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",[],{"link_type":69},{"link_type":154,"key":367,"url":368},"36edf101-c77b-4697-8346-ce1586488e6d","https:\u002F\u002Fvimeo.com\u002F808259415",{"link_type":158},{"link_type":158},{"link_type":158},138,{"dimensions":374,"alt":375,"copyright":7,"url":376,"id":377,"edit":378},{"width":48,"height":47},"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":42,"y":42,"zoom":43,"background":44},{"dimensions":380,"alt":375,"copyright":7,"url":381,"id":382,"edit":383},{"width":47,"height":48},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fe953fd1c-cd4e-4280-8435-9e819f6c7912_9_16-6.jpg?auto=compress,format","ZK_O_BIAACAAaW6u",{"x":42,"y":42,"zoom":43,"background":44},{"dimensions":385,"alt":375,"copyright":7,"url":376,"id":377,"edit":386},{"width":48,"height":47},{"x":42,"y":42,"zoom":43,"background":44},[388],{"variation":57,"version":58,"items":389,"primary":391,"id":399,"slice_type":194,"slice_label":7},[390],{},{"title":392,"content":395},[393],{"type":183,"text":184,"spans":394},[],[396],{"type":22,"text":397,"spans":398},"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":403,"alt":404,"copyright":7,"url":405,"id":406,"edit":407},{"width":130,"height":131},"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":42,"y":42,"zoom":43,"background":44},[409],{"variation":57,"version":58,"items":410,"primary":413,"id":417,"slice_type":100,"slice_label":7},[411],{"post":412},{"link_type":69},{"slides_per_view":96,"max_slides_count":7,"tag":414,"type":63,"title":215,"paralax":34},{"id":209,"type":210,"tags":415,"lang":16,"slug":6,"first_publication_date":212,"last_publication_date":213,"uid":6,"link_type":69,"key":416,"isBroken":34},[19],"9b2db38d-afc2-4a40-9ea6-d3c770ef13a8","carousel$614bf506-81ff-4b64-bdeb-e5b25dacfbdc",{"slice":101,"payload":419},[420,710,1105,1341],{"id":105,"uid":112,"url":7,"type":106,"href":421,"tags":422,"first_publication_date":110,"last_publication_date":111,"slugs":423,"linked_documents":426,"lang":16,"alternate_languages":427,"data":428},"https:\u002F\u002Fartexplorer-prod.cdn.prismic.io\u002Fapi\u002Fv2\u002Fdocuments\u002Fsearch?ref=aCb60BIAACEA00zN&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22ZAsCaBAAACoAxIyA%22%29+%5D%5D",[108,11],[109,424,425],"alessandro-vezzosi-has-unearthed-several-new-discoveries-about-the-artist-and-is-helping-us-to-understand-da-vincis-unrivalled-genius-through-obsessive-research.","a-lifes-devotion",[],[],{"title":429,"subtitle":430,"author":431,"copyright_cover":468,"cover_desktop":469,"cover_mobile":476,"thumbnail":482,"published_at":7,"slices":485,"meta_title":668,"meta_description":669,"og_image":670,"slices2":676},"Unravelling Da Vinci’s mysteries with the world’s top expert","Alessandro Vezzosi is the authority on the Renaissance man",{"id":432,"type":433,"tags":434,"lang":16,"slug":435,"first_publication_date":436,"last_publication_date":437,"uid":435,"data":438,"link_type":69,"key":467,"isBroken":34},"ZBBhKRAAACsAzQKh","author",[],"fabio-pariante","2023-03-14T11:57:35+0000","2023-07-10T00:51:39+0000",{"description":439,"short_description":443,"job":447,"thumbnail":448,"cover":455,"uid":435,"twitter":458,"title":459,"og_image":460,"meta_description":463,"meta_title":459},[440],{"type":22,"text":441,"spans":442},"Fabio Pariante covers art stories in Europe, especially Italy, for ArtExplored. A journalist and professor, he has a master's degree in Languages and Intercultural Communication in the Euro-Mediterranean Area in Intercultural Studies entitled, \"The Arab Spring in the era of web 2.0: the role of social networks\". In 2011, under the patronage of the Presidency of the Italian Republic, he won the Giovannini Prize in Rome for his three-year degree thesis in the History of Contemporary Art entitled \"Net.Art: the art of networking\". Among the artistic projects he is co-founder of the Marina Abramovic Institute in New York and collaborates with some museums and contemporary art galleries. Among the Italian and foreign newsrooms there are Wired Italia, Corriere della Sera - Dove and MuseumWeek. ",[],[444],{"type":22,"text":445,"spans":446},"Fabio Pariante is an art writer for ArtExplored and covers stories in Europe, especially Italy. ",[],"Art Writer - Europe",{"dimensions":449,"alt":7,"copyright":7,"url":452,"id":453,"edit":454},{"width":450,"height":451},1497,1998,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F23d3f467-037b-406e-9b8a-b46a0e29f848_Fabio+Pariante.jpg?auto=compress,format","ZIxYRRAAACMAuOXV",{"x":42,"y":42,"zoom":43,"background":44},{"dimensions":456,"alt":7,"copyright":7,"url":452,"id":453,"edit":457},{"width":450,"height":451},{"x":42,"y":42,"zoom":43,"background":44},"https:\u002F\u002Ftwitter.com\u002FFabioPariante?lang=it","Fabio Pariante",{"dimensions":461,"alt":7,"copyright":7,"url":452,"id":453,"edit":462},{"width":450,"height":451},{"x":42,"y":42,"zoom":43,"background":44},[464],{"type":22,"text":465,"spans":466},"Fabio Pariante covers art stories in Europe, especially Italy, for ArtExplored ",[],"e2f5b99b-d948-43ab-a5ac-e4cdd57dfdf4","Photo credit: Carlo Gianni. Courtesy Archivio del Museo Ideale.",{"dimensions":470,"alt":471,"copyright":472,"url":473,"id":474,"edit":475},{"width":48,"height":47},"Alessandro Vezzosi has unearthed several new discoveries about Leonardo Da Vinci through obsessive research. ","Ph. Carlo Gianni. Courtesy Archivio del Museo Ideale.