{"id":848,"date":"2021-06-15T09:38:45","date_gmt":"2021-06-15T01:38:45","guid":{"rendered":"https:\/\/www.atelierauction.com\/globalupdates\/?p=848"},"modified":"2021-06-15T09:38:45","modified_gmt":"2021-06-15T01:38:45","slug":"the-lost-leonardo-documentary-thrillingly-takes-on-the-salvator-mundi-saga","status":"publish","type":"post","link":"https:\/\/www.atelierauction.com\/globalupdates\/artist\/the-lost-leonardo-documentary-thrillingly-takes-on-the-salvator-mundi-saga\/","title":{"rendered":"\u2018The Lost Leonardo\u2019 Documentary Thrillingly Takes on the Salvator Mundi Saga"},"content":{"rendered":"

Leonardo da Vinci<\/a>\u2019s recently rediscovered painting\u00a0Salvator Mundi<\/a><\/em>\u00a0(ca. 1500) may very well eclipse the\u00a0Mona Lisa<\/em>\u00a0in fame, though the reasons why have to do less with its art-historical significance than its market value\u2014the painting sold for $450 million at a Christie\u2019s auction in 2017. This paradox guides\u00a0Andreas Koefoed<\/a>\u2019s masterfully told documentary\u00a0The Lost Leonardo<\/a><\/em>, which debuted this weekend at the\u00a0Tribeca Film Festival<\/a>\u00a0in New York. In just 95 minutes, Koefoed charts how the painting became the most expensive artwork of all time and how it mysteriously disappeared, in the process managing to offer new insights into a story that has been explored ad nauseam in the press.<\/p>\n

The film opens dramatically, with reenacted footage of a man rifling through an art storage unit at night. With a flashlight in hand, he explains what a \u201csleeper\u201d painting is: \u201ca painting that\u2019s being offered \u2026 which is clearly by a much better artist than the auction house has recognized. A sleeper hunter is someone who looks for these mistakes, and that\u2019s what I do.\u201d We soon learn that he is Alexander Parish<\/a>, one of the two art dealers who purchased the painting at a 2005 auction in New Orleans, where\u00a0Salvator Mundi<\/em>\u00a0sold for $1,175 and was attributed to one of Leonardo\u2019s followers.<\/p>\n

When he unpacks the work, Parish quickly realized that portions of it had been painted over. He and his partner in the deal, Robert Simon, brought on Dianne Modestini, an art restorer who is also a conservation professor at NYU\u2019s Institute of Fine Arts<\/a>, to clean the painting. She discovered that it was extremely damaged, with parts of the figure\u2019s face almost indiscernible. Later on, Modestini uncovered that the artist had changed the position of the Christ\u2019s thumb, generating a\u00a0pentimento<\/em>, or evidence of an artist\u2019s revision. Only later, as she was restoring the lips of the figure, did she note similarities between the painting and the\u00a0Mona Lisa<\/em>. \u201cNo one except Leonardo could have painted this picture,\u201d she tells Koefoed.<\/p>\n

Modestini\u2019s role in the\u00a0Salvator Mundi<\/a>\u00a0<\/em>saga is controversial, and it\u2019s clear that she agreed to be interviewed to rebuff her critics by sharing her side of the story. Modestini has been accused of having financial interest in the work, as some people believe that she was a part owner in the work. In the documentary, she flatly denies this, saying only that she was \u201cpaid generously\u201d for the restoration.<\/p>\n

Koefoed\u2019s film interrogates her restoration process, with Leonardo expert Frank Z\u00f6llner saying, \u201cThe new parts of the painting look like Leonardo, but they are by the restorer. In some parts, it\u2019s a masterpiece\u00a0by Dianne Modestini<\/em>.\u201d Modestini responds: \u201cWell, that\u2019s ridiculous because I can\u2019t paint like Leonardo. I mean, it\u2019s very flattering, but it\u2019s absurd.\u201d<\/p>\n

Simon, too, began to look for proof that this painting could in fact be a Leonardo. The work in question can be traced back as far as 1900, but its provenance before that is murky. \u201cWhere did this object come from and in what context did it land in the moment it\u2019s in right now?\u201d asks Evan Beard, global art services executive at Bank of America. \u00a0Still today, no one has the full story, but Simon claims to have been found in the inventories of the English kings Charles I and Charles II two now-missing works by Leonardo da Vinci, both called\u00a0Salvator Mundi<\/em>, that describe the works as depicting a figure holding an orb. The rediscovered\u00a0Salvator Mundi\u00a0<\/em>doesn\u2019t have the royal brand (a crown with the letters CR underneath<\/a>) on its back, as would be expected of works that were in royal collections, but to Simon that\u2019s just an irrelevant detail.<\/p>\n

For some, what cemented this rediscovered work as a bona fide Leonardo was its inclusion in a 2011 exhibition about the Renaissance artist at the National Gallery in London. The show\u2019s curator, Luke Syson, asked Parish and Simon to bring the work to London to be reviewed by a panel of da Vinci experts, including Martin Kemp and Maria Teresa Fiorio. A cagey Syson says in the film that Kemp and Fiorio both felt strongly that it was a Leonardo. But the two experts deny this to Koefoed, telling him that they would have never given such an opinion, especially in such an informal setting. Another layer of mystery derives from whether any scientific analysis was done to the painting prior to its London debut.<\/p>\n

Enter the beleaguered Swiss art dealer Yves Bouvier, who has become well known for the numerous lawsuits that have been brought against him by his onetime client, the Russian billionaire Dmitry Rybolovlev<\/a>. Rybolovlev believed that Bouvier was acting as his art adviser, and that he would take a commission on works that Rybolovlev purchased. In actuality, Bouvier bought high-quality, blue-chip masterpieces for a certain price and sold them for a steep profit to Rybolovlev, pocketing a reported $1 billion for himself.<\/p>\n

