The b-uncut blog

Modern Master meets Old Masters: Damien Hirst at the Wallace Collection

// December 15th, 2009 // b-scene // Jane

When I walk into the Wallace Collection (it is one of my favorite museums in London) a sense of calm passes over me, my pace slows, and I take a deep breath. It is one of the most tranquil experiences to walk around the creaky London townhouse, chock-a-block full of 18th and 19th century paintings, sculptures, clocks, furniture, tea sets, ornate mirrors, and every other decorative object imaginable. For any art history buff, it is an absolute treasure trove.

At the moment, in the newly refurbished West Galleries is a surprising exhibition called “No Love Lost” by British artist Damien Hirst. For those of you who have been living under a rock for the past 15 years, Hirst is the hottest contemporary artist. His sales have made him the wealthiest living artist (rumoured), and controversial to boot–recall his sale of over 200 works at Sotheby’s in London last year (the very night Lehman Brothers collapsed), where he daringly surpassed his dealers and sold directly himself, raking in 95 million pounds. The artist also regularly invests in himself (shill bidding anyone?) and his most expensive work to date–the diamond encrusted skull “For the Love of God” at 50 million pounds was apparently purchased by an “investment group” that includes Hirst–he is so confident in his investment value that he is literally banking on himself.

The paintings which are on view at the Wallace Foundation include 25 new paintings by Hirst, known as the ‘Blue Paintings.’ They hang in stark contrast to the rest of the lavishly decorative collection, set against beautiful light blue silk wall paper. Hirst (generously) shelled out 250,000 pounds to refurbish the exhibition space. There is nothing else in the two rooms where the exhibition hangs, nothing to distract. All of the works incorporate a message of death and decay, and Hirst has used his trademark skull to remind us of our impending doom. What is unusual about these paintings, is that they were created by the hand of the artist, and NOT in his factory…oops I mean workshop. The artist chats with Tim Marlow, the director of exhibitions at White Cube about “No Love Lost”:

http://www.youtube.com/watch?v=KHxAV1Nn9fY

I for one am thrilled to see Hirst at the easel–and thoroughly enjoyed the exhibit. In order to be considered a Modern Master, he needs to prove himself as more than just a brilliant self-promoter but as a talented working artist, and this exhibition is the first sign of acknowledgement that he is adamant about his standing as more then brilliant duper of fashion conscious investment bankers. However, as to whether Hirst is worthy of hanging in the company of Rembrandt, Titian, Hals, and Fragonard? The jury is still out…