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Exhibitions, Stories

Rare Gandhi Portrait Achieves £152,800, Tripling Its Estimate

Posted on July 28, 2025 by artNews

Fragment, Portrait of Mahatma Gandhi by Clare Leighton, 1931 — Fragment, *Portrait of Mahatma Gandhi* by **Clare Leighton,** *1931* | Bonhams

BY ALBERT CHEN

In a historic auction event, a rare oil portrait of Mahatma Gandhi by renowned British artist Clare Leighton sold for an astonishing £152,800 ($204,352) at Bonhams’ online auction on July 15, 2025, in London. The artwork, which had never previously been offered to the public at auction, surpassed its pre-estimated value of between £50,000 ($67,000) and £70,000 ($93,800) by a significant margin, capturing the attention of collectors and history enthusiasts worldwide.

As the top lot of Bonhams’ Travel and Exploration sale, held from July 7 to July 15, this sale marked a remarkable moment in art and historical memorabilia markets, highlighting the enduring legacy of Gandhi’s influence and the unique importance of this particular portrait.

Unique Artwork

This extraordinary painting is believed to be the only oil portrait of Mahatma Gandhi for which he personally sat. Created in London by Clare Leighton (1898-1989), an artist primarily celebrated for her intricate wood engravings, the work stands as a rare visual document capturing Gandhi’s likeness during a pivotal period.

The portrait’s significance is heightened by its provenance; it remained in Leighton’s family collection until her death in 1989, after which it was passed down through generations. Until this sale, the painting had never been exhibited publicly or offered for sale, making its appearance at auction a significant event for collectors of political and artistic history. Its rarity and the powerful historical connection it embodies contributed significantly to the intense interest and high final price.

The Artistic and Historical Connection to Gandhi

The origins of Leighton’s portrait are deeply intertwined with her personal connection to Gandhi. She first met the Indian leader during his 1931 visit to London for the Second Round Table Conference, a key event in the Indian independence movement. At the time, Leighton was romantically linked to Henry Noel Brailsford, a prominent political journalist and supporter of Indian independence who had traveled to India in 1930 and authored the influential book Rebel India.

Through Brailsford’s connections, Leighton was granted a rare opportunity to meet Gandhi personally. She was one of the few artists admitted into Gandhi’s office, where she was given multiple sittings to sketch and paint his likeness—a privilege that allowed her to produce a highly authentic and intimate portrait of the leader. This direct engagement with Gandhi not only enriched her work but also established a rare visual record of the man himself.

Public Recognition and Historical Significance

Leighton’s portrait of Gandhi was first publicly showcased in November 1931 at an exhibition held at the Albany Galleries in London. The event attracted notable figures from the political, artistic, and journalistic worlds, including members of Parliament, prominent artists, and influential journalists.

Among the attendees was Winifred Holtby, a respected journalist and writer, who attended the opening and documented her impressions in her column for The Schoolmistress, a trade union magazine. Holtby described Gandhi’s physical appearance and demeanor vividly, noting his characteristic squatting posture, blanket attire, and expressive gestures.

Although Gandhi couldn’t attend, his presence was strongly felt through the works on display, particularly the oil portrait. Holtby’s detailed description underscored Gandhi’s role as a brilliant negotiator and statesman, emphasizing the importance of Leighton’s work as a visual tribute to his leadership and influence.

A heartfelt letter from Gandhi’s personal secretary, Mohadev Desai, was later sent to Leighton, expressing appreciation for her work. Desai’s correspondence confirmed Gandhi’s approval of the portrait and expressed confidence that Gandhi himself would have no objection to its reproduction. This endorsement added an authentic stamp of approval from Gandhi himself, elevating the portrait’s historical and artistic significance.

Preservation, Controversy, and the Artist’s Enduring Legacy

The oil portrait of Gandhi enjoyed periods of public display and recognition, including a 1978 exhibition at the Boston Public Library dedicated to Clare Leighton’s work. However, its history is not without controversy; in 1974, it was reportedly on display when it was attacked with a knife by an activist associated with the Rashtriya Swayamsevak Sangh (RSS), an Indian nationalist organization. The painting was subsequently restored by the Lyman Allyn Museum Conservation Laboratory, as evidenced by a label attached to its backing board.

Throughout her life, Clare Leighton gained fame not only for her portraits of political figures but also for her contributions to book illustration, design, and promoting naturalist themes. Her diverse body of work, including stained-glass windows and posters, cemented her reputation as a talented and versatile artist.

Her close personal and professional connections to prominent figures like Gandhi, combined with her artistic achievements, ensure her legacy endures. The sale of this remarkable portrait symbolizes a convergence of art, history, and political significance, offering a rare glimpse into the life and times of one of the world’s most influential leaders.

The Portrait

In summary, the auction of Clare Leighton’s rare oil portrait of Mahatma Gandhi not only set a record-breaking price but also highlighted its profound historical and artistic significance. As the only oil painting Gandhi personally sat for, it offers a unique visual and personal connection to the leader’s legacy.

The portrait’s deep roots in history—stemming from Leighton’s direct encounter with Gandhi and its public recognition in the early 20th century—further elevate its importance. Despite moments of controversy, the artwork remains a testament to Leighton’s versatile talent and enduring influence. Overall, this sale underscores the enduring fascination with Gandhi’s life and the lasting power of art to preserve history.

Portrait of Mahatma Gandhi by Clare Leighton, 1931 — *Portrait of Mahatma Gandhi* by **Clare Leighton,** *1931* | Bonhams

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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

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Stories

Selling Fine Art Prints: The Journey of Darla Farner

Posted on July 10, 2025 by artNews

By Darla Farner and Jennifer McKay

In 1998, shortly after my solo exhibition at the Governor’s Office in Salem, Oregon, I began to envision a future for my work beyond the canvas—through fine art prints. At the time, my collection included just ten paintings. Driven by the desire to share my art more broadly, I began investing in professional photography and transparency scans to produce high-quality reproductions.

Funding this endeavor often required balancing multiple part-time jobs. I started with ten transparencies, gradually reinvesting earnings into advertising and promotion. Over time, my prints began to gain recognition. They were featured in the 2007 ADEX Winners Issue of Design Journal Magazine, as well as the Design Journal Magazine Entries Issue the same year.

Design Magazine, Darla Farner — Design Magazine

In November 2006, my work received further exposure through a press release on Web PR for Dezignare Interior Design Industry News. This led to a feature on Art-Exchange.com and a showcase on a 42-inch plasma multimedia slide show at the International Hotel/Motel & Restaurant Show at the Jacob K. Javits Convention Center in New York City. Earlier, in December 2005, DÉCOR Magazine also highlighted my prints, further establishing my presence in the interior design and art publishing arenas.