One of those works was\u00a0Salvator Mundi<\/em>. The U.S. dealers had in mind a $200 million price tag for the painting. Bouvier was able to negotiate it down to $83 million, but he told Rybolovlev he was only able to get it down to $127.5 million. It\u2019s clear that he has no regrets. \u201cYou buy low and you sell high,\u201d he says in the film. \u201cIt\u2019s the principle of commerce. People don\u2019t understand and say, \u2018Mr. Bouvier is a cheater,\u2019 but Mr. Bouvier is a businessman like any other.\u201d<\/p>\n

Once Rybolovlev learned that he was essentially swindled by Bouvier, he tried to sell the works he had bought through Bouvier at auction. Unimpeachable masterpieces by Klimt, Gauguin, Magritte, Picasso, and Rothko were consigned by Rybolovlev to Christie\u2019s, as well as\u00a0Salvator Mundi<\/em>. But, according to Evan Beard, the Bank of America executive, the only work that \u201chad questions around it\u201d was the\u00a0Salvator Mundi<\/em>. In order to \u201ckeep their client happy, they went all in on this picture.\u201d<\/p>\n

And so began a frenetic marketing campaign in which the auction house called the painting the \u201cmale\u00a0Mona Lisa<\/em>.\u201d In one promotional video, actor Leonardo di Caprio is shown standing in front of the painting. Meanwhile, the painting goes on a global tour, as crowds snake around the block to get a glimpse of it. As Alison Cole, the editor of the\u00a0Art Newspaper<\/em>, puts it, \u201cChristie\u2019s is in the business of selling\u2014it\u2019s not in the business of authenticating.\u201d<\/p>\n

After the painting sold for $450 million, shooting far beyond its $180 million estimate, speculation swirled about who bought it.\u00a0New York Times\u00a0<\/em>journalist David Kirkpatrick reported that it was bought by a proxy for Mohammed bin Salman (MBS), the crown prince of Saudi Arabia. MBS and the Saudi government have never confirmed that they were the buyers, though Koefoed spends time exploring why they may have purchased the work. Was it merely a political strategy intended to boost Saudi Arabia\u2019s place in the international art world, or did MBS simply have a personal connection to the work? Koefoed never offers definite conclusions, and it\u2019s possible no one will ever know for sure what really happened.<\/p>\n

Given the timing of the sale, some wondered if the work might reappear in the 2019 Leonardo exhibition at the Louvre in Paris, timed to the 500th anniversary of the artist\u2019s death. It never ended up going on view at the museum, igniting further controversy. Adding more fuel to the fire was the fact that though the Louvre had secretly analyzed the painting and produced a booklet, full of new technical information, in which the museum confirmed \u201cthat the work is by Leonardo da Vinci.\u201d That book was never officially published by the Louvre because the loan never came through, and the museum has tried to deny its existence.<\/p>\n

Major questions still linger: Is\u00a0Salvator Mundi<\/em>\u00a0without a doubt a work by Leonardo da Vinci? Was the work really purchased by MBS, and why would he have paid such an astronomical price for it? Where is the painting now, and will the public ever see it again? Viewers expecting answers may find themselves disappointed by\u00a0The Lost Leonardo<\/em>, which doesn\u2019t come any closer to the truth than any prior reporting on the subject. What the documentary does show, though, is that, no matter what the truth is, everyone has their own set ideas about\u00a0Salvator Mundi<\/em>, and there\u2019s no convincing them otherwise. As investigative journalist Alexandra Bregman says at one point, \u201cEven if it\u2019s decided months, years, decades later that it\u2019s not really by Leonardo da Vinci, those $450 million will live out in eternity as a value put upon this work of art.\u201d<\/p>\n

The Lost Leonardo\u00a0premiered at the Tribeca Film Festival on June 13. It is scheduled for a theatrical release in the U.S. this August.<\/em><\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

Source\uff1ahttps:\/\/www.artnews.com\/<\/p>\n","protected":false},"excerpt":{"rendered":"

Leonardo da Vinci\u2019s recently rediscovered painting\u00a0Salvator Mundi\u00a0(ca. 1500) may very well eclipse the\u00a0Mona Lisa\u00a0in fame, though the reasons why have to do less with its art-historical significance than its market value\u2014the painting sold for $450 million at a Christie\u2019s auction in 2017. This paradox guides\u00a0Andreas Koefoed\u2019s masterfully told documentary\u00a0The Lost Leonardo, which debuted this weekend […]<\/p>\n","protected":false},"author":2,"featured_media":851,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"tdm_status":"","tdm_grid_status":"","footnotes":""},"categories":[5,13,7,4,3],"tags":[162],"class_list":{"0":"post-848","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-artist","8":"category-auction","9":"category-events","10":"category-gallery","11":"category-latest-news","12":"tag-leonardo-da-vinci"},"yoast_head":"\n\u2018The Lost Leonardo\u2019 Documentary Thrillingly Takes on the Salvator Mundi Saga - Investable Art Auctioneer<\/title>\n<meta name=\"description\" content=\"Leonardo da Vinci\u2019s recently rediscovered painting\u00a0Salvator Mundi\u00a0(ca. 1500) may very well eclipse the\u00a0Mona Lisa\u00a0in fame, though the reasons why have to do less with its art-historical significance than its market value\u2014the painting sold for $450 million at a Christie\u2019s auction in 2017.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.atelierauction.com\/globalupdates\/artist\/the-lost-leonardo-documentary-thrillingly-takes-on-the-salvator-mundi-saga\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"\u2018The Lost Leonardo\u2019 Documentary Thrillingly Takes on the Salvator Mundi Saga - 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