05.11.2011., subota

INVESTMENT IN ART - INVESTMENT IN INVESTMENT IN ART - WHAT DO INSURANCE COMPANIES INVEST IN. Investment In Art investment An act of devoting time, effort, or energy to a particular undertaking with the expectation of a worthwhile result the commitment of something other than money (time, energy, or effort) to a project with the expectation of some worthwhile result; "this job calls for the investment of some hard thinking"; "he made an emotional investment in the work" outer layer or covering of an organ or part or organism investing: the act of investing; laying out money or capital in an enterprise with the expectation of profit The action or process of investing money for profit or material result A thing that is worth buying because it may be profitable or useful in the future in art a. Opposite of content. The conclusive aspect of art, the surpassing of emotions, taste, matter, the final imprint of the personality of the artist, b. Opposite of color. The plastic form achieved by drawing and chiaroscuro- -- L.V. Cincinnati Art Museum Joos van Cleve. Madonna and Child Who painted what when? To many, that recalls what turned them off art history. I call it an invitation to see. Sometimes, too, it has the appeal of a good mystery. A passion for art A journalism professor from Florida A&M had turned to Renaissance Europe for the secrets of Kabala. In a painting in Cincinnati, he may have discovered as well a story of missionaries, the conquest of the New World, botanical scrutiny, and belief. This may well sound like outtakes from a certain movie, but it does not require murder, self-flagellation, or even lame dialogue. An attribution simply means asking if the artist at hand would have or could have done the job. As I have described for a controversial attribution to Jan Vermeer, an answer hinges on the totality of a painting's subject, style, and technique, which is why art takes words. These in turn direct one to historical documents, close technical examination, and what one can see with the naked eye. And this time, a work's history extends to everything from biology to the history of scientific discovery and to cultural anthropology. In Joos van Cleve's Madonna and Child, which dates from before 1535, the infant Jesus reaches for his mother and for three cherries—the number associated with the Trinity and the fruit with paradise. His affection for Mary and her association with salvation already has doctrinal implications. In the process, the child seems to flee two flowers in his mother's right hand. To a believer, he has every reason to fear. A carnation's nasty thorns and red flowers had made it a symbol of the Passion. When travelers with Hernando Cortes, the Spanish conqueror of Mexico, found a relative with deeper reds and spinier petals, they could hardly resist naming it a passion flower. In the painting, the miraculous new flower tops the older one. They could be growing out of the same stem—if a stem could somehow start over after a burst of pink. However, Michael E. Abrams has a problem with this picture. Word of the discovery did not reach Europe for decades, starting with a physician around 1570 and drawings by Jesuits in 1608. Prints of Passiflora incarnata circulated more widely in Europe only later still. He cites a remarkable series, documenting biodiversity in Virginia and issued in London. Could Joos have somehow had an inside track, both to dozens of then unfamiliar species and to an apparent revelation. Could the attribution to Joos instead have a serious flaw? Abrams wrote the Cincinnati Institute of Fine Arts to ask. Although I can hardly claim to have played a role beyond offering another lay opinion, he also got in touch with me—as has the Tallahassee Democrat. The economy of vision Andy Haslit, the curator, insists on the attribution. He can trace the painting, which entered the collection in 1981, only as far back as 1913. However, he can rely on agreement among other art historians. I hate to judge a work of art in reproduction, but I reached same conclusion. Joos, formerly known as Master of the Death of the Virgin, takes his name from Cleves, on the lower Rhine. He moved to Antwerp around 1510. There, under the influence of Quentin Massys and Jan Gossart, he furthered a style known now as Flemish Mannerism. One can see it in the painting's acrid colors, heavy shadows, and hard finish. At the same time, Mannerism often revisits the past, Joos stood as a classicist. He looked to the early Renaissance, as in a close copy after Jan van Eyck. He also introduces Italian models to Northern Europe, much as Hans Memling had in his portraits many years before. In copying van Eyck's Madonna in a Church, he beefs up her proportions, and the Madonna in Cincinnati has the same weighty folds of drapery and rounded faces. The motif of a carnation goes back to a more famous Madonna in Munich, by Leonardo da Vinci—perhaps his first painting on that theme and among the first paintings to embody High Renaissance ideals. The pyramid here, completed by the arm at left and architecture at right, also recalls Leonardo. Joos, then, almost surely had no contact with flora across the ocean, but plenty of contact with this canvas. Abrams himself, however, realized another possibility, for if Joos had painted the Madonna, another hand could have added the second flower much later. Could someone at least look closely at the painting's surface to see? Major scholars historians who ascribed the painting to Joos, such as Max Friedlander, never thought to ask. I found Abram's third possibility a no-brainer. First, symbolism requires that the natural world speak in an economical language. One flower growing out of another just will not do. Besides, it does not look terribly naturalistic. Moreover, I had to suspect the black background. Black hides a multitude of sins, much as in clothing, and indeed I began to wonder if it effaced the carnation's thorns. Joos himself did as much as anyone to add detailed backdrops, broken my art on SALE I hope by now you all know I am a self taught artist and concentrate on painting. One of the first groups I found on flickr was for artists like me to connect with photographers and paint images they chose from their photostreams; this is a small one 5" x 7" that I did. I hope you like my art and will consider buying something really unique and inexpensive and sure to be an investment as I am virtually unknown but have sold 23 paintings so far... so contact me if you are interested in anything you see or want to commission me. your friend and fellow flickr addict - Bev, BEVNorton, BNcatchesthelight account too. 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