As my portfolio expanded, I launched a website to market and sell my fine art prints. During this period, I was approached by a publisher from World of Art interested in producing an art book featuring my work. Although I had only 50 paintings at the time, I embraced the opportunity. The book, Vibrant Abstract/Darla Farner, was created using my original transparencies.

This experience opened doors to collaborations with additional publishers and websites. As interest in my work grew, my attention shifted from direct print sales to broader artistic ventures and partnerships. However, I never lost sight of my original vision.

To date, I have 52 transparencies available for fine art printing and have produced 21 limited-edition Giclée prints—ready for collectors, designers, and corporate art buyers. More prints can be produced upon request, with trade and volume discounts available.

After a 27-year journey, my vision for sharing my art through high-quality Giclée prints has come full circle. My prints are ideal for corporate spaces, hospitality interiors, and private collections. For inquiries or purchases, I can be reached via LinkedIn or on my Facebook Page: Darla Farner’s Art.

The path has been long and evolving, but the heart of it remains the same: making vibrant, meaningful art accessible to those who connect with it.

Also Read

Darla Farner: A Trailblazer in Abstract Expressionism

Sponsored content. 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 Selling Fine Art Prints: The Journey of Darla Farner appeared first on World Art News.

Exhibitions, Stories

Painting the Unseen: Kasia Muzyka on Art as Portal, Presence, and Personal Resurrection | Exclusive Interview

Posted on June 24, 2025 by artNews

Kasia Muzyka Artist — Kasia Muzyka | Photo: Lisa Cline

Born into the shadows of political unrest in communist Poland, artist Kasia Muzyka’s earliest years were shaped by silence, resistance, and the emotional hush of survival. Yet from that silence emerged a powerful inner world—one that would later blossom into a deeply intuitive artistic practice. In this intimate interview, Muzyka reflects on her journey from early creative expression to profound inner collapse and, ultimately, to a sacred reawakening through painting.

Her work defies categorization, blending mysticism, quantum philosophy, and ancient wisdom into “living transmissions” — pieces that breathe, speak, and transform. As she prepares for her upcoming solo exhibition The Sacred Condition of Being, Muzyka opens a window into the forces that shaped her, the materials that move her, and the mystery she invites us all to feel.

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

I was born in Poland during a time of martial law and political unrest — a country wrapped in grey silence, where freedom was a dangerous dream. My father was part of the opposition, striking against the system while the world around us held its breath. It was a time marked by unpredictability and emotional suppression — survival often meant silence.

Behind the scenes of Kasia Muzyka's art studio — Behind the scenes of Kasia Muzyka’s art studio | Photo: Lisa Cline

It wasn’t the most nurturing environment for a sensitive, creative child. And yet — paradoxically — artistic expression became the one place I could truly breathe. From an early age, I explored every medium that allowed me to feel: theater, dance, professional singing, acting. I graduated from music school on the piano. Creativity became my lifeline — a quiet rebellion in itself. But just as my artistic wings began to open, the instability around me clipped them. The lack of support, the constant change, and deeper emotional wounds led to a profound shutdown. The artist within me was deeply hurt — silenced. And for a long time, I carried that silence like a wound.

It wasn’t until much later, through years of inner work and unlayering, that I found my way back. Painting didn’t arrive as a continuation of childhood dreams — it came as a resurrection. A reclamation. It wasn’t just an act of creation, but of healing something sacred that had been buried. In many ways, my art is a living response to what was once silenced. It gave me back the voice I thought I had lost. That early silencing shaped my purpose — to speak not only for myself, but for the unseen, the unheard, the parts of us that were buried but never stopped breathing.

You describe your paintings as portals and presences rather than static images. What does it mean for you when a painting becomes a “living transmission” — and how do you know when it’s complete?

For me, painting is not about decoration or illustration — it’s about listening. My works don’t come from concept or intellect, but from a surrendered state where something deeper moves through me. I don’t paint what I see — I paint what asks to be seen.

A painting becomes a living transmission when it starts speaking back — not in words, but in energy. It holds its own pulse. It feels less like an object and more like a being, carrying a message, a memory, or a frequency meant for someone — perhaps many — who are ready to receive it. At that point, it’s no longer just pigment on canvas. It becomes a bridge. A portal. A remembrance.

Kasia Muzyka's artworks — Kasia Muzyka’s artworks | Photo: Lisa Cline

Completion doesn’t come through perfection — it comes through recognition. There’s a moment when the painting breathes. When I look at it and feel, “You’re here now.” It’s subtle, but undeniable. I often won’t even sign a painting until that moment arrives.

Many visitors feel compelled to speak to me after encountering a piece. They share how something in the work stirred a memory, a feeling — not through logic, but through resonance. I often offer small verses that come during the painting’s creation. These aren’t explanations, but echoes — part of the same transmission. People often share these lines later alongside the artwork, as if something in the painting found a home in them. That tells me the transmission continues, long after it leaves my hands.

Zero by Kasia Muzyka — ‘Zero’ by Kasia Muzyka | Photo: Lisa Cline

In your solo exhibition “The Sacred Condition of Being,” you use materials like vibrational water, wine, and earth pigments. What role do these elements play beyond the aesthetic — do they carry a deeper meaning in your work?

Absolutely. These materials are not just aesthetic — they are collaborators. I treat them as living presences, each carrying a vibration, an essence that predates my hand. They hold memory, intention, and transformation. Take wine or coffee, for example. Someone cultivated them, harvested them with care, guided them through transformation. They are alchemical by nature — materials that have been transmuted by time, labor, and devotion. In that sense, they are already gold.

There’s also something sacred about how we experience them. When we pause with a cup of coffee or a glass of wine, we allow space. Stillness. Connection. That energy — of presence and reverence — is carried into the painting. By using these materials, I’m not just adding color. I’m inviting transformation, care, and memory into the work. Vibrational water, earth pigments — they remind me to listen, to surrender to nature’s intelligence. They speak in frequencies, not forms.

Kasia Muzyka's solo exhibition “The Sacred Condition of Being" | Photo: Marcos Renderos — Kasia Muzyka’s solo exhibition “The Sacred Condition of Being” | Photo: Marcos Renderos

You’ve said that you don’t create the paintings — you uncover them. What does that process of “uncovering” look and feel like, both practically and intuitively?

It begins in silence. I wait. I don’t approach the canvas with a plan — I approach it with openness, as if placing my ear to something invisible beneath the surface. The first mark may come quickly, or not for weeks. But once the dialogue begins, I follow it. I layer, erase, scrape, stain, respond — letting the painting shift and reshape me in return. It’s not about control. It’s about listening. Often, I work with unpredictable materials — wine, coffee, earth — and allow them to lead. There’s chaos before clarity. But intuition is the thread. Not a linear “next step,” but a felt knowing: go here, pause, wait.

