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Post by gildoinc on Nov 12, 2009 15:28:44 GMT -8
Also very cool. Think a program/concept like this would happen here in the US?
From the Associated Press
Art under the big top: The roving Pompidou
By JENNY BARCHFIELD (AP) – Nov 5, 2009
PARIS — Forget the lions, tigers and bears. Paris' Pompidou Center plans to fill a colorful circus big top with Picassos, Matisses and Calders instead, creating a roving museum to take its masterpieces of modern art to France's culturally deprived rural regions and rough suburbs.
The so-called "Pompidou Mobile" aims to be just as avant-garde in its design as the original Pompidou Center — the audacious, tube-covered structure that houses the city's premier contemporary art museum and caused a furor when it opened in 1977.
Only part of the necessary funding has been raised and no itinerary has yet been drawn up. Visiting the roving Pompidou will be free, and the project's priorities are rural regions and the poor, crime-ridden suburbs that ring France's cities but are often largely cut off from the cultural offerings there.
"It's about bringing art to the people to awaken their desire to go toward the art," the Pompidou's president, Alain Seban, said in a statement. "It's a sign of our openness."
Architect Patrick Bouchain, whose firm specializes in circus tents and other collapsable structures, showed sketches of his design for the new Pompidou structure at a presentation Thursday: several triangle-shaped modules that can be fitted together to create different structures fitted to the different environments in which the museum will pitch its tent.
"It has to be adaptable anywhere, from a parking lot at a suburban shopping center to maybe a country lot or field," Bouchain said.
Inside the high-tech canvas structure, solid glass and plastic encasements will protect the artwork from vandalism and theft and keep the temperature and humidity constant, Bouchain said.
The total cost of the 1,000-sq. meter (10,700-sq. foot) structure is estimated at euro3 million ($4.43 million) — of which euro500,000 has been pledged so far, Seban said. He's looking for sponsors to fund the balance.
Provided they get the money, the mobile museum will hit the road starting at the end of next year, Seban said. The 10-15 works from the Pompidou's extensive permanent collection that are likely to go on display include Pablo Picasso's "Femme en Bleu" (Women in Blue), a 1944 post-Cubist painting in shades of indigo, and a primary-colored mobile by American artist Alexander Calder.
Henri Matisse's 1941 painting "Nature morte au magnolia" (Magnolia Still Life) — among the French artist's personal favorites — could rub proverbial shoulders with "America, America," a 1964 neon sculpture of fingers snapping, by Martial Raysse.
The artwork on display will change as the museum moves across the country, with exhibits loosely focused around broad themes like primary colors and black and white, the human body, and the energy of the city, said curator Emma Lavigne.
Three three-month-long stints will be organized per year, with regional governments footing the bill for the museum's operating costs, Seban said.
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Post by steveinca on Nov 12, 2009 18:07:04 GMT -8
Also very cool. Think a program/concept like this would happen here in the US? From the Associated Press Art under the big top: The roving Pompidou By JENNY BARCHFIELD (AP) – Nov 5, 2009 PARIS — Forget the lions, tigers and bears. Paris' Pompidou Center plans to fill a colorful circus big top with Picassos, Matisses and Calders instead, creating a roving museum to take its masterpieces of modern art to France's culturally deprived rural regions and rough suburbs. The so-called "Pompidou Mobile" aims to be just as avant-garde in its design as the original Pompidou Center — the audacious, tube-covered structure that houses the city's premier contemporary art museum and caused a furor when it opened in 1977. Only part of the necessary funding has been raised and no itinerary has yet been drawn up. Visiting the roving Pompidou will be free, and the project's priorities are rural regions and the poor, crime-ridden suburbs that ring France's cities but are often largely cut off from the cultural offerings there. "It's about bringing art to the people to awaken their desire to go toward the art," the Pompidou's president, Alain Seban, said in a statement. "It's a sign of our openness." Architect Patrick Bouchain, whose firm specializes in circus tents and other collapsable structures, showed sketches of his design for the new Pompidou structure at a presentation Thursday: several triangle-shaped modules that can be fitted together to create different structures fitted to the different environments in which the museum will pitch its tent. "It has to be adaptable anywhere, from a parking lot at a suburban shopping center to maybe a country lot or field," Bouchain said. Inside the high-tech canvas structure, solid