimensions":3366,"alt":3361,"copyright":7,"url":3367,"id":3368,"edit":3369},{"width":81,"height":80},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fe953fd1c-cd4e-4280-8435-9e819f6c7912_9_16-6.jpg?auto=compress,format","ZK_O_BIAACAAaW6u",{"x":61,"y":61,"zoom":62,"background":63},{"dimensions":3371,"alt":3361,"copyright":7,"url":3362,"id":3363,"edit":3372},{"width":80,"height":81},{"x":61,"y":61,"zoom":62,"background":63},[3374],{"variation":98,"version":99,"items":3375,"primary":3377,"id":3385,"slice_type":126,"slice_label":7},[3376],{},{"title":3378,"content":3381},[3379],{"type":105,"text":2941,"spans":3380},[],[3382],{"type":36,"text":3383,"spans":3384},"The subject of the painting is Cecilia Gallerani, a mistress of the Duke of Milan, Ludovico Sforza. The work is one of only four portraits of women Leonardo da Vinci painted during his lifetime (including the Mona Lisa) but it is also special because of its hidden message; the ermine is thought to represent Sforza, who received the title Knight of the Order of the Ermine, while the creature may also reference purity. Da Vinci’s skill and artistic innovation were gaining momentum in the 1490s and Lady with an Ermine was considered modern for its time. The work is not only a celebration of female beauty – it highlights Gallerani’s individuality and focuses on her anatomical, physiognomic, and expressive features. ",[],"text$514071c0-d31f-4098-91bf-8dd992f197e4","Lady With An Ermine","The subject of the painting is Cecilia Gallerani, a mistress of the Duke of Milan, Ludovico Sforza. The work is one of only four portraits of women Leonardo da Vinci painted during his lifetime (including the Mona Lisa) but it is also special because of its hidden message; the ermine is thought to represent Sforza, who received the title Knight of the Order of the Ermine, while the creature may also reference purity.",{"dimensions":3389,"alt":3390,"copyright":7,"url":3391,"id":3392,"edit":3393},{"width":186,"height":118},"Leonardo da Vinci - Lady With An Ermine video","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fd3b333c7-c6ff-4afa-83e5-59ff9ab5d073_Video+Opengraph+Lady+With+An+Ermine+-+Leonardo+da+Vinci.jpg?auto=compress,format","ZK_RYBIAACMAaXc3",{"x":61,"y":61,"zoom":62,"background":63},[3395],{"variation":98,"version":99,"items":3396,"primary":3399,"id":3403,"slice_type":237,"slice_label":7},[3397],{"post":3398},{"link_type":74},{"slides_per_view":373,"max_slides_count":7,"tag":3400,"type":245,"title":2971,"paralax":76},{"id":2965,"type":1509,"tags":3401,"lang":20,"slug":2967,"first_publication_date":2968,"last_publication_date":2969,"uid":2967,"link_type":74,"key":3402,"isBroken":76},[2899],"19c987d9-fa99-4f43-ad81-81913c49c229","carousel$614bf506-81ff-4b64-bdeb-e5b25dacfbdc",{"id":3405,"uid":3406,"url":7,"type":245,"href":3407,"tags":3408,"first_publication_date":3409,"last_publication_date":3410,"slugs":3411,"linked_documents":3412,"lang":20,"alternate_languages":3413,"data":3414},"ZBHRChAAACoAz3gJ","the-last-supper","https:\u002F\u002Fartexplorer-prod.cdn.prismic.io\u002Fapi\u002Fv2\u002Fdocuments\u002Fsearch?ref=aCb60BIAACEA00zN&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22ZBHRChAAACoAz3gJ%22%29+%5D%5D",[2899],"2023-03-17T11:08:51+0000","2024-02-20T13:26:39+0000",[],[],[],{"title":3415,"subtitle":7,"description":3416,"serie":3420,"episode":7,"source":3421,"published_at":7,"youtube_external":3424,"vimeo_external":3425,"instagram_external":3426,"duration":3427,"narrator_copyright":7,"music_copyright":7,"editing_copyright":7,"cover_desktop":3428,"cover_mobile":3434,"copyright_cover":7,"thumbnail":3439,"slices":3442,"meta_title":3458,"meta_description":3459,"og_image":3460,"slices2":3465},"The Last Supper, 1495-1498",[3417],{"type":36,"text":3418,"spans":3419},"To recreate the biblical scene, Da Vinci applied oil paint to plaster in a technique known as fresco-secco, allowing him to achieve remarkable detail, in what is one of the world's most iconic artworks. ",[],{"link_type":74},{"link_type":1425,"key":3422,"url":3423},"c99a1372-9c29-474a-98b6-382e1f01df23","https:\u002F\u002Fvimeo.com\u002F807590185",{"link_type":2916},{"link_type":2916},{"link_type":2916},155,{"dimensions":3429,"alt":3430,"copyright":7,"url":3431,"id":3432,"edit":3433},{"width":80,"height":81},"Leonardo Da Vinci - The Last Supper video","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F1a8c9386-1802-4872-9e2f-2d249d98c807_Slide+16_9+-+22.jpg?auto=compress,format","ZK_P0RIAACIAaXF7",{"x":61,"y":61,"zoom":62,"background":63},{"dimensions":3435,"alt":3430,"copyright":7,"url":3436,"id":3437,"edit":3438},{"width":81,"height":80},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F5d600480-28db-4abe-b06b-63c712b6359e_9_16-7.jpg?auto=compress,format","ZK_P0RIAACEAaXGB",{"x":61,"y":61,"zoom":62,"background":63},{"dimensions":3440,"alt":3430,"copyright":7,"url":3431,"id":3432,"edit":3441},{"width":80,"height":81},{"x":61,"y":61,"zoom":62,"background":63},[3443],{"variation":98,"version":99,"items":3444,"primary":3446,"id":3457,"slice_type":126,"slice_label":7},[3445],{},{"title":3447,"content":3450},[3448],{"type":105,"text":2941,"spans":3449},[],[3451],{"type":36,"text":3452,"spans":3453},"Jesus has just told his apostles that one of them will betray him – as a result, the painting is charged with emotion. Their faces are frozen in disbelief, anger, and astonishment, while Jesus remains a picture of calm in the centre of the pyramidal composition that Leonardo da Vinci used to create a sense of balance. In The Last Supper (1495-1498), the artist’s mastery of perspective is clear; powerful geometric lines give the scene structure and react with the mural’s setting, the Convent of Santa Maria delle Grazie in Milan. ",[3454],{"start":3455,"end":3456,"type":115},327,339,"text$ac0e94f0-83b9-428b-a18b-fc295e7e924d","The Last Supper","Jesus has just told his apostles that one of them will betray him – as a result, the painting is charged with emotion. Their faces are frozen in disbelief, anger, and astonishment, while Jesus remains a picture of calm in the centre of the pyramidal composition that Leonardo da Vinci used to create a sense of balance. In The Last Supper (1495-98), the artist’s mastery of perspective is clear; powerful geometric lines give the scene structure and react with the mural’s setting, the Convent of Santa Maria delle Grazie in