Tweet As I am absolutely certain you’ve all remembered, Mother’s Day is fast approaching. And I bet you’ve already picked out the perfect gift for the occasion, and it’s sitting all wrapped up and ready to go. But on the … Read More
As I am absolutely certain you've all remembered, Mother's Day is fast approaching. And I bet you've already picked out the perfect gift for the occasion, and it's sitting all wrapped up and ready to go. But on the off-chance that you haven't yet found something special for your wonderful mother, Gallery Direct's got your back. We've got a few ideas for you for how to best commemorate a lifetime of love and devotion, so be sure to check back soon for some great DIY tips and other exciting ways to celebrate your mama. In addition to beautiful meadows, gardens, and seascapes, motherhood and family portraits were among the subjects and themes favored by the Impressionists. Gallery Direct's own image vault has a great collection of motherhood paintings from the period, particularly from Pierre-Auguste Renoir, who is famed for his beautiful, cherubesque female figures.
[caption id="attachment_3707" align="aligncenter" width="300"] Pierre-Auguste Renoir, "Gabrielle with Renoir's Children"[/caption] Renoir's use of soft brushstrokes, warm colors, and round, rosy cheeks that are so characteristic of his depictions of families, particularly of images of motherhood, are sentimental and sweet. He manages to capture the strong bonds and closeness that naturally occurs between a mother and her children with such ease, perhaps because he often used people he knew as subjects, such as the family of his contemporary painter Claude Monet in Camille Monet and her Son Jean in the Garden at Argenteuil. [caption id="attachment_3708" align="aligncenter" width="300"] Pierre-Auguste Renoir, Camille Monet and Her Son Jean in the Garden at Argenteuil[/caption] Berthe Morisot, one of the few women who were consecrated into the Impressionists' circle of artists, was also known for her beautiful portraits of mothers and children. As a woman with children of her own, her images of familial life give us a unique look into what it meant to be a mother in nineteenth-century Paris. [caption id="attachment_3714" align="aligncenter" width="300"] Berthe Morisot, In a Park[/caption] What's your favorite painting of motherhood? Maybe Whistler's Mother, or Monet's painting of his own family? Or perhaps Paul Gauguin's Maternity, a beautiful depiction of Tahitian women and children, or van Gogh's The Man is at Sea. Personally, I think Edgar Degas's The Conversation best captures the intimacy of the relationship between a growing girl and her mother. [caption id="attachment_3716" align="aligncenter" width="300"] Edgar Degas, The Conversation (Mother and Daughter)[/caption] No matter your preference, these paintings are all great images through which to contemplate the role of motherhood in your own life. If you're still searching for the perfect gifts for the mothers in your life, consider a print on canvas, or framed on paper.
In my last blog post, I revealed that one of my more eccentric interests is art-related crimes. As such, last week I was bombarded with news about the 1990 theft from the Isabella Stewart Gardner Museum in Boston, Massachusetts. Last Monday marked the 23rd anniversary of the heist, which lasted approximately 81 minutes in the early hours of March 18th, 1990 in the wake of Saint Patrick's Day revelry. It is the single largest peacetime property theft in history, with the spoils valued at about $500 million. [caption id="attachment_3544" align="aligncenter" width="400"] The empty frames of works taken from the Isabella Stewart Gardner Museum in 1990. Photo courtesy of artnews.com.[/caption] Last Monday, the aforementioned anniversary, the FBI, who has valiantly headed up the investigation since 1990, put out a press release claiming that they have identified the thieves that have eluded them for all of these years. According to Richard DesLauriers, the special agent in charge at the FBI's Boston office, “The FBI believes with a high degree of confidence in the years after the theft the art was transported to Connecticut and the Philadelphia region and some of the art was taken to Philadelphia where it was offered for sale by those responsible for the theft. With that confidence, we have identified the thieves, who are members of a criminal organization with a base in the mid-Atlantic states and New England." My news conduits have been filled with hurrahs and hoorays and anticipatory speculation these past few days, but I have not been able to shake my admittedly jaded perspective that this is all just false promise. The Gardner case has haunted the FBI and the Boston arts community for over two decades, and people are understandably desperate for some good news. That the press release came out on the anniversary of the theft is all the more telling - it all just seems too neat to me. Additionally, the quote above forces me to raise an eyebrow if only because I was surprised to learn that this information was news to the FBI. Organized crime syndicates are behind a significant percentage of art thefts, and countless leads from the Gardner theft have been related to criminal organizations. That this particular organization is based in New England and the mid-Atlantic should come as no surprise, given that the theft occurred in Boston. This same kind of celebratory sounding-off occurred when Whitey Bulger, a longtime suspect associated with Boston criminal organizations, was arrested in June 2011 on charges unrelated to the museum theft. Almost two years later, we may be experiencing yet another false victory high. I can understand why this would be the case. The Gardner heist is not only an egregious act against the public's right to its cultural heritage, but it also appears to be a very complex and intricate crime. It has been the subject of countless articles, books, and documentaries, and speculation has taken investigators all over the US and Europe in search of the paintings and the culprits. If you find yourself intrigued by the case, I highly recommend Ulrich Boser's book, The Gardner Heist. There are simply too many ways for me to get carried away with talking about the Gardner case, so here is a very simplified version of the events: On March 18th, 1990, just before 1:30am, two men dressed as policemen approached the Isabella Stewart Gardner Museum and requested entrance from the night security guard, claiming that they were investigating a disturbance. Against protocol, the guard allowed them to enter. The guards on duty were bound and gagged, and were put in the basement of the museum while the thieves, in just over an hour, took 13 works of art, including three Rembrandts, five works by Degas, a Manet, and a Vermeer. The loss of the Vermeer has been noted as particularly devastating, given that there are less than 40 extant Vermeer paintings known today. [caption id="attachment_3546" align="aligncenter" width="500"] The thirteen missing works. From the top left: Vermeer's The Concert, Rembrandt's Self Portrait, Degas's La Sortie de Pesage, Degas's Program for an artistic soiree (one of two), Rembrandt's Storm on the Sea of Galiliee, bronze finial in the form of an eagle from the top of a Napoleonic flag, a Shang Dynasty Chinese Ku, Rembrandt's A Lady and Gentleman in Black, Degas's Program for an artistic soiree (two of two), Govaert Flinck's Landscape with an Obelisk, Manet's Chez Tortoni, Degas's Cortege aux environs de Florence, and Degas's Three Mounted Jockeys. Image courtesy of The Art Newspaper.[/caption] No one has their fingers crossed more tightly than I do that the paintings are eventually recovered. As Anthony Amore, chief of security at the Gardner (whose excellent book Stealing Rembrandts is a fantastic resource for those looking for an introduction to the study of art crimes) said, "this investigation is an exercise in finding 13 needles in a haystack by making the haystack smaller." It seems to me as though the haystack is still quite large. A colleague of mine said it best: I'll believe it when they find the paintings and start prosecuting. For now, I'll spend some time wistfully staring at the Rembrandts, Degas, Manets,and Vermeers that are still around.