It only took them 17 years

A previously unknown painting by Amadeo Modigliani has been discovered.

The "Portrait of a Man" dates back to around 1918, said a Modigliani expert Christian Parisot. It was authenticated after 17 years of expert checkup, Parisot, the director of Modigliani's Rome-based archives, said.

Read the AP story here. Something in the article raised my eyebrows a little: "The canvas measures 46 x 38 cm (18 x 15 inches) and shows an unknown young man. Experts said the oil colors had been watered, a sign that the artist was poor at the time of the work."

I was not aware that oil colors could be "watered." In fact, I'm not aware of any technique where this is even possible.

An oil paint can be stretched and diluted by using a paint thinner, such as turpentine, which is usually the cheapest (and nastiest) thinner around, but unless I missed something in art school, one can't add water to oil paints (especially at the turn of the last century) to stretch the oil paints.

Some "new" modern oil paints can now be diluted with water, and there are some odorless paints thinners out there, but nothing that Amadeo would have had available during his lifetime.

I suspect that the AP article meant to say "diluted" rather than "watered."

Pedantic me.

Moves

Stand by early next week for a major announcement from an important DC area arts venue which is not only relocating but also somewhat re-inventing itself by going back to its solid and independent roots.

This Friday in Philly

Pentimenti Gallery opens its fall season this year with two solo exhibitions of works by Rachel Bone and Kevin Finklea. The exhibitions run through October 27, 2007 and the reception is this Friday, September 28 from 6 - 8 p.m.

Zinger!

Thanks to those of you who brought to my attention Seattle Post-Intelligencer's art critic Regina Hackett's irate post on the exact same point on Jacob Lawrence that made me so exasperated and foul-mouthed here.

Hackett writes:

"The disgrace belongs to the Post. Staff writer Jacqueline Trescott identified Lawrence as "one of the greatest African-American artists of the 20th century."

Aren't we past this? I look forward to the day the Post identifies Jackson Pollock as one of the greatest white artists of the 20th century. Because white appears to be this writer's assumed context, she notes only difference, black as a special case. (Diversity trainers: The Post needs you!)"

But it gets better, after making a good point about using an image of the painting in question for the WaPo article (and a rather weird comment on Mrs. Bush eyeliner), Hackett then writes:

"A smart newspaper would have printed a clear image of the painting and accompanied it with a sidebar by an art critic, covering the information Dangerous Chunky had about its market history as well as an assessment of its merits and its maker's place in history.

Oh wait. I forgot. The Post doesn't have an art critic. It has Blake Gopnik. Jaunty, arrogant and uninformed, he's easily the worst art critic at a major newspaper in the country."

Mamacita!

Did an art critic from a major metropolitan newspaper just call the Washington Post's chief art critic "jaunty, arrogant and uniformed?"

Did she also rank him as "easily the worst art critic at a major newspaper in the country?"

I'm going to have to mull on that for a while.

Trescott Blows It

I started writing this commentary a week ago, when the story was first published in the WaPo, and somehow I didn't publish it as soon as I wrote it, as I was traveling.

And today I came across it again, and it pissed me off even more.

I tend to criticize the WaPo mercilessly for their crappy fine arts coverage, and they generally deserve it. But one constant source of light and enlightment in their shitty fine arts coverage is Jacqueline Trescott.

Trescott usually writes savvy, intelligent words for the WaPo's precious few fine arts Illuminati.

But, in my pedantic view, she really fucked up in this article almost a week ago.

Why?

If you've read my ramblings long enough, then you know that I am not a big fan of artistic segregation.

I don't think that there should be an arts museum just for women, or African-Americans, or Latino/Hispanic Americans.

I think that museums should be driven to include meritable art by artists, regardless of race or ethnicity, who deserve inclusion in a museum collection -- and which should be open to all artists, not just artists of a certain geographic or ethnic presence.

Not guided by percentages or demographics or numbers, but merit, and regardless and in spite of skin color, skin hues, last names, or religion.

And this is where Trescott blows it.

In the article she refers to one of my art school professors and influences as "In its recent renovation of the Green Room, the White House has given a place of honor to a newly acquired masterpiece by Jacob Lawrence, one of the greatest African American artists of the 20th century."

Jacob Lawrence, pen and ink, circa 1980 by F. Lennox Campello
In an Private Collection
In my own personal experience, Jacob Lawrence was pretty close to an asshole difficult as an arts teacher (which sometimes means that he was also a brilliant teacher to students other than me), a pretty good drinking buddy, and an opinionated bastard. But Lawrence and his artwork was also without a doubt (in my opinion) one of the greatest American contributions (and artists) of the 20th century.

