Fifth-Century Persian Panel, Stolen From Montreal Museum, Found 2,000 Miles Away in Edmonton

(Courtesy AXA Art)

A Persian Achaemenid bas-relief panel that was stolen from the Montreal Museum of Fine Arts in 2011 was discovered 2,000 miles away in Edmonton, the capital of the Canadian province of Alberta. The panel has been returned to the museum, according to a release from AXA Art Insurance. The panel dates from the 5th century B.C., and is worth “hundreds of thousands of dollars.”

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The Resurrection of Julian Schnabel: Has the Art World Finally Forgiven the World’s Most Famous Painter?


Once compared to Citizen Kane’s Xanadu, Palazzo Chupi, the pink West Village mansion where Julian Schnabel presides over his large family and a cavalry of assistants, is an ornate doily of concrete, a symbol if not of Cupid, then of cupidity. I arrived there on Valentine’s Day. Mr. Schnabel’s studio is on the third floor, a large white space, paint-splashed, with a single sliver of a window letting in light from the sun, which was beginning to set over the Hudson River. Two assistants watched as Olmo Schnabel, Julian’s college-age son, tinkered with a five-foot-tall cardboard sculpture shaped like a missile. The room was hung with Mr. Schnabel’s “Goat” paintings, a recent series of enormous canvases made from a reprinted image taken from 19th-century Dufour wallpaper. They depict a Redcoat army marching through a bucolic valley, a scene onto which the artist has drizzled purple paint and transposed an illustration of a large white goat. A realist portrait of Dennis Hopper, high up on a wall, gazed over the goats like a shepherd. Read More


Julian Schnabel Returns Downtown in February

Julian Schnabel, "St. Sebastian," 1979. (Courtesy Oko/Luxembourg & Dayan)

Julian Schnabel, the darling of the New York art world in the 1980s, will be the subject of an exhibition at the East Village gallery Oko, called “Julian Schnabel 1978-81.” The show, presented in collaboration with Luxembourg & Dayan, is structured as a “rotating exhibition” of four paintings, each presented individually for two weeks at a time. The press release states that “even cognoscenti are often unable to immediately conjure mental images that speak to the full scope and depth of Schnabel’s work.” Read More