/snob alert/
A fellow gallerist who was born in Russia tells the joke about two New Russians who go to an art gallery and haggle with the dealer over a newly available van Gogh (estimates for any of which run in the tens of millions). Eventually they secure it (after an exchange that must be more funny in Russian) and walking out the door one remarks, "Well, that takes care of his card, now what do we get him for a birthday present?"
Again, it must be funnier in Russian, because my friends all laughed harder at the untranslated version than I did the translated one, but it highlights the widely held perception that the nouveau riche in Russia are splurging on art that they may not exactly appreciate as much as their previous owners did. This New York Times article elaborates:
At Vladimir Nekrassov's Arbat Prestige cosmetics emporium on Peace Prospect here, monumental paintings of Lenin, Stalin and the Battle of Stalingrad jostle with perfume, lipstick, anti-cellulite gels, tampons and Antonio Banderas Diavolo cologne. Nearly 400 canvases — of Nikita S. Khrushchev, Yuri Gagarin, churches, moody nudes, Soviet industry and collective farms — bedeck the emporium, a former fish store. The Tretyakov Gallery borrows paintings from Mr. Nekrassov for its exhibitions.
I know it's more tempting to rant about the appropriateness of collecting images of Lenin or Stalin but forget that for a moment (just this once, please). This raises some interesting class issues. As much as I want to object to hanging valuable art in a cosmetics store or this absurdity:
He opened two more galleries last year and holds theme exhibitions for target audiences, like paintings for the nursery, or "How Steel Is Tempered" for owners of metallurgical plants.
...this isn't the first time a new generation of suddenly rich people gobbled up art treasures and raised eyebrows. In the early 1900s a British dealer named Joseph Duveen caused a firestorm as he brought hundreds of masterpieces from Europe to the American industrialists. He is credited as having had a major influence in (if not total control over) the collections of Henry Clay Frick, William Randolph Hearst, Henry E. Huntington, Samuel H. Kress, Andrew Mellon, John D. Rockefeller, and Joseph E. Widener.
I've always celebrated Duveen's accomplishment (although his methods of securing the works were a bit scandalous). I love going to see the Frick collection and the National Gallery of Art (which Duveen convinced Mellon to open in DC) is astonishing. I do, however, think the Europeans at the time must have considered the placement of their treasures in the homes of the former colonialists as distastful as I do the sale of a Reubens to a Russian nightclub owner. So long as he leaves it to a good museum...
/snob alert end/
Recent Comments