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Judith H. Dobrzynski on Culture

Archives for February 2011

Eye On The MidEast: Tunisian Antiquities Suffered, Too

It’s not just Egypt. Tunisia’s revolution may have been more peaceful, but news coming from there now suggests that the country’s antiquities have also been “looted.” By the first lady, Leila Ben Ali.

bardomuseum.jpgI suppose one shouldn’t be surprised: I visited Tunisia a few years ago, and not only was President Zine el-Abidine Ben Ali’s picture everywhere, but also his home — easily viewed from the train to the love “blue-and-white” village of Sidi Bou Said just outside Tunis — was gigantic. (Sidi Bou Said, btw, was also an artists’ hangout, and among those said to have visited are Paul Klee and August Macke.)  

Ben Ali’s palace required decorating, and Mrs. Ben Ali apparently helped herself to the nation’s treasures, some of which she distributed to homes of other members of the family.

According to The Art Newspaper:

Many of the artefacts and antiquities confiscated by the Ben Alis originally came from the Bardo Museum, which has the world’s largest collection of Roman mosaics. According to Samir Aounallah, the Tunisian museums committee president, Leila Ben Ali used museum artefacts, including mosaics and frescoes, to decorate the family’s villas.

Archaeological sites have also been affected. “I have accredited sources that have said sites in Cap Bon had objects taken from them by the Ben Ali clan,” said Aounallah.

Aounallah also said that many of the objects have now been put back.

The Bardo Museum (pictured above) indeed contains a fantastic collection of mosaics — and much more. (I wrote about an article about it for The Artful Traveler section for ARTNews, but it was published in 2007, before ARTnews began putting articles online.)

The Bardo’s range runs from pre-history through the Ottoman era — Stone Age tools, gold Phoenician jewelry, massive stone sculptures from the Roman city of Bulla REgia, Islamic artifacts, equisitely turned-out period rooms, and bronzes and other antiquities recovered from a Greek ship that sand in 81 B.

Thumbnail image for tunisia4.jpgWho knows what intrigued the First Lady.

The International Council of Museums is watching developments in Tunisia,  but with perhaps less concern than Egypt. Again quoting The Art Newspaper:

According to Julien Anfruns, the director general of the International Council of Museums (ICOM), several international archaeologists and curators are currently in Tunisia surveying potential damage to objects as well as drawing up revised inventories for the country’s museums. Despite the violence, which according to a United Nations mission saw 219 people killed and 510 injured, museums have for the most part remained well protected. “People there are very understanding of the importance of the preservation of these museums,” said Anfruns.

So far, little of this has been covered in the West. But The Art Newspaper’s article says:

Evidence of pillaging by the Ben Alis has been well documented on several news channels, including one segment that aired on the Middle East-based Al Arabiya in January. The clip shows [above] the home of Ben Ali’s daughter, Sakhr El Matri, revealing antiquities and ancient statues perched in the foyer and next to the swimming pool of her oceanfront villa. In the aftermath of the uprising, crowds reportedly descended upon several of the Ben Ali houses to tour the premises. A handful of the sprawling properties’ walls were tagged with graffiti including one that read: “This property is now a national museum for the Tunisian people.”

Photo Credit: Courtesy of Al Arabiya via The Art Newspaper (bottom)

Whither The van Otterloo Collection? The Dance Begins

When I interviewed Rose-Marie and Eijk van Otterloo about their Old Master collection in 2009, they said definitively, for the first time, that they would give it away to an institution (see here and here).

Now they’ve gone further: On the eve of the opening of its showing at the Peabody Essex Museum in Salem, they’ve essentially said that it’s the Museum of Fine Arts, Boston’s to lose.

In an article published today, Eijk van Otterloo told Geoff Edgers of the Boston Globe that:

…if they were to give it away now, it would probably go to the MFA. But he’s interested in hearing from MFA director Malcolm Rogers about how he might be able to accommodate a library of more than 10,000 Dutch art-history books the couple recently purchased.

Thumbnail image for rembrandt_aeltje.jpgGiven the fundraising prowess of Rogers, I don’t think he will lack for ideas — though I’m not sure he made enough of a fuss about their recent long-term loans of a half dozen paintings, including their Rembrandt (at left).

