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« 2009年12月 | トップページ | 2010年2月 »

2010年1月

"La Belle Ferronnière"驚きの150万ドル

Sothebys2

クリックで拡大

先日イタリア人科学者がダヴィンチの謎を解くため、墓の調査を計画していることが報道されました。
http://sankei.jp.msn.com/world/europe/100129/erp1001291331006-n1.htm
http://www.startribune.com/world/82970977.html?elr=KArks:DCiUBcy7hUiacyKUUr

Did1ch

そして今日主役は "La Belle Ferronnière".
近年話題になる事の多い美術品の一つです。
ダヴィンチの謎の一角を占めるかも知れません。
およそ153万ドルで落札されました。落札予定額は30万~50万ドルでした。
同じ構図の作品がルーブル美術館にあります。
こちらは第一次世界大戦で、ハリーカーン氏がフランス女性の心を射止めた事によりアメリカに渡ります。
彼女に結婚祝いとして贈られたのです。
当初、ダヴィンチとフランス人絵師の作品とかんがえられていましたが、その作品を手放す事になった時疑問が投げかけられます。ダヴィンチの信奉者による後のコピーではないかと。
その説が支持される中今回のオークションとなったのです。
1750年以前の作品であることは間違いないようです。lead-tin yellowが使われているからです。
しかしルーブル作品と大きな違いもあります。
ルーブル作品はその当時多く用いられたポプラのパネルに描かれています。
一方カーン氏の物は後に一般化するカンバスに描かれています。

300pxleonardo_da_vinci_050

                                         

                                         

                                         

                                          

This striking and (in)famous portrait is another version of a composition in the Louvre, thought to depict Lucrezia Crivelli, a mistress of Ludovico Sforza, the Duke of Milan.2 Depicting a lady in three-quarters profile, the sitter in the present painting is seated behind a stone balustrade that is only just suggested by the strip of gray paint at the bottom. The woman gazes out of the canvas, while a slight smile is just suggested by the upturned corners of her mouth. Her hair is parted down the center and pulled back, and she wears as jeweled headband across her forehead. The sitter's pale, milky skin is offset by the rich red gown and green ribbons she wears, and the square, embroidered neckline of her gown is complimented by her delicate necklace.

Although the attributions of both the present painting and the work in the Louvre have in the past been the subject of debate between experts and scholars, it is today typically agreed that the Louvre version is either by Leonardo himself or one of his pupils, while the present version is thought to be a later copy. The history of these judgments, however, is not nearly as straightforward as the above would seem to imply. On the contrary, the history of the present painting is intertwined with the fields of connoisseurship and art history as they emerged and asserted themselves in the early part of the 20th century. The story of La Belle Ferronnière is as much about the aesthetic and scientific foundations of modern art history as it is about the authenticity of the painting itself.

This Belle Ferronnière was brought to the United States in 1920 by newlyweds Harry and Andrée Hahn (see fig. 1). Harry, an American serviceman during World War I, had met and married a young French woman named Andrée Lardoux. With the war over, Harry returned home to Kansas City with his new bride and this picture, a wedding gift from Andrée's godmother, Louise de Montaut. Shortly after their arrival in the U.S., the Hahns decided to sell their picture, contacting several dealers on the East Coast as well as local dealers in Kansas City. Later, they claimed to have nearly reached a deal with the Kansas City Museum for $250,000, when a reporter at the New York World, who had heard that a woman in Kansas City was trying to sell a Leonardo, telephoned the famed art dealer Sir Joseph Duveen in London to ask his opinion on the painting. It was 1AM on the morning of 17 June 1920 when Duveen answered his phone. The art dealer had never seen the Hahn's picture, but nevertheless he told the reporter that it must be a copy and that the real work was in the Louvre. Although he couldn't know it at the time, this seemingly routine telephone call would unleash a decade long legal battle that brought not only Duveen himself, but also the very foundations of connoisseurship, under trial.

