V&A ACQUIRE RARE OTTOMAN EMPIRE JADE TANKARD

A RARE JADE TANKARD INLAID WITH GOLD AND STUDDED WITH RUBIES AND EMERALDS HAS BEEN ACQUIRED BY THE V&A. THE TANKARD WAS ORIGINALLY MADE FOR AN OTTOMAN SULTAN IN THE LATE 16th CENTURY, IN THE IMPERIAL CAPITAL OF ISTANBUL. A LIMITED NUMBER OF THESE OBJECTS WERE PRODUCED AND THIS IS THE FIRST EXAMPLE TO ENTER A BRITISH NATIONAL COLLECTION. THE TANKARD WAS OFFERED TO THE V&A PARTLY THROUGH THE ACCEPTANCE IN LIEU (AIL) SCHEME. THE ART FUND GAVE £220,000 TOWARDS TO PURCHASE, WHICH INCLUDED A CONTRIBUTION FROM THE WOLFSON FOUNDATION. IT COST A TOTAL OF £477,500. THE TANKARD IS A SPECTACULAR EXAMPLE OF HOW THE OTTOMAN COURT BORROWED FORMS FROM EVERYDAY LIFE AND TURNED THEM INTO STUNNING LUXURY ITEMS. ITS SHAPE IS BASED ON THE INDIGENOUS DRINKING VESSELS USED IN A VARIETY OF BEVERAGES INCLUDING BOZA, THE FERMENTED MILLET DRINK STILL POPULAR IN ANATOLIA AND THE BALKANS. HOWEVER, INSTEAD OF WOOD OR LEATHER, IT IS MADE FROM JADE, WHICH HAD TO BE IMPORTED AT HIGH COST, OVER A GREAT DISTANCE FROM CENTRAL ASIA. BY THE 1560s, THE OTTOMAN EMPIRE WAS ONE OF THE WORLD'S GREAT POWERS, AND THE SULTANS WHO RULED IN THE FOLLOWING DECADES NO LONGER FELT THE NEED TO BORROW ARTISTIC IDEAS FROM THEIR RIVALS. INSTEAD, THEY CELEBRATED THEIR REGIONAL SUPREMACY BY ADOPTING LOCAL FORMS AND RECREATING THEM IN LUXURY MATERIALS FOR USE IN COURT. THIS PARTICULAR TANKARD HAS A DISTINCTIVE FORM, POT-BELLIED IN FRONT AND FLAT AT THE BACK, WHICH SUGGESTS IT HAD A LEATHER PROTOTYPE. IT IS DECORATED WITH A GOLD WIRE INLAY AND GEMSTONE SETTINGS, ARRANGED IN A PATTERN OF FLORAL SPRAYS, WITH A VASE MOTIF ON THE FRONT. IT WAS THE CUSTOM TO SET OBJECTS OF ALL KINDS WITH RUBIES AND OTHER GEMSTONES TO MARK THEM OUT AS COURT OBJECTS. AROUND 1800, THE TANKARD WAS FURTHER EMBELLISHED WITH GOLD FITTINGS IN THE ROCOCO STYLE, CONSISTING OF GEMSET GOLD MOUNTS AROUND THE FOOT, THE RIM AND THE LID AND THE DISTINCTIVE CURVED HANDLE. SIR MARK JONES, DIRECTOR OF THE V&A SAID: 'THIS TANKARD IS A SPLENDID EXAMPLE OF OTTOMAN ART. THERE IS NOTHING LIKE IT IN THE V&A OR ANY OTHER COLLECTION IN BRITAIN.'

CONTROVERSIAL ARTWORK DAMAGED BY ASSAILANT

POLICE QUESTIONED WITNESSES ON MONDAY IN THEIR SEARCH FOR A MAN WHO TOOK A HAMMER TO A CONTROVERSIAL PHOTOGRAPH OF A CRUCIFIX BATHED IN URINE AT AN ART EXHIBITION IN AN AVIGNON MUSEUM. THE MODERN ART MUSEUM, THE COLLECTION LAMBERT, IN SOUTHERN FRANCE, SAID AN ASSAILANT DESTROYED THE PHOTOGRAPH BY AMERICAN ARTIST ANDRES SERRANO, 'IMMERSION (PISS CHRIST)' ON SUNDAY AND APPARENTLY ACCIDENTALLY DAMAGED ANOTHER OF THE ARTIST'S WORKS WHILE STRUGGLING WITH A GUARD. IT WAS NOT IMMEDIATELY CLEAR WHETHER THE ASSAILANT WAS PART OF A DEMONSTRATION A DAY EARLIER BY A RIGHT-WING GROUP DENOUNCING THE 1987 PHOTOGRAPH AS BLASPHEMOUS AND DEMANDING ITS REMOVAL FROM THE EXHIBITION, ENTITLED 'I BELIEVE IN MIRACLES'. ACCORDING TO POLICE, CITING WITNESSES, TWO PEOPLE TRIED TO ENTER THE MUSEUM LATE SUNDAY MORNING CARRYING A CAN OF SPRAY PAINT AND A CHISEL IN THEIR JACKETS. THE GUARD REMOVED THE OBJECTS, JUST AS A THIRD PERSON TOOK A HAMMER TO 'IMMERSION'. THE ATTACKER STRUGGLED WITH A GUARD, BUT HELPED BY AN ACCOMPLICE, MANAGED TO ESCAPE, POLICE SAID. IN THE STRUGGLE, HE APPARENTLY DAMAGED ANOTHER WORK, 'THE CHURCH (SISTER JEANNE-MYRIAM)', WHICH SHOWS A NUN PRAYING. THE MUSEUM'S DOORS WERE SHUT MONDAY FOR ITS WEEKLY CLOSING. HOWEVER, IT SAID IT WILL REOPEN TUESDAY WITH THE DESTROYED WORKS ON DISPLAY SO THAT THE PUBLIC CAN VIEW THE DAMAGE. THE MUSEUM CLOSED EARLY SUNDAY BECAUSE OF PROTEST OF THE PROTEST. SERRANO MADE THE CONTROVERSIAL WORK BY PLACING A CRUCIFIX IN URINE AND BLOOD, AND IT HAD DRAWN CRITICISM IN THE PAST FROM SOME CHRISTIAN GROUPS. YOUNG FAR-RIGHT CHRISTIAN ACTIVISTS FROM THE GENERAL ALLIANCE AGAINST RACISM AND FOR THE RESPECT OF THE FRENCH AND CHRISTIAN IDENTITY IS THE COLLECTION LAMBERT TO COURT WEDNESDAY TO TRY TO HAVE THE CRUCIFIX PHOTOGRAPH REMOVED FROM THE EXHIBIT. THE GROUP DENOUNCED THE PHOTOGRAPH ON ITS WEBSITE, SAYING IT 'INSULTS AND INJURES CHRISTIANS AT THE HEART OF THEIR FAITH'. THE EXHIBIT OPENED 12.DECEMBER.2010 AND IS TO RUN UNTIL 8.MAY.

