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| | Thursday 4 April 2013 | View in browser | | News | Museums | Market | Conservation | Exhibitions | Jobs | Comment | In print | | | | | | In this week’s edition | news Udo Kittelmann says other artists chosen to represent Germany at the Venice Biennale will be “overshadowed” World’s oldest bank receives $4.1bn bailout, leaving its formerly generous foundation with little to give Hans Ulrich Obrist opens show in Lina Bo Bardi's “Glass House” in São Paulo, plans next exhibition at Alexander Calder's house in US More in news in the print issue: - Canada under pressure over potential Nazi loot
- Restitution to get harder in California?
- City of London altarpiece in unholy row
museums Jean-Luc Martinez, head of the Louvre’s Greco-Roman antiquities department, takes France’s most prestigious museum post More in museums in the print issue: - Turkish mosque conversion raises alarm
- New kid on Mexico City’s millionaire row
- Benin bronzes to be returned—on loan
market Trade divided over whether publication will enhance or undermine the value of the artist’s signature works The district's art galleries face spiralling insurance costs—or may find it impossible to buy coverage at all More in market in the print issue: - Debate stirred by museum show of Russian art fund’s works
- Painting owned by Hitler soars at auction
- Companies reach agreement on Beijing freeport
Conservation Some restoration projects are finally under way, but for residents, it is too little, too late More in conservation in the print issue: - Colour restored to Vatican’s Raphaels
- Getty protects charioteer from Sicilian quakes
- Canadian council saves Serra’s concrete walls
From the archive To coincide with the current exhibition on Duchamp at the Barbican, London (until 9 June), we have reposted an interview with the artist from our March 1993 issue, until then unpublished
exhibitions  An exhibition of John Singer Sargent’s watercolours in New York in 1909 caused a sensation. “The crowd was so great one could not get into Knoedler’s shop,” wrote one of the organisers. Telegrams crisscrossed the Atlantic as the London-based artist was consulted about offers to buy the 83 works that ranged from “Bedouins”, a group of portraits considered by Sargent to be his “pièce de resistance” (below, Bedouins, around 1905-06), to scenes of Venice, as well as informal portraits painted en plein air. The Museum of Fine Arts, Boston, was keen, but the Brooklyn Institute of Arts and Sciences (the forerunner of the Brooklyn Museum) was swifter, buying the lot for $20,000 within days of the show opening… READ MORE
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