The director of the Tate discusses the measures that the global museum sector is taking to address the climate and environmental crisis
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For 20 years, the troubled Expressionist found refuge, respite and inspiration in the Alpine town
BY ALBERT CHEN
In a stunning testament to the enduring legacy of Sayed Haider Raza, one of the most celebrated figures in modern South Asian art, La Terre—a monumental 1985 painting by the artist—has achieved a remarkable £3,315,400 ($4,235,000) at Bonhams’ Modern & Contemporary South Asian Art sale in London. The result not only exceeded its pre-sale estimate of £1.5 million to £2.5 million ($1.92 million to $3.19 million) but also set a record as the highest total ever achieved for a South Asian art auction at Bonhams.
Described as Raza’s “love letter to India,” La Terre represents a cornerstone of his oeuvre and is one of the largest and most significant works by the artist ever brought to auction. The piece is imbued with themes of Hindu philosophy and a profound connection to his cultural heritage. Its meticulous geometric abstraction and earthy color palette have captivated collectors and critics alike.
Priya Singh, Head of Modern & Contemporary South Asian Art at Bonhams, expressed her excitement about the sale: “La Terre was one of the most important paintings by Raza ever to come to auction, and we are beyond delighted with today’s result. With a sister work featured in the main pavilion at the Venice Biennale this year, the excitement surrounding this piece has been extraordinary. This landmark sale reflects the immense strength of the South Asian art market and Bonhams’ leading role in it.”
A Masterpiece Rooted in India’s Soil
La Terre, meaning “The Earth” in French, is a deeply personal work shaped by Raza’s formative experiences in the forests of his native village, Barbaria, in central India. The painting encapsulates the artist’s evolution from figurative landscapes to pure geometric abstraction, a style he fully embraced in the late 1970s. Central to this transformation was Raza’s commitment to intertwining his artistic practice with the philosophies, symbols, and spiritual ethos of India.
The painting is a visual meditation: a square canvas divided with precise intersecting lines, filled with an earthy palette that evokes the vibrancy of India’s natural and spiritual landscapes. It carries motifs that recur throughout Raza’s work, creating a sense of continuity and reverence for his roots.
Raza himself reflected on the La Terre series as an effort to reconnect with his homeland while living in France: “I was inspired to conceive a painting which could be a letter to my mother country, India, revealing my experiences, discoveries, and acquisitions. I hoped the painting could be evidence that I was never cut off from my sources. The memories, conscious and unconscious, were ever present.”
A Legacy of Transformation
Born in 1922 in rural Madhya Pradesh, Raza’s artistic journey began in Nagpur and Bombay before he moved to Paris in 1950 on a scholarship to study at the prestigious L’École des Beaux-Arts. His early work was influenced by Western styles, including Expressionism, but over time he gravitated toward geometric abstraction, blending it with Indian cultural and spiritual symbols.
Raza co-founded the Bombay Progressive Artists’ Group in 1947, alongside luminaries like Francis Newton Souza and Krishna Hawlaji Ara. Together, they sought to break free from colonial artistic traditions, blending indigenous themes with modernist aesthetics to create a distinctly Indian visual language.
By the 1970s and 1980s, Raza’s work took a deeply introspective turn, reflecting his increasing connection to Indian philosophy and spirituality. The La Terre series stands as a culmination of this period, cementing Raza’s reputation as one of the most important artists of the 20th century.
A Record-Breaking Moment
The sale of La Terre marks a watershed moment for South Asian art on the global stage. The painting’s success at auction not only highlights the growing appreciation for modern Indian art but also reinforces the enduring power of Raza’s vision.
This historic achievement underscores Bonhams’ leadership in championing South Asian art, with the sale establishing a new benchmark for the market. For collectors, curators, and art enthusiasts alike, the resounding success of La Terre is a reminder of the profound cultural and artistic legacy Sayed Haider Raza leaves behind. In the words of Priya Singh: “This result reaffirms Raza’s rightful place among the greats of modern art and showcases the unparalleled resonance of his work across the globe.”
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Story submitted by Bonhams. The World Art News (WAN) is not liable for the content of this publication. All statements and views expressed herein are opinions only. Act at your own risk. No part of this publication may be reproduced without written permission. © The World Art News
The post A Love Letter to India: Sayed Haider Raza’s La Terre Sells for Record-Breaking $4.2 Million appeared first on World Art News.
Lynch trained as a painter before becoming a successful film-maker and ultimately returning to visual art in recent decades
By Venizelos G. Gavrilakis | Senior Expert Artworks Conservator & Restorer
Overpainting or repainting, observed in historical painted artworks—particularly in portable icons and, less commonly, in panel paintings—represents arbitrary interventions undertaken solely for aesthetic purposes. Notably, icons, due to their prevalent use in religious contexts, are prone to various forms of deterioration and require upkeep to preserve their ceremonial significance.