glass and plastic encasements will protect the artwork from vandalism and theft and keep the temperature and humidity constant, Bouchain said. The total cost of the 1,000-sq. meter (10,700-sq. foot) structure is estimated at euro3 million ($4.43 million) — of which euro500,000 has been pledged so far, Seban said. He's looking for sponsors to fund the balance. Provided they get the money, the mobile museum will hit the road starting at the end of next year, Seban said. The 10-15 works from the Pompidou's extensive permanent collection that are likely to go on display include Pablo Picasso's "Femme en Bleu" (Women in Blue), a 1944 post-Cubist painting in shades of indigo, and a primary-colored mobile by American artist Alexander Calder. Henri Matisse's 1941 painting "Nature morte au magnolia" (Magnolia Still Life) — among the French artist's personal favorites — could rub proverbial shoulders with "America, America," a 1964 neon sculpture of fingers snapping, by Martial Raysse. The artwork on display will change as the museum moves across the country, with exhibits loosely focused around broad themes like primary colors and black and white, the human body, and the energy of the city, said curator Emma Lavigne. Three three-month-long stints will be organized per year, with regional governments footing the bill for the museum's operating costs, Seban said. That would be very cool. However, after reading your post right above this i think it may also be a bit risky. If they take master pieces to the rural and rough areas of France, who's to say that they won't be robbed. |
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Post by gildoinc on Nov 12, 2009 23:04:19 GMT -8
Adorable story about how Warhol gave one of his self-portraits to a teenage typist who worked for him for two years for free. Wow. Her piece went way above the 1 - 1.5 million estimate. Warhol’s 20-inch-square Self-Portrait from 1965, which had been consigned by Cathy Naso, a one-time teenage receptionist for Warhol’s famed Factory. The artist had given it to her as a token of appreciation for her brief service. Estimated at $1-1.5 million, it sold to London jewelry magnate Laurence Graff for a hefty $6,130,500. |
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Post by untilshewokeme on Nov 30, 2009 13:22:16 GMT -8
no necessarily an article but a story: walking around the package story the other day looking for a bottle of wine for my fiance and I noticed the artwork of Mel Kadel on one of the labels. Don't know if anyone else knew about this but found it interesting. here is a link to some of the labels vinedesigns.wordpress.com/2009/03/28/strong-arms-shiraz-artist-mel-kadel/Looks like she designed a bunch, which can be sound with a quick image search on google. |
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Post by gildoinc on Dec 3, 2009 10:04:34 GMT -8
Bloomberg News: U.S. Marshals Seize Degas, Miro Paintings at Art Basel Miami
By Lindsay Pollock
Dec. 3 (Bloomberg) — A dozen U.S. Marshals and police officers were among the first visitors to the Art Basel Miami Beach fair yesterday as they seized paintings by Fernand Leger, Joan Miro, Edgar Degas and Yves Klein following an insurance dispute between two dealers.
The paintings were confiscated from the fair at the convention center in Miami Beach, Florida, about 90 minutes before the V.I.P. opening at noon for thousands of invited guests including casino mogul Steve Wynn, billionaire investor Wilbur Ross and designer Calvin Klein. The fair opens to the general public today and ends on Sunday.
The works had hung in the booth of Zurich-based Galerie Gmurzynska among paintings and sculptures by Pablo Picasso, Robert Indiana and actor Sylvester Stallone.
Artworks have never been seized by authorities in Art Basel Miami Beach’s 8-year history, said Sara Fitzmaurice, a fair spokeswoman.
“We were there to execute a private federal court order,” said Barry Golden, a spokesman for the U.S. Marshal Service, Southern District of Florida. “Artworks were seized.”
Art Basel Miami Beach hosts over 250 galleries from 33 countries. About 10 satellite fairs coincide with the bigger show, which is the largest and most prestigious modern and contemporary art fair in the U.S. in terms of exhibitors.
The seizure was connected to a lawsuit filed in New York Federal Court on July 13 by Edelman Arts Inc. as assignee of XL Specialty Insurance Corp. Edelman Arts is a New York gallery run by former Wall Street investor Asher B. Edelman.
Edelman, in conjunction with XL Specialty Insurance, which assigned its claim to Edelman in exchange for moneys owed, sued Galerie Gmurzynska over a damaged Robert Ryman painting. Ryman is known for his white minimalist surfaces.
The lawsuit alleged that in 2007 Edelman consigned Ryman’s 1985 “Courier I” to Gmurzynska for sale at Art Basel Miami Beach and was insured for $750,000. The work was returned with a “deep indentation,” or “gouge” according to the lawsuit, and the defendant refused to pay the insured value.
