Rediscovering the Radical Feminism of the Neo Naturists
Artsy Editorial
By izabella scott
Aug 17th, 2016 1:39 pm
“The
Neo Naturists like taking their clothes off for the sake of it,”
Christine Binnie and Wilma Johnson wrote in a 1985 manifesto—and that’s
exactly what they did. A British underground art movement born out of
the 1980s, the Neo Naturists were a body-painting trio of female flashers, made up of Christine, her sister Jennifer, and their friend Johnson.
The
artists began to appear on the London club scene around 1981, turning
up at Heaven in Soho (one of London’s first gay clubs) or the punk music
venue The Fridge in Brixton, adorned in nothing but paint. They would
perform on stage, chanting songs and throwing up their legs in an unruly
version of the cancan. At other times, they’d simply flash at the
crowd. Beneath their overcoats they had perfected a number of looks
painted directly onto their bodies, including trompe l’oeil lingerie, and wild, grinning faces that transformed breasts into eyes and belly buttons into nostrils.
The Neo Naturists had their heyday from 1981–1986, but they have reformed this summer for a retrospective at Studio Voltaire in
London. The show is an archival assemblage of paintings, slides and
photographs, low-fi videos recorded in nightclubs, newspaper clippings
and other ephemera—and, pressed on the gallery walls, body-prints made
by the Neo Naturists themselves, some of whom painted their bodies for
the first time in 20 years.
The
group has its roots in the punk anarchy of 1980s London, an era marked
by the ruthless free market spirit ushered in by Margaret Thatcher and
the subcultures that emerged in resistance to it. One of those was a
cross-dressing scene known as New Romanticism, which was a breeding
ground for exquisitely androgynous club kids like Boy George and
Marilyn. The Neo Naturists were part of that scene, collaborating with
Marilyn as well as other now-famous artists such as Grayson Perry and filmmaker John Maybury.
As
much as they were aligned with the New Romantics, they were also
satirists of them, deliberately positioning themselves in opposition to
the scene’s slick sophistication and skinny bodies, a form of dandyism
that was largely enjoyed by men. Instead, the Neo Naturists were
rebellious, curvaceous, and pagan. Their main concern was to take
pleasure in the act, and to celebrate the natural forms of their bodies.
“I
swapped my Flesh Tint oil paint for some blue and gold body paint and
transformed her into a voluptuous version of Tutankhamen’s sarcophagus,”
Johnson recalls—in the exhibition’s catalogue essay—of the first time
she painted Christine. They freely incorporated materials close to hand,
taping household items to their bodies, and their 1985 manifesto
includes an inventory: “Boiled crab, shrimps, tin foil, gold leaf, paper
doilies, biscuits, peanuts, bottle of wine, Scotch pancakes,
contraceptive sheaths, squid, sheep’s heart, bikini briefs, sausages,
bacon and eggs, freezer bag wombs, apples, burning incense, knives and
forks, £10 notes, sequins, vitamins, tins of tuna, and of course, lots
of Sellotape.”
In one of their most iconic works, Flashing in the British Museum (1982),
Christine donned a shaggy coat and pranced through the British Museum,
flashing her painted body beside Egyptian relics and Greek antiquities.
(“Just wear a big coat,” she once advised would-be flashers: “It’s
easy!”) Another performance, Pink Punk Yoga (1982), at The Fridge in Brixton blended the incongruous practices of punk and meditation, while Sexist Crabs (1983) at the Zap Club in Brighton was a chaotic gambol around the stage with seafood taped to their bodies.
They eschewed rehearsals, preferring ritualistic improvisation, and sometimes they simply took to the streets, as in Swimming and Walking Experiment (1984), when they cavorted in the fountains below London’s Brutalist tower
block Centre Point—and got arrested by the police. Occasionally, they
made the headlines, outraging some conservative hacks and delighting
others. “Hooray for the Bare Binnies!” crooned the Daily Star of 1984.
For
women to take such pleasure in their art was deeply subversive. Like
all heretics, they didn’t play by anyone else’s rules. They opted for
spontaneous exuberance, in contrast to the message of Thatcherite
conservatism (be professional!) or the affected, male-dominated New
Romantics (be flamboyant!).“The Neo Naturists are casual to the point of
excess,” their manifesto states. “[They] believe that gorgeousness is
the ultimate intelligence.”
As
Studio Voltaire curator Jessica Vaughan points out, one important
aspect to understand about the Neo Naturists is that their display of
the female body was in no way pornographic. “What they were doing was
radical,” says Vaughan, “because they were delighting in the female form
in a way that isn’t titillating or sexualized, but instead is something
full of humor and celebration.”
The Neo Naturists did not
commodify their practice, and they were never picked up by a commercial
gallery. By the end of the 1980s, they had moved out of the squat they
shared and dispersed. Many of the men from their circle, however, went
on to become successful British artists, including Perry, Maybury, and
Michael Clark. “It’s not the first time that female artists were
forgotten,” Vaughan says, “while male counterparts, who were incredibly
influenced by the women around them, went on to become household names.”
