Both The Lost Leonardo and Savior for Sale dig into how museums and galleries are not merely complicit with the unregulated art-industrial complex, but are necessary to it.
Two recent investigations of “Salvator Mundi,” including one conducted by the Louvre, now offer new avenues for skepticism.
The 500-year-old painting, likely the work of a student of Leonardo, was found in a bedroom cupboard in the southern Italian city.
The painting’s voyage, from the record-breaking Christie’s auction to the mysterious postponing of its unveiling, reflects deep regional ideological and geopolitical rifts — but the debate has hardly played out in the Arabic-language media.
Keeping track of the world’s most expensive painting has become more difficult since it transferred into Saudi hands. One conspiracist claims the painting is involved in a money laundering plot tie Trump-Russia scandal.
As Su Shi’s “Wood and Rock” goes to auction, we are reminded that the discussion of genuine and fake paintings is ever-present in Chinese art history.
Matthew Landrus believes the painting, which Louvre Abu Dhabi bought at auction for $450.3 million in 2017, better resembles the work of Bernardino Luini, an assistant in Da Vinci’s studio.
Real Salvator Mundi has all the Leonardo merchandise you might want and much, much more.
The Louvre Abu Dhabi is now claiming it owns the world’s most expensive artwork.
A day after the New York Times identified the buyer of “Salvator Mundi” as an obscure Saudi prince, the Wall Street Journal claims he was merely serving as a proxy for the country’s crown prince.
Prince Bader bin Abdullah bin Mohammed bin Farhan al-Saud, a friend of the Saudi crown prince, is paying for the painting in monthly installments of $58 million.
The newly opened institution announced on Twitter that the most expensive artwork ever sold will soon go on view there.