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no bull: lost goya works discovered in french library https://blogofthecourtier.com/2017/03/14/no-bull-lost-goya-works-discovered-in-french-library/
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museum madness: why i was right to worry about the met https://blogofthecourtier.com/2017/03/21/museum-madness-why-i-was-right-to-worry-about-the-met/
no bull: lost goya works discovered in french library https://blogofthecourtier.com/2017/03/14/no-bull-lost-goya-works-discovered-in-french-library/
if everybody looked the same: small businesses in increasingly boring cities https://blogofthecourtier.com/2017/03/09/if-everybody-looked-the-same-small-businesses-in-increasingly-boring-cities/
the iron lady was for turning – when it came to great art https://blogofthecourtier.com/2017/03/07/the-iron-lady-was-for-turning-when-it-came-to-great-art/
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blog of the courtier by william newton menu skip to content homecontact the patron top posts search search for: the art of “i love you” march 23, 2017march 23, 2017 / william newton / 1 comment no matter how much you know about great art, there is always something new to discover. recently i’ve become interested in the work of a swedish painter, alexander roslin (1718-1793). during his lifetime he was arguably the most fashionable portrait painter in paris, but today he is not as well-known as he ought to be. today i want to draw your attention to a charming portrait of his wife, who was also a popular but now largely forgotten artist. the painting is not only a charming piece in its own right, but i think it captures something of the love which the two of them felt for each other, in a way which was very unusual for the time. roslin was born in malmö, the city in sweden now famous as a major international business and design center, but in 1718 not much more than a tiny provincial town of a couple of thousand people. he moved to stockholm in his teens to study painting, and his career might have remained that of a provincial swedish painter had he not been given the opportunity to travel and study in germany and italy. then in 1752, roslin moved to paris, where he met a young lady named marie-suzanne giroust (1734-1772). giroust was an orphan from a comfortably well-off, conservative family of artisans, whose father had been jeweler to the king of france. she used her inheritance to study art, and it was while she was taking classes in pastel drawing from joseph-marie vien (1716-1809), later the official court painter to louis xvi, that she met roslin at vien’s studio in the louvre. the two immediately fell in love, but giroust’s bourgeois family refused to allow her to marry roslin: he was from a poor family, he was a foreigner, and he was a protestant. it took seven years for giroust to wear down her guardians, but eventually she succeeded, in part due to the intervention of the count of caylus, roslin’s main artistic patron, and the swedish ambassador, who agreed to witness their marriage contract in 1759. this combination of persistence on behalf of the couple, and persuasion on behalf of the higher-ups, eventually convinced giroust’s family that this would be a respectable marriage. she and roslin went on to have six children together, 3 boys and 3 girls. “the lady with the veil”, which is in the national museum in sweden, was painted by roslin in 1768. it shows a lady dressed “à la bolognaise”, the style then fashionable in the italian city of bologna. the lady’s head, shoulders, and part of her face are covered by a voluminous, black satin veil, which has led some art historians to speculate that it was painted during carnival or lent. despite her somber overlay, it is hard to imagine a more feminine and charming image of a lady. the subject of this picture is smiling and blushing at someone over to her left. even though we can only see one of her eyes, the one that we can see is obviously twinkling at the object of her gaze. whoever it is, she clearly has a soft spot for them, but it is actually the fan that tells us who she is looking at. back when ladies carried fans, they were more significant communications weapons than we would appreciate today. depending on how a lady held her fan, she could send a message to someone else, provided that they knew how to read the secret signals which a lady’s fan could convey. the drawing of a folded fan across the right cheek was well-known “fan-speak” for, “i love you.” no prize then, for guessing that the lady with the veil is giroust herself, and the person whom she is signaling to is her husband, roslin. when this painting was exhibited in the salon of the french royal academy the year of its creation, the french philosopher diderot praised it, and famously commented that it was “très piquante’ – “very spicy”. given the flirtatiousness of the rococo era, it would be easy to look at this picture as an example of 18th century coquetry, like the work of boucher or watteau, which was later swept away by the horrors of the french revolution. however given the back story of the couple involved, i think there is a lot more depth to this picture than meets the eye. what i find particularly interesting is that this image was painted in 1768, nearly a decade after roslin and giroust were married, and after they had to fight tooth and nail for years just to get permission to marry in the first place. this is a couple that had already been through tremendous strain and hardship together long before they got to their marriage vows, let alone having to deal with the six rugrats they soon had scampering about the house after they were married. it strikes me that a man who could paint his wife in this way, after ten years of marriage and six children together, is still very much in love with her, and she is still very much in love with him. sadly, giroust died of breast cancer at the age of 38, four years after this portrait was painted. her husband never remarried, but he did manage to survive the french revolution, unlike many of his patrons. this image remains a beautiful testament to their marriage, and the power of truly devoted love. museum madness: why i was right to worry about the met march 21, 2017 / william newton / 4 comments i’m afraid that today’s post is going to involve a lot of links, but trust me – it’s a fascinating and important story, and one that i greet with a mixture of satisfaction in knowing that i was right to question what was going on, while simultaneously regretting that i was right to be worried. back in august, i wrote the following in the federalist about the problems faced by the metropolitan museum of art in new york: recently the metropolitan museum of art announced it is millions of dollars in the red, despite receiving more than 6 million paying guests annually. the met plans to cut a total of 100 employees by the end of 2016, and has reduced the number of special exhibitions it will hold. yet despite its financial woes and staff reductions, this year the met has taken on a costly new lease to expand into the hideous, brutalist former premises of the whitney museum of american art, as part of an effort to make itself appear more up to date. then on february 