[스크랩] 다빈치와 클림트 관련 뉴스

 

    최근에 제 눈길을 끈 미술 관련 기사 두 가지입니다! 다빈치는 과연 끝없는 수수께끼 제조기고 클림트의 그림은 그 황금빛의 리치함에 걸맞게 과연 비싸군요. ^^

 

美 '웃지 않는 모나리자' 화제
[연합뉴스 2006-06-17]

Herb Swanson for The New York Times

 

포틀랜드 미술관에서 공개된 "미소 없는 모나리자"

다빈치의 습작일까요, 다빈치와 동시대에 살았던 화가의 모방일까요? 

 

뉴욕 김계환 특파원 = 레오나르도 다빈치의 '모나리자'와 매우 흡사하지만 위작은 아닌 것으로 보이는 '웃지 않는 모나리자'가 미국에서 화제가 되고 있다.

16일(현지시간) 뉴욕타임스의 보도에 따르면 메인주 포틀랜드 미술관에서 일반에 공개된 이 그림은 얼굴 표정이 없고 의상과 배경이 다르다는 것을 빼고는 다빈치의 모나리자와 거의 흡사하다.

 

또한 '라 지오콘다'로 불리는 이 그림은 안료분석 결과, 다빈치가 모나리자를 그린 시기와 비슷한 1510년 이전에 만들어졌으며 다빈치와 같은 왼손잡이 화가의 작품인 것으로 판명됐다는 것. 다빈치의 모나리자는 1503년에서 1507년까지 그려진 것으로 알려졌으며 이번에 공개된 그림처럼 '라 지오콘다'라는 이름으로도 불리고 있다.

 

미술관측은 제작연대 등을 감안할 때 이 그림이 다빈치의 작품일 수 있다는 추측이 나오고 있다면서 두 그림 사이에 미묘한 차이가 있긴 하지만 통상적인 위작에서 나타나는 특징은 발견되지 않았다고 설명했다. 또한 모나리자의 위작이 다수 존재하고 있지만 다빈치가 활동하던 시대에 만들어진 위작은 아직 없었다는 점도 이 그림에 대한 호기심을 증폭시키고 있다고 미술관측은 덧붙였다.

 

이 그림은 포틀랜드 남쪽 프로츠넥에 여름별장이 있던 헨리 레이촐드의 유품으로 지난 1983년 포틀랜드 미술관에 기증됐다.

 

kp@yna.co.kr

 

    아래는 연합뉴스의 바탕이 된 뉴욕타임스 기사입니다. 이 기사에 따르면 포틀랜드 미술관은 원래 19세기와 20세기 작품들 전문이라서 이 "미소 없는 모나리자" 그림을 걸어놓지 않고 보관하고 있었는데, 소설 "다빈치 코드"가 베스트셀러가 된 후로 한 번, 그리고 이번에  영화 "다빈치 코드"의 개봉에 맞춰 또 한 번, 이 그림을 공개해서 재미를 톡톡히 봤다고 합니다. ^^

 

from artdaily.com

 

왼쪽에 있는 것이 포틀랜드 미술관의 그림, 오른쪽에 있는 것이 루브르 박물관의 모나리자

 

 

Another 'Gioconda' and Another Mystery

 

By KATIE ZEZIMA
Published: June 16, 2006

PORTLAND, Me., June 11 — Forget Paris. The curious are now flocking here for a Mona Lisa mystery. A painting that bears a striking resemblance to the "Mona Lisa" is on display at the Portland Museum of Art, attracting residents, amateur art sleuths and tourists.

 

May was the busiest month on record for the museum. Staff members are not sure whether to credit the painting, which went on display a day before "The Da Vinci Code" opened in movie theaters or to a record rainfall.

 

Pigment analyses of the painting, "La Gioconda," show that it was created before 1510 and that its brush strokes were most likely by a left-handed painter like Leonardo. The "Mona Lisa," which Leonardo is said to have worked on from 1503 to 1507, is also known as "La Gioconda."

 

The work here shows a woman who looks like the "Mona Lisa" subject without her smile, cloaked in brown and standing on a balcony with a body of water behind her. It is impossible to know whether Leonardo or someone else painted it, but its age and resemblance to the masterwork have fueled intrigue and sent the museum searching for clues to whether it is a knockoff or a rough "Mona Lisa" draft. Many copies of the "Mona Lisa" exist, but they do not date from Leonardo's time.