Each painting feels like excavation. Like the image already exists, buried, and I’m brushing away what doesn’t belong. Sometimes I think of the Sphinx, partially buried in sand yet fully present. Even as parts are revealed, mystery remains — and that’s the point. Presence doesn’t require explanation.

Kasia Muzyka art — Kasia Muzyka | Photo: Lisa Cline

The titles of your works — such as Zero, Before First Breath, and 100 — suggest a symbolic relationship with numbers. How do you view numbers as a sacred language, and how do they guide your process?

To me, numbers are sacred architecture — the invisible structure beneath all things. Even in chaos, numbers offer rhythm. Reassurance. After one comes two. We don’t need to understand math to feel the stability that offers. Nature speaks this language fluently — the spiral of a shell, the unfolding of a leaf, the branching of trees. The Fibonacci sequence lives in all of it. That same code, I believe, lives in us.

In my process, numbers are not calculated — they’re felt. Frequencies more than figures. Sacred Binary, for example, explores duality — the elemental pulse of creation. The Holy Pause, drawn from the sequence 01100, became a meditation on stillness. Zero, Before First Breath, and 100 are not points on a timeline — they are thresholds. Each a doorway into deeper awareness.

Numbers, for me, are portals. They whisper of a deeper order — one we are only beginning to remember.

'Before First Breath' by Kasia Muzyka | Photo: Marcos Renderos — ‘Before First Breath’ by Kasia Muzyka | Photo: Marcos Renderos

Your art is informed by mysticism, quantum physics, and ancient wisdom traditions. Do you see yourself more as a painter, a mystic — or something in between?

I don’t see myself in fixed terms. I’m not just a painter, and I don’t claim the title of mystic. I feel more like an instrument — something moves through me that is older than language, deeper than thought. Mysticism, quantum theory, ancient traditions — they all point to the same truth: that reality is fluid, interconnected, and alive. These aren’t just ideas I explore — they are truths I feel inside the act of painting.

When I work, identity dissolves. There is no “me” making a painting — only presence unfolding. Sometimes I don’t even recognize myself afterward. Each painting changes me. It’s not an act I control — it’s one I surrender to. The work often carries a frequency I must grow into. In that way, each painting becomes a kind of initiation — one that transforms me as much as it transforms the canvas.

You often explore the tension between surrender and choice. How has your life shaped your understanding of that dynamic, and how does it emerge visually in this exhibition?

That tension — between surrender and choice — has shaped everything. For a long time, I believed in the power of choice: that through vision and will, I could shape my world. But life had other plans. It brought me to my knees — through grief, loss, and endings I didn’t choose. And it was there, in those spaces of no-control, that I learned what surrender truly meant.

I learned the hard way that when I tried to force life — when I resisted change, or clung to expired expectations — I suffered. At the time, it felt like life was punishing me. But in hindsight, I see those moments as gifts — redirections, protections, initiations. Letting go wasn’t the hardest part. Letting go of the story I had written about how things should be — that was the real grief. Over time, I came to understand: surrender is not weakness — it’s wisdom. And choice is not about force — it’s about alignment.

'Quantum Timelines' by Kasia Muzyka | Photo: Lisa Cline — ‘Quantum Timelines’ by Kasia Muzyka | Photo: Lisa Cline

This dance is visible in every work in The Sacred Condition of Being. The layering, the erasure, the emergence — it all reflects the paradox of choice and surrender. In pieces like Quantum Timelines, viewers face branching paths — not as demands, but invitations. We are always co-creating, whether we realize it or not. These paintings are maps of my own journey — places where I pushed, and places where I finally let life speak through me.

If a viewer walks into your show with no background in spirituality or mysticism, what do you hope they feel or remember as they engage with your work?

You don’t need to understand the work to feel it. The mind may search for meaning, but the heart already knows. Even if someone has no spiritual context, they carry mystery — in their breath, in their longings, in the quiet spaces inside them. We all do. My hope is that the work bypasses explanation and touches something wordless. Something remembered.

'Innocence' by Kasia Muzyka | Photo: Lisa Cline — ‘Innocence’ by Kasia Muzyka | Photo: Lisa Cline

These paintings are not fixed images — they are invitations. Portals. Living mirrors. If someone walks away feeling more connected to a quiet part of themselves — a breath, a pause, a shift — that’s enough.

That’s everything. Like wine or coffee, which transform over time and carry subtle frequencies, these paintings also continue to move. A single smudge of color, a single gesture, might hold the key to a hidden revolution within someone’s soul.

More than anything, I hope my work offers this reminder: you, too, are in the sacred process of becoming. And even in your unknowing, you are whole.

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The post Painting the Unseen: Kasia Muzyka on Art as Portal, Presence, and Personal Resurrection | Exclusive Interview appeared first on World Art News.

Stories

From Visa to Victory: How Brazilian Model Camila Alves Built a Life in Los Angeles

Posted on June 18, 2025 by artNews

For Camila Alves, the road to America wasn’t a red carpet-it was a journey of struggle, adaptation, and remarkable success. Her story is one of resilience, determination, and the pursuit of the American dream. From arriving in Los Angeles as a teenage tourist to becoming a model, entrepreneur, and philanthropist, Alves’ journey offers inspiration to anyone facing the challenges of immigration. For those embarking on a similar journey, consulting with an experienced immigration attorney can be a critical step in securing a stable foundation in a new country.

Origins: From Brazil to the American Dream

Camila Alves was born in Rio de Janeiro, Brazil, a country known for its vibrant culture, stunning beaches and economic contrasts. Raised in a close-knit family, Alves grew up with a strong sense of identity and ambition. At the age of 15, she came to Los Angeles as a tourist to visit an aunt who had settled in the city. What began as a short trip turned into a life-changing decision: Alves chose to stay in the United States, chasing the promise of opportunity.

The early days were anything but glamorous. Without fluent English, financial resources or a clear plan, Alves faced the harsh realities of life as an undocumented immigrant. To survive, she took low-paying jobs, working as a house cleaner and a waitress. “I cleaned houses and worked in restaurants for four years,” she later recalled in interviews. These jobs were grueling, but they taught her the value of hard work and resilience.

Determined to build a better future, Alves taught herself English, relying on television, conversation, and sheer determination. Her perseverance paid off as she began to navigate the modeling industry, a field that would eventually become her gateway to success. For immigrants facing similar hurdles, securing legal status is often a critical step. An immigration attorney can provide guidance on visa options, work permits, and pathways to residency, helping to turn dreams into reality.

