Recent links of note:

“Manet’s best friend: artist’s dog portraits poised to make an impression at Christie’s Getty collection auctions”
Daniel Cassady, The Art Newspaper

To begin the sale of Ann and Gordon Getty’s collection for charity, Christie’s is opening the bidding on a portrait by Édouard Manet of his art-collector friend Jean-Baptiste Faure’s pet dog, Bob. Painted around 1876, Tête du chien “Bob” is expected to fetch half a million dollars, with the proceeds going to the Ann and Gordon Getty Foundation for the Arts. Manet pleasantly captured Bob’s essence with swift brushstrokes and color contrasts that display the pet’s eager and playful temperament. As Daniel Cassady points out, pet portraits by Manet are quite rare (“Bob” is one of eight in total), which could draw higher bids at auction as a result.

“‘Forgotten Master’: English artist whose work was lost for 120 years celebrated”
Harriet Sherwood, The Guardian

A master along the lines of J. M. W. Turner has been recently rediscovered, Harriet Sherwood writes in The Guardian. The modern, industrial landscapes of England painted in watercolor by John Louis Petit, a nineteenth-century English artist, verged on Impressionism and were lost following his death in 1869. The art historian Andrew Graham-Dixon has praised a new book by the Petit expert Philip Modiano for its role in bringing a portion of the artist’s oeuvre (which includes over ten thousand works) back into view after over 120 years of hiding in a Petit family attic. With many of his works sold en masse to local auction houses in recent decades, the rediscovery of Petit’s art is only just beginning.

“History as Told by the Vanquished”
Tobias Grey, The Wall Street Journal

In the most recent edition of The Wall Street Journal’s Masterpiece column, Tobias Grey praises the novel Kaputt (1944) by Curzio Malaparte as an “indictment of fascism by a fascist,” a story told from the perspective of the side that lost (though there is considerable debate over the author’s actual beliefs). Malaparte, an Italian fascist, wrote this book while he operated as a war correspondent in Eastern Europe, the theater that witnessed a level of barbarity, perpetrated by the Nazis, scarcely known in human history. Malaparte’s understanding of—or inability to understand—this evil formed the basis of Kaputt while he traveled the length of the Eastern Front from 1941 to 1943. As Russia continues to wage war against Ukraine, Grey draws attention to Malaparte as he wonders “whether the chaos of Kaputt is really behind us.”

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