EDWARD M KENNEDY INSTITUTE FOR THE UNITED STATES BREAKS GROUND IN BOSTON

GROUND WAS BROKEN FOR THE EDWARD M KENNEDY INSTITUTE FOR THE UNITED STATES, SITUATED ON THE CAMPUS OF THE UNIVERSITY OF MASSACHUSETTS BOSTON. THE HISTORIC PROJECT WILL STAND BESIDE THE EXISTING JOHN F KENNEDY PRESIDENTIAL LIBRARY AND MUSEUM, ENCOURAGING VISITORS TO EXPLORE BOTH BUILDINGS. THE NEW FACILITY WILL HOUSE PARTICIPATORY EDUCATIONAL PROGRAMS DESIGNED TO ENGAGE THE PUBLIC IN THE SYSTEMS OF THE AMERICAN GOVERNMENT AND HEIGHTEN AWARENESS OF THE US SENATE'S ROLE IN THE GOVERNMENT. THE FACILITY WILL CONSIST OF ROUGHLY 40,000 SQUARE FEET OF PROGRAM SPACE, COMPRISED MAINLY OF CLASSROOM, EDUCATIONAL EXHIBITS, AND A REPRESENTATION OF THE SENATE CHAMBER. THE INSTITUTE'S OVERALL SITE PLAN HAS BEEN DESIGNED TO WORK IN HARMONY WITH IM PEI'S NEIGHBORING JOHN F KENNEDY LIBRARY. THE DESIGN INCLUDES AN INNOVATIVE COMPOSITE CLADDING, WHICH WRAPS THE EXTERIOR OF THE CHAMBER REPRESENTATION. THE CLADDING IS VISUALLY SEPARATED FROM THE 1-STORY VOLUME BY A RIBBON SKYLIGHT, WHICH RUNS ABOVE THE GROUND-FLOOR EXHIBITION SPACE. THE COMPLETE DEVELOPMENT WILL BOAST A LARGE EXPANSE OF OUTDOOR PUBLIC SPACE, GUIDING VISITORS TO THE ENTRANCE OF THE BUILDING. THE PUBLIC GREEN SPACE IS BORDERED BY TWO TRIANGULAR VOLUMES, WHICH DEFINE THE ENTRY TO THE BUILDING AND GEOMETRICALLY CONNECT THE INSTITUTE TO THE JOHN F KENNED LIBRARY. THE EXTERIOR OPEN SPACE IS A LINK BETWEEN THE INSTITUTE, THE JOHN F KENNEDY LIBRARY AND THE UNIVERSITY OF MASSACHUSETTS BOSTON CAMPUS, WHILE ALSO ACTING AS A CONNECTION TO THE WATERFRONT AND BOSTON HARBOR WALK. THE ENTRANCE APPROACH IS DESIGNED TO INCORPORATE COMPONENTS FROM EACH OF THE 50 STATES AND ENHANCE CONNECTION BETWEEN THE BUILDING AND THE ENTIRE NATION. THE SENATE CHAMBER REPRESENTATION IS THE HEART OF THE INSTITUTE, AND WILL FACILITATE INNOVATIVE EDUCATIONAL PROGRAMMING, SUCH AS AN IMMERSIVE MULTI-PLAYER SOCIAL EXPERIENCE, ACTIVATED BY 100 INTERACTIVE DESKS, BRINGING PARTICIPATING DEEP INSIDE THE LEGISLATIVE PROCESS. CREATED IN COLLABORATION WITH GAME DESIGNER ERIC ZIMMERMAN, THE ROLE-PLAYING EXPERIENCE WILL GUIDE GROUPS THROUGH HISTORICALLY ACCURATE EVENTS, WITH THE VISITORS DETERMINING THE OUTCOME. HIGHLY SOCIAL BY DESIGN, THE IMMERSIVE ACTIVITIES WILL ENABLE PARTICIPANTS TO ENGAGE IN NEGOTIATION, DEBATE, CAUCUSES AND VOTES. THE INSTITUTE WILL ALSO FEATURE A RECREATION OF THE ACTUAL OFFICE OF SENATOR KENNEDY.

MFA, BOSTON, TO PRESENT 'CHIHULY: THROUGH THE LOOKING GLASS'

GLASS ARTIST DALE CHIHULY SAYS HIS WELL OF INSPIRATION NEVER RUNS DRY, EVEN AFTER SOME 40 YEARS PUSHING THE BOUNDARIES OF HIS MEDIUM. 'JUST WORKING WITH THE MATERIAL BRINGS FORTH A LOT OF IDEAS, IN BOTH THE GLASS BLOWING AND IN WORKING WITH THE GLASS AFTER IT'S BEEN BLOWN', CHIHULY SAID ON THE SIDELINES OF HIS MAJOR NEW EXHIBIT AT BOSTON'S MUSEUM OF FINE ARTS. 'CHIHULY: THROUGH THE LOOKING GLASS', 12 INSTALLATIONS THAT LIVE UP TO THEIR ALICE IN WONDERLAND BILLING, OPENS ON 10.APRIL AND WILL RUN THROUGH AUGUST IN THE RECENTLY OPENED ART OF THE AMERICAS WING. THE EXHIBIT FEATURES A MIX OF NEW AND EARLY WORKS FROM CHIHULY, PERHAPS THE FOREMOST ARTIST NOW WORKING IN GLASS AND, WITH HIS DISTINCTIVE CURLY HAIR AND EYE PATCH, CERTAINLY THE MOST RECOGNIZABLE. THE INSTALLATIONS CONTAIN SOME 7,000 INDIVIDUAL PIECES, INCLUDING MILLE FIORI (ITALIAN FOR 'A THOUSAND FLOWERS'), A 58 FOOT LONG INSTALLATION DISPLAYED IN A DARKENED ROOM. NEODYMIUM REEDS ON LOGS IS A SERIES OF TALL, PURPLE GLASS RODS SET AGAINST FRESHLY-CUT MAINE BIRCH, WHILE PERSIAN CEILING EVOKES A MADLY COLOURED SEASCAPE. THE 42 FOOT TALL LIME GREEN ICICLE TOWER, INSTALLED IN A HIGH-CEILINGED COURTYARD, WEIGHS SOME 10,000 POUNDS AND COMPRISES OVER 2,300 INDIVIDUAL PIECES OF GLASS. 'I TEND TO DO THINGS ON A HUGE SCALE BECAUSE IT'S EXCITING. I LIKE TO PUSH THINGS IN NEW AND DIFFERENT WAYS', CHIHULY SAID. 'MY PHILOSOPHY IS: WHEN ONE IS GOOD, A DOZEN IS BETTER.' 'THROUGH THE LOOKING GLASS' WAS SOME 18 MONTHS IN THE PLANNING AND CONCEPTION BEFORE ARRIVING IN BOSTON IN SIX GIANT CONTAINERS FOR A THREE-WEEK ASSEMBLY MARATHON. THE WORKS WERE CREATED IN CHIHULY'S TWO FACILITIES IN SEATTLE, THE BOATHOUSE, THE 'HOT SHOP' WHERE THE GLASS PIECES ARE BLOWN, AND THE BALLARD STUDIO, WHICH HAS 25 FOOT CEILINGS TO HELP PUT LARGE INSTALLATIONS TOGETHER. CHIHULY SAID HE DOESN'T TRY TO ANTICIPATE HOW VIEWERS WILL RESPOND TO HIS CREATIONS, BUT HOPES HIS WORK WILL LIFT UP THEIR SPIRITS. 'PEOPLE RESPOND TO THINGS IN A DIFFERENT WAY. IF YOU COULD RECORD WHAT PEOPLE WERE THINKING, THERE WOULD BE A TREMENDOUS VARIATION', HE SAID.