So I wouldn’t be surprised if he were high-tailing it up from his home in Chestnut Hill to their home in Marblehead, Mass. today — except that the couple is currently living in their home in Naples, FL. That’s because for the next year or so, while their collection is touring the country, their Marblehead home is undergoing renovations, including new windows.

Rogers won’t lack for competition. Mrs. van Otterloo is a trustee at PEM, and it is also in the running. The Globe said they are also considering the Huntington Library, Art Collections, and Botanical Gardens in San Marino, Calif. and the National Gallery of Art in Washington, which has the attraction of being free.

Other museums may make a play. In fact, Mrs. van Otterloo told the Globe that others are making advances, “starting to dance.”

It ought to be fun watching, but if MFA doesn’t get it, there should be trouble in that boardroom. 

Here’s a link to the Globe piece, which has much else to offer.

 

Exposed: The van Otterloo Collection Set To Open At Peabody Essex

Very soon, you can see at a museum what I have been lucky enough to see in a home.

Golden: Dutch and Flemish Masterworks from the Rose-Marie and Eijk van Otterloo Collection opens next Saturday, Feb. 26, at the Peabody Essex Museum in Salem, Mass. It will include about 70 paintings, plus several pieces of 17th century Dutch furniture and decorative art.

orpheus-charming-the-animals.jpgReal Clear Arts readers with a long memory will recall that I interviewed the van Otterloos and wrote a long article about their collection and their collecting for The Art Newspaper, which was published in September, 2009 (item here, article here).

But because of Golden, the Wall Street Journal asked me to write a short “Backstory” piece about the van Otterloos, which is published in today’s paper.

I recently talked with the couple again, but much of our conversation did not make it into that very short WSJ piece. So… here it is: 

This time I discovered more about their background: Mr. van Otterloo, born in Amsterdam, had come to the U.S. in 1961 to attend Harvard Business School, then spent a little time in Paris, and returned to the U.S. when he could not find an investment banking position in the Netherlands. Later, he co-founded the investment firm of Grantham, Mayo, Van Otterloo & Co.

Mrs. van Otterloo, born in a Belgian hamlet near Maastricht, came to the U.S. learn English in 1967 — she answered an ad for a nanny and spent 10 months doing that in Washington, D.C. before joining Merrill Lynch. And lucky we are, because odds are that the van Otterloos will bestow their collection on some lucky institution here, not in Europe.

view-of-the-westerkerk_-amsterdam.jpgAlso, it won’t surprise anyone to find out that the couple is still buying. At Sotheby’s last month, they purchased A Cavalier at His Toilet, by Adriaen Pietersz van de Venne, at Sotheby’s for $338,500 — it’s going right into the exhibit.

But they won’t be selling. Mr. van Otterloo still has lingering regret about selling 18 paintings several years ago to raise money to buy their marvelous Rembrandt. And, as Old Master dealer Otto Naumann told me the other day, “This collection can’t be culled again — it is so carefully integrated. They have put something together that fits as a group perfectly.” 

To have accomplished that, the van Otterloos said they needed to exercise discipline, and for that they seem to work as a team. “Once you start collecting,” Mr. van Otterloo said, “you start looking at everything, and there are many beautiful things that are outside your focus.” His wife helps him with that: “It’s really hard to keep Eijk focused — he likes everything.”  

Part of the van Otterloo collection — 44 paintings – was shown at the Mauritshuis in The Hague, from last November through January: the smaller works that fit well in those galleries. Not, for example, Aelbert Cuyp’s Orpheus Charming the Animals, shown above left, but like the Heda still life below.

  

heda_stilllif2.jpgMrs. van Otterloo said, “Every critic was fantastic and the Dutch public went wild” for the show. “There was not one negative comment,” she added. They received many letters and emails, some of thanks, some with stories. “They were heartwarming — they made me cry,” she said. One, for example, came from a woman who said she and her husband needed something to uplift them, without specifying their problems. After taking the train to see the exhibition, she wrote that it was “just what” their “souls needed.”

 

Mr. van Otterloo said he heard from people he attended high school with, and others that he had not been in contact with for decades.

 

“We hope the American public will be as enthusiastic as the Dutch,” said Mrs. van Otterloo.