Milan.",{"dimensions":3461,"alt":3430,"copyright":7,"url":3462,"id":3463,"edit":3464},{"width":186,"height":118},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fc8aaed3a-6d77-4060-8c77-42e2a94ff59e_Video+Opengraph+Leonardo+Da+Vinci+-+The+Last+Supper+video.jpg?auto=compress,format","ZK_RfBIAACMAaXeK",{"x":61,"y":61,"zoom":62,"background":63},[3466],{"variation":98,"version":99,"items":3467,"primary":3470,"id":3474,"slice_type":237,"slice_label":7},[3468],{"post":3469},{"link_type":74},{"slides_per_view":373,"max_slides_count":7,"tag":3471,"type":245,"title":2971,"paralax":76},{"id":2965,"type":1509,"tags":3472,"lang":20,"slug":2967,"first_publication_date":2968,"last_publication_date":2969,"uid":2967,"link_type":74,"key":3473,"isBroken":76},[2899],"24717067-75fe-4361-b4cf-60a6619af8a9","carousel$1a4d3f91-6db0-48d9-995e-e5b200bb23b5",{"id":3476,"uid":3477,"url":7,"type":245,"href":3478,"tags":3479,"first_publication_date":3480,"last_publication_date":3481,"slugs":3482,"linked_documents":3484,"lang":20,"alternate_languages":3485,"data":3486},"ZA87tBAAACgAyx8Z","portrait-of-leonardo-da-vinci","https:\u002F\u002Fartexplorer-prod.cdn.prismic.io\u002Fapi\u002Fv2\u002Fdocuments\u002Fsearch?ref=aCb60BIAACEA00zN&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22ZA87tBAAACgAyx8Z%22%29+%5D%5D",[2899],"2023-03-13T15:05:29+0000","2023-07-13T10:25:14+0000",[3483,3477],"portrait-leonardo-da-vinci",[],[],{"title":3487,"subtitle":7,"description":3488,"serie":3492,"episode":62,"source":3501,"published_at":7,"youtube_external":3504,"vimeo_external":3505,"instagram_external":3506,"duration":2949,"narrator_copyright":7,"music_copyright":7,"editing_copyright":7,"cover_desktop":3507,"cover_mobile":3513,"copyright_cover":7,"thumbnail":3518,"slices":3521,"meta_title":3532,"meta_description":3533,"og_image":3534,"slices2":3539},"Portrait Leonardo Da Vinci",[3489],{"type":36,"text":3490,"spans":3491},"It’s difficult to speak of Leonardo da Vinci without using superlatives; he was arguably his era’s finest artist, engineer, and inventor, while he also dedicated his life to studying anatomy, botany, humanism, and other academic pursuits. ",[],{"id":3493,"type":3494,"tags":3495,"lang":20,"slug":3496,"first_publication_date":3497,"last_publication_date":3498,"uid":3499,"link_type":74,"key":3500,"isBroken":76},"ZBHlRRAAACoAz59M","serie",[2899],"discover-leonardo-da-vinci","2023-03-15T15:33:30+0000","2023-07-13T10:35:54+0000","discover-leonardo-da-vinci-serie","9547762c-321a-4831-b65e-48f886f6c7f5",{"link_type":1425,"key":3502,"url":3503},"9a67b835-baa3-4563-9347-35d778530709","https:\u002F\u002Fvimeo.com\u002F800522466",{"link_type":2916},{"link_type":2916},{"link_type":2916},{"dimensions":3508,"alt":3509,"copyright":7,"url":3510,"id":3511,"edit":3512},{"width":80,"height":81},"Portrait of Leonardo Da Vinci Video","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F46af76da-890e-4c41-a3ca-65a2c01b5394_Slide+16_9+-+11.jpg?auto=compress,format","ZK_NABIAACAAaWkb",{"x":61,"y":61,"zoom":62,"background":63},{"dimensions":3514,"alt":3509,"copyright":7,"url":3515,"id":3516,"edit":3517},{"width":81,"height":80},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Ff8a4e5d4-eb41-4a97-8314-62a88f78b2a4_9_16+%285%29.jpg?auto=compress,format","ZK_M_BIAACEAaWkP",{"x":61,"y":61,"zoom":62,"background":63},{"dimensions":3519,"alt":3509,"copyright":7,"url":3510,"id":3511,"edit":3520},{"width":80,"height":81},{"x":61,"y":61,"zoom":62,"background":63},[3522],{"variation":98,"version":99,"items":3523,"primary":3525,"id":3531,"slice_type":126,"slice_label":7},[3524],{},{"title":3526,"content":3527},[],[3528],{"type":36,"text":3529,"spans":3530},"Da Vinci was the original Renaissance man who not only pioneered new ways of painting – like sfumato – but of seeing the world, and he continues to inspire generation after generation. His legacy and artistic genius are unparalleled. ",[],"text$ac5c9bdd-16ff-48c0-a812-121c4bcd0bb2","Portrait of Leonardo Da Vinci","He was arguably his era’s finest artist, engineer, and inventor, while he also dedicated his life to studying anatomy, botany, humanism, and other academic pursuits. He was the original Renaissance man who not only pioneered new ways of painting",{"dimensions":3535,"alt":3509,"copyright":7,"url":3536,"id":3537,"edit":3538},{"width":186,"height":118},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F0fec326d-6d84-4517-8e4b-b39ac9a1a5a4_Video+Opengraph+Portrait+of+Leonardo+da+Vinci.jpg?auto=compress,format","ZK_RAhIAACIAaXVy",{"x":61,"y":61,"zoom":62,"background":63},[3540],{"variation":98,"version":99,"items":3541,"primary":3542,"id":3546,"slice_type":237,"slice_label":7},[],{"slides_per_view":373,"max_slides_count":7,"tag":3543,"type":245,"title":2971,"paralax":7},{"id":2965,"type":1509,"tags":3544,"lang":20,"slug":2967,"first_publication_date":2968,"last_publication_date":2969,"uid":2967,"link_type":74,"key":3545,"isBroken":76},[2899],"1703c3b1-f013-4d0c-8579-9d18e9980835","carousel$723fc4ed-bdd0-4bf9-b380-a9d0239ccf83",{"id":3548,"uid":3549,"url":7,"type":245,"href":3550,"tags":3551,"first_publication_date":3553,"last_publication_date":3554,"slugs":3555,"linked_documents":3559,"lang":20,"alternate_languages":3560,"data":3561},"ZBSDOBAAACEAYOyr","self-portrait","https:\u002F\u002Fartexplorer-prod.cdn.prismic.io\u002Fapi\u002Fv2\u002Fdocuments\u002Fsearch?ref=aCb60BIAACEA00zN&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22ZBSDOBAAACEAYOyr%22%29+%5D%5D",[3552],"Van  Gogh","2023-03-21T10:17:21+0000","2023-07-11T12:50:51+0000",[3556,3557,3558,3549],"about-the-painting","self-portrait-1887","did-you-know-",[],[],{"title":3562,"subtitle":7,"description":3563,"serie":3567,"episode":7,"source":3568,"published_at":7,"youtube_external":3571,"vimeo_external":3572,"instagram_external":3573,"duration":3574,"narrator_copyright":7,"music_copyright":7,"editing_copyright":7,"cover_desktop":3575,"cover_mobile":3581,"copyright_cover":7,"thumbnail":3586,"slices":3589,"meta_title":3602,"meta_description":3603,"og_image":3604,"slices2":3611},"Self Portrait, 1889",[3564],{"type":36,"text":3565,"spans":3566},"This brilliant self-portrait draws the viewer into a contemplative encounter with the artist's self-reflection. ",[],{"link_type":74},{"link_type":1425,"key":3569,"url":3570},"48b9c0e1-cab1-4724-bc7d-d991b31dc0c7","https:\u002F\u002Fvimeo.com\u002F807577110",{"link_type":2916},{"link_type":2916},{"link_type":2916},102,{"dimensions":3576,"alt":3577,"copyright":7,"url":3578,"id":3579,"edit":3580},{"width":80,"height":81},"Vincent