Market issues, attractive purchases, and the opening of what looks to be an exquisite exhibition of Durer prints highlight OMNP’s weekend reading:
This article was of particular interest to OMNP for its breakdown of the different types of forgery that inflict the art market. The concept of alteration forgery, for example gets little mention by the press-adding an artist’s signature is quite the devious way to boost the value of a borderline work. Notwithstanding, wouldn’t such a ploy be uncovered by a simple black-lighting of the painting, revealing an overpainting?
As the Summer winds down, Mr. Melikian reviews some of the prized items on his wish list over the art market’s past season. Old Masters get their fair share, in Melikian’s rundown of the bargains that are to be had in a Contemporary centered marketplace:
Melikian’s noting of the inexpensive sum of $73,000 USD, paid for a Parmigianino drawing at Sotheby’s in January, recalled a similar lot that OMNP covered during Sotheby’s Old Master sales in July. Other works mentioned include a chalk study of a young woman by Federico Barocci, a beautifully understated still life by Rachel Ruysch (who Melikian refers to as “Holland’s greatest woman painter,”) and a precious portrait by Lucas Cranach the Elder-Melikian’s “Leonardo of the North”, that went for a relatively modest $5.1 million.
Any exhibition devoted to greatest printmaker of all time is pretty much required viewing. OMNP has always been struck at the strength and certainty of Durer’s lines. It is all the more amazing to see their punch in such small compositions. These prints have a modern sensibility to them, products of Durer’s wild imagination which was allowed to roam free in the printmaking medium. While prints were distributed to a much larger audience, they were intended for private viewing and therefore was less obligated to restrictions of commissioned painting laid out by an aristocratic or religious patron.
More on the Durer Exhibition:
Meissonier’s fall from grace is one of the true enigmas of art history. Here was a man that was lauded as one of the most important artists in 19th century France. Yet shortly, after his passing, his work not only suffered from a change in taste, but became reviled by the public.
Here was a man who was honored by a statue in the Louvre, yet by the 1960′s had had all of his work removed from the museum, including the statue, which was being dragged out feet first. All Damien Hirsts of the world might want to take note of this cautionary tale.