In November 1921, the Hahns served papers on Duveen at his gallery in New York City. He was being sued for slander, for as the Hahns claimed, his comments to the press had not only been false, but also had been purposely calculated to drive them and their picture from the market. Duveen rallied a host of art experts to his side, including Bernard Berenson, Wilhelm Valentiner and Roger Fry, who all unanimously agreed that the Hahns' picture was a copy. He even orchestrated - at his own expense - a confrontation between the Louvre's and Hahns' pictures in Paris. There too, the unanimity of opinion between the various art experts was almost unheard of in the history of connoisseurship: the Louvre's picture was the original, while the Hahn's was a later copy. Duveen could sense his victory in the courtroom.

But as the trial began, it became clear that the jury was not on his side (see fig. 2). The average American had little patience for a group of "experts" who could not provide one bit of hard, factual evidence that the work was a copy, and who, when asked to explain how they had reached their conclusions about the pictures, were reduced to vague statements about the superiority of their "eyes." The Hahns' lawyer saw his opportunity: while Duveen's counsel was attempting to show how unified this disparate group of experts was in their opinions on the Hahns' picture, the Hahns' lawyer began to poke holes in this unified front by questioning the experts on their opinions of the Louvre picture. Many had written articles in the past claiming that it too was a copy. If, he asked the jury, the experts had changed their opinions of the Louvre painting, what was to say that their current opinions of Hahns' picture might not also change? In 1929, with no scientific or archival evidence to back up the testimony of Duveen's experts, the jury could not reach a decision, and the case ended in a hung jury.3 Duveen ultimately settled out of court, paying the Hahns $60,000 in damages.

This settlement did little to change the market's opinion of the authenticity of the Hahns' picture. Duveen continued to dominate the international art market, and the picture was locked away in a bank vault in New York during the Depression and World War II. In 1947 Harry Hahn published a book, The Rape of La Belle, which blasted the art establishment for its treatment of the picture, and which claimed to conclusively prove that it was by Leonardo. The book coincided with renewed efforts to sell the picture, both in the United States and abroad. Some of these attempts included figures from the art world, such as the renowned conservator Helmut Ruhemann, who opined that the Hahn painting was, in fact, a Leonardo, and the controversial promoter of pictology, Maurits van Dantzig. However, it all came to nothing and the work disappeared from public view.

In 1993, La Belle Ferronnière was examined by Leonardo expert Professor Martin Kemp. While Kemp did not think that the painting was a Leonardo, he did believe that it had age, dating it to the first half of the 17th century. He also suggested an attribution to a northern European painter, perhaps Laurent de la Hyre.

Recent technical examination of the painting has revealed compelling new evidence about the genesis of the picture, much of which supports Kemp's theory. As noted, while the Louvre example is painted on poplar panel, the expected and typical support for a late quattrocento Florentine portrait, the Hahn picture is painted on canvas, a material which became more common in the following centuries.4 Indeed, the priming layer on the canvas is a double red pigment, common in French pictures from the late 17th to the early 19th centuries. Pigment analysis has also suggested a date ante quem for the picture. Most compelling is the use of lead-tin yellow, a color which was employed by artists from very early and up until the late 17th century. After that time, however, it began to be replaced on the artist's palette by other yellows, such as Naples yellow and ochre, and the formula for lead-tin yellow itself was eventually lost and appears to have disappeared by the early nineteenth century. It was not until 1941 that scientists were able to isolate the composition of the compound, and in particular the presence of tin, which separated it from other yellow pigments.5 These features, then, would suggest that the Hahn Belle Ferronnière was most likely painted by a French artist (or an artist using French materials) in the years up to about 1700/50, after which time some of the pigments used would have become obsolete, unavailable or forgotten. It is important to remember, however, that technological advances are currently improving our knowledge of artists' materials, and it is possible that future investigations will yield new information on the use of this and other pigments. Such findings are enticing, for they suggest that La Belle Ferronnière may finally emerge not only from the shadow of Leonardo da Vinci, but also from close to a century of controversy and critical neglect, to be understood on its own terms.

