[analyse_image type=”featured” src=”https:\/\/www.artnews.com\/wp-content\/uploads\/2026\/05\/07275823191491671c38e92a6cf3ed8a4096c5b8-2000×1290-1.avif?w=1024″]<\/p>\n
\n\tGood Morning!<\/p>\n
RETURNING TO SENDER<\/strong>. An 1888\u00a0Paul C\u00e9zanne<\/strong>\u00a0watercolor of the Montagne Sainte-Victoire, featured in the\u00a0Fondation Beyeler<\/strong>\u2018s recent exhibition dedicated to the artist, once belonged to a Jewish collector whose heirs are mounting a case to prove it was lost due to persecution during the Nazi era, reports the\u00a0Art Newspaper<\/strong><\/em>. A provenance researcher for the family of\u00a0Gustav Schweitzer<\/strong>\u00a0has found documents in Swiss public archives backing their claim; however, it remains unclear how the work left the family\u2019s possession. The researcher has demanded that the foundation withhold the painting from the unnamed private owners who loaned it to the exhibition, adding that it was the institution\u2019s \u201chistorical obligation\u201d to do so. But the foundation said that, \u201cas a matter of principle, a Swiss museum has no authority to retain artworks without an appropriate legal basis.\u201d The Schweitzer family\u2019s researcher,\u00a0Willi Korte<\/strong>, also insisted the museum should have been more diligent about its provenance research before accepting the loaned work, which he said \u201cwas either sold under duress after Schweitzer had fled Germany, or it was looted in Nazi-occupied territory.\u201d Yet beyond investigating its own collection and checking international databases, the foundation explained it has far less leeway in researching the provenance of privately owned art. \u201cThe lender of the watercolor will be informed of the suspicion that has been raised,\u201d the Swiss foundation stated.<\/p>\n MONET IN LA.<\/strong>\u00a0What is being billed as the first permanent outdoor video installation by an artist in a public space, was revealed to the\u00a0Los Angeles Times,\u00a0<\/em><\/strong>during an early, recent test run. The piece, \u201cOo Fifi, Five Days In Claude Monet\u2019s Garden, Part 3,\u201d by\u00a0Diana Thater<\/strong>, will soon light up the bridge over Wilshire Boulevard by the\u00a0Los Angeles County Museum of Art\u2019s David Geffen Galleries<\/strong>\u00a0for about seven hours, every day of the year, from sundown to sunrise, starting in September. We can hardly expect more from Tinseltown! The installation is also the largest work of Thater\u2019s career. \u201cOh, my goodness, it\u2019s becoming more visible,\u201d said the artist, 64. \u201cThe piece will look great at midnight, and it\u2019s going to pop when it gets very dark,\u201d she added. The video work includes footage Thater took in 2025 of\u00a0Claude Monet\u2019<\/strong>s garden in Giverny, and in keeping with the gardening theme, it will be right across the street from\u00a0Jeff Koons<\/strong>\u2019 topiary sculpture\u00a0Split-Rocker<\/em>. Thater went to Giverny soon after losing her Altadena home to the 2025 fires, but had also spent time there on a residency in 1991. The final work includes footage from both visits.\u00a0LACMA Director and CEO Michael Govan\u00a0<\/strong>has long been an enthusiastic Thater supporter, and said that when he was asked about the future of art, he would say, \u201cIt\u2019s already been made and it\u2019s Diana Thater.\u201d<\/p>\n \n\tThe online prediction platform\u00a0Kalshi<\/strong>has launched a new category of predictions linked to art auction sales. [Artnet News<\/strong>]<\/p>\n \n\tArtists Rashid Johnson and Sheree Hovsepian are launching a new residency program for artists and writers on the island of Menorca. [ARTnews<\/strong>]<\/p>\n \n\tA 1911\u00a0Wassily Kandinsky<\/strong>\u00a0painting that hasn\u2019t been exhibited in a century, and was only known through the artist\u2019s sketched notes, is heading to auction at\u00a0Ketterer Kunst<\/strong>\u00a0with a low, conservative estimate of just $2.3 million. [Puck<\/strong>]\u00a0<\/p>\n \n\tSix finalists have been revealed for Canada\u2019s\u00a02026 