Thursday, October 2, 2014

The Agony and the Ecstasy (1965): Charlton Heston as Michelangelo Buonarroti


     Directed by Carol Reed, based on the book by Irving Stone, The Agony and the Ecstasy (1965) is a vibrant re-telling of the story behind the creation of the famous Italian Renaissance masterpiece, the Sistine Chapel ceiling, and the tensely stubborn dealings between Michelangelo and Pope Julius II. The cinematography is great, and the sets offer interesting views of the artistic process involved in fresco painting. Charlton Heston is great as Michelangelo Buonarroti, and Rex Harrison is equally strong as Pope Julius II.

Michelangelo's "Moses": The Agony and the Ecstasy

Charlton Heston as Michelangelo: The Agony and the Ecstasy

: The Agony and the Ecstasy

Charlton Heston as Michelangelo: The Agony and the Ecstasy

Charlton Heston as Michelangelo: The Agony and the Ecstasy

Charlton Heston as Michelangelo: The Agony and the Ecstasy

Charlton Heston as Michelangelo: The Agony and the Ecstasy

The Creation of Adam, by Michelangelo: The Agony and the Ecstasy

Charlton Heston as Michelangelo: The Agony and the Ecstasy

"The Agony and the Ecstasy"- movie trailer


Michelangelo Buonarroti, 1564-66. by Travis Simpkins

Wednesday, October 1, 2014

“La Femme à l'Éventail” by Amedeo Modigliani: Stolen on May 20, 2010

Woman with a Fan. Amedeo Modigliani. by Travis Simpkins

La Femme à l'Éventail” by Amedeo Modigliani: Stolen on May 20, 2010
by Travis Simpkins


The Painting:

     La Femme à l'Éventail or Woman with a Fan was painted in 1919, and is a prime example of Modigliani's technique. The typically elongated portrait depicts Lunia Czechowska, a Polish woman whose husband was a friend of Modigliani's dealer Leopold Zborowski. Lunia posed for the artist ten times during a three year period, with this portrait being completed one year before Modigliani's death.


The Theft:

     On May 20, 2010, a lone thief pulled off one of the biggest art thefts in history. Five works, valued at up to €500m, were stolen from the Musée d'Art Moderne in Paris. The filched paintings were well-known works by top-tier artists: Picasso, Modigliani, Matisse, Leger and Braque.
     Lax security and careless blunders were largely to blame for the success of the heist. It was discovered that the paintings were gone around 7:00 a.m. The three guards on duty that night were dumbfounded, telling investigators that they “saw nothing.” A closer look at the museum's security system and the events of that shift painted an unsettling picture. Inspection of the security alarms revealed that the motion detectors that covered the area in which the theft took place had been non-functional for nearly two months, since March 30. The alarms points were malfunctioning, causing false alarms, and the management decided to disable them to alleviate their frustration. Spare parts to make repairs had been ordered, but had not arrived yet.
     On the night of May 20, all of the exterior CCTV cameras were focused towards the roof of the building, leaving the guards blind to street level activity. At about 4:00 a.m., the thief sheared a padlock and smashed through a first floor window to gain entry to the Musée d'Art Moderne. Once inside, the masked “burly” thief passed by an array of interior CCTV cameras, which nicely recorded his nonchalance as he perpetrated the crime. The thief spent about 15 minutes removing the five canvases from their frames, and he placed them all together in a large single bundle before exiting from the same window. French investigators theorize that the guards were sleeping, or otherwise distracted, in order to have missed the entire crime playing out on their monitors. The Brigade de Répression du Banditisme believes that the thief acted alone.
     In 2011, a suspect told police that he had thrown the five paintings in the garbage and that they were destroyed by a trash compactor. However, this claim is unsubstantiated.

     The five masterpieces are unsellable and have not been recovered.


Police investigate the 2010 Art Heist scene at Paris' Museum of Modern Art

The 5 Stolen Paintings: 2010, Paris Museum of Modern Art

Tuesday, September 30, 2014

Research: Worcester Art Museum "Then and Now" by Travis Simpkins. Update #10

     Research and examinations aside, of all staff, the Gallery Attendants probably spend the most time out amongst the collection. At least, they are certainly in a great position to observe and gauge the public's reaction to exhibits, and they are advantageous sources of insightful feedback. Out of curiosity, I've casually asked numerous guards which piece of Art seems to be the most popular amongst museum patrons. The answers came without hesitation. The overwhelming consensus is that, more than any other painting, John Singer Sargent's "Lady Warwick and Her Son" always inspires visitors to pause much longer, look and reflect. So, I thought I'd show a couple "Then and Now" shots that feature this masterful and engaging Sargent painting.
     -The first photo, taken 100 years ago in 1914, shows the Worcester Art Museum third floor landing 25 years before the fourth floor was added. "Lady Warwick", which had just been purchased the previous year, is roped off and presented in stately fashion across the way. The current view would be looking east to west from the Donnelly Gallery across to American Decorative Arts (the Rocket Ship and walls in the center of the gallery prevent me from accessing the exact spot, so the angle is slightly off). The scale and grandeur of the two scenes, separated by a century, has surely changed.
     -In the second composition, the Sargent painting can be seen in it's present location in Gallery 209, following the most recent renovation of that section of the European Galleries. Note the difference in light coming from the lay light ceiling in 2008, which was solely illuminated by florescent bulbs above. Visitors would often comment back then on how beautiful the skylights were in the European Galleries, not knowing it was actually just artificial light. The illusion is less pronounced today.

     -The sketch is of a small (about 4-inches tall) 15th Century ivory piece, "Adoration of the Magi", in the Medieval Gallery. I like the simplified features and expressive gestures. The gallery label seems somewhat indecisive regarding the piece's origin. However... To me, especially in looking at the rendering of the facial features, it appears to be very Germanic.

3rd Floor Galleries. Worcester Art Museum. by Travis Simpkins

European Galleries. Worcester Art Museum. by Travis Simpkins

Adoration of the Magi. Worcester Art Museum. by Travis Simpkins

     An enlarged view of the above 1914 photo reveals the silhouette of a familiar wall sconce. The original brass fixtures are long gone. An old photo, perhaps even this very one, was used to recreate 8 new wall sconces for the Worcester Art Museum's Centennial in 1997. The profile from the photo was traced in AutoCAD, and a New Hampshire company was commissioned to design the reproductions. The replicas, of course, now illuminate Stephen Earle Hall on the first floor.

 
Wall Sconce. Worcester Art Museum, 1910.

Wall Sconce. Worcester Art Museum, 2014