van Gogh","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fb0f1edb0-cc3b-43f3-abcc-d3fba85b30f2_9.jpg?auto=compress,format","ZK1P3REAACEAdxhq",{"x":61,"y":61,"zoom":62,"background":63},{"dimensions":3582,"alt":3577,"copyright":7,"url":3583,"id":3584,"edit":3585},{"width":81,"height":80},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fc4d1e0b6-efde-427c-86fb-69a4f87a51a6_16.jpg?auto=compress,format","ZK1P0BEAACQAdxgq",{"x":61,"y":61,"zoom":62,"background":63},{"dimensions":3587,"alt":3577,"copyright":7,"url":3578,"id":3579,"edit":3588},{"width":80,"height":81},{"x":61,"y":61,"zoom":62,"background":63},[3590],{"variation":98,"version":99,"items":3591,"primary":3593,"id":3601,"slice_type":126,"slice_label":7},[3592],{},{"title":3594,"content":3597},[3595],{"type":105,"text":2941,"spans":3596},[],[3598],{"type":36,"text":3599,"spans":3600},"Vincent van Gogh is thought to have painted around 36 self-portraits. This particular composition exemplifies his bold colour palette, expressive brushwork, and evolving style. It was painted during a period of personal artistic exploration, and his contemplative gaze – which draws the viewer in – signals his own interrogation of his thoughts and emotions. As a result, we are invited into the inner sanctum of Van Gogh’s world. ",[],"text$bf41ead4-06e5-414b-a693-d3b76805f790","Self Portrait","Wouter van der Veen, renowned Van Gogh specialist, art historian and author, highlights four things that you must know about the Self Portrait.",{"dimensions":3605,"alt":3607,"copyright":7,"url":3608,"id":3609,"edit":3610},{"width":118,"height":3606},600,"Vincent van Gogh - Self Portrait video","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fbf5aa024-6336-4e37-b46e-001d1faae57a_Video+Opengraph+Vincent+van+Gogh+-+Self+Portrait+video.jpg?auto=compress,format","ZKLKRhIAACMAb5Yh",{"x":61,"y":61,"zoom":62,"background":63},[3612],{"variation":98,"version":99,"items":3613,"primary":3616,"id":3626,"slice_type":237,"slice_label":7},[3614],{"post":3615},{"link_type":74},{"slides_per_view":373,"max_slides_count":7,"tag":3617,"type":245,"title":3625,"paralax":7},{"id":3618,"type":1509,"tags":3619,"lang":20,"slug":3620,"first_publication_date":3621,"last_publication_date":3622,"uid":3623,"link_type":74,"key":3624,"isBroken":76},"ZA9DKRAAAKdKyy2t",[3577],"van-gogh","2023-03-13T15:44:40+0000","2023-06-21T11:57:47+0000","vincent-van-gogh","3bb9c831-b23e-4f41-aaa4-c90b558acde9","Related Videos","carousel$77e2951a-c20a-45c0-aaa7-e90f0f73ec82",{"id":3628,"uid":3629,"url":7,"type":245,"href":3630,"tags":3631,"first_publication_date":3632,"last_publication_date":3633,"slugs":3634,"linked_documents":3636,"lang":20,"alternate_languages":3637,"data":3638},"ZBmr7BEAACAAZDjP","myths-and-facts-vincent-van-gogh","https:\u002F\u002Fartexplorer-prod.cdn.prismic.io\u002Fapi\u002Fv2\u002Fdocuments\u002Fsearch?ref=aCb60BIAACEA00zN&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22ZBmr7BEAACAAZDjP%22%29+%5D%5D",[3577],"2023-03-21T13:06:58+0000","2023-09-12T13:29:36+0000",[3635],"myths-and-facts",[],[],{"title":3639,"subtitle":7,"description":3640,"serie":3644,"episode":7,"source":3645,"published_at":7,"youtube_external":3648,"vimeo_external":3649,"instagram_external":3650,"duration":3651,"narrator_copyright":7,"music_copyright":7,"editing_copyright":7,"cover_desktop":3652,"cover_mobile":3658,"copyright_cover":7,"thumbnail":3664,"slices":3667,"meta_title":3687,"meta_description":3675,"og_image":3688,"slices2":3693},"Myths and Facts",[3641],{"type":36,"text":3642,"spans":3643},"Top Van Gogh scholar busts myths about the artist.",[],{"link_type":74},{"link_type":1425,"key":3646,"url":3647},"5159599e-813a-47be-8a5c-2a2a5782e90f","https:\u002F\u002Fvimeo.com\u002F830499548\u002F7bc83e4341",{"link_type":2916},{"link_type":2916},{"link_type":2916},229,{"dimensions":3653,"alt":3654,"copyright":7,"url":3655,"id":3656,"edit":3657},{"width":80,"height":81},"Top Van Gogh scholar busts myths about the artist video","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F4aff241d-ce37-4607-99f5-d7a160ef31f8_Slide+16_9+-+12.jpg?auto=compress,format","ZK0ZJxEAACMAdhg8",{"x":61,"y":61,"zoom":62,"background":63},{"dimensions":3659,"alt":3660,"copyright":7,"url":3661,"id":3662,"edit":3663},{"width":81,"height":80},"Top Van Gogh scholar busts myths about the artist","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fdb24d3a2-99f9-4076-a3db-032187c76bcb_9_16-1.jpg?auto=compress,format","ZK0ZJxEAACIAdhg4",{"x":61,"y":61,"zoom":62,"background":63},{"dimensions":3665,"alt":3660,"copyright":7,"url":3655,"id":3656,"edit":3666},{"width":80,"height":81},{"x":61,"y":61,"zoom":62,"background":63},[3668],{"variation":98,"version":99,"items":3669,"primary":3671,"id":3686,"slice_type":126,"slice_label":7},[3670],{},{"title":3672,"content":3673},[],[3674],{"type":36,"text":3675,"spans":3676},"Do you think you know Vincent van Gogh, the destitute, tormented, down-and-out artiste maudit who lived a life of obscurity? Well, you may have to think again, because it turns out the popular narrative surrounding the Dutch painter is more myth than fact, as top Van Gogh expert Wouter van der Veen tells ArtExplored. Watch the video to find out how the artist really lived.",[3677],{"start":3678,"end":3679,"type":308,"data":3680},22,39,{"id":3681,"type":3682,"tags":3683,"lang":20,"slug":3623,"first_publication_date":3684,"last_publication_date":3685,"uid":3623,"link_type":74,"isBroken":76},"ZA7_UxAAACsAyqcB","artist",[3577],"2023-03-13T10:47:53+0000","2023-07-11T08:40:57+0000","text$7d6ccf5c-34ec-4474-a6c8-4a18290cb98c","Myth and