 

After closing in Salem on June 18, the exhibit will travel to the Fine Arts Museums of San Francisco and then to the Museum of Fine Arts, Houston.

 

I’m going to give the penultimate word to Peter C. Sutton, director of the BruceMuseum in Greenwich, Ct. and the man who, then a curator at MFA, Boston, sparked the couple’s initial interest in Dutch Old Masters. “It is a staggeringly good collection,” he said.

 

And the last word here on the exhibition goes to Mrs. van Otterloo: “It’s much more exciting that I ever thought it would be, because we have had such wonderful feedback from everyone.”

 

Photo Credits: Courtesy of the Peabody Essex Museum

 

 

The Cart Stops Here: The Nelson-Atkins Tries A Shuttle

The news from Kansas City is serious fun: Today, the Nelson-Atkins Museum there announced that it’s trying out two electric “Shuttlecarts” that will zoom through its galleries, ferrying visitors that need help navigating them. They will debut when Monet’s Water Lillies opens on Apr. 9, and they’ll use two different routes through the museum.

N-Acarts.jpgBut N-A director Julián Zugazagoitia has already taken one of the carts for a spin (presumably he won’t be doing the driving on a regular basis; also, presumably, the riders won’t be as young as they are in this picture).

“The amazing growth of the Nelson-Atkins has sparked so much excitement that we want everyone to experience this entire Museum,” he said in the press release.

The Nelson-Atkins covers 23 acres, with 400,000 square feet of space in the Museum.

So, when Zugazagoita learned that some museum-goers were having trouble making the rounds, partly from R. Crosby Kemper, Jr., Chairman Emeritus of UMB Bank, the museum came up with the idea of carts. The Carter Community Trust eventually funded the carts in this pilot program on Kemper’s recommendation.  

The carts are not “taxis,” the N-A said. They’ll traverse established routes, so they are more like buses. Nor do they provide a tour.  

“To our knowledge, no other art museum offers this service,” said Mark Zimmerman, Director of Administration. “These carts are all electric, so there will be no noise and no pollution. They were thoroughly tested for vibration, and meet rigorous environmental and conservation requirements.”

I like the idea — in theory, at least. True, it’s annoying when, at some airports, carts toot at walkers and make them give way no matter how much luggage they’re carrying. But here, at least, visitors won’t be burdened that way.

And much of the focus in recent years at museums has been on the young; it’s also good to focus on the more mature.

Photo Credit: Mark McDonald, courtesy of the Nelson-Atkins.  

 

Back To Orphans’ Court: Barnes Friends File Petition

This just in: The Friends of the Barnes Foundation have gone back to court, filing a petition today in Montgomery County Orphans’ Court seeking to “re-open proceedings on the matter of the Barnes Foundation and its change in governance and the plan to transfer its art collection to Philadelphia from its historic, 12-acre arboretum setting in Lower Merion Township.” 

Thumbnail image for TheArtoftheSteal-Barnes.jpgThe petition was filed by Attorney Samuel C. Stretton, who appeared at the Friends’ rally early this year and said he would lead them back to court. 

According to the press release: 

The petition cites newly available indications of misconduct on the part of then-Attorney General Michael Fisher as revealed in the documentary “The Art of the Steal” by Don Argott and Sheena M. Joyce. The statements by former Attorney General Fisher in the film reveal his active involvement with Lincoln University’s decision to drop their legal opposition to the Barnes Foundation’s petition seeking expansion of its Board and permission to transfer Albert C. Barnes’ art collection from Lower Merion to Philadelphia. Mr. Stretton maintains that then-Attorney General Fisher’s actions neutralized his role as parens patriae for the Barnes Foundation, a charitable entity.

The 29-page petition is here.

 

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About Judith H. Dobrzynski

Now an independent journalist, I've worked as a reporter in the culture and business sections of The New York Times, and been the editor of the Sunday business section and deputy business editor there as well as a senior editor of Business Week and the managing editor of CNBC, the cable TV

About Real Clear Arts

This blog is about culture in America as seen through my lens, which is informed and colored by years of reporting not only on the arts and humanities, but also on business, philanthropy, science, government and other subjects. I may break news, but more likely I will comment, provide

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