Alfred Munnings, A Huntsman on a Grey in a Landscape, Sir Alfred Munnings Art Museum, Dedham
click on the image for larger version – The huntsman has paused and is having a nip from his saddle flask.

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.

Michelangelo?, Crucifixion With The Madonna, St John And Two Mourning Angels, 16th century, currently, Ashmolean Museum

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

Arnold Böcklin, Im Spiel der Wellen [At Play in the Waves], 1883, Bayerische Staatsgemäldesammlungen Munich, Neue Pinakothek

It’s a good idea to look in from time to time at the Polish art blog Spod pÄ™dzla (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.

A print by Marc Johns

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

Antoine Joseph Wiertz, Dernières pensées et visions d’une tête coupee (Last Thoughts and Visions of a Decapitated Head), 1853

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.

China intentionally insulted the United States during the recent state visit by Hu Jintao by arranging for a Chinese pianist to play a Korean War-era anti-American propaganda song (referring to Americans as “jackals”) in the White House.

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!

Leonardo da Vinci, Portrait of Young Girl in Profile

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 x 23cm (13 x 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.

“Cerca Trova” (Seek and Find) appears on a banner on Vasari’s mural of the Battle of Marciano

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

24-year-old Kseniya Simonova moved the audience of the Ukraine’s Got Talent (Україна має талант) television program to tears with her sand painting depicting the impact of the German Invasion during WWII on the lives of ordinary Ukrainians. She won the competition, and the YouTube video of her performance has attracted more than 2 million viewers.

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

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Hat tip to Karen L. Myers.

Fjordman observes that the Chinese have a special enthusiasm for Western classical music while Muslims commonly care little for Western music or art. When Muslims look for inspiration to the West, their admiration is focused on weapons of mass destruction, the authoritarian state, socialism, and militaristic nationalism, in other words: fascism. The leading political movement in the post colonial Islamic world has been Ba’athism, a political movement specifically modeled on German National Socialism.

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.