Consequently, such interventions are often initiated to “beautify” these works, typically carried out by unskilled and unqualified individuals lacking professional expertise or credentials.
In their attempts to “cleanse” the works or icons—an arbitrary intervention often referred to as such by these individuals—amateurs frequently damage the original designs and colors of the artworks. To conceal these damages, they overlay whatever authentic elements remain with a new layer of paint, leaving behind their arbitrary and counterfeit imprint.
This practice distorts the artwork’s authenticity and historical integrity, including its composition, design, and colors. In earlier times, these interventions even involved repainting icons or artworks with entirely new subjects.
In more fortunate cases, the damage is minor, or overpainting is limited to the tarnished or “blackened” varnish layer without resorting to destructive “cleansing.” These “corrections,” as they are often described, involve partially or completely covering the artwork. In rarer instances—particularly in older practices—a new “gesso” layer was applied over the old icon, followed by a complete repainting from scratch.
More commonly, however, the new “retoucher” directly overlays the original image, intending to “correct” it. By arbitrarily covering the original designs and colors, they attempt to mimic the existing elements but fail to match the originals, ultimately violating and altering the artwork’s authenticity and historicity.
Types of Overpainting
Three primary cases of overpainting are identified:
Direct color additions: Applying new paint over the original artwork without any intermediate preparation.
Intervention with a gesso layer: Applying a preparatory layer before repainting.
Repainting directly onto the original surface: This method omits the use of a gesso layer.
Additionally, partial colorizations are frequently observed, where the original colors and designs are partially overlaid.
How Are Overpaintings Identified?
The detection of overpainting begins with visual observation and tactile examination of the artwork. Conservators look for irregularities in the painting surface, differences in texture, or signs of additional layers revealed through areas of loss. Observations are enhanced using raking light. Experienced senior conservators-restorers can often quickly identify the presence of overpainting based on their expertise.
More precise methods involve optical and radiographic techniques, which include:
Ultraviolet Photography: This technique highlights overpainting and surface colorations. Varnishes tend to fluoresce under UV light, while pure pigments do not. However, its effectiveness is limited when a thick varnish layer is present.
Infrared Photography: Infrared radiation penetrates pigments, providing information about underlying layers and revealing elements of overpainting in some cases.
X-ray Imaging: The most penetrating and effective method, X-rays reveal the artwork’s depth. High atomic-weight elements (e.g., metals) absorb X-rays significantly, appearing as white in the radiograph. By analyzing the grayscale image, conservators can distinguish between original artwork and areas of overpainting. Accurate interpretation of X-rays requires the expertise of a senior conservator-restorer.
Addressing Fully or Partially Overpainted Artworks
When an artwork or icon is entirely overpainted, the decision to remove and reveal the original requires careful consideration. The responsibility for this complex and delicate process lies solely with an experienced senior conservator-restorer. From the cleaning process to the final outcome, every step must be handled with precision and expertise to ensure the preservation of the artwork for future generations.
The process is not about achieving a final aesthetic presentation but minimizing damage caused by carelessness, neglect, or lack of experience. Such damage can permanently alter the artwork and may cause future deterioration that cannot be remedied.
The removal of overpainting should only be performed by highly experienced professionals. Even among conservators-restorers, not all possess the necessary expertise to handle such cases. Scientific study is a prerequisite for any intervention.
This includes analyzing colors for sensitivity, conducting radiographic examinations, and employing other visual methods to determine the extent of overpainting and assess what can be salvaged from the original artwork.
Approaching Artwork Conservation with Reverence and Responsibility
Conservation and restoration of artworks must be approached with utmost respect and complete awareness. When entrusting these masterpieces to professionals, the critical factors are the reverence for their historic significance and the expertise of the conservators. Avoiding tragic, irreversible errors is paramount in preserving our cultural heritage.
These invaluable treasures have survived wars, natural disasters, and human negligence, reaching us in their current condition. If we cannot responsibly address their needs, it is better to place them in a safe environment, following recommendations from specialized art conservators, until the proper time and professionals are available to ensure their preservation. Through correct and conscientious conservation and restoration, we can safeguard these ancestral treasures for future generations, ensuring their enduring legacy.
Also Read
Rare Byzantine Treasure Resurrected
The World Art News (WAN) is not liable for the content of this publication. All statements and views expressed herein are opinions only. Act at your own risk. No part of this publication may be reproduced without written permission. © The World Art News
The post The Consequences of Overpainting in Icons and Works of Art appeared first on World Art News.
By Venizelos G. Gavrilakis | Senior Expert Artworks Conservator & Restorer
Overpainting or repainting, observed in historical painted artworks—particularly in portable icons and, less commonly, in panel paintings—represents arbitrary interventions undertaken solely for aesthetic purposes. Notably, icons, due to their prevalent use in religious contexts, are prone to various forms of deterioration and require upkeep to preserve their ceremonial significance.