The suit claims an additional $250,000 for “willful conduct of defendant” and “reprehensible motives and such wanton dishonesty as to imply a criminal indifference to civil obligations.” The suit resulted in a default judgment for the plaintiff for about $765,000.
“We had a judgment against Gmurzynska for damages done to a work of art and executed the judgment on behalf of the insurance company,” Edelman said in a telephone interview from his booth at the Art Miami fair across town.
Edelman accompanied the marshals. The Ryman work was not on display at Gmurzynska. The seized artworks, which are not owned by Edelman, reflect about 10 times the value of the judgment, the standard amount confiscated for auction, he said.
“I was assisting the marshals by valuing the paintings,” said Edelman, who also made time at the convention center to buy an Agathe Snow sculpture featuring cartoon character Homer Simpson from Lower East Side dealer James Fuentes.
Gmurzynska’s lawyer, Peter R. Stern of McLaughlin & Stern LLP, declined to discuss ownership of the seized artworks, and it is unknown whether they are gallery inventory or works on consignment.
“The gallery was totally surprised by the events that occurred,” said Stern. “Edelman Arts, unbeknownst to the gallery, obtained a default judgment against my client without warning. The marshals appeared. The gallery is attempting to clarify the matter.”
Edelman said the artworks would be auctioned by the U.S. Marshals to pay XL, Edelman Arts and lawyers’ fees, with any surplus going to Galerie Gmurzynska.
The four paintings are valued at more than $6 million, according to sources familiar with the works. Comparable works by Degas alone have recently sold at auction for about $7 million. The confiscated Degas painting depicts jockeys on horseback.
Gmurzynska’s booth attracted even more attention as the fair opened. Gallery consultant Princess Michael of Kent, clad in a lavender suit, chatted with clients and visitors at the booth.
Stallone held court in the back half of the stand, where his colorful expressionistic paintings hung on a wall. It is the actor’s first gallery show.
As photographers’ flashbulbs exploded around the stand, the Los Angeles-based Stallone discussed his work, admitting he was intimidated to exhibit in close proximity to his artist heroes like Colombian artist Fernando Botero. “I wouldn’t exactly say I have a following,” Stallone said in an interview. He said he usually gives his paintings as gifts to relatives, but two paintings had sold by the afternoon, each priced between $40,000 and $50,000.
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Post by bspear on Dec 29, 2009 6:06:41 GMT -8
Enlightening short article about the economic crisis' effect on art museums. Talks about how museums are canceling exhibitions and considering selling off pieces and collections. That's not the right way to go. I think it demands a paradigm shift....museums need to start showcasing lesser known and more contemporary artists. The case in point is the wildly successful Todd Schorr exhibit at the San Jose Institute of Contemporary art. I remember seeing an article or post here or on Arrested Motion about this point but couldn't find it. www.newsweek.com/id/225633 |
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Post by sleepboy on Dec 29, 2009 8:18:24 GMT -8
Enlightening short article about the economic crisis' effect on art museums. Talks about how museums are canceling exhibitions and considering selling off pieces and collections. That's not the right way to go. I think it demands a paradigm shift....museums need to start showcasing lesser known and more contemporary artists. The case in point is the wildly successful Todd Schorr exhibit at the San Jose Institute of Contemporary art. I remember seeing an article or post here or on Arrested Motion about this point but couldn't find it. www.newsweek.com/id/225633Never thought of it that way, but that makes sense. Imagine just one museum taking what they paid for one painting and buying more contemporary art. They would have a treasure trove... Although, how do you know those artists will stand the test of time. Although it's a catch 22 because having your work in a museum does help an artist stand the test of time somewhat. Oh, and here is the article ;D arrestedmotion.com/2009/09/traditional-museums-set-record-attendence-non-traditionally-banksy-shepard-fairey-schorr-soto-retrospective/ |
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Post by gildoinc on Dec 29, 2009 9:08:16 GMT -8