\n\n","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F5e5e865d-202e-405f-b8b2-f57fb6c0abc2_Slide+16_9+-+69.jpg?auto=compress,format","ZCLvUBAAACQA5YNQ",{"x":42,"y":42,"zoom":43,"background":44},{"dimensions":477,"alt":471,"copyright":478,"url":479,"id":480,"edit":481},{"width":47,"height":48},"Ph. Carlo Gianni. Courtesy Archivio del Museo Ideale.","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fb56e961f-6c37-4c5f-b9fd-ab0d5e647761_9_16.jpg?auto=compress,format","ZCLxfxAAACQA5Y5V",{"x":42,"y":42,"zoom":43,"background":44},{"dimensions":483,"alt":471,"copyright":478,"url":479,"id":480,"edit":484},{"width":47,"height":48},{"x":42,"y":42,"zoom":43,"background":44},[486,506,536,577,591,601],{"variation":57,"version":58,"items":487,"primary":489,"id":505,"slice_type":194,"slice_label":7},[488],{},{"title":490,"content":491},[],[492],{"type":22,"text":493,"spans":494},"Alessandro Vezzosi (AV) is a renowned Italian art critic, artist, professor, and Leonardo da Vinci expert. He founded the Museo Ideale Leonardo da Vinci in 1993 in the province of Florence, where the great artist was born, and has dedicated his life to researching his work. Vezzosi and his team have collaborated with several major international institutions to study the artist’s work, shedding light on several aspects of Da Vinci’s life and character by, for example, analysing his fingerprints and even reconstructing his DNA in a bid to find living relatives. \n\nOne of the Leonardo da Vinci museum’s primary objectives is to rid the artist of stereotypes and to portray him in a true light to a contemporary audience. Fabio Pariante (FP) sat down with Vezzosi to discuss his passion for the multitalented High Renaissance man.",[495],{"start":496,"end":497,"type":498,"data":499},816,828,"hyperlink",{"id":500,"type":501,"tags":502,"lang":16,"slug":503,"first_publication_date":504,"last_publication_date":504,"link_type":69,"isBroken":34},"ZKx-axEAACQAc2AP","definition",[],"renaissance","2023-07-10T21:55:58+0000","text$38828687-815b-4f92-8ab7-5fd35e0ac752",{"variation":57,"version":58,"items":507,"primary":533,"id":534,"slice_type":535,"slice_label":7},[508,514,520,528],{"speaker":509,"content":510},"FP",[511],{"type":22,"text":512,"spans":513},"Leonardo Da Vinci is said to have been the first to employ science to elevate art. Can you explain how he did this?",[],{"speaker":515,"content":516},"AV",[517],{"type":22,"text":518,"spans":519},"Leonardo said painting “advances all human works.” He believed it was a psychological pursuit which he described as the “daughter of nature.” He also viewed it as a philosophy and science. For him, art was a synthesis of experimental techniques, physics, and metaphysics. \n\nHe argued that art was a vital interdisciplinary and universal flow: he conceived his paintings as figurative \"machines\" of extraordinary complexity and beauty,” and believed that architectural structures were living organisms.  If a building was \"sick\" it needed the intervention of an \"architect doctor\" to restore it.\n\nLeonardo opened a man's skull and injected molten wax into the cerebral ventricles to obtain a cast so he could compare the section of a human head with that of a plant bulb. What was he looking for? The form and function of the brain, but not only – he was searching for the senses, soul, and principle of life. ",[],{"speaker":509,"content":521},[522,525],{"type":22,"text":523,"spans":524},"What are the most significant recent discoveries about Da Vinci?",[],{"type":22,"text":526,"spans":527},"",[],{"speaker":515,"content":529},[530],{"type":22,"text":531,"spans":532},"For many years, with historian Agnese Sabato, we have documented and published discoveries about Da Vinci’s genealogy. This work is now the subject of a soon-to-be-released book featuring previously unseen documents and illustrations. These publications are linked to the Leonardo da Vinci DNA Project, which involves several international universities and institutions. In addition to this, we have also published an article detailing revelations about the artist’s DNA and descendants, which covers the male line from his lifetime right up to today. It was translated into 35 languages and published in 73 countries. \n\nAmong other things, we discovered that his grandfather, Antonio, who educated Leonardo, was not only a farmer in Vinci in Italy but a merchant who travelled as far as Morocco and Spain. As a result, he enriched the young Leonardo with tales of his adventures. \n\nWe have also been studying fingerprints found on his paintings and manuscripts since 2000, which will eventually help us to authenticate his work, while also analysing the character and behaviour of the artist. \n\nBut even more important is the search