There
are a multitude of reasons why the Neo Naturists slipped through the
net. For one, nobody quite knew what to make of them. “Feminists see us
as porno sex cabaret, while your average person sees us as butch dykes,”
Jennifer said in an interview in the 1980s. “We’re not either.” Their
work was only obliquely political, more concerned with celebrating the
personal: their friendships with one another, and their bodies. “The Neo
Naturists are works of art,” the manifesto quips, “and the world is
their private view.”
It
wasn’t entirely over for the Neo Naturists in 1986, but they left
behind a fragmented opus. Following the group’s dispersal, Christine
went solo and kept the movement active well into this millennium. In the
1990s, she assembled a small archive in her east London apartment, and
one of the Studio Voltaire curators’ projects has been to expand it.
“We’ve been trying to get a comprehensive overview of the movement, and a
secure chronology,” Vaughan says. “There’s a quite a bit of guesswork
because Wilma, Jen, and Christine might all remember things differently.
But looking back, they were an incredible counterpoint to the queer
male voices of the time, and they mustn’t be overlooked.”
—Izabella Scott
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China Knocked the U.S. Off the Top of the Art Auction Market—Here’s How
Artsy Editorial
By Isaac Kaplan
Aug 18th, 2016 12:35 am
Halfway
through the year, there’s a major shakeup in the auction market. For
the first time in five years China bested the U.S. in auction turnover,
according to Artprice’s most recent report. The art market data and
analytics firm examined some 3,500 auction sales globally to give a
picture of the market through the first two quarters of the year.
The
majority of the narratives that emerge from the data shouldn’t surprise
those who have been watching the market cool over the last year or so.
The report confirms that the supply of works achieving prices above $10
million is drying up. This means turnover in market hubs like London and
New York has contracted significantly—to the tune of 30% and 49%
respectively. Despite those diminished sales totals at Western auction
houses, the middle and lower tiers of the art market are relatively
sound, with strong sell-through rates.
However, given China’s
turbulent economic climate over the past year, its auction market
dominance might well surprise those not sitting in the back rows of Poly
Auction and China Guardian over the past six months. Here’s what you
need to know.
How China Rose to #1
Auction
sales in China are up 18% in the first half of 2016, according to
Artprice. The $570 million increase in sales gives China the largest
share of the auction market at 35.5%. The United States follows at 26.8%
of the art auction market.
Works by key Chinese artists also broke records in the first half of 2016. One of those artists was Zhang Daqian, whose Peach Blossom Spring
(1982) sold for $34.7 million—more than four times its high estimate—at
Sotheby’s in April. Along with Zhang, three other Chinese artists are
in the top 10 of global results so far this year: Wu Guanzhong, Fu Baoshi, and Qi Baishi. All in all, Asian artists make up nearly 30% of the top 50 results, according to the report.
China’s
jump appears all the more noteworthy given that it is occurring while
the art market as a whole experiences a significant correction, and as
China’s general market has seen its health waver. Growth in the Chinese
art market has bolstered the bottom lines of Western auction houses (via
their auction blocks in Hong Kong) and does help support against the
global art market slide. Sotheby’s, Christie’s, Poly Auction, and China
Guardian saw cumulative increases in the total results of their auctions
held in Asia during the first half of this year. Their combined auction
totals grew to $2.3 billion from $1.97 billion during the same period
in 2015, according to Artprice data.
But
the region’s growth is not significant enough to offset the losses
caused globally by a dearth of $10-million-plus consignments at the top
end of the market (most often sold in New York and London). The absence
of those top-end works represents the key source of the decline seen in
the global market: Christie’s still reported a 37.5% drop in auction
sales globally in the first half of 2016, while Sotheby’s recorded a 21%
decline.
The
report goes on to note that “the downturn in revenue has not stopped
Sotheby’s [...] from enjoying a 20.5% increase in the share price since 1
January 2016, suggesting that the financial markets are confident in
the art market.” (Due to a subsequent rally throughout August, Sotheby’s
stock is currently up 56.4% year-to-date.) A more accurate reading of
the increase in Sotheby’s share price may be that investors are chiefly
confident in the ability of the auction house to make money. Auction
houses are, of course, an indicator of the art market’s health, but sale
totals and the ability of auction houses to make profit for their
shareholders isn’t a straightforward one-to-one correlation.
Global Market Readjustments
The
art markets in the West and in China are each experiencing a
readjustment, just in opposite directions and to different degrees. Over
a five-year period beginning in 2010, the Western market’s two key
sectors—post-war and contemporary and Impressionist and modern—leapt in
value by some 273%, according to ArtTactic.
Meanwhile,
sales of Chinese art declined 15% over that same time period. That drop
in demand for Chinese art occurred while China as a whole was
undergoing a significant crackdown on so-called “elegant bribery,” a
system by which bribes are made indirectly through the gifting of luxury
goods like art. It also occurred amidst an inflating of auction prices
and a significant issue of non-payment among lot winners—an issue that
Todd Levin recently told Artsy remains a significant drag on the
market’s value and confidence.
The Artprice report, however,
places the issue firmly in the past. The report states simply that
“China’s problem with unsettled bids has now been resolved by an
extremely strict legal framework that has been in force for two years.”
What the report fails to do is elaborate further in regard to the exact
mechanism behind this new framework and the data around its
implementation.