MFA, BOSTON, DISCOVERS PROVENANCE OF 17th CENTURY TAPESTRIES

PROVENANCE RESEARCH CONDUCTED BY THE MUSEUM OF FINE ARTS, BOSTON (MFA), HAS RESULTED IN NEW DISCOVERIES ABOUT THE HISTORY OF OWNERSHIP OF FOUR 17th CENTURY TAPESTRIES IN THE MFA's COLLECTION. THE MUSEUM's RESEARCH REVEALED THAT THE TAPESTRIES, GIVEN TO THE MFA IN THE 1950s BY EUGENE GARBATY, A GERMAN JEWISH ART COLLECTOR AND REFUGEE, HAD BEEN INCLUDED IN A FORCED SALE IN 1935 OF THE STOCK OF THE ART DEALER MARGRAF & CO IN BERLIN, A FIRM RUN BY JAKOB AND ROSA OPPENHEIMER. THE MFA CONTACTED THE OPPENHEIMER HEIRS IN 2010 TO INFORM THEM OF THE DISCOVERY AND TO BEGIN SETTLEMENT DISCUSSIONS, WHICH CONCLUDED RECENTLY. THE FOUR TAPESTRIES (EACH MEASURING APPROXIMATELY 222 x 48 INCHES) WERE PART OF A LARGER SERIES THAT DEPICTED THE LIFE AND ACHIEVEMENTS OF POPE URBAN VIII. THE ENTIRE SERIES, BEGUN IN 1663 AND FINISHED IN 1679, WAS COMMISSIONED AFTER THE POPE'S DEATH BY HIS NEPHEW, CARDINAL FRANCESCO BARBERINI. THE TAPESTRIES HUNG IN THE BARBERINI PALACE IN ROME UNTIL THE END OF THE 19th CENTURY, WHEN THE SERIES WAS DISASSEMBLED AND SOLD. ORIGINALLY, THERE WERE 34 TAPESTRIES MADE OUT OF COLOURFUL WOOL AND SILK. AMONG THEM WERE 10 LARGER NARRATIVE PANELS, OF WHICH NINE ARE NOW IN THE VATICAN MUSEUM IN ROME, AND ONE IS IN THE MUSEES ROYAUX D'ART ET HISTOIRE IN BRUSSELS. THE SERIES ALSO INCLUDES 10 HORIZONTAL BORDER PANELS, CALLED FRIEZES, AND 14 VERTICAL BORDER PANELS, KNOWN AS PILASTERS. BY 1928, EIGHT OF THE PILASTERS FROM THE SERIES, INCLUDING THE FOUR AT THE MFA, WERE OWNED BY MARGRAF IN BERLIN. IN 1933, THE OPPENHEIMERS, WHO WERE JEWISH, FLED GERMANY TO AVOID NAZI PERSECUTION AND RELOCATED TO FRANCE. IN THEIR ABSENCE, THEY WERE FORCED OUT OF THEIR MANAGEMENT ROLES AT MAGRAF AND WERE FORBIDDEN FROM PERFORMING ANY LEGAL TRANSACTIONS FOR THE COMPANY. AS A WELL-KNOWN JEWISH BUSINESS, MARGRAF WAS DISSOLVED BY THE NAZI REGIME, ITS GALLERY STOCK SOLD OFF QUICKLY AND AT LOW PRICES IN A SERIES OF AUCTION HELD IN BERLIN IN 1935. THE EIGHT BARBERINI TAPESTRIES WERE INCLUDED IN THE MARGRAF LIQUIDATION SALE HELD AT THE AUCTION HOUSE PAUL GRAUPE ON 26-27.APRIL.1935. DISCOVERY OF THIS INFORMATION BY VICTORIA REED, THE MFA's MONICA S SADLER CURATOR FOR PROVENANCE, HELPED TO DETERMINE THAT THE TAPESTRIES WERE INCLUDED IN THE FORCED SALE, FROM WHICH THE OPPENHEIMERS WERE UNABLE TO REALIZE THE PROCEEDS. THE MUSEUM THEN CONTACTED THEIR HEIRS. JAKOB AND ROSA OPPENHEIMER LOST THEIR LIVES BEFORE THE END OF WORLD WAR II. AFTER THE WAR, THE BUSINESS SHARES IN MARGRAF WERE LEGALLY TRANSFERRED TO THEIR HEIRS, BUT ALMOST NONE OF THE GALLERY'S ARTWORK WAS RECOVERED.

ISABELLA STEWART GARDNER MUSEUM LAUNCHES NEW WEBSITE

THE ISABELLA STEWART GARDNER MUSEUM, BOSTON, ANNOUNCED THE LAUNCH OF A NEWLY DESIGNED EXPLORATORY WEBSITE. IN ADDITION TO STRUCTURAL AND NAVIGATIONAL IMPROVEMENTS, THE MUSEUM'S NEW WEBSITE AIMS TO ENGAGE ONLINE VISITORS WITH MEANINGFUL EXPLORATIONS THAT REFLECT THE UNIQUE, MULTI-SENSORY EXPERIENCES OF A PHYSICAL VISIT TO THE GARDNER MUSEUM AND ITS INTERIOR COURTYARD AND GALLERIES. THE SITE'S LANDING PAGE, ORGANIZED AROUND THE HISTORIC GALLERIES AND FLOORS OF THE MUSEUM, SHOWCASES A MOSAIC OF IMAGES LEADING TO A SELECTION OF ALMOST 300 OBJECTS OF ART, WHICH CAN BE UNDERSTOOD THROUGH TRADITIONAL AND HISTORIC MATERIAL. THE DESIGN FOR THE SITE DIMINISHES THE CONCEPT OF A TRADITIONAL HOMEPAGE BY INVITING VISITORS TO VIRTUALLY EXPLORE THE GALLERIES AND COLLECTION: TO LISTEN TO AUDIO; TO READ ARCHIVAL EXCERPTS; TO LOOK CLOSELY AT WORKS OF ART; AND TO DISCOVER DIFFERENT PERSPECTIVES ON THE COLLECTION OR NEW WORKS BY VISITING CONTEMPORARY ARTISTS. THIS EXPLORATION IMPROVES ACCESSIBILITY TO THE GARDNER MUSEUM'S COLLECTION AND ENCOURAGES CONNECTIONS ACROSS MUSEUM DEPARTMENTS, PROGRAMS AND MEDIA THROUGH A USER-DRIVEN PATH THAT PROVIDES A PERSONALIZED WEB EXPERIENCE. THE NEW WEBSITE AT www.gardnermuseum.org WAS LAUNCHED ON 8.MARCH FOR A QUIET PHASE, FOLLOWING A YEAR OF CONCEPTUAL PLANNING AND DESIGN WORK WITH AWARD-WINNING WEB DESIGN FIRM TENDER CREATIVE, BASED IN NEW YORK. IN THE WEEKS SINCE ITS LAUNCH, www.gardnermuseum.org HAS SEEN AN INCREASE IN DAILY PAGE VIEWS OF ALMOST 100%.

NELSON-ATKINS TO PRESENT MONET 'WATER LILIES' TRIPTYCH

ONE OF IMPRESSIONIST MASTER CLAUDE MONET'S 'WATER LILIES' TRIPTYCHS, SEPARATED 50 YEARS AGO AND SOLD TO THREE MUSEUM, HAS BEEN REUNITED IN A MULTIFACETED EXHIBIT THAT HIGHLIGHTS NOT ONLY THE THREE-PANEL ARTWORK, BUT THE ARTIST TOO. 'I THINK ALL OF US THINK OF MONET AS THIS FATHER OF IMPRESSIONISM, AS THIS PAINTER WHO WAS SPONTANEOUS, WHO PAINTED OUTDOORS IN HIS GARDEN', SAID NICOLE MYERS, ASSOCIATE CURATOR AT THE NELSON-ATKINS MUSEUM OF ART, KANSAS CITY, MO, WHERE 'MONET'S WATER LILIES' OPENS 9.APRIL. 'THAT WAS CERTAINLY TRUE. HE PRESENTED HIMSELF THAT WAY PUBLICLY, REALLY TO THE END OF HIS LIFE.' BUT MONET HAD ANOTHER SIDE THAT'S ALSO DETAILED IN THE EXHIBITION, WHICH ENDS 7.AUGUST BEFORE MOVING ON TO THE ST LOUIS ART MUSEUM AND THEN TO THE CLEVELAND MUSEUM OF ART. 'WITH THESE LATER PAINTINGS FROM THE 20th CENTURY THAT HE'S WORKING ON, YOU SEE THE SORT OF OBSESSIVE, ALMOST OBSESSIVE-COMPULSIVE, ARTIST WHO CAME INDOORS AND WORKED TIRELESSLY MAKING REVISIONS AGAIN AND AGAIN IN THIS KIND OF OBSESSIVE WAY', SHE SAID. IT'S UNCLEAR IF MONET EVER CONSIDERED THE THREE PANELS FINISHED, SHE SAID. 'AND IT REALLY BLOWS OUT OF THE WATER THIS IMPRESSION WE HAVE OF THIS MAN WHO JUST SORT OF DASHED OFF HIS FIRST THOUGHTS AND LEFT THINGS ALONE. HE WORKED ON THEM ALMOST CONSISTENTLY FROM 1915 TO 1926', MYERS SAID. THE THREE PANELS, EACH 6 FOOT TALL AND 14 FEET WIDE, LANGUISHED IN MONET'S STUDIO AT GIVERNY OUTSIDE PARIS AFTER HIS DEATH IN 1926, MYERS SAID. THE PIECES ON DISPLAY AT THE NELSON-ATKINS COMPRISE ONE OF TWO OF MONET'S WATER LILY TRIPTYCHS IN THE US. THE OTHER IS AT THE MUSEUM OF MODERN ART IN NEW YORK, WHERE THEY ARE A STEADY, POPULAR SELECTION. THE TRIPTYCH AT THE NELSON-ATKINS WAS BROUGHT TO NEW YORK IN THE 1950s. IT WAS THEN SEPARATED, AND THE INDIVIDUAL PANELS WERE SOLD TO THE ST LOUIS ART MUSEUM, THE CLEVELAND MUSEUM OF ART AND THE NELSON-ATKINS. IT HS BEEN MORE THAN 30 YEARS HOWEVER, SINCE THEY WERE SHOWN AS MONET INTENDED FOR THEM TO BE SEEN, TOGETHER. 'SO FOR A NEW GENERATION THIS IS REALLY A FIRST TIME TO GET THE CHANCE TO SEE THESE GREAT PAINTINGS COME TOGETHER', MYERS SAID.

