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Earlier this week, Tokyo’s National Museum of Western Art (NMWA) announced that a long-lost Claude Monet painting has been returned after being found “rolled up in the corner of a storage facility at the Louvre Museum in Paris,” according to The Telegraph‘s Danielle Demetriou. Although the painting, “Reflections of the Weeping Willow on the Water-Lily Pond” (1916), was found in either 2016 or 2017 (reports vary), the discovery only recently came to light.
Thought to be a study for Monet’s famed Water Lilies series, the painting once belonged to Kōjirō Matsukata, a Japanese businessman and friend of Monet’s, who bought more than a dozen paintings directly from the artist in the 1920s. Matsukata made his fortune in the shipbuilding industry during World War I and started collecting art almost immediately. He was particularly fond of European art, aspiring to create a museum of his mounting collection of works by Vincent van Gogh, Gustave Courbet, Paul Cézanne, and Auguste Rodin, among others.
During World War II, Matsukata left “Reflections of the Weeping Willow on the Water-Lily Pond” and about 400 other works in Paris for safekeeping. Toward the end of the war, they were requisitioned by the French government as “enemy property.” In 1959, a majority of Matsukata’s collection was returned to Japan. (According to Jane Warren of Express, 14 paintings “were retained by the French to fill in gaps in their national collection.”) Although Matsukata had died nine years previous, his collection was made public in Japan, and a Le Corbusier-designed museum built especially to house it. Tokyo’s National Museum of Western Art remains the only Japanese cultural institution devoted to Western art.
Missing for almost 60 years, “Reflections of the Weeping Willow on the Water-Lily Pond,” a 2-x-4-meter canvas, was found severely damaged, half of it effectively destroyed. After a major restoration, NMWA hopes to put the painting on public display for the first time in 2019.
Jackson’s exhibition The Land Claim began an extensive dialogue with local Indigenous, Black, and Latinx families on Long Island’s East End.
There is not a hint of psychological trauma in Astrup’s art, despite the parallels in his own experience to that of his countryman Edvard Munch.
Over the course of three months, the resident artists in Going to the Meadow will collaborate and create with a curated set of continually changing materials.
Inspired by her foremothers’ recycling of materials, Jan Wade creates altarpieces, shrines, and memory jugs out of found objects.
This retrospective of the work from a São Paulo photo club is a reminder that Modernism was not solely a European phenomenon.