Currency Factors
Much
hay has been made about the connection between negative bond yields in
Europe and growing interest in art as an investment. But the current
rise in sales in China is likely also connected to the fact that
mainland wealth in the country is pouring offshore in search of safe
financial harbors. Many in China are still jittery after contractions in
the value of the renminbi (RMB) and Chinese equity markets last August.
Though
individuals are officially limited to converting $50,000 into foreign
currency each year, there are numerous ways to circumvent the cap.
Things have gotten so serious that officials in the country have
introduced controls to limit the purchase of traditional financial
products—like insurance—in Hong Kong by mainland buyers through third party payment services.
In a recent Financial Times piece exploring currency flight broadly, Kevin Lai—chief economist of Asia ex-Japan at Daiwa Capital Markets—said,
“the bottom line is that there is huge pressure from individuals to
bring money out of China. They are always finding new ways of getting
around the regulation.” The increase in art sales is, of course, due to a
confluence of factors. But it seems likely that some mainland
billionaires looking to get money offshore by purchasing alternative
assets in Hong Kong would also look to art as a vehicle in that effort.
A
slew of major sales to a small group of individuals can drastically
increase the size of a market—just as the absence of big-ticket items is
hurting auction totals in the West. According to aFinancial Times survey,
“56.8 percent of Chinese outbound investors believe they will allocate
more of their liquid wealth overseas in the coming two years.” However,
it should be said that those in China using art as a harbor are in the
vast minority. According to the Financial Times, most investors are putting their money in residential property, stocks, and life insurance plans.
The
general desire to get cash out of the country, however, means the
incentive for mainland buyers to purchase art exists—especially due to
the uncertainty of the currency combined with lower profitability in
stocks and bonds. Though a smaller percentage, Chinese buyers looking at
art as part of a diverse offshore portfolio could be the source of the
unexpected increase, simply because of the scale of wealth leaving the
mainland.
One final item of note: Hong Kong alone is keeping the
Chinese art market in the black. According to the Artprice report, while
Hong Kong's market growth is robust, the market on the mainland saw 22%
fewer lots sold from last year. The more worrying figure from the
mainland is an incredibly high 64% unsold rate.The Western art
market may be correcting, but the unsold rate is still a healthy 28%.
According to the report, anything north of 35% indicates “meltdown
territory.” Given that mainland China’s unsold rate is 29% into the
danger zone, the Chinese art market’s current prospects could well rest
in money continuing to pour into Hong Kong salerooms.
What to Do If You Think You’ve Found a Masterpiece in the Attic
Artsy Editorial
By Abigail Cain
Jun 30th, 2016 11:11 pm
There—between
a trunk of your great-great grandmother’s letters and a box of tacky
Christmas ornaments—you see it. A painting, tucked deep into a shadowy
corner of the attic. You think back to the French family who, while
investigating their leaky roof, stumbled upon what some experts have declared a long-lost Caravaggio worth $136 million. Is this it? Have you finally found your masterpiece?
Don’t
get your hopes up. “Ninety-nine percent of inquiries we get, maybe even
99.9 percent, are junk, or they’re reproductions,” said Debra Force, a
New York art dealer and regular appraiser on PBS’s Antiques Roadshow. Below, find five steps informed by expert advice to determine if you’re part of that lucky 0.1 percent.
1. Give the artwork a once-over.
After
years spent working at Sotheby’s, Deborah Spanierman, an appraiser and
president of DGS Fine Art Consultants, Inc., said she’s developed a
“second sense” about authentic work. For those of us lacking an
extensive art-historical background, however, there are a few signs that
may indicate whether or not your artwork is the real deal. Force
suggests determining the medium first; in some cases, it may be noted on
a label affixed to the work. If not, there are some rules of thumb you
may follow. If it’s an oil painting, for example, the brushwork should
have left some visible surface texture. If it’s mounted behind glass,
there’s a good chance it’s a print of a painting, not the painting
itself. And, of course, check for a signature or monogram. “Sometimes
the painting is really dirty, and you can’t tell at first glance,” Force
noted. “But if you illuminate it with a flashlight and use a magnifying
glass, you can usually ascertain if something is signed or not.”
2. Identify the artist.
So, it looks like a Renoir. Or maybe a Monet.
Or—okay, fine, you have no idea who it is. Your first move is to find a
knowledgeable advisor who can help in identifying the artist. One
option is Antiques Roadshow, where appraisers will offer opinions
about your work’s origin. Potential downsides include the show’s
restricted schedule—it only tapes during the summer in certain
cities—and the extensive wait time. “Especially at the fine art table,
people are often lined up starting at five in the morning,” Spanierman
said. “We work until seven or eight at night to see every last guest,
and we don’t have a lot of time with each one of them.”
Alternately, you can reach out to a local gallery or a dealer, or search online for an appraiser (the Antiques Roadshow
website lists contact information for those who have appeared on the
show). An auction house is another resource. If you have a sense of the
work’s style (Impressionist? Abstract Expressionist?)
or region (European? Asian?), email an image and accompanying details
to the corresponding auction department. If you’re uncertain, many
auction houses also have generalists, who can direct your queries to the
appropriate specialist. Force, who served as senior vice president and
head of the American Paintings department at Christie’s in New York,
recommends approaching a major auction house like Sotheby’s or
Christie’s if you think you truly have a masterpiece. “Especially if
we’re dealing with Old Masters,
or European art or Asian art, you want a firm that has international
representation,” she said. “A lot of times if you go to a local auction
house, although they’re very fine, they don’t have the necessary
expertise.”
