In the second and final part of the exclusive interview with Prof. Megan Heber, she emphasizes the importance of flexibility, continuous learning, and building a robust network for achieving success in the arts sector. She recounts a memorable experience from her tenure in the United States Navy Music Program, performing for Pearl Harbor survivors, which highlighted music’s emotional and communal power and reinforced her commitment to excellence.

Heber’s dual degrees in business and arts management have equipped her with a balanced perspective on integrating creative vision with practical strategies. She advises aspiring professionals to stay proactive, open to new opportunities, and continuously adapt. Looking ahead, Heber envisions the arts driving significant social change and promoting inclusivity, with technological advancements expanding their reach and impact, creating a more open and diverse art world.

What advice would you give to someone who is seriously interested in achieving success in the art sector? Is there a road map to such success and how can those who are just starting on this path minimize risk?

First and foremost, it’s crucial to embrace flexibility and continuous learning. The arts are an ever-evolving field, with new trends and technologies emerging constantly. Staying adaptable and committed to lifelong learning will not only keep you relevant but also open doors to new opportunities that might otherwise be missed.

Equally important is the need to build a robust network and seek mentors. Having mentors provides a source of guidance and support, offering insights that can help you navigate the complexities of the arts sector.

Approach your career with passion and purpose. The journey can sometimes be challenging, but a deep-rooted passion for your work will fuel your perseverance and drive your creativity, making the obstacles more manageable and the achievements more fulfilling.

Lastly, adopt a giving mentality. Consider what you can offer to others rather than just what you can gain. Celebrate the successes of your peers alongside your own. This approach not only fosters a supportive community but also reinforces the idea that ‘a rising tide lifts all ships.’ Witnessing the success of my colleagues, students, or friends, genuinely celebrating their achievements, and contributing in any way to their triumphs has provided some of the most memorable and rewarding moments of my life.

Could you share a memorable experience from your time serving in the United States Navy Music Program? How did that experience influence your subsequent career in the arts?

During my tenure in the United States Navy Music Program, one of the most memorable and profound experiences was performing annually for the survivors of Pearl Harbor on the anniversary of the attack. Each year, we held a ceremony that included a private remembrance on the Arizona Memorial. This solemn occasion was not only a tribute to the resilience and courage of those who served and sacrificed but also a profound reminder of the power of music to heal and commemorate.

This experience deeply influenced my approach to the arts in several ways. Firstly, it underscored the emotional and communal impact of music, reinforcing my belief in its capacity to bring people together and provide solace during times of collective mourning or reflection.

Secondly, these performances taught me about the importance of precision and excellence in presentation, traits that are invaluable in any artistic endeavor. Every note played and every piece performed had to be delivered with the utmost respect and professionalism, reflecting the solemnity of the occasion.

Furthermore, this experience shaped my understanding of the role of arts organizations in society. It demonstrated that they are not merely venues for entertainment but vital institutions that serve a broader community function, including commemoration, education, and healing. This realization has driven my commitment to ensure the arts are accessible and relevant to all segments of society.

You hold multiple degrees, including an MBA and an MA in Arts Management. How have your educational experiences shaped your understanding of the intersection between business and the arts?

Earning both an MBA and an MA profoundly shaped my understanding of the delicate balance between creative vision and practical business strategy.

The MBA equipped me with critical business management skills and acumen, including accounting, financial analysis, and economics, essential for effectively leading complex organizations. These skills provide a foundation for making sound decisions that ensure sustainability and growth.

Conversely, the MA allowed me to dive deep into the unique challenges and opportunities within the arts and nonprofit sectors. It focused on audience development, nonprofit governance, fundraising, and the impact of the arts on society. This knowledge helps me nurture and promote the arts in a way that respects their unique value while ensuring their longevity and relevance.

Together, these degrees have demonstrated to me that business and the arts are not at odds but can greatly benefit from each other. Implementing sound business strategies in the arts can lead to greater efficiency and sustainability, while embracing the creative and transformative power of the arts can lead to more innovative and meaningful business practices.

As someone who has transitioned between various roles within the arts sector, from executive director to event coordinator, what advice do you have for individuals navigating their careers in this field?

One of the most valuable lessons I’ve learned is the importance of staying open to new opportunities. The arts are exceptionally dynamic, constantly shaped by new technologies, shifting cultural policies, and emerging trends. To thrive in this environment, you must be willing to step outside your comfort zone and embrace the unexpected. Flexibility has been key; whether that’s adapting to new roles or exploring new areas, each experience has expanded my ‘toolkit’.

My advice to anyone navigating their career in the arts is to remain proactive and not just wait for opportunities but actively seek them out. Build a diverse network of contacts, continue learning, and be ready to shift when necessary. The arts sector can be unpredictable, but with a proactive and open-minded approach, it also offers unparalleled opportunities for growth and creativity. Being prepared to take on various responsibilities and learning from each of them is crucial. After all, each role offers unique insights into the complexities of arts management.

Looking ahead, what do you envision for the future of the arts world and its potential to create social change, both locally and globally?