Surviving the Transition

The transition to life in the United States was anything but easy for Alves. Arriving as a teenager with no money, connections or language skills, she faced a steep learning curve. Los Angeles, with its sprawling urban landscape and competitive industries, can be an intimidating place for newcomers. Alves’ early years were marked by long hours, financial instability, and the constant pressure of living in a foreign country without legal status.

Her first foray into modeling was met with rejection after rejection. Agencies were hesitant to take a chance on an unknown talent with no formal training or industry connections. But Alves refused to give up. She honed her craft, improved her English, and persisted in attending auditions and castings. “You have to keep going, even when it feels impossible,” she later said. Her determination began to pay off as she landed small modeling gigs and gradually built a portfolio that caught the attention of larger agencies.

For many immigrants, navigating the legal system is a critical part of establishing a stable life. An immigration attorney can help with understanding complex regulations, applying for visas, or addressing issues related to undocumented status. Alves’ journey underscores the importance of perseverance, but also the value of seeking professional guidance to secure a legal foothold in a new country.

Turning Point: From Model to Mogul

Alves’ breakthrough came when she began to gain traction in the modeling industry. Her striking features, confidence, and work ethic made her stand out, and she soon found herself working in major fashion centers like New York, Los Angeles, and Paris. Her modeling career provided financial stability and opened doors to new opportunities, but Alves was determined to build something more lasting.

In collaboration with her mother, Alves launched Muxo, a luxury handbag brand that combined Brazilian craftsmanship with modern design. The brand was a bold step into entrepreneurship that reflected her desire to create a legacy rooted in her cultural heritage. Muxo’s success demonstrated Alves’ ability to blend her Brazilian roots with her American ambitions, creating a product that resonated with a global audience.

Her visibility in the fashion world led to opportunities in television, including a stint as host of the reality show Shear Genius. These experiences expanded her influence and solidified her presence in the entertainment industry. In 2012, Alves reached a significant milestone: she became a U.S. citizen. This moment marked the culmination of years of hard work and adjustment, and a formal affirmation of her place in the country she now calls home.

For aspiring immigrants, Alves’ story highlights the importance of seizing opportunities while navigating legal challenges. Consulting an immigration attorney can provide clarity on pathways to citizenship, work authorization, or entrepreneur visas, ensuring that ambition is supported by a secure legal foundation.

Life in LA Today: Family, Business, Purpose

Today, Camila Alves is a multifaceted figure: a devoted wife, mother, entrepreneur and philanthropist. Married to Academy Award-winning actor Matthew McConaughey, Alves is the mother of three and a central figure in her family’s life in Los Angeles. Together, the couple has built a life that balances Hollywood glamour with a commitment to giving back.

Alves and McConaughey co-founded the Just Keep Livin’ Foundation, a nonprofit organization dedicated to empowering high school students through programs focused on fitness, wellness and community service. The foundation reflects Alves’ belief in the transformative power of education and healthy living. Her work extends to nutrition advocacy, particularly through her involvement in promoting organic and sustainable food choices.

As an entrepreneur, Alves continues to explore new ventures, from lifestyle content to business collaborations. Her Brazilian heritage remains a cornerstone of her identity, influencing her work and approach to family life. Whether through her philanthropy, business endeavors, or public appearances, Alves embodies the idea that success is not only about personal achievement, but also about uplifting others.

Advice for Aspiring Immigrants

Camila Alves’ journey offers valuable lessons for anyone trying to build a life in a new country. Her advice is grounded in her own experience and resonates with practicality and hope:

Learn the language. Mastering English was a turning point for Alves. Fluency opens doors of opportunity and builds confidence in navigating a new culture.
Work hard. Alves’ early years as a house cleaner and waitress taught her the value of perseverance. No job is too small if it’s a step toward a greater goal.
Don’t be afraid to start at the bottom. Humble beginnings can lay the foundation for extraordinary success. Alves’ willingness to take on any job fueled her eventual rise.
Embrace your culture. Alves’ Brazilian roots have been a source of strength and inspiration, shaping her brand and approach to life.
Seek professional guidance. For those navigating the complexities of immigration, consulting an immigration attorney can provide clarity and support. Legal expertise can help secure visas, work permits, or citizenship, ensuring that hard work is not derailed by bureaucratic obstacles.

Alves’ story is a reminder that the path to success is rarely linear. It requires grit, adaptability, and a willingness to embrace challenges. Her journey from teenage tourist to celebrity in Los Angeles is a powerful example of what’s possible when determination meets opportunity.

Conclusion

Camila Alves’ life is a testament to the power of resilience and the promise of the American Dream. From her early days as an undocumented immigrant working menial jobs to her current role as a model, entrepreneur, and philanthropist, Alves has created a remarkable legacy. Her story inspires not only immigrants, but anyone striving to overcome obstacles and build a meaningful life.

For those embarking on their own immigration journey, Alves’ experience underscores the importance of preparation and perseverance. Consulting an immigration attorney can provide the legal foundation needed to pursue dreams with confidence. Camila Alves’ journey from visa to victory is a beacon of hope, proving that with hard work, cultural pride, and the right support, anything is possible in the land of opportunity.

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The post From Visa to Victory: How Brazilian Model Camila Alves Built a Life in Los Angeles appeared first on World Art News.

Exhibitions, Stories

Bruton + Co’s opening exhibition line-up to include major works of Abstract Expressionism alongside significant Asian artists

Posted on June 2, 2025 by artNews

Bruton + Co, the new strategic adviser art business founded by London-based art entrepreneur Olyvia Kwok, is to hold a special opening exhibition at its premises on Bruton Street, Mayfair, from 12th June. This exhibition will be one of the most significant retrospectives of post-war abstract art on view in London for many years. The exhibition will feature works by major 20th-century pioneers, including 1950s artist Sam Francis, 1960s artist Robert Motherwell, and 1970s artist Joan Mitchell.

The exhibition will be hosted in the company’s premises on Bruton Street in Mayfair, which is not a gallery but instead a showroom functioning as a platform for rare opportunities and investment. Spanning movements such as Abstract Expressionism, Art Informel, and Gutai, the selected works will focus on the way that colour interacts with emotion, beauty, and fluidity.

Says Kwok: “What really matters in today’s art market is quality. It’s without doubt that art is an investable asset, and blue-chip artworks with historical significance will often enjoy a better rate of return than blue-chip stocks, particularly given the current volatility of stock markets. With gold reaching new highs, and the US dollar growing vulnerable, there has never been a better time to invest in significant cultural artifacts that represent a vital period of art history.”

Abstract Expressionism, an American movement, has long been overlooked in the European market, but will feature heavily in the exhibition. Bruton + Co differs in its taste-making approach, guiding buyers towards an international perspective on art collecting, offering key works by major American artists. With America’s economy one of the most resilient in the world, American art remains a safe investment.