Enlightening short article about the economic crisis' effect on art museums. Talks about how museums are canceling exhibitions and considering selling off pieces and collections. That's not the right way to go. I think it demands a paradigm shift....museums need to start showcasing lesser known and more contemporary artists. The case in point is the wildly successful Todd Schorr exhibit at the San Jose Institute of Contemporary art. I remember seeing an article or post here or on Arrested Motion about this point but couldn't find it. www.newsweek.com/id/225633Never thought of it that way, but that makes sense. Imagine just one museum taking what they paid for one painting and buying more contemporary art. They would have a treasure trove... Although, how do you know those artists will stand the test of time. Although it's a catch 22 because having your work in a museum does help an artist stand the test of time somewhat. Oh, and here is the article ;D arrestedmotion.com/2009/09/traditional-museums-set-record-attendence-non-traditionally-banksy-shepard-fairey-schorr-soto-retrospective/I think it's a misconception that museums are not spending small fortunes buying tons of work by younger artists. There is always a museum director or curator purchasing works by lesser known artists at the major art fairs - Basel, Scope, NADA, Pulse, etc. In reality I think it boils down to what the curators/board members think the public wants to see. And in all honesty, if they have purchased one rare Warhol or Matisse that hasn't been seen in public in 30 years they are going to want to show it off. I think it's the smaller museums that would benefit from showing more contemporary artists/collections. It would distinguish them and help them stay afloat, etc. |
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Post by gildoinc on Dec 29, 2009 9:09:46 GMT -8
Enlightening short article about the economic crisis' effect on art museums. Talks about how museums are canceling exhibitions and considering selling off pieces and collections. That's not the right way to go. I think it demands a paradigm shift....museums need to start showcasing lesser known and more contemporary artists. The case in point is the wildly successful Todd Schorr exhibit at the San Jose Institute of Contemporary art. I remember seeing an article or post here or on Arrested Motion about this point but couldn't find it. www.newsweek.com/id/225633Interesting article. Here is an article from the Art Newspaper saying that attendance is actually on the rise for some institutions. www.theartnewspaper.com/articles/Museum-attendance-rises-as-the-economy-tumbles/19840 |
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Post by bspear on Dec 29, 2009 13:01:18 GMT -8
...that's a good point, gildoinc. The larger museums with historical and more valuable collections probably couldn't get away with showcasing lesser known contemporaries. That's not in line with their mission (or their funders' missions).
Well, hopefully lots of small museum directors are lurking here and take our advice. I'm guessing we'll see more of our favorites popping up at places like the San Jose Instit.
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Post by gildoinc on Jan 9, 2010 17:51:19 GMT -8
This from the Telegraph Mona Lisa smile due 'to very high cholesterol' The intriguing smile of the Mona Lisa was the result of very high levels of cholesterol, according to a medical expert who has studied famous figures in Renaissance art. By Alastair Jamieson Published: 7:20AM GMT 06 Jan 2010  Mona Lisa, painted by Leonardo da Vinci The facial expression - one of the main reasons why the 16th century painting is among the most famous works of art in the world – shows signs of a build up of fatty acids around the eyes of the subject , according to Vito Franco of the University of Palermo. The Italian scientist says the model in the oil painting had a xanthelasma – a subcutaneous accumulation of cholesterol – in the hollow of her left eye and a fatty tissue tumour. Franco also claims to have identified a genetic bone tissue disorder, Marfan syndrome, in two other Renaissance figures: the subject for Botticelli's Portrait of a Youth, which hangs in the National Gallery of Art in Washington, and the subject for Parmigianino’s Madonna with Long Neck. Franco told the Italian newspaper, La Stampsa: "The people depicted [in art] tell us about their vulnerable humanity, independently of the awareness of the artist.” He added that Michelangelo’s appearance in the foreground of Raphael's The School of Athens suggests he suffered from “an excess of uric acid, typical of those afflicted by renal calculosis”. This was possibly because the artist had been living off nothing but bread and wine while working on the Sistine Chapel, Franco said. |
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Post by commandax on Jan 12, 2010 8:25:44 GMT -8