Finally, you may choose to reach out to a curator at a
local museum. Force actually recommends this route—“they may be the
most objective,” she said—but this is only feasible if you know enough
about your painting to select a curator with expertise in the
appropriate area of art history.
3. Check the catalogue raisonné.
So
you’ve got a name—either via a knowledgeable source or through your own
sleuthing. Now it’s time to hit the books. A catalogue raisonné is a
publication that brings together all of an artist’s known work, and
serves as “the resource that most dealers and auction houses and buyers
refer to first,” said Katy Rogers, president of the Catalogue Raisonné
Scholars Association. “If the work is not in there, it raises a red
flag.” These volumes can be found at an art library, although in recent
years these projects have also begun to migrate online.
Using the
catalogue as reference, check to see if your work has a match. Even if
it’s not pictured, don’t throw in the towel yet. Rogers, who also heads
the Robert Motherwell
catalogue raisonné project, said that some works in Motherwell’s oeuvre
are known only through written documentation from gallery shows. In any
case, it’s preferable to have an expert to guide you through the
process. “For the novice trying to look in catalogues raisonnés, there
are lots of nuances,” Force said. “It really is helpful to have someone
with you, rather than just doing it alone.”
4. Find an expert.
The
team who compiled the catalogue raisonné is a good place to start. You
can also comb the internet for names, although Force notes that it is
much easier to get in contact with an expert if you’re working with a
museum, auction house, or gallery. Authentication doesn’t come cheap,
either—independent experts (generally academics, although sometimes
family members) usually charge for their services. Force said the
minimum fee hovers around $500 and can go much higher depending on the
artist and the potential value of the work. Some experts, like Whistler
scholar Nigel Thorp in Scotland, prorate depending on the medium.
Experts attached to institutions, on the other hand, don’t have a fee.
Catalogue
raisonné projects, like the one for Motherwell at the Dedalus
Foundation, sometimes have an authentication committee—although
according to Rogers, it’s become increasingly less common. Lawsuits
levelled by disgruntled collectors have knocked out several committees,
most notably that of Andy Warhol.
If this is the case for your artist, consider reaching out to the
International Foundation for Art Research (IFAR). This independent
committee of experts is willing to give opinions on a wide range of
works (most recently they evaluated the fake Pollock works involved in the Knoedler scandal).
5. Prepare for the moment of truth.
If
you’ve contacted the appropriate expert and they’ve expressed interest
in the piece, you will likely be required to send them the work so it
can be evaluated in person. In the case of the Dedalus Foundation,
individuals must fill out a contract that states that they are the owner
of the work and that the foundation’s decision is an opinion subject to
change. The catalogue raisonné committee meets twice a year, and works
that have been sent in are returned with one of three letters stating
that a) the work would be included in Motherwell’s catalogue raisonné,
b) it would not, or c) the committee is unsure at this time.
If
your work was shipped off to an independent expert, particularly one in
Europe, Force said they often provide certificates of authentication or
assign the work an identification number. “Some experts are very precise
and very official,” she said. “Some might write a general letter. Some
just do verbal. But generally speaking, if you’re paying them, they give
you proof that it’s a valid work.”
What’s next? “If it turns out
that your work is truly authentic and it’s not a fake, a forgery, or
just wishful thinking, then it’s time to find the appropriate market for
your work of art,” Spanierman said. What happens to your masterpiece
after that is up to you.
And perhaps you should consider checking the basement, too.
—Abigail Cain Illustration by Jan Buchczik for Artsy.
Paris
was the cultural capital of the Western world for much of the 18th,
19th, and early 20th centuries, the home to revolutionary art-historical
movements such as Neoclassicism, Impressionism, and Cubism.
Each of these developments in artistic practice required a new
vocabulary to describe it, and much of that language remains in our
lexicon today. Below, you’ll find the some of the most significant
French art terms, from the widely used to the relatively obscure.
Avant-Garde
(advance guard or vanguard)
Originally a militaristic phrase, the avant-garde or
“advance guard” describes the specialized soldiers whose job was to
survey the land and seek out the enemy before the arrival of other
troops. In the 19th century, the social reformer Henri de Saint-Simon
expanded the term to include experimental artists at the frontlines of
cultural evolution. “We artists will serve you as an avant-garde,” he
wrote in his book Opinions Litteraires, Philosophiques et Industrielles (1825). “For amongst all the arms at our disposal, the power of the arts is the swiftest and most expeditious.”
Today, the avant-garde includes
artists, musicians, and politicians who push boundaries and stir up
controversy, often in support of utopian ideals. While the term is
generally tied to modernist movements like Dada and Cubism, the avant-garde is said to have begun half a century earlier with the French Realist painter Gustave Courbet, whose stark depictions of rural poverty and human sexuality reflected his anti-bourgeois politics.
Oeuvre
(work)
One of the most frequently used art-historical terms by academics in the field, oeuvre refers to an artist’s entire body of work. The term—which derives from opus, the
Latin word for a piece of music or art—is often used to indicate the
most pervasive tendencies in an artist’s output. Scholars might describe
individual works as either representations of or departures from an
artist’s oeuvre, for instance.
