The Aurignacian culture of the Upper Paleolithic (Late Old Stone Age) flourished between 45,000 and 35,000 years ago (or so we think, theories of carbon dating are subject to revision).

The Aurignacians are generally awarded the title of being our earliest genuinely human ancestors in Europe on the basis of artistic achievement. It was they who produced the Hohle-Fels Venus, the Chauvet cave paintings, and the Stadel cave Löwenmensch (“Lion Man”), all powerfully moving, but cryptic and fundamentally incomprehensible to us, artistic expressions.

The last object, the Löwenmensch, was discovered in a cave in the Swabian Alps in 1939. WWII resulted in its being neglected for 30 years, but eventually scholar attention arrived. The fragments were assembled, and interpreted. First, as a deity or a shaman representing a lion god, later as (Gawd help us!) a “cave lioness” and an icon of Stone Age Feminism.

Near the end of the last century, a few more pieces were discovered, so scientists are now in the process of removing earlier “restored” bits and having a go at reassembling the original artifact absent recent interpolations. The results will be very interesting.

Spiegel article

Hat tip to Karen L. Myers.

The hunter characteristically admires, and even identifies with, his quarry, and that sense of identification commonly leads to the visualization in the hunter’s imagination of the animal object of the chase as a fellow sportsman, participating in the hunt with equal pleasure and enthusiasm and equal relish of tradition.

The fantasy of the quarry-sportsman gives rise to one of the most popular and best-loved genres of sporting art, images of La Chasse Renversé, the roles of hunters and hunted reversed. No foxhunter’s den is completely furnished without a humorous print like A.C. Havell’s Foxhunter’s Dream or the beloved Mr. Fox’s Hunt Breakfast (above).

The same comedic effect, and the same sportsman’s pleasure in thinking of his adversary in the field as fellow sportsman, can be found in shooting prints, like the very well-known contemporary print by Alexander Charles-Jones “Cocks Only,” which gleefully depicts a line of Ringnecked Pheasants in hunting vests, smoking cigars and drinking while peppering a discomfited group of incoming naked men.

Another classic example of the same humorous genre by Snaffles, published in Hoghunter’s Annual in the 1930s, depicts a couple of senior ranking boars smoking cigars and admiring trophy mounts of British officers acquired in the hunting field.

I had assumed, without any special investigation or thought on the matter, that this genre of sporting humor was specifically British and Victorian, but I was decidedly wrong.

What I have referred to as La Chasse Renversé is, at least, a common medieval artistic humorous subject, found in all sorts of forms and expressions, in paintings, sculpture, manuscript illuminations, and even tiles, representing a variation of all kinds of humorous reversals referred to in general as Le Monde Renversé. I feel sure, at this point, that a thorough search would produce similar examples of sporting facetiae from Classical Antiquity.

Some excellent examples of the hare turning the tables on the hunter were posted at Archivalia.

The Hunter’s Doom,” marginal illumination to The Romance of Alexander by Jehan de Grise and his atelier, 1338-44, Bodleiana Ms. 264, fol. 81v

Hat tip to TodayandTomorrow.

Hat tip to Push the Movement.

Hat tip to Karen L. Myers.

The BBC has uploaded nearly 63,000 images of paintings in British collections. They are planning to get to 200,000, and they are inviting volunteers to assist in tagging the images to assist future searchers, which as a pastime to fiddle with on one’s PC may even beat Freecell.

The British Province of the Society of Jesus must be gearing up for a major weekend in Las Vegas. They just sold the oldest intact surviving European book, the Stonyhust Gospel, to the British Library for £9m ($14.3m). Now, they’re getting ready to put up the spout a painting identified by an Italian art historian as a Michelangelo which could conceivably fetch $100m or more at auction.

Campion Hall, one of six Permanent Private Halls (essentially small-scale divinity schools, operated by different religious denominations or religious orders thereof) at Oxford University, owns a painting purchased by a previous master at a Sotheby’s auction in 1930.

It was scientifically-examined using infrared photography by Antonio Forcellino, an art historian who has written several books on Michelangelo (including the just-published The Lost Michelangelos), who found that the painting was based upon a cartoon in hand of Michelangelo himself.

The painting was previously believed to have been executed by Marcello Venusti, a Mannerist painter who sometimes worked from Michelangelo’s designs. But Forcellino was convinced that the painting was really the work of the master’s own hand, and he was able to associate the painting with a close friend of the famous artist, Tommaso Cavalieri, by the presence of 18 seals of the Cavalieri family coat of arms still present on the edge of the panel.

Art Info story

Daily Mail

IOL scitech

BBC radio interviews Campion Hall Master Brendan Callaghan 2:13 audio

It’s a good idea to look in from time to time at the Polish art blog Spod pędzla (pronounced “Spod pendzla,” and meaning “from the brush”). “Estees” comes up with some very amusing items, like this Symbolist painting of mermaids in the process of being sexually harassed by two male mythological beings by the Swiss painter Arnold Böcklin (1827 – 1901).

The German history & images source GHDI supplies some information and context:

In 1899, when the craze for Arnold Böcklin’s work was in full swing, the art historian Cornelius Gurlitt (the brother of Böcklin’s Berlin dealer Fritz Gurlitt) wrote that the German public regarded this painting as “one of the greatest achievements of our century.” When it was painted in 1883, art critics had been less sure. Enthusiasm for the painting had grown, however, by the time of its showing at the Third Munich International in 1888. Offering his interpretation of the work, Ferdinand Avenarius of Der Kunstwart declared that the worried mermaid being pursued by the laughing triton personified the ocean itself and the natural forces of water and sky. Actually, a rather ordinary episode in the artist’s life appears to have provided the immediate inspiration for this composition. Böcklin had been swimming in Italy with the family of Anton Dohrn, the zoologist who commissioned Hans von Marées’s Oarsmen. Dohrn dove into the waves, swam some distance underwater, and suddenly resurfaced near the women in the bathing party. The ladies’ surprise caught Böcklin’s fancy, and he decided to portray a similar scene drawn from the world of mythical underwater creatures. His compostion thrusts the viewer into the rising and falling waves, which are shown without the slightest hint of land in the distance. Dohrn’s features can actually be seen in the face of the triton, whose freely expressed and ribald intentions make this the most playful of Böcklin’s works. In the early years of the twentieth-century, when overzealous members of the moral purity movement were subject to ridicule and denouncement, In the Play of the Waves offered ample basis for caricature – moral zealots, complete with fig leaves, were shown swimming into the frame of the painting in order to arrest the mermaids.