WOMAN ATTACKS GAUGUIN PAINTING AT NATIONAL GALLERY OF ART

A WOMAN ACCUSED OF POUNDING ON A PAINTING BY PAUL GAUGUIN AND TRYING TO RIP IT FROM A WALL AT THE NATIONAL GALLERY OF ART TOLD POLICE THE POST-IMPRESSIONIST ARTIST WAS EVIL AND THE PAINTING SHOULD BE BURNED, COURT DOCUMENTS SHOW. SUSAN BURNS, OF ARLINGTON VA, HAS BEEN CHARGED WITH ATTEMPTED SECOND-DEGREE THEFT AND DESTRUCTION OF PROPERTY FOLLOWING THE ATTACK FRIDAY. SHE WAS BEING HELD WITHOUT BAIL PENDING A MENTAL HEALTH HEARING TUESDAY. THE GAUGUIN PAINTING 'TWO TAHITIAN WOMEN', VALUED AT AN ESTIMATED $80 MILLION, WAS NOT DAMAGED AND WILL GO BACK ON VIEW, THE NATIONAL GALLERY SAID IN A STATEMENT. THE PICTURE IS ON LOAN FROM THE METROPOLITAN MUSEUM OF ART IN NEW YORK FOR AN EXHIBIT TITLED 'GAUGUIN: MAKER OF MYTH'. THE PAINTING DEPICTS TWO WOMEN STANDING NEXT TO EACH OTHER, ONE WITH BOTH BREASTS EXPOSED AND THE OTHER WITH ONE BREAST SHOWING. ACCORDING TO CHARGING DOCUMENTS, AN INVESTIGATOR TOLD BURNS HER RIGHTS AND ASKED WHY SHE HAD TRIED TO REMOVE THE PAINTING. 'I FEEL THAT GAUGUIN IS EVIL. HE HAS NUDITY AND IS BAD FOR CHILDREN. HE HAS TWO WOMEN IN THE PAINTING AND IT'S VERY HOMOSEXUAL. I WAS TRYING TO REMOVE IT. I THINK IT SHOULD BE BURNED', ACCORDING TO THE DOCUMENTS. BURNS ALSO SAID: 'I AM FROM THE AMERICAN CIA AND I HAVE A RADIO IN MY HEAD. I AM GOING TO KILL YOU.' BURNS' ATTORNEY, SHARON WEATHERS, DECLINED TO COMMENT MONDAY. BURNS APPROACHED THE PAINTING AROUND 4.45p FRIDAY, GRABBED THE FRAME AND PULLED THE BOTTOM PART OFF THE WALL, CAUSING SCREWS TO FALL TO THE FLOOR, ACCORDING TO THE WITNESSES. SHE THEN BEGAN BANGING ON THE MIDDLE OF THE PAINTING WITH HER FIST. BURNS WAS QUICKLY APPREHENDED BY THE MUSEUM'S FEDERAL PROTECTION SERVICES OFFICERS. THE PAINTING WAS PROTECTED BY A TRANSPARENT PLASTIC SHIELD. IT WAS THE FIRST DOCUMENTED CASE OF SOMEONE TRYING TO DEFACE A PAINTING AT THE GALLERY SINCE THE 1970s, SPOKESWOMAN DEBORAH ZISKA SAID. SHE SAID THE GALLERY'S SECURITY PROCEDURES WORKED. BURNS HAS BEEN ARRESTED SEVERAL TIMES. SHE SERVED SIX MONTHS IN JAIL AFTER A 2006 CONVICTION FOR ASSAULT AND BATTERY ON A POLICE OFFICER. IN 2002, SHE WAS CONVICTED OF MISDEMEANOR TRESPASSING. SHE HAS ALSO BEEN CHARGED WITH DISORDERLY CONDUCT, OBSTRUCTION OF JUSTICE, VANDALISM AND A SEPARATE ASSAULT ON A POLICE OFFICER, BUT PROSECUTORS DECLINED TO PURSUE THOSE CASES, VIRGINIA COURT RECORDS SHOW.

ISABELLA STEWART GARDNER MUSEUM RESTORES TAPESTRY ROOM TO FORMER GLORY

FOR THE FIRST TIME SINCE IT OPENED IN 1914, THE ISABELLA STEWART GARDNER MUSEUM'S 4,000 SQUARE FOOT TAPESTRY ROOM IS BEING RESTORED TO ITS ORIGINAL GLORY AND WILL ONCE AGAIN TAKE ITS PLACE AS ONE OF THE NATION'S GREAT TAPESTRY HALLS. THE RESTORATION OF THE BELOVED SPACE WILL RETURN THE TAPESTRY ROOM TO ITS ORIGINAL CONFIGURATION FOR ITS FIRST TIME SINCE A TEMPORARY STAGE, CHAIRS, AND OTHER MODERN ELEMENTS WERE ADDED TO ACCOMMODATE FORMAL CONCERTS IN THE EARLY 1970s. HISTORICALLY, THE TAPESTRY ROOM HAS BEEN A GALLERY AND HOME TO MANY OF THE MUSEUM'S PROGRAMS, INCLUDING THE POPULAR SUNDAY CONCERT SERIES. NOW, AS PART OF THE GARDNER MUSEUM'S EXTENSION AND PRESERVATION PROJECT, THE MUSEUM'S WORLD CLASS CONCERTS WILL BE RELOCATED TO AN INTIMATE NEW PERFORMANCE HALL IN THE RENZO PIANO-DESIGNED ADDITION, AND THE GARDNER WILL BE ABLE TO RESTORE THE SPACE TO ITS HISTORIC APPEARANCE, ENABLING VISITORS TO SEE AND ENJOY THE TAPESTRY ROOM FOR THE FIRST TIME IN NEARLY 40 YEARS. NO EVENT PROGRAMMING IS SCHEDULED FOR 2011 IN THE TAPESTRY ROOM; PROGRAMMING WILL RESUME IN 2012 IN THE NEW WING AND THE GALLERY WILL REMAIN OPEN UNTIL THEN SO THAT VISITORS CAN VIEW THE CONSERVATION AND PRESERVATION WORK TAKING PLACE. THE REINSTALLED TAPESTRY ROOM WILL BE HIGHLIGHTED AS PART OF THE MUSEUM'S GRAND OPENING FOR ITS NEW WING IN JANUARY 2012. 'ONE OF THE MOST IMPORTANT GOALS OF THE NEW WING IS THE RELOCATION OF PROGRAMMING WHICH HAS OUTGROWN THE HISTORIC GALLERIES', SAYS ANNE HAWLEY, THE NORMA JEAN CALDERWOOD DIRECTOR OF THE ISABELLA STEWART GARDNER MUSEUM. 'THE TAPESTRY ROOM IS PERHAPS THE MOST DRAMATIC EXAMPLE OF THAT AS IT HAD BECOME THE HUB OF THE MUSEUM'S LARGEST AND MOST POPULAR PROGRAMMING AND HAD LOST ITS FOCUS AS A GALLERY. THIS EFFORT RETURNS THE SPACE INTO A BEAUTIFUL GALLERY FOR VIEWING TAPESTRIES, SOMETHING AN ENTIRE GENERATION OF VISITORS HAS NOT EXPERIENCED.' THE NEW 70,000 SQUARE FOOT WING DESIGNED BY RENZO PIANO INCLUDES PURPOSE-BUILT SPACES FOR MANY OF THE ACTIVITIES FORMALLY HELD IN THE TAPESTRY ROOM, SUCH AS LECTURES, VISITOR ORIENTATION AND THE SUNDAY CONCERT SERIES. WHILE OCCASIONAL SMALLER MUSICAL PERFORMANCES AND TALKS WILL CONTINUE IN THE REINSTALLED SPACE, THE TAPESTRY ROOM WILL SERVE PRIMARILY AS A GRAND GALLERY FOR VIEWING TAPESTRIES AND OTHER WORKS OF ART. CURATORIAL AND CONVERSATION STAFFS HAVE PLANNED THE PRESERVATION AND RE-INSTALLATION OF THE TAPESTRY ROOM BASED ON HISTORIC PHOTOGRAPHS FROM THE MUSEUM'S ARCHIVES, WHICH WERE TAKEN IN 1915, 1916, AND 1926 BY PHOTOGRAPHER T.E. MARR AND SON. THE PHOTOGRAPHS REVEAL A PIANO PLACED IN FRONT OF THE LATE 14th CENTURY FRENCH FIREPLACE AND AN ARRANGEMENT OF FURNITURE AND OBJECTS IN THE CENTER OF THE GALLERY. CONSERVATION TREATMENT WILL ENCOMPASS CLEANING, RESTORATION AND RE-INSTALLATION OF MANY PARTS OF THE GALLERY, INCLUDING ITS MERCER-TILED FLOORS AND FRENCH MEDIEVAL STONE FIREPLACE, SELECT ART AND FURNITURE OBJECTS, AND NEW LIGHTING. THE HISTORIC ARRANGEMENT OF FURNITURE IN THE CENTER OF THE GALLERY AND OTHER VIGNETTES AROUND THE WINDOWS AS DEPICTED IN EARLY PHOTOGRAPHS ALSO WILL BE RESTORED. TWO OF THE MOST STRIKING AREAS WILL BE THE CONSERVATION OF THE MASSIVE FIREPLACE AND THE PAINTING OF THE ARCHANGEL MICHAEL BY PEDRO GARCIA DE BENABARRE THAT HANGS ABOVE IT, AND AN ARRANGEMENT OF TEN SIDE CHAIRS UPHOLSTERED IN 18th CENTURY NETHERLANDISH PAINTED LEATHER THAT WILL BE RE-INSTALLED AROUND A 17th CENTURY DUTCH TABLE IN THE CENTER OF THE GALLERY. ADDITIONALLY, LIGHTING UPGRADES WILL ENHANCE THE GALLERY'S HISTORIC ATMOSPHERE, REDUCE HARMFUL LIGHT ON THE COLLECTION AND IMPROVE VISIBILITY. EIGHTEEN TEXTILE PROJECTS ARE INCLUDE IN THE ROOM REFURBISHMENT PLANS. THEY INCLUDE CONSERVING ORIGINAL TEXTILES, RE-UPHOLSTERING FURNITURE, AND REPLACING MISSING, DAMAGED OR INAPPROPRIATE FURNISHING TEXTILES. TWO TAPESTRIES WILL BE REINSTATED TO THEIR ORIGINAL 1926 POSITIONS.

