Summarize this content to 2000 words in 6 paragraphs in Arabic Unlock the Editor\u2019s Digest for freeRoula Khalaf, Editor of the FT, selects her favourite stories in this weekly newsletter.In August 1934, Jacqueline Lamba wed fellow artist Andr\u00e9 Breton in Paris, wearing funereal black in an apparent dig at the institution of marriage. The pair had met just two-and-a-half months earlier, in an \u201caccidental\u201d meeting that had been secretly orchestrated by Lamba. Breton was immediately captivated by the \u201cscandalously beautiful\u201d woman, as he later described Lamba in his 1937 Surrealist novella, L\u2019Amour Fou (Mad Love).Breton, as we know, went on to take the mantle of the \u201cfather\u201d of Surrealism, while Lamba\u2019s own work has remained in relative obscurity until very recently. Some say that the Surrealists were a particularly misogynistic bunch, whose male protagonists believed that women were better off as muses, not artists. Others disagree. The Cambridge university professor and art historian Alyce Mahon points out that women \u201cwere very much a part of experimentations with concepts and styles\u201d and took part in group exhibitions at the time. \u201cWhat we actually see is women being empowered by this avant-garde group \u2014 the Surrealists were the first to radically include women.\u201d \u00a0Orphaned as a teenager and determinedly ambitious, Lamba was indeed widely exhibited during her own lifetime. She was included in the 1938 International Surrealist Exhibition\u00a0in Paris and Peggy Guggenheim\u2019s 1943 exhibition, 31 Women, held in the US patron\u2019s New York gallery. In 1967, Picasso invited Lamba to mount a solo show in his museum in Antibes. Recognition dwindled towards the end of Lamba\u2019s life, however. After the high of the Picasso Museum exhibition, she refused to show anywhere less prestigious, and her demands grew increasingly grandiose.Since Lamba\u2019s death in 1993, much of her inventory \u2014 an estimated 100 canvases and several hundred works on paper \u2014 has been kept in storage by her and Breton\u2019s daughter, Aube Ell\u00e9ou\u00ebt-Breton. Another trove was destroyed by Breton when Lamba left him in 1942 for the American sculptor David Hare. \u201cFor most of her life, Aube focused on her father\u2019s work, and now she feels responsible for making sure that her mother\u2019s work gets out in the world,\u201d says Kendy Genovese, director of the San Francisco-based Weinstein Gallery, which began working with Ell\u00e9ou\u00ebt-Breton\u00a0to show Lamba\u2019s work in 2021.At Art Basel Miami Beach, the gallery is dedicating its booth to Lamba, showing works that reflect the three distinct phases of her career: early Surrealist paintings and objects, expressionist landscapes and the more meditative canvases featuring abstracted streams and skies that she developed in the 1960s. \u201cTowards the end, Jacqueline would go out into nature every day, sketching and painting. It was a meditation for her \u2014 and a complete reaction to the Abstract Expressionist idea that painting was action,\u201d Genovese says. Prices on the booth range from approximately $58,000 to $290,000.Recent critical reappraisal and a raft of museum exhibitions have boosted the market for female Surrealists such as Leonora Carrington. By contrast, Lamba\u2019s is a relatively untapped market \u2014 only 19 of her works have ever appeared at auction. \u201cIt\u2019s an interesting thing to be building a truly primary market for somebody who\u2019s been dead for decades and who was doing this great work almost 100 years ago,\u201d says Rowland Weinstein, who first started showing female Surrealists in his gallery more than 20 years ago.As Mahon points out, the market for these artists is only now catching up with the research \u2014 and the task now is to protect these women\u2019s legacies rather than just jumping on the bandwagon. Broadly speaking, a remapping of the canonical story is under way, as evidenced in exhibitions such as the Pompidou\u2019s current Surrealism blockbuster, in which men and women sit alongside each other. But there is still a great deal of work for both museums and the market to do. As Mahon puts it: \u201cThere are many ways in which women\u2019s art can fit into various narratives, but if you remove them it looks like a white male story. And that\u2019s not actually a fair telling of any story \u2014 whether it\u2019s his- or her-story.\u201dWeinstein Gallery, Booth S13 at Art Basel Miami Beach, December 6\u20138, 2024 Find out about our latest stories first \u2014 follow FTWeekend on Instagram and X, and subscribe to our podcast Life and Art wherever you listen<\/p>\n","protected":false},"excerpt":{"rendered":"
Summarize this content to 2000 words in 6 paragraphs in Arabic Unlock the Editor\u2019s Digest for freeRoula Khalaf, Editor of the FT, selects her favourite stories in this weekly newsletter.In August 1934, Jacqueline Lamba wed fellow artist Andr\u00e9 Breton in Paris, wearing funereal black in an apparent dig at the institution of marriage. The pair<\/p>\n","protected":false},"author":1,"featured_media":153121,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[65],"tags":[],"class_list":{"0":"post-153120","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-culture"},"_links":{"self":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/153120","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/comments?post=153120"}],"version-history":[{"count":1,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/153120\/revisions"}],"predecessor-version":[{"id":153122,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/153120\/revisions\/153122"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/media\/153121"}],"wp:attachment":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/media?parent=153120"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/categories?post=153120"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/tags?post=153120"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}