Los Angeles has come a long way since I moved here 19 years ago... it was a bit of a cultural wasteland. New York Times: "The 31 Places to Go in 2010"11. Los Angeles Visitors love to bemoan the lack of an old-fashioned cultural neighborhood in Los Angeles. In truth, the city has as many thriving art spots as it does ZIP codes. Last October, the pioneering Culver City gallery Blum & Poe (2727 South La Cienega Boulevard; 310-836-2062; inaugurated an airy 21,000-square-foot space; in July, the veteran local dealer Thomas Solomon (427 Bernard Street; 323-427-1687; opened a space in Chinatown. And the powerhouse New York galleries L&M Arts and Matthew Marks are scheduled to open prominent spaces in 2010. Local museums, many of which struggled financially in recent years, are back afloat. The Museum of Contemporary Art (www.moca.org) is celebrating its 30th birthday with a huge exhibition of 500 highlights from its outstanding collection of postwar art. In October, the vast Los Angeles County Museum of Art (www.lacma.org) will get even bigger when it unveils a Renzo Piano-designed addition to its multiacre mid-Wilshire campus. And the billionaire collector Eli Broad, who has been both savior and villain to just about every major museum in town, is now looking to plant his own museum in Beverly Hills, Santa Monica or a third unnamed location. |
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Post by gamma888 on Jan 24, 2010 0:16:48 GMT -8
A nice read about art collectors' artwork being on loan for museums written by Kate Taylor from NPR: Title: Can Collectors Have Their Art And Lend It, Too? Art collectors — whether they are rounding up Renaissance drawings, African masks or big shiny balloon animals by Jeff Koons — often see their collections as a form of self-expression. So when collectors make plans to donate their treasures, they don't take those decisions lightly. American museums owe the vast majority of their art collections to gifts from private collectors. Since the 19th century, collectors such as J.P. Morgan, Solomon Guggenheim, Gertrude Vanderbilt Whitney and generations of Rockefellers have donated their art collections. Today, a big part of a museum director's job is to try to cultivate people who will eventually give the museum their art. But getting a collector to part with his or her art is no small feat. And recently, it seems, would-be art donors have gotten even pickier. "You want to show your own art, so what do you do?" asked late Gap founder and art collector Don Fisher in a 2007 online interview with The San Francisco Chronicle. "You gotta sell it, or you give it away and people leave it in the basement. I don't want our art in the basement." www.npr.org/templates/story/story.php?storyId=122619567 |
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Post by steveinca on Feb 12, 2010 0:14:25 GMT -8
I found this article interesting and funny. If I were the ex girlfriend i'd get a second opinion. The Damien Hirst Art Work that is Worthless" "Not long after the sale of a Damien Hirst show made £111 million, an example of his work has been found that is worth practically nothing because the subject is not dead and has not been preserved in formaldehyde. Art experts have described an early Hirst painting as "worthless", pointing out that it was not produced in his trademark style that centres on death. Rather, the oil painting that the budding artist produced over quarter of a century ago was of a cat that was very much alive.  The pet named Mindy belonged to the older sister of the teenage artist's then girlfriend. He painted the cat belonging to Julia Staniforth, because he wanted to impress her as he courted her younger sister Joanne. The young couple split six months after he did the painting in 1982. The elder sister kept it, however, because it was "too good to get rid of". As Hirst's fame spread and exhibitions of his dead animals, including a sheep, shark and a cow, received much publicity, Ms Staniforth hoped that her example of early Hirst might be worth a bit of money. Her hopes were dashed by a Sotheby's expert who told her the portrait was "worthless", because Mindy had not been given the full Hirst treatment. Ms Staniforth, 51, a Leeds hairdresser, said: "I don't really want to sell the painting because I adored Mindy, but obviously if I got a ridiculous offer it is something I would have to consider. I can't believe Sotheby's think a Hirst original, which he has signed and dated is not worth anything. "Mindy died in 1996 and perhaps instead of burying her in my garden I should have had Damien come back and put her in formaldehyde. Then I would have something of value." Joanne, 43, said: "I think I was Damien's first love, he was certainly mine. I loved him bits. He dumped me three weeks before my 18th birthday. It broke my heart at the time, but I'm so glad for the success he has had." www.telegraph.co.uk/news/2986943/The-Damien-Hirst-art-work-that-is-worthless.html |
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Post by jediak on Feb 12, 2010 10:44:20 GMT -8
Yeah that's a hard pill to swallow I bet, just because Sotheby's said it was worth nothing doesn't mean squat. A painting is worth as much as someone is willing to pay for it and I am sure there are some collectors out there that would love to include something this early in their collection.
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Post by svenman on Feb 12, 2010 13:51:18 GMT -8
'perhaps instead of burying her in my garden I should have had Damien come back and put her in formaldehyde'  lmao!