for Leonardo's DNA. We have reconstructed the precise genealogy of the Da Vincis from 1331 to 2022, through 21 generations until we identified 14 living descendants related to his brother, Domenico. What is truly incredible is that the Y chromosome remains almost unchanged for 25 generations. \n",[],{},"text_interview$0b3e7c0d-aa84-404e-91bf-e35a94a32bf2","text_interview",{"variation":537,"version":58,"items":538,"primary":558,"id":575,"slice_type":576,"slice_label":7},"double-slice",[539,548],{"image":540,"title":546,"subtitle":547},{"dimensions":541,"alt":7,"copyright":7,"url":543,"id":544,"edit":545},{"width":542,"height":542},1772,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F9618aff7-9ee6-4f19-bd10-ee509cbe123d_Sfera+volante+del+MILDV_2000.jpg?auto=compress,format","ZGTF6xEAACIAsVus",{"x":42,"y":42,"zoom":43,"background":44},"Reconstruction of the Ideal Museum of Leonardo's \"Flying Sphere\", for the exhibition \"Leonardo and Europe\", 2000.","Archivio del Museo Ideale",{"image":549,"title":556,"subtitle":557},{"dimensions":550,"alt":7,"copyright":7,"url":553,"id":554,"edit":555},{"width":551,"height":552},1999,2440,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fede0b44d-9828-4b6b-a8c2-8a3191eec95b_emblema+fotocollage+AV+per+Leonardismi+e+Giocondolatrie-Vinci+1981.jpg?auto=compress,format","ZGTF8xEAACMAsVvf",{"x":42,"y":42,"zoom":43,"background":44},"Alessandro Vezzosi, Poster della mostra “Leonardismi e Giocondolatrie”, foto collage. Vinci, 1981.","Archivio Leonardismi",{"image1":559,"image2":565,"label":7,"copyright":571},{"dimensions":560,"alt":546,"copyright":547,"url":562,"id":563,"edit":564},{"width":561,"height":48},2560,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fabb24a95-0df3-47b4-a404-85e49a65e209_3_2-1.jpg?auto=compress,format","ZCMU5BAAACQA5da6",{"x":42,"y":42,"zoom":43,"background":44},{"dimensions":566,"alt":556,"copyright":567,"url":568,"id":569,"edit":570},{"width":561,"height":48}," Archivio Leonardismi.","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F08a0a064-e0ec-4c1a-939a-af1da5869c31_2_3.jpg?auto=compress,format","ZCMMSBAAACIA5ccj",{"x":42,"y":42,"zoom":43,"background":44},[572],{"type":22,"text":573,"spans":574},"Archivio del Museo Ideale\u002F Archivio Leonardismi",[],"image$599e0996-4694-4c1d-a2e7-8036057a5bd9","image",{"variation":57,"version":58,"items":578,"primary":589,"id":590,"slice_type":535,"slice_label":7},[579,584],{"speaker":509,"content":580},[581],{"type":22,"text":582,"spans":583},"Which parts of Da Vinci’s life and work fascinate you the most, as one of the world’s leading experts on the artist? \n",[],{"speaker":515,"content":585},[586],{"type":22,"text":587,"spans":588},"In addition to the research into his DNA, I continue to investigate and authenticate his works including 11 manuscripts, 4,000 or so loose pages of texts and drawings, paintings, models, and sculptures (even those he made out of terracotta as a child). This involves analysing Leonardo’s signature, the works made by his students in workshops and schools, and identifying fake works (more than 100 exist).",[],{},"text_interview$2d17c0e4-259c-4cab-9060-f35e83b38b38",{"variation":57,"version":58,"items":592,"primary":594,"id":599,"slice_type":600,"slice_label":7},[593],{},{"quote":595},[596],{"type":22,"text":597,"spans":598},"\"Leonardo said painting 'advances all human works.' He believed it was a psychological pursuit that he described as the 'daughter of nature.'\" ",[],"quote$03318e4c-6a51-4dc0-a40a-9072f36dac59","quote",{"variation":57,"version":58,"items":602,"primary":666,"id":667,"slice_type":535,"slice_label":7},[603,612,634,642],{"speaker":509,"content":604},[605],{"type":22,"text":606,"spans":607},"How does the Museo Ideale disseminate knowledge about Da Vinci?\n",[608],{"start":609,"end":610,"type":611},63,64,"strong",{"speaker":515,"content":613},[614],{"type":22,"text":615,"spans":616},"The museum was founded in 1993 by a group of scholars and artists. We work in partnership with several other bodies including the Municipality of Vinci, the Armand Hammer Centre for Leonardo Studies of the University of California in Los Angeles, and the Institute di Raccolta Vinciana in Milan.\n\nThe museum promotes events and exhibitions in various cities around the world from Istanbul to Gothenburg, Strasbourg to Athens, and further afield to the US, Japan, and Taiwan. We want to disseminate as much knowledge as possible about Da Vinci and Italy in a creative, non-rhetorical, and philological way. In the most recent exhibitions, masterpieces such as the Codex on the Flight of Birds from the Royal Library of Turin, La Scapigliata from the National Gallery of Parma, and the Madonna of the Yarnwinder from the Museum of Edinburgh have been exhibited.