This is followed by Asia, and works by Kazuo Shiraga and Zao Wou-Ki will also feature in the exhibition. By showing these artists together a conversation will unfold, complemented by the inclusion of works by European lyrical abstractionist artists Georges Matthieu and Pierre Soulages, speaking to the lyrical qualities of Wou-Ki and the performative nature of Shiraga.

Bruton + Co aims to educate buyers in the London market, positioning them ahead of the trend and giving them access to rare opportunities as well as emphasising the importance of looking beyond national boundaries when investing in art. Regardless of their own nationality and experience, looking at art with a global perspective allows buyers to identify the best acquisition opportunities and to discover works that speak to their emotions, allowing them to curate their own distinctive tastes.

Buying art can be a significant tool in wealth planning. The ability of blue-chip artworks to hedge currency risks has long been overlooked; artworks can be sold in multiple currencies across multiple nations, removing many of the barriers seen by traditional investments. Art and property are often compared for their investment potential, but art supersedes property in its ability to be shipped easily around the world, and requires only storage, instead of constant maintenance costs, as well as simpler tax implications.

Bruton + Co will not only curate fantastic examples of blue-chip art in its London home, but will also provide expertise across all areas of art investment, whether you are someone looking to make your first acquisition or you are an experienced collector.

The space on Bruton Street is open by appointment only, but members of the team are always happy to initiate a more detailed conversation about buying art at any level.

Bruton + Co will be hosting independent events from the start of June, and is also open to collaborations and joint ventures. If you are interested in collaborating, please contact a member of the team directly to discuss any ideas or arrange an appointment.

Also Read

Olyvia Kwok to Launch New Strategic Advisory Art Business

The post Bruton + Co’s opening exhibition line-up to include major works of Abstract Expressionism alongside significant Asian artists appeared first on World Art News.

Stories

Olyvia Kwok to Launch New Strategic Advisory Art Business

Posted on June 2, 2025 by artNews

London-based art entrepreneur Olyvia Kwok is set to launch Bruton + Co, a new type of art business that goes beyond traditional dealership and advisory models. Instead, it acts as a strategic partner for those looking to buy and invest in art within the ever-evolving market. Located on Bruton Street in Mayfair—just across from the apartment where Her Majesty Queen Elizabeth II was born—the business will operate from an office featuring a large, double showroom on the first floor. The premises will officially open on 12th June.

Bruton + Co represents a novel business model for both Kwok and the art market at large. It is neither a gallery nor a conventional dealership; instead, it offers a partnership-based approach for collectors and investors, while also providing management services to emerging artists deemed to have strong commercial potential.

The firm delivers comprehensive services across all aspects of art investment, including estate planning, portfolio management, auction structuring, and even advice on using art to hedge against currency risk. It also facilitates access to distressed opportunities, thanks to strong ties with legal professionals and receivers—allowing clients to benefit from rare buying prospects not available elsewhere.

The showroom will host invitation-only exhibitions curated by world-renowned experts, collectors, and private estates—enabling clients to make lucrative investments while enjoying the works firsthand. Additionally, it will serve as a venue for collaborative events and networking, aiming to bridge the worlds of art and finance. Guest lists will extend beyond the traditional art audience, with a focus on encouraging private banks, hedge funds, and other financial institutions to invest in art and form meaningful partnerships with the creative sector.

Founder and CEO Kwok explains:

“Now is the time to bridge the gap between generational collectors with deep experience in the art market and the new buyers emerging from the significant wealth transfers currently underway—across both generations and industries. We’ve seen a major increase in interest from this new demographic, who view art as an alternative asset. Bruton + Co is designed to guide and serve both seasoned collectors and first-time investors, offering a distinctly tailored and adaptive approach.”

“I’ve been in the art business for over 20 years, and there’s hardly an area I haven’t touched. I opened my first gallery in London’s St James’s when I was 23, led the Asian Contemporary trend, and built the first emerging markets art fund, which delivered extraordinary returns in this ‘emotional asset class.’ I transitioned to Pop Art (Warhol, etc.) just before it ‘popped’,” she smiles. “I’ve made substantial returns for my investors over the years. When the market began shifting, I focused on sourcing museum-quality postwar and Impressionist works for Asia. Some of these are now in liquidation due to industry changes—through which I discovered another angle: selling artworks directly from receivers.”

“In 2014, I launched an art lending fund—using blue-chip works as collateral—well before art lending gained mainstream traction. I was also among the first to use art guarantees as an investment tool for high-net-worth clients. Over the years, I’ve maintained a ‘go big or go home’ mentality. Now, I feel it’s time to double down.”

“We’re in an exciting new phase of the market, and Bruton + Co is ahead of the curve with a business model built for these changes. Crypto and tech billionaires—once newcomers—are now major players. With our global reach, I see vast opportunity. Buying art is also a strong hedge against financial risk, particularly in light of today’s geopolitical and currency-related uncertainties in the US and Asia.”

“While more than 11,000 millionaires chose to leave the UK in 2024 due to tax policy shifts, I’ve decided to stay and double down on London. I believe the UK will follow Europe’s lead and focus on fostering economic growth. Many of those who’ve left will return.”

“In the next 12 months, we’ll be announcing our Asia locations, followed by a US presence. Our business will operate as a franchise—a first for the industry—and we’ll be releasing more details soon.”

“I’m ready to begin this next chapter, to build a bridge between what’s come before and what lies ahead. For me, this isn’t just a business—it’s a part of who I am. That’s my ethos, and it’s what I live by.”

Also Read

Bruton + Co’s opening exhibition line-up to include major works of Abstract Expressionism alongside significant Asian artists

The post Olyvia Kwok to Launch New Strategic Advisory Art Business appeared first on World Art News.

Exhibitions, Stories

Maj-Britt Niklasson to Represent Sweden at Tokyo International Art Awards Exhibition

Posted on May 21, 2025 by artNews

Leap by Maj-Britt Niklasson — Leap © Maj-Britt Niklasson

BY MARK ANDERSON

Swedish artist, musician, and writer Maj-Britt Niklasson will soon bring her deeply introspective work to an international audience in Japan. Selected to participate in the Tokyo International Art Awards Exhibition at the prestigious Metropolitan Art Museum, Niklasson will travel to Tokyo to attend the event and receive the International Peace Award for her evocative painting Without footprints. The exhibition runs from May 29 to June 4, 2025.

Niklasson’s award-winning painting, Without footprints, is a serene and contemplative work that captures the essence of presence and peace. “The shadows are calm and kind,” she says of the painting. “It’s morning, no footprints. It’s here and now.” Featuring a horse, a dog, and human figures, the piece is a quiet meditation on harmony and the subtle poetry of untouched moments.