Looking ahead, I feel optimistic about the future of the arts world and its capacity to drive significant social change, both at local and global levels. The arts have always been a powerful medium for expressing universal human experiences and emotions, connecting diverse groups across different cultures and backgrounds. As we move forward, I believe the arts will play an even more critical role in addressing pressing societal issues, fostering dialogue and understanding, and promoting inclusivity.

Technological advancements are set to expand the reach and impact of the arts further. Digital platforms will allow artists to share their work with a global audience and engage communities in ways that were not previously possible, breaking down geographical and socioeconomic barriers. This increased accessibility will likely lead to a more open art world where diverse voices and stories are heard and valued.

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Also Read

Exclusive Interview with Prof. Megan Heber – Part 1

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Interview organized by CCI communications. 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 Exclusive Interview with Prof. Megan Heber – Part 2: Lessons Leaned appeared first on World Art News.

By Giancarlo Graziani and Salvatore Prato | Ce.St.Art. – Center for Studies of Art Economy

In the work of Amedeo Modigliani, the years 1916 and 1917 were of great importance due to the encounters that marked his life and his art. In 1916, he met Léopold Zborowski, a Polish poet and writer from the Parisian colony, who became an art dealer out of necessity and passion. Zborowski faced sacrifices, achieved success, and then lost it due to the Great Depression; he died in poverty in 1932, bound together by ultimate destiny with his protégé.

In 1917, during the spring— the most appropriate season— he met his life partner Jeanne Hébuterne, a talented painter and pupil of the Académie Colarossi, founded in Paris by the Italian model and sculptor Filippo Colarossi. At that time, Modigliani was 34 years old and already a mature painter but needed to improve his practice of the nude. He began to attend the courses at the Académie Colarossi, which were open to women, unlike those of the public academies.

His improvement in the practice of the nude was driven and financed by Zborowski, who, as a shrewd dealer, saw in this type of painting a good commercial as well as artistic proposition. The Livornese artist had already dealt with the female nude in his early years, around 1908, with some studies that certainly have nothing in common with those that followed. The “Caryatids” from the years 1911-1912, which exist as studies for his sculptural activity, should be considered separately. It should not be forgotten that Modigliani proudly defined himself as a sculptor and abandoned this art due to costs and health conditions, which did not allow him to make the required efforts.

Only in 1916 did he return to the “Nudes,” after having relied on “Zbo,” the nickname with which Modigliani called Zborowski. He created a first series of nudes that, while not as beautiful as those that would follow, were marked by a strong sensuality that Modigliani, a lover of female beauty, was able to transpose onto canvas.

1917 is the year of the “Nudes,” with about a third of his known production from those twelve months dedicated to this subject, achieving extraordinary results compared to those a few months earlier, before attending the free school of Colarossi and falling in love with Jeanne.

It is difficult to explain this clear improvement except by the collaborative practice of painting that Amedeo and Jeanne engaged in, blending their talents in a state of grace that made these works among “the most famous, and paid, nudes in the history of art.” The gap with the previous ones is too wide to be bridged in such a short time merely by correcting an already established pictorial style.

However, this does not detract from the correctness and importance of the works created in such a symbiosis of spirit, to be considered as one: Modigliani— as Jeanne also used to sign herself— although she remained Hébuterne to the world. The importance that Zborowski gave to this production is clearly seen from the invitation flyer created for the only personal exhibition held while the artist was alive: the famous one at the Galerie Berthe Weill from December 3 to 30, 1917. The flyer prominently featured the drawing of a “Standing Nude,” an eye-catching preview of the four nudes (numbers 17, 18, 30, and 31) included and displayed in the shop window, which the Parisian authorities required to be moved to the internal spaces, removing them from external view.

There is no certainty about which specific “Nudes” were featured, although identifications have been attempted. The idea worked, and the “Modigliani Nudes” received significant notoriety and moderate appreciation in the artistic community, along with good commercial success. This success was further strengthened after the deaths of the artist and his life partner. The majority of the known “Modigliani Nudes” trace their provenance back to the Polish dealer, Zborowski.

However, the idyllic phase did not last long. By 1918, the few remaining “Nudes” took on the appearance of portraits without clothes, losing the characteristic sensuality of the earlier works. Upon returning from a stay on the French Riviera, Modigliani painted three tired nudes in which the brilliance and passion of the earlier pieces had disappeared. His life partner, Jeanne, was no longer there to paint with him but only to wait for an end that ultimately gave him immortal fame.

The most successful period for the “Nude” was short, spanning only a few months between April and December 1917. However, it produced masterpieces that are highly sought after in the art market. These works have fetched astounding prices, with notable sales including the “Red Nude” (Nu couché) sold by Christie’s in 2015 for 170 million USD, the “Nude reclining, on the left side” (Nu couché sur le côté gauche) sold by Sotheby’s in 2018 for 157 million USD, and the “Nude sitting on a divan” (Nu assis sur un divan – La Belle Romaine) sold by Sotheby’s in 2010 for 68 million USD, among the highest and most recent.

But given the multiple sales of these last two paintings, which returned to the auction block after a few years, what should we expect when it happens again or when a previously unseen Nude appears in an auction room?

For example, the “Small Red Nude,” recently rediscovered in a private collection, has been identified through studies as the prototype of the “Modigliani Nudes” as well as the primordial idea of the famous “Red Nude” (the latter was enlarged with some uncertainty to make its larger dimensions more commercially attractive). This “Small Red Nude” exceptionally includes the signature “dedo,” which is published in this article for the first time.