Facts",{"dimensions":3689,"alt":3654,"copyright":7,"url":3690,"id":3691,"edit":3692},{"width":118,"height":3606},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F5609a7d7-228a-421c-8314-c60b8d96d882_Video+Opengraph+Myth+and+Facts.jpg?auto=compress,format","ZKKlmRIAACQAbuXs",{"x":61,"y":61,"zoom":62,"background":63},[3694,3724],{"variation":98,"version":99,"items":3695,"primary":3720,"id":3723,"slice_type":237,"slice_label":7},[3696,3704,3708,3716],{"post":3697},{"id":3698,"type":245,"tags":3699,"lang":20,"slug":3556,"first_publication_date":3700,"last_publication_date":3701,"uid":3702,"link_type":74,"key":3703,"isBroken":76},"ZBSAaxAAACAAYOd3",[3577],"2023-03-21T09:53:59+0000","2023-07-11T09:07:00+0000","bedroom-in-arles","bc8991e7-7623-49f0-b184-255930c3c2be",{"post":3705},{"id":3548,"type":245,"tags":3706,"lang":20,"slug":3556,"first_publication_date":3553,"last_publication_date":3554,"uid":3549,"link_type":74,"key":3707,"isBroken":76},[3552],"88527fed-50a2-4f38-890b-d7bc73f5b384",{"post":3709},{"id":3710,"type":245,"tags":3711,"lang":20,"slug":3556,"first_publication_date":3712,"last_publication_date":3713,"uid":3714,"link_type":74,"key":3715,"isBroken":76},"ZBSDqRAAACAAYO1p",[3577],"2023-03-21T10:31:28+0000","2023-07-11T09:04:15+0000","starry-night","55a42608-3178-408e-b577-62eaf84a8e02",{"post":3717},{"id":3698,"type":245,"tags":3718,"lang":20,"slug":3556,"first_publication_date":3700,"last_publication_date":3701,"uid":3702,"link_type":74,"key":3719,"isBroken":76},[3577],"60c96827-6779-4dcb-86fc-163c128b3010",{"slides_per_view":373,"max_slides_count":7,"tag":3721,"type":245,"title":3722,"paralax":7},{"link_type":74},"Vincent Van Gogh: Masterpieces Decrypted","carousel$f12045d8-b4a9-4261-8950-5269212317ca",{"variation":98,"version":99,"items":3725,"primary":3726,"id":3728,"slice_type":237,"slice_label":7},[],{"slides_per_view":7,"max_slides_count":7,"tag":3727,"type":8,"title":235,"paralax":7},{"link_type":74},"carousel$e4cfd5fa-7c90-4c44-9b67-5ce971f1a802",{"id":3710,"uid":3714,"url":7,"type":245,"href":3730,"tags":3731,"first_publication_date":3712,"last_publication_date":3713,"slugs":3732,"linked_documents":3733,"lang":20,"alternate_languages":3734,"data":3735},"https:\u002F\u002Fartexplorer-prod.cdn.prismic.io\u002Fapi\u002Fv2\u002Fdocuments\u002Fsearch?ref=aCb60BIAACEA00zN&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22ZBSDqRAAACAAYO1p%22%29+%5D%5D",[3577],[3556,3558,3714],[],[],{"title":3736,"subtitle":7,"description":3737,"serie":3741,"episode":7,"source":3742,"published_at":7,"youtube_external":3745,"vimeo_external":3746,"instagram_external":3747,"duration":3358,"narrator_copyright":7,"music_copyright":7,"editing_copyright":7,"cover_desktop":3748,"cover_mobile":3756,"copyright_cover":7,"thumbnail":3761,"slices":3764,"meta_title":3777,"meta_description":3778,"og_image":3779,"slices2":3784},"The Starry Night, 1889",[3738],{"type":36,"text":3739,"spans":3740},"Painted while the artist recovered from a bout of mental illness in the south of France, the work is imbued with symbolism and the sky's iconic brushstroke evoke a sense of awe. ",[],{"link_type":74},{"link_type":1425,"key":3743,"url":3744},"15ee7d15-183b-4cbb-a39b-22c4d01fe087","https:\u002F\u002Fvimeo.com\u002F837913481?share=copyhttps:\u002F\u002F",{"link_type":2916},{"link_type":2916},{"link_type":2916},{"dimensions":3749,"alt":3752,"copyright":7,"url":3753,"id":3754,"edit":3755},{"width":3750,"height":3751},3457,1945,"Vicent van Gogh - Starry Night video","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F81d479df-3977-434e-8937-71fecd1264e0_Slide+16_9+-+13+%283%29.jpg?auto=compress,format","ZK0a-BEAACMAdiFo",{"x":61,"y":61,"zoom":62,"background":63},{"dimensions":3757,"alt":3752,"copyright":7,"url":3758,"id":3759,"edit":3760},{"width":81,"height":80},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F794a362a-ce9f-4b5e-a4e6-9ef0fd537fe5_9_16-2.jpg?auto=compress,format","ZK0amBEAACQAdh-p",{"x":61,"y":61,"zoom":62,"background":63},{"dimensions":3762,"alt":3752,"copyright":7,"url":3753,"id":3754,"edit":3763},{"width":3750,"height":3751},{"x":61,"y":61,"zoom":62,"background":63},[3765],{"variation":98,"version":99,"items":3766,"primary":3768,"id":3776,"slice_type":126,"slice_label":7},[3767],{},{"title":3769,"content":3772},[3770],{"type":105,"text":2941,"spans":3771},[],[3773],{"type":36,"text":3774,"spans":3775},"The iconic composition represents Van Gogh ushering in modern painting’s radical embrace of sentiment, expression, and mood. The image was inspired by the view from his room in Mausole Hospital in southern France, where he spent 1889-90 recovering from mental illness. Van Gogh also used his imagination and memory to paint the composition, which he didn’t usually do. The brushstrokes for the sky swirl and dance around the cypress tree and the curve of its branches. The effect is ethereal as if Van Gogh recounted a dream on the canvas. The painting currently resides in the Museum of Modern Art in New York. ",[],"text$f3cbd8ac-e6e6-42e1-99e7-da98ef5b7e16","Starry Night","Wouter van der Veen, renowned Van Gogh specialist, art historian and author, highlights four things that you must know about the Starry Night.",{"dimensions":3780,"alt":3752,"copyright":7,"url":3781,"id":3782,"edit":3783},{"width":118,"height":3606},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Ff1a3ff2e-52f6-48a8-bd39-56432a9b1969_Video+Opengraph++Vicent+van+Gogh+-+Starry+Night.jpg?auto=compress,format","ZKLJLRIAACMAb5DC",{"x":61,"y":61,"zoom":62,"background":63},[3785],{"variation":98,"version":99,"items":3786,"primary":3789,"id":3793,"slice_type":237,"slice_label":7},[3787],{"post":3788},{"link_type":74},{"slides_per_view":373,"max_slides_count":7,"tag":3790,"type":245,"title":3625,"paralax":7},{"id":3618,"type":1509,"tags":3791,"lang":20,"slug":3620,"first_publication_date":3621,"last_publication_date":3622,"uid":3623,"link_type":74,"key":3792,"isBroken":76},[3577],"e7a8ee76-9d6e-4a91-b11b-45329f702880","carousel$add819c2-095d-433b-ae16-c2fc704e44b1",{"id":3795,"uid":3796,"url":7,"type":245,"href":3797,"tags":3798,"first_publication_date":3800,"last_publication_date":3801,"slugs":3802,"linked_documents":3804,"lang":20,"alternate_languages":3805,"data":3806},"ZBSECBAAACIAYO4O","self-portrait-with-bandage","https:\u002F\u002Fartexplorer-prod.cdn.prismic.io\u002Fapi\u002Fv2\u002Fdocuments\u002Fsearch?ref=aCb60BIAACEA00zN&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22ZBSECBAAACIAYO4O%22%29+%5D%5D",[3577,3799],"Europe","2023-03-21T10:34:25+0000","2023-07-11T09:09:05+0000",[3803,3796],"did-you-know",[],[],{"title":3807,"subtitle":7,"description":3808,"serie":3812,"episode":3819,"source":3820,"published_at":7,"youtube_external":3823,"vimeo_external":3824,"instagram_external":3825,"duration":2919,"narrator_copyright":7,"music_copyright":7,"editing_copyright":7,"cover_desktop":3826,"cover_mobile":3832,"copyright_cover":7,"thumbnail":3837,"slices":3840,"meta_title":3807,"meta_description":3880,"og_image":3881,"slices2":3886},"Self Portrait With Bandage",[3809],{"type":36,"text":3810,"spans":3811},"Watch the video to find out more about this