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on the auction block: a new velázquez (?) https://blogofthecourtier.com/2017/04/25/on-the-auction-block-a-new-velazquez/
https://blogofthecourtier.com/2017/04/25/on-the-auction-block-a-new-velazquez/
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the discovery of a previously unknown work http://theartnewspaper.com/market/art-market-news/is-this-painting-to-be-auctioned-in-madrid-really-a-work-by-vel-zquez/
las meninas https://en.wikipedia.org/wiki/las_meninas
portrait of prince felipe prospero https://en.wikipedia.org/wiki/portrait_of_prince_philip_prospero
christ in the house of martha and mary https://en.wikipedia.org/wiki/christ_in_the_house_of_martha_and_mary_(vel%c3%a1zquez)
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​waiting to change: an update https://blogofthecourtier.com/2017/04/18/%e2%80%8bwaiting-to-change-an-update/
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wrote about wanting to make some significant changes https://blogofthecourtier.com/2017/03/02/help-me-move-no-heavy-lifting-required/
listening to mac barron https://catholicinasmalltown.wordpress.com/2017/04/16/cst-395-the-big-reveal/
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selective engagement: the politics of art restitution https://blogofthecourtier.com/2017/04/13/selective-engagement-the-politics-of-art-restitution/
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on the auction block: a new velázquez (?) https://blogofthecourtier.com/2017/04/25/on-the-auction-block-a-new-velazquez/
​waiting to change: an update https://blogofthecourtier.com/2017/04/18/%e2%80%8bwaiting-to-change-an-update/
selective engagement: the politics of art restitution https://blogofthecourtier.com/2017/04/13/selective-engagement-the-politics-of-art-restitution/
under construction: projects at two of the world’s most important museums https://blogofthecourtier.com/2017/04/11/under-construction-projects-at-two-of-the-worlds-most-important-museums/
a michelangelo returns home for holy week https://blogofthecourtier.com/2017/04/06/a-michelangelo-returns-home-for-holy-week/
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blog of the courtier by william newton menu skip to content homecontact the patron top posts search search for: on the auction block: a new velázquez (?) april 25, 2017 / william newton / 2 comments the potentially big news in the art market this week is the discovery of a previously unknown work by diego velázquez (1599-1660), the greatest of all spanish painters. the painting will be auctioned in madrid today, and while the auction house is being extremely cautious about attribution, at least one expert in spanish painting of the 17th and 18th centuries has declared it to be by the old master. while i’m certainly not a qualified art expert when it comes to deciding whether or not a particular artist created a particular work, there are a number of factors that make me feel comfortable with this attribution, and one in particular which i’m surprised that no one has mentioned in the art press. the painting in question depicts a young girl in 17th century costume, her hands folded in prayer. x-rays of the picture reveal that she was originally crowned by a halo of stars, which was painted out at some point in the past. this suggests that it is a representation of the virgin mary as a child. it is common when making a visual reference to the immaculate conception, the catholic dogma that mary was conceived without original sin, to use the iconography described in revelation 12:1 of the woman clothed with the sun, with a crown of stars on her head. it is a device that velázquez himself used, as the news reports have pointed out. there is also something about the eyes in this picture that strike me as being very velázquez. particularly in his representations of children and animals, velázquez’ eyes tend to be unexpectedly soulful. if you look closely at the eyes of the little princess standing in the center of his masterpiece “las meninas” in the prado, or the eyes of both the little prince and his puppy in the “portrait of prince felipe prospero” in vienna, there is a depth and directness in the gaze, slightly tinged with melancholy. this sense of gravitas sets the painter apart from the more smiley, sunshiny images of children that we’re used to seeing. while both the crown of stars and the expression of the eyes would tend to fit with velázquez’ style, what has not been mentioned in the reporting i’ve seen so far on this story is this painting’s possible relation to an entirely different picture of his. when i first saw images of this piece, i was immediately struck by its relation to another early work by velázquez, “christ in the house of martha and mary”, which is now in the national gallery in london. not only is there a significant amount of technical similarity, but if the expert in this case is correct, they were created roughly at the same time and in the same place. in the “house of martha and mary”, take a good look at the servant girl in the foreground, being directed by the old woman standing behind her. you can see that the girl seems rather melancholy, as she goes about making garlic paste in the mortar and pestle. more importantly for our purposes however, take a look at her pouting lips, the shading of her slightly cleft chin, and even the shape of her head, and you’ll notice that they are very similar to those of the young girl in the newly-discovered painting – they could even be sisters. not only do i find this an important visual clue, but given the dating of these two pictures and their relationship to what was going on at the artist’s life at the time, they make perfect sense. the little girl in the mystery picture is believed to have been painted in 1617, while the servant girl was painted in 1618. the timing of this is significant from the point of view of velázquez’ artistic development. young artists completing their apprenticeships with established masters tend to re-use compositions that they are more comfortable with at the start of their careers, developing their own unique styles later on. it is why, for example, that raphael’s earlier images of the madonna and child draw upon models created by his master, perugino. it is only after he gained independence, experience, and self-confidence, that