Modigliani’s artistic work has significantly increased in value since the 1960s, reaching very high hammer prices in the second decade of the 21st century, and achieving the absolute top of the international market. Until that time, Modigliani was not considered on par with pioneers of Modern Art such as Matisse, Picasso, Braque, and Léger. Modigliani’s paintings did not reach the threshold of 50,000 USD, while those of the four major exponents recorded peaks even three times higher.

The particular recognizability of his style has since soared the demand for his paintings, as all the major collectors and most museums sought to have a significant record of Amedeo Modigliani, the paradigmatic example of the Modern Artist. His portraits have been increasingly appreciated, especially those featuring his life partner Jeanne. Their romantic and dramatic relationship has certainly contributed to the allure of Modigliani’s work, where the two talents come together in total symbiosis.

There has always been particular demand for “Modigliani’s Female Nudes.” Cunningly stimulated by Zborowski, this demand has created strong anticipation for their entry onto the exchange market, also due to their rarity: to date, there are only about ten of these paintings in private collections, which therefore boosts the very strong demand.

Under particular conditions, such as during the Second Great War, the “Reclining Nude with Arms Behind the Head” (Ceroni Catalogue, no. 148), now in Zurich, changed hands in Paris in 1940 for 34,000 French francs, less than 1,000 USD—a fair price for a portrait at that time.

The rise then became dizzying from 1984 when the “Reclining Nude with Hands to Face – La Reveuse (The Dreamer)” (Ceroni Catalogue no. 197), now in New York, changed ownership for 4,620,000 USD. This was an important figure at the time, but one that would pale in comparison to future sales.

Seven years later, the “Seated Nude with Coral Necklace” (Ceroni Catalogue no. 187), now in New York, was estimated between 7 and 10 million USD and reached the price of 12,432,000 USD, triple the previous amount. In 1997, the “Reclining Nude on a Divan, Arms in the Back of Her Head” (Ceroni Catalogue no. 144), also in New York, was auctioned with an estimate slightly higher than the previous price—10 to 12 million USD—but remained unsold. This was likely due to the lesser success of the painting compared to the very famous ones of 1917, which were of significantly superior workmanship due to the presence of Jeanne, and would later achieve exceptional performances.

In 1999, it was the turn of the “Nude Sitting on a Divan – La Belle Romaine” (Ceroni Catalogue no. 192), now in New York. Supported by its probable presence at the famous exhibition of the Weill Gallery, it stopped the auctioneer’s hammer at 15,250,000 USD, foreshadowing the sensational exploits of a few years later.

Seven years later, the “Seated Nude with Coral Necklace” (Ceroni Catalogue no. 187), now in New York, was estimated between 7 and 10 million US dollars and reached the price of 12,432,000 US dollars, triple the previous one.

In 1997, exceptionally, the “Reclining Nude on a Divan, Arms in the Back of Her Head” (Ceroni Catalogue no. 144), today in New York, was auctioned with an estimate slightly higher than the previous price – 10/12 million US dollars – but remained unsold. The reason certainly lies in the lesser success of the painting compared to the very famous ones of 1917, which were of significantly superior workmanship due to the presence of Jeanne, and would later achieve exceptional performances.

In 1999, it was the turn of the “Nude Sitting on a Divan – La Belle Romaine” (Ceroni Catalogue no. 192), also now in New York. Supported by its probable presence at the famous exhibition of the Weill Gallery, it stopped the auctioneer’s hammer at 15,250,000 US dollars, reserving the sensational exploit of a few years later.

In 2006 there was a reconsideration given some versions of the work “Nude standing – Venus” (Ceroni Catalogue nr. 189), now in New York, which however – from an indication of 6/9 million US dollars – reaches 15,920,000 US dollars, confirming the price of the late twentieth century.

But it is between 2010 and 2018 that prices become unimaginable under the pressure of demand. In 2010, the “Nude Sitting on a Divan – La Belle Romaine”, after just eleven years, was offered at auction again, achieving 68,962,500 US dollars with a price increase of over 53 million US dollars, more than four times.

This result certainly contributed to the decision to bring the “Red Nude” (Ceroni Catalogue no. 198) onto the market in 2015, now in China, which set the highest price achieved to date at 170,405,000 US dollars.

However, it’s also worth mentioning the return to the market after fifteen years, in 2018, of the “Nude Reclining, on the Left Side”, which, undoubtedly driven by the success of the preceding painting, achieved a positive performance of 484.2%, reaching 157,159,000 US dollars, confirming the level of these works with an increase of 131 million US dollars.

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© Giancarlo Graziani, Visiting Professor of Art Economy, Court Expert Witness, and Appraiser in Artistic Heritage. Founder member and Supervisor of Ce.St.Art. – Center for Studies of Art Economy.

© Salvatore Prato, Member of Ce.St.Art. – Center for Studies of Art Economy

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Also Read

The Modigliani Affaire

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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 Modigliani’s Female Nudes and Their Record-Breaking Prices appeared first on World Art News.

