Magdalenian 14,000 years old

Cave Bison of Tuc d’Audoubert Sculptures of the Ice Age
These bison were prominently positioned at the centre of a small, difficult to reach chamber deep in the cave system of Tuc d’Audoubert. Made from unbaked clay, the composition depicts the larger bull positioned behind a cow. Their bodies were moulded by hand and still show finger marks. The details of the heads and necks were carved or incised using tools. The tail of the cow, now broken off, was raised ready for mating.

Le Tuc d’Audoubert cave, Ariège, France

“The Wenceslas Knights in Blanik Mountain”, which when searched leads to “The famous Czech legend of the Knights of Blanik tells of an army of knights sleeping in a cave in Blanik, a mountain not far from Prague. It states that the knights will awake and be led by a saint to save the country when it faces its darkest hour.”

The Metropolitan Museum describes this wonderful object thusly:

Title: Aquamanile in the Form of a Crowned Centaur Fighting a Dragon

Accession Number: 10.37.2

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Important to know:

An aquamanile is a jug or ewer used to pour water for the washing of hands over a basin.

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But the description is wrong. In reality, it is King Pellinore riding, or merely combined with, Glatisant, the Questing Beast, who has the head of a snake, the body of a leopard, the haunches of a lion (lacking here), and the feet of a hart, from the Medieval Arthurian stories.

Max Kurzweil, A Dear Visitor, 1894, Private Collection, Vienna.

Via C.W. Swanson: Hadi Rahnaward: ‘Fragile Balance’ (2023) rug sculpture created with matches. And dangerous, if those are real matches. The temptation for me would be enormous. I don’t know if I could resist.

I’m with him. When the exhibition closes, they absolutely need to light it.

Eight actually survived.

Henri Lefebvre (1901-1991) was another French Marxist termite, gnawing at the roots of Civilization and producing numerous volumes filled with pretentious jargon in the distinctive manière française.

Even a blind pig, as the saying goes, occasionally finds a truffle, and Lefebvre did produce the highly amusing, posthumously published, Les Unités perdue (2004), translated by David L. Sweet as The Missing Pieces (2014), 83 pages listing belle-lettres and works of art lost through the vagaries of time and chance.

One (partially erroneous) example:

The sixteen drawings offered by Amadeo Modigliani to his lover Anna Akhmatova were “smoked” by the Red Guards, who used them as cigarette paper.

Anna Weyant.

As Spring Auction Sales reports come in, the art world is suddenly agog at Anna Weyant’s sudden ascent.

WSJ:

On the night artist Anna Weyant’s work debuted at Christie’s, the 27-year-old painter was too nervous to attend or even watch the livestream. Instead, Ms. Weyant holed up in her small Manhattan apartment and listened to a calming app on her cellphone until a friend texted with news.

“Summertime,” Ms. Weyant’s portrait of a woman with long, flowing hair that the artist had sold for around $12,000 two years before, resold for $1.5 million, five times its high estimate.

It has been a rocket-fueled rise to the top of the contemporary art world for Ms. Weyant—and far from her unassuming start in Calgary, Canada. Spotted on Instagram three years ago and quickly vouched for by a savvy handful of artists, dealers and advisers, Ms. Weyant is now internationally coveted for her paintings of vulnerable girls and mischievous women in sharply lit, old-master hues. Imagine Botticelli as a millennial, whose porcelain-skin beauties also pop one leg high like the Victoria Beckham meme or sport gold necklaces that read, “Ride or Die.”

Ms. Weyant’s oeuvre of roughly 50 paintings has already filtered into the hands of top collectors such as investor Glenn Fuhrman and plastic surgeon Stafford Broumand. The Los Angeles County Museum of Art recently exhibited her work in a group show, and former Venice Biennale curator Francesco Bonami said he predicts she will make her own Biennale appearance soon, which would be another career milestone.

As is, demand for her art outstrips her supply: The waiting list to buy one of her paintings, dealers say, is at least 200 names long. And last month she teamed up with the biggest art gallery of them all, Gagosian. … Read the rest of this entry »

attributed to Marie-Denise Villers, Portrait of Marie Joséphine Charlotte du Val d’Ognes, 1801.

First attributed to Jacques-Louis David and then Constance Marie Charpentier, this portrait is now believed to be the work of Marie-Denise Villers (1774–1821), who may have exhibited the painting at the Parisian Salon of 1801.