masterpiece",[],{"id":3813,"type":3494,"tags":3814,"lang":20,"slug":3815,"first_publication_date":3816,"last_publication_date":3817,"uid":3815,"link_type":74,"key":3818,"isBroken":76},"ZBmPOxEAACAAZAPS",[3577,3799],"vincent-van-gogh-explained","2023-03-21T11:04:36+0000","2023-07-03T13:07:45+0000","e7c85468-bc89-4a76-b33b-2a75e0857abe",9,{"link_type":1425,"key":3821,"url":3822},"8400c2de-3d7d-4aae-80a4-6900c35be4c6","https:\u002F\u002Fvimeo.com\u002F800559761",{"link_type":2916},{"link_type":2916},{"link_type":2916},{"dimensions":3827,"alt":3828,"copyright":7,"url":3829,"id":3830,"edit":3831},{"width":80,"height":81},"Vincent van Gogh - Self Portrait With Bandage video","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F5bcef059-3200-4d22-80ce-6fc58c56ceda_Slide+16_9+-+15.jpg?auto=compress,format","ZK0cGBEAACQAdicL",{"x":61,"y":61,"zoom":62,"background":63},{"dimensions":3833,"alt":3828,"copyright":7,"url":3834,"id":3835,"edit":3836},{"width":81,"height":80},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F4bfb5d95-a669-4b89-aaa8-f9888fea19cb_9_16-4.jpg?auto=compress,format","ZK0cGBEAACIAdicM",{"x":61,"y":61,"zoom":62,"background":63},{"dimensions":3838,"alt":3828,"copyright":7,"url":3829,"id":3830,"edit":3839},{"width":80,"height":81},{"x":61,"y":61,"zoom":62,"background":63},[3841],{"variation":98,"version":99,"items":3842,"primary":3844,"id":3879,"slice_type":126,"slice_label":7},[3843],{},{"title":3845,"content":3849},[3846],{"type":105,"text":3847,"spans":3848},"Did you know?",[],[3850,3856,3858,3862,3864,3867,3869,3872,3874,3877],{"type":36,"text":3851,"spans":3852},"Wouter van der Veen, renowned Van Gogh specialist, art historian and author, highlights four things that you must know about the Self Portrait With Bandage. ",[3853,3855],{"start":61,"end":3854,"type":374},157,{"start":1432,"end":3427,"type":115},{"type":36,"text":106,"spans":3857},[],{"type":3859,"text":3860,"spans":3861},"list-item","This painting should be compared to the self-portrait he made in Saint Rémy and intended for his mother. The painting with the bandaged ear shows a wounded man in a cold place, with a powerful color effect: a stark contrast of green and red. In his painting ‘The night café’, Van Gogh used the same opposition and described it as a violent contrast that conveyed the passions that could drive a man to madness. The Saint Rémy beardless self-portrait, contrarily, is painted with of mostly bleu-green and naturalistic flesh tones. Van Gogh used that specific contrast to illustrate rest and calmness.",[],{"type":36,"text":106,"spans":3863},[],{"type":3859,"text":3865,"spans":3866}," The Japanese engraving in the background shown young ladies and cranes. In French, the French word for crane is grue, which also means prostitute.",[],{"type":36,"text":106,"spans":3868},[],{"type":3859,"text":3870,"spans":3871},"The painting is a spectacular document, maybe more than a brilliant work of art. With this portrait, we can see that Van Gogh’s art and life are always intimately connected: Van Gogh tells the viewer that he went too far, that he put himself in danger and almost lost the battle. But here he is, wounded but alive, and… painting.",[],{"type":36,"text":106,"spans":3873},[],{"type":3859,"text":3875,"spans":3876},"The fur cap he is wearing did not go unnoticed by his contemporaries. It is typical for Van Gogh to wear what he thought was practical. Fur protects efficiently against cold – what it looked like was the least of his problems.",[],{"type":36,"text":930,"spans":3878},[],"text$e1b92007-063a-482d-b4e7-29429a0fa613","Wouter van der Veen, renowned Van Gogh specialist, art historian and author, highlights four things that you must know about the Self Portrait With Bandage.",{"dimensions":3882,"alt":3828,"copyright":7,"url":3883,"id":3884,"edit":3885},{"width":118,"height":3606},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fe935367e-9048-4356-9ad3-be6b342dbeb9_Video+Opengraph+Vincent+van+Gogh+-+Self+Portrait+With+Bandage.jpg?auto=compress,format","ZKLH6xIAACQAb4rZ",{"x":61,"y":61,"zoom":62,"background":63},[3887],{"variation":98,"version":99,"items":3888,"primary":3891,"id":3895,"slice_type":237,"slice_label":7},[3889],{"post":3890},{"link_type":74},{"slides_per_view":373,"max_slides_count":7,"tag":3892,"type":245,"title":3625,"paralax":7},{"id":3618,"type":1509,"tags":3893,"lang":20,"slug":3620,"first_publication_date":3621,"last_publication_date":3622,"uid":3623,"link_type":74,"key":3894,"isBroken":76},[3577],"02197d40-af90-4e4d-abfa-9ed1007e6049","carousel$c5b30e1d-4794-4ad6-88bf-3c8a255bf519",{"id":3698,"uid":3702,"url":7,"type":245,"href":3897,"tags":3898,"first_publication_date":3700,"last_publication_date":3701,"slugs":3899,"linked_documents":3900,"lang":20,"alternate_languages":3901,"data":3902},"https:\u002F\u002Fartexplorer-prod.cdn.prismic.io\u002Fapi\u002Fv2\u002Fdocuments\u002Fsearch?ref=aCb60BIAACEA00zN&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22ZBSAaxAAACAAYOd3%22%29+%5D%5D",[3577],[3556,3803,3702],[],[],{"title":3903,"subtitle":7,"description":3904,"serie":3908,"episode":7,"source":3909,"published_at":7,"youtube_external":3912,"vimeo_external":3913,"instagram_external":3914,"duration":3358,"narrator_copyright":7,"music_copyright":7,"editing_copyright":7,"cover_desktop":3915,"cover_mobile":3923,"copyright_cover":7,"thumbnail":3928,"slices":3931,"meta_title":3947,"meta_description":3948,"og_image":3949,"slices2":3955},"Bedroom in Arles, 1888",[3905],{"type":36,"text":3906,"spans":3907},"The painting's unique perspective, bold colours, and energy represent Van Gogh's love for the so-called \"yellow house.