In an exclusive interview, we delve into the life and career of Professor Megan Heber, whose early immersion in music laid the foundation for a captivating journey in arts management. Her trajectory has been marked by diverse roles, from her tenure as a military clarinetist to her dedicated teaching in the arts. Megan’s narrative underscores the profound influence of each endeavor, informing her distinctive methodology in leveraging arts education to foster community development and catalyze social progress.

Can you tell our readers about your childhood, family, and the environment you grew up in? Were you an artistic child?

I grew up in New Jersey, where my early experiences with music at school left a significant mark on my life. From a young age, I was deeply engaged in music, playing the clarinet and participating in every musical opportunity available, from all-state band to marching band to musical theater orchestras.

Music was a family passion—my mother was a musician, and today, my sister is a middle school band director. Some of my earliest memories include my grandfather playing Sousa marches on his record player, a sound that resonated throughout his home nurturing my love for music. This early immersion in music not only set the stage for my future career in arts management but also instilled a deep appreciation for the arts’ educational power.

Your journey in the arts seems to have been quite diverse, from serving in the military as a clarinetist to now teaching arts management. How has each experience contributed to your approach to utilizing the arts for social impact?

Serving as a clarinetist in the military influenced my understanding of how the arts can inspire morale and foster a deep sense of pride and unity among people. In the military, music is more than entertainment; it’s a tool for uplifting spirits and strengthening the collective resolve of citizens and troops. This experience taught me the powerful role that arts can play in enhancing communal bonds.

Transitioning to arts management, I’ve carried forward these insights into how the arts can bridge connections between artists and audiences. In this role, I focus on creating platforms where artistic expression not only entertains but also enlightens and educates. By showcasing the common bonds of humanity, arts management allows me to extend the social impact of the arts, connecting people to larger causes and to each other.

Each of these experiences has reinforced my belief in the arts as a dynamic force capable of building communities and promoting social change by uniting people around shared experiences.

What sacrifices did you have to make to achieve everything that you have so far?

Achieving my professional goals has indeed required sacrifices, particularly in terms of time and personal commitments. The path to where I am today involved continuous education and development, which often meant dedicating evenings and weekends to study and work, rather than personal time or leisure. Additionally, my career progression sometimes necessitated relocating to different cities or countries, which involved leaving familiar settings, friends, and sometimes family behind.

These choices were not made lightly, but they were essential. Each move and every hour spent working or learning was a step towards greater professional fulfillment. Looking back, the sense of accomplishment and the impact I’ve been able to make affirm that these sacrifices were indeed worthwhile. The opportunity to contribute meaningfully to the arts and to influence the sector positively offers a profound sense of achievement that continues to drive my passion and dedication to my work.

As a professor of practice in arts management and nonprofit leadership, what do you believe are the most critical skills for aspiring arts managers to develop in today’s rapidly changing landscape?

As a professor of practice in arts management and nonprofit leadership, I emphasize the importance of adaptability and vision for aspiring arts managers. In today’s rapidly changing landscape, it is crucial that managers not only respond to challenges but also see them as opportunities for innovation and growth. In addition, recognizing that at the core of all decisions are people, effective arts managers must also prioritize empathy and understanding, ensuring that their strategies and initiatives are deeply connected to the communities they serve. These skills are vital for creating meaningful impact.

How has the art world changed over your lifetime and where will it be in the next 10 years?

Over my lifetime, the art world has experienced profound changes, particularly in becoming more inclusive and technologically integrated. This trend of broadening perspectives is likely to continue over the next decade. A significant shift has been the gradual movement away from the traditional Western canon, slowly bringing previously marginalized art forms and artists into the spotlight. This expansion not only diversifies what we consider “mainstream” art but also enhances our appreciation of global cultures and histories.

Looking ahead, I anticipate a deeper integration of digital and traditional artistic experiences. This fusion will likely extend art’s reach, facilitating greater global access and engagement. Technologies like artificial intelligence are poised to transform various parts of arts management, from operations to funding processes to business models. Yet, as our reliance on digital technology grows, there seems to be an increase in the desire for analog and human-centric experiences. My undergraduate students often express a desite for more authentic human connections, indicating a demand for a blend of digital and personal interactions rather than a “or” choice between the two.

Could you share a particularly impactful project or initiative you’ve been involved in during your time at SMU’s Division of Corporate Communication and Public Affairs? How did it align with your vision of using the arts for positive change?

One of my favorite projects has been an academic collaboration with TACA (The Arts Community Alliance) through their Arts Accelerator program. This initiative supports small and emerging arts organizations in Dallas, providing them with critical development resources.

In this project, my undergraduate students assumed real-world consulting roles, engaging directly with these organizations. Each student was tasked with creating a comprehensive 50-page marketing analysis and plan for one of the six participating organizations. They then collaborated to merge their individual plans into a unified final presentation, highlighting the strongest strategies to pitch to each client. This approach not only talks about engaging younger generations, which is often discussed in the arts, but actively involves them in tangible, influential ways.

This initiative provides students with invaluable real-world experience, greatly enriching their learning and equipping them for future professional endeavors. Additionally, they leave the class with a substantive marketing portfolio, which they can include on their resumes. Simultaneously, the project offers essential support to local arts organizations that typically lack the resources to undertake such comprehensive marketing efforts. This dual benefit not only aids in the growth and sustainability of local arts but also strengthens the community’s connection to the arts.

