L AU R A I N E • D I G G I N S • F I N E • A R T ONLINE NEWSLETTER ISSUE 2 NOVEMBER 2009

EYE ON ART

NGA to host one of the most exceptional art events ever to be held in Australia MASTERPIECES FROM PARIS From December 2009 through to April Masterpieces from Paris shows the explosive 2010, the Australian public won’t have to arrival of modern art in Europe. The most travel to Paris to see masterpieces by Vincent famous and influential painters are van Gogh, Paul Gauguin, Paul Cézanne, represented by many works. The exhibition A CLOSER LOOK @ Georges Seurat, Pierre Bonnard, Claude showcases seven van Goghs, nine JAMES HOWE CARSE Monet, Maurice Denis and Edouard Gauguins, eight Cézannes and eleven Born in Edinburgh in 1819, James Vuillard—they can visit them in Canberra. Seurats. In addition, there are many Howe Carse was the son of “Australians will be able to experience the paintings by Bernard (five), Bonnard (nine), popular Scottish genre painter, best of French culture in the nation’s capital Denis (ten), Monet (five) and Vuillard Alexander Carse. J.H. Carse over summer and autumn 2009 and 2010. (eight), among others. trained at the Royal Scottish Academy, of which his father was This truly is a once-in-a-lifetime opportunity “We are renovating our Post-Impressionist a founding member. Carse arrived for art lovers and first-timers, students and Galleries at the Musée d’Orsay which means in South Australia around 1867, families to see these renowned works that we are able to lend these works together for and then quickly moved east to many have grown up with in art history the first time. Australia will be the first Melbourne before a short stay in books. Canberra will be the world premiere country to see these works outside France,” New Zealand, returning to show for this exhibition, which will then travel to said Guy Cogeval, President Musée d’Orsay, works of both Victorian and New Tokyo and San Francisco,” said Arts Paris. Zealand landscapes at the 1869 Minister, Peter Garrett. Visitors will encounter van Gogh’s Bedroom Melbourne Public Library Among the 114 paintings included in the at Arles 1889, Gauguin’s painting Tahitian Exhibition. exhibition are some of the best-known women 1891 (below), Cézanne’s beloved Our current exhibition, The works of modern art. These works draw Mount Saint-Victoire c.1890, and many other Painted Vision: 1840 - 1963 includes one of Carse's paintings millions of tourists in Paris to the Musée great examples by Post-Impressionist from this period. In Carse's View d’Orsay, one of the great museums of 19th- painters. of Melbourne from the Botanical century art. Where and When: Gardens of 1868, one can see the “This is the most important exhibition to NGA, Canberra original path of the Yarra river - come to the of Australia. 4 December 2009 – 5 April 2010 the bend seen in this view now Never before have so many famous Open daily 10am (Closed Christmas Day) forming what is the present lake masterpieces been brought together for one system in the gardens. The exhibition in this country. We are delighted Botanic Gardens were designed Tickets to be co-curating this exhibition with the Adult: $25 and under the control of Baron Musée d’Orsay in Paris, the museum with Ferdinant von Mueller - one of the Concession: $16 the most significant holdings of Post- most acclaimed botanists of the Child: $6 19th century - up until 1873. Impressionist art in the world. Family: $55 The Botanical Gardens were built These works almost never leave the Musée Concession Family: $37 as the Antipodean counterpart to d’Orsay even singly and never before in NGA Member Adult: $16 Hyde Park and Kensington these numbers,” said Ron Radford AM, Gardens of London, and serviced Director National Gallery of Australia. the inhabitants of Melbourne in In addition, the National Gallery announced much the same way. They quickly that long term partner National Australia became a popular place for leisure Bank has entered in to an eight year strategic activities and were considered partnership with the Gallery as Education 'the' place to be, with ladies and Access partner. The partnership will promenading around the grounds ensure that as many Australian children and to show off the latest fashions while their children explored and members of the community as possible are delighted in games. This part of able to experience and learn about great colonial life is elegantly portrayed works of art, such as those in this exhibition. Paul Gauguin, Tahitian Women 1891