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Post by commandax on Mar 7, 2010 11:56:52 GMT -8
New York Times: " Street Art Is Landing at New Addresses, in Galleries" "FOR the current fifth-anniversary exhibition at his New York gallery Jonathan LeVine has filled it with works by 35 artists, most of whom he represents. The space is in Chelsea, but there’s no cerebral conceptualism, cool abstraction or painterly gesture on view. Instead this work, variously labeled Lowbrow Art, Pop Surrealism and perhaps most accurately Pop Pluralism, is the skateboarding, graffiti-tagging, sometimes bratty and rebellious younger sibling of the art shown in most of the neighborhood’s locations. Still, the art in the Jonathan LeVine Gallery seems at home in Chelsea in a way it did not five years ago. After years on the fringes of the art world, “we’ve come to a turning point,” Mr. LeVine said recently. “The mainstream is embracing this work.”" More at the link above... |
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Post by svenman on Mar 7, 2010 15:17:18 GMT -8
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Post by bluecat on Mar 8, 2010 0:45:56 GMT -8
Respect to Justin! I bought my first artwork from him and have continued to keep buying from the Shooting Gallery and White Walls when I can. He made me realise the art world can be accessible to anyone, not just those with plenty of cash to flash or high ranking status. I've been lucky enough to visit the Shooting Gallery a couple of times and it's always a treat, Justin makes everyone equally welcome. Happy birthday! |
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Post by steveinca on Mar 8, 2010 11:42:54 GMT -8
Justin is definitely a good guy. I helped him out with the Grammy Worlds on Fire show in 09. Real mellow dude.... |
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Post by steveinca on Apr 8, 2010 10:39:54 GMT -8
Interesting.....Google is being sued by photographers and illustrators... scitech.blogs.cnn.com/2010/04/07/visual-artists-sue-google-over-copyright-issues/?hpt=T2"Photographers and illustrators filed a lawsuit against Google on Wednesday, claiming that the search engine displays copyrighted images in books it scans, without fairly compensating the people who created the images. The American Society of Media Photographers is leading the class-action lawsuit, which was filed on Wednesday in U.S. District Court in New York, according to a news release. Visual artists were not allowed to join a previous lawsuit filed against Google by book authors and publishers, who charged that Google was not fairly compensating them for books and excerpts posted online as part of its Google Books project. That project aims to digitize the world's books, creating a huge online library. The Google Books legal action, initially filed in 2005, is expected to be settled soon; however, Wednesday's lawsuit over visual art on Google could keep the search engine in court on copyright issues for longer. “We are seeking justice and fair compensation for visual artists whose work appears in the 12 million books and other publications Google has illegally scanned to date," Victor Perlman, general counsel for the photographers' organization, said in a written statement. "In doing so, we are giving voice to thousands of disenfranchised creators of visual artworks whose rights we hope to enforce through this class action.” James McGuire, who represents the ASMP in the lawsuit against Google, told the Financial Times that the visual artists "are not trying to crash the party or influence what is happening with the other class action. We are just trying to get the best possible result for this class of plaintiffs." Google says its trying to make information more universally available. "We are confident that Google Books is fully compliant with U.S. and international copyright law," Gabriel Stricker, a Google spokesman, wrote in an e-mail message to CNN. "Google Books is an historic effort to make all of the knowledge contained within the world's books searchable online. It exposes readers to information they might not otherwise see, and it provides authors and publishers with a new way to be found." The ASMP is joined by the Graphic Artists Guild, the Picture Archive Council of America, the North American Nature Photography Association, Professional Photographers of America and others in its filing against Google."-CNN |
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Post by |peetov| on Apr 9, 2010 14:40:37 GMT -8
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Post by sleepboy on Apr 19, 2010 7:39:30 GMT -8
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Post by sleepboy on Apr 20, 2010 14:08:37 GMT -8
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Post by commandax on Apr 26, 2010 19:01:46 GMT -8
Irish Times: "A Family of Collector's Items""The role of collectors in art history is often underestimated. Yet it is collectors who largely determine, through their choices and museum endowments, what will be considered great art. The leading exhibitions in Washington this spring pay homage to two singular pairs of 19th- and early 20th-century collectors of French art: the Dales, and the Welsh sisters Gwendoline and Margaret Davies. Dale defined his and Maud’s role thus: “We have always held that a collector of art is merely a custodian who is serving posterity.” After quarrelling with several major museums, the Dales eventually left the bulk of their collection to the National Gallery in Washington where it became, in the words of one director, “the whole rib structure of the modern French school here”. For the past 45 years, the Dale paintings were not shown as an ensemble, because it would have left too many blank spaces on the museum’s walls." |
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lmao!