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Part 2 is Coming Soon!

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Interview organized by CCI communications. 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 Exclusive Interview with Prof. Megan Heber – Part 1: A Journey from Music to Military to Art appeared first on World Art News.

The World Art News is the first to bring you this breaking story of a newly discovered masterpiece by Paul Gauguin ‘Beautes a Tahiti – Source sur la mer’. Marking a significant moment in art history, Giancarlo Graziani and Salvatore Prato meticulously unravel a narrative that transcends the boundaries of mere artistry. With scholarly rigor, they trace the journey of this previously unseen painting, illuminating its path from obscurity to revelation.

From the vibrant streets of Paris to the tranquil shores of Tahiti, the canvas bears witness to a compelling tale of artistic brilliance and commercial intrigue. As its secrets are methodically revealed, the painting emerges as a testament to Gauguin’s enduring legacy and the timeless allure of discovery in the world of art. The following story is published exactly as provided by the authors, who must be credited with this groundbreaking research.

Paul Gauguin: the Market and the Information Distortions

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“Beautes a Tahiti – Source sur la mer”, an inedited painting from “the not yet known Gauguins”

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By Giancarlo Graziani and Salvatore Prato

© April 2024

© All rights reserved: the authors are exclusively authorized by the property to publish the information on the inedited painting covered by this article; total or partial reproduction of materials and photos contained in the present article is allowed only and exclusively with full mention of the authors.

The market of modern artworks has always been marked by “information distortions” and “false reality“ that the different groups with particular interests, often speculative, have engendered and continue to engender.

This is the case of Paul Gauguin, one of the main Post-Impressionist artists, the value of whose works has whetted and whets the appetites of many who acts despite the real available information and careless of the productive and commercial reality of the Artist in the years in which he was alive, of the market of his artworks in the years immediately following his death and of what was then partially “catalogued” by those who wanted to claim the right to represent the only knowledge of his artistic production.

Above all, it must be considered that the information distortions also arise from the fact that the information on the commercialization of the works of the Impressionists and Post-Impressionists cannot in any way be “totally” known because there were many unknown dealers and gallerists who took steps for the sale of works of these artists and many of these dealers and gallerists disappeared, together with their archives, between the two world wars and after the second world war.

In the information below we will give a representation of what was mentioned above through the presentation for the first time – authorized and approved by the Property – to the public of an unpublished painting with a Tahitian subject by Paul Gauguin, stored in a private collection and never subjected to a public viewing.

In presenting this painting we will deliberately omit to provide information about the current and previous owners and will provide only some information regarding the technical and artistic characteristics of the painting and its artistic, historical and commercial provenance.

The history of the painting “Beautes a Tahiti – Source sur la mer” (“Beauties to Tahiti – Spring on the sea”) begins in 1893 when Gauguin returned to Paris after his first stay in Tahiti and exactly in his studio in Rue Vercingetorix where every thursday he brought together artists of various expressions including also writers such as August Strindberg (1849/1912), who was also famous as a painter.

The painting, signed “P. Gauguin”, in the lower left, is in fact an important and emblematic work of the French painter who presumably made it during his first period in French Polynesia which lasted from April 1891 to June 1893.

The painting was done by Paul Gauguin on “parisienne” canvas (probably already “prepared” with a white background), a type of fabric for painters – among many specific types – in use in France in the period of the late 19th century and early 20th century.

The painting was probably already marketed with the first exhibitions, not very successful, held by Georges and Joseph Durand Ruel and willed by Gauguin to raise funds for his needs and for his return to Polynesia which then took place in July 1895 and from which he will never return to Europe.

The visible inkmark on the reverse “H Gairard (above) – Objects d’Art (in the center) – Paris 54[A]E (below)” (Fig. 1) reports to a merchant and/or manufacturer of canvases located in the Latin Quarter of Paris, that of the painters precisely, where larger or smaller supply stores for artists abounded and whose owners were often friends, and also patrons, of painters: this was the way they provided their supplies.

In this regard, just to remember among others Thasset et Lothe, Alfred Binant. Constant Lepoutre, later portrayed by Amedeo Modigliani, Julien Tanguy – the Perè Tanguy portrayed by Van Gogh – who accepted the works of the Artists in payment, because they had nothing else to pay with (at the death of Tanguy, in 1894, many paintings found in his shop were sold at auction for a few francs, including some signed by Gauguin).

Gauguin, like his colleagues, did not have many means and therefore the canvases traveled rolled up to reduce costs – canvas stretching on a frame had a cost of about 5 francs per painting – also because sometimes the stretching had to be redone when the colors dried: for this reason, some paint retouches were carried out by “others” later, especially if the journey was as long as the one followed by Gauguin’s works from Polynesia to France.

Once completed, paintings were not equipped with a frame, given the high price, and often the frame was made with simple wooden strips sometimes painted in various colors (Gauguin appreciated white for this purpose) and in this way paintings were also displayed at the exhibitions.

