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.

Meet Isabelle de Borchgrave, the Belgian Artist Who Recreates Historical Fashion Using Paper

From "Papiers à la Mode," Isabelle de Borchgrave's first series of paper sculptures.
From "Papiers à la Mode," Isabelle de Borchgrave's first series of paper sculptures.
SCAD FASH Museum of Fashion + Film

When you walk into the exhibition space at SCAD FASH Museum of Fashion + Film right now, you’re met with a breathtaking homage to the history of fashion. Mannequins are dressed in everything from the court gowns of Queen Elizabeth I to the crinoline tutus of the Ballets Russes, and the overall impression is one of almost otherworldly beauty.

From across the room, you can see silk pooling at the feet of some figures, while light glances off the beaded bodices of others. But if you get within about a foot of the mannequins, you might notice that it isn’t silk at all—and those aren’t beads, either.

Actually, it’s paper.

isabelle de borchgrave fashioning art from paper
SCAD FASH Museum of Fashion + Film

The all-paper ensembles in the “Fashioning Art From Paper” exhibition were created by Belgian artist Isabelle de Borchgrave, who decided at age 14 that she would very much like to leave traditional school behind and study drawing instead. Her parents agreed, and de Borchgrave spent the next three years sketching nude models at the Royal Academy of Fine Arts of Brussels. Though she tells Mental Floss that the repetition no doubt taught her how to draw, the rest of her arts education was left mostly up to her.

So she visited museums, letting the art inform and inspire her own work, and she soon developed an interest in fashion that she’s been cultivating ever since. To de Borchgrave, her lack of formal training in fashion is a creative asset.

“I never studied fashion—that means I stay really free,” she tells Mental Floss. She began making vibrant hand-painted dresses and other outfits, which she’d either sell or wear herself.

Then, in 1994, a fateful visit to the Metropolitan Museum of Art sparked an idea that would alter the course of her career. After seeing a retrospective for French fashion designer Yves Saint Laurent, de Borchgrave—who, at that point, had been drawing on paper and painting on fabrics for years—began to wonder how she’d recreate certain designs using only paper and paint.

“I was so touched by the beauty, by the elegance, by the fabrics, and I wanted to have everything for me,” she says. It seemed like the perfect way to remain in the realm of fashion, while liberating herself from the demands of consumers. And, in theory, her paper reconstructions of garments really are just for her.

“When I finish a dress, I put it in a room. I don’t show it to anybody,” she says. “But I feel better, because I have done something I can be proud of.”

Over the last few decades, however, word has gotten out about the extraordinary paper gowns, and they’ve now been displayed in museums all over the world. At the SCAD FASH exhibition, the ensembles are divided into categories that each reflect a different era and inspiration, spanning about 500 years of fashion history.

Several ensembles from de Borchgrave's first sculpture series, “Papiers à la Mode,” are included in the exhibition. To create "à la Mode,” she collaborated with theatre costume designer Rita Brown to determine how best to manipulate paper, paint, and glue to mimic fabrics and patterns from the late 16th century all the way up through the 1920s. Though the more delicate fabrics might require specialty paper—for some lace trimmings and veils, for example, she orders a thin, gauzy paper from England—she primarily works with an inexpensive paper usually used for wrapping chocolate in Belgium.

isabelle de borchgrave fashioning art from paper
SCAD FASH Museum of Fashion + Film

Recreating ruffled collars, gold embroidery, and intricate designs with paper and paint seems difficult enough even if you could inspect the original garments with a magnifying glass and your own two hands—but de Borchgrave doesn’t often have that luxury. While some of her sculptures in "Papiers à la Mode" are modeled after actual clothing at The Metropolitan Museum of Art’s Costume Institute and other costume collections around the world, many are based on paintings alone.

Queen Elizabeth I’s court dress, for example, framed with lace and decorated with various flowers and animals, was inspired by Nicholas Hilliard’s portrait of the queen from 1599.

elizabeth i portrait with isabelle de borchgrave's paper replica
Ellen Gutoskey (left), Workshop of Nicholas Hilliard (right), Wikimedia Commons // Public Domain

And after seeing François Boucher’s 1756 painting of Madame de Pompadour, mistress of King Louis XV and something of a French fashion icon herself, de Borchgrave constructed her own version of the resplendent ribbon- and rose-adorned gown.

portrait of madame de pompadour with isabelle de borchgrave's paper replica
SCAD FASH Museum of Fashion + Film (left), François Boucher (right), Wikimedia Commons // Public Domain

As illustrated above, de Borchgrave’s garments aren’t always exact reproductions of the originals, and they’re not meant to be; instead, she aims to capture the spirit of each style, giving herself the freedom to alter patterns or add embellishments wherever she sees fit.

