When Pablo Picasso Was Suspected of Stealing the Mona Lisa

On August 21, 1911, the Mona Lisa was stolen from Paris's Louvre Museum. It was a Monday—the museum was closed and security was minimal—and the thief had reportedly spent the weekend plotting the heist while hiding in one of the museum's closets.

At the time, security at the Louvre was abysmal. There were less than 150 security personnel in charge of guarding 250,000 artifacts, and none of the paintings were bolted to the walls. (The Mona Lisa, for example, hung from four measly hooks.) According to Ian Shank at Artsy, "Months before the heist, one French reporter had spent the night in a Louvre sarcophagus to expose the museum's paltry surveillance."

After the painting's disappearance, France's borders were effectively closed, with officials examining every vehicle crossing the country's eastern border. Media coverage of the heist spread across the globe, turning the little-known painting into a household name. The Paris-Journal offered 50,000 francs for the painting's return. Soon, a tip from an art thief would cause police to turn their attention toward one of the country's most promising young artists: Pablo Picasso.

Picasso, who had moved to Paris a decade earlier, lived with a gaggle of Bohemians dubbed la bande de Picasso. Among this crew was the poet and writer Guillaume Apollinaire, whose former secretary was Honore-Joseph Géry Pieret, a Belgian man of questionable morals. Shortly after the Mona Lisa was stolen, Pieret—lured by the possibility of a cash reward—stepped into the Paris-Journal's office and claimed that he had lifted art from the Louvre before and had given the works to "friends."

Pieret was telling the truth. In 1907, he had stolen at least two Iberian sculptures made in the 3rd or 4th century BCE and sold them to Picasso, who paid him 50 francs per piece. (Picasso used these artifacts to inspire his work Les Demoiselles d’Avignon. [PDF]) That wasn't all. According to Nick Mafi at The Daily Beast, Pieret also stole a similar piece from the Louvre in 1911 and placed it on Apollinaire's mantel.

The police read about Pieret's exploits with great interest. They believed that the people who were in possession of these sculptures might also have the Mona Lisa. And they didn't have much trouble piecing together who, exactly, the thief's friends were.

Realizing that they were in deep trouble, Picasso and Apollinaire packed the Iberian sculptures into a suitcase and ran off in the middle of the night with plans of throwing the artworks into the river Seine. But when the two artists reached the water, they could not will themselves to dump the statues. Instead, Apollinaire visited the Paris-Journal the next morning, deposited the statues, and demanded that the newspaper give him anonymity. The newspaper agreed … until the authorities stepped in.

Within days of Apollinaire's visit to the newspaper, the police had detained him. In early September, Picasso was ordered to appear before a magistrate. When asked if he knew Apollinaire, the terrified painter lied. "I have never seen this man," he replied.

Recalling the events, Picasso said, "I saw Guillaume's expression changed. The blood ebbed from his face. I am still ashamed." As the proceedings continued, Picasso wept.

Although both men were indeed in possession of stolen art, the judge determined that the situation had nothing to do with the Mona Lisa's disappearance and decided to throw the case out. Two years later, both men would be cleared of any possible connection to the crime when police discovered the painting had been stolen by Vincenzo Peruggia, an Italian artist who had been working at the Louvre.

Tim Burton’s Art Exhibition at Las Vegas’s Neon Museum Now Has Tickets On Sale

A Tim Burton sculpture representative of what might be on display at the Neon Museum
A Tim Burton sculpture representative of what might be on display at the Neon Museum
The Vox Agency

Last year, The Neon Museum in Las Vegas announced that it would be hosting an exhibition of fine art by Tim Burton in 2019. Anticipation has been high ever since: The Vegas show will mark the filmmaker's first major art exhibition in the United States since his work was displayed at the Museum of Modern Art in New York a decade ago. Now, tickets for the October event are finally on sale.

Tim Burton is best known as the director of such movies as Batman (1989), Beetlejuice (1988), and Edward Scissorhands (1990), but he got his start as an artist. His distinct drawing style even got him a job at Disney's animation division in the early 1980s.