\n",[617,625,628,631],{"start":618,"end":619,"type":498,"data":620},587,601,{"id":621,"type":501,"tags":622,"lang":16,"slug":623,"first_publication_date":624,"last_publication_date":624,"link_type":69,"isBroken":34},"ZKx-CxEAACQAc15R",[],"philological","2023-07-10T21:54:24+0000",{"start":626,"end":627,"type":28},663,692,{"start":629,"end":630,"type":28},723,740,{"start":632,"end":633,"type":28},784,809,{"speaker":509,"content":635},[636],{"type":22,"text":637,"spans":638},"In 1968 you curated the first contemporary art exhibition on Da Vinci. Since then, how have technology, advanced research, and recent discoveries changed the way Da Vinci shows are curated?\n\n",[639],{"start":640,"end":641,"type":611},189,191,{"speaker":515,"content":643},[644,664],{"type":22,"text":645,"spans":646},"Any presentation or reconstruction relating to Leonardo loses meaning if it doesn’t take into account his extreme interdisciplinary knowledge. The ongoing investigations and reinterpretations relating to his work and his life continue to serve up new information, lines of research, and highly topical hypotheses.\n\nSince the 1970s, I have studied and collected the uses (and abuses) of the images of his works – the so-called “Leonardisms” – from art to the mass media.\n\nSince the 1990s, the ever-increasing, decidedly fundamental introduction of scientific analysis, virtual reconstructions, and the renewal of teaching, as well as the progressive rediscovery of the works of Leonardo's students have changed the conceptual nature of exhibitions, not only about Leonardo but for historical artists in general. \n\nLeonardo, as a conceptual artist and the protagonist of an ancient avant-garde, the Renaissance, continues to inspire pioneering artists and scientists throughout history. ",[647,655],{"start":648,"end":649,"type":498,"data":650},827,846,{"id":651,"type":501,"tags":652,"lang":16,"slug":653,"first_publication_date":654,"last_publication_date":654,"link_type":69,"isBroken":34},"ZKx-OhEAACEAc18p",[],"conceptual-artist","2023-07-10T21:55:10+0000",{"start":656,"end":657,"type":498,"data":658},880,891,{"id":659,"type":501,"tags":660,"lang":16,"slug":661,"first_publication_date":662,"last_publication_date":663,"link_type":69,"isBroken":34},"ZKgfVBEAACEAYDS3",[],"avant-garde","2023-07-07T14:21:11+0000","2023-07-10T21:52:39+0000",{"type":22,"text":526,"spans":665},[],{},"text_interview$91d10105-1100-489e-bad7-2e0f09e0d359","Unravelling Da Vinci's mysteries with the world's top expert ","Discover the untold story of Leonardo da Vinci through a new museum dedicated to his life and work. Hear from the world's leading expert on the artist in an exclusive interview with ArtExplored.",{"dimensions":671,"alt":672,"copyright":7,"url":673,"id":674,"edit":675},{"width":130,"height":131},"Alessandro Vezzosi - Photo: Carlo Gianni. Courtesy Archivio del Museo Ideale.","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F0439cac2-e9e7-4025-a3da-fde43cb4a78b_ALESSANDRO+VEZZOSI+Image+Opengraph.jpg?auto=compress,format","ZK_8tRIAACIAahhL",{"x":42,"y":42,"zoom":43,"background":44},[677,703],{"variation":57,"version":58,"items":678,"primary":699,"id":702,"slice_type":100,"slice_label":7},[679,683,687,691],{"post":680},{"id":62,"type":63,"tags":681,"lang":16,"slug":65,"first_publication_date":66,"last_publication_date":67,"uid":68,"link_type":69,"key":682,"isBroken":34},[19],"9b3b09e6-247e-4a39-9874-56365a085727",{"post":684},{"id":73,"type":63,"tags":685,"lang":16,"slug":65,"first_publication_date":75,"last_publication_date":76,"uid":77,"link_type":69,"key":686,"isBroken":34},[19],"f3380be4-fb76-4965-8384-6dab115b42cd",{"post":688},{"id":89,"type":63,"tags":689,"lang":16,"slug":65,"first_publication_date":91,"last_publication_date":92,"uid":93,"link_type":69,"key":690,"isBroken":34},[19],"1b73ba68-07bd-4ac4-a213-16b404ef91ca",{"post":692},{"id":693,"type":63,"tags":694,"lang":16,"slug":65,"first_publication_date":695,"last_publication_date":696,"uid":697,"link_type":69,"key":698,"isBroken":34},"ZBHPBRAAACsAz3QA",[19],"2023-03-17T11:33:18+0000","2024-02-20T13:25:12+0000","mona-lisa","9179b825-867a-4e38-9b81-b4816864bb0f",{"slides_per_view":7,"max_slides_count":7,"tag":700,"type":63,"title":701,"paralax":7},{"link_type":69},"Masterpieces Decrypted","carousel$db65d676-553c-41e8-8009-797d8764ffeb",{"variation":57,"version":58,"items":704,"primary":705,"id":709,"slice_type":100,"slice_label":7},[],{"slides_per_view":7,"max_slides_count":7,"tag":706,"type":707,"title":708,"paralax":7},{"link_type":69},"podcast","Listen to audiocasts","carousel$8ff16bc0-fc94-4b26-963f-5afea65f954b",{"id":711,"uid":712,"url":7,"type":106,"href":713,"tags":714,"first_publication_date":716,"last_publication_date":717,"slugs":718,"linked_documents":720,"lang":16,"alternate_languages":721,"data":722},"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",[715],"Gustav Klimt","2024-07-26T13:48:30+0000","2024-07-31T15:55:16+0000",[719],"a-mysterious-portrait",[],[],{"title":723,"subtitle":724,"author":725,"copyright_cover":7,"cover_desktop":773,"cover_mobile":780,"thumbnail":786,"published_at":789,"slices":790,"meta_title":1004,"meta_description":1005,"og_image":1006,"slices2":1011},"Klimt, Matsch, and a Ghanaian Prince in turn-of-the-century Vienna","Twin portraits illuminate the friendship and break-up between the