The term is also hidden in another French-to-English crossover: hors-d’oeuvre. The French term for an appetizer, hors-d’oeuvre
literally translates to “outside the work” because these pre-meal
snacks are not a part of the main serving—similar to how an artwork
might exist outside of the artist’s main practice.
While the French phrase trompe l’oeil,or “to deceive the eye,” once referred more narrowly to the hyperrealistic still lifes
of the 17th century, the term is now used to describe all paintings
that fool viewers into believing that what is depicted is actually real.
Ever since the ancient Greeks
plastered their walls with illusionistic depictions of windows and
columns, artists have sought to trick the eye into perceiving a
two-dimensional surface as a three-dimensional space. This
characteristic reached the height of popularity during the Renaissance, when the discovery of linear perspective enabled artists to convey depth more convincingly than ever before. Today, artists like Lauren Seiden and Yrjo Edelmann continue this tradition by creating close-up, illusionistic depictions of creases, crinkles, and wrinkles.
French for “in the open air,” en plein air refers
to painting completed outdoors rather than in a studio. In the 19th
century, the invention of portable paint tubes and field easels enabled
artists to create their compositions outside, and spurred one of the
most famous art-historical movements, Impressionism.
The Impressionists were early advocates for working en plein air, as it allowed them to study first-hand the effects of light and atmosphere on landscapes and city scenes. More recently, plein air painting associations have cropped up across the United States, spurring a national debate about what percentage of a painting must be completed outdoors to earn the title en plein air.
Catalogue Raisonné
(reasoned catalogue)
A catalogue raisonné
is a descriptive catalog of every work made by an artist, though some
focus on an artist’s use of a specific medium like painting or drawing.
Viewed as the authoritative resource on that artist’s oeuvre, catalogue raisonnés are most often created by a museum or artist foundation and can take decades to complete.
In the last 10 years, the rise of artist forgeries and “discoveries” of unknown artworks by well-known artists has led to an increased investment in catalogue raisonnés, which scholars and collectors rely upon in the authentication process, even though these volumes can often fall out of date.
Vernissage
(varnishing)
During
the 19th century, artists would apply varnish to their works on the day
before the public opening of an exhibition. As early as 1809, patrons
and other members of the art-world elite began a tradition of viewing
the show on varnishing day, known to the French as vernissage.
Today, artists seldom apply varnish the night before a show, but the term vernissage is still used to refer to an early preview of an art exhibition. Most often private or invitation-only events, the vernissage is an opportunity for collectors and members of the press to view the works before the doors open to the general public.
This
French compound, which literally translates to “placing on stage,” or
“putting on stage,” is one of the most misunderstood of all art terms.
First used in theater around the year 1833, the phrase originally
referred to all of the visual effects overseen by a theater
director—including compositional design, lighting, and the placement of
actors. In other words, the mise-en-scène encompassed all of the visual features on the stage that gave a performance its look and feel.
Nowadays, mise-en-scène
is a term used by art critics and historians to describe the setting of
a film, performance, or photograph, especially those with cinematic qualities. For example, in her “Kitchen Table” series of photographs, Carrie Mae Weems takes as her mise-en-scène a family kitchen table, staging scenes of everyday life that examine racial and gender stereotypes and calling attention to the constructed nature of photography.
Before the Impressionists, These Artists Dominated the Parisian Art World
Artsy Editorial
By Demie Kim
Aug 19th, 2016 2:56 pm
In
around the year 1890, a group of French artists gathered for dinner at
the house of a Parisian art dealer and pondered the following question:
“Who, in 100 years, will be thought to have been the greatest painter of
the second half of the 19th century?” As described in Lorenz Eitner’s An Outline of 19th Century European Painting, they came to an agreement on two names: William-Adolphe Bouguereau and Jean-Louis-Ernest Meissonier.
More
than a century later, we know that this guess was way off the mark; the
two academic classicists are far lesser-known than their Impressionist and Post-Impressionist
counterparts. But the dinner party hypothesis was not unfounded at the
time. In the late 19th century, Bouguereau and Meissonier were the
superstars of the art world, then centered in Paris. As their fame
spread around Europe and across the Atlantic, they sold their work for
high prices and graced the collections of wealthy buyers around the
world.
Where these artists are mentioned in art history books
today, however, it’s often as lofty establishmentarians at odds with the
radical inventions of the avant-garde, from Courbet and the Realists to Monet and his fellow plein-air Impressionists.
Though artistic styles have gone in and out of vogue throughout
history—a continuous ebb and flow—the extent to which 19th-century icons
like Bouguereau and Meissonier quickly fell out of favor was
particularly pronounced. Who were these artists and why did they go out
of fashion?
The French Painting Tradition
If
an artist’s success today is determined in large part by the market, in
19th-century France it was dictated by institutions—namely the Académie
des Beaux-Arts, a body consisting of 40 elected life members, including
14 painters, 8 sculptors, 8 architects, 4 engravers, and 6 musical
composers. Conservative and exclusive, the academy only accepted new
candidates for membership upon the death of an incumbent.