 

"There are subtle differences between the paintings, and that is not what you usually find in a copy," the museum director, Daniel O'Leary, said. The museum received the painting in 1983 as a bequest from Henry Reichold, a summer resident of Prouts Neck, south of Portland. "This is not a reproduction," Mr. O'Leary said. "It is a version, which is part of why it's so intriguing."

 

The museum usually keeps the painting in storage because it does not fit with its collection of mainly 19th- and 20th-century works. But the museum knows a good opportunity when it comes along, pulling the painting out of storage for six months in 2004 to capitalize on Dan Brown's "Da Vinci Code," which was published in 2003. The painting went back on display last month and will be on view until Sept. 5, with handouts on "Mona Lisa at the Portland Museum of Art."

 

Evelyn Krahn, 47, of Greenwood, wanted to see it after hearing an item on a news program.

"People are talking about it," Ms. Krahn said. "The fact that they had a test that dated it back to da Vinci's time is quite interesting. It might be a practice run, but it obviously wasn't a forgery."

 

Her friend Amy Harren, 37, was struck by the similarity to the "Mona Lisa."

"The colors look just like the other," Ms. Harren said. She added that she was thrilled that it was in Maine, saying, "See, we're cultured here in Maine, too."

 

Kristie Anderson, 18, who was visiting from Tampa, Fla., and dabbles in art, has her theories. "It does look a lot like the actual 'Mona Lisa,' " she said. "I have a sense that this is definitely a sketch, because the actual figure is a lot lighter."

 

Marilyn Kilgore, 72, of Auburn, had a more conspiratorial view. "I'm trying to see if there's imagery or words hidden in there," Ms. Kilgore said as she squinted at the painting. "You know, like they say there is in 'The Last Supper.' "

 

 

    이번에는 최고 경매가 기록을 경신한 클림트의 그림 이야기입니다.

 

 

클림트 ‘바우어 부인’ 1억3,500만달러 사상 최고가 그림 
[경향신문 2006-06-19]   

구스타프 클림트의 1907년 작품 ‘아델레 블로흐 바우어 부인’.

 

‘입맞춤’으로 유명한 오스트리아의 화가 구스타프 클림트(1862~1918)의 1907년 작품 ‘아델레 블로흐 바우어 부인’이 회화 작품 사상 최고가 기록을 세웠다.

뉴욕타임스는 19일 세계적인 화장품 회사 에스티 로더 그룹의 로널드 로더 회장(62)이 클림트의 ‘아델레 블로흐 바우어 부인’ 초상화를 1억3천5백만달러(약 1천3백억원)에 구입했다고 보도했다. 기존 최고가 회화 작품은 2004년 5월 미국 뉴욕 소더비 경매에서 1억4백16만8천달러에 낙찰된 파블로 피카소의 1905년 작품 ‘파이프를 든 소년’이다.

이 그림은 당시 유태인 제당사업가의 부인이자 오스트리아 빈 사교계의 유명한 명사였던 아델레 블로흐 바우어 부인을 그린 것으로 ‘입맞춤’(1908)과 함께 클림트의 대표작으로 꼽힌다. 블로흐 바우어 부인은 클림트의 ‘입맞춤’을 탄생시킨 주인공으로 알려져 있다.

1925년 43세에 사망한 부인은 자신과 남편의 소유인 이 작품과 클림트의 다른 작품 4점을 남편 사망 전까지 오스트리아 밖으로 내보내지 말라고 유언했다.

그러나 독일의 나치정권이 1938년 오스트리아를 점령하면서 남편은 다른 나라로 도망갔고, 나치 정권은 이 작품들을 압수해 3점은 빈에 있는 오스트리아 미술관에 소장하고 나머지 2점은 팔았다. 이 때문에 이 작품은 부인의 질녀인 마리아 알트먼(90)과 오스트리아 정부 사이의 오랜 반환 분쟁 끝에 지난 1월 나머지 4점과 함께 알트먼에게 반환됐다.