Only the most successful art dealers, such as Paul Durand Ruel and his most famous colleagues, and also of course the wealthiest collectors, such as the Russians Sergey Scukin – who had 15 works by Gauguin in the dining room of his Moscow residence in Trubetzkoy Palace – and Ivan Morozov, among others, equipped the paintings with frames in Rococo style, a style flourished in the Kingdom of France under Louis XV °, with carvings and gilding precisely similar to the Beauties in Tahiti’s frame that well fits with the furniture in vogue at the time.

The art dealer Alfred Portier believed that the “golden frames enhanced the very high ranges of colors”, as are the tones used by Gauguin in this painting, and Vincent Van Gogh, speaking about a painting, said: “I repeat to you, it must be framed with something golden … By placing a picture next to a golden shade, you also get a brightness in unsuspected points, at the same time removing that marbled aspect that the picture takes on when it is unfortunately placed on an opaque or black background … a tone golden revives it”.

“Beauties to Tahiti” is therefore preserved to this day with its support and frame which have always accompanied it, in the first case, and by the first owner – “Van den Züe” (probably a Paris collector) -, in the second and which complete its originality and historical / artistic value.

The two labels on the back (Fig. 2 e 3), which appear to be contemporary to the painting, show that it has gone through several commercial and exhibition occasions before coming into the hands of a private collector.

The indication of provenance from the “Collec. Wan den Züe…” in the lower label (Fig. 2) – together with a painting by Berthe Morisot – and the other label “Exhibition of Art Treasures”, in which the painting is indicated with the title and the number “19” (Fig. 3) certify these passages which are coherent with the traced origin.

In particular, the label “Exhibition of Art Treasures” (Fig. 3), placed higher than the other label, is perfectly in line with what is indicated for the exhibition “Manet and the Post-Impressionists¹” [^[1] Commercial Selling Exhibition] held at the Grafton Galleries in London from November 8th 1910 to January 11, 1911, where Gauguin’s works were placed in the “Large Gallery” together with those of Van Gogh: 42 works by Gauguin were exhibited and of these 31 were not then identified except the 8 published on advertising pages, and these also were rather identified dubitatively and interpreting the titles, not always perfectly matching² [²Anna Gruetzner Robins, “Manet and the Post-Impressionists”: a checklist of exhibits, in Burlington Magazine, 152, 2010 pp. 782-793]. Many of these works came from private collections and from dealers from Paris.

According to what reported by Augustus John, a famous English painter of that time, towards the end of the exhibition “Manet and the Post-Impressionists”, other works by Gauguin were added and among them one entitled “Two Maori women in a landscape”, a title perfectly adhering to the subject in question.

Some of these works displayed at the Grafton Galleries were then sent to Liverpool for an “Exhibition of Modern and Post -Impressionist Art”, held from March 4th to April 1th, 1911 where was exhibited a painting entitled “Maori Women”, indicated by number “20”: as is evident, the subject and the number are homogeneous and in sequence with what is reported on the label on the back of the painting (Fig. 3).

The word used “Maori” is in fact no longer used to indicate the Polynesian human subjects of Gauguin also because it is inaccurate since this population of the same origin is identified with that settled in New Zealand and has been replaced by the word “Tahitian” although sometimes both used at the same time with the same meaning.

In November, December 1911 and January 1912 Gauguin’s works were exhibited at the Stafford Gallery in London. It should be borne in mind that Gauguin carried out his activity in Polynesia in extremely precarious conditions with the help of friends, such as the painter George Daniel de Monfreid, who sent him money and painting supplies. Gauguin’s paintings made in Polynesia arrived in Europe rolled up, with shipments, and once they reached their destination they were put on the frame and retouched by others for sale.

The works painted by Gauguin in Polynesia arrived in Europe rolled up, with naval shipments, and once they reached their destination they were put on the frames and – due to the possible damages incurred during the journey – they were also retouched by George Daniel de Monfreid and by the other painter Georges Alfred Chaudet who had met Gauguin in Pont Aven, becoming friends with him and also helping him with money to reach Polynesia.

Gauguin himself wrote in a letter to Van Gogh about the problems of holding the white color – stating that “the canvases are totally covered with scales because the white color has separated” – about his experiments and attempts to fix it by gluing sheets of newspaper on the canvas with flour paste and then passing over it with heated irons.

It must be considered that at that time the sale was certainly not regulated as it is today and therefore it is unthinkable that the various changes of ownership can be fully documented since only in modern times have more precise practices been adopted: the importance of the “given word” has been replaced by the written act due to a clear decline in values.

Only later, and not all the paintings, were then equipped with frames that certainly had to be in harmony with the classic style of furniture in vogue at the time: this painting is completed by its original Rococo-style frame, perfectly in line with the taste of the wealthy classes of the early twentieth century.

The works of Paul Gauguin with Tahitian subject, as is precisely this, are highly sought on the art market and change ownership at very high values given their extreme rarity: in this regard, it is sufficient to remember that the similar “Nafea Faa Ipoipo” was purchased in 2015 for 300 million US dollars equal to 265 million euros. In 2014 another painting by Gauguin “Otahi”, but less complete and smaller, had already reached 120 million US dollars. Signs of this sharp growth had however occurred in 2007 when “Te Poipoi” had been paid around 40 million US dollars.