Consequently, such interventions are often initiated to “beautify” these works, typically carried out by unskilled and unqualified individuals lacking professional expertise or credentials.
In their attempts to “cleanse” the works or icons—an arbitrary intervention often referred to as such by these individuals—amateurs frequently damage the original designs and colors of the artworks. To conceal these damages, they overlay whatever authentic elements remain with a new layer of paint, leaving behind their arbitrary and counterfeit imprint.
This practice distorts the artwork’s authenticity and historical integrity, including its composition, design, and colors. In earlier times, these interventions even involved repainting icons or artworks with entirely new subjects.
In more fortunate cases, the damage is minor, or overpainting is limited to the tarnished or “blackened” varnish layer without resorting to destructive “cleansing.” These “corrections,” as they are often described, involve partially or completely covering the artwork. In rarer instances—particularly in older practices—a new “gesso” layer was applied over the old icon, followed by a complete repainting from scratch.
More commonly, however, the new “retoucher” directly overlays the original image, intending to “correct” it. By arbitrarily covering the original designs and colors, they attempt to mimic the existing elements but fail to match the originals, ultimately violating and altering the artwork’s authenticity and historicity.
Types of Overpainting
Three primary cases of overpainting are identified:
Direct color additions: Applying new paint over the original artwork without any intermediate preparation.
Intervention with a gesso layer: Applying a preparatory layer before repainting.
Repainting directly onto the original surface: This method omits the use of a gesso layer.
Additionally, partial colorizations are frequently observed, where the original colors and designs are partially overlaid.
How Are Overpaintings Identified?
The detection of overpainting begins with visual observation and tactile examination of the artwork. Conservators look for irregularities in the painting surface, differences in texture, or signs of additional layers revealed through areas of loss. Observations are enhanced using raking light. Experienced senior conservators-restorers can often quickly identify the presence of overpainting based on their expertise.
More precise methods involve optical and radiographic techniques, which include:
Ultraviolet Photography: This technique highlights overpainting and surface colorations. Varnishes tend to fluoresce under UV light, while pure pigments do not. However, its effectiveness is limited when a thick varnish layer is present.
Infrared Photography: Infrared radiation penetrates pigments, providing information about underlying layers and revealing elements of overpainting in some cases.
X-ray Imaging: The most penetrating and effective method, X-rays reveal the artwork’s depth. High atomic-weight elements (e.g., metals) absorb X-rays significantly, appearing as white in the radiograph. By analyzing the grayscale image, conservators can distinguish between original artwork and areas of overpainting. Accurate interpretation of X-rays requires the expertise of a senior conservator-restorer.
Addressing Fully or Partially Overpainted Artworks
When an artwork or icon is entirely overpainted, the decision to remove and reveal the original requires careful consideration. The responsibility for this complex and delicate process lies solely with an experienced senior conservator-restorer. From the cleaning process to the final outcome, every step must be handled with precision and expertise to ensure the preservation of the artwork for future generations.
The process is not about achieving a final aesthetic presentation but minimizing damage caused by carelessness, neglect, or lack of experience. Such damage can permanently alter the artwork and may cause future deterioration that cannot be remedied.
The removal of overpainting should only be performed by highly experienced professionals. Even among conservators-restorers, not all possess the necessary expertise to handle such cases. Scientific study is a prerequisite for any intervention.
This includes analyzing colors for sensitivity, conducting radiographic examinations, and employing other visual methods to determine the extent of overpainting and assess what can be salvaged from the original artwork.
Approaching Artwork Conservation with Reverence and Responsibility
Conservation and restoration of artworks must be approached with utmost respect and complete awareness. When entrusting these masterpieces to professionals, the critical factors are the reverence for their historic significance and the expertise of the conservators. Avoiding tragic, irreversible errors is paramount in preserving our cultural heritage.
These invaluable treasures have survived wars, natural disasters, and human negligence, reaching us in their current condition. If we cannot responsibly address their needs, it is better to place them in a safe environment, following recommendations from specialized art conservators, until the proper time and professionals are available to ensure their preservation. Through correct and conscientious conservation and restoration, we can safeguard these ancestral treasures for future generations, ensuring their enduring legacy.
Also Read
Rare Byzantine Treasure Resurrected
The World Art News (WAN) is not liable for the content of this publication. All statements and views expressed herein are opinions only. Act at your own risk. No part of this publication may be reproduced without written permission. © The World Art News
The post The Consequences of Overpainting in Icons and Works of Art appeared first on World Art News.
The Halsted A&A Foundation is displaying its recent acquisition at Wrightwood 659 in Chicago starting 25 January
Taking place from 17-26 January, the week includes everything from museum shows to one-off pop-ups
Group behind the UAE's biggest fair has selected Alexie Glass-Kantor as executive director, curatorial, and Dunja Gottweis as fair director
The gallery-sharing event, spread across different parts of the UK capital, features participants from Guatemala, Lebanon, Los Angeles and more