1. This provenance is traditional to the picture; however, it is also highly speculative. The first firm documentation we have of the picture is its appearance at auction in 1847 as part of the collection of the Comte de Betz, as referenced in Brewer, The American Leonardo, p.132.
2. Ludovico was one of Leonardo's most important patrons, and the artist also painted another of his mistresses, Cecilia Gallerani, in his famed Lady with an Ermine, in the Czartoryski Museum, Cracow, Poland.
3. Duveen had experts in archival research and x-ray analysis examine La Belle Ferronnière but he decided not to use their testimony in the court case, thereby depriving the jury of some of the evidence that could have swayed them to his side.
4. Examination has confirmed that the Hahn La Belle Ferronnière was not originally painted on panel and then transferred to canvas at a later date, as the inscription on the back suggests.
5. Naples yellow began to become more common on artists' palettes from the late 17th century on, and in particular with painters who had an Italian association. It seems most likely that various yellows were used, and that lead-tin yellow was used in Northern Europe longer than further south, perhaps as late as the 1770s. Indeed, its use in the ceramics industry in the Netherlands in the second half of the 18th century is recorded, although it seems likely that innovations in this area would lag behind those in painting.

初世叶雛助の大森彦七と四世市川団蔵の粟生左衛門

195023981  細版 
落款 流光斎 

                                                                                              

                                                                                                   

                                                                                                                                                

寛政4(1792)年11月道頓堀角の芝居で演じられた「人心叶戯場(ひとごころかのうかおみせ)」から。
寛政4年は上方で版画作品が作られた最初の年と考えられています。
ここに描かれた二人は当時を代表する立ち役。
叶は嵐とも名乗り太りすぎから女形を断念。

粟生左衛門 は新田義貞の四天王の一人
彦七が背負っていた鬼女が正体を現す場面。

イギリスの美術展

Vangogh2

ゴッホ展
Royal Academy of Arts
http://www.royalacademy.org.uk/exhibitions/vangogh/

土屋ちさ美展
Fairfields Art Gallery
http://www.fairfields.org/

Monday 18th January to Thursday 18th February 2010

Arrest_by_chisami_tsuchiya_2 Fairfields Arts Centre is very pleased indeed to curate and bring you this solo exhibition of very beautiful work by this amazing young Japanese Artist.

Chisami Tsuchiya’s work combines the beauty of ukiyo-e (japanese wood block prints)with the excitement of modern manga and anime. But by using computers instead of woodblocks, she has made Japanese Prints for the 21st Century. Her beautifully detailed and colourful illustrations draw primarily on Japanese stories and culture, but also on ‘Alice in Wonderland’ which we will be showing here.

We have exhibited some of her work here in the past in the last two UK International Manga Art Show’ we curated, and it was greatly admired by the public.

Her work has started to be published both in the UK and Japan, and there is already an international fan club for her work Chisami Tsuchiya’s work is much more than just illustration though, and each piece is a very beautiful piece of art in its own right.

豪華ラインアップ

Picasso1

2月2日のクリステイーズロンドンで開催されるオークション
Impressionist/Modern Evening Sale の下見会が始まりました。
出品作はピカソが6点、ルノアール3点、ゴッホとキースは2点など豪華です。
D5289403l
落札予想価格で最も高額なのは
Kees van Dongen の
"La gitane"
が8,937,500ドル以上
と予想されています。


                                          

                                          

                                          

                                          

                                          

                                              

D5289408l D5289412l その他では
Natalia Gontcharovaの
Espagnole、 
Pablo Picassoの
" Homme assis sur une chaise"
最低でも600万ドル前後。

                                                

                               

また同日のThe Art of the Surreal Evening Sale もおもしろそうです。
D5289443l Max Ernst (1891-1976) の
"Profanation of Spring " 
落札予想額が100万ドルとこちらも高額。

謎解き!? 浮世絵『浪花百景』を見よ

ナカノシマ大学2月講座

日時 2010年2月12日 (金) 19:00~
場所  大阪大学中之島センター
講師 橋爪節也氏
受講料  2,000円
定員  150名  先着順

書店を覗けば「いつの間に!?」といった感じで、にわかに浮世絵ブームの様相を呈してきたこの頃。しかし、大阪にだって一世を風靡した“ベストセラー浮世絵”があったことをご存じだろうか。それがこの『浪花百景』と呼ばれる名所の風景を描いたシリーズである。

安政年間(1854〜1860)の頃、大坂で活躍していた浮世絵師、歌川国員・歌川芳瀧・歌川芳雪の3人によって合作されたものだが、実はその来歴については知られていない部分が多い。誰がどんな意図で出版したのか? 描かれることになった場所はどうやって決められたのか? 3人の絵師の素性は? そして何より、描かれた風景からどんなことが読み取れるのか?