GETTY MUSEUM RETURNS WORLD WAR II LOOTED PAINTING

THE J PAUL GETTY MUSEUM HAS AGREED TO RETURN A 370 YEAR OLD PAINTING THAT ONCE BELONGED TO AN ART DEALER WHO FLED HOLLAND WHEN THE NAZIS INVADED IN 1940. JACQUES GOUDSTIKKER WAS THE NETHERLANDS' BIGGEST ART DEALER IN THE 1930s. HE WAS FLEEING THE NAZIS WITH HIS WIFE AND YOUNG SON AT THE BEGINNING OF WORLD WAR II WHEN HE FELL THROUGH A TRAP DOOR ON AN OUTBOUND SHIP AND DIED. HIS COLLECTION WAS LOOTED, WITH SOME WORKS CLAIMED BY HITLER CHIEF DEPUTY HERMANN GOERING. GOUDSTIKKER'S DAUGHTER-IN-LAW, MAREI VON SAHER, HAS SPENT YEARS TRYING TO TRACK DOWN THE WORKS. HER SUCCESSES HAVE BEEN ON TOUR AROUND THE COUNTRY IN AN EXHIBITION THAT ENDS TUESDAY IN SAN FRANSISCO AND FEATURED 45 RECOVERED PIECES FROM THE COLLECTION. THE GETTY BOUGHT THE 1640 PIETER MOLIJN PAINTING TITLED 'LANDSCAPE WITH COTTAGE AND FIGURES' IN GOOD FAITH AT A 1972 AUCTION, THE MUSEUM SAID. THE MUSEUM DID NOT DISCLOSE THE PURCHASE PRICE AND HAS NEVER DISPLAYED THE PAINTING. 'WORKING IN COOPERATION WITH REPRESENTATIVES OF THE GOUDSTIKKER HEIRS, THE GETTY'S RESEARCH REVEALED THAT THE PAINTING WAS IN GOUDSTIKKER'S INVENTORY AT THE TIME OF THE INVASION IN 1940, AND THAT IT WAS NEVER RESTITUTED AFTER WORLD WAR II', ACCORDING TO A WRITTEN STATEMENT FROM THE MUSEUM. 'BASED ON IT'S FINDINGS, THE GETTY CONCLUDED THAT THE PAINTING SHOULD BE TRANSFERRED TO THE HEIRS.' AT LEAST FOUR OTHER MUSEUMS IN THE UNITED STATES AND CANADA HAVE WORKS FROM THE COLLECTION, AND FAMILY ATTORNEY LAWRENCE KAYE SAID HE HOPES THEY WILL FOLLOW GETTY'S LEAD. ABOUT 1,000 OF GOUDSTIKKER'S 1,400 PAINTINGS REMAIN UNACCOUNTED FOR, HE SAID. 'IT IS ALWAYS ENCOURAGING TO SEE AN IMPORTANT CULTURAL INSTITUTION LIKE THE GETTY MUSEUM DECIDE TO DO THE RIGHT THING FOR HOLOCAUST VICTIMS AND THEIR HEIRS', VON SAHER, OF GREENWICH, CONN, SAID IN A STATEMENT TO THE LOS ANGELES TIMES.

MUSEUM OF LONDON PRESENTS VISION OF THE POOR

A DISPLAY OF SIGNIFICANT PAINTINGS, PRINTS AND DRAWINGS ARE ON DISPLAY AT THE MUSEUM OF LONDON FROM 23.MARCH. THE IMAGES BY ARTISTS INCLUDING GUSTAVE DORE, THEODORE GERICAULT, THOMAS ROWLANDSON AND PAUL SANDBY, CONSIDER HOW THE URBAN POOR WERE DEPICTED FROM THE 17th TO THE 19th CENTURY. THE PRINTS AND DRAWINGS ILLUSTRATE STREET VENDORS AND LONDON'S URBAN POOR, INCLUDING TRAVELING CARPENTERS AND CANE-WEAVERS, PROSTITUTES AND CRIMINALS. SOME OF THE IMAGES PRESENT AND IDEALIZED VISION OF THE POOR; OTHERS ARE AMONGST THE FIRST WORKS OF ART TO ATTEMPT A MORE REALISTIC VIEW OF LONDON'S POOREST INHABITANTS. THE COLLECTION POSES INTERESTING QUESTIONS ABOUT HOW SOCIETY IN THE PERIODS WAS ORGANIZED, THE MOTIVES OF THOSE MAKING, SELLING AND BUYING PRINTS, AND THE STATUS AND IDENTITY OF THE PEOPLE PORTRAYED. THE STREET CRIES EXHIBITION EXPLORES THESE ISSUES AND SHOWCASES SOME OF THE MUSEUM'S MOST IMPORTANT 18th AND 19th CENTURY PRINTS AND DRAWINGS. EXHIBITION CURATOR, FRANCIS MARSHALL, SAID: 'THE MUSEUM OF LONDON'S EXTENSIVE ART COLLECTION CONTAINS MANY ITEMS WHICH ARE RARELY DISPLAYED FOR CONSERVATION REASONS. THIS SHOW OFFERS THE CHANCE TO SEE SOME OF OUR GEMS: DELICATE WATERCOLOURS AND PRINTS DEPICTING GRITTY LONDON SUBJECT MATTER.'