Without footprints by Maj-Britt Niklasson — Without Footprints © Maj-Britt Niklasson

A multidisciplinary artist whose talents span visual art, music, and literature, Niklasson has long explored the depths of the human experience through various mediums. With over 30 years of painting and exhibiting, including a scholarship from the Royal Swedish Academy of Fine Arts, she is known for her distinctive, symbol-rich oil paintings that speak to the universality of life’s existential questions—light and shadow, birth and death, stillness and motion.

Her art is not her only voice. As a seasoned musician and composer, Niklasson continues to develop a parallel musical career. On May 21, she will release a new English-language single titled Choir of Dawn’s Light, available on Spotify, YouTube, and other major platforms. The original Swedish lyrics were written by Niklasson herself, with the English version co-written alongside Catharina Jarl. The song, born from darkness and resolution, echoes themes of wounding, awakening, and the return of hope. “I searched for echoes / I searched for signs / But all I found was a wound… Then I heard the choir… Soft and humming voices / The choir of dawn’s light,” the lyrics say—reflecting the same quiet strength that runs through Niklasson’s visual work.

On the Stone by Maj-Britt Niklasson — On the Stone © Maj-Britt Niklasson

This autumn, she will release a full-length CD titled Big Bang – födelsen (Big Bang – the Birth), a collection of original songs that she both composed and performs. Singing and playing the violin, Niklasson blends lyrical sensitivity with musical depth, continuing her journey as a singer-songwriter. The image of the space with the little girl will be the cover of her CD this autumn—linking her visual storytelling with the sonic worlds she creates.

Prior to devoting herself fully to painting, Niklasson toured internationally as a professional musician with the Swedish folk-rock group Landslaget (Friendship Train), recording several albums and performing across borders. Even as her focus shifted toward visual art, music remained an integral part of her identity. Today, her exhibitions often feature live performances, creating immersive, multisensory experiences that blur the line between sight and sound.

Niklasson is also a published writer, adding yet another dimension to her expression of the human condition. Whether through painting, music, or the written word, her work invites reflection, empathy, and connection.

With her upcoming exhibition in Tokyo and continued musical output, Maj-Britt Niklasson proves once again that art knows no boundaries. Her creative journey, rooted in introspection and openness, serves as a powerful reminder that even in a divided world, art can unite us in our shared humanity.

Also Read

Swedish Artist and Musician Maj-Britt Niklasson to Showcase Inner Universe in Beijing Exhibition

The post Maj-Britt Niklasson to Represent Sweden at Tokyo International Art Awards Exhibition appeared first on World Art News.

Stories

Brushstrokes of the Soul: An Intimate Conversation with Artist Vian Borchert

Posted on May 18, 2025 by artNews

Vian Borchert is a distinguished contemporary artist whose expressive and emotionally charged works have captivated audiences worldwide. With a career spanning decades, Borchert blends a painterly approach with abstract and impressionistic elements, drawing deep inspiration from nature, memory, and personal experience.

Raised in an environment steeped in artistic influence, her journey from a creative childhood to a celebrated fine artist and educator is as rich and nuanced as her art. In this exclusive interview, Vian shares insights into her artistic process, the inspirations that fuel her creativity, and the resilience it takes to thrive in today’s ever-evolving art world.

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

My childhood was deeply immersed in art, as my mother is a professional artist and my father is an art collector. I was raised in a family where creativity was a cornerstone, cultivating an environment that fostered artistic development and expression. Growing up, seeing my mother standing by an easel while listening to classical music like Beethoven’s Symphony No. 9 instilled in me a natural affinity for art, making it an integral part of my daily life.

Yes, I was definitely an artistic child. I loved art from a very young age and everything about it. Attending art exhibitions with my parents, being around their artist friends, and listening to art discussions all broadened my appreciation for the arts. For me, art was as essential as nourishment. As a child, I had a desk in a quiet corner of the house where I would retreat to draw and paint. In that space, I would enter my own world of artistry and dreamscape. I have always been a dreamer, from childhood to this day. My childhood was a tapestry of artistic immersion, intellectual stimulation, and emotional expression. The nurturing environment provided by my family, combined with my personal experiences, played a pivotal role in shaping me into the artist I am today.

Vian Borchert’s 'In Bloom' Solo Exhibition in NYC and the DC Area © Vian Borchert — Vian Borchert’s *‘In Bloom’* Solo Exhibition in NYC and the DC Area © Vian Borchert

What inspired you to become an artist?

First and foremost, seeing my mother paint in front of me as a child made me want to become an artist. My father, a nature lover, often took us on countryside trips where we would hike and explore wildflower fields. These experiences instilled in me a deep love and appreciation for nature’s beauty. Such early encounters helped me connect with my sources of inspiration and shaped my creative identity.

How would you describe your art style, and how long did it take you to master it?

My art style is expressive and painterly, with abstract and minimal elements. There are hints of impressionism, especially in my landscape work. I would say it took me a lifetime to develop my style, which continues to evolve and refine as I grow older. My vision becomes clearer with time, especially regarding what I want to represent in my art. As an art educator of over two decades and a seasoned artist, the mastery of my craft has been shaped by years of consistent practice.

Man © Vian Borchert — *Man* © Vian Borchert

What materials do you use, and how long does it take for you to create an artwork on average?

I primarily use acrylic paints on canvas. As a painter, I love working with paint tubes, pigments, and brushes of varying sizes to create the painterly elements and brushstrokes I want to express. Depending on the work, it can take anywhere from a few days to several weeks to complete an artwork. My creative process is heavily influenced by my mood—I need to be in the right mindset to produce effectively.

How do you decide what size an artwork will be, and what is the typical size of your art?

Over the years, I’ve noticed that I gravitate toward certain sizes, particularly square and rectangular canvases. My work ranges from large canvases measuring 36″ x 36″, to medium-sized ones like 24″ x 24″. I also enjoy working vertically on 36″ x 24″ canvases.

Was it difficult to become a full-time artist, and what risks, challenges, or setbacks did you have to face in your art career?

Yes, being a full-time artist is one of the most challenging careers. It’s a labor of love, but also actual labor—from producing the work to affording materials and maintaining a studio and business. Presenting a body of work publicly through exhibitions means exposing oneself to critique, opinions, and reviews. Financial returns are not always guaranteed. The career of an artist is full of challenges, and one must be truly passionate to endure its hardships.

Vian Borchert was awarded the International Prize "The New Great Masters in New York" at the Church of the Ascension in Brooklyn, NYC © Vian Borchert — Vian Borchert was awarded the International Prize “The New Great Masters in New York” at the Church of the Ascension in Brooklyn, NYC © Vian Borchert

Were there any significant events during your art career that influenced your artistic development?