raphael took the lessons that he had learned from emulating his master, combining them with his own native genius and observational skills, and began creating the unique, more individualized images of mary holding the christ child that first made him famous and highly sought after as an artist. in 1612, velázquez began his apprenticeship with the painter francisco pacheco in seville, an artist whose treatise on religious iconography and painterly technique made him the most influential expert on these matters within spain at the time. by copying the style of his teacher, and learning his techniques and attitudes toward art, velázquez would have absorbed the skills needed to eventually go out and set up his own shop, much as today a cabinetmaker or ironworker would do once they complete their vocational training. velázquez finished his studies with pacheco in early 1618, at about the same time that he married pacheco’s daughter juana; the couple moved from seville to madrid a few years later, where the young master’s style would begin undergoing a significant transformation. if velázquez was still learning at the time that the earlier of these two pictures was painted, then it would make sense that he would reuse certain elements of the earlier composition in a later work. thus the shape of the head, the features, shading, and so on that we see in the picture of the young girl, were available for him to reuse in the features of the serving girl. again, this is just a theory on my part, and no doubt an actual expert can poke holes in it, but i think the similarities are too obvious and the timing too perfect to ignore. time will tell whether this discovery comes to be widely accepted as a work by velázquez or not, but i suspect that the sale price at the end of the auction will give us an idea of what the general feeling is within spain. given the very strict spanish export restrictions on works of art that are over 100 years old, the likelihood of this painting leaving spain for a foreign collection is extremely remote. however whether it disappears back into a private collection, or whether it becomes the property of a public museum, it would seem to be an important link between the end of the artist’s apprenticeship, and his emergence as a master painter in his own right. ​waiting to change: an update april 18, 2017 / william newton / 6 comments i hope you had a blessed and happy easter. mine was so unbelievably full of activity, that by the time i got to evening on easter sunday, i was so exhausted that i’d made myself ill. i can well understand why in many countries, easter monday is a public holiday. you’ll recall that a few weeks ago, i wrote about wanting to make some significant changes here, and i’m very grateful to those who responded with their thoughts and suggestions. as it turns out, things have been moving in an entirely unanticipated direction over the last few weeks, thanks to some opportunities coming my way from very encouraging people. while i can’t make any announcements until everything is finalized, i can say that i won’t be going away, i’ll just be moving to a new home – er…homes. most of you who honor me by subscribing to this blog tend to fall into two categories: those mainly interested in catholic culture, and those mainly interested in secular culture. some of you came to know me many years ago, as a result of many kind people in the catholic media community taking an interest in my work and allowing me to share my thoughts with their audiences. others of you may only know me from more recent years, when once again a number of good-hearted people in the world of secular media have helped me to become better known to their readers. i’m indescribably grateful to find myself in this position, with a great diversity of subscribers, followers, and engagers. however, over the past two years it’s become very difficult for me to express my interests in both the sacred and the profane through a single, self-sustained media outlet. everything on this site comes down to me: content, editing, layout, publication, distribution, marketing, feedback, etc. all of this is time consuming, and i don’t do media for a living. i don’t have minions, and no one pays me to write this blog; any advertisements that you see here are making money for wordpress, not yours truly. at the same time, i’ve gotten so used to being a one-man band, that i’ve been reluctant to consider yielding control over my work to someone else. but listening to mac barron last evening talk about a new job he’s taking, and how he’s happier and more productive when he’s given structure, really hit home for me. his observation reminded me of a conversation i had near the beginning of this process, with someone whose experience in and opinions on media i very much respect. he pointed out that i, too, seem to do better when i’m given structure, instead of trying to create everything myself. and that’s absolutely right: i’m a lists and research guy, not a seat-of-the-pants guy. so, for those of you mainly interested in my commentary on catholic matters, you’ll be able to read and engage on a far more regular basis than you have lately, and in a forum which you are probably already visit regularly. for those here primarily for the arty-farty stuff, you’ll have a brand-new product from a familiar brand which will give you what you’re already coming here for and even a bit more, which will hopefully serve as a practical resource. for those of you who stop by for both, well, pretty soon you’ll have double the pleasure, or displeasure, depending on your view of my scribblings. of course, this isn’t last call just yet. i’ll give plenty of actual notice before this old blog gets put out to pasture. but if you can, please keep these upcoming changes in your thoughts and prayers, and thanks for your continued support. selective engagement: the politics of art restitution april 13, 2017april 13, 2017 / william newton / leave a comment chances are that even if you do not have much of an interest in the art world, you’re aware of the ongoing question of the restitution of stolen or recovered works of art. stories about the descendants of the nazis’ victims suing to reclaim their family’s property come up in the news from time to time, and are often featured in media. the recent film “woman in gold” with helen mirren and ryan