로더가 이 작품을 구매한 경위 등은 비밀에 부쳐져 있지만 구매 협상에 참여한 익명의 전문가는 뉴욕타임스에 구입가가 1억3천5백만달러라고 밝혔다. 로더도 뉴욕타임스와의 전화통화에서 구입가를 부인하지 않았으며, 경매회사 크리스티의 도움을 받았다고 말했다.

세계적인 사업가이자 자선가이며 유명 미술품 소장가인 로더는 2001년 11월 뉴욕 맨해튼 5번 애비뉴와 86번가에 독일과 오스트리아 출신 화가들의 작품만을 전시하는 미술관 ‘노이에 갈러리’를 세워 운영중이다. 로널드 레이건 대통령 시절인 1986년 오스트리아 주재 대사를 역임한 그는 바우어 부인 초상화에 대해 “우리 시대의 모나리자”라며 “일생일대의 매입”이라고 말했다.

 

조찬제기자 helpcho65@kyunghyang.com

 

    역시 바탕이 된 뉴욕타임즈 기사입니다.

 

Klimt portrait sells for a record $135 million 

 

By Carol Vogel

Published: June 19, 2006

A dazzling gold-flecked 1907 portrait by Gustav Klimt has been purchased for the Neue Galerie in Manhattan by the cosmetics magnate Ronald S. Lauder for $135 million, the highest sum ever paid for a painting.
 
The portrait, of Adele Bloch-Bauer, the wife of a Jewish sugar industrialist and the hostess of a prominent Vienna salon, is considered one of the artist's masterpieces. For years, it was the focus of a restitution battle between the Austrian government and a niece of Mrs. Bloch-Bauer who argued that it was seized along with four other Klimt paintings by the Nazis during World War II. In January all five paintings were awarded to the niece, Maria Altmann, now 90, who lives in Los Angeles, and other family members.
 
Although confidentiality agreements surrounding the sale forbid Lauder to disclose the price, experts familiar with the negotiations, speaking on condition of anonymity, said he paid $135 million for the work. In a telephone interview Lauder did not deny that he had paid a record amount for the painting, eclipsing the $104.1 million paid for Picasso's 1905 "Boy With a Pipe (The Young Apprentice)" in an auction at Sotheby's in 2004.
 
"This is our Mona Lisa," said Lauder, a founder of the five-year-old Neue Galerie, a tiny museum at Fifth Avenue and 86th Street devoted entirely to German and Austrian fine and decorative arts. "It is a once-in-a-lifetime acquisition." He said Christie's had helped him negotiate the purchase.
 
For most of the last 60 years the portrait has hung in the Austrian Gallery in the Belvedere Palace in Vienna near "The Kiss," another gold-flecked Klimt masterpiece of the Art Nouveau era. With its sinuous lines and intricate details, the painting, "Adele Bloch-Bauer I," was commissioned by the subject's husband, Ferdinand Bloch-Bauer. Mrs. Bloch-Bauer died of meningitis in 1925 at 43. In her will she requested that the painting and four others by Klimt that the couple owned be left to Austria upon her husband's death. But when Germany annexed Austria in March 1938, Bloch-Bauer fled, leaving all of his possessions behind. The Nazi government confiscated his property, placed three of the paintings in the Austrian Gallery and sold the rest.
 
Before Bloch-Bauer died, in November 1945, having spent the war years in Switzerland, he revoked all previous wills and drafted a new one. Since he and Adele had no children, he left his entire estate to three children of his brother Gustav: Robert, Luise and Maria.
 
Of the three, only Maria Altmann is still living: she and her husband, Fritz, fled Austria during the war and settled in Los Angeles in 1942. She has a niece and two nephews; a cousin of her brother's second wife also survives.
 
In a telephone interview on Friday Mrs. Altmann said she had met Lauder, a former American ambassador to Austria, some years ago and that she had visited the Neue Galerie when it first opened in November 2001.
 
" Lauder has a great understanding of Austria and a great love for Klimt," she said, adding that neither she nor her relatives felt it was practical for any of them to keep the painting, which depicts her aunt, whom she remembers from her childhood but who died when she was just 9.
 