Having said that, it’s nearly impossible to wander the exhibition without being awestruck by how closely she’s managed to replicate some of the outfits. This is especially true of the “Splendor of the Medici” series, which celebrates the lavish finery worn throughout the Renaissance by Florence’s (and later Tuscany’s) most famous ruling family.

isabelle de borchgrave fashioning art from paper
SCAD FASH Museum of Fashion + Film

Sometime between 1593 and 1595, Marie de’ Medici, daughter of Francesco I de’ Medici, posed for a portrait by Pietro Facchetti while wearing a gown with rich gold pattern down the front and a magnificent lace collar. If you didn’t know any better while looking at de Borchgrave’s rendering, you might think that very dress—right down to the “pearl” embellishments—had survived these last four centuries.

portrait of marie de medici next to isabelle de borchgrave's paper replica
Ellen Gutoskey (left), Pietro Facchetti (right), Wikimedia Commons // Public domain

isabelle de borchgrave fashioning art from paper
SCAD FASH Museum of Fashion + Film

And then there’s “Les Ballets Russes,” a whimsical, vibrant series that reimagines the unconventional costumes worn by the Ballets Russes, a ballet company established in 1909 that featured some of the most famous dancers and choreographers of all time, including Anna Pavlova, Vaslav Nijinsky, and George Balanchine. Much like how de Borchgrave’s garments aren’t created by a career fashion designer, the costumes and sets of the Ballets Russes weren’t designed by actual costume and set designers. Instead, founder Serge Diaghilev commissioned artists like Henri Matisse and Pablo Picasso to come up with them.

isabelle de borchgrave fashioning art from paper
SCAD FASH Museum of Fashion + Film

Working off photos and the artists’ sketches, de Borchgrave gives the bold, eclectic performance attire another life in the limelight. And here, in particular, you can see the manifestation of all her early days spent drawing human models. Though these mannequins are made only of wire, de Borchgrave has set the costumes on them in such a way that the figures actually seem like they’re dancing.

isabelle de borchgrave fashioning art from paper
Based on a costume by Léon Bakst for Vaslav Nijinsky in La Péri, 1912
Ellen Gutoskey

Even if you can’t picture yourself headed to your office wrapped in yards of tulle and taffeta, there are likely elements from de Borchgrave’s work that you do see in stores these days, from bright floral patterns to large, front-facing bows. After all, as de Borchgrave says herself, styles simply never stop coming back.

The SCAD FASH Museum of Fashion + Film, located on Savannah College of Art and Design’s Atlanta campus, is exhibiting “Fashioning Art From Paper” from now through January 12, 2020, and you can purchase tickets for $10 each here.

isabelle de borchgrave fashioning art from paper
SCAD FASH Museum of Fashion + Film

15 Colorful Facts About Georgia O’Keeffe

Georgia O’Keeffe’s enchanting floral still life paintings are now a deeply ingrained part of American culture—so much so that they often eclipse her other colorful accomplishments. For a more complete portrait of the artist, who was born on November 15, 1887, brush up on these 15 little-known facts about her.

1. Flower paintings make up a small percentage of Georgia O'Keeffe's body of work.

Though Georgia O'Keeffe is most famous for her lovingly rendered close-ups of flowers—like Black Iris and Oriental Poppies—these make up just about 200 of her 2000-plus paintings. The rest primarily depict landscapes, leaves, rocks, shells, and bones.

2. Georgia O'Keeffe rejected sexual interpretations of her paintings.

For decades, critics assumed that O'Keeffe's flowers were intended as homages—or at the very least, allusions—to the female form. But in 1943, she insisted that they had it all wrong, saying, “Well—I made you take time to look at what I saw and when you took time to really notice my flowers you hung all your own associations with flowers on my flower and you write about my flower as if I think and see what you think and see of the flower—and I don’t.” So there.

3. Georgia O'Keeffe was not a native of the American Southwest.


Joe Raedle/Getty Images

O'Keeffe was actually born on a Wisconsin dairy farm. She'd go on to live in Chicago; New York City; New York’s Lake George; Charlottesville, Virginia; and Amarillo, Texas. She first visited New Mexico in 1917, and as she grew older, her trips there became more and more frequent. Following the death of her husband in 1946, she moved to New Mexico permanently.

4. Georgia O'Keeffe’s favorite studio was the backseat of a Model-A Ford.

In an interview with C-SPAN, Carolyn Kastner, former curator of the Georgia O'Keeffe Museum in Santa Fe, New Mexico, explained how the artist customized her car for this use: "She would remove the driver's seat. Then she would unbolt the passenger car, turn it around to face the back seat. Then she would lay the canvas on the back seat as an easel and paint inside her Model-A Ford."

Painting inside the car allowed O'Keeffe to stay out of the unrelenting desert sun, where she painted many of her later works. The Model-A also provided a barrier from the bees that would gather as the day wore on.