The Neon Museum exhibition will feature works that have been displayed previously, as well as sculptures and digital installations created specifically for the space. A press release reads: "The presentation of Burton’s art in Las Vegas represents a unique experience where the host institution also serves as creative inspiration. The museum’s distinctive campus will be transformed through the artist’s singular vision for this original exhibition."

Pieces will be displayed at three locations across the museum campus: the outdoor Neon Boneyard (a "graveyard" for old neon signs), the North Gallery, and the City of Las Vegas’s Boneyard Park. In addition to the main show, there will be a separate, special exhibit after dark that combines projection mapping with the site's famous sign collection. As for the content of the artwork, the museum says Burton is looking to both his career history and the museum itself for inspiration. Although the museum wasn't ready to release images of specific artwork that will be featured in the show, they released some representative images.

"Lost Vegas: Tim Burton @ The Neon Museum Presented by the Engelstad Foundation” launches October 15, 2019, and will run through February 15, 2020. Tickets to the primary exhibit cost $30, and entrance to the nighttime spectacle will cost an extra $24. You can preorder tickets to both shows here.

A Tim Burton sculpture representative of what will be on display at the Neon Museum
A Tim Burton sculpture representative of what might be on display at the Neon Museum
The Vox Agency

A Tim Burton sculpture representative of what will be on display at the Neon Museum.
A Tim Burton sculpture representative of what might be on display at the Neon Museum
The Vox Agency

Edward Hopper’s Western Motel Is Being Turned Into a Hotel Room at the Virginia Museum of Fine Arts

Western Motel, 1957, Edward Hopper (American, 1882–1967), oil on canvas. Yale University Art Gallery, New Haven, Bequest of Stephen C. Clark, B.A., 1903. © 2019 Heirs of Josephine N. Hopper / Artists Rights Society (ARS), NY
Western Motel, 1957, Edward Hopper (American, 1882–1967), oil on canvas. Yale University Art Gallery, New Haven, Bequest of Stephen C. Clark, B.A., 1903. © 2019 Heirs of Josephine N. Hopper / Artists Rights Society (ARS), NY

Some paintings are so good you can’t help but wish you could climb right inside of them and experience the details with all five senses, in all three dimensions. If Edward Hopper’s Western Motel brings about those sorts of feelings for you, now is your chance to live that dream.

As part of an exhibition called “Edward Hopper and the American Hotel,” Artnet News reports that the Virginia Museum of Fine Arts (VMFA) is constructing a real, live motel room modeled on the artwork that you can actually book for a night.

Much like Nighthawks and Hopper's other paintings, 1957’s Western Motel isn’t exactly a warm and cozy depiction of the hospitality industry. The featured room—which is furnished with two sturdy red sofas, a chair, a small table, and a reedy lamp—is so neat it seems almost characterless. A well-dressed woman with impeccable posture perches atop a couch, looking expectant. It evokes the sense of alienation that permeated so many of Hopper’s influential pieces focused on life in the modern world: lonely people hunched over tables and gazing out windows, failing to connect with their surroundings in a way that makes you, the viewer, uncomfortably aware of your own static energy.

While pieces like Western Motel seem to hint that Hopper himself was something of a gloomy introvert, exhibition curator Dr. Leo G. Mazow hopes that "Edward Hopper and the American Hotel" will set the record straight. The exhibition "endeavors to consider hotels, motels, and other transient dwellings as vital subject matter for Hopper and as a framework with which to understand his entire body of work," Mazow stated in a press release.

In addition to 60 of Hopper’s works and another 35 from his contemporaries, the exhibition will also feature diary entries and postcards from Hopper’s wife and fellow artist, Josephine. As the press release explains, these artifacts "humanize the artist and his wife, providing detailed accounts of their travels in their own words and personal responses to the places they visited, their experiences there, and how these trips informed their art."

The "Hopper Hotel Experience" will offer a number of different packages that, in addition to spending a night at the museum in a room modeled after Hopper's painting, will include everything from dinner at Amuse, the VMFA’s fine dining restaurant, to a guided tour of the exhibition with Mazow.

Information on how to book an overnight stay will made available closer to the exhibition's October 26th opening. But you don’t have to commit to a museum sleepover in order to step inside the artwork; you can also just take a walk around it during museum hours.

[h/t Artnet News]

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