painters",{"id":726,"type":433,"tags":727,"lang":16,"slug":728,"first_publication_date":729,"last_publication_date":730,"uid":728,"data":731,"link_type":69,"key":772,"isBroken":34},"ZBBz5xAAAKdKzSXy",[],"lea-nedwed","2023-03-14T13:17:30+0000","2024-07-10T17:09:39+0000",{"description":732,"short_description":748,"job":752,"thumbnail":753,"cover":762,"uid":728,"title":757,"og_image":765,"meta_description":768,"meta_title":757},[733,737,740,743,745],{"type":22,"text":734,"spans":735,"direction":736},"Léa is a managing editor at ArtExplored, where she produces in-depth art market reports and educational content. ",[],"ltr",{"type":22,"text":738,"spans":739,"direction":736}," ",[],{"type":22,"text":741,"spans":742,"direction":736},"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":22,"text":738,"spans":744,"direction":736},[],{"type":22,"text":746,"spans":747,"direction":736},"She holds degrees in Law from the Sorbonne, Art Appraisal and Trade from IESA, and an MBA in the Business of Art from ICART.",[],[749],{"type":22,"text":750,"spans":751,"direction":736},"Lea is a managing editor and content producer at ArtExplored. ",[],"Managing Editor",{"dimensions":754,"alt":757,"copyright":7,"url":758,"id":759,"edit":760},{"width":755,"height":756},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":42,"y":42,"zoom":43,"background":761},"transparent",{"dimensions":763,"alt":757,"copyright":7,"url":758,"id":759,"edit":764},{"width":755,"height":756},{"x":42,"y":42,"zoom":43,"background":761},{"dimensions":766,"alt":7,"copyright":7,"url":758,"id":759,"edit":767},{"width":755,"height":756},{"x":42,"y":42,"zoom":43,"background":761},[769],{"type":22,"text":770,"spans":771},"Léa Nedwed is a senior writer at ArtExplored",[],"05ffd061-30f2-46eb-adbe-7d93a53d3756",{"dimensions":774,"alt":7,"copyright":7,"url":777,"id":778,"edit":779},{"width":775,"height":776},16000,9000,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZqOfcB5LeNNTxhmF_Landscape_16.9_Web_Header_HiddenGems_V6_.jpg?auto=format,compress","ZqOfcB5LeNNTxhmF",{"x":42,"y":42,"zoom":43,"background":761},{"dimensions":781,"alt":7,"copyright":7,"url":783,"id":784,"edit":785},{"width":782,"height":775},10667,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZqOgAB5LeNNTxhmY_Portrait_3.2_Web_Thumbnail_HiddenGems4.jpg?auto=format,compress","ZqOgAB5LeNNTxhmY",{"x":42,"y":42,"zoom":43,"background":761},{"dimensions":787,"alt":7,"copyright":7,"url":783,"id":784,"edit":788},{"width":782,"height":775},{"x":42,"y":42,"zoom":43,"background":761},"2024-07-29",[791,805,819,836,853,875,884,896,918,927,944,956,982,991],{"variation":57,"version":58,"items":792,"primary":793,"id":804,"slice_type":194,"slice_label":7},[],{"title":794,"content":795},[],[796,799,801],{"type":22,"text":797,"spans":798,"direction":736},"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":22,"text":738,"spans":800,"direction":736},[],{"type":22,"text":802,"spans":803,"direction":736},"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":806,"version":58,"items":807,"primary":808,"id":818,"slice_type":576,"slice_label":7},"centered-slice",[],{"image1":809,"label":7,"copyright":814},{"dimensions":810,"alt":7,"copyright":7,"url":811,"id":812,"edit":813},{"width":47,"height":47},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZqOhCx5LeNNTxhnR_FranzvonMatsch-Square.jpg?auto=format,compress","ZqOhCx5LeNNTxhnR",{"x":42,"y":42,"zoom":43,"background":761},[815],{"type":22,"text":816,"spans":817,"direction":736},"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$581a16cf-b400-443f-95ef-696551be2e71",{"variation":57,"version":58,"items":820,"primary":821,"id":835,"slice_type":194,"slice_label":7},[],{"title":822,"content":826},[823],{"type":183,"text":824,"spans":825,"direction":736},"A mysterious portrait",[],[827,830,832],{"type":22,"text":828,"spans":829,"direction":736},"The newly acquired painting is presented in its (presumably) original, beautifully crafted bamboo frame. From the corners of the frame protrude four tubers–the roots of the bamboo–enhancing its exotic allure. Its quasi-photographic quality and frontal, naturalistic depiction of a black man in bust form make it challenging to date at first glance. The painting appears academic with its polished finish and the model’s classical pose, yet it diverges from tradition through its unconventional choice of subject.",[],{"type":22,"text":738,"spans":831,"direction":736},[],{"type":22,"text":833,"spans":834,"direction":736},"A black figure wears a piece of cloth in a toga-like fashion, draped over his left shoulder and leaving the right one bare. Set against a simple clay-green background, he lacks contextual markers. The museum acquired it at a 2021 Sotheby's auction, simply as “Portrait of an African Man”. Its author, Austrian painter Franz von Matsch (1861-1942), was active in Vienna from the late 19th to the mid-20th century. Reflecting an era when Black representation in European art expanded alongside migration from Africa and Haiti, such works broke away from prevailing stereotypes. However, the context in which this portrait was created unveils more complex realities. While interpreting