It is clearly a centaur puffing and paddling vigorously after two mermaids in the rear, while a more relaxed, and more completely submerged, lustful triton is leering lasciviously as he closes upon the person of a far-more-refined and delicate mermaid, who looks decidedly dismayed by his clearly inescapable advances.

Hat tip to this isn’t happiness. via Fred Lapides.

The Belgian artist Antoine Joseph Wiertz (1806-1865) devoted most of his art to expressions of the Romantic era’s obsession with death.

Wiertz took a personal interest in the scientific question of just how long consciousness survived in the head of the victim of execution by guillotine, and in 1848 used hypnosis to attempt to share the pains and rapidly fading consciousness of a murderer undergoing decapitation for the crime of bludgeoning his landlady. The result (above) was a triptych completed in 1853.

There is a state museum devoted to Wiertz’s art in Brussels.

Collected images of Wiertz’s paintings.

Jeffrey Howe essay.

Well, you have to hand it to Obama. He has struck back devastatingly, and with truly Oriental cruelty, by presenting the Chinese leader with a huge and magnificently preposterous piece of modern art, a massive semi-abstract oil painting by a couple of Chinese brothers from Chicago, featuring caricature images of Ronald Reagan and seven of the worst presidents in US history plus a spiral line intended to represent the great Wall of China on a textured background.

Ownership of this noisome object (which looks like a failed elementary school art project) would be declined by the gaudiest Szechaun restaurant in San Francisco, but the Chinese People’s Republic will have to hang it in a place of honor (being a state gift from the American president, after all), where it will loom as a permanent reminder not to mess with the United States. Zhou you, China!

The London Time describes how sophisticated forensic techniques were able to authenticate a portrait profile drawing in inks and chalks as the work of Leonardo da Vinci.

The 33×23cm (13×9in) picture, in chalk, pen and ink, appeared at auction at Christie’s, New York, in 1998, catalogued as “German school, early 19th century”. It sold for $19,000 (£11,400). Now a growing number of leading art experts agree that it is almost certainly by Leonardo da Vinci and worth about £100 million.

Carbon dating and infra-red analysis of the artist’s technique are consistent with such a conclusion, but the most compelling evidence is that fragment of a fingerprint.

Peter Paul Biro, a Montreal-based forensic art expert, found it while examining images captured by the revolutionary multispectral camera from the Lumière Technology company. ...

The fingerprint corresponds to the tip of the index or middle finger, and is “highly comparable” to one on Leonardo’s St Jerome in the Vatican. Importantly, St Jerome is an early work from a time when Leonardo was not known to have employed assistants, making it likely that it is his fingerprint.

Martin Kemp, Emeritus Professor of History of Art at the University of Oxford, is convinced and recently completed a book about the find (as yet unpublished). He said that his first reaction was that “it sounded too good to be true — after 40 years in the business, I thought I’d seen it all”. But gradually, “all the bits fell into place.”

Professor Kemp has rechristened the picture, sold as Young Girl in Profile in Renaissance Dress, as La Bella Principessa after identifying her, “by a process of elimination”, as Bianca Sforza, daughter of Ludovico Sforza, Duke of Milan (1452-1508), and his mistress Bernardina de Corradis. He described the profile as “subtle to an inexpressible degree”, as befits the artist best known for the Mona Lisa.

If it is by Leonardo, it would be the only known work by the artist on vellum although Professor Kemp points out that Leonardo asked the French court painter Jean Perréal about the technique of using coloured chalks on vellum in 1494.

The picture was bought in 1998 by Kate Ganz, a New York dealer, who sold it for about the same sum to the Canadian-born Europe-based connoisseur Peter Silverman in 2007. Ms Ganz had suggested that the portrait “may have been made by a German artist studying in Italy … based on paintings by Leonardo da Vinci”. ...

Carbon-14 analysis of the vellum gave a date range of 1440-1650. Infra-red analysis revealed stylistic parallels to Leonardo’s other works, including a palm print in the chalk on the sitter’s neck “consistent … to Leonardo’s use of his hands in creating texture and shading”, according to Mr Biro.

Only 15 surviving paintings are generally attributed in whole or in part to Leonardo. His responsibility for another six is disputed.

Dr. Maurizio Seracini, an engineering professor from UC San Diego, had been pursuing a quest to recover Leonardo Da Vinci’s largest painting, a 1505 fresco depiction of the 65 year earlier Battle of Angiarhi between Florence and Milan which once ornamented the Hall of Five Hundred in Florence, which disappeared in the course of a mid-16th century remodeling by Giogio Vasari, for a number of years.

The New York Times reports that scientific instruments are now ready to test Seracini’s hypothesis that Vasari simply walled-up the Da Vinci fresco.

“The Battle of Anghiari,” (was) the largest painting Leonardo ever undertook (three times the width of “The Last Supper”). Although it was never completed — Leonardo abandoned it in 1506 — he left a central scene of clashing soldiers and horses that was hailed as an unprecedented study of anatomy and motion. For decades, artists like Raphael went to the Hall of 500 to see it and make their own copies.