\"",[],{"link_type":74},{"link_type":1425,"key":3910,"url":3911},"92680d00-f355-4bfd-87a2-85d19e725059","https:\u002F\u002Fvimeo.com\u002F800559266",{"link_type":2916},{"link_type":2916},{"link_type":2916},{"dimensions":3916,"alt":3919,"copyright":7,"url":3920,"id":3921,"edit":3922},{"width":3917,"height":3918},3265,1837,"Vincent van Gogh - Bedroom In Arles ","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fb0a6cf52-2b73-416d-b62a-cf41cf77367a_Slide+16_9+-+43+%283%29.jpg?auto=compress,format","ZK0bmhEAACIAdiRv",{"x":61,"y":61,"zoom":62,"background":63},{"dimensions":3924,"alt":3919,"copyright":7,"url":3925,"id":3926,"edit":3927},{"width":3751,"height":3750},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F7cb295ef-ebc8-4c8e-8744-f9cae9fd02c4_9_16+%284%29.jpg?auto=compress,format","ZK0bgxEAACIAdiP6",{"x":61,"y":61,"zoom":62,"background":63},{"dimensions":3929,"alt":3919,"copyright":7,"url":3920,"id":3921,"edit":3930},{"width":3917,"height":3918},{"x":61,"y":61,"zoom":62,"background":63},[3932],{"variation":98,"version":99,"items":3933,"primary":3935,"id":3946,"slice_type":126,"slice_label":7},[3934],{},{"title":3936,"content":3939},[3937],{"type":105,"text":2941,"spans":3938},[],[3940],{"type":36,"text":3941,"spans":3942},"Of all the iconic paintings Van Gogh created while he was living in southern France, Bedroom in Arles is one of the most celebrated. The composition, which comprises simple furniture and a sharply receding perspective, was painted after the Dutch artist was rooted to his bed for almost three days following an episode of exhaustion brought on by enthusiastically decorating his rented “yellow house,” including painting a series of canvases to hang on the walls. ",[3943],{"start":3944,"end":3945,"type":115},85,101,"text$30553624-5a73-49ba-99ba-387190ff4acd","Bedroom In Arles","Wouter van der Veen, renowned Van Gogh specialist, art historian and author, highlights four things that you must know about the painting 'Bedroom in Arles'.",{"dimensions":3950,"alt":3951,"copyright":7,"url":3952,"id":3953,"edit":3954},{"width":118,"height":3606},"Vincent van Gogh - Bedroom In Arles video","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F94e8be88-76c2-4841-93eb-cb90564e40b0_Video+Opengraph+Vincent+van+Gogh+-+Bedroom+In+Arles+video.jpg?auto=compress,format","ZKLI2BIAACMAb48q",{"x":61,"y":61,"zoom":62,"background":63},[3956],{"variation":98,"version":99,"items":3957,"primary":3960,"id":3964,"slice_type":237,"slice_label":7},[3958],{"post":3959},{"link_type":74},{"slides_per_view":373,"max_slides_count":7,"tag":3961,"type":245,"title":3625,"paralax":7},{"id":3618,"type":1509,"tags":3962,"lang":20,"slug":3620,"first_publication_date":3621,"last_publication_date":3622,"uid":3623,"link_type":74,"key":3963,"isBroken":76},[3577],"7583eefd-034b-458d-a7f0-0863b760eea1","carousel$304fd6cc-dfb9-4f07-9b6c-5446c7bd36dc",{"id":3966,"uid":3967,"url":7,"type":245,"href":3968,"tags":3969,"first_publication_date":3700,"last_publication_date":3970,"slugs":3971,"linked_documents":3972,"lang":20,"alternate_languages":3973,"data":3974},"ZBR_thAAACMAYOY1","flower-plum-orchad","https:\u002F\u002Fartexplorer-prod.cdn.prismic.io\u002Fapi\u002Fv2\u002Fdocuments\u002Fsearch?ref=aCb60BIAACEA00zN&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22ZBR_thAAACMAYOY1%22%29+%5D%5D",[3577,3799],"2023-07-11T09:08:03+0000",[3803,3967],[],[],{"title":3975,"subtitle":7,"description":3976,"serie":3979,"episode":373,"source":3982,"published_at":7,"youtube_external":3985,"vimeo_external":3986,"instagram_external":3987,"duration":3066,"narrator_copyright":7,"music_copyright":7,"editing_copyright":7,"cover_desktop":3988,"cover_mobile":3994,"copyright_cover":7,"thumbnail":3999,"slices":4002,"meta_title":3975,"meta_description":4033,"og_image":4034,"slices2":4039},"Flower Plum Orchard",[3977],{"type":36,"text":3810,"spans":3978},[],{"id":3813,"type":3494,"tags":3980,"lang":20,"slug":3815,"first_publication_date":3816,"last_publication_date":3817,"uid":3815,"link_type":74,"key":3981,"isBroken":76},[3577,3799],"c7775abe-abe9-4a24-81d7-dbd77ab40dfd",{"link_type":1425,"key":3983,"url":3984},"2f41fb9e-f61d-4838-849d-4dcb622fb247","https:\u002F\u002Fvimeo.com\u002F800559142",{"link_type":2916},{"link_type":2916},{"link_type":2916},{"dimensions":3989,"alt":3990,"copyright":7,"url":3991,"id":3992,"edit":3993},{"width":80,"height":81},"Vincent van Gogh - Flower Plum Orchard video","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F961b7def-956d-419c-bbbe-5e8e3a199fc4_Slide+16_9+-+44.jpg?auto=compress,format","ZK0b1hEAACQAdiWN",{"x":61,"y":61,"zoom":62,"background":63},{"dimensions":3995,"alt":3990,"copyright":7,"url":3996,"id":3997,"edit":3998},{"width":81,"height":80},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F82aac943-7bb1-4f92-8e9b-e6a624bd5018_9_16-6.jpg?auto=compress,format","ZK0b1hEAACEAdiWO",{"x":61,"y":61,"zoom":62,"background":63},{"dimensions":4000,"alt":3990,"copyright":7,"url":3991,"id":3992,"edit":4001},{"width":80,"height":81},{"x":61,"y":61,"zoom":62,"background":63},[4003],{"variation":98,"version":99,"items":4004,"primary":4006,"id":4032,"slice_type":126,"slice_label":7},[4005],{},{"title":4007,"content":4010},[4008],{"type":105,"text":3847,"spans":4009},[],[4011,4018,4020,4023,4026,4029],{"type":36,"text":4012,"spans":4013},"Wouter van der Veen, renowned Van Gogh specialist, art historian and author, highlights four things that you must know about the Flower Plum Orchard. ",[4014,4016],{"start":61,"end":4015,"type":374},150,{"start":1432,"end":4017,"type":115},149,{"type":36,"text":106,"spans":4019},[],{"type":3859,"text":4021,"spans":4022},"Japanese art was originally promoted by modern literature in the 1860’s. It proved groundbreaking for the development of realism in pictorial art, which wasn’t undisputed and was considered by conservative critics as absolute filth.\n\n",[],{"type":3859,"text":4024,"spans":4025},"During the first spring Van Gogh spent in the South of France, in 1888, Van Gogh declared he “saw Japan everywhere”. The outlines, the simplified colors, the peaceful compositions depicting daily life that characterize Japanese engravings of the ukiyo-e movement deeply informed his eye.\n\n",[],{"type":3859,"text":4027,"spans":4028},"Van Gogh was an enthusiast collector of Japanese engravings. He bought hundreds of them and decorated his studio with the ones he preferred.\n\n",[],{"type":3859,"text":4030,"spans":4031},"Although he loved the subject, blossoming trees will appear only scarcely in his paintings of 1889 in Saint-Rémy de Provence. One spectacular exception is “Blossoming almond branches”, a masterpiece he created for his newborn nephew, Vincent Willem Van Gogh. A mental crisis prevented him from making more views of the orchards that surrounded the asylum he stayed in.",[],"text$a190bf2e-8413-4d86-861b-f59ff6e7f3d0","Wouter van der Veen, renowned Van Gogh specialist, art historian and author, highlights four things that you must know about the Flower Plum