the artist’s perspective solely through the painting proves challenging, it nevertheless offers profound insights into anthropology and social relations in modern Europe.",[],"text$b4cb4442-fba2-4a3d-9ed3-7f3a2a3ca55a",{"variation":57,"version":58,"items":837,"primary":838,"id":852,"slice_type":194,"slice_label":7},[],{"title":839,"content":843},[840],{"type":183,"text":841,"spans":842,"direction":736},"Matsch and Klimt: partners in art",[],[844,847,849],{"type":22,"text":845,"spans":846,"direction":736},"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":22,"text":738,"spans":848,"direction":736},[],{"type":22,"text":850,"spans":851,"direction":736},"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$5f3b82d7-a73d-4039-9852-2a47bf8110de",{"variation":806,"version":58,"items":854,"primary":864,"id":874,"slice_type":576,"slice_label":7},[855],{"image":856,"title":862,"subtitle":863},{"dimensions":857,"alt":7,"copyright":7,"url":859,"id":860,"edit":861},{"width":37,"height":858},2413,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZqOjhB5LeNNTxhoK_Klimtpainting2.png?auto=format,compress","ZqOjhB5LeNNTxhoK",{"x":42,"y":42,"zoom":43,"background":761},"Gustav Klimt (1862-1918)","Portrait of William Nii Nortey Dowuona, c. 1897",{"image1":865,"label":7,"copyright":870},{"dimensions":866,"alt":7,"copyright":7,"url":867,"id":868,"edit":869},{"width":48,"height":561},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZqOqcR5LeNNTxhrQ_GustavKlimtlandscape3_2.jpg?auto=format,compress","ZqOqcR5LeNNTxhrQ",{"x":42,"y":42,"zoom":43,"background":761},[871],{"type":22,"text":872,"spans":873,"direction":736},"Gustav Klimt (1862-1918), Portrait of William Nii Nortey Dowuona, c. 1897\n\n(Click to view the full image)",[],"image$d8c5583d-c0ef-4f3e-a78c-a493b58b6b37",{"variation":57,"version":58,"items":876,"primary":877,"id":883,"slice_type":194,"slice_label":7},[],{"title":878,"content":879},[],[880],{"type":22,"text":881,"spans":882,"direction":736},"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":57,"version":58,"items":885,"primary":886,"id":895,"slice_type":194,"slice_label":7},[],{"title":887,"content":891},[888],{"type":183,"text":889,"spans":890,"direction":736},"Investigating identity",[],[892],{"type":22,"text":893,"spans":894,"direction":736},"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$4a43e929-6358-422a-bc1e-5fa06cd95e72",{"variation":57,"version":58,"items":897,"primary":907,"id":917,"slice_type":576,"slice_label":7},[898],{"image":899,"title":906,"subtitle":7},{"dimensions":900,"alt":7,"copyright":7,"url":903,"id":904,"edit":905},{"width":901,"height":902},2634,1517,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZqOk8h5LeNNTxhpX_printWienerTiergarten1897_SMK%5B31%5D2.png?auto=format,compress","ZqOk8h5LeNNTxhpX",{"x":42,"y":42,"zoom":43,"background":761},"A group of Ga people from Ghana at Vienna’s Tiergarten circa 1897.",{"image1":908,"label":7,"copyright":913},{"dimensions":909,"alt":7,"copyright":7,"url":910,"id":911,"edit":912},{"width":48,"height":561},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZqOk6h5LeNNTxhpW_GapeopleLandscape3_2.jpg?auto=format,compress","ZqOk6h5LeNNTxhpW",{"x":42,"y":42,"zoom":43,"background":761},[914],{"type":22,"text":915,"spans":916,"direction":736},"A group of Ga people from Ghana at Vienna’s Tiergarten circa 1897.\n\n(Click to view the full image.)",[],"image$f6b14082-d44d-4c8d-8b4b-a272c5c292e3",{"variation":57,"version":58,"items":919,"primary":920,"id":926,"slice_type":194,"slice_label":7},[],{"title":921,"content":922},[],[923],{"type":22,"text":924,"spans":925,"direction":736},"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":57,"version":58,"items":928,"primary":929,"id":943,"slice_type":194,"slice_label":7},[],{"title":930,"content":934},[931],{"type":183,"text":932,"spans":933,"direction":736},"Breaking with artistic conventions",[],[935,938,940],{"type":22,"text":936,"spans":937,"direction":736},"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":22,"text":738,"spans":939,"direction":736},[],{"type":22,"text":941,"spans":942,"direction":736},"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":57,"version":58,"items":945,"primary":946,"id":955,"slice_type":194,"slice_label":7},[],{"title":947,"content":951},[948],{"type":183,"text":949,"spans":950,"direction":736},"The Ghanaian Prince awaits his twin portrait",[],[952],{"type":22,"text":953,"spans":954,"direction":736},"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$49b51a06-a118-446d-962b-15e468711c46",{"variation":537,"version":58,"items":957,"primary":970,"id":981,"slice_type":576,"slice_label":7},[958,963],{"image":959,"title":962,"subtitle":7},{"dimensions":960,"alt":7,"copyright":7,"url":783,"id":784,"edit":961},{"width":782,"height":775},{"x":42,"y":42,"zoom":43,"background":761},"Matsch",{"image":964,"title":969,"subtitle":7},{"dimensions":965,"alt":7,"copyright":7,"url":966,"id":967,"edit":968},{"width":561,"height":48},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZqOjRB5LeNNTxhoC_GustavKlimt-3_2portrait.jpg?auto=format,compress","ZqOjRB5LeNNTxhoC",{"x":42,"y":42,"zoom":43,"background":761},"Klimt",{"image1":971,"image2":974,"label":7,"copyright":977},{"dimensions":972,"alt":7,"copyright":7,"url":783,"id":784,"edit":973},{"width":782,"height":775},{"x":42,"y":42,"zoom":43,"background":761},{"dimensions":975,"alt":7,"copyright":7,"url":966,"id":967,"edit":976},{"width":561,"height":48},{"x":42,"y":42,"zoom":43,"background":761},[978],{"type":22,"text":979,"spans":980,"direction":736},"Franz von Matsch’s and Gustav Klimt’s portraits of William Nii Nortey Dowuona circa 1897 (Matsch: left \u002F Klimt: right).