By now in the “current” empyrean of values, Gauguin has not always been appreciated by collectors and dealers so much so that the exhibition of his paintings of 1895³ [³Hôtel Drouot, Paris, Vente Gauguin, February 18, 1895, lot 11 and 17] also saw these latter two unsold, albeit valued at only 500 and 400 francs.

In 1937 “Tahiti”, offered for sale by George Bernheim in Paris, was sold only for 1,700 US dollars and in 1939 “Aus Tahiti” – offered at the famous auction in Lucerne on 30 June 1939 in which the German government of the time put on sale paintings of very high quality – was sold for just under 12,000 US dollars, a value that anticipated those of the mid-1950s.

Compared to the values of the paintings of the Post-Impressionists Cezanne and Van Gogh, the values of Gauguin’s paintings were the lowest until 1950 when an impetuous growth led him to exceed them reaching the quarter of a million around 1960: on November 25th 1959, in London, “Te Tai Na Ve I Te Rata” was sold for 130 thousand British pounds equal to 364 thousand US dollars. Between 1930 and 1960 Gauguin appreciated 126 times and this growth never stopped, progressing to conspicuous multiples to reach the current values.

The value of this group of Post-Impressionist Artists rose from a base percentage of 100% in 1930 to 115% in 1935, to 160% in 1940 which remained unchanged for part of the decade, to 177% in 1950, to 566% in 1955, to the extraordinary 4.833% in 1960: in comparison the Impressionists appreciated, in the latter period, by 1.208%.

“Beautes a Tahiti” is to be assimilated to the three mentioned at the beginning – the measures are similar to those of “Nafea Faa Ipoipo” (105×77.5 cm) while “Otahi” is significantly smaller (50×73 cm) – all produced during the artist’s first Polynesian stay spent between 1891 and 1893 – but it is to be considered superior from a compositional and qualitative point of view: the conservation conditions are good and therefore do not negatively affect the overall evaluation.

The common thread of the three paintings is given by the model portrayed who in “Beautes a Tahiti” draws water in the foreground, in “Nafea Faa Ipoipo” she is the protagonist, and whose physiognomy is recognized, and in “Otahi” is the only depicted subject, where she wears the same red pareo with stylized flowers here yellow and white in “Beautes a Tahiti”.

It should be noted the coincidence of the standing female figure with that depicted in the drawing stored at the Museum of Grenoble (Fig. 4)⁴ [⁴https://www.museedegrenoble.fr/oeuvre/1603/1922-sans-titre.htm%5D – study for the painting “Tahitian Woman in a Landscape” of 1892, stored at the Ohara Art Museum in Kurashiki and displayed in Paris by Durand Ruel in the exhibition “Oeuvres Recents de Gauguin” held in 1893, then sold in 1895 for 500 francs – and dating back to those years: in “Beautes a Tahiti” also the pose is very close to the pose of the Grenoble drawing unlike the pose of the model of the two other paintings.

Compared to the other two paintings, in “Beautes a Tahiti” the composition is clearly more complete given the succession of sequences that follow one another up to the last ones of the sea and sky thus framing the two protagonists, the vegetation and a horse, this last subject a typical component of Gauguin’s poetics as well as the many red tones used.

The study of the radiographic image (Fig. 5) has shown that originally Gauguin painted the two women in positions and features different from those visible in the final version.

The X-ray image indeed reveals that the face of the woman standing left was originally painted in profile, her breasts more pronounced, her two arms thinner, etc.

As for the second kneeling female figure, the X-ray shows a wider head profile, her shoulders and arms were thinner, both hands were smaller, etc. Another major change was made to this kneeling figure: the sarong, which originally reached mid-thighs, leaving the knees and legs uncovered, was lengthened and large white flowers were later added.

And the same kneeling prominent figure is depicted by the Artist with the same clothing in the painting “Two Tahitian Women on the Beach” of 1891, stored in Paris at the Orsay Museum and in the “Two Tahitian Women Sitting” of 1892, now at the Gemaldegalerie in Dresden in the Neue Meister section and which was exhibited in 1893 in Copenhagen.

This type of modification or “repentance” (“pentimento”) is common in Gauguin and there are several examples. An X-ray examination of the 1892 painting “Te nave nave fenua” revealed the presence of another head under the final face of the figure; in another painting, “The Meal (The Bananas)” of 1891, an infrared photograph revealed several alterations made by Gauguin: the boy in a shirt was originally a girl with long hair.

Furthermore, the radiographic examination also reveals the presence of two horizontal lines crossing the central part of the painting: it is the result of the thrust exerted by a smaller bar than the current (final) bar, and which was part of a previous frame.

An observation of the paint surface reveals white cracks that are characteristic of the canvases painted by Gauguin during the Tahitian period due to the fact that the canvases were removed from their frame and then rolled up by the artist for transport from Tahiti to Paris.

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© Giancarlo Graziani, Visiting Professor of Art Economy, Founder member and Supervisor of Ce.St.Art. – Center for Studies of Art Economy

© Salvatore Prato, Member of Ce.St.Art. – Center for Studies of Art Economy

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In a notable display of support for female artists, the Musée d’Arts de Nantes exercised its right under French law to pre-empt the final bids on three paintings at the recent Bonhams Cornette de Saint Cyr Surrealist Sale in Paris. The museum’s proactive stance in securing these artworks highlights its commitment to promoting gender diversity in the arts and enriching its collection with significant contributions from women artists.

