An art expert believes the paintings are by Dutch artist Samuel van Hoogstraten and Italian Pietro Bellotti
German police have appealed for information from the public after two 17th century paintings were discovered in a skip at a highway rest stop.
Police said a 64-year-old man found the oil paintings at the rest stop near Ohrenbach in central Germany last month. He later handed them in to police in the western city of Cologne.
Continue reading...A film about the disputed Salvator Mundi blames the National Gallery for its role in giving credibility to the claim that it was the artist’s lost work
The National Gallery is facing controversy over its role in the tangled story of how the world’s most expensive painting emerged from obscurity before being sold for a staggering £320m, only to vanish again from the public eye.
The gallery exhibited the Salvator Mundi in its Leonardo da Vinci exhibition a decade ago when it was an unknown work with doubts about its attribution, restoration and ownership.
Continue reading...‘Priceless’ pieces removed from Rai’s offices by employees and replaced with fakes, police believe
“Disloyal employees” at Italy’s public broadcaster, Rai, are suspects in the theft of dozens of works of art from its offices thought to date back to the 1970s.
In what the daily newspaper Il Messaggero has described as “the sack of Rai”, the “priceless” artworks were removed from the broadcaster’s headquarters in Rome and units across the country and replaced with fakes. The works included original paintings by Renato Guttuso and etchings by Claude Monet and Amedeo Modigliani.
Continue reading...Artwork in building slated for demolition faces uncertain future, though city has pledged to save it
It all began one February night in 1989. Cesar de Melero was DJing in the Ars Studio club in Barcelona when someone told him that the artist Keith Haring was outside but the doorman wouldn’t let him in.
“The place was packed, so I put on a record and pushed through the crowd,” De Melero told the Guardian. “And there he was with his saintly, innocent face and I told the doorman to let him in and I said to the boss: ‘Champagne for Keith Haring.’”
Continue reading...The Italian artist may have wanted to brush Beatrice Hastings out of his life, but artifical intelligence has thwarted him by enabling a re-creation of the work
No one wants to be reminded of a failed relationship by having the ex’s portrait hanging around. After Amedeo Modigliani and his lover, Beatrice Hastings, broke up, the Italian artist is thought to have obliterated her memory by painting another woman’s likeness over his portrait of her.
So he might not be too happy to learn that science has now brought back that “lost” portrait, using artificial intelligence, an X-ray and 3D-printing to re-create the painting, with full colour and textured brushstrokes.
Continue reading...Lockdown hobbyist painted 1m tiny cobbles for scale model of Yorkshire town’s demolished St Hilda’s district
Lockdown has inspired many of us to take up new hobbies, but for one Middlesbrough man, the pandemic just meant more time to devote to a mammoth project already nine years in the making.
“It was business as usual,” says Steve Waller, 61, a model artist and historian known affectionately as the “Michelangelo of Middlesbrough” who has spent almost a decade recreating the town’s historical St Hilda’s district in his bedroom.
Continue reading...The great British artist’s home in Mexico has been turned into a wonderful museum, full of her sculptures, books, diaries and unsmoked cigarettes. Our writer, Carrington’s cousin, takes an emotional tour
In October 2010, a few months before her death, I said my last goodbye to my cousin Leonora Carrington. As I left her home in Mexico City, she stood waving on the doorstep. Today, I’m back for the first time – to see Leonora’s house recreated as a visitor attraction. It feels surreal, but the surreal has become the everyday since I set off to find Leonora in 2006, almost 70 years after she checked out of our family and Britain. She travelled first to Paris to be with her lover, the German artist Max Ernst, before moving on to Mexico with a diplomat she met after she and Ernst were separated by the second world war.
This house, 194 Calle Chihuahua, is where she was anchored for more than 60 years. Here, she painted some of her best-known works, including The Juggler, which sold at auction in 2005 for £436,000; And Then We Saw the Daughter of the Minotaur, now at MoMA in New York; and her mural The Magical World of the Mayans, now at the National Anthropological Museum in Mexico City.
Continue reading...Authors from Julia Donaldson to Cressida Cowell pay tribute to the beloved author of The Very Hungry Caterpillar, who has died aged 91
The late Eric Carle has been hailed by fellow children’s writers for creating generations of readers as voracious as his best-loved creation, The Very Hungry Caterpillar.
Carle, who died on Sunday at the age of 91, left behind titles including his worldwide bestselling board book – about a caterpillar who eats his way through a week’s worth of food before turning into a butterfly – as well as The Very Busy Spider, The Mixed-Up Chameleon and Papa, Please Get the Moon for Me.
Continue reading...Sales of items from celebrities such as Janet Jackson and K-poppers BTS are trending – and reframing what goes under the hammer
Is celebrity merchandise the new Monet? Auction houses are in flux, with more and more pop culture items being sold under the hammer for six and seven-figure sums.
