Last night, Christie’s auction house sold “Salvator Mundi,” which it claims is the last painting by Leonardo da Vinci in private hands, for an astounding, record-setting $400M (the final price was over $450M with fees). The sale was controversial for a couple of reasons: that mind-numbing number itself, but also the fact that there are a lot of questions — and serious doubts — about the painting’s authenticity, restoration, and provenance.
One can therefore be forgiven for initially overlooking another elephant in the room — the identity of the seller. When there’s this much money involved, though, it usually pays to follow it, and here the money leads directly back to the Russian billionaire Dmitry E. Rybolovlev. Rybolovlev’s family trust sold the painting, through Christie’s, to an undisclosed buyer, but if his name sounds familiar for other reasons, that might be because in 2008 he paid (through a company he controlled) $95M to buy a Palm Beach mansion from Donald Trump. Or it could be that he’s also known for allegedly using his art collection to shield money from his wife, a bitter conflict brought to light in the Panama Papers. Or it could even be in connection with “Salvator Mundi” itself: Rybolovlev has been in a protracted legal battle involving Sotheby’s and “freeport king” Yves Bouvier over alleged overpayment in Rybolovlev’s purchase of the painting.
With much of the public-facing art world firmly turning its back on the Trumps, it’s yet another example of the fraught, high-stakes interests at play. When a controversial piece of such dubious authenticity is sold at prices no museum can afford, making it available only to the increasingly indistinguishable cliques of oligarchs and their head-of-state business pals, it contributes to a market where expertise and devotion to art are dispensed with; the final word on what’s a Leonardo and what isn’t goes to the highest bidder, not the most knowledgeable or most dedicated scholar. It’s hard to envision any benefit to society, or artists, or art.
Robert Legorreta, also known as “Cyclona,” discusses the origins of his performance art and ongoing political activism.
A caustic New York Times review from 1975 almost destroyed his career, but he remained one of the most influential artists of the 20th century.
How do we consider land-inspired art in an age when huge swaths of our shared world are being clear cut, mined, drilled, and desertified?
A documentary trilogy follows the life of Thich Nhat Hanh, who expounded the principles of engaged Buddhism.
Ten artists will receive studio space and access to faculty, staff, students, workshops, and programming at an arts institution in the heart of Philadelphia.
Sea View, conceived by Jorge Pardo as both an artwork and a residence, embraced the dissolution of borders between disciplines.
The Legion of Honor in San Francisco says it’s the first exhibition dedicated to the Renaissance artist’s drawings.
“Untitled” (1961) by George Morrison is the first work by a Native American artist to join the museum’s Abstract Expressionist collection.
“You can’t have idols; it’s in the second commandment,” he screamed before being arrested.
Join the New-York Historical Society on February 10 for a virtual conversation about our changing relationship to the natural world with Julie Decker, John Grade, and LaMont Hamilton.
Manhattan now has its own, downscaled version of the artist’s famous Chicago sculpture, oddly squished under a luxury condo tower.
Increased oil tanker truck traffic would “seriously degrade” the experience of viewing the canyon’s Indigenous rock art, said one advocate of the site.