Yours for $135 million

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Adele Bloch-Bauer I‘ (1907) by Gustav Klimt.

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 Mr. 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 Mr. 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 Mr. 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.

Dada at MoMA

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(left) “Mechanical Head (Spirit of Our Age)” by Raoul Hausmann.

‘Dada’ at MoMA: The Moment When Artists Took Over the Asylum

By MICHAEL KIMMELMAN
Published: June 16, 2006

NOW is as good a time as any for a big museum to take another crack at Dada, which arose in the poisoned climate of World War I, when governments were lying, and soldiers were dying, and society looked like it was going bananas. Not unreasonably the Dadaists figured that art’s only sane option, in its impotence, was to go nuts too.

“Total pandemonium” was how the sculptor Hans Arp reported the situation in 1916 at the great Cabaret Voltaire in Zurich, where Dada was born. “Tzara is wiggling his behind like the belly of an Oriental dancer. Janco is playing an invisible violin and bowing and scraping. Madame Hennings, with a Madonna face, is doing the splits. Huelsenbeck is banging away nonstop on the great drum, with Ball accompanying him on the piano, pale as a chalky ghost.”

I’m sure you had to be there.

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The Cult of Antinous

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Antinous Mondragone (c.130 AD).

Antinous: the face of the Antique
Main Galleries, Henry Moore Institute, Leeds
Exhibition: 25.05.06 – 27.08.06

The Emperor Hadrian’s young lover was Antinous, a beautiful youth who drowned mysteriously in the Nile before his 20th birthday. The Emperor, in his grief, commissioned busts and statues of his beloved, and as the cult of Antinous spread throughout the Roman Empire, many more were erected by his subjects.

Today Antinous has more sculptures to his name than almost any other figure from classical antiquity. The earliest of these finds were identified by comparison to tiny coin-portraits, each with an identifying legend, so that by the sixteenth century his aquiline nose and full lips were well known. Yet such was his appeal that as more and more heads, busts and statues were unearthed, there was a temptation to call those of any young pretty boy “Antinous”. Into the modern age, archaeologists and scholars have worked studiously to define the corpus of Antinous portraiture, basing their identification primarily on his hairstyle.

Drawing together loans from all over Europe, this is the first exhibition dedicated to Antique sculpture to be held at the Institute and the first in Britain to explore the mythical image of Antinous. As a subject, Antinous works not only to provide a very human way into looking at Antique sculpture, but also as an introduction to some of the thorniest issues surrounding work of this period. Issues of recognition, restoration and re-naming are all present, and to a degree we can deal with these by simply asking: does it look like him?

This exhibition has been selected by Dr Caroline Vout, of the University of Nottingham, and will be accompanied by a fully illustrated catalogue, with essay and entries by Dr Vout, along with extracts from more historical texts.

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