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painting expeditions. Although they did in Carse's landscape, with groups From the Stockroom live in cavas tents, the artists and other of men and women chatting, occupants of Curlew Camp enjoyed certain while some children play nearby, Arthur Streeton (1867 – 1943) amenitites and luxuries, including an and a young mother is lead by the Sirius Cove, New South Wales 1895 English style garden that Streeton planned hand of her exuberant toddler. oil on cedar panel and tended around the tent that he shared Carse's painting is a charming signed lower right: Streeton 95 with Roberts. Mary Eagle has noted that: portrayal of colonial life, however 11.1 x 29.6 cm "Some of these camps, like the Curlew, it is also a valuble insight into the (illustrated above) were admistered after the style of a original layout of the gardens as boarding-house, with a manager, cook, and envisioned by Mueller. In this rules relating to such matters as visitors Named after the frigate Sirius which picture the two large trees to the and sanitation." (Eagle, M., The Oil Paintings docked at the cove for repairs in 1789, left are almost certainly of Arthur Streeton in the National Gallery of Greater Sirius Cove and Little Sirius Cove Australian Eucalypts, although Australia, 1994, p.61) In Sirius Cove, are part of the Mosman stretch of painted in the English style. The Streeton's characterisitc horizontal coastline, which lies on the northern side spikey profile of Richmond pines separation of land, sea and sky is of Sydney Harbour. Sirius Cove was can also be seen in the left and interrupted by the sweeping curve of the painted while Streeton was living at Curlew right middle-ground of the beach and rocky foreshore. The panel is Camp at Little Sirius Cove, near to the composition. The solid dark separated into the bands of sea and shore, present site of Taronga Park Zoo. Curlew green trees are cypresses, while with the rocky pile in the lower right was one of several camps established in palms grow further down the hill. corner, (which has received Streeton's this area during the late nineteenth century. A large American cactus can also trademark square stroke treatment), Barry Pearce noted that by this date: be seen to the left of the lady with providing a compositional counterpoint to "There were... colonies of tent-dwellers on two small children. This wide the green scrub in the upper left corner. some of the beaches and bay shores. variety of species shows the use The expanse of golden sand that Initially established in the 1880s as the to which the milder Melboune dominates the painting draws the viewer's weekend camps of young men wishing to climate was utilised. attention tot he figure of the little girl in escape the 'foetid air and gritty of the the blue dress and white hat, while on the dusty, dirty city', they beacme permanent horizon line the green mass of Garden CALENDAR: dwellings in the depression of the Island, which had been a naval base since 1890s..." (Pearce, B., Bohemians in the Bush / NOVEMBER the mid 19th century, is clearly visible. The The Artists' Camps of Mosman, Sydney, 1991, 1st - McCubbin: Last Impressions design on the reverse of the painting p.31) Curlew Camp and the camp at 1907-1917 Exhibiton closes indicates that the work was painted on a Edwards Beach, north of Balmoral, were www.nga.gov.au board that would have originally been part the only two locations to fall into the of a model kit intended for assembly. An specific classification of artists' camps, but 15th - Western Australian especially delightful and unusual feature of it was to be Curlew that became the most Sirius Cove are the two figures of the young Indigenous Art Awards Exhibition famous of the camps, due to the presence girls on the shore. Streeton's landscapes are closes www.artgallery.wa.gov.au of Streeton and Roberts who lived and predominantly unpopulated so the most painted there periodically between 1891 closely related works in terms of date and 30th - The Painted Vision and 1897. Both the lifestyle and many of the depiction of figures on the beach are the works produced at Curlew Camp are Exhibition closes therefore At Coogee (National Gallery of regarded by many to express the Victoria) and Manly Beach (Bendigo Art culmination and golden age of the DECEMBER Gallery). At Cogee depicts two child-like Australian school of Impressionism. 4th - NGA’s Masterpieces from figures playing on the foreshore against the Streeton was familiar with artistic camp Paris: Van Gogh, Gauguin, Cézanne backdrop of a long, breaking wave but life, having founded the Heidelberg camp and beyond Exhibition opens these figures are much more sketch-like with Roberts and Conder in 1888. He first than the children who appear in Sirius Cove. www.nga.gov.au travelled to Sydney in 1890 in order to Sirius Cove displays the tremendous charm make minor changes to his painting Still 23rd - Lauraine Diggins Fine Art that is the overwhelming characteristic of Guides the Stream, And Shall Forever Streeton's work from this period of intense closes for Christmas/New Year Glide which had been purchased by the creative achievement. Tones of rich blue break until 1st February 2010 Art Gallery of New South Wales. Further and gold dominate the scene and the visits in consecutive years followed until he sunshine-frenched canvas bears witness to 31st - The Australian finally decided to make Sydney his base. In Tom Roberts' initial summation of December 1892 Streeton joined Tom Government’s 50% tax rebate for Streeton's work - that it was filled with light Roberts as a resident of Curlew Camp artworks stimulus package ends. and air. where he was to remain until 1897, apart from intermittent trips interstate and on

