Saturday, July 09, 2011

Leonardo da Vinci Painting Re-Discovered in NYC!

The image on the right Salvator Mundi c. 1500 was just confirmed as an authentic Leonado da Vinci original painting of Christ as Savior of the World. The image on the left is an unfinished painting with the same title and subject by Leonardo's contemporary, Albrecht Durer from the collection of the Metropolitan Museum in New York City.

I include both images here as an interesting art history compare/contrast exercise: is it possible the Durer was aware of the da Vinci painting and this is his reaction to the Florentine master's work? I'd like to think so.

For more information on each painting see the links below:
Da Vinci Discovered: Painting Gains Attribution After Careful Scholarship and Conservation

Leonardo da Vinci (1452-1519), Salvator Mundi, c. 1500 Oil on walnut panel, 25 13/16 X 17 7/8 inches (65.6 X 45.4 cm) © 2011 Salvator Mundi llc. Photo: Robert Simon, Tim Nighswander.

"A lost painting by Leonardo da Vinci has been identified in an American collection and will be exhibited for the first time this November. Titled Salvator Mundi (Savior of the World) and dating around 1500, the newly discovered masterpiece depicts a half-length figure of Christ facing frontally, holding a crystal orb in his left hand as he raises his right in blessing."

Heilbrunn Timeline of Art History | The Metropolitan Museum of Art
Salvator Mundi
Albrecht Dürer (German, 1471–1528)
Oil on wood

22 7/8 x 18 1/2 in. (58.1 x 47 cm)
The Friedsam Collection, Bequest of Michael Friedsam, 1931 (32.100.64)

Source: Albrecht Dürer: Salvator Mundi (32.100.64) | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art

"Devotional images of Christ as Salvator Mundi, or Savior of the World, were especially popular in Northern Europe. Christ raises his right hand in blessing and in his left holds an orb representing the earth. Dürer probably began this painting shortly before he departed for Italy in 1505, but completed only the drapery. His meticulous preparatory drawing on the panel is visible in the unfinished portions of Christ's face and hands."

Source: Albrecht Dürer: Salvator Mundi (32.100.64) | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art

Tuesday, March 22, 2011

Line By Line

Great series of lessons on drawing by James MacMullan in the NY Times.

-James MacMullan

Saturday, January 22, 2011

Christian Marclay's 24-hour video work: The Clock

So I just stumbled into the Paula Cooper Gallery on my way to the Gym at Chelsea Piers and I was transfixed by this strangely compelling film. I started watching at 4:20 pm and I soon realized that all of the clocks in the film said 4:20 pm. It took me a while to realize that time passed in the film just like real time!!! The film is composed of cut scenes drawn from the history of cinema and many recognizable actors and films are put in service of this clever conceit. I can rattle off a few that I can remember: Bette Davis, Humphey Bogart "Casablanca", Jack Nicholsen "About Schmidt"...
I plan to go back and see more as the show just opened and will close on February 19, 2011.

In The Clock, Marclay samples thousands of film excerpts indicating the passage of time. Spanning the range of timepieces, from clock towers to wristwatches and from buzzing alarm clocks to the occasional cuckoo, The Clock draws attention to time as a multifaceted protagonist of cinematic narrative. With virtuosic skill, the artist has excerpted each of these moments from their original contexts and edited them together to form a 24-hour montage, which unfolds in real time. While constructed from a dizzying variety of periods, contexts and film genres whose storylines seem to have shattered in a multitude of narrative shards, The Clock uncannily proceeds at a unified pace as if re-ordered by the latent narrative of time itself. Because it is synchronized with the local time of the exhibition space, the work conflates cinematic and actual time, revealing each passing minute as a repository of alternately suspenseful, tragic or romantic narrative possibilities.

Sunday, January 02, 2011

MoMA is dead! Long live MoMA!

Here's my take on the NY Times article celebrating the re-birth from near death of MoMA.

Interesting take on how MoMA is settling in to the new space that seemed so unpromising when it first re-opened. I agree that Monet looked insignificant and that the Barnett Newman sculpture felt out of place; I also was delighted with the crowd pleasing foam cushions and felt that they added a humanizing element sorely lacking in the vast impersonal atrium.
I am too often repelled by the immense crowds that flock to MoMA and I find myself going less than I used to as it is more like Times Square and less like a haven for those who like to spend quiet moments with great works of art. For that, the Morgan and the Frick have always had a prime appeal.
Has \"Modern Art\" has become too popular? Perhaps the mission of MoMA has been fulfilled too well: crowds of tourists, toddlers and toadies swarm to every venue of the latest thing. So love/hate is the new MoMA and that push/pull is just another of the many NY City places that we all cling to and retreat from anew.
MoMA is dead! Long live MoMA!