Many
members of the Academy ran private studios to train students hoping to
be admitted to the prestigious École des Beaux Arts, the official art
school. There, students followed a rigorous curriculum that emphasized
drawing—first after prints and casts, then live models—and included the
mastery of composition, perspective, and expression. As the fine arts
section of the Institut de France, the national academic establishment,
the Academy was also politically motivated, guiding the state on matters
of policy, patronage, and purchasing related to art. Most
significantly, they chose what hung on the walls of the Salon, the
annual exhibitions reviewed by the Parisian journals and attended by the
public.
It was this tradition that Bouguereau and Meissonier—and others like Paul Delaroche, Alexandre Cabanel, and Lawrence Alma-Tadema—grew
out of, and like most successful painters at the time, it was the Salon
audience that they had in mind when choosing their subjects. They
painted for the middle class, who wanted their art, like literature and
theater, to provide a moral lesson or an emotional experience.
Painting for a Salon Audience
Considered one of the best history painters of
his day, Delaroche had a knack of condensing key events in English
history—a subject that was then in vogue—into dramatic scenes, such as The Children of Edward (The Princes in the Tower) (1831) and Cromwell Contemplating the Corpse of Charles I (1831). Exhibited in 1834, his painting Execution of Lady Jane Grey (1833)
caused a sensation with its dramatic depiction of the blindfolded
16-year-old English queen at the threshold of death after only nine days
on the throne. Delaroche is thought to have achieved wider fame in the
mid-19th century than Ingres and Delacroix, who are both now glorified in the art-historical canon.
Another
crowd favorite, Meissonier would become a famous painter of minutely
detailed historical scenes, which resounded with a public that at that
time read paintings like the news. The painter once said, “Perfection
lures one on”—which may explain his practice of travelling to
battlefields to scrupulously study the grass, trees, and rocks for his
“Napoleonic War” paintings. His hard work paid off. In 1871, the famous
English art critic John Ruskin paid 1,000 guineas for one of these
paintings, which he sold for nearly six times the amount in 1882.
Meissonier sold Cuirassiers, a cavalry scene, for £10,000. It
later sold for £11,000, then £16,000. For the 19th century, these prices
are extraordinary—but just a century later, both the artist’s
reputation and market value had collapsed.
The biggest success
story was Bouguereau, who was coveted by the nouveau-riche—especially
American millionaires—for his highly finished, often sentimental, and
undeniably erotic mythological and allegorical scenes, such as The Birth of Venus (1879). Inspired by Raphael’s Triumph of Galatea (1512),
Bouguereau’s sensuous nude figures are idealized versions of Parisian
studio models (he would later be criticized for the artifice in his
work). A recipient of the Legion of Honor, a president of the Institut
de France, and a member of the Academy of Fine Arts, he once claimed
that “every minute of mine costs 100 francs.” As one critic remarked,
“Whoever gets a picture by Bouguereau gets the full worth of his money,
in finished painting, first-rate drawing, and a subject and treatment
that no well-bred person can fault.”
From Fame to Obscurity
But
their successes would not last. While Bouguereau was exalting in
classical forms and the painting of “Beauty and Truth,” as he once said,
the avant-garde French painter Degas derided these highly finished surfaces as “bouguerated,” and Degas’s contemporary van Gogh dismissed
the academic artist as a painter of “soft, pretty things.” As much as
he was revered by the public as the standard of refined taste, he was
scorned by the avant-garde as a mere technician. The dislike was mutual:
Throughout his lifetime, Bouguereau actively worked to exclude the
Impressionists from the Salons.
The avant-gardists would eventually have their way. The Academy’s rejection of the paintings of Cézanne, Whistler, Manet, and Pissarro
prompted the 1863 Salon des Refusés (“exhibition of rejects”), which
paved the way for the legitimization of the groundbreaking movements
those artists represented and, in turn, the decline of the Academy. In
the last two decades of the 19th century, various conservative and
reactionary salons emerged as the official Salon was gradually brought
to its feet.
By the end of World War I, the contempt the
avant-garde felt toward academic artists was matched by the public’s
taste. While the Impressionists enjoyed innumerable museum exhibitions
and auction house sales throughout the 20th century, the works of
Bouguereau and Meissonier fell into relative obscurity in the basements
of major art museums. In scholarship, too, they were largely neglected.
Why Are They Still Relevant?
The
rise of the avant-garde and the decline of academic artists points to
the evolving notion of what constituted “art.” Whereas Impressionism and
other movements sought to push the boundaries of painting, continuously
experimenting with the medium, Bouguereau, Delaroche, and Meissonier
worked within a system of traditional formulas, giving the public what
they wanted. Yet as demonstrated by their rigorous processes—from the
laborious research taken to hone minute details of a painting to the
meticulous preparation of numerous drawings—the academic painters
believed in the mastery of a skill. Bouguereau was not only opposed to
what he saw as the slapdash methods of modernity; he was also a devout
proponent of rigor in art education. Ultimately, the innovators, not the
conformists, are remembered.
But
in addition to the exquisite beauty of their work, the Salon painters
offer us a time capsule, reflecting the values of the society they came
from—one that yearned for sentimental allegories and grand narratives.