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Want to know what else is happening in the art world? FINGERPRINT POINTS TO $19,000 PORTRAIT BEING REVALUED AS £100M WORK BY LEONARDO By Simon Hewitt for Antiques Trade Gazette

IS this 13 x 9in (33 x 24cm) portrait, in chalk, Professor Kemp’s assertion is backed by scientific evidence pen and ink on vellum, mounted on an oak obtained by the revolutionary “multispectral” camera board, a long-lost work by ? pioneered by Lumière Technology of Paris. That is the claim being made by Martin Kemp, Peter Paul Biro, the Montreal-based forensic art expert, Emeritus Professor of History of Art at examined the multispectral images and found a fingerprint Oxford University. near the top left of the work, corresponding to the tip of the index or middle-finger, and “highly comparable” to a fingerprint on Leonardo’s St Jerome in the Vatican (which, stresses Biro, is an early work from a time when Leonardo is not known to have employed assistants). A palm-print in the chalk on the sitter’s neck “is also consistent in application to Leonardo’s use of his hands in creating texture and shading”, adds Biro, who is credited with pioneering fingerprint studies to help resolve authentication and attribution issues of works of art. The Lumière camera has already been used to analyse Leonardo’s and Lady with an Ermine; by the Kröller- Müller, Van Gogh and Cleveland Art Museums; and by the Art Institute of Chicago. Multispectral analysis reveals each successive layer of colour, and enables the pigments and pigment mixtures of each pixel to be identified without taking physical samples. For the vellum portrait, Lumière have been able to establish the composition of the materials used in both the original drawing and the restoration. It transpires, for instance, that the green of the girl’s costume was obtained by applying progressive strokes of black chalk to the yellowish surface of the vellum. Lumière have identified the chalk as amphelite, a fine-grained black argillite (clay slate). Meanwhile flesh tints, and the amber tone of the iris, were achieved by leaving the vellum uncovered. Infrared analysis reveals significant pentimenti throughout, with stylistic parallels to those in Leonardo’s Portrait of a Woman in Profile in Windsor Castle; and shows that the drawing and hatching were made by a left-handed artist (as Leonardo is famously known to have been), whereas Catalogued as “German, early 19th century” and sold for restoration was carried out right-handed. $19,000 at Christie’s New York in the late 1990s, new There is no other known work by Leonardo on vellum, scientific techniques have uncovered evidence that has although Professor Kemp (citing a passage in Leonardo’s convinced a growing number of the world’s leading Leonardo Ligny Memorandum) points out that, when French court scholars that it is a previously unrecognised work. painter Jean Perréal visited Milan with Charles VIII in 1494, ATG have had exclusive access to that scientific evidence and Leonardo quizzed him about the technique of using coloured can reveal that it literally reveals the hand – and fingerprint – chalks on vellum. of the artist in the work. Professor Kemp suggests that Leonardo used vellum here The fingerprint is “highly comparable” to one on a Leonardo because the portrait was intended to adorn a book of poetry work in the Vatican.

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in honour of the sitter; three needle holes along the left Turner, who had seen a transparency of the work a few edge of the vellum indicate it was once bound in a months earlier, told Silverman he suspected Leonardo’s manuscript. involvement because of the “very high quality of the work The sitter’s costume and elaborate hairstyle reflect Milanese overall, and the left-handed shading – his signature fashion of the late 15th century. Carbon-14 analysis of the feature”, and directed Silverman to the renowned Leonardo vellum, carried out by the Institute for Particle Physics in specialist Martin Kemp. Zurich, is consistent with such a dating [it gave a date-range Professor Kemp’s first reaction was that “it all sounded too of 1440-1650]. good to be true – after 40 years in the Leonardo business, I But who is the wistful, peach-skinned, flaxen-haired thought I’d seen it all!” But, as he pursued his research, “all teenager? the bits fell into place like a well-made piece of furniture. After originally code-naming her La Bella Milanese, All the drawers slotted in”. Professor Kemp – who dubs her profile “subtle to an Silverman is coy about the work’s current ownership, and inexpressible degree” – upgraded her to the portrait has yet to be shown in public since its after identifying her, “by a process of elimination”, as reattribution. However, Professor Kemp has recently Bianca Sforza, daughter of , Duke of completed a 200-page book about it (so far unpublished) in Milan (1452-1508), and his mistress Bernardina de Corradis. conjunction with Lumière Technology’s Pascal Cotte. Kemp believes the portrait must date from around 1496 Attempts to display La Bella in a museum are said to have when, aged 13 or 14, Bianca married the Duke’s army faltered because of financial concerns linked to insurance – captain, Galeazzo Sanseverino (a patron of Leonardo’s). as a Leonardo, the portrait has been valued by London Tragically, she died four months after the wedding. dealer Simon Dickinson at £100m. This would be Leonardo’s first known Sforza ‘princess’ The portrait is now due to go on display next March at a portrait, although he painted two of the Duke’s mistresses: show called And There Was Light: The Masters of the (Lady with an Ermine in the Czartoryski Renaissance Seen in a New Light to be held in the Museum, Cracov); and Lucrezia Crivelli (La Belle Ferronière Eriksbergshallen, Gothenburg. in the Louvre). The exhibition’s artistic director is Alessandro Vezzosi, After centuries of oblivion, the portrait resurfaced at Director of the Museo Ideale in Vinci, Leonardo’s home Christie’s New York on January 30, 1998, as lot 402 in an town, and the first man to publish the portrait as a Old Master Drawings (part II) sale as a Young Girl in Profile Leonardo in his book Leonardo Infinito last year. in Renaissance Dress – catalogued as “German, early 19th Professor Vezzosi is one of a growing roster of Italian art century”, with a $12,000-16,000 estimate. historians who believe the portrait is an autograph work, It sold for $19,000 (hammer) to New York dealer Kate including Mina Gregori, Professor Emerita of the Florence Ganz, who sold it (for about the same sum) to the University and President of the Fondazione Longhi; Dr Canadian-born, Europe-based connoisseur Peter Silverman Cristina Geddo, an expert on Leonardo’s Milanese in 2007. followers; and Professor Claudio Strinati, Head of the City Ganz had suggested the portrait “may have been made by a of Rome Museums, who states that “the portrait German artist studying in Italy… based on paintings by constitutes a valuable addition to Leonardo’s oeuvre”. Leonardo da Vinci”. To Professor Carlo Pedretti, head of the Fondazione Silverman, an underbidder at Christie’s sale, had other ideas Pedretti for Leonardo studies and widely considered the and mentioned the work to Dr Nicholas Turner, formerly doyen of Leonardo da Vinci expertise, “this could be the Keeper of Prints & Drawings at the British Museum, when most important discovery since the early 19th century re- he bumped into him at the Polidoro da Caravaggio exhibition establishment of the Lady with the Ermine as a genuine at the Louvre in January 2008. Leonardo”.

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