Then it vanished. During the remodeling of the hall in 1563, the architect and painter Giorgio Vasari covered the walls with frescoes of military victories by the Medicis, who had returned to power. Leonardo’s painting was largely forgotten.

But in 1975, when Dr. Seracini studied one of Vasari’s battle scenes, he noticed a tiny flag with two words, “Cerca Trova”: essentially, seek and ye shall find. Was this Vasari’s signal that something was hidden underneath? ...

(N)ew analysis showed that the spot painted by Leonardo was right at the “Cerca Trova” clue. The even better news, obtained from radar scanning, was that Vasari had not plastered his work directly on top of Leonardo’s. He had erected new brick walls to hold his murals, and had gone to special trouble to leave a small air gap behind one section of the bricks — the section in back of “Cerca Trova.” ...

Dr. Seracini was stymied until 2005, when he appealed for help at a scientific conference and got a suggestion to send beams of neutrons harmlessly through the fresco. With help from physicists in the United States, Italy’s nuclear-energy agency and universities in the Netherlands and Russia, Dr. Seracini developed devices for identifying the telltale chemicals used by Leonardo.

One device can detect the neutrons that bounce back after colliding with hydrogen atoms, which abound in the organic materials (like linseed oil and resin) employed by Leonardo. Instead of using water-based paint for a traditional fresco in wet plaster like Vasari’s, Leonardo covered the wall with a waterproof ground layer and used oil-based paints.

The other device can detect the distinctive gamma rays produced by collisions of neutrons with the atoms of different chemical elements. The goal is to locate the sulfur in Leonardo’s ground layer, the tin in the white prime layer and the chemicals in the color pigments, like the mercury in vermilion and the copper in blue pigments of azurite. ...

Once he gets permission, Dr. Seracini said, he hopes to complete the analysis within about a year. If “The Battle of Anghiari” is proved to be there, he said, it would be feasible for Florentine authorities to bring in experts to remove the exterior fresco by Vasari, extract the Leonardo painting and then replace the Vasari fresco. Of course, no one knows what kind of shape the painting might be in today. But Dr. Seracini, who has extensively analyzed the damages suffered by many Renaissance paintings, said that he was optimistic about “The Battle of Anghiari.”

“The advantage is that it has been covered up for five centuries,” he said. “It’s been protected against the environment and vandalism and bad restorations. I don’t expect there to be much decay.”

If he is right, then perhaps Vasari did Leonardo a favor by covering up the painting — and taking care to leave that cryptic little flag above the trove.

Rubens chalk, ink, and water-color copy of Da Vinci study for “The Battle of Anghiari,” Musée du Louvre

8:33 video

The
Telegraph explains the story of the animation.

The Trichoptera, commonly called sedge flies, are those busy flies one sees emerging with a pop, then flitting erratically above the surface of the stream. Caddis hatches drive trout crazy. One often sees trout chasing emerging caddis larvae to the surface, and then breaking water and leaping in the air to nail the insect. Caddises actually constitute a more important portion of the trout’s menu than the more beautiful and delicate mayflies (Ephemera), and are hardier and better able to survive warmer temperatures and pollution than many of the classic mayflies.

I’ve often collaborated with Trichoptera myself: at catching trout, not at creating art. Back when I was a bloodthirsty teenage meat fisherman and baitfished, my partner-in-crime John Zebraitis and I reposed especial confidence in the appeal of stone caddises as bait for trout. The caddises who built their nests of twigs, known as “stick bait,” were common and decently effective, but stone caddises were relatively rare, and could be found only in certain pools in particular streams. When we came on them, John and I felt like we’d won the lottery, knowing that our chances of tempting the reluctant 20” old soak known to be lurking craftily in the deep hole were starting to look good.

Heaven only knows how big a trout John or I could have derricked out the mysterious depths of the unfathomed hole on the mighty Loyalsock at Hillsgrove had we only been equipped with a couple of these dazzling stone-cases. And I can picture with a smile the arguments we might have had about whether brookies go more for opals than for lapis, and just how effective turquoise is in low water.

Spring issue, Cabinet:

(The photos illustrate) the results of an unusual artistic collaboration between the French artist Hubert Duprat and a group of caddis fly larvae. A small winged insect belonging to the order Trichoptera and closely related to the butterfly, caddis flies live near streams and ponds and produce aquatic larvae that protect their developing bodies by manufacturing sheaths, or cases, spun from silk and incorporating substances—grains of sand, particles of mineral or plant material, bits of fish bone or crustacean shell—readily available in their benthic ecosystem. The larvae are remarkably adaptable: if other suitable materials are introduced into their environment, they will often incorporate those as well.

Duprat, who was born in 1957, began working with caddis fly larvae in the early 1980s. An avid naturalist since childhood, he was aware of the caddis fly in its role as a favored bait for trout fishermen, but his idea for the project depicted here began, he has said, after observing prospectors panning for gold in the Ariège river in southwestern France. After collecting the larvae from their normal environments, he relocates them to his studio where he gently removes their own natural cases and then places them in aquaria that he fills with alternative materials from which they can begin to recreate their protective sheaths. He began with only gold spangles but has since also added the kinds of semi-precious and precious stones (including turquoise, opals, lapis lazuli and coral, as well as pearls, rubies, sapphires, and diamonds) seen here. The insects do not always incorporate all the available materials into their case designs, and certain larvae, Duprat notes, seem to have better facility with some materials than with others. Additionally, cases built by one insect and then discarded when it evolves into its fly state are sometimes recovered by other larvae, who may repurpose it by adding to or altering its size and form.

More on Duprat:

Leonardo

————————————————
Hat tip to Karen L. Myers.

