Renaissance Faire

Mike & Leo’s Excellent
New York City Adventure

Michelangelo and Leonardo da Vinci are having a moment at the Big Apple: a massive Met show of drawings of the former is enchanting crowds, and a work attributed to the latter just broke records at an auction yesterday. Not bad for the two Renaissance superstars who’ve been dead for five centuries.
Michelangelo’s Divine Draftsman and Designer brings to the city the largest number of drafts ever assembled for a show. And suspicions about Salvator Mundi, a newly-discovered 1500 painting of da Vinci, didn’t prevent it from reaching a staggering $450 million at an equally crowded Christie’s session.
New Yorkers have it good and don’t even know it. Don’t quote us on that, but an unscientific survey could show that museum attendance by residents is declining, as ‘voluntary’ entry fees went up. But we can always count on our lovely tourists to gladly pick up the slack.
And until they ban cellphones at these places, they’ll keep on increasingly becoming madhouses, with selfie-takers colliding with each other in the rush to impress their social media followers. Sadly, despite ever so eager to be seen as hip, many miss out on the very experience of being in the presence of a work of art, glaring at their faces.
No wonder curators bend backwards to fashion and the culture of celebrities, hoping they’ll attract a fresh crowd of art-seekers, despite having centuries of appreciation to prove the worth of their wares. In the end, the famous also take their own annoying selfies, strictly to post them on Web accounts. And walk away, ushered by handlers.

SKETCH COLLECTION OF A TITAN
The reinvigorating quality of a master such as Michelangelo, born 543 years ago next March, is that every new sighting of his works turns out another revelation. These Metropolitan Museum of Art drawings trace back the pictorial genius at the core of his innate creative verve.
Every small draft, whether it found or not its way to the splendor at the ceiling of the Vatican’s Capela Sistina, started as a subtle dialog, a tenuous answer to whatever turmoil he already had in mind, about fulfilling his task. To completely realize them, he’d need a few lifetimes.
But mankind is grateful of what he managed to accomplish in just one. Despite having to hide at times from the politics of his age, or persevere even when the other gargantuan contemporary of his had but contempt about his art, he’d live to almost 90, as if in a mission to give us all an eternal name.

THE REACH OF AN UNIVERSAL MAN
Leonardo took 67 years to explore and leave his imprint on almost as many disciplines of human knowledge, some that he discovered, others, that he redefined. Considering all his accomplishments as an inventor and artist, is astonishing that, among all, he’s known as (more)
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F for Fading

Thieves, Forgers & Mad Mothers:
The Age of Disappearing Masterpieces

‘Do you think I should confess? To what? Committing masterpieces?’ says Elmyr de Hory on ‘F for Fake,’ Orson Welles’ meditation on the relevance of art in a world that seems no longer moved by it. A world where de Hory thrived as its biggest forger.
We thought about that this week, when experts said that the mother of a thief of a collection of masterpieces has likely burned the irreplaceable works to protect her son. And that Amazon ‘reviewers’ seem to care as much about art as they do about a banana slicer.
Suddenly, Picasso’s quote, about art being a lie that enables us to realize the truth, sheds as much insight about the artistic craft, as it does about our disturbingly self-deluded drive to constantly interfere and ‘improve’ reality, so the outcome serves us a little bit better.
Picasso’s Tete d´Arlequin, Monet’s Waterloo Bridge and Charing Cross Bridge, and Gauguin’s Femme Devant Une Fenetre Ouverte Dite la Fiancee are among the paintings now believed to be lost forever. They join a copious list of works of art that got stolen, destroyed, or simply misplaced by a long string of idiots.
Of course, there are reproductions of most of the known ones, but heaven knows how many others we never got to admire and count as some of our species’ greatest achievements. Chances are that, even if mankind were to start all over again, from the very beginning, it’s unlike that the ones lost would be recreated.
Perhaps it’s all the ugly by-product of pricing the inestimable, and an overinflated art market that allows them to either become toys of the super rich, or vulnerable to the security vagaries of decrepit museums. And then there is another world, the one de Hory ruled in his time.
A world that makes the FBI a curator. Caveat Emptor (Let the Buyers Beware), a current New York show of anonymous forgeries confiscated by the bureau, is a novelty and a triumph of sorts. The ‘Chagalls,’ Continue reading