The multi-talented Sam Mills had done my portrait (as part of a series of writers’ portraits). The beauty of it is that she’s actually managed to make me look good! This is the second draft. Sam said, “I found it easier to draw your eyes when I realised you have similar eyes to Lucian Freud, who I’ve also been sketching (his ghost kindly sat for me…)”.
Sam Mills: “Evidence: if you compare this photo of Lucian Freud with you, I think you have a similar profile, with regard to long lashes/slant of lips? Something similar somewhere”.
Sam Mills: “It’s a colourful pic because you look very vital, with a lot of sun and shukra in your skin, but a close look suggests a jaded edge, as though you’ve not had much sleep or you been imbibing or something (!). Anyway, I was struggling with another portrait & found myself drawing it; here is the half-finished sketch”.
Jonathan Jones, “Lost Art Comes Back to Haunt Us,” The Guardian 6 June 2012
The art that exists is a tiny fraction of the art that is lost. Vanished works outnumber the surviving masterpieces in museums, just as the dead outnumber the living. Where are the paintings of Apelles, court artist to Alexander the Great, who was said to be the greatest artist of all time? Gone forever. Not a fragment of any of his paintings survives. Meanwhile, the reputation of Gustav Klimt is forever scarred by the destruction of some of his most serious works at the end of the second world war.
Lost art exerts a fascination all of its own. Like ghostly mutterings in galleries, the images of vanished works linger behind the surviving corpus of art. Ghosts of Leonardo da Vinci’s Battle of Anghiari haunt Salvador Dali’s painting Spain. Holbein’s destroyed Whitehall mural is commemorated by his eerie full-size drawing of Henry VIII.
In the 20th century, art’s relationship with disappearance got stranger than ever. Some artists made works that were designed to disappear — Robert Smithson’s Spiral Jetty sank into the landscape before re-emerging in recent years.
[…] It hurts to lose art. Lucian Freud never gave up looking for a portrait of Francis Bacon by him that was stolen in Berlin. He made a compelling Wanted poster appealing for its return — Freud’s only work of conceptual art. The loss was evidently painful: the painting was an intimate record of his friend and equal, and eerily vanished from Berlin, where Freud had spent his early years. Berlin was his lost city.
Lost art is fascinating because it epitomises everything else that is lost, as well. The miracle of its occasional recovery is an image of redemption.