そんな謎を解き明かしてくれるのは、上方美術史のエキスパートである大阪大学総合学術博物館教授の橋爪節也氏。150年前、大坂の町人たちを魅了した鮮やかな風景の数々は、現代の私たちにだってインパクトは特大。ふだんの街の見え方もきっと変わります。
http://www.nakanoshima-univ.com/seminar/1002_university.html

三代目中村歌右衛門と三代目坂東三津五郎の首引き

An00521717_001_l
文政5(1822)年2月
よし国門人玉国画(右) よし国門人岸国画(左)

当時上方歌舞伎界は看板役者同志を競わせ、贔屓熱をあおったそうです。
それを相撲の取り組みのようにし、首引きで表わしました。
三代目中村歌右衛門(芝翫1778~1838)は嵐吉三郎(璃寛1769~1821)とのライバル関係が有名ですが、江戸の三代目坂東三津五郎(1775~1831)ともその人気を競い合っていました。
この絵では共に石川五右衛門を演じています。
歌右衛門は中の芝居、三津五郎は角座で同時に演じて、東西の人気役者の一大競演と大いに評判だったようです。

春霞ひくや引くや贔屓のちから綱 はつ国
千金の詠めにあかぬはる景色   千歌国

はつ国、千歌国もよし国の弟子です。

中村仲蔵

Sc213944fpxobjiip1 勝川春章の「中村仲蔵の斧定九郎」1783年

                                              

                                      

                                       

                                        

                                        

                                          

                                       

初代中村 仲蔵
元文元年(1736年) - 寛政2年4月23日(1790年6月5日)は江戸時代中期の歌舞伎役者、舞踊家。俳名は秀鶴、屋号は榮屋・堺屋、紋は中車紋・三つの人の紋。
浪人の子ともいわれておりますが、7歳の頃役者の世界に入ります。4年のブランクを経て19歳で舞台に復帰。
が、思うような活躍が出来ず仲間内の虐めにも合います。自殺を図るほど悩みます。
そうする内に4代目市川團十郎にその才能を認められてから徐々に開花していきます。
ある時立作者の金井三笑と「曽我の対面」の工藤の演出をめぐって不和となり、三笑がわざと定九郎一役を仲蔵に振って嫌がらせをします。当時定九郎はほんの端役で名題の者が演じるような役ではありません。所詮門閥の出はないとこんな扱いかと落ち込みもします。そこで下積み上がりの役者魂が頭をもたげ、それまではとは全く違った工夫、演出を考え出します。
その演出は今日まで踏襲される程の当たりを取ります。
その経緯を描いたのが落語「中村仲蔵」。
http://ginjo.fc2web.com/44nakamuranakazo/nakazou.htm

江戸時代を通じて、最下級の稲荷町から名題にまで出世した役者は、初世中村仲蔵(1736-1790)と4世市川小団次(1812-1866)の2人だけだそうです。

播磨灘に沈む部分日蝕

厚い雲間に一瞬でした

Himg0136_2 

風邪といえばゴッホ

全国的に冷え込んでいます。
今年は雪も多いようです。
今年は琵琶湖も深呼吸できそうですね。
新型インフルにはまだまだ要注意。

ゴッホミュージアムのバーチャルツアーです。

http://amsterdam.arounder.com/en/museum/van-gogh-museum/van-gogh-museum-01.html

モネ絵画、10年ぶり戻る

Poland1

【ベルリン時事】ポーランドの警察当局は13日、西部ポズナニの国立美術館から2000年9月に盗まれたフランスの印象派画家モネの作品「プールヴィルの海岸」が10年ぶりに発見されたと発表した。
 警察によると、南部のオルクスで12日、絵を隠し持っていた41歳の画家の男を窃盗容疑で逮捕した。男は容疑を認めているという。
 絵は盗まれた当時、100万ドル(約9100万円)の価値があるとみられていた。男は絵を額から抜き取り、代わりに贋作(がんさく)をはめ込んでいた。 