CHOPIN MUSEUM TO PRESENT A COLLECTION OF FREDERIC CHOPIN'S LETTERS

A COLLECTION OF FREDERIC CHOPIN'S LETTERS TELLING OF THE POLISH COMPOSER'S DAILY LIFE, FROM GIVING LESSONS TO THE HOT CHOCOLATE HE DRANK, HAVE GONE ON DISPLAY IN WARSAW'S CHOPIN MUSEUM MORE THAN SIX DECADES AFTER THEY WENT MISSING. THE SIX LETTERS WRITTEN BY CHOPIN TO HIS PARENTS AND SISTERS BACK HOME IN WARSAW IN 1845-1848 ARE THE CENTERPIECE OF THE EXHIBIT THAT OPENED THURSDAY. IT WILL RUN FOR ONE MONTH AFTER WHICH THEY WILL BE MADE AVAILABLE TO RESEARCHERS. THE COLLECTION ALSO INCLUDES LETTERS FROM THE PIANO COMPOSER'S SCOTTISH PUPIL JANE STIRLING TO CHOPIN'S SISTER, AS WELL AS OTHER ITEMS, SUCH AS A TICKET FOR A REHEARSAL CONCERT ON 26.JULY.1840. ALTHOUGH THE CONTENTS OF THE LETTERS WERE KNOWN TO RESEARCHERS, THE ORIGINALS WERE BELIEVED TO HAVE BEEN LOST OR DESTROYED DURING WORLD WAR II. 'THIS IS A GREAT DAY FOR US. THIS IS AN INVALUABLE COLLECTION THAT WE HAVE ACQUIRED', MUSEUM CURATOR ALICJA KNAST TOLD A NEWS CONFERENCE. HE SAID THAT UNTIL 1939 THE COLLECTION WAS IN THE HANDS OF LAURA CIECHOMSKA, A GRANDNIECE OF CHOPIN'S. WORD EMERGED IN 2003 THAT THE LETTERS EXISTED AND THAT A POLISH EMIGRE ART DEALER LIVING IN MEXICO, MAREK KELLER, WAS TO BUY THEM. HE THEN DONATED THEM TO THE MUSEUM. MUSEUM AUTHORITIES REFUSED TO DISCLOSE THE NAME OF THE COLLECTOR WHO HAD THEM OR THE FATE OF THE ITEMS SINCE 1939, HONORING THE COLLECTOR'S REQUEST TO REMAIN ANONYMOUS. KNAST SAID ALL THE ITEMS WERE CONFIRMED AS AUTHENTIC BEFORE THEY WERE BOUGHT FOR AN UNDISCLOSED SUM OF MONEY. CHOPIN WAS BORN IN POLAND IN 1810 TO A FRENCH FATHER AND A POLISH MOTHER, AND SPENT THE FIRST HALF OF HIS LIFE IN POLAND. DURING THE SECOND HALF HE LIVED IN FRANCE, WHERE HE WON FAME WITH HIS COMPOSITIONS, MOSTLY FOR THE PIANO, AND HIS POPULAR CONCERTS. HE DIED IN PARIS IN 1849.

'THE VIRGIN AND CHILD WITH REPENTANT SINNERS' COMFIRMED AS AN ORIGINAL VAN DYCK

'THE VIRGIN AND CHILD WITH REPENTANT SINNERS' WAS NOT A COPY OF VAN DYCK AND DID NOT DESERVE TO BE IN THE BASEMENT OF THE SAN FERNANDO ROYAL ACADEMY OF FINE ARTS IN MADRID. IT WAS A GENUINE VAN DYCK FROM 1625, THE INSTITUTION TOOK IT OUT OF STORAGE RECENTLY AFTER MANY YEARS. THE WORK WAS INCLUDED IN THE 1964 INVENTORY OF THE ACADEMY AS 'AN OLD COPY OF VAN DYCK'. ONCE THE PAINTING WAS CLEANED AND RESTORED, THE AUTHENTICITY OF THE WORK OF ART HAS BEEN CONFIRMED ACCORDING TO THE PRESS RELEASE. THE DIRECTOR OF THE ACADEMY, ANTONIO BONET CORREA, APPEARED BEFORE THE PRESS TO PRESENT THE WORK WITH THE TEACHER AND RESEARCHER OF HISTORY OF ART AND FORMER CURATOR OF THE MUSEO DEL PRADO, MATIAS DIAZ PADRON. THE ATTRIBUTION TO VAN DYCK IS 'NO LONGER IN DOUBT', SAID THE ROYAL ACADEMY. 'THE VIRGIN AND CHILD WITH REPENTANT SINNERS' DEPICTS THE VIRGIN MARY WITH THE BABY JESUS IN HER ARMS WATCHED BY MARY MAGDALENE, KING DAVID AND THE PRODIGAL SON. THE PICTURE IS AN EXAMPLE OF THE CATHOLIC EMPHASIS PLACED ON THE SACRAMENT OF PENANCE. ACCORDING TO THE ACADEMY OF SAN FERNANDO, 'THE HIGH QUALITY OF HIS STYLE AND TECHNIQUE ALLOWS US TO CLASSIFY THE WORK IN THE ITALIAN PERIOD OF VAN DYCK. THIS COUPLED WITH THE PROXIMITY OF THE DOCUMENTS CITED, LEAVES NO DOUBT ABOUT HIS AUTHORSHIP.' THE PAINTING IS PART OF THE EXHIBITION 'ECHOES OF VAN DYCK', WHICH OPENS IN MURCIA, SPAIN, FROM 1.APRIL TO 8.MAY AND WILL BE IN MADRID FROM 16.MAY TO 26.JUNE.

CHAZEN MUSEUM OF ART PRESENTS EXHIBITION OF RUSSIAN ICONS

THE ICON IS A DISTINCTIVE FORM OF HOLY IMAGE IN EASTERN ORTHODOX CULTURES, INTENDED TO EVOKE SACRED PRESENCE BY APPEALING TO THE SENSES. HOLY IMAGE, SACRED PRESENCE: RUSSIAN ICONS, 1500-1900 PRESENTS ABOUT THIRTY WORKS FROM THE CHAZEN MUSEUM OF ART'S PERMANENT COLLECTION TO EXPLORE THE DISTINCTIVE DEVOTIONAL FUNCTIONS, RELIGIOUS EXPERIENCES, ICONOGRAPHY AND CHANGING STYLES OF RUSSIAN ICONS FROM THE 16th TO THE EARLY 20th CENTURIES. EXAMPLES INCLUDE A MANDYLION (MIRACULOUS IMAGE OF THE FACE OF JESUS), PROSKYNETARIA AND ICONOSTASIS PANELS FROM ORTHODOX CHURCHES, AND SMALL DEVOTIONAL ICONS FOR PRIVATE USE. THE EXHIBITION IS ON VIEW 12.MARCH THROUGH 5.JUNE. FOLLOWING THE RUSSIAN REVOLUTION OF 1917, MANY MONASTERIES AND CHURCHES WERE CLOSED AND TEH BEST ICONS WERE COLLECTED IN STATE MUSEUMS. THOSE DATING FROM THE 11th TO THE 17th CENTURY WERE PRIZED AS REPRESENTING TRADITIONAL RUSSIAN CULTURE. BY CONTRAST, SOVIET EXPERTS DENIGRATED THE STYLE AND ICONOGRAPHY OF LATER ICONS FROM THE 18th TO THE EARLY 20th CENTURIES AS 'CONTAMINATED' BY WESTERN EUROPEAN INFLUENCE. IT WAS THESE ICONS THAT THE SOVIETS EITHER RELEGATED TO MUSEUMS OF RELIGION OR, BEGINNING IN THE 1930s, SOLD TO FOREIGN TOURISTS AND DIPLOMATS IN GOVERNMENT-RUN SHOPS. AMERICAN COLLECTORS FIRST BECAME AWARE OF RUSSIAN ICONS IN THE 1920s AT OFFICIAL SOVIET EXHIBITIONS IN NEW YORK AND BOSTON, AND THROUGH SALES OF 'IMPERIAL RUSSIAN TREASURES' IN DEPARTMENT STORES IN THE EARLY 1930s. THE MUSEUM'S ICON COLLECTION ORIGINATED IN 1937 WITH THE GIFT OF 23 ICONS BY JOSEPH E DAVIES, A PROMINENT LAWYER, UW ALUMNUS, AND AMERICAN AMBASSADOR TO THE SOVIET UNION.