Despotism comes quite natural to Islamic culture. When confronted with the European tradition, many Muslims freely prefer Adolf Hitler to Rembrandt, Michelangelo or Beethoven. Westerners don’t force them to study Mein Kampf more passionately than Leonardo da Vinci’s Mona Lisa or Goethe’s Faust; they choose to do so themselves. Millions of (non-Muslim) Asians now study Mozart’s piano pieces. Muslims, on the other hand, like Mr. Hitler more, although he represents one of the most evil ideologies that have ever existed in Europe. The fact that they usually like the Austrian Mr. Hitler more than the Austrian Mr. Mozart speaks volumes about their culture. Koreans, Japanese, Chinese and Middle Eastern Muslims have been confronted with the same body of ideas, yet choose to appropriate radically different elements from it, based upon what is compatible with their own culture.

The Obamessiah’s 100th Day (4/29) was scheduled to be commemorated by the unveiling of a new “art work” in New York City’s Union Square.

WorldNetDaily:

On his 100th day in office, President Obama will be “crowned” in messianic imagery at New York City’s Union Square.

Artist Michael D’Antuono’s painting “The Truth” – featuring Obama with his arms outstretched and wearing a crown of thorns upon his head – will be unveiled on April 29 at the Square’s South Plaza. ...

Like others in the news who have depicted Obama in Christ-like imagery, D’Antuono insists he isn’t claiming the man is Messiah, but only inviting “individual interpretations.”

This actually made me kind of sick. I threw up a little in my mouth. Please excuse the mass mailing…I think everyone should see it. To me it’s sick and sycophantic, but it is also so cowardly. Insult the Christians, because you can, and never mind that we’re still in Easter.

This makes me think less of Obama, who should have gotten out in front of this messianic talk, instead of silently encouraging it. It speaks volumes about the artist, but Obama’s silent consent also speaks volumes about him.

PR Newswire:

Painter Michael D’Antuono has cancelled the planned public unveiling of his latest work “The Truth” at NYC’s Union Square Park on President Obama’s 100th day in office due to overwhelming public outrage. The artist’s decision was based in part on thousands of emails and phone calls; online blogs and other public commentary received in the first 48 hours following its release. ...

The artist insists that the work was intended purely as a political piece. “The religious reference was used metaphorically and not to insult anyone’s religious beliefs. If that is the effect that my art has had on anyone, I am truly sorry,” says D’Antuono.

From having talked to quite a number of art students, it seems that art school these days resembles a kindergarten for young adults, where play is more important than work. The lack of technical training is painfully obvious at the shows the students put on. Many of the students have good ideas, but cannot execute them successfully for lack of technical facility. Indeed, their technical incompetence is only too painfully obvious.

It is very striking, too, how few art students have any interest in or knowledge of the art of the past. Do you visit galleries, I ask them?

No, they reply, a little shocked at the very suggestion, and as if to do so would inhibit them in their creativity or to condone plagiarism.

As for art history, they are taught and know very little. This is all part of the programme of disconnecting them radically from the past, of making them free-floating molecules in the vast vacuum of art.

It is true that they are sometimes taught just a little art history. I had what was for me a memorable conversation with an art student when she was my patient. She was in her second year of art school, and told me that one of the things she enjoyed most about it was art history. I asked what they taught in art history.

‘The first year,’ she said, ‘we did African art. But now in the second year we’re doing western art.’

I asked what particular aspect of western art they were doing.

‘Roy Liechtenstein.’

Hat tip to Karen L. Myers.

Reuters:

A curator at the Louvre Museum in Paris has stumbled upon some unknown drawings on the back of a painting by Leonardo da Vinci that look like they might be by the Italian master himself, the Louvre said on Thursday.

The extraordinary find was made by chance, when Louvre staff unhooked Leonardo’s “The Virgin and Child with Saint Anne” from the museum wall as part of a broad programme of study and restoration of paintings by Leonardo, including the “Mona Lisa.”

“When the work, which is painted on wood, was unhooked, a curator noticed two barely visible drawings on the back of the painting, showing a horse’s head and half a skull,” the museum said.

It was such an astonishing discovery that other Louvre staff present at the time could not believe it and initially said the marks on the wood must be stains.

“The Virgin and Child with Saint Anne” was painted in the early 1500s and no one had previously noticed the drawings—at least not to the knowledge of the Louvre.

After the initial find, the museum conducted detailed tests on the back of the painting. Photographs taken with an infrared camera revealed that there were not two but three drawings. The third one is of a Child Jesus playing with a lamb.

“This is an exceptional discovery because drawings on the back of paintings are very rare and no example by Leonardo was previously known,” the Louvre said.

It said the drawings recalled some of Leonardo’s known works and suggested that the child and lamb could have been sketches for the painting on the other side of the piece of wood.

Sketches visible on reverse of painting

1:58 London Times video

Sketch of horse’s head

A huge number of models in Paris, who pose in the buff and perform as muses for artists, took to the streets in a nude march on December 15 to protest the fact that they are not respected or paid enough.

The models went on strike and posed naked in freezing temperatures in front of Paris city hall’’s culture department to shame the state, and their demand was a pay increase, proper contracts and, most of all, respect for their craft.

A shivering male model was heard shouting out through a megaphone that the disrespect shown to the models was “proof that something is badly wrong with French society”, while artists, students and art teachers sat sketching them in support.

The protest had started after Paris city hall, which runs an array of life-drawing classes, banned the tradition of the “cornet”, which is a piece of art paper rolled into a cone and passed round for tips as a model gets dressed after class.

The models, who have to survive on a minimum wage with no fixed contracts, holiday pay, security cover or job security, said the tips allowed them to survive.

In France life modelling is widely seen as a serious career choice, and the models wanted to quash the misconception that it was merely something students and retired people did for pocket money.

“This is a craft that should be respected, not just anyone can take their clothes off and hold a pose,” the Guardian quoted Deborah, 28, one of the strike organisers, who has worked as a full-time life model for four years, as saying.