ベスト10

The top ten oil paintings sold online in the last decade according to overstockArt.com are:
http://www.overstockart.com/

1. "Starry Night" – Vincent van Gogh                              
2. "Café Terrace at Night" – Vincent van Gogh
3. "The Kiss" – Gustav Klimt
4. "Poppy Field at Argenteuil" – Claude Monet
5. "The Mona Lisa" – Da Vinci
6. "Le Rêve" (The Dream in French) – Pablo Picasso
7. "Luncheon of the Boating Party" – Pierre August Renoir
8. "The Scream" – Edvard Munch
9. "Red Cannas" – Georgia O’Keeffe
10. "Persistence of Memory" – Salvador Dali

Overstockart_2088_388042221_2 Overstockart_2087_101018914_2 Vangogh2ch

浮世絵の値段は?

歌麿と北斎の逸品がクリステイーズに出品予定。
共に枕絵の最高峰と言われる「歌まくら」と「浪千鳥」です。
落札予想価格はそれぞれ10万ー15万ドル(約920万-1380万円)と12万-18万ドル(約1100万ー1650万円)。
北斎の「浪千鳥」はかって高橋誠一郎コレクションにあったと思われるとかで、状態もかなりいいそうです。
「日本・韓国美術オークション」は3月24日に開催予定。

参考画像は大英博物館所蔵の「歌まくら」から2点。

An00601081_001_l

An00601068_001_l

売立目録

東京国立博物館資料館のオンラインで新たに映像が公開されたものが。
その中に売立目録の表紙が1389点。
明治から大正にかけて名家から軒並み出ています。
これだけの物が売りに出されて、文化的にみてどうだったんですかね。
今度京都で展覧会がある冷泉家一族のも見られます。


U0033_2  尾州_徳川家御蔵品入札 
出品445点

U0034_2

西本願寺_大谷家御蔵器 
出品1726+615(750)点

U0073 冷泉子爵家
及_某家書画器物展観入札
出品583点

初夢

An00694622_001_l_3 An00694619_001_l_3 An00694617_001_l_3

「お宝、お宝」
の歌うような掛け声で宝船の絵を売り歩くのが元日の江戸の風物詩でした。
「ながきよのとおのねふりのみなめさめなみのりふねのおとのよきかな」
という回文が書かれており、これを枕の下に敷くと吉夢が見られると言い伝えられています。
この初夢ですが元日の朝に見るものか或いは元日の夜に見るものなのか諸説あるようです。
折口信夫によると元日の朝に見るもので、宝船も一年の汚れを流すのが本来だったそうです。
それが何時の頃からか、七福神が乗って財宝を積んでやってくる物に変わったようです。
谷文晁 (1763~1840)が、七福神の絵は「狩野松栄以前の絵を見ず」と『三養雑記』に書き残しています。
狩野松栄は文禄元年(1592)に没していますので、安土桃山時代には七福神はあったようです。
また、宝永年間(1704~1711)に大阪で出版された俳諧本の插絵に七福神が宝船に乗った物があります。
それより古いものには七福神が乗っておらず、新しいものでも将軍家、禁裏、武家の宝船には七福神は乗っていないそうです。どうやら七福神が乗った宝船はもっぱら江戸の庶民に流行した風習のようです。

画像は当時の人気絵師3人国芳、国貞、英泉の合作。

ドガ「合唱隊」盗まれる

Les Choristes

Edgar1

31日、展示中だったフランスの印象派画家ドガのパステル画「合唱隊」(1877年、パリ・オルセー美術館所蔵)が盗まれた。
1876~77年に描かれた縦27センチ、横幅32センチの小さな絵。
時価115万ドル。
(クリックで拡大)

外電はオルセー美術館が基金増資のため最近多くの作品を貸し出している、とあります。
何か補修とか緊急を要する事態があるのでしょうか。

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