28, 2017, met director thomas campbell suddenly announced that he was resigning his post. this took place three weeks after the publication of a rather damning article in the new york times which asked, inter alia, why one of the wealthiest museums in the world couldn’t afford to pay its bills. at first, much blame seemed to be put squarely at the foot of the outgoing director, as someone who could not seem to manage the behemoth institution. mr. campbell, a tapestry curator at the met, took over running america’s largest and most important art institution in 2009, following the retirement of philippe de montebello, who reigned over the met from 1977 to 2008, and presided over the single largest period of expansion in the history of the institution. naturally, his was going to be a hard act to follow, and as more and more press reports emerge about the internal culture at the met over the past several years, it’s clear that america’s premiere artistic institution has become something of a floundering mess. yet it doesn’t appear that mr. campbell himself is entirely to blame for what went wrong. last week, the new york post published this eye-opening piece on the six- and seven- figure compensation received by met leadership, including members of the board, even as the museum was financially sinking. in follow up to this story a few days later, artnet published an internal email which seems to show the museum justifying the millions of dollars in payments by noting that that the payments were in line with those made to executives and board members at comparable institutions. of course, the email does not make clear whether the comparable institutions were failing as well, with staff asked to resign, retire, take pay cuts, or suffer pension cuts. in the april issue of vanity fair, now available online, reporter william d. cohan takes a fascinating, deep dive into the culture of the met under mr. campbell’s leadership. he begins with the aforementioned times piece, which included an interview with former met curator george goldner, about what has gone wrong with the museum over the past several years. he also ends his piece with mr. goldner, and an interview in the art newspaper from the day after mr. campbell resigned. among the cacophony of voices explaining why the met went off the rails, mr. goldner’s rings the truest. mr. goldner noted that when he started at the met in 1993, it was “a very traditional institution, which focused mainly on exhibitions, acquisitions, scholarship and the galleries. it had a clear identity and a manageable agenda.” by the time he left, it was trying to be trendy and fashionable, in order to make even more money from donors and draw even more visitors to its halls and concession stands. “there was an argument that all the new rich people collected contemporary art,” mr. goldner told the art newspaper, “and we weren’t going to get their donations otherwise. i don’t believe that’s what a cultural institution should base its programme on. i don’t think that the harvard law school decides what kind of law they teach based on future possible donations.” personally speaking, i suspect that mr. goldner is incorrect as regards the motivations of harvard law school. but be that as it may, he did hit the nail on the head when it comes to thinking about exactly what large museums like the met are supposed to be doing, and what guidance their leadership should be providing. and the buck, as the ny post and artnet seem to indicate, does not stop with mr. campbell. among the major problems which the art world faces is that of the art museum which tries to be all things to all people, but neglects to do its core job properly. trying to turn the met into moma or the whitney is an example of this line of thinking. as mr. goldner commented, “[h]aving a big centre of modern art at the met is like having a centre of italian paintings 20 blocks away from the uffizi. part of what has created the morale issue is that other departments have felt that their concerns have been relegated to a secondary position behind contemporary art and digital media.” at some point, someone is going to have to come in and clean house at the met. there needs to be a renewed focus on preserving and enhancing the core collection of the institution; improving visitor facilities and services; commitment to the training, retention, and good compensation of loyal, professional staff; and a rededication on the part of leadership – including at board level – to passing on the legacy of the institution to future generations. it is a privilege to serve on the board of america’s finest art museum, but it is also a significant duty, and ought to be treated as such by those fortunate enough to be in a position of leadership at a cultural institution which must exist outside of what is merely trendy. no bull: lost goya works discovered in french library march 14, 2017 / william newton / leave a comment a complete series of the first edition of goya’s “la tauromaquia”, a series of engravings depicting the history and practice of bullfighting, has been discovered in a castle in france. the current owners of the château de montigny, located near chartres, were taking an inventory of all the books in their library, when they came across what is described as a “pristine” set of the series of etchings, completed by goya between 1815-16. the prints were bound into a ledger book, and it was only due to good fortune that someone decided to take more than just a casual glance through it before tossing it in the bin. the set will be auctioned at sotheby’s in london on april 4th. goya produced a limited run of these prints, but they were not particularly popular during his lifetime. later they became the inspiration for other artists, such as picasso, to create their own series of engravings depicting scenes from or inspired by bullfighting. they even inspired the tourist tat that you can still pick up around bullfighting arenas and souvenir shops in spain. things have significantly changed in the 200 years since goya struggled to find buyers for these images, however. as artnet reports, the last time a complete first edition of “la tauromaquia” was sold at christie’s back in 2013, it went for $1.9 million. thus the current estimate of $610 million seems a trifle low. whatever you think of bullfighting, an activity which seems to be rapidly disappearing of late, these prints ought to serve as an inspiration. go through those boxes and shelves when you spring clean, and before you pitch anything, double-check to make sure you’re not tossing out something important. we may never know how many great works of art ended up in the recycling bin because someone couldn’t be bothered to take a closer look at what they were throwing away. 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 13,857 other followers recent posts the art of “i love you” museum madness: why i was right to worry about the met no bull: lost goya works discovered in french library if everybody looked the same: small businesses in increasingly boring cities the iron lady was for turning – when it came to great art search posts search for: archives archives select month march 2017 (7) 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