I’ve always identified as an artist—even as a child, I would retreat into art to find peace and joy. It has always felt like a natural part of me. A particularly life-changing event was when my father had a heart attack years ago (which he thankfully survived). That moment made me reevaluate my life and realign with what truly mattered. I remember sitting on the edge of my bed after hearing the news and deciding then and there to pursue art wholeheartedly. That was a definitive turning point.

What is your favorite or most exotic artwork?

I have several favorites. One of them is Two Happy Clouds, a skyscape painting featuring a melange of cloud activity against a baby-blue sky. The colors, the perspective, and the clouds are central to what I like to explore in my work. I often joke that I have my “head in the clouds”—as a child, I would lie on the grass and watch the clouds move, finding shapes and stories in them.

Another favorite is Man, a figurative piece I created in the 1990s during a period when I focused more on human anatomy. I like it because it conveys strength and reflection through its intense gaze.

How do you come up with innovative art ideas?

Ideas come to me naturally. I believe I was born with a talent for art and vision. Sometimes, inspiration strikes through dreams, which I then turn into artworks. Other times, I revisit memories—like in my lavender fields series, which started from a personal memory and grew into a broader cultural and artistic impact.

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

I’ve never truly experienced creative blocks or low periods of inspiration. As a creative person, my mind is constantly filled with ideas. In fact, I often have to slow it down just to manage the influx. Since childhood, I’ve known I was different in this regard.

What makes your art unique?

My art is deeply personal. It reflects my life, vision, experiences, and travels. I’ve been told that my paintings possess a kind of magic—what some call “The Vian Effect.” Viewers often say my work touches them in ways no other art does, which confirms to me that I’m on the right path. My work stands on its own, needing no explanation.

Vian Borchert next to her painting 'Yellow Light' at Lichtundfire gallery 'Beyond Horizon' exhibition in Manhattan © Vian Borchert — Vian Borchert next to her painting *‘Yellow Light’* at Lichtundfire gallery *‘Beyond Horizon’* exhibition in Manhattan © Vian Borchert

Have you ever experimented with unconventional or new mediums in your artwork? If so, what was your experience?

Yes, I love experimenting. I’m curious and adventurous by nature. Still, I often return to traditional techniques, especially acrylic on canvas. As an art educator, I expose my students to unconventional approaches—for instance, using wax and watercolor together to create interesting textures and effects.

Who are your favorite artists, and what works of art influenced you the most – and why?

I have many favorites. Claude Monet is a kindred spirit—his Water Lilies at MoMA in New York are simply breathtaking and transport me to Giverny. Anselm Kiefer is another favorite; his landscapes, like The Evenings of All Days, The Day of All Evenings, are incredibly powerful. I also admire Richard Diebenkorn’s Ocean Park series, which evokes memories of my childhood drives through the Palisades in Los Angeles.

What types of art do you like to surround yourself with?

I surround myself with art that stimulates me both visually and intellectually. My home includes my own work, my mother’s art, and pieces I’ve collected from fellow artists, photographers, and sculptors over the years.

Are there any recurring themes or motifs in your artwork, and if so, what do they represent to you?

Yes, recurring motifs in my work include the blue sky, clouds, and seascapes. Blue, in particular, represents my identity. Born near the Mediterranean, the sea and sky are constant sources of peace and reflection for me. These elements express serenity, introspection, and emotional depth.

Do you have a specific routine or ritual you follow when creating art?

Yes. I prefer a tranquil, quiet atmosphere. I usually wake up very early, brew a strong cup of coffee, and face the blank canvas with focus and energy. I work until the household wakes up, as interruptions break my concentration. I often listen to music—jazzy tunes by Hiroshi Suzuki or Ibrahim Maalouf, and rock by The Cure or Kate Bush—to create a mood conducive to creativity.

In your opinion, what is the primary skill set one must possess to be a good artist?

A good artist must have strong freehand drawing skills, without relying on grids or projectors. Drawing is the foundation of fine art. Mastery of structure, line, form, perspective, and composition is essential.

There are so many artists today creating amazing art in a vast array of mediums and styles, do you ever feel the pressure of competition?

Not at all. I don’t compare myself to others. I remain authentic and true to my own vision. Throughout my journey, I’ve pioneered new directions in art that others have followed. As my kids say, “I’m the real OG.”

What advice would you give to new artists who wish to make art their career?

Get a solid art education. Don’t copy others or chase fame through imitation. Instead, focus on developing your own voice and vision. Be ethical, be grateful to your mentors, and take the time to grow as an artist.

You’ve participated in many art exhibitions. What has been your experience with them?

My experiences have varied, but overall, they’ve been positive. Every exhibition is unique, and I’ve grown from each one.

What is your overall outlook on how the art market is changing?

The art market is evolving rapidly, and it can be hard to keep up—especially with the rise of technology. The impact of AI on the market remains uncertain, and much of the future in this area is still a mystery.

How do you stay updated with trends and developments in the art world?

We live in a highly connected world, and most developments are easily accessible online. That said, I don’t focus on trends—I often create them. I’ve seen my ideas and aesthetics ripple through the art and design world many times.

What role do you think social media plays in the career of a contemporary artist?

Social media is just a tool to share one’s work. While some artists have found success early through platforms like Instagram or TikTok, the fine art world operates differently. Popularity online doesn’t always translate to success in the real art world.

Vian Borchert next to her painting 'Electric' at Lichtundfire gallery 'Beyond Horizon' exhibition in Manhattan © Vian Borchert — Vian Borchert next to her painting *‘Electric’* at Lichtundfire gallery *‘Beyond Horizon’* exhibition in Manhattan © Vian Borchert

Do NFTs interest you as an artist?

Not currently. I focus on selling my original artworks through established global marketplaces.

You can find my work here:

Website: www.vianborchert.com

Also Read

Vian Borchert: Visionary Expressions in Turquoise Abstractions

The post Brushstrokes of the Soul: An Intimate Conversation with Artist Vian Borchert appeared first on World Art News.

Stories

Simonetta Vespucci Restores the Identity of Botticelli’s Lost Altarpiece

Posted on April 13, 2025 by artNews

Madonna’s face from the San Leo altarpiece is presented, compared with the face in other works by Botticelli.

BY MARK ANDERSON

A masterpiece returned to its former splendor after a restoration campaign lasting over four years is now drawing the attention of art critics. The work in question is the Altarpiece of San Leo, titled Madonna Enthroned with Child among Saints, which Annalisa Di Maria—an international expert on Leonardo da Vinci and artists of the Neoplatonic movement—attributes to the Florentine master Sandro Botticelli. The findings from this extensive research will be published in an upcoming volume that will present all the studies conducted.