Last month, Julien’s Auctions in Beverly Hills hosted a three-day auction of Janet Jackson’s personal belongings, including some of her most iconic stage outfits. Buyers included Kim Kardashian, who snagged Jackson’s outfit from the music video for her 1993 classic If for $25,000 (£18,000) and, on Instagram, said she was “such a fan” of the singer.
Continue reading...V&A, London
Persepolis and Isfahan are dazzlingly brought to life in a blockbuster show that explores five jaw-dropping millennia of cultural history, from soaring domes to charging horses
Typical. You go for months without any culture, then 5,000 years of it come along at once. That’s what the V&A’s luxury coach tour of a blockbuster promises, and delivers, including quite brilliant recreations of Iran’s two most renowned sites, Persepolis and Isfahan. Epic Iran shows there is a cultural history that connects the country as it is today with the people who lived here five millennia ago. To put this in perspective, that’s like telling the story of Britain from before Stonehenge to the present and hoping it all connects up somehow. But in Iran, it does.
That’s partly because of a pride in history that preserved traditions across the millennia. The most important document of that is The Shahnameh, The Book of Kings, written at the start of the 11th century CE by the poet Ferdowsi. Iran had been converted to Islam in the seventh century, but Ferdowsi’s epic is packed with the heroic deeds and bloody battles of the ancient, pre-Islamic Sasanian empire. It is also written in Persian, as opposed to Arabic. There are gorgeous manuscripts of this classic. A masterpiece made in Tabriz in the 1500s for the Safavid ruler is open on a battle scene in which bejewelled horsemen charge each other across a sea-like expanse of blue: the painter takes time to depict little flowers blooming on the battlefield, just before the horses trample them.
Continue reading...He was a demonic emperor who stabbed citizens at random and let Rome burn. Or was he? We go behind the scenes at a new show exploding myths about the ancient world’s favourite baddie
Nero comes with a lurid reputation. “The main thing we know about him is his infamy,” says Thorsten Opper, curator of the first British exhibition devoted to the Roman emperor. “The glutton, the profligate, the matricide, the megalomaniac.” Also, the pyromaniac: famously, Nero “fiddled while Rome burned”, or at least strummed his kithara to one of his own compositions, The Fall of Troy, while a fire, supposedly begun by him, destroyed three of Rome’s 14 districts and seriously damaged seven.
His afterlife on the page and screen is certainly arresting. Nero inspired some of the greatest Renaissance and baroque operas, notably Monteverdi’s L’Incoronazione di Poppea and Handel’s Agrippina, which chart the emperor’s adulterous love for Poppaea, who became his second wife. In the epic 1951 movie Quo Vadis, Peter Ustinov played Nero as entirely unhinged: a mincing, purple-swathed toddler in a man’s body. Christopher Biggins took him on in I, Claudius, the classic BBC adaptation of Robert Graves’s novel, and made him power-hungry, baby-faced and quite, quite mad.
Continue reading...What would it have been like to be inside the Big Bang? We meet the ultra-hi-tech art duo who are using light, sound and sub-atomic astro data to recreate the biggest explosion ever
‘Step into the heart of the Big Bang,” says the advert for Halo, a walk-in, 360-degree, audiovisual installation about to open in Brighton. Come off it, I want to retort. You couldn’t “step” into the Big Bang without first travelling 13.8 billion years back in time and then being extremely miniaturised. After all, the universe was, according to one estimate, just 17cm in diameter at its inception.
What’s more, it was dark inside the Big Bang. In fact, there was no light at all. True, if you stuck around for 380,000 years, according to Nasa, you might have been able to see something because that was when free electrons met up with nuclei and created neutral atoms that would have allowed light to pass through. But who has 380,000 years to hang around waiting in the dark?
Continue reading...From a paintbrush to a Stratocaster and a stained glass panel, some unexpected items took on huge new importance in a world of coronavirus restrictions
Continue reading...As she starts to rebuild her life after surgery, the artist shares her unflinchingly honest cancer self-portraits, talks about seeing dead people in hospital walls, and explains why she’s buying herself a punchbag – and kittens
‘I’m smiling and talking to you,” says Tracey Emin, sitting at her kitchen table. “But it’s not always like this.” We’ve been delaying this conversation until she finally felt well enough. She has been spending a lot of time in bed, just resting. On the phone, she sounded weak, but today she is indeed smiling, getting excited as she speaks – the Tracey who I have been fortunate enough to get to know.
“Now I’ve got a terrible pain in my legs, it’s unbearable. That’s why I’ve been in bed. I’m determined to go for a walk later because I hardly ever go out. I have a urostomy bag, so I have a major disability. The more well I get, the more annoying it is. Previously it was all right because I was on morphine. But now I want to do things and I can’t.”