MAJOR EXHIBITION OF CARAVAGGIO TO BE PRESENTED IN MILAN

VITTORIO SGARBI RETURNS TO MILAN TO PRESENT A MAJOR NEW EXHIBITION THAT ILLUSTRATES THE BIRTH OF THE GENIUS CARAVAGGIO. RECONSTRUCTING HIS ARTISTIC TRAINING, FROM SIMONE PETERZANO TO THE VENETO AND LOMBARD MASTERS, THIS FASCINATING SHOW EXAMINES THE PRECURSORS AND CONTEMPORARIES OF MICHELANGELO MERISI (1571-1610), HIGHLIGHTING THE WORKS THAT THE ARTIST WOULD ACTUALLY HAVE SEEN AND WHAT HE WOULD HAVE WITNESSED IN THE ARTISTIC CLIMATE THAT DOMINATED THE AREA FROM VENICE TO MILAN BEFORE HE MOVED TO ROME, WHICH ACCORDING TO THE MOST RECENT STUDIES WAS LIKELY TO HAVE BEEN AROUND 1595-96. CURATED BY VITTORIO SGARBI, THE EXHIBITION 'THE EYES OF CARAVAGGIO. HIS FORMATIVE YEARS BETWEEN VENICE AND MILAN' IS PRODUCED AND ORGANIZED BY ARTHEMISIA GROUP IN COLLABORATION WITH THE MUSEO DIOCESANO DI MILANO, PROMOTED BY REGIONE LOMBARDIA AND STAGED THANKS TO THE VITAL SUPPORT OF BANCO POPOLARE DI MILANO AND TERNA. THE EXHIBITION GATHERS AROUND SIXTY MASTERPIECES BY THE GREATEST PAINTERS OF THE DAY, WHICH ARE EXHIBITED IN THE MUSEO DIOCESANO FROM 11.MARCH TO 3.JULY. WORKS BY GIORGIONE, TITIAN, TINTORETTO, LORENZO LOTTO, JACOPO DA BASSANO, MORETTO DA BRESCIA, GIOVAN BATTISTA MORONI, GEROLAMO SAVOLDO, VINCENZO AND ANTONIO CAMPI, AND MANY MORE, SOME OF WHICH HAVE NEVER BEEN EXHIBITED BEFORE, DOCUMENT THE FORMATION OF A GROUNDBREAKING AESTHETIC AND AN INNOVATIVE CONCEPTION OF THE HUMAN FIGURE AND ITS RELATIONSHIP WITH SPACE AND LIGHT, WHICH WAS FUNDAMENTAL TO THE DEVELOPMENT OF THE YOUNG MERISI. NATURALLY CARAVAGGIO HIMSELF COULD NOT BE LEFT OUT, AND THE EXHIBITION INCLUDES SOME EXTREMELY SIGNIFICANT WORKS. ONE OF THESE IS THE SO-CALLED 'MURTOLA MEDUSA', THE FIRST VERSION IF THE FAMOUS SHIELD IN THE UFFIZI GALLERIES, WHICH TAKES ITS NAME FROM THE POET WHO WROTE A POEM ABOUT IT IN 1600. THE EXHIBITION ALSO INCLUDES TWO OTHER SEMINAL MASTERPIECES BY CARAVAGGIO: THE OUTSTANDING 'REST ON THE FLIGHT INTO EGYPT', FROM THE DORIA PAMPHILJ COLLECTION IN ROME, AND 'THE FLAGELLATION OF CHRIST', IN ALL ITS HARROWING AND SENSUAL BEAUTY, FROM THE MUSEO DI CAPODIMONTE IN NAPLES, IN MILAN FOR THE FIRST TIME SINCE 1951. DIVIDED INTO SIX SECTION, THE EXHIBITION ILLUSTRATES THE ARTISTIC CONTEXT OF CARAVAGGIO's EARLY YEARS AS AN ARTIST.

RODIN SCULPTURE STOLEN FROM ISRAEL MUSEUM

A STATUE BY FRENCH SCULPTOR AUGUSTE RODIN WAS STOLEN FROM THE ISRAEL MUSEUM DURING THE FACILITY'S RECENTLY COMPLETED RENOVATION, THE MUSEUM SAID WEDNESDAY. THE NUDE BRONZE OF FRENCH NOVELIST HONORE DE BALZAC WAS ONE OF A SERIES OF STUDIES RODIN CAST FOR A MONUMENT TO BALZAC ON DISPLAY IN PARIS. IT WAS DONATED TO THE MUSEUM IN 1966 BY THE JEWISH-AMERICAN IMPRESARIO AND LYRICIST BILLY ROSE. THE MUSEUM SAID THE THEFT WAS DISCOVERED THREE MONTHS AGO AND IMMEDIATELY REPORTED IT TO POLICE. POLICE SAY AN INVESTIGATION IS ONGOING BUT WOULD NOT PROVIDE ANY FURTHER DETAILS ABOUT THE CASE. THE STATUE IS 50 INCHES BY 24 INCHES WIDE AND WEIGHS ABOUT 140 POUNDS. IT WAS MOLDED IN 1892 AND CAST POSTHUMOUSLY BETWEEN 1918 AND 1926. RODIN IS RENOWNED FOR THE ICONIC MASTERPIECES SUCH AS 'THE THINKER' AND 'THE KISS'. THE MUSEUM SAID IT COULD NOT PROVIDE A VALUE FOR THE BALZAC PIECE. BUT BASED ON RODIN SCULPTURES OF SIMILAR DIMENSIONS PUT THE ESTIMATED VALUE OF THE STOLEN ARTWORK AT APPROXIMATELY $350,000, ACCORDING TO THE ART LOSS REGISTER, WHICH SPECIALIZES IN RECOVERING STOLEN ART. CHRISTOPHER MARINELLO, THE EXECUTIVE DIRECTOR AND GENERAL COUNCIL OF THE ART LOSS REGISTER, SAID IT WOULD BE VERY DIFFICULT TO SELL SUCH AN HIGH-PROFILE PIECE IN THE OPEN MARKET WITHOUT DETECTION. HE SAID IT WAS MOST LIKELY THAT THE THIEVES WOULD MOVE THE PIECE UNDERGROUND, SHOP IT ON THE BLACK MARKET OR RANSOM IT TO AN INSURANCE COMPANY.

LONDON'S NATURAL HISTORY MUSEUM PRESENTS THE CORA SUN-DROP DIAMOND

THE CORA SUN-DROP DIAMOND IS AMONG THE MOST STUNNING DIAMONDS IN THE WORLD, SO RARE THAT IT IS ALMOST IMPOSSIBLE TO TRULY DETERMINE IT VALUE. WHICH IS WHY NO ONE HAS EVER TRIED. NO WONDER MODEL JERRY HALL WAS BEDAZZLED BY THE GEM TODAY AS IT ARRIVED AT LONDON'S NATURAL HISTORY MUSEUM WHERE IT IS TO BE DISPLAYED IN 'THE VAULT'. AT 100 CARATS, THE CORA SUN-DROP IS ROUGHLY THE SIZE OF A WOMAN'S THUMB AND IS THE LARGEST VIVID YELLOW PEAR-SHAPED DIAMOND KNOWN IN THE WORLD. IT HAS BEEN LENT TO THE MUSEUM BY LEADING US DIAMOND MANUFACTURER CORA INTERNATIONAL FOR DISPLAY TO VISITORS FOR A LIMITED TIME FROM TOMORROW. THE UNUSUAL YELLOW COLOURED GEM STEMS FROM THE VERY SMALL PERCENTAGE OF NITROGEN WITHIN THE CARBON STRUCTURE OF THE STONE. DIAMONDS WITH A STRONG SATURATED COLOUR REPRESENT ONLY A TINY PERCENTAGE OF ALL NATURAL DIAMONDS, AND WHEN IT'S MORE THAN 100 CARATS, IT TAKES ON A HISTORIC SIGNIFICANCE AS SO FEW VERY FEW EXIST. THE DIAMOND WILL BE IN GOOD COMPANY. 'THE VAULT' IS A PERMANENT GALLERY AT THE NATURAL MUSEUM DEDICATED TO SOME OF MOTHER NATURE'S MOST RARE, UNIQUE AND VALUABLE TREASURES THROUGH ITS COLLECTION OF THE FINEST GEMS, CRYSTALS, METALS AND METEORITES FROM AROUND THE WORLD. THESE INCLUDE THE DEVONSHIRE EMERALD, THE AURORA PYRAMID OF HOPE - A WORLD CLASS COLLECTION OF 296 NATURALLY COLOURED DIAMONDS - HERON-ALLEN'S CURSED AMETHYST AND THE NAKHALA, AN EXTREMELY RARE MARTIAN METEORITE.