Among the acquisitions were works by Jane Graverol and Leonor Fini, two influential figures in the surrealist movement. “Le bon bout de la raison” by Jane Graverol fetched €71,250, while “Le tombeau de Mallarmé” by the same artist sold for €8,320. Additionally, “Untitled (série Aurelia)” by Leonor Fini garnered €12,000, further underscoring the museum’s dedication to preserving and showcasing the artistic legacy of women throughout history.

The acquisitions not only add depth and diversity to the Musée d’Arts de Nantes’ collection but also serve as a testament to the enduring relevance and significance of female artists in the realm of surrealism. By securing these artworks, the museum reaffirms its role as a champion of artistic expression and cultural representation.

Founded in 1793, Bonhams has representatives in over 30 countries and operates flagship salerooms in London, New York, Paris, Los Angeles, and Hong Kong. It is a global network of auction houses boasting the largest number of international salerooms and offering the broadest range of collecting categories, catering to all price points. Recognized for its bespoke service and dedication to fostering local market relationships, Bonhams enhances its global platform. With 14 salerooms, Bonhams hosts over 1,000 sales annually, spanning more than 60 specialist categories such as fine art, collectibles, luxury items, wine & spirits, and collector cars.

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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 Musée d’Arts de Nantes Acquires Jane Graverol’s Painting for Over €71,000 appeared first on World Art News.

Mary Lai is a versatile Korean-American artist based in Los Angeles, California, whose creative ethos centers around the belief that “Art is a universal language that can resonate with anyone.” Her visionary approach finds expression in her dynamic contemporary artwork, which seeks to uplift and evoke profound emotional responses.

With over two decades of experience in the creative industry, this esteemed designer has collaborated with renowned brands and showcased her work at prominent art fairs and galleries worldwide. Here is her Exclusive Interview with The World Art News.

How would you describe your artistic style, and how long did it take you to refine it?

My style can be described as vibrant, modern/contemporary, and playful. It has evolved through several series over the past five years. As an artist continually exploring new mediums and techniques, I believe I have found my creative groove. However, I hesitate to claim mastery of a singular style, as my journey is one of ongoing experimentation and refinement. The beauty of an artist’s career lies in its longevity, and I anticipate further growth and evolution in the years to come.

Can you pinpoint any significant events in your career that have influenced your artistic development?

The pivotal moment in my career occurred with my relocation from New York to Los Angeles, a transition that marked my shift from designer to artist. Drawing upon a decade of experience in design, I seamlessly integrated my knowledge into my visual art practice. The move to the West Coast profoundly impacted my artistic evolution across various dimensions.

Who are your favorite artists, and which works have had the most profound influence on you, and why?

While I admire numerous artists, my top three would include the classics: Picasso, Warhol, and Kusama. Beyond the brilliance of Yayoi Kusama’s artwork, I find inspiration in her personal journey as a trailblazing female Asian artist. Her resilience in overcoming obstacles resonates deeply with me. Witnessing the trajectory of pioneering artists like Kusama underscores the enduring impact of their work and legacy.

What advice would you offer to emerging artists aspiring to pursue a career in art?

Success in the art world is not instantaneous; it requires dedication and perseverance. I encourage emerging artists to prioritize consistent creation, immerse themselves in art communities, and actively engage with exhibitions and galleries. Over time, they will discern whether art is a vocation they are truly passionate about or if it remains a fulfilling avocation. While alternative paths may offer expedient rewards, genuine fulfillment lies in pursuing one’s artistic passion wholeheartedly.

How do you perceive the evolving landscape of the art market?

The evolving art market presents a promising landscape characterized by increased efforts to champion diversity. Historically marginalized groups, including women and artists of color, are gaining long-overdue recognition. Embracing a diverse array of voices enriches the artistic narrative, fostering a more inclusive and equitable environment within the art world.

How do you overcome creative blocks or periods of low inspiration?

I find that altering my surroundings serves as a catalyst for inspiration during creative lulls. By breaking from routine and exploring new environments, I often rediscover my creative spark. Additionally, I advocate for unbridled experimentation, embracing every idea without judgment. This approach transforms perceived blocks into opportunities for exploration and growth.

Do you actively participate in art exhibitions or fairs, and if so, what has been your experience with them?

Participation in art exhibitions and fairs is integral to my artistic practice, with involvement in at least one event per season. While experiences vary, I view each opportunity as a chance to amplify my artistic voice and expand my audience. Direct engagement with collectors and viewers at these events provides invaluable feedback and fosters meaningful connections.

How do you stay abreast of trends and developments within the art world?

Residing in a vibrant creative hub like Los Angeles affords me access to the pulse of the art world. I stay informed through regular visits to art shows, galleries, and museums, often accompanied by fellow artists. Additionally, I augment my knowledge through art podcasts and audiobooks, ensuring continuous immersion in the evolving landscape of contemporary art.

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Interview organized by Maximus Communications. 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 Exploring Creativity: An Exclusive Interview with a Versatile Artist Mary Lai appeared first on World Art News.