5. Georgia O'Keeffe also painted skyscrapers.

While nature was O'Keeffe's main source of inspiration, the time she spent in 1920s Manhattan spurred the creation of surreal efforts like New York With Moon, City Night, and The Shelton with Sunspots.

6. Georgia O'Keeffe immersed herself in nature.

While in New Mexico, O’Keeffe spent summers and falls at her Ghost Ranch, putting up with the region's hottest, most stifling days in order to capture its most vivid colors. (The rest of the year she stayed at her second home, located in the small town of Abiquiu.) When she wasn't painting in her Model-A, O'Keeffe often camped out in the harsh surrounding terrain, to keep close to the landscapes that inspired her.

7. Not even bad weather could keep Georgia O'Keeffe away from her work.

The artist would rig up tents from tarps, contend with unrelenting downpours, and paint with gloves on when it got too cold. She went camping well into her 70s and enjoyed a well-documented rafting trip with photographer Todd Webb at age 74. Her camping equipment is occasionally exhibited at the Georgia O'Keeffe Museum.

8. Georgia O'Keeffe married the man behind her first gallery show.

"At last, a woman on paper!" That’s what modernist photographer and gallery owner Alfred Stieglitz cried when he first saw O'Keeffe's abstract charcoal drawings. He was so enthusiastic about this series of sketches that he put them on display—before consulting their creator.

When O'Keeffe arrived at his gallery, she wasn't pleased, and brusquely introduced herself: "I am Georgia O'Keeffe and you will have to take these pictures down." Despite their rocky beginnings, Stieglitz and O'Keeffe quickly made amends, and went on to become partners in art and in life.

9. Georgia O'Keeffe and Alfred Stieglitz wrote 25,000 pages of love letters to each other.

When the pair met in 1916, Stieglitz was famous and married; she was unknown and 23 years his junior. All the same, they began writing to each other often (sometimes two or three times a day) and at length (as many as 40 pages at a time). These preserved writings chart the progression of their romance—from flirtation to affair to their marriage in 1924—and even document their marital struggles.

10. Georgia O'Keeffe served as a muse to other artists.

Thanks in part to Stieglitz, O'Keeffe was one of the most photographed women of the 20th century. Stieglitz made O'Keeffe the subject of a long-term series of portraits meant to capture individuals as they aged, and she made for a striking model. Though he died in 1946, the project lived on as other photographers sought out O'Keeffe in order to capture the beloved artist against the harsh New Mexican landscapes she loved so dearly.

O'Keeffe later wrote:

"When I look over the photographs Stieglitz took of me—some of them more than 60 years ago—I wonder who that person is. It is as if in my one life I have lived many lives. If the person in the photographs were living in this world today, she would be quite a different person—but it doesn't matter—Stieglitz photographed her then."

11. Georgia O'Keeffe quit painting—three times.

The first break spanned several years (the exact number is a matter of debate), when O'Keeffe took on more stable jobs to help her family through financial troubles. In the early 1930s, a nervous breakdown led to her hospitalization, and caused her to set aside her brushes for more than a year.

In the years leading up to her death in 1986, failing eyesight forced O'Keeffe to give up painting entirely. Until then, she fought hard to keep working, enlisting assistants to prepare her canvas and mix her oil paints for pieces like 1977's Sky Above Clouds/Yellow Horizon and Clouds. She managed to use watercolors until she was 95.

12. After going blind, Georgia O'Keeffe turned to sculpting.


By Alfred Stieglitz - Phillips, Public Domain, Wikimedia Commons

Although her vision eventually made painting impossible, O'Keeffe's desire to create was not squelched. She memorably declared, "I can see what I want to paint. The thing that makes you want to create is still there.” O'Keeffe began experimenting with clay sculpting in her late 80s, and continued with it into her 96th year.

13. Georgia O'Keeffe is the mother of American Modernism.

Searching for what she called “the Great American Thing,” O'Keeffe was part of the Stieglitz Circle, which included such lauded early modernists as Charles Demuth, Arthur Dove, Marsden Hartley, John Marin, Paul Strand, and Edward Steichen. By the mid-1920s, she had become the first female painter to gain acclaim alongside her male contemporaries in New York's cutthroat art world. Her distinctive way of rendering nature in shapes and forms that made them seem simultaneously familiar and new earned her a reputation as a pioneer of the form.

14. Georgia O'Keeffe blazed new trails for female artists.

In 1946, O’Keeffe became the first woman to earn a retrospective at the Museum of Modern Art. Twenty-four years later, a Whitney Museum of American Art retrospective exhibit introduced her work to a new generation. Fifteen years after that, O'Keeffe was included in the inaugural slate of artists chosen to receive the newly founded National Medal of Arts for her contribution to American culture.

15. Georgia O'Keeffe wasn't fearless, but she rejected fear.

O'Keeffe was purported to have said, "I've been absolutely terrified every moment of my life and I've never let it keep me from doing a single thing I wanted to do."

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