They also open our eyes to how museum exhibitions, scholarship, and
criticism, as well as shifts in society, shape the narratives of art
history—and how these factors slowly but surely determine who is
remembered, and who is forgotten. Today, van Gogh might be considered
the “greatest painter of the second half of the 19th century,” judging
by the countless blockbuster exhibitions and catalogue raisonnés in his
name.
In the 21st century, we might ask the same question of
the scores of artists seeking recognition in an overflooded contemporary
art scene. Who will be remembered? Who will be considered the greatest
artist of our era? Yet if we consider the case of Bouguereau,
Meissonier, and Delaroche, the answer is that we simply don’t know.
Almost
every weekday between the fall of 2011 and early 2015, a Russian broker
named Igor Volkov called the equities desk of Deutsche Bank’s Moscow
headquarters. Volkov would speak to a sales trader—often, a young woman
named Dina Maksutova—and ask her to place two trades simultaneously. In
one, he would use Russian rubles to buy a blue-chip Russian stock, such
as Lukoil, for a Russian company that he represented. Usually, the order
was for about ten million dollars’ worth of the stock. In the second
trade, Volkov—acting on behalf of a different company, which typically
was registered in an offshore territory, such as the British Virgin
Islands—would sell the same Russian stock, in the same quantity, in
London, in exchange for dollars, pounds, or euros. Both the Russian
company and the offshore company had the same owner. Deutsche Bank was
helping the client to buy and sell to himself.
At
first glance, the trades appeared banal, even pointless. Deutsche Bank
earned a small commission for executing the buy and sell orders, but in
financial terms the clients finished roughly where they began. To
inspect the trades individually, however, was like standing too close to
an Impressionist painting—you saw the brushstrokes and missed the
lilies. These transactions had nothing to do with pursuing profit. They
were a way to expatriate money. Because the Russian company and the
offshore company both belonged to the same owner, these ordinary-seeming
trades had an alchemical purpose: to turn rubles that were stuck in
Russia into dollars stashed outside Russia. On the Moscow markets, this
sleight of hand had a nickname: konvert, which means “envelope”
and echoes the English verb “convert.” In the English-language media,
the scheme has become known as “mirror trading.”
Mirror
trades are not inherently illegal. The purpose of an equities desk at
an investment bank is to help approved clients buy and sell stock, and
there could be legitimate reasons for making a simultaneous trade. A
client might want to benefit, say, from the difference between the local
and the foreign price of a stock. Indeed, because the individual
transactions involved in mirror trades did not directly contravene any
regulations, some employees who worked at Deutsche Bank’s Russian
headquarters at the time deny that such activity was improper. (Fourteen
former and current employees of Deutsche Bank in Moscow spoke to me
about the mirror trades, as did several people involved with the
clients. Most of them asked not to be named, either because they had
signed nondisclosure agreements or because they still work in banking.)
Viewed
with detachment, however, repeated mirror trades suggest a sustained
plot to shift and hide money of possibly dubious origin. Deutsche Bank’s
actions are now under investigation by the U.S. Department of Justice,
the New York State Department of Financial Services, and financial
regulators in the U.K. and in Germany. In an internal report, Deutsche
Bank has admitted that, until April, 2015, when three members of its
Russian equities desk were suspended for their role in the mirror
trades, about ten billion dollars was spirited out of Russia through the
scheme. The lingering question is whose money was moved, and why.
Deutsche
Bank is an unwieldy institution with headquarters in Frankfurt and
about a hundred thousand employees in seventy countries. When it was
founded, in 1870, its stated purpose was to facilitate trade between
Germany and other countries. It soon established footholds in Shanghai,
London, and Buenos Aires. In 1881, the bank arrived in Russia, financing
railways commissioned by Alexander III. It has operated there ever
since.
During the Nazi era,
Deutsche Bank sullied its reputation by financing Hitler’s regime and
purchasing stolen Jewish gold. After the war, the bank concentrated on
its domestic market, playing a significant role in Germany’s so-called
economic miracle, in which the country regained its position as the most
potent state in Europe. After the deregulation of the U.S. and U.K.
financial markets, in the nineteen-eighties, Deutsche Bank refreshed its
overseas ambitions, acquiring prominent investment banks: the London
firm Morgan Grenfell, in 1989, and the American firm Bankers Trust, in
1998. By the new millennium, Deutsche Bank had become one of the world’s
ten largest banks. In October, 2001, it débuted on the New York Stock
Exchange.
Although the bank’s
headquarters remained in Germany, power migrated from conservative
Frankfurt to London, the investment-banking hub where the most lavish
profits were generated. The assimilation of different banking cultures
was not always successful. In the nineties, when hundreds of Americans
went to work for Deutsche Bank in London, German managers had to place a
sign in the entrance hall spelling out “Deutsche” phonetically, because
many Americans called their employer “Douche Bank.”