“It is artistic and physically demanding work,” she stated.

You can’t read this excellent article by Judith Thurman, biographer of Isak Dineson, on the Paleolithic cave art of Southern France at the New Yorker web-site, but you can read it via Art & Letters Daily. Go figure.

We don’t know the purpose for which the images were made. We don’t understand why Paleolithic artists almost entirely avoided the depiction of human beings. But we marvel at their representational accuracy and their ability to move us emotionally across a separation of tens of thousands of years of time.

During the Old Stone Age, between thirty-seven thousand and eleven thousand years ago, some of the most remarkable art ever conceived was etched or painted on the walls of caves in southern France and northern Spain. After a visit to Lascaux, in the Dordogne, which was discovered in 1940, Picasso reportedly said to his guide, “They’ve invented everything.” ...

(The) earliest paintings (at Lascaux) are at least thirty-two thousand years old, yet they are just as sophisticated as much later compositions. What emerged with that revelation was an image of Paleolithic artists transmitting their techniques from generation to generation for twenty-five millennia with almost no innovation or revolt. A profound conservatism in art, (Gregory) Curtis notes, is one of the hallmarks of a “classical civilization.” For the conventions of cave painting to have endured four times as long as recorded history, the culture it served, he concludes, must have been “deeply satisfying”—and stable to a degree it is hard for modern humans to imagine.

Read the whole thing.

BBC:

Divers in France have found the oldest known bust of Roman dictator Julius Caesar at the bottom of the River Rhone, officials have said.

The marble bust was found near Arles, which was founded by Caesar.

France’s culture ministry said the bust was from 46BC, the date of the southern town’s foundation.

The ministry described the bust – which shows a lined face and a balding head – as typical of realist portraits of the Republican era.

It said other items had been found at the same site, including a 1.8m (6ft) marble statue of Neptune from the first decade of the third century AD, and two smaller statues in bronze.

Divers taking part in an archaeological excavation made the discovery between September and October 2007.

Luc Long, the archaeologist who directed the excavations, said all the busts of Caesar in Rome were posthumous.

Helaine S. Klasky, Yale University Spokesperson, raised some interesting issues in the administration’s statement denying the reality of that naughty Aliza Schvarts’ senior art project:

(Yale now has at least one Spokesperson, forsooth! Demonstrating that the current president and his entire skulk of deans are too self-important, or know themselves to be too inarticulate, to speak for the University. Jesus wept.)

Ms. Shvarts is engaged in performance art. Her art project includes visual representations, a press release and other narrative materials. She stated to three senior Yale University officials today, including two deans, that she did not impregnate herself and that she did not induce any miscarriages. The entire project is an art piece, a creative fiction designed to draw attention to the ambiguity surrounding form and function of a woman’s body.

She is an artist and has the right to express herself through performance art.

Had these acts been real, they would have violated basic ethical standards and raised serious mental and physical health concerns.

But Ms. Schvarts fired back a manifesto, repeating the story of her project, and artfully identifying it as “myth,” while darkly hinting at a purpose and meaning capable of shaking the Yale art department and the University’s administration to their very foundations.

For the past year, I performed repeated self-induced miscarriages. ...

To protect myself and others, only I know the number of fabricators (Note the term -JDZ) who participated, the frequency and accuracy with which I inseminated and the specific abortifacient I used. Because of these measures of privacy, the piece exists only in its telling. This telling can take textual, visual, spatial, temporal and performative forms . copies of copies of which there is no original. ...

The artwork exists as the verbal narrative you see above, as an installation that will take place in Green Hall, as a time-based performance, as a independent concept, as a myth and as a public discourse.

In other words: the supposed piece of art never existed at all, except as a concept, a narrative, and a spoof.

Then, embedded in more jargon, Schvarts delivers the ultimate ambiguity.

Is she spouting a bunch of ridiculous leftwing cant, or is she producing what looks like a classic example of the genre in order to mock and satirize it? Is Aliza Schvartz possibly really a nice, ethically-concerned Jewish girl, taking a shrewd whack at the conventional liberal consensus on sex, reproduction, and abortion in the contemporary elite university with a vicious parody of the methodology and hermeneutics of fashionably politicized “art?”

It creates an ambiguity that isolates the locus of ontology to an act of readership. An intentional ambiguity pervades both the act and the objects I produced in relation to it. The performance exists only as I chose to represent it. ... This central ambiguity defies a clear definition of the act. The reality of miscarriage is very much a linguistic and political reality, an act of reading constructed by an act of naming . an authorial act.

It is the intention of this piece to destabilize the locus of that authorial act, and in doing so, reclaim it from the heteronormative structures that seek to naturalize it.

As an intervention into our normative understanding of .the real. and its accompanying politics of convention, this performance piece has numerous conceptual goals. The first is to assert that often, normative understandings of biological function are a mythology imposed on form. It is this mythology that creates the sexist, racist, ableist, nationalist and homophobic perspective, distinguishing what body parts are .meant. to do from their physical capability. The myth that a certain set of functions are .natural. (while all the other potential functions are .unnatural.) undermines that sense of capability, confining lifestyle choices to the bounds of normatively defined narratives.

Just as it is a myth that women are .meant. to be feminine and men masculine, that penises and vaginas are .meant. for penetrative heterosexual sex (or that mouths, anuses, breasts, feet or leather, silicone, vinyl, rubber, or metal implements are not .meant. for sex at all), it is a myth that ovaries and a uterus are .meant. to birth a child.

When considering my own bodily form, I recognize its potential as extending beyond its ability to participate in a normative function. While my organs are capable of engaging with the narrative of reproduction . the time-based linkage of discrete events from conception to birth . the realm of capability extends beyond the bounds of that specific narrative chain. These organs can do other things, can have other purposes, and it is the prerogative of every individual to acknowledge and explore this wide realm of capability.