Sobey Art Award<\/strong>shortlist and will be featured in an exhibition at the\u00a0National Gallery of Canada<\/strong>\u00a0in September. [Press Release<\/strong>]<\/p>\n Christie\u2019s<\/strong>\u00a0named\u00a0Fran<\/strong>\u00e7ois-Henri Pinault<\/strong>\u00a0as the chairman and director, replacing\u00a0Guillaume Cerutti<\/strong>, who left the position in April, while Hollywood talent agent\u00a0Bryan Lourd<\/strong>\u00a0is joining the board. [Press Release<\/strong>]<\/p>\n \n\tThe\u00a0Mus\u00e9e d\u2019Orsay\u2019s<\/strong>\u00a0public restoration of\u00a0Gustave Courbet<\/strong>\u2019s masterpiece,\u00a0A Burial at Ornans<\/em>(1849-1850), has revealed important hidden details, which had been covered up by layers of decayed varnish. [The New York Times<\/strong>]<\/p>\n ART\u2019S THE LIMIT<\/strong>. Documentary filmmaker\u00a0Adam Curtis<\/strong>\u00a0talked to art critic\u00a0Dean Kissick<\/strong>\u00a0for\u00a0Vice<\/em><\/strong>\u2019s spring issue, and their conversation about \u201cthe future of everything you ought to care about\u201d is worth reading. The two discuss whether society is blinded by a form of \u201cmonoculture\u201d that involves over-self-expression. \u201cWe\u2019re all on our phones, having lattes, taking pictures in caf\u00e9s, expressing ourselves,\u201d said Kissick. From asking whether it might be good for art if AI devalues some forms of creativity, to \u201cthe very idea of \u2018realism,\u2019\u201d disappearing, their philosophizing turns to the time-honored practice of questioning what the word \u201cart\u201d even means nowadays. \u201cIt may be that what we call \u2018art\u2019 no longer has the ability to describe how most people experience the world today as they move through it. And we\u2019re waiting for something else to capture and describe the now. While what we call \u2018art\u2019 will just give up on that idea of \u2018realness\u2019 and go into a world of total imagination,\u201d says Curtis. The two don\u2019t offer an alternative descriptor to \u201cart,\u201d and fail to mention how the Surrealists similarly rejected traditional realism as a philosophy in the first half of the 20th century. All told, Curtis expresses disappointment with artists today, who are failing at \u201ctheir job \u2026 to jump ahead of us,\u201d but still manages to leave us enthusiastic about what unknown creations are still to come. If art used to articulate how we experience the world, \u201cit doesn\u2019t do that any longer. And it\u2019s exciting to imagine what might be the thing that will do that in the future,\u201d he said.<\/p>\n<\/div>\n<\/div>\n [analyse_source url=”https:\/\/www.artnews.com\/art-news\/news\/jewish-heirs-restitution-cezanne-watercolor-morning-links-1234787520\/”]<\/p>\n","protected":false},"excerpt":{"rendered":" [analyse_image type=”featured” src=”https:\/\/www.artnews.com\/wp-content\/uploads\/2026\/05\/07275823191491671c38e92a6cf3ed8a4096c5b8-2000×1290-1.avif?w=1024″] Good Morning! The family of a Jewish collector claims a C\u00e9zanne watercolor on loan for a recent Fondation Beyeler exhibition was lost due to Nazi persecution. The online prediction platform Kalshi has launched a category for art auctions.\u00a0 Artists Rashid Johnson and Sheree Hovsepian to launch new residency program in Menorca. The […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[61,226],"class_list":["post-1959764","post","type-post","status-publish","format-standard","hentry","category-politics","tag-artnews-com","tag-crawlmanager"],"_links":{"self":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/1959764","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1959764"}],"version-history":[{"count":0,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/1959764\/revisions"}],"wp:attachment":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1959764"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=1959764"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=1959764"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}\n\t\tThe Digest\t<\/h2>\n
\n\t\tThe Kicker\t<\/h2>\n