In
2007, the bank’s share price hit an all-time peak: a hundred and
fifty-nine dollars. But as it grew fast it also grew loose. Before the
housing market collapsed in the United States, in 2008, sparking a
global financial crisis, Deutsche Bank created about thirty-two billion
dollars’ worth of collateralized debt obligations, which helped to
inflate the housing bubble. In 2010, Deutsche Bank’s own staff accused
it of having masked twelve billion dollars’ worth of losses. Eric
Ben-Artzi, a former risk analyst, was one of three whistle-blowers. He
told the Securities and Exchange Commission that, had the bank’s true
financial health been known in 2008, it might have folded, as Lehman
Brothers had. Last year, Deutsche Bank paid the S.E.C. a
fifty-five-million-dollar fine but admitted no wrongdoing. Ben-Artzi
told me that bank executives had incurred a tiny penalty for a huge
crime. “There was cultural criminality,” he said. “Deutsche Bank was
structurally designed by management to allow corrupt individuals to
commit fraud.”
Scandals
have proliferated at Deutsche Bank. Since 2008, it has paid more than
nine billion dollars in fines and settlements for such improprieties as
conspiring to manipulate the price of gold and silver, defrauding
mortgage companies, and violating U.S. sanctions by trading in Iran,
Syria, Libya, Myanmar, and Sudan. Last year, Deutsche Bank was ordered
to pay regulators in the U.S. and the U.K. two and a half billion
dollars, and to dismiss seven employees, for its role in manipulating
the London Interbank Offered Rate, or libor, which is the
interest rate banks charge one another. The Financial Conduct
Authority, in Britain, chastised Deutsche Bank not only for its
manipulation of libor but also for its subsequent lack of
candor. “Deutsche Bank’s failings were compounded by them repeatedly
misleading us,” Georgina Philippou, of the F.C.A., declared. “The bank
took far too long to produce vital documents and it moved far too slowly
to fix relevant systems.”
In
April, 2015, the mirror-trades scheme unravelled. After a two-month
internal investigation, the three Deutsche Bank employees were
suspended. One was Tim Wiswell, a thirty-seven-year-old American who was
then the head of Russian equities at the bank. The others were Russian
sales traders on the equities desk: Dina Maksutova and Georgiy Buznik.
Afterward, Bloomberg News suggested that some of the money diverted
through mirror trades belonged to Igor Putin, a cousin of the Russian
President, and to Arkady and Boris Rotenberg. The Rotenberg brothers own
Russia’s largest construction company, S.G.M., and are old friends of
Vladimir Putin. They are on the U.S. government’s list of sanctioned
Russians, which was compiled in response to Putin’s aggression in
Ukraine. According to the U.S. Treasury, the Rotenbergs have “made
billions of dollars in contracts” that were awarded to their company by
the Russian state, often without a transparent bidding process. (Last
year, S.G.M. was awarded a contract worth $5.8 billion to build a
twelve-mile bridge between Russia and Crimea.)
In
June, 2015, with pressure from shareholders intensifying over the
mirror trades and other scandals, the co-C.E.O.s of Deutsche Bank, Anshu
Jain and Jürgen Fitschen, announced that they would resign. They were
replaced by John Cryan, whose remit was to clean up the bank. That
September, he announced the impending close of all investment-banking
activity in Russia. When the Moscow investment bank shut down, in March,
the remaining employees threw a “going out of business” dinner at a
restaurant near the office. By the end of the evening, bankers were
dancing on the bar.
Many
current and former employees of Deutsche Bank cannot quite comprehend
how the equities desk in a minor financial outpost came to taint the
entire institution. The ostensible function of the Moscow desk was
straightforward: it bought and sold stock for approved corporate
clients—mutual funds, brokerages, hedge funds, and the like. The desk
had about twenty employees, and included researchers, who analyzed
financial data; sales traders, who took calls from clients about buy and
sell orders; and traders, who executed the orders.
According
to a former employee, before the crash of 2008 the desk’s yearly profit
was nearly three hundred million dollars. In the years after the crash,
profits plunged by more than half. In this environment of diminishing
returns on normal stock-market activity, the Moscow equities desk was
looking to find fresh revenue streams.
Many
businesses in the Russian Federation avoid taxes by using offshore
jurisdictions, such as Cyprus, for their headquarters. Rich Russians,
meanwhile, often funnel their private fortunes offshore, in an effort to
hide their assets from the capricious and predatory Russian state.
Frequently, this fugitive money is invested in assets such as property:
on Park Lane in London, or Park Avenue in New York. (Boris Rotenberg’s
wife, Karina, told the Russian edition of Tatler that the family has three main houses: one in Moscow, one in Monaco, and a “dacha” in Provence, where she keeps her horses.)
The
impact of this capital flight is felt at both ends of its journey.
Research published last year by Deutsche Bank’s own analysts suggested
that unrecorded capital inflows from Russia into the U.K. correlated
strongly with increases in U.K. house prices and, to a lesser extent,
with a strengthening of the pound sterling. Capital flight also has
weakened Russia’s tax base and its currency. In 2012, Putin began a
“de-offshorization” program, urging businesses and oligarchs to keep
their headquarters and their fortunes at home. Two years later, after
Russia’s incursion into Crimea led to sanctions from the European Union
and the U.S., Putin declared that offshorization was illegal. But as the
ruble and the economy foundered many Russians felt even more eager to
remove their money. Mirror trading was an ideal escape tunnel.
According
to people with knowledge of how mirror trades worked at Deutsche Bank,
the main clients who were engaged in the scheme came to the bank in 2011
through Sergey Suverov, a sales researcher. Suverov left the bank soon
afterward. (He has not been charged with wrongdoing.) Igor Volkov, