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Best Place to Buy Viagra Us BRIEFING P14 STRATEGY P16 PLUS Fake diamonds Three lessons Will Scotland tax are a girl’s from Woodford’s itself to death? best friend downfall CITY VIEW P18 MONEYWEEK MAKE IT, KEEP IT, SPEND IT 18 OCTOBER 2019 | ISSUE 969 | £4.25 Making great strides The future of prosthetic medicine Page 24 BRITAIN’S BEST-SELLING FINANCIAL MAGAZINE MONEYWEEK.COM Collectables 39 Spiritual modern Modernising modern art artists A key art movement is undergoing a revamp. Chris Carter reports. Modern art has its roots otheby’s held its third annual in the late 19th century, when spiritualism S“Modernités” sale in Paris was flourishing, on Wednesday, alongside the says Caroline International Contemporary Art Marciniak in Frieze Fair (FIAC). The sale included Masters Magazine. Medea (1929) by Francis It was also an era of Picabia. With a nod to Sandro profound technological Botticelli, Picabia depicts the and socio-economic semi-divine enchantress from change. “Railways were Greek mythology who goes on vastly extended, suburbs sprouted to marry Jason, the leader of the factories and cities Argonauts. It was valued at up towered upwards.” to €2m. But with There was also a large technological progress painting by Marc Chagall came disillusionment, entitled Le Cirque Mauve and “a sense of longing (1966) and valued at up to €5m, Rene Magritte’s L’Incorruptible (1940) and decay”. along with René Magritte’s ©Sotheby’s Impressionism was too L’Incorruptible (1940), showing the Museum of Modern Art globalism and African-American “formal, based on fleeting sensory the Belgian surrealist’s wife, (MOMA) in New York has been art added”. impressions and Georgette, as a statue before wrestling with for a long time. On Thursday a preview grounded in everyday a bleak landscape. It was on Now, after a $450m overhaul, of the museum’s new layout life”, says Marciniak. sale for €1.5m. The event was the gallery is reopening on 21 showcased the museum’s 47,000 concerned with “defining October as a “living, breathing square feet of new gallery modernity”, as Sotheby’s put it. 21st-century institution, rather space and the “radical ‘remix’” But that is easier said than done. than the monument to an of its permanent collection, obsolete history – white, male says Miranda Bryant in The Rebooting modern art and nationalist” – that it had Guardian. Now, for example, Modern art begin in the 1880s, become since it was founded Pablo Picasso’s 1907 painting more or less – some say ten, in 1929, according to Holland Les Demoiselles d’Avignon 20 years earlier. Either way, Cotter in The New York Times. can be found close to Faith ©The Gallery Everything of its concerns “now feel long (MOMA first opened just nine Ringgold’s 1967 work American “The renewed interest ago, forged in a time of rapid days after the Wall Street Crash. People Series #20: Die, depicting in occultism was driven industrial change”, says Jerry Let’s hope its October reopening a scene from a race riot. by a search for Saltz on New York Magazine’s this time is less eventful.) That’s because, in today’s alternatives and Vulture website. Time for a MOMA has long been known digital world, we consume a origins, for a world that reboot, then. Modernism shapes for the strict arrangement of wide variety of images that are holds both chaos and “the ways we see the world, its displays along the lines of out of context and outside of coherence... its rhythms and how the world sees itself”, an “ironclad view of modern traditional settings, as MOMA’s hinting at key truths.” he says. art as a succession of ‘isms’ director, Glenn Lowry, tells “At the turn of the But recently, “seismic shifts (Cubism, Surrealism, Abstract Bryant. “It reframes Picasso century, modern artists and Modernists were all have occurred” that have Expressionism)”, says Cotter, differently,” he says. “It doesn’t into versions of stretched the boundaries of But now it is attempting to diminish Picasso, it simply spiritualism,” The the art movement to its limits. reinvent itself without hurting means that there’s another Gallery of Everything’s Modernism needs to be made its appeal. The result is a sort conversation you can have James Brett told the modern again. That is something of “Modernism Plus, with around Picasso.” BBC’s Kelly Grovier. “So spiritual art had a huge impact on what became Auctions Modernism and therefore art today.” Going… Gone… The evidence is in the A letter written by Jane Austen, A cache of 65 letters written by diversity of visions on dated 16 September 1813, is to go Swedish-American Hollywood display at The Gallery’s up for auction at Bonhams in New actress Greta Garbo (pictured) The Medium’s Medium York next Wednesday. In the failed to sell at Swann Auction exhibition, says Grovier. letter to her sister, Cassandra, Galleries in New York last From the “haunting Austen reports on the latest Thursday. Expecting interest Surrealism” of Marian fashion: “Large full bows of very from film collectors, the bundle Spore Bush to the narrow ribbon… one over the of letters had been valued at portraits of the German right temple, perhaps, and $60,000. All of the letters had been artist Margarethe Held, another at the left ear”. She also written to Garbo’s close friend, who believed she was recounts a visit to the dentist with Austrian actress and writer Salka instructed by the Hindu her nieces, remarking that the Viertel, between 1932 and 1973. god Shiva, the artworks dentist “must be a Lover of Teeth The inscrutable and reclusive star demonstrate “just how & Money & Mischief... I would not of Queen Christina (1933) and far and wide the have had him look at mine for a Anna Karenina (1935) was known mystical impulse shilling a tooth & double it.” as the “Swedish Sphinx” , says pulsated”. (The Gallery Austen is thought to have written The Observer. In one of the of Everything, 4 around 3,000 letters, of which most were letters, Garbo writes: “I go nowhere, see no one… Chiltern Street, London destroyed in the 1840s. This surviving example is It is hard and sad to be alone, but sometimes it’s – until 24 November.) expected to fetch up to $120,000. even more difficult to be with someone.” ©Getty Images moneyweek.com 18 October 2019 MONEYWEEK.
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  • Dreaming with Marc Chagall Grade Level Or Special Area: Visual Arts, Seventh Grade Written By: Sarah C
    Dreaming with Marc Chagall Grade Level or Special Area: Visual Arts, Seventh Grade Written by: Sarah C. Sykes, Frontier Academy, Greeley, CO Length of Unit: Four lessons (approximately seven days; one day = 50 minutes) I. ABSTRACT In the seventh grade, students study early twentieth-century artists who dealt with expressionism and abstraction. Marc Chagall was an artist working during the same time frame as Pablo Picasso, Henri Matisse, and Marcel Duchamp. Many of these artists, along with others, influenced the art of Marc Chagall. While studying other important artists of the time period it is important to look at Marc Chagall’s contributions as an artist. After looking at Chagall’s life and his artwork, the students will create works of art that are similar to Chagall’s style. II. OVERVIEW A. Concept Objectives 1. Students will recognize and use the visual arts as a form of communication. (Colorado Model Content Standard 1) 2. Students will understand visual arts materials, tools, techniques, and processes. (Colorado Model Content Standard 3) 3. Students will recognize the characteristics, merits, and meaning of works of art. (Colorado Model Content Standard 5) B. Content from the Core Knowledge Sequence 1. Visual Arts: Expressionism and Abstraction: Examine representative artists and works, including Marc Chagall, I and the Village (p. 168) C. Skill Objectives 1. Students will learn to identify artwork created by Marc Chagall. 2. Students will compare Marc Chagall’s work with other artists of the same time. 3. Students will formulate responses to works of art from personal and critical points of view. 4.
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  • Sonia Delaunay's Yellow Nude, 1908
    © COPYRIGHT by Laura Ryan 2019 ALL RIGHTS RESERVED SUBVERTING ORIENTALISM AND PRIMITIVISM? SONIA DELAUNAY'S YELLOW NUDE, 1908 BY Laura Ryan ABSTRACT In this thesis, I demonstrate that Yellow Nude includes a number of pointed references to historic stereotypes and contemporaneous tropes that embroil the artist’s identity in the primitivist ideologies she apparently appropriates. I first identify the background design within the painting as that of a turn of the century ikat textile, with Central Asian, Jewish, and Russian production histories that mimic the biographic transnationality of Delaunay herself. Delaunay therefore invites viewers to conflate the figure in the painting with the woman who made it, capitalizing on the perceived “exoticism” of her “primitive” cultural upbringing. From this perspective, the featured figure’s mask-like face, disjunctive body, and gender ambiguity further implicate, interrogate, and perhaps undermine international fascination with the “primitive.” I argue that in Yellow Nude Sonia Delaunay both recreated the popular type of the exotic foreign woman and subtly undercut the ideologies behind the genre through specific references likely legible to those who shared her background. ii TABLE OF CONTENTS ABSTRACT .................................................................................................................................... ii LIST OF ILLUSTRATIONS ......................................................................................................... iv INTRODUCTION: THE VANGUARD NUDE,
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  • FROM IMPRESSIONISM to POP ART Under the High Patronage of His Serene Highness Prince Albert II of Monaco
    UNDER THE HIGH PATRONAGE OF HIS SERENE HIGHNESS PRINCE ALBERT II OF MONACO FROM IMPRESSIONISM TO POP ART Under the High Patronage of His Serene Highness Prince Albert II of Monaco FROM IMPRESSIONISM TO POP ART Après l’immense succès de l’exposition “Picasso” en 2011, Opera Gallery Monaco présente cet été “de l’Impressionnisme au Pop Art”. Une exposition prestigieuse qui, à travers plus de 50 tableaux et dessins de grands Maîtres, nous permet de suivre la période de l’Histoire de l’Art qui va de la Révolution impressionniste au choc du Pop Art. Les tubes d’étain ont été inventés vers 1840, ils ont permis aux peintres impressionnistes de sortir de leur atelier pour aller peindre des paysages “sur le motif”, c’est-à-dire dans la nature. De la même manière, la peinture acrylique diluable à l’eau est créée en 1963, elle est immédiatement adoptée par les peintres Pop Art. Andy Warhol, est le premier utilisateur de cette peinture industrielle qui accompagne de manière pertinente son discours sur la société de consommation. Entre ces deux écoles illustrées par des tableaux de Claude Monet, Pierre-Auguste Renoir d’un coté et Andy Warhol de l’autre, nous découvrons des œuvres de Fernand Léger, Marc Chagall mais aussi Joan Miró avec le splendide tableau Untitled, 1960 ou encore Fernando Botero. Enfin, nous n’avons pas résisté au plaisir de mettre en page de couverture du catalogue la gouache et aquarelle Les Grâces naturelles de René Magritte, un hommage au Maître du Surréalisme dans sa période influencée par Renoir, tout un symbole pour cette exposi- tion qui retrace la période de l’Histoire de l’Art aujourd’hui la plus prisée par les collectionneurs avertis et la plus recherchée par les amateurs de “valeurs refuges”.
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  • Impressionist and Modern Art Day and Works on Paper Sales at Christie’S New York This Fall
    For Immediate Release October 22, 2008 Contact: Milena Sales 212.636.2680 [email protected] Sung-Hee Park 212.636.2680 [email protected] IMPRESSIONIST AND MODERN ART DAY AND WORKS ON PAPER SALES AT CHRISTIE’S NEW YORK THIS FALL New York – On November 6, Christie's New York will hold the Fall 2008 Impressionist and Modern Art Day Sale, followed by the Impressionist and Modern Works on Paper Sale on November 7. Offering approximately 350 lots over the course of two days, both sales will feature works by leading Impressionist and Modern masters such as Pablo Picasso, Marc Chagall, Gabriele Münter, Paul Klee, René Magritte, Paul Delvaux, Joan Miró, Henry Moore and Henri Matisse. Christie's remains the only international auction house to hold sales dedicated exclusively to Impressionist and Modern Works on Paper. Impressionist and Modern Art Day Sale- November 6 The 240-lot Day Sale is led by important private collections. The first, from the Estate of Mr. and Mrs. Klingenstein, includes an oil on canvas by Marc Chagall entitled La femme en rouge (illustrated left on page 1- estimate: $750,000-950,000). As a frequent attendee of the Cirque d’ Hiver in Paris, Chagall often depicted lovers, flowers, animals and performers, forming a symbolical composition that fulfilled Chagall’s desire to create an art of joy, hope, and love. Here, Chagall positioned the musical performers as if floating towards the lovers, linking these symbols of passion and the arts. The cover lot of the sale is Joan Miró’s Femmes devant la lune (estimate: $600,000-800,000), coming directly from the family of Pierre Matisse, the artist’s dealer who launched the artist’s career to America.
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  • Marc Chagall Fabulously Fun Facts
    Marc Chagall Fabulously Fun Facts He sleeps. He wakes. At once he paints. He chooses a church and paints a church He chooses a cow and paints a cow. --Written about Chagall by French Poet Blaise Cedrars Marc Zaharovich Chagall (1887-1985) was born in the Russian-Jewish Village of Vitebsk, eldest of Nine Children in a Hasidic Jewish family. Given the Hasidic belief that it is a sacrilege to give God form or produce images, it is surprising that Chagall chose an artistic career. He likely persuaded his mother to support his choice. As a child, Marc played with the family dogs, chickens, a goat and a donkey. He often concocted his own toys, as there was no money to purchase any. With some hesitation, his mother took him to a local artist for lessons, where, for a time, he painted everything in purple! He also used burlap bean sacks for his early paintings, but the work must not have impressed his eight sisters. They used them to cover freshly washed floors and to stuff the holes in the chicken coop! Chagall was happily married to his wife Bella for twenty-nine years until her death until 1944. Bella can frequently be seen “floating about” Chagall‟s canvases. Chagall explained: “ What I mean by „abstract‟ is something which comes to life spontaneously through a gamut of contrasts, plastic as the same time as psychic, pervades both the picture and the eye of the spectator with conceptions of new and unfamiliar elements” Chagall created works in virtually every artistic medium, including painting, book illustrations, stained glass, stage sets, ceramic, tapestries and fine art prints.
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    1 Chagall, Lissitzky, Malevich: The Russian Avant-Garde in Vitebsk, 1918-1922 The Jewish Museum September 14, 2018-January 6, 2019 Wall Texts and Object Labels Chagall, Lissitzky, Malevich: The Russian Avant-Garde in Vitebsk, 1918–1922, is organized by the Centre Pompidou, Paris, in collaboration with the Jewish Museum, New York. Angela Lampe Curator of Modern Collections, Musée National d’Art Moderne Exhibition Curator Claudia J. Nahson Morris and Eva Feld Curator Supervising Curator for the Jewish Museum DONORS TO THE EXHIBITION The exhibition is supported through the Samuel Brandt Fund, the David Berg Foundation, the Robert Lehman Foundation, the Centennial Fund, and the Peter Jay Sharp Exhibition Fund. The publication is made possible, in part, by The Malevich Society. Nonflash, noncommercial photography for personal use is permitted in this exhibition except where the following symbol appears: #ChagallLissitzkyMalevich Exhibition design: Leslie Gill Architect Graphic design: Topos Graphics Lighting: Clint R. Coller Intern: Paulina Fedotova Research Assistant: Ori Hashmonay The companion volume to the exhibition is on sale in the Cooper Shop in the museum’s lobby. -- 2 Chagall, Lissitzky, Malevich: The Russian Avant-Garde in Vitebsk, 1918–1922 Introduction “I found myself in Vitebsk when the great celebrations of the October Revolution were over, but the city was still resplendent with Malevich’s designs—circles, squares, dots, and lines of different colors—and with Chagall’s flying people. I had the impression of being in an enchanted city, but in those days everything was wonderful, and everything was possible, and at that moment the people of Vitebsk had become Suprematists.” Sofia Dymshits-Tolstaia, 1921 This is the first major exhibition to explore a littleknown chapter in the history of the Russian avant-garde: Marc Chagall’s encounter with the leading figures of abstraction, El (Lazar) Lissitzky and Kazimir Malevich, at the time of the Russian Revolution.
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    Marc Chagall “Chagall” He was born Moishe Segal in a Jewish family near Vitebsk, Russia, in 1887. Vitebsk was a picturesque city of synagogues and churches built mostly of wood. Very little survived after World War II. He belonged to a very religious family, and he was the oldest of nine children. ! His father was employed by a herring merchant for a small income. His mother sold groceries from their home. The Russian government confined Jews causing the creation of Jewish market villages called shtetls throughout Eastern Europe. Jewish children could not attend regular schools. Chagall’s primary education was at local Jewish religious schools where he studied Hebrew and the Bible. His mother enrolled him in a Russian high school when he was 13 by giving the headmaster 50 rubles. The turning point in his artistic career was when he noticed a fellow student drawing. It was like a vision. ! His friend told him: “Go and find a book in the library … choose any picture you like and just copy it.” Chagall started copying images and decided he wanted to be an artist. ! 1906: Chagall enrolled at the studio of Yehuda Pen, a realist artist who offered Chagall free classes, but Chagall did not enjoy portrait painting. ! Chagall got a temporary passport from a friend to move to St. Petersburg to enroll in a prestigious art school. He studied there for two years. He started painting naturalistic ! self-portraits and landscapes. He met Bella Rosenfeld during a visit to Vitebsk and got engaged.! 1910 He relocated to Paris by himself.
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