RIJKSMUSEUM ACQUIRES 16th CENTURY TERRACOTTA SCULPTURE

THE RIJKSMUSEUM HAS RECENTLY ACQUIRED A TERRACOTTA SCULPTURE BY THE ITALIAN MASTER TOMMASO PORLEZZA DELLA PORTA. THE 22.5cm SCULPTURE DEPICTS THE OLD TESTAMENT PROPHET BALAAM AND WAS PRODUCED SOMETIME BETWEEN 1575 AND 1578. ONE OF THE MOST BEAUTIFUL 16th CENTURY ITALIAN TERRACOTTA SCULPTURES STILL REMAINING, IT WAS THE MODEL FOR A SCULPTURE IN LORETO, ONE OF ITALY'S MAJOR PILGRIMAGE SITES THAT IS VISITED BY MILLIONS OF PILGRIMS EACH YEAR. THE SMALL TERRACOTTA SCULPTURE WAS THE SCALE MODEL FOR A LIFE-SIZED MARBLE SCULPTURE THAT WAS CREATED FOR SANTA CASA IN LORETO. THIS 'SACRED HOUSE' IS A SHRINE THAT WAS BUILT IN THE 16th CENTURY AROUND THE REMAINS OF WHAT HAD BEEN CONSIDERED MARY'S BIRTHPLACE SINCE THE MIDDLE AGES. TRADITION HAS IT THAT THE HOUSE WAS MIRACULOUSLY BROUGHT FROM NAZARETH TO LORETO BY ANGELS. LORETO WAS THE MAJOR PAPAL CONSTRUCTION AND SCULPTURE PROJECT OF THE 16th CENTURY. DURING THE 16th CENTURY, MANY PROMINENT ARTISTS, INCLUDING TOMMASO DELLA PORTA FROM ROME WHO WAS THE CREATOR OF THE STUNNING SCULPTURE, WERE COMMISSIONED BY THE VATICAN TO PRODUCE WORKS TO ADORN THE SANTA CASA. THE POSE AND STYLE OF THE SCULPTURE ARE TYPICAL OF THE WORK OF THE GREAT MICHELANGELO, SO IT IS NO COINCIDENCE THAT IT WAS LONG ATTRIBUTED TO THE FAMOUS SCULPTURE. THE RIJKSMUSEUM HAS WORKED ON ACQUIRING THE PIECE FOR THE LAST THREE YEARS, SINCE SENIOR CURATOR OF SCULPTURE FRITS SCHOLTEN SAW IT AT AN ART DEALER'S IN LONDON. AT THE TIME THE SCULPTURE WAS RESERVED FOR AN AMERICAN MUSEUM. HOWEVER, THE FINANCIAL CRISIS MEANT THAT THE MUSEUM WAS UNABLE TO RAISE THE NECESSARY FUNDS TO PURCHASE IT. ON HEARING THAT THE LOUVRE WAS ALSO INTERESTED IN THE PROPHET BALAAM, THE RIJKSMUSEUM THEN STEPPED UP ITS ACQUISITION EFFORTS AND WITH THE SUPPORT OF PRIVATE DONATIONS, MANAGED TO SECURE THE ACQUISITION AT THE LAST MOMENT.

HOME MOVIE OF PRESIDENT KENNEDY DONATED TO SIXTH FLOOR MUSEUM

THE RICE HOTEL IN HOUSTON WAS THE SECOND TRIP OF A PLANNED FIVE-CITY TEXAS VISIT THAT WAS TO HAVE FINISHED AT A FUND-RAISER DINNER IN AUSTIN. THE KENNEDY ASSASSINATION HAPPENED IN DALLAS THE NEXT DAY. SHORTLY BEFORE 9pm IN THE HOTEL'S GRAND BALLROOM, PRESIDENT KENNEDY SPOKE TO A GROUP OF SEVERAL HUNDRED FROM THE LEAGUE OF UNITED LATIN AMERICAN CITIZENS (LULAC). HE THEN INTRODUCED FIRST LADY JACQUELINE KENNEDY WHO SPOKE, WITHOUT NOTES, IN SPANISH. THE ROOM ERUPTED IN CHEERS OF 'OLE'. AT THE TIME, ROY BOTELLO SERVED AS THE LULAC SCHOLARSHIP CORPORATION COMMITTEE CHAIRMAN. AS ONE OF THE TOP OFFICIALS OF THE HOST COMMITTEE, BOTELLO HAD CLOSE ACCESS TO THE KENNEDYS THAT EVENING. HE BROUGHT AMONG HIS HOME MOVIE CAMERA AND CAPTURED SILENT COLOUR FILM OF THE KENNEDY ARRIVAL, WELCOMING DIGNITARIES, A MARIACHI BAND AND BOTH KENNEDYS ADDRESSING THE CROWD. 'RAY BOTELLO SHOWED HIS HOME MOVIE FOR THE FIRST TIME PUBLICLY LAST YEAR AND HAS GENEROUSLY DONATED THE ORIGINAL FILM TO THE MUSEUM FOR EDUCATION AND PRESERVATION', SAID GARY MACK, CURATOR AT THE SIXTH FLOOR MUSEUM AT DEALEY PLAZA. 'WE COMMISSIONED A NEW FILM-TO-VIDEO TRANSFER THAT SIGNIFICANTLY IMPROVES THESE HISTORIC IMAGES.' THE MUSEUM IS COMMITTED TO FINDING AND PRESERVING HOME MOVIES, PHOTOGRAPHS AND NEWS COVERAGE OF EVENTS RELATED TO JFK's 21-22.NOVEMBER.1963 TRIP TO TEXES AND HIS ASSASSINATION AND TO MAKING THESE MATERIALS ACCESSIBLE TO THE PUBLIC THROUGH EXHIBITION, PROGRAMS AND RESEARCH OPPORTUNITIES.

SMITHSONIAN'S COOPER-HEWITT PRESENTS 'SET IN STYLE: THE JEWELRY OF VAN CLEEF & ARPELS'

SMITHSONIAN'S COOPER-HEWITT, NATIONAL DESIGN MUSEUM PRESENTS 'SET IN STYLE: THE JEWELRY OF VAN CLEEF & ARPELS'. THE EXHIBITION EXAMINES THE RENOWNED JEWELRY FIRM'S SIGNIFICANT HISTORICAL CONTRIBUTIONS TO JEWELRY DESIGN AND DESIGN INNOVATION, PARTICULARLY DURING THE 20th CENTURY. ORGANIZED BY SARAH COFFIN, CURATOR AND HEAD OF THE PRODUCT DESIGN AND DECORATIVE ART DEPARTMENT, THE EXHIBITION RUNS FROM 18.FEBRUARY THROUGH 5.JUNE. SINCE ITS OPENING ON THE PLACE VENDOME IN PARIS, VAN CLEEF & ARPELS HAS PLAYED A LEADING ROLE IN STYLE AND DESIGN INNOVATION. PIONEERING TECHNIQUES AND DESIGNS, COMBINED WITH AN ATTENTION TO CRAFTSMANSHIP, ARE AT THE CORE OF VAN CLEEF & ARPELS' JEWELRY AND SMALL PRECIOUS OBJECTS. THE EXHIBITION FEATURES MORE THAN 350 WORKS, INCLUDING JEWELS, TIMEPIECES, FASHION ACCESSORIES AND OBJECTS D'ART BY VAN CLEEF & ARPELS, DRAWN FROM NUMEROUS PRIVATE COLLECTIONS AND INSTITUTIONS, AS WELL AS THE VAN CLEEF & ARPELS' MUSEUM COLLECTION. THE OBJECTS, MANY OF WHICH WERE CREATED EXCLUSIVELY FOR AMERICAN CLIENTELE, ARE SUPPLEMENTED WITH DESIGN DRAWINGS, COMMISSION BOOKS, FABRICATION CARDS AND IMAGERY FROM THE FIRM'S ARCHIVES.
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