reynolds, for example, is based on the true story of how a portrait by the austrian secessionist painter gustav klimt, stolen during world war ii, was finally reclaimed by the niece of the murdered sitter. now it appears that germany is beginning to dip its toe into the politically and diplomatically dangerous issue of art stolen during the cold war. the art newspaper is reporting that the german government will study art looted by the stasi, i.e., the east german secret police, over the course of a three-day operation that took place in january 1962. as the article points out, this was only the tip of the iceberg when it comes to art theft not only on the part of fellow germans, many of whom are still alive, but also on the part of exterior actors such as the soviet union. it would not be a surprise if restitution and compensation claims began to explode in number at the conclusion of the study. while it is good to see communists getting what they deserve, albeit too late to make much of a difference, the problem with this kind of effort is that it is highly selective. works of art have been carried off as booty, or secretly made their way into the possession of others, on a regular basis throughout western history. sometimes no one is quite sure exactly how a particular object ended up where it has, decades or centuries later, other than recognizing that it is not where it is supposed to be. an example which is of personal importance to me involves the now-dismembered altarpiece of st. george, which is currently split between the art institute of chicago, the louvre, and the philadelphia museum of art. bernat martorell (c. 1400-1452) was one the most important catalan artists of the middle ages. in around 1434, art historians believe that he was commissioned to paint an altarpiece for the newly-constructed chapel of st. george in the palace of the generalitat, the seat of the executive branch of the catalan government. the altarpiece would have been in keeping with the chapel’s numerous visual references to st. george, including both interior and exterior sculptures, as well as the solid silver metalwork decorating the altar itself. the top panel of the altarpiece, which is now in philadelphia, features a madonna and child surrounded by personifications of the cardinal virtues. underneath it, the main panel shows st. george in his legendary battle with the dragon; this painting, which is shown below, is now in the art institute of chicago. on the sides, the foldable “wings” of the altarpiece display scenes from the life and martyrdom of st. george, and have been in the possession of the louvre for some time. below the main panel there would have been at least one predella, which is a kind of long and narrow painting that typically runs along the bottom of the altarpiece to act almost as a base, however the whereabouts of this panel or panels are now unknown. when you visit the chapel today, which the public is permitted to do once a year, where the martorell altarpiece used to be there is now a flemish renaissance tapestry, which has nothing whatsoever to do with st. george. it is likely that martorell’s altarpiece was hacked into pieces during the napoleonic wars, when many artistic and cultural treasures were carted away or simply destroyed. such a fate was not at all unusual: the famous monastery of montserrat near barcelona, for example, was almost completely destroyed by napoleon’s troops, twice, and never fully recovered its former grandeur. thus, the issue of restitution is not so much a question about morality or the passage of time, but rather that of political will. in the case of the elgin marbles or the bust of nefertiti for example, there are disputes over whether they were properly obtained from the appropriate authorities at the time they entered their respective museums, often led by vociferous individuals (such as mrs. george clooney.) and yet the same voices speaking out in favor of the return of these objects usually say nothing about the return of pieces which were unquestionably stolen, without even the pretense of a sale or treaty. certainly the effort to track down, and potentially restore, lost works of art to their rightful owners, particularly those who suffered so greatly under communism, is a good thing. the fact that these losses occurred comparatively recently means there is a greater chance of success in such an effort. unfortunately, no such effort will be made on behalf of the churches, monasteries, and chapels whose contents were looted to fill the palaces, mansions, and museums of those possessing more greed than grace. posts navigation ← older posts about the authorwilliam newton is a graduate of the georgetown university school of foreign service, the university of notre dame law school, and sotheby’s institute of art in london. he lives in washington, d.c. learn more at wbdnewton.com and follow on twitter @wbdnewton follow blog via email enter your email address to follow this blog and receive notifications of new posts by email. join 13,914 other followers recent posts on the auction block: a new velázquez (?) ​waiting to change: an update selective engagement: the politics of art restitution under construction: projects at two of the world’s most important museums a michelangelo returns home for holy week search posts search for: archives archives select month april 2017 (6) march 2017 (9) february 2017 (8) january 2017 (7) december 2016 (8) november 2016 (7) october 2016 (9) september 2016 (9) august 2016 (9) july 2016 (8) june 2016 (6) may 2016 (4) april 2016 (5) march 2016 (9) february 2016 (8) january 2016 (8) december 2015 (10) november 2015 (7) october 2015 (5) september 2015 (3) august 2015 (3) july 2015 (10) june 2015 (7) may 2015 (1) april 2015 (1) march 2015 (22) january 2015 (3) december 2014 (4) november 2014 (10) october 2014 (16) september 2014 (16) august 2014 (16) july 2014 (22) june 2014 (21) may 2014 (20) april 2014 (22) march 2014 (18) february 2014 (16) january 2014 (12) december 2013 (12) november 2013 (13) october 2013 (13) september 2013 (11) august 2013 (6) july 2013 (10) june 2013 (8) may 2013 (4) april 2013 (5) march 2013 (5) february 2013 (7) january 2013 (14) december 2012 (13) november 2012 (10) october 2012 (9) september 2012 (11) august 2012 (15) july 2012 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