Continue reading...Three teams of four puppeteers will accompany Little Amal from Turkey to Manchester to celebrate refugees
A giant puppet of a nine-year-old Syrian refugee girl is to “walk” from Turkey to the UK through villages, towns and cities for one of the most ambitious and complex public artworks ever attempted.
The Walk project was meant to have taken place between April and July but was delayed by the pandemic. Now the 5,000 mile (8,000km) journey of Little Amal, from Gaziantep, near the Turkish-Syrian border, to Manchester, will take place over 12 weeks from 27 July.
Continue reading...Fan Bingbing stars as an emperor’s wife having her portrait painted in this artful yet inert period drama
This French-Chinese co-production about an earlier French-Chinese collaboration offers handsome pageantry amid its lavish recreation of 18th-century imperial court life, but it isn’t quite enough to compensate for a puttering narrative motor. Longtime Apichatpong Weerasethakul producer Charles de Meaux has turned director with a far eastern equivalent of Girl With a Pearl Earring – another decorous, ever so slightly sleepy matinee sit.
The film’s subject is Jean-Denis Attiret (played by Melvil Poupaud), a real-life French Jesuit missionary who spent half of his 60-odd years employed as the Chinese court painter. His trickiest commission, recalled here, came from the emperor’s bored wife (Fan Bingbing), thirsting to preserve an image that might turn her indifferent husband’s head.
Continue reading...While enjoying an idyllic lockdown in France, the 83-year-old artist has created perhaps his most important exhibition ever – offering hope to an injured world
‘I think it looks terrific,” says David Hockney. “It’s all on one theme, isn’t it? And there’s not many exhibitions like that, really, a show all about the spring.” The 83-year-old artist is taking a look around his new exhibition at the Royal Academy in London for the first time. He seems happy with it – and rightly so, for it is hypnotic and ravishing. But while I am getting a sneak preview in person, Hockney is here only virtually, his face appearing on two screens, one a giant TV, the other a small laptop.
He is at home, at what he calls his “seven dwarves house” in Normandy, wearing a red, black and white check jacket, a checkerboard tie, a blue-green pullover and round, gold-framed glasses. His kaleidoscopic choice of clothing, challenging the very limits of the video call’s bandwidth, is as vibrant and beguiling as the canvases hanging around us. Hockney has not just painted spring; he has come dressed as it.
Continue reading...Christopher Marinello has spent three decades finding missing masterpieces, recovering half a billion dollars’ worth of art. He talks about threats from mobsters, tricky negotiations – and bungling thieves
One summer morning in 2008, Christopher Marinello was waiting on 72nd Street in Manhattan, New York. The traffic was busy, but after a few minutes he saw what he was waiting for: a gold Mercedes with blacked-out windows drew near. As it pulled up to the kerb, a man in the passenger seat held a large bin-liner out of the window. “Here you go,” he said. Marinello took the bag and the car sped off. Inside was a rolled-up painting by the Belgian artist Paul Delvaux, Le Rendez-vous d’Ephèse. Its estimated worth was $6m, and at that point it had been missing for 40 years.
Marinello is one of a handful of people who track down stolen masterpieces for a living. Operating in the grey area between wealthy collectors, private investigators, and high-value thieves, he has spent three decades going after lost works by the likes of Warhol, Picasso and Van Gogh. In that time, he says he has recovered art worth more than half a billion dollars. When I call him, he answers, then abruptly hangs up. “I was just on my way to a police station to recover a stolen sculpture,” he explains later, apologising.
Continue reading...Building an arts centre in Uganda, in a pandemic, was never going to be easy but it’s crucial to our post-Covid future
I’ve been raising funds for a building project: not a hospital, not a school, but an arts centre.
It’s not an easy sell at the best of times but add in a pandemic and the fact that I’m in Africa and, according to the current rules of financial engagement, art is the verylowest of priorities.
Continue reading...He was the inventor of ‘art brut’ who rebelled against his parents, his teachers and then art itself. Yet the impact of his wild provocative paintings, often culled from graffiti, can still be seen today
Which great artist of the 20th century has been most influential on the 21st? Neither Picasso nor Matisse, as they have no heirs. And not Marcel Duchamp, however much we genuflect before his urinal. No, the artist of the last century whose ideas are everywhere today was a wine merchant who took street art and fashioned it into something extraordinary more than 75 years ago.
After four years of Nazi occupation, you’d think Parisians would have been unshockable. But in 1944, the newly liberated city was sorely provoked by the antics of Jean Dubuffet. Even as the last shots were fired, he was creating newspaper collages bearing the fragmentary graffiti messages he saw in the streets: “Emile is gone again”, “Always devoted to your orders”, “URGENT”. In the next couple of years, he unveiled shapeless, childlike paintings that abandoned all pretence at skill.
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