\n\n(Click to view the full image)",[],"image$bd4ac8de-e7ea-4a73-b1b5-4ca49000c0b3",{"variation":57,"version":58,"items":983,"primary":984,"id":990,"slice_type":194,"slice_label":7},[],{"title":985,"content":986},[],[987],{"type":22,"text":988,"spans":989,"direction":736},"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":57,"version":58,"items":992,"primary":993,"id":1003,"slice_type":576,"slice_label":7},[],{"image1":994,"label":7,"copyright":999},{"dimensions":995,"alt":7,"copyright":7,"url":996,"id":997,"edit":998},{"width":48,"height":561},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZqOmbx5LeNNTxhpv_Nationalmus%C3%A9eumF%C3%ABschmaart-landscape3_2.jpg?auto=format,compress","ZqOmbx5LeNNTxhpv",{"x":42,"y":42,"zoom":43,"background":761},[1000],{"type":22,"text":1001,"spans":1002,"direction":736},"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. 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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.",[1142,1150],{"start":1143,"end":1144,"type":498,"data":1145},308,337,{"id":1146,"type":501,"tags":1147,"lang":16,"slug":1148,"first_publication_date":1149,"last_publication_date":1149,"link_type":69,"isBroken":34},"ZmxKyxIAACEAJeVC",[],"signature-squeegee-technique","2024-06-14T13:51:09+0000",{"start":1143,"end":1151,"type":611},336,{"type":22,"text":1153,"spans":1154,"direction":736},"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.",[],"text$70e5d07e-6002-443b-907d-2b4441f2272c",{"variation":806,"version":58,"items":1157,"primary":1169,"id":1179,"slice_type":576,"slice_label":7},[1158],{"image":1159,"title":7,"subtitle":7},{"dimensions":1160,"alt":7,"copyright":7,"url":1163,"id":1164,"edit":1165},{"width":1161,"height":1162},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":1166,"y":1167,"zoom":1168,"background":761},181,122,1.14,{"image1":1170,"label":7,"copyright":1178},{"dimensions":1171,"alt":7,"copyright":7,"url":1172,"id":1173,"edit":1174},{"width":48,"height":561},"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":1175,"y":1176,"zoom":1177,"background":761},384,256,1.25,[],"image$19a02077-12cb-4921-a909-1bdc1a62fbcb",{"variation":57,"version":58,"items":1181,"primary":1182,"id":1191,"slice_type":194,"slice_label":7},[],{"title":1183,"content":1184},[],[1185],{"type":22,"text":1186,"spans":1187,"direction":736},"Richter's works from this period particularly captivated buyers between 2008 and 2012. Notably, Abstraktes Bild (809-4), a painting from 1994, made Richter the most expensive living artist in 2012. Having set several auction records for the artist, these works now occupy nine of his top ten sales.",[1188],{"start":1189,"end":1190,"type":28},96,119,"text$ee13476c-9a3e-4d89-88b8-8238b36170b0",{"variation":806,"version":58,"items":1193,"primary":1202,"id":1209,"slice_type":576,"slice_label":7},[1194],{"image":1195,"title":7,"subtitle":7},{"dimensions":1196,"alt":7,"copyright":7,"url":1199,"id":1200,"edit":1201},{"width":1197,"height":1198},1822,2356,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZmsJr5m069VX1uYh_RichterVisualsforArticles-21.jpg?auto=format,compress","ZmsJr5m069VX1uYh",{"x":42,"y":42,"zoom":43,"background":761},{"image1":1203,"label":7,"copyright":1208},{"dimensions":1204,"alt":7,"copyright":7,"url":1205,"id":1206,"edit":1207},{"width":561,"height":48},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZmsIppm069VX1uXx_Richter3_2.jpg?auto=format,compress","ZmsIppm069VX1uXx",{"x":42,"y":42,"zoom":43,"background":761},[],"image$9218cfd6-ae59-45d9-9b61-646d8053d5d9",{"variation":57,"version":58,"items":1211,"primary":1212,"id":1218,"slice_type":194,"slice_label":7},[],{"title":1213,"content":1214},[],[1215],{"type":22,"text":1216,"spans":1217,"direction":736},"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$7275b4de-13b5-4e81-bee5-3e0d41cfb077",{"variation":806,"version":58,"items":1220,"primary":1229,"id":1234,"slice_type":576,"slice_label":7},[1221],{"image":1222,"title":7,"subtitle":7},{"dimensions":1223,"alt":7,"copyright":7,"url":1226,"id":1227,"edit":1228},{"width":1224,"height":1225},2320,1450,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZoa42h5LeNNTwzGK_Richter_AnalysisArticle_Graph_V1.jpg?auto=format,compress","Zoa42h5LeNNTwzGK",{"x":42,"y":42,"zoom":43,"background":761},{"image1":1230,"label":7,"copyright":1233},{"dimensions":1231,"alt":7,"copyright":7,"url":1226,"id":1227,"edit":1232},{"width":1224,"height":1225},{"x":42,"y":42,"zoom":43,"background":761},[],"image$a61a6c61-9b4c-4c70-a5db-73eb386d5b0a",{"variation":57,"version":58,"items":1236,"primary":1237,"id":1255,"slice_type":194,"slice_label":7},[],{"title":1238,"content":1239},[],[1240,1249],{"type":22,"text":1241,"spans":1242,"direction":736},"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.",[1243],{"start":1244,"end":1245,"type":498,"data":1246},263,289,{"link_type":154,"url":1247,"target":1248},"https:\u002F\u002Fartexplored.com\u002Farticle\u002Fartist-report-gerhard-richter","_self",{"type":22,"text":1250,"spans":1251,"direction":736},"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. 