Roger Kimball, at PJM, notes that Ms. Schvartz’s “art” has successfully challenged some orthodoxies, and recognizes that the question is exactly which ones?

Yale’s response was a masterpiece of evasion. “Had these acts been real,” their statement continued, “they would have violated basic ethical standards and raised serious mental and physical health concerns.” You don’t say?... And what, by the way, was the standard being violated? I wonder, for example, whether the Yale spokesman would say that abortion itself violated a basic ethical standard? Or maybe the violation requires first deliberately impregnating oneself? (But why would that affect the “basic ethical standard” involved?) Or maybe it was videotaping the performance that was the problem?

I know that in the universe occupied by Ivy League academics, the spectacle of a woman repeatedly inseminating herself, quaffing abortifacient drugs (“herbal” ones, though: we’re all organic environmentalists here), and then video taping the resultant mess poses a problem. I mean, in that universe there really are basic ethical standards: Thou shalt not smoke, for example. Thou shalt not support the war in Iraq. Thou shalt not vote Republican. There really are some things that are beyond the pale. ...

Why do so many people feel that if something is regarded as art, they “have to go along with it,” no matter how offensive it might be? Perhaps—just possibly—Aliza Shvarts has reminded us how untrue that statement is. If so, we are in her debt.

James Taranto, too, at the Wall Street Journal, sees the ironic possibilities.

When Yale says that Shvarts’s project, “if real,” violates “basic ethical standards,” what kind of ethical standards does it have in mind?

It seems unlikely that Yale is making a moral claim against the putative Shvarts project. The abortion debate is driven by two irreconcilable moral premises: on the antiabortion side, that it is wrong to take a human life deliberately at any stage of development; on the pro-abortion side, that a woman has a right to do whatever she wants with her body.

In practice, most people’s actual positions on abortion amount to a compromise between these two absolutes. If Yale has an institutional view on abortion, surely it is closer to the pro- than the antiabortion side. And if Shvarts did what she claims to have done, she destroyed protohumans (for want of a better neutral term) no later than the embryonic stage of development—a stage at which, according to the U.S. Supreme Court, a woman has an absolute “constitutional” right to terminate her pregnancy.

Is Yale claiming that Shvarts violated academic ethics? This is a real head-scratcher. Academic ethics center on honesty; the most important prohibitions are against such actions as falsification of data or plagiarism (misrepresenting another’s work as one’s own). But Yale is claiming that Shvarts’s project violated “basic ethical standards” if she was honest in describing it. If Shvarts perpetrated a hoax, then according to Yale she was exercising “the right to express herself.” The implication is that if she was lying, she was behaving ethically.

Yale therefore is either taking a moral position in opposition to abortion or standing academic ethics on their head. Which raises an intriguing possibility: Could it be that Aliza Shvarts is an opponent of abortion who has staged a hoax aimed at embarrassing those who support or countenance abortion?

Earlier postings

A new report from the Oldest College Daily advises the well-and-truly-grossed-out news-reporting and news-reading worlds that Aliza Schvarts (Y’08)’s miscarriages-as-art project was merely a naughty undergraduate joke intended to spark conversation and debate.

Aliza Shvarts ’08 was never impregnated. She never miscarried. The sweeping outrage on blogs across the country was apparently for naught — at least according to the University.

As the news of her supposed senior art project chronicling a year of self-induced miscarriages was greeted with widespread shock on campus and elsewhere, the Davenport College senior traded barbs with Yale officials on Thursday over a project she described as an exhibit documenting a nine-month process during which she claimed to have artificially inseminated herself “as often as possible” while periodically inducing miscarriages.

But while Shvarts stood by her project and claimed that administrators had backed her before the planned exhibition attracted national condemnation, the University dismissed it as nothing more than a piece of fiction.

“The entire project is an art piece, a creative fiction designed to draw attention to the ambiguity surrounding form and function of a woman’s body,” Yale spokeswoman Helaine Klasky said in a written statement Thursday afternoon.

Klasky said Shvarts told Yale College Dean Peter Salovey and two other senior officials Thursday that she neither impregnated herself nor induced any miscarriages. Rather, the entire episode, including a press release describing the exhibition released Wednesday, was nothing more than “performance art,” Klasky said.

“She is an artist and has the right to express herself through performance art,” Klasky said. “Had these acts been real, they would have violated basic ethical standards and raised serious mental and physical health concerns.”

But in an interview later Thursday afternoon, Shvarts defended her work and called the University’s statement “ultimately inaccurate.” She reiterated that she engaged in the nine-month process she publicized on Wednesday in a press release that was first reported in the News: repeatedly using a needleless syringe to insert semen into herself, then taking abortifacient herbs at the end of her menstrual cycle to induce bleeding. Thursday evening, in a tour of her art studio, she shared with the News video footage she claimed depicted her attempts at self-induced miscarriages.

“No one can say with 100-percent certainty that anything in the piece did or did not happen,” Shvarts said, adding that she does not know whether she was ever pregnant. “The nature of the piece is that it did not consist of certainties.”

Told of Shvarts’ comments, the University fired back. In a statement issued just before midnight on Thursday, Klasky told the News that Shvarts had vowed that if the University revealed her admission, “she would deny it.”

“Her denial is part of her performance,” Klasky wrote in an e-mail message. “We are disappointed that she would deliberately lie to the press in the name of art.”

Yale’s response to the supposed exhibition came at the end of a day of widespread shock. The blogosphere erupted in stunned indignation over Shvarts’ detailed description in Thursday’s News of her supposed exhibition, which she said would include the display of blood she preserved from her nine-month endeavor.

As more news outlets posted their stories online early Friday morning, Shvarts responded to the University’s second statement, asserting that her project was, in her words, “University-sanctioned.”