Period.

Not "one of the greatest African American artists of the 20th century."

And Mrs. Bush shows some remarkable insight in selecting this work:

It was purchased for $2.5 million at a Christie's auction in May by the White House Acquisition Trust, a privately funded branch of the mansion's historical association. Mrs. Bush had wanted a Lawrence work since a personal friend lent her Lawrence's "To the Defense." It hangs in the Bushes' private dining room. "And because it's on the wall that I look at from my chair in the dining room, I just grew to like Jacob Lawrence more and more," she said.

Bravo to Mrs. Bush - she went with her guts and feelings; Boo-Hoo to Trescott - she went with her hard-wired "formation" in always trying to label Americans.

And I'll keep my own original Jacob Lawrence on my walls, as I have for years since I acquired it in Art School, and refer to him as a great American artist when people ask me about it.

Period.

---

Update: Below is an image of the painting in question - with thanks to Dangerous Chunky.

Lost Art

While I was a student at the University of Washington School of Art (1977-1981), one of my school projects involved taking a mannequin deep into the woods around the Seattle area, and then fixing the mannequin onto a tree.

Once the figure was attached to a tree, I would either cover it in glue, or spray it with photo fix glue, and then cover it in tree mulch, bark, and dirt. Then I would completely glue pieces of bark to the figure, and thus make it "blend" onto the tree that it was affixed to. Eventually, the figure would be (at least visually) part of the tree, as if the figure was growing from the tree itself.

Most of these projects were done in Mt. St. Helen's as I had a school friend whose family lived at the bottom of the mountain, and it was thus convenient as he was my guide around the mountain's ape caves and trails). I suspect that all of them were destroyed by the volcanic eruption of St. Helen's on my wedding day in 1980.

I took many slides of the finished installations, but because after art school I moved to Europe, and then returned in 1985 to go to postgraduate school, while I was at postgraduate school in California, I put about 30 boxes of books and photos and slides and clothes, etc. in storage with my then sister-in-law in Washington state.

Then, while she was on vacation, a pipe in her house broke and flooded her basement for several days. Not only did I lose many, many slides of artwork, but also lot of art, all of my disco clothes (probably a good thing), plus a couple hundred books, including my copy of a hardbound first edition, first printing of Tarzan of the Apes (now worth around $35,000 big ones)... and no, insurance did not pay for it; none of it.

"Mujertree with Broken Arms" (from Daphne series) circa 1980. Pen and Ink. 10 x 8 inches.
Collection of the Artist
I do, however, still have some of the preparatory sketches (above) that I did over the years, and the memories of my student artwork that has been twice wiped out by the forces of nature, as if upset that I was re-arranging and humanizing nature.

"Daphne" circa 1995, Charcoal on Paper, 30 x 20 inches.
Private Collection in Richmond, VA
These nature installations were part of what I called the "Daphne series," and which continues to this day, mostly now in drawings and etchings (above and below), although I am preparing to re-start the mannequin part all over again, in a sense kindled by the tree massacre that took place just down the street from my house, and all the woods around here.


"Daphne" circa 1994, Charcoal on Paper, 40 x 30 inches.
Private Collection in Charlottesville, VA

Maryland State Arts Council opening

Join the Maryland State Arts Council at the James Backas Gallery in Annapolis on September 28, 5-8pm (Gallery Talk: 6:30 PM)for the Opening Reception of "Celebrating 40 Years - Showcasing 40 Artists," curated by Oletha DeVane.

The exhibiting artists are: Maria Anasazi, Kristine Yuki Aono, Maria Barbosa, Denee Barr, Sylvia Benitez, Ellen Burchenal, Paul Daniel, Linda DePalma, Helen Elliott, Anna Fine Foer, Espi Frazier, Helen Frederick, Mia Halton, Leslie King-Hammond, Maren Hassinger, David Hess, Tonya Ingersol, Chevelle Makeba Moore Jones, Gard Jones, Gary Kachadourian, Maria Karametou, Robert Llewellyn, Janet Maher, Jose Mapily, Allegra Marquart, Diana Marta, Cara Ober, Stephen Pearson, Gina Pierleoni, Leslie Snyder Portney, Camille Gustus Quijano, William Rhodes, W.C. Richardson, Joyce S. Scott, Christine Shanks, Piper Shepard, Laurie Snyder, Edgar H. Sorells-Adewale- Renee van der Steldt, and Michael Weiss.

The exhibition is through December 19, 2007.