Rachel Rosenfield Lafo

ArtsWatch Weekly: Big bucks, big visions

Following up on Portland Art Museum's $10 million gift; a fond farewell to Vision 2020; a final grace note; what's up onstage & in the galleries

THE BIG NEWS THIS WEEK ON THE OREGON ART FRONT came in a nice round figure: $10 million. That’s how much Portland philanthropist Arlene Schnitzer pledged to give the Portland Art Museum to spur funding for its Rothko Pavilion, a multi-story glassed-in structure that will link the Portland Art Museum’s original Belluschi Building to the south and its Mark Building to the north. Schnitzer has a decades-long record of support for the museum, and her gift – announced at a splashy unveiling on Tuesday at the museum and reported here by Laurel Reed Pavic – covers a tenth of the project’s cost in one swoop. Tuesday’s unveiling also included news of a $750,000 grant for the pavilion project from the National Endowment for the Humanities.
 

Design concept for the east entrance, from the South Park Blocks, to the Rothko Pavilion, showing the open passageway for pedestrians and bicyclists. The pavilion will link the Portland Art Museum’s north and south buildings. Illustration: Hennebery Eddy Architects and Vinci Hamp Architects

Schnitzer’s gift marks a significant turning point for the $100 million pavilion project, a major undertaking that has been in the works for several years and will help unite the museum campus and vastly improve what is now an often bumpy and disjointed interior flow for visitors among gallery spaces. Museum director Brian Ferriso told OPB’s Donald Orr that PAM still needs to raise $25 million to $30 million in the next two to three years to complete the project. The museum hopes to break ground on the pavilion in late 2021. The cost includes $75 million for construction and $25 million to bolster the museum’s endowment, which is now about $54 million. The $100 million estimated price tag is up from an originally announced $75 million: Construction costs have escalated by $25 million, in large part because of revisions to include a 20-foot-wide passthrough for pedestrians and bicyclists to move easily between Southwest 10th Avenue and Park Avenue. The design change was made in response to community objections to losing a heavily used public passageway through the museum’s plaza.

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PAM’s temporary Turner

Art notes: A high-priced Turner is on short-term loan at the Portland Art Museum; Vancouver B.C. art at Leach; Carola Penn's 'Disruptions'

Hanging in a corner of the second-floor European galleries in the Belluschi Building of the Portland Art Museum is a painting that doesn’t usually live there – and not just any painting, but a masterpiece from J.M.W. Turner’s latter period, an 1835 work titled Ehrenbreitstein, or the Bright Stone of Honour and the Tomb of Marceau, from Byron’s ‘Childe Harold’. On short-term loan from an anonymous private collector, it arrived in mid-June and will be in Portland until mid-October.

J.M.W. Turner, “Ehrenbreitstein, or the Bright Stone of Honour and the Tomb of Marceau, from Byron’s ‘Childe Harold’,” 1835, oil on canvas, 48.4 x 36.6 inches.

The painting was included in an Old Masters auction at Sotheby’s London on July 5, 2017, where it was offered with an estimated sale price of $18.7 million-$31.2 million, and sold for $25 million. It had last sold in 1965 for $113,250. “Sotheby’s would have been hoping to get a bit more for the work, which was tipped to have the potential to break Turner’s auction record. But it’s still a good price for such a significant work,” Nicholas Forrest wrote for Blouin Artinfo on the day of the auction. Forrest continued: “One of the greatest works by J.M.W. Turner still held in private hands, Ehrenbreitstein is from a period that is widely considered Turner’s best. The painting depicts the ruined fortress of Ehrenbreitstein near Coblenz, and according to Sotheby’s is the most important oil painting of a German subject that Turner ever painted.”

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