Orchard.",{"dimensions":4035,"alt":3990,"copyright":7,"url":4036,"id":4037,"edit":4038},{"width":118,"height":3606},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Ff69cc938-0fab-4ccc-ace6-5972844debbb_Video+Opengraph+Vincent+van+Gogh+-+Flower+Plum+Orchard+video.jpg?auto=compress,format","ZKLItBIAACQAb46K",{"x":61,"y":61,"zoom":62,"background":63},[4040],{"variation":98,"version":99,"items":4041,"primary":4044,"id":4048,"slice_type":237,"slice_label":7},[4042],{"post":4043},{"link_type":74},{"slides_per_view":373,"max_slides_count":7,"tag":4045,"type":245,"title":3625,"paralax":7},{"id":3618,"type":1509,"tags":4046,"lang":20,"slug":3620,"first_publication_date":3621,"last_publication_date":3622,"uid":3623,"link_type":74,"key":4047,"isBroken":76},[3577],"4b6d1b19-a5be-4e8b-bcd9-bad8ca8601c2","carousel$108ba4ae-6928-4eed-bc6d-38d91bc9aff2",{"id":4050,"uid":4051,"url":7,"type":245,"href":4052,"tags":4053,"first_publication_date":3700,"last_publication_date":4054,"slugs":4055,"linked_documents":4056,"lang":20,"alternate_languages":4057,"data":4058},"ZBSCwBAAACIAYOvT","sunflowers","https:\u002F\u002Fartexplorer-prod.cdn.prismic.io\u002Fapi\u002Fv2\u002Fdocuments\u002Fsearch?ref=aCb60BIAACEA00zN&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22ZBSCwBAAACIAYOvT%22%29+%5D%5D",[3577],"2023-07-11T08:58:11+0000",[3556,3803,4051],[],[],{"title":4059,"subtitle":7,"description":4060,"serie":4064,"episode":7,"source":4065,"published_at":7,"youtube_external":4068,"vimeo_external":4069,"instagram_external":4070,"duration":4071,"narrator_copyright":7,"music_copyright":7,"editing_copyright":7,"cover_desktop":4072,"cover_mobile":4078,"copyright_cover":7,"thumbnail":4083,"slices":4086,"meta_title":4102,"meta_description":4103,"og_image":4104,"slices2":4107},"Sunflowers, 1889",[4061],{"type":36,"text":4062,"spans":4063},"Arguably Van Gogh's most famous painting, the masterpiece's textured brushwork, intense energy, and vibrant colours are instantly recognisable. ",[],{"link_type":74},{"link_type":1425,"key":4066,"url":4067},"c5c76ab8-7389-40e1-b9ef-88f3a30b27fd","https:\u002F\u002Fvimeo.com\u002F807577003",{"link_type":2916},{"link_type":2916},{"link_type":2916},133,{"dimensions":4073,"alt":4074,"copyright":7,"url":4075,"id":4076,"edit":4077},{"width":80,"height":81},"Vincent van Gogh - Sunflowers video","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fcd2ec627-e13b-477d-880a-62512e64b1cb_Slide+16_9+-+14.jpg?auto=compress,format","ZK0ZcBEAACMAdhmT",{"x":61,"y":61,"zoom":62,"background":63},{"dimensions":4079,"alt":4074,"copyright":7,"url":4080,"id":4081,"edit":4082},{"width":3751,"height":3750},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Ffa239ab3-1127-4351-9040-e8c66b805cb7_9_16+%283%29.jpg?auto=compress,format","ZK0ZmREAACEAdhpY",{"x":61,"y":61,"zoom":62,"background":63},{"dimensions":4084,"alt":4074,"copyright":7,"url":4075,"id":4076,"edit":4085},{"width":80,"height":81},{"x":61,"y":61,"zoom":62,"background":63},[4087],{"variation":98,"version":99,"items":4088,"primary":4090,"id":4101,"slice_type":126,"slice_label":7},[4089],{},{"title":4091,"content":4095},[4092],{"type":105,"text":4093,"spans":4094},"About the Painting",[],[4096,4099],{"type":36,"text":4097,"spans":4098},"Van Gogh’s series of sunflower paintings are arguably his most famous. He painted them while he was in Arles in the south of France in 1888 and 1889. In total, he made five large canvases of sunflowers in a vase. He wrote that these paintings represented “gratitude” and held special significance for him. Paul Gaugin, Van Gogh’s good friend, described the canvases as “totally Vincent.” ",[],{"type":36,"text":930,"spans":4100},[],"text$2a65930d-059e-49e6-ace8-dd76b6011e6f","Sunflowers","Wouter van der Veen, renowned Van Gogh specialist, art historian and author, highlights four things that you must know about the Sunflowers.",{"dimensions":4105,"alt":3951,"copyright":7,"url":3952,"id":3953,"edit":4106},{"width":118,"height":3606},{"x":61,"y":61,"zoom":62,"background":63},[4108],{"variation":98,"version":99,"items":4109,"primary":4112,"id":4117,"slice_type":237,"slice_label":7},[4110],{"post":4111},{"link_type":74},{"slides_per_view":373,"max_slides_count":7,"tag":4113,"type":245,"title":4116,"paralax":7},{"id":3618,"type":1509,"tags":4114,"lang":20,"slug":3620,"first_publication_date":3621,"last_publication_date":3622,"uid":3623,"link_type":74,"key":4115,"isBroken":76},[3577],"94a37c63-3384-4bc0-a4b1-086a20482755","More videos","carousel$2f9d73f2-c90a-4ca0-a983-d40926db76ea",{"id":4119,"uid":4120,"url":7,"type":245,"href":4121,"tags":4122,"first_publication_date":3700,"last_publication_date":4123,"slugs":4124,"linked_documents":4125,"lang":20,"alternate_languages":4126,"data":4127},"ZBR_RBAAACAAYOVi","view-of-paris-from-vincent-room-in-the-rue-lepic","https:\u002F\u002Fartexplorer-prod.cdn.prismic.io\u002Fapi\u002Fv2\u002Fdocuments\u002Fsearch?ref=aCb60BIAACEA00zN&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22ZBR_RBAAACAAYOVi%22%29+%5D%5D",[3577],"2023-07-11T09:01:49+0000",[3556,3803,4120],[],[],{"title":4128,"subtitle":7,"description":4129,"serie":4133,"episode":7,"source":4134,"published_at":7,"youtube_external":4137,"vimeo_external":4138,"instagram_external":4139,"duration":4140,"narrator_copyright":7,"music_copyright":7,"editing_copyright":7,"cover_desktop":4141,"cover_mobile":4147,"copyright_cover":7,"thumbnail":4152,"slices":4155,"meta_title":4169,"meta_description":4170,"og_image":4171,"slices2":4177},"View of Paris from Vincent Room in the Rue Lepic, 1887",[4130],{"type":36,"text":4131,"spans":4132},"The painting is framed by the geometric shapes of buildings in the foreground and the expansive sky rolls out towards the horizon, which appears to go on forever. ",[],{"link_type":74},{"link_type":1425,"key":4135,"url":4136},"2a6fcde8-8a60-4c95-91a0-b1bd91f58475","https:\u002F\u002Fvimeo.com\u002F800558907",{"link_type":2916},{"link_type":2916},{"link_type":2916},134,{"dimensions":4142,"alt":4143,"copyright":7,"url":4144,"id":4145,"edit":4146},{"width":80,"height":81},"Vincent van Gogh - View of Paris from Vincent Room in the Rue Lepic ","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F5f76d1bc-33ab-41ed-8ecd-8002cf2742b6_Slide+16_9+-+28.jpg?auto=compress,format","ZK0aZhEAACEAdh7G",{"x":61,"y":61,"zoom":62,"background":63},{"dimensions":4148,"alt":4143,"copyright":7,"url":4149,"id":4150,"edit":4151},{"width":81,"height":80},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F76021f17-bcee-4b85-9436-e2b202a55b44_9_16-8.jpg?auto=compress,format","ZK0aZhEAACMAdh7F",{"x":61,"y":61,"zoom":62,"background":63},{"dimensions":4153,"alt":4143,"copyright":7,"url":4144,"id":4145,"edit":4154},{"width":80,"height":81},{"x":61,"y":61,"zoom":62,"background":63},[4156],{"variation":98,"version":99,"items":4157,"primary":4159,"id":4168,"slice_type":126,"slice_label":7},[4158],{},{"title":4160,"content":4164},[4161],{"type":105,"text":4162,"spans":4163},"About