HT: Public Domain Review via Vanderleun.

Yorkshire Post:

Calverley Old Hall, between Leeds and Bradford, is currently subject to a major repair and renovation programme funded by the Landmark Trust, who have owned the building and run part of it as a holiday let since 1981.

The oldest parts of the hall date back to the 14th century but most of it is Tudor. It was the seat of the Calverley family for centuries until the 1750s, when they sold the estate and moved to Esholt Hall. Calverley Old Hall was then subdivided into cottages.

Ahead of the current restoration work, historians and conservation specialists were able to examine the fabric of the building and made an incredible discovery behind a 1930s fireplace. …

Dr Anna Keay, who worked at the site, said: “An exposed area of timber seemed to have something on it; reddish, greenish, and blackish stains on the oak. We thought they could just be the streaks and smudges of mould and dirt and decay. It looked to be wishful thinking that this was anything of note. But just on the off chance, ever cautious, we decided to ask the conservators at Lincoln Conservation to have a look. …

Two days were allocated… to remove the later plaster altogether and see how much remained beneath. I stopped in on the morning of day two, expecting them to have only just begun. When I walked up the stairs into the room I was simply overcome. The plaster had gone and there on all three walls before me was a revelation. Floor to ceiling, wall to wall, a complete, highly decorated Tudor chamber, stripped with black and red and white and ochre. Mythical creatures and twining vines, classical columns and roaring griffins.

“Wall paintings were prized in grand Tudor houses, and from time to time patches of them are revealed. But never in my own 27 years of working in historic buildings have I ever witnessed a discovery like this. Hidden panelling, yes, little snatches of decorative painting, once or twice. But an entire painted chamber absolutely lost to memory, a time machine to the age of the Reformation and the Virgin Queen, never. …

“Suddenly, we are transported from a dusty, dilapidated building into the rich and cultured world of the Elizabethan Calverleys, a well-educated family keen to display their learning and wealth by demonstrating their appreciation of Renaissance culture. The Calverley paintings are very carefully planned, in a vertical design that uses the timber studwork as a framework. Teethed birds laugh in profile; the torsos of little men in triangular hats sit on vases or balustrades. When the fantastical figures and architectural elements are incorporated into dense vertical stacks as at Calverley Old hall, they’re known as ‘candelabra.’

“The whole chamber was probably originally covered in the scheme, a rich, dark, private space that must have been all the more impressive by candlelight.”

RTWT

Wikipedia entry:

The hall was witness to dreadful violence in April 1605, when Walter Calverley murdered two of his sons, William and Walter, after drinking heavily. He was tried in York for murder, but refused to plead and was therefore pressed to death. Because of his refusal, his property could not be seized by the state, and passed to his surviving baby son. The murder inspired the Jacobean play A Yorkshire Tragedy, the authorship of which was attributed to William Shakespeare in the first printed edition (1608) but which is now thought to have been written by Thomas Middleton.

Johannes Vermeer, Girl Reading a Letter at an Open Window, 1657-59, Gemäldegalerie Alte Meister, Dresden.

Hyperallergenic:

The female figure in Johannes Vermeer’s “Girl Reading a Letter at an Open Window” (1657-59), art historians have long known, is not exactly alone in the room. As early as 1979, x-rays revealed a painting of a full-length cupid hanging on the wall behind her, partly shielded by a silky green trompe l’oeil curtain pulled to the side. This picture-within-a-picture, a hallmark of the artist’s opulent renderings of Dutch interiors, was further confirmed using infrared photography.

But until recently, experts assured us Vermeer had painted over the chubby amorini himself. In 2019, laboratory tests led to a shocking discovery: the cupid imagery was covered up by someone other than the artist, likely decades after its completion. Conservators at the Gemäldegalerie Alte Meister (Old Masters Picture Gallery) in Dresden, where the painting has resided for over 250 years, decided to return the work to its original state, removing the layers of varnish and overpaint concealing the original composition.

RTWT

Doubtless, the conservators’ decision to restore the painting to the artist’s original intent is an inevitable academic and institutional choice. Still, I find the heavy-handed symbolism of the result tedious and the composition cluttered when compared to the previous version. Sad.

Wikipedia article.

George Caleb Bingham, The County Election, 1854, Engraving.