By Gregory Curtis
Within the spring of 1820, at the Aegean island of Melos, an unsuspecting farmer was once digging for marble development blocks while he unearthed the statue that may emerge as often called the Venus de Milo. From the instant of its discovery a conflict for ownership ensued and used to be gained, ultimately, through the French. Touted by means of her keepers within the Louvre because the nice classical locate of the period, the sculpture won rapid celebrity–and but its origins had but to be documented or verified.
From the flurry of pleasure surrounding her discovery, to the raging disputes over her authenticity, to the politics and personalities that experience given upward thrust to her mystique, Gregory Curtis has given us a riveting examine the embattled legacy of a cherished icon and a outstanding tribute to 1 of the world’s nice artworks.
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Extra info for Disarmed: The Story of the Venus de Milo
The year 1970 was also signi¢cant for the ¢rst appearance of the major German artist Joseph Beuys (1921^ 86) in Britain. He visited Scotland to participate in the show ‘Strategy: Get Arts’ organized by the Richard Demarco Gallery and held at Edinburgh College of Art. Demarco, one of the most enthusiastic and energetic of the arts impresarios of the 1970s, invited a number of artists from Dˇsseldorf to enliven the Edinburgh Festival. Besides Beuys, they included Klaus Rinke, Dieter Rot and Stefan Wewerka.
Medalla, an ‘impractical visionary’ according to the American critic Dore Ashton, came from a wealthy, aristocratic background and was well educated. He was such a child prodigy that in 1954 he was awarded a scholarship to study in the United States. At the age of 14, he was in New York attending Columbia University. He started to paint and met such luminaries as James Dean and Mark Rothko. Medalla, a charming, pleasure-loving homosexual proved to have a talent for making friends. On his arrival in London, he met Guy Brett, who was to become art critic for The Times newspaper (1964^ 75), and Gustav Metzger.
They soon 40 1970 began to ‘make trouble’ by organizing student occupations in which dividing walls were torn down. ) Much of Reid’s early work consisted of caricatures, drawings, watercolours and illustrations about cats and monsters that were stylistically indebted to the British romantic tradition of artists-poets such as William Blake. After Art College, he and two friends established a printing press, entitled Suburban Press, that earned money by serving political organizations such as the Black Panthers, plus women’s, prisoners’ and anarchists’ groups, and by printing fanzines for pop music fans.
Disarmed: The Story of the Venus de Milo by Gregory Curtis