“I’m not going to absolve them by saying it was some sort of hoax when it wasn’t,” she said. “I started out with the University on board with what I was doing, and because of the media frenzy they’ve been trying to dissociate with me. Ultimately I want to get back to a point where they renew their support because ultimately this was something they supported.”

It was a media frenzy that Shvarts triggered herself. The article in Thursday’s News was prompted by a press release Shvarts circulated on Wednesday in which she discussed — in graphic detail — what she called a cycle of self-insemination followed by “repeated self-induced miscarriages.”

The Drudge Report linked to the News’s story early Thursday, overloading the newspaper’s Web site with traffic and attracting the attention of news outlets across the country. The article generated more press inquiries from the University than any matter since the controversy surrounding Yale’s admission of former Taliban diplomat Rahmatullah Hashemi flared up in 2006, according to a Yale official.

In an interview for the article in Thursday’s News, Shvarts explained that the goal of her exhibition was to spark conversation and debate about the relationship between art and the human body. She said her endeavor was not conceived with any “shock value” in mind.

“I hope it inspires some sort of discourse,” Shvarts said. “Sure, some people will be upset with the message and will not agree with it, but it’s not the intention of the piece to scandalize anyone.”

Shvarts said her project would take the form of a large cube suspended from the ceiling of a room in the gallery of Holcombe T. Green Jr. Hall. Shvarts said she would wrap hundreds of feet of plastic sheeting around the cube, with blood from her self-induced miscarriages lining the sheeting.

Recorded videos of her experiencing her miscarriages would be projected onto the four sides of the cube, Shvarts said.

And while some news stories late Thursday dismissed Shvarts’s exhibition as a wholesale hoax, the Davenport senior showed elements of her planned exhibition to News reporters, including footage from tapes she plans to play at the exhibit. The tapes depict Shvarts, sometimes naked, sometimes clothed, alone in a shower stall bleeding into a cup. It was all part of a project that Shvarts said had the backing of the dean of her residential college and at least two faculty members within the School of Art.

Davenport College Dean Craig Harwood — whom Shvarts said supported the project — and Shvarts’s thesis adviser, School of Art lecturer Pia Lindman, could not be reached for comment Thursday. The director of undergraduate studies in the School of Art, Henk van Assen, referred a request for comment to Yale’s Office of Public Affairs.

Which denoument makes a lot of sense. The whole business did sound just a little too far out there in a variety of ways to receive academic approval. And it’s true, we all gaped and marveled, but accepted the story at face value.

Does this prove that news organizations and bloggers are unbecomingly credulous? I don’t think so. The alleged miscarriage project was not all that far removed from any number of real examples of purported art featuring unlikely materials of organic origin, in some cases personally provided by the artist.

Aliza Schvarts’ alleged art project made news on the basis of its man-bites-dog outrageous character, but these days the relationship of major universities and the arts to perversity and shock is so warm and intimate that it all had a distinct air of plausibility.

Despite the unfortunate aesthetic and moral aspects of her prank, my own disposition is to smile and extend congratulations to Aliza Schvarts for successfully pulling so many legs. What is undergraduate life for, if not for shocking and outraging the adult bourgeois world?

Well done, Aliza.

Her taste may be questionable, but she demonstrated admirable quantities of imagination, flair, and enterprise. The world should keep an eye out for this girl. What an advertising campaign manager she is liable to make!

Beginning next Tuesday, (Aliza) Shvarts (‘08) will be displaying her senior art project, a documentation of a nine-month process during which she artificially inseminated herself “as often as possible” while periodically taking abortifacient drugs to induce miscarriages. Her exhibition will feature video recordings of these forced miscarriages as well as preserved collections of the blood from the process.

The goal in creating the art exhibition, Shvarts said, was to spark conversation and debate on the relationship between art and the human body. But her project has already provoked more than just debate, inciting, for instance, outcry at a forum for fellow senior art majors held last week. And when told about Shvarts’ project, students on both ends of the abortion debate have expressed shock – saying the project does everything from violate moral code to trivialize abortion.

But Shvarts insists her concept was not designed for “shock value.”

“I hope it inspires some sort of discourse,” Shvarts said. “Sure, some people will be upset with the message and will not agree with it, but it’s not the intention of the piece to scandalize anyone.”

The “fabricators,” or donors, of the sperm were not paid for their services, but Shvarts required them to periodically take tests for sexually transmitted diseases. She said she was not concerned about any medical effects the forced miscarriages may have had on her body. The abortifacient drugs she took were legal and herbal, she said, and she did not feel the need to consult a doctor about her repeated miscarriages.

Shvarts declined to specify the number of sperm donors she used, as well as the number of times she inseminated herself. ...

The display of Schvarts’ project will feature a large cube suspended from the ceiling of a room in the gallery of Green Hall. Schvarts will wrap hundreds of feet of plastic sheeting around this cube; lined between layers of the sheeting will be the blood from Schvarts’ self-induced miscarriages mixed with Vaseline in order to prevent the blood from drying and to extend the blood throughout the plastic sheeting.

Schvarts will then project recorded videos onto the four sides of the cube. These videos, captured on a VHS camcorder, will show her experiencing miscarriages in her bathrooom tub, she said. Similar videos will be projected onto the walls of the room.

School of Art lecturer Pia Lindman, Schvarts? senior-project advisor, could not be reached for comment Wednesday night. ...

The official reception for the Undergraduate Senior Art Show will be from 6 p.m. to 8 p.m. on April 25. The exhibition will be on public display from April 22 to May 1. The art exhibition is set to premiere alongside the projects of other art seniors this Tuesday, April 22 at the gallery of Holcombe T. Green Jr. Hall on Chapel Street.

The establishment art world’s recent movement in the personal biological products direction at least represents a self-correcting problem. “Art works” consisting of human or animal waste or blood tend to develop “preservation issues” as their chosen media naturally breakdown or wind up being consumed by microorganisms.

Telegraph:

A rare portrait of Wolfgang Amadeus Mozart has been unearthed which gives a true picture of the famous composer’s looks at the height of his fame.

It shows him in 1783, aged 27, dressed in a red tunic and a white ruff, with a wig of grey hair and an elegant but slightly hooked nose. ...

The picture has been authenticated by Professor Cliff Eisen, a music scholar at King’s College London. He described it as “arguably the most important Mozart portrait to be discovered” since the composer’s death in 1791.

Prof Eisen, who is to present his findings to academics at the Royal Musical Association on Saturday, said: “It is only the fourth known authentic portrait of him from the Vienna years, the period of his greatest professional successes and greatest compositional achievements.”

Mozart moved to Vienna in 1781, aged 25, and died a decade later.

The oil, which measures 19 inches by 14 inches, was bought by an American collector in 2005 from a descendent of Johann Lorenz Hagenauer, a close friend of the composer’s father Leopold Mozart. The collector has insured it for £2 million.

It was probably painted by Joseph Hickel, a painter to the Imperial Court of Austria.

Prof Eisen said there was strong documentary evidence to suggest the subject was Mozart, including a letter he wrote to one of his patrons in September 1782 describing his desire for a “beautiful red coat” that matches the one painted.

AFP:

A tiny and extremely rare 5,000-year-old white limestone sculpture from ancient Mesopotamia sold for 57.2 million dollars in New York on Wednesday, smashing records for both sculpture and antiquities.

The carved Guennol Lioness, measuring just over eight centimeters (3 1/4 inches) tall, was described by Sotheby’s auction house as one of the last known masterworks from the dawn of civilization remaining in private hands.

“It was an honor for us to handle The Guennol Lioness, one of the greatest works of art of all time,” Richard Keresey and Florent Heintz, the experts in charge of the sale, said in a joint statement.

“Before the sale, a great connoisseur of art commented to us that he always regarded the figure as the ‘finest sculpture on earth’ and it would appear that the market agreed with him,” they said.

Five different bidders, three on the telephone and two in the room, competed for the sculpture. The successful buyer was identified only as an English buyer who wished to remain anonymous.

The sale easily broke the previous record for the highest price for a sculpture at auction, which had stood at 29.1 million dollars and was set just last month at Sotheby’s in New York by Picasso’s “Tete de Femme (Dora Maar).”

It also beat the 28.6 million dollars paid for “Artemis and the Stag,” a 2,000-year-old bronze figure which sold also at Sotheby’s in New York in June and held the record for the most expensive antiquity to be sold at auction.

Described by Sotheby’s as diminutive in size, but monumental in conception, The Guennol Lioness was created around 5,000 years ago—around the same time as the first known use of the wheel—in the region of ancient Mesopotamia.

The piece was acquired by private collector Alastair Bradley Martin in 1948 and has been on display in New York’s Brooklyn Museum of Art ever since.

Currently underway at Washington’s Smithsonian-affiliated Sackler Gallery is an exhibition of the Etsuko and Joe Price Collection of Edo Period Japanese Painting. On previous display in Japan at four locations, the Price collection attracted more than 800,000 visitors becoming the most successful museum exhibition in Japanese history.

Paul Richard’s review, in the Washington Post, makes an interesting comparison:

For the beauty-loving samurai of 18th-century Japan, those competitive aestheticians, true mastery of ink and edge were arts of the same height.

Slicing through a torso with a curving steel blade and putting ink to silk with a liquid-loaded brush, both of these were stroke arts. Both required the same swiftness, the same lack of indecision. For the master of the brush and the master of the blade, who were sometimes the same person, the flawless stroke expressed a Japanese ideal—the beauty-governed union of sure, unhurried speed and centuries-old tradition, utter self-assurance and Zen purity of mind.

Roughly 150 different paintings will be displayed 50 at a time. During the unusual five-month span of the exhibition, several complete rotations are scheduled to accommodate the scale of the collection and to protect the light-sensitive works from excessive continuous exposure.

Smithsonian Press Release

The Shin’enKan Foundation offers a CD of the collection.

Skinner was kind enough to send me the catalogue for their upcoming November 3 & 4 sale of American Furniture & Decorative Arts.

Glancing through it last night, I was simply astonished at the sight of Lot 590.

These unique artworks were apparently created in the late 19th century by a deaf-mute, Andrew Clemens (1852-1894), who sold them as his sole means of support. The colored sands were naturally-occurring, and were collected by the artist in the Pictured Rocks, a mile south of McGregor, Iowa.

Richard J. Langel of the Iowa Geological Survey writes:

To create his sand paintings, Clemens used only a few tools: brushes made from hickory sticks, a curved fish hook stick, and a tiny tin scoop to hold sand. His sand paintings ranged from original designs to reproductions of images from photographs.

Because the majority of the bottles that Clemens used were round-top drug jars, he painted his designs upside down. Clemens inserted the sand using the fish hook stick. The brushes were used to keep the picture straight. No glue was used in the process; the sand was only held in place by pressure from other sand grains. Once a design was completed and the bottle was full, the bottle was sealed with a stopper.

Clemens originally sold his sand paintings in the McGregor grocery store. A small bottle sold for $1; a larger personalized bottle sold for $6-$8. The popularity of his sand paintings increased as travelers and steamboat agents purchased the bottles as souvenirs. Eventually, orders for his bottles became worldwide.

Clemens’ sandbottles are avidly collected as folk art, and now sell for thousands of dollars.

McGregor Sand Artist by Marian Carroll Rischmueller

Wikipedia

The Sandbottles of Andrew Clemens

Andrew “Andreas” Clemens

Cowan’s – Painter Without a Brush