the painting ",[],[4165],{"type":36,"text":4166,"spans":4167},"The painting demonstrates Van Gogh’s signature impressionist style; the bright, colourful windows are set against the blue sky, which seems to bealive with movement. The horizontal and vertical lines contrast each other to create an image that is both static and very much alive. The viewer’s gaze is drawn to the wide perspective of Paris – a composition that borrows stylistically from Pointillism, made up of dabs of paint to create depth and richness of colour. ",[],"text$b360b718-1894-4ee3-82ed-1d8299efa365","View of Paris From Vincent Room In The Rue Lepic","Wouter van der Veen, renowned Van Gogh specialist, art historian and author, highlights four things that you must know about the View of Paris.",{"dimensions":4172,"alt":4173,"copyright":7,"url":4174,"id":4175,"edit":4176},{"width":118,"height":3606},"Vincent van Gogh - View of Paris From Vincent Room In The Rue Lepic video","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F75f756ae-c243-4e95-ac27-65841f1b465e_Video+Opengraph+Vincent+van+Gogh+-+View+of+Paris+From+Vincent+Room+In+The+Rue+Lepic.jpg?auto=compress,format","ZKLJ0xIAACMAb5P1",{"x":61,"y":61,"zoom":62,"background":63},[4178],{"variation":98,"version":99,"items":4179,"primary":4182,"id":4186,"slice_type":237,"slice_label":7},[4180],{"post":4181},{"link_type":74},{"slides_per_view":373,"max_slides_count":7,"tag":4183,"type":245,"title":2971,"paralax":7},{"id":3618,"type":1509,"tags":4184,"lang":20,"slug":3620,"first_publication_date":3621,"last_publication_date":3622,"uid":3623,"link_type":74,"key":4185,"isBroken":76},[3577],"61b528e7-2968-439d-9cca-94821a763fd1","carousel$6c27b0c6-f647-4277-a494-f9dcbb900993",{"id":4188,"uid":4189,"url":7,"type":245,"href":4190,"tags":4191,"first_publication_date":3700,"last_publication_date":4192,"slugs":4193,"linked_documents":4196,"lang":20,"alternate_languages":4197,"data":4198},"ZBR-zxAAACEAYOSQ","the-potato-eaters","https:\u002F\u002Fartexplorer-prod.cdn.prismic.io\u002Fapi\u002Fv2\u002Fdocuments\u002Fsearch?ref=aCb60BIAACEA00zN&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22ZBR-zxAAACEAYOSQ%22%29+%5D%5D",[3577],"2023-07-11T09:01:00+0000",[3556,4194,3803,4189,4195],"the-potato-eaters-1885","the-potato-eaters---vincent-van-gogh",[],[],{"title":4199,"subtitle":7,"description":4200,"serie":4204,"episode":7,"source":4205,"published_at":7,"youtube_external":4208,"vimeo_external":4209,"instagram_external":4210,"duration":4211,"narrator_copyright":7,"music_copyright":7,"editing_copyright":7,"cover_desktop":4212,"cover_mobile":4218,"copyright_cover":7,"thumbnail":4223,"slices":4226,"meta_title":4239,"meta_description":4240,"og_image":4241,"slices2":4246},"The Potato Eaters, 1885",[4201],{"type":36,"text":4202,"spans":4203},"Van Gogh worked obsessively on this painting to prove to the world that he had mastered figuration – and it's no coincidence that the image's colours evoke a muddy potato. ",[],{"link_type":74},{"link_type":1425,"key":4206,"url":4207},"e19f08e6-fe4a-413a-923f-00ec81a8f9d0","https:\u002F\u002Fvimeo.com\u002F800558750",{"link_type":2916},{"link_type":2916},{"link_type":2916},112,{"dimensions":4213,"alt":4214,"copyright":7,"url":4215,"id":4216,"edit":4217},{"width":80,"height":81},"Vincent van Gogh - The Potato Eaters video","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F84521d2d-fc6c-45df-9600-66a403e48ec3_Slide+16_9+-+45.jpg?auto=compress,format","ZK0aMxEAACIAdh3U",{"x":61,"y":61,"zoom":62,"background":63},{"dimensions":4219,"alt":4214,"copyright":7,"url":4220,"id":4221,"edit":4222},{"width":81,"height":80},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F0393d4e9-7e5d-4cf3-aa32-ef86a7d63c36_9_16-7.jpg?auto=compress,format","ZK0aMxEAACIAdh3T",{"x":61,"y":61,"zoom":62,"background":63},{"dimensions":4224,"alt":4214,"copyright":7,"url":4215,"id":4216,"edit":4225},{"width":80,"height":81},{"x":61,"y":61,"zoom":62,"background":63},[4227],{"variation":98,"version":99,"items":4228,"primary":4230,"id":4238,"slice_type":126,"slice_label":7},[4229],{},{"title":4231,"content":4234},[4232],{"type":105,"text":2941,"spans":4233},[],[4235],{"type":36,"text":4236,"spans":4237},"Van Gogh spent months painting dozens of portraits in preparation for this work, which is the only group portrait he ever made. He wanted to prove to the world that he was on his way to becoming a great figure painter, while also demonstrating his skilled handling of light and darkness. The composition consists of earthy tones, which Van Gogh described as “something like the colour of a really dusty potato, unpeeled of course.” ",[],"text$7cea1a77-8afa-437b-bc0e-e43ff596fed2","The Potato Eaters","Wouter van der Veen, renowned Van Gogh specialist, art historian and author, highlights four things that you must know about the Potato Eaters.",{"dimensions":4242,"alt":4214,"copyright":7,"url":4243,"id":4244,"edit":4245},{"width":118,"height":3606},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F6587fe9c-6104-41bf-bbeb-ec8be194fa3f_Vincent+van+Gogh+-+The+Potato+Eaters+video+Opengraph.jpg?auto=compress,format","ZKP6rhAAACEAqFlp",{"x":61,"y":61,"zoom":62,"background":63},[4247],{"variation":98,"version":99,"items":4248,"primary":4261,"id":4265,"slice_type":237,"slice_label":7},[4249,4253,4257],{"post":4250},{"id":4119,"type":245,"tags":4251,"lang":20,"slug":3556,"first_publication_date":3700,"last_publication_date":4123,"uid":4120,"link_type":74,"key":4252,"isBroken":76},[3577],"4b9c2f80-173e-4771-881c-675958d474eb",{"post":4254},{"id":3698,"type":245,"tags":4255,"lang":20,"slug":3556,"first_publication_date":3700,"last_publication_date":3701,"uid":3702,"link_type":74,"key":4256,"isBroken":76},[3577],"f710a3f9-f66d-42ba-b23b-1a068d05e6ec",{"post":4258},{"id":4050,"type":245,"tags":4259,"lang":20,"slug":3556,"first_publication_date":3700,"last_publication_date":4054,"uid":4051,"link_type":74,"key":4260,"isBroken":76},[3577],"5671194a-0fb4-4fae-aca1-219ff70354d5",{"slides_per_view":373,"max_slides_count":7,"tag":4262,"type":245,"title":3625,"paralax":7},{"id":3618,"type":1509,"tags":4263,"lang":20,"slug":3620,"first_publication_date":3621,"last_publication_date":3622,"uid":3623,"link_type":74,"key":4264,"isBroken":76},[3577],"6da25919-6651-4610-87a6-6e3ca98f1d84","carousel$881c2839-f4cf-4a37-864f-7e1d1eb0f857"]