According to Di Maria:

“Seeing the altarpiece, I immediately recognized, through various pictorial and iconographic elements, that it was indeed the work of Botticelli and his workshop. For over 20 years, I have studied the artistic and cultural movement that experienced a significant revival during the Renaissance: Neoplatonism. My research has focused especially on artists who supported this philosophy and who were regular visitors to the Neoplatonic Academy of Florence, founded by Marsilio Ficino in 1462 at Villa Careggi, at the behest of Cosimo the Elder.

San Leo Altarpiece attributed to Botticelli

Throughout these years, I have concentrated on the techniques, symbolism, and themes found in the works of these great artists. Botticelli, along with Leonardo da Vinci, was one of the most prominent representatives of this movement. The altarpiece was traditionally attributed to the master Frosino, but this attribution appears to be incorrect.”

Di Maria refers to a document from the late 15th century by a certain Vecchietti, a notable Florentine notary, who commissioned a work from Maestro Luca di Frosino for the community of San Leo. However, the document does not clearly identify the artwork in question.

“It is tempting to believe that the commissioned piece depicted Saints Marino and Leone, as we see in this altarpiece. While Frosino had a workshop in Florence, his style differs significantly from that of the San Leo altarpiece. A case in point is his Annunciation of Pesaro (1507), also commissioned by the Servants of Mary. Several entries in Federico Zeri’s catalogue further suggest a stylistic link between Luca di Frosino and the Maestro di Marradi, possibly connecting both to Ghirlandaio’s workshop.

However, when considering the technical and scientific data—including dimensions—the connection to the altarpiece described in Vecchietti’s document doesn’t align. It’s more plausible that the Botticelli altarpiece was brought to San Leo to replace Frosino’s work when the cathedral reopened in 1700. If Frosino had created the original altarpiece for San Leo, it may have been lost or relocated during the decades the cathedral remained derelict. What we see today is certainly not that original work.”

The rediscovered Botticelli painting was in a poor state of conservation. Over the centuries, it had undergone various restorations, yet Botticelli’s unmistakable style—and that of his school—clearly remains. Stylistic comparisons and scientific analysis have revealed the hand of Botticelli himself, along with contributions from some of his students.

“After 1492, following the deaths of Lorenzo the Magnificent, Pico della Mirandola, and Angelo Poliziano in 1494, Botticelli fell into a deep depression. He abandoned Neoplatonic iconography and returned to a more austere Christian style, with considerable assistance from his students. This painting precisely reflects that transitional period—a return to his early altarpiece style, reminiscent of the Sant’Ambrogio Altarpiece at the Uffizi in Florence.”

Botticelli’s works fell into obscurity for centuries after his death in 1510 and were rediscovered only in the 19th century thanks to the Pre-Raphaelites. Many of his works were stored in church warehouses and later reused to replace lost or damaged paintings, often modified with added iconographic elements to suit their new contexts.

At the center, a detail of the Madonna’s face from the San Leo altarpiece is presented, compared with the faces in other works by Botticelli.

“The crown on the Virgin’s head, for example, was added later during one of the many reworkings. The two flanking saints—identified today as San Marino and San Leone—may originally have been intended as Pico della Mirandola and Angelo Poliziano, recurring figures in Botticelli’s oeuvre.”

This altarpiece becomes a symbolic journey—of saints, ideas, and artistry—traveling from Florence through Montefeltro, altered at each stop, yet never losing the spirit of the great Renaissance master.

“Many hands altered this painting over time, as if each felt entitled to leave their mark. But no one dared to change the face or bearing of the beautiful Simonetta, who now lives again in a land not her own. Here, she testifies to the enduring power of beauty—how it can overcome adversity.”

This work rightfully belongs to the Municipality of San Leo.

Also Read

Sandro Botticelli: The Renaissance Visionary Who Painted the Soul

Story submitted by Di Maria Press Office. 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 Simonetta Vespucci Restores the Identity of Botticelli’s Lost Altarpiece appeared first on World Art News.

Stories

Bridget Riley Stuns Art World as Myrrh Soars to $2.36M at Bonhams

Posted on April 4, 2025 by artNews

Myrrh by Bridget Riley | Bonhams — *Myrrh* by Bridget Riley | Bonhams

BY ALBERT CHEN

Bridget Riley, one of Britain’s most revered living artists, once again proved her enduring power in the art market as her 1985 painting Myrrh achieved a sensational £1,802,900 ($2,362,000) at Bonhams‘ 20th/21st Century Art Evening Sale last night in London. The vibrant canvas, a standout from Riley’s celebrated Egypt series, topped the high-profile sale at Bonhams’ New Bond Street showroom, confirming her continued influence in the global art scene at the age of 93.

Riley, best known for pioneering the Op Art movement of the 1960s, drew inspiration for Myrrh from a pivotal 1981 trip to Egypt. Captivated by the radiant hieroglyphics and sun-drenched landscapes, she developed what she called her “Egyptian Palette”—a breakthrough in her use of colour. The result was a series of works that shimmer with optical precision and emotional resonance.

“The distinctive palette of Bridget Riley’s Egypt series paintings make them amongst her most highly sought-after works,” said Ralph Taylor, Global Head of 20th and 21st Century Art at Bonhams. “It’s no surprise that collectors wanted to own this exceptional piece by one of the greatest living artists.”

Riley’s achievement is all the more remarkable given her career’s sheer longevity and consistency. From her early black-and-white optical experiments to the bold chromatic harmonies of her later works, she has remained a trailblazer in the field of abstraction. Her paintings, which appear to pulse, shimmer or even move, continue to challenge the boundaries of perception and form.

Today, Riley’s works are housed in major institutions around the world, including Tate, London; the Nationalgalerie, Berlin; the Metropolitan Museum of Art, New York; and the Stedelijk Museum, Amsterdam. Last night’s record sale is yet another milestone in a career defined by innovation, resilience, and an unrelenting pursuit of visual truth. At nearly a century old, Bridget Riley remains not only a living legend but a market force to be reckoned with.

Also Read

Egyptian Artist Hamed Nada’s Painting Shatters Expectations at Bonhams Auction

The post Bridget Riley Stuns Art World as Myrrh Soars to $2.36M at Bonhams appeared first on World Art News.

BY ALBERT CHEN

Unique Artwork

The Artistic and Historical Connection to Gandhi

Public Recognition and Historical Significance

Preservation, Controversy, and the Artist’s Enduring Legacy

The Portrait

By Darla Farner and Jennifer McKay

Origins: From Brazil to the American Dream

Surviving the Transition

Turning Point: From Model to Mogul

Life in LA Today: Family, Business, Purpose

Advice for Aspiring Immigrants

Conclusion

Founder and CEO Kwok explains:

BY MARK ANDERSON

BY MARK ANDERSON

BY ALBERT CHEN

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