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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":1382,"alt":7,"copyright":7,"url":1383,"id":1384,"edit":1385},{"width":48,"height":47},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZoZjCB5LeNNTwyJp_Slide16_9-5-.jpg?auto=format,compress","ZoZjCB5LeNNTwyJp",{"x":42,"y":42,"zoom":43,"background":761},{"dimensions":1387,"alt":7,"copyright":7,"url":1388,"id":1389,"edit":1390},{"width":47,"height":48},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZoamfR5LeNNTwy5c_9_16-2-.jpg?auto=format,compress","ZoamfR5LeNNTwy5c",{"x":42,"y":42,"zoom":43,"background":761},{"dimensions":1392,"alt":7,"copyright":7,"url":1388,"id":1389,"edit":1393},{"width":47,"height":48},{"x":42,"y":42,"zoom":43,"background":761},"2024-07-04",[1396,1416,1439,1461,1478],{"variation":57,"version":58,"items":1397,"primary":1398,"id":1415,"slice_type":194,"slice_label":7},[],{"title":1399,"content":1400},[],[1401,1404,1409,1412],{"type":22,"text":1402,"spans":1403,"direction":736},"“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":22,"text":1405,"spans":1406,"direction":736},"Art connections reimagined",[1407],{"start":42,"end":1408,"type":28},26,{"type":22,"text":1410,"spans":1411,"direction":736},"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":22,"text":1413,"spans":1414,"direction":736},"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$77aa420a-ca9c-439c-bfee-4c8e3fd8e774",{"variation":537,"version":58,"items":1417,"primary":1418,"id":1438,"slice_type":576,"slice_label":7},[],{"image1":1419,"image2":1426,"label":1433,"copyright":1434},{"dimensions":1420,"alt":7,"copyright":7,"url":1423,"id":1424,"edit":1425},{"width":1421,"height":1422},4423,6463,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZoZ6XR5LeNNTwyb6_2017-246-002a--.jpg?auto=format,compress","ZoZ6XR5LeNNTwyb6",{"x":42,"y":42,"zoom":43,"background":761},{"dimensions":1427,"alt":7,"copyright":7,"url":1430,"id":1431,"edit":1432},{"width":1428,"height":1429},4380,6324,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZoZ6Sh5LeNNTwyb4_2017-246-001a--.jpg?auto=format,compress","ZoZ6Sh5LeNNTwyb4",{"x":42,"y":42,"zoom":43,"background":761},"From left to right",[1435],{"type":22,"text":1436,"spans":1437,"direction":736},"Aida Silvestri (b. 1978), Kidan. Eritrea to London on foot, by car, lorry, boat train and aeroplane, 2017 © Collection MNAHA, Photo: Tom Lucas; Aida Silvestri (b. 1978), Biniam. Eritrea to London by car, boat, lorry, train and aeroplane, 2017 © Collection MNAHA, Photo: Tom Lucas",[],"image$af33763b-bb06-4f72-8234-5c3a44222c01",{"variation":57,"version":58,"items":1440,"primary":1441,"id":1460,"slice_type":194,"slice_label":7},[],{"title":1442,"content":1443},[],[1444,1449,1452,1457],{"type":22,"text":1445,"spans":1446,"direction":736},"A Francis Bacon in resonance",[1447],{"start":42,"end":1448,"type":28},28,{"type":22,"text":1450,"spans":1451,"direction":736},"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":22,"text":1453,"spans":1454,"direction":736},"Portraits in the post-war era",[1455],{"start":42,"end":1456,"type":28},29,{"type":22,"text":1458,"spans":1459,"direction":736},"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":806,"version":58,"items":1462,"primary":1463,"id":1477,"slice_type":576,"slice_label":7},[],{"image1":1464,"label":7,"copyright":1473},{"dimensions":1465,"alt":7,"copyright":7,"url":1468,"id":1469,"edit":1470},{"width":1466,"height":1467},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":33,"y":1471,"zoom":1472,"background":761},315,1.21,[1474],{"type":22,"text":1475,"spans":1476,"direction":736},"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":57,"version":58,"items":1479,"primary":1480,"id":1496,"slice_type":194,"slice_label":7},[],{"title":1481,"content":1482},[],[1483,1488],{"type":22,"text":1484,"spans":1485,"direction":736},"An artwork loaned by the public",[1486],{"start":42,"end":1487,"type":28},31,{"type":22,"text":1489,"spans":1490,"direction":736},"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.",[1491],{"start":1492,"end":1493,"type":498,"data":1494},224,240,{"link_type":154,"url":1495,"target":1248},"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":1500,"alt":7,"copyright":7,"url":1501,"id":1502,"edit":1503},{"width":130,"height":131},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZpTyAB5LeNNTxJwp_FrancisBaconnationalmus%C3%A9eImageOpengraph.jpg?auto=format,compress","ZpTyAB5LeNNTxJwp",{"x":42,"y":42,"zoom":43,"background":761},[]]