Upside down image below Botticelli’s Portrait of Christ shows he first tried to paint him as a baby + other stories

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Art Industry News is a daily summary of the most momentous developments in the art world and the art market. You need to know this on Tuesday, January 11th.

MUST READ

Peter Max’s guardian is suing his daughter – The court-appointed guardian of the ailing 84-year-old artist Peter Max has fought back claims by Max’s daughter Libra that he was being held captive by the arrangement. Attorney Barbara Lissner is suing Libra Max, who runs a Free Britney-style campaign on behalf of her father, for defamation. Libra falsely claimed that Lissner isolated the artist, siphoned off his money and confiscated his phone and cats, the lawyer claims, when Libra actually mistreated him. (New York Post)

New art companies want to do good by doing good – A new class of art space is merging for-profit and non-profit, donating a percentage of its income to charity. They are led by parties disaffected with the old world system who believe that “successful businesses don’t have to be strictly for-profit,” said Charlie Siddick, owner of UK gallery Purslane. (Financial Times)

Composition found hidden under $ 40 million Botticelli – Sotheby’s made a surprising discovery about Botticellis Man of pain, which is set to raise at least $ 40 million on Jan. 27. The painting, which has been privately owned since the 19th century and has not been intensively examined, shows a picture of a Madonna and Child under the portrait of Christ. Ultimately, the artist gave up the picture and turned the then valuable and expensive property upside down to create a new picture. (The art newspaper)

Asia’s collecting habits are changing again – The stars of the art market in 2021 were wealthy Asian collectors who continued to pour money into the art despite the challenges of the pandemic. But these collectors’ tastes evolve quickly. “The focus now is very much on the best of the best. Customers want the best blue diamond, the best wristwatch, the best Impressionist picture, but the second is of no interest, ”said art advisor Philip Hoffman. When it comes to contemporary art, the interest in the “colorful and happy” overrides the conceptual. (Bloomberg)

MOVERS & SHAKERS

Palais de Tokyo appoints new director – The art critic Guillaume Désanges has been appointed new President of the Paris Palais de Tokyo. He replaces Emma Lavigne, who ran François Pinault’s private museum Bourse de Commerce. Désanges has promised to bring the museum’s program back to its “avant-garde” roots. (ARTnews)

Uruguay gets its first contemporary art museum – Uruguay has officially opened its first large contemporary art museum in the coastal town of Punta del Este. The Atchugarry Museum of Contemporary Art (MACA) was named after the sculptor Pablo Atchugarry, whose foundation built the museum. The opening exhibitions include works by Christo and Jeanne-Claude as well as the Argentine artist León Ferrari. (ARTnews)

Delfina Foundation appoints new curator – The London-based Delfina Foundation has appointed curator Viviana Checchia to oversee their critically acclaimed residency program and coordinate the organization’s public program. Checchia, whose official title is Residency Curator, was previously Senior Lecturer at the University of Gothenburg. (Press release)

India’s largest museum opens an Islamic art gallery India’s largest art museum, the Salar Jung Museum, opens a section for Islamic art. The Islamic galleries, which are slated to open in 2023, are spread over two floors and show around 2,500 Islamic works from the museum’s collection. (The art newspaper)

TO BECOME THE ART

New portraits of Kate Middleton go to the National Portrait Gallery – Three new photographic portraits of Princess Kate, taken on her 40th birthday, will be shown across the UK before being added to the permanent collection of London’s National Portrait Gallery. Photographer Paolo Roversi, known for his work for Fashion and his soft, romantic style, photographed her wearing three bespoke dresses by Alexander McQueen. (New York Times)

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