Group items tagged

The curtain has apparently been on the verge of eviction for months. In November, Mr. Rosen called the conservancy to say steam was leaking from the wall in what is informally known as Picasso Alley, and needed repairs that could be done only by taking down the curtain.

But the Picasso biographer John Richardson once called “Le Tricorne” the artist’s “supreme theatrical achievement,” and many art historians and architects consider it an integral part of the Four Seasons.

“But then the question is when anyone would ever see it again,” she added, “if it survived the move.”

And the kind of people who can comfortably afford to pay a nine-figure sum for a Picasso, the top 0.001 percent, say, are doing still better than that. You can draw that conclusion by reading the work of the French economists Thomas Piketty and Emmanuel Saez. Or you can form it by looking carefully at the market for the work of a certain Spanish painter.

After adjusting for inflation and using our 1 percent of net worth premise, a person would have needed $12.3 billion of wealth in 1997 dollars to afford the painting

In other words, the number of people who, by this metric, could easily afford to pay $179 million for a Picasso has increased more than fourfold since the painting was last on the market

American and European authorities may wish to put further effort into preventing art transactions from being used to launder money or evade taxes, as the economist Nouriel Roubini has argued is commonplace

l sums for a painting or sculpture should hope most of all that this basic global inequality trend — of the wealth of the ultrarich growing faster than the world population overall economy — remains intact

You can cast away Picasso because Hannah Gadsby told you he was cruel to women. But can you cast away Guernica?

Art isn’t something mere; it doesn’t exist as the moral bona fides of the person who made it. That person is a supernumerary. Separate yourself from any art—even popular art; even art created simply as entertainment—and you separate yourself from all of it

people their favorite color, and in most parts of the world roughly half will say blue, a figure three to four times the support accorded common second-place finishers like purple or green

t young patients preferred nurses wearing blue uniforms to those in white or yellow.

blue’s basic emotional valence is calmness and open-endedness, in contrast to the aggressive specificity associated with red. Blue is sea and sky, a pocket-size vacation.

computer screen color affected participants’ ability to solve either creative problems —

blue can also imply coldness, sorrow and death. On learning of a good friend’s suicide in 1901, Pablo Picasso fell into a severe depression, and he began painting images of beggars, drunks, the poor and the halt, all famously rendered in a palette of blue.

association arose from the look of the body when it’s in a low energy, low oxygen state. “The lips turn blue, there’s a blue pallor to the complexion,” she said. “It’s the opposite of the warm flushing of the skin that we associate with love, kindness and affection.”

A blue glow makes food look very unappetizing.”

That blue can connote coolness and tranquillity is one of nature’s little inside jokes. Blue light is on the high-energy end of the visible spectrum, and the comparative shortness of its wavelengths explains why the blue portion of the white light from the sun is easily scattered by the nitrogen and oxygen molecules in our atmosphere, and thus why the sky looks blue.

The game changers – the square pegs, so to speak – are those who saw traditional standards of beauty and decided specifically to go against them, perhaps just to prove a point. Take Picasso, Munch, Schoenberg, to name just three. They have made a stand against these norms in their art. Otherwise their art is like all other art: its only function is to be experienced, appraised, and understood (or not).

art is not necessarily positive: it can be deliberately hurtful or displeasing: it can make you think about or consider things that you would rather not. But if it evokes an emotion in you, then it is art.

art cannot be simply defined on the basis of concrete tests like ‘fidelity of representation’ or vague abstract concepts like ‘beauty’. So how can we define art in terms applying to both cave-dwellers and modern city sophisticates? To do this we need to ask: What does art do? And the answer is surely that it provokes an emotional, rather than a simply cognitive response. One way of approaching the problem of defining art, then, could be to say: Art consists of shareable ideas that have a shareable emotional impact

. A work of art is that which asks a question which a non-art object such as a wall does not: What am I? What am I communicating? The responses, both of the creator artist and of the recipient audience, vary, but they invariably involve a judgement, a response to the invitation to answer. The answer, too, goes towards deciphering that deeper question – the ‘Who am I?’ which goes towards defining humanity.

Russian troops burned down a museum in the town of Ivankiv that housed a collection of paintings by the renowned Ukrainian folk artist Maria Prymachenko, who was an inspiration to Pablo Picasso. The House of Culture in Lozova was razed by a Russian missile. Other theaters, churches, monuments and libraries have been destroyed. 

Ukraine’s Minister of Culture Oleksandr Tkachenko said his office has recorded more than 350 “Russian war crimes against cultural heritage” as of May 19.

Attacks on cultural property are not uncommon during wartime, said Richard Kurin, a cultural anthropologist and the founder of the Smithsonian Cultural Rescue Initiative.

“In conflict, you get situations where people want to erase someone else’s culture,” Kurin said. 

“It’s demoralizing to people because people’s culture is highly symbolic and it gives them a sense of identity and morale,” Kurin said. “If you think about what the Ukrainians are fighting for, a lot of it has to do with their being Ukrainian.”

“The majority of damage to cultural property has been through collateral damage and the way that the Russian Federation is fighting the conflict,”

But whether the attacks are indiscriminate or targeted, Stone said Ukraine was at risk of losing irreplaceable cultural sites and artifacts that make up the fabric of Ukrainian identity.

“The Kharkiv legacy is in danger,” he said. “This is all part of Russia’s genocide of Ukrainian culture and national identity.”