That Mrs. Altmann and her relatives have possession of the painting is a tale of perseverance and tenacity. After the war the family tried to regain their stolen possessions, including the paintings, porcelains, palaces and the sugar company founded by Bloch-Bauer. Much of the artwork was divided up among the top Nazis, including Hitler and Hermann Göring; Reinhardt Hedrick, a Nazi commander, occupied a summer palace owned by Bloch-Bauer outside Prague.
 
The heirs were able to recover some of the works, but the Austrian authorities ruled that Mrs. Bloch-Bauer's will had essentially bequeathed the Klimts to Austria. Without access to the original documents, the family had no case.
 
By the mid-1980's journalists had begun investigating the restitution claim, and in 1998 Hubertus Czernin, a Viennese journalist researching the case for The Boston Globe, was able to find the documents, including Mrs. Bloch-Bauer's will, which expressed a wish - but did not require - that the Klimts go to Austria.
 
In 2000 Mrs. Altmann and the other heirs sued the Austrian government in the United States. Austria went to court to seek a dismissal of the suit, and the case wended its way to the United States Supreme Court, which in June 2004 ruled that Mrs. Altmann could sue Austria in the United States.
 
In January an arbitration tribunal in Austria decided in favor of Mrs. Altmann and her fellow heirs, awarding them the five paintings. In addition to "Adele Bloch-Bauer I" they include a second portrait of Adele, from 1911, and three landscapes: "Beechwood" (1903), "Apple Tree I" (circa 1911) and "Houses in Utterach on Lake Atter" (1916). After the settlement, Steven Thomas, the lawyer representing the Bloch-Baur heirs, said he had been approached by museums and collectors around the world who were interested in buying one or more of the paintings.
 
Mrs. Altmann said he had felt especially receptive to Lauder because throughout all the years the family was struggling to reclaim the art, he consistently kept in touch with her, offering to help in any way he could. "He was incredibly generous and constantly supportive," she said.
 
In April Mrs. Altmann and her heirs lent the paintings to the Los Angeles County Museum of Art, where they remain on view through June 30. Then the five works will travel to the Neue Galerie, where "Gustav Klimt: Five Paintings From the Collection of Ferdinand and Adele Bloch-Bauer" will be on view from July 13 through Sept. 18.
 
Mrs. Altmann said that when the gold portrait of her aunt finally hangs in the Neue Galerie, she will feel that it is finally where it belongs. The painting, which took Klimt three years to create, shows her aunt regally posed, with a mysterious gaze, sensuous red lips and her hands twisted near her face to conceal a deformed finger. He used gold throughout the richly painted background and in the glistening fabric of Adele's patterned gown. Art historians and chroniclers of Vienna society in the early 20th century have suggested that the artist and Bloch-Bauer were lovers.
 
"I never saw her smile," Mrs. Altmann recalled in Friday in the interview. "She was always very serious and wore flowing white dresses and carried a gold cigarette holder when it was very unusual for women to smoke. She would have loved to have been a woman of today, to go to university and to get involved in government."
 
Mrs. Bloch-Bauer was known for giving frequent parties and surrounding herself with many of the great artists, politicians and intellectuals of the day, among them the composer Richard Strauss. "She didn't have teas for ladies like my mother," Altmann said. That wasn't down her alley."
 
She said although Adele was very close to Mrs. Altmann's mother, Therese, she also seemed to resent her at times because Therese had a house full of healthy children and Adele had endured three tragic births. (One child died three days after it was born, and two others died within hours.)
 
She remembers asking her mother about the rumored love affair between Klimt and her aunt. "My mother got mad and said, 'How dare you ask such a thing? It was an intellectual friendship,' " she recalled. "But I think it was very possible there was a romance."
 
Of Klimt, who died in 1918, when Altmann was just a toddler, she remembers hearing that he often wore a floor-length smock with nothing underneath.
 
After Adele died, seven years after Klimt, her husband created a kind of shrine to her in what had been their bedroom. "The Klimts were always in the bedroom, but after she died, the bed was removed and there were always fresh flowers," Mrs. Altmann said.
 
As for the other four paintings, experts estimate that they are together worth some $100 million.
 
The fate of these four has yet to be determined. "I can't decide," Mrs. Altmann said. "Maybe after they leave the Neue Galerie, they will go to Christie's. I very much hope they end up in museums. But for now I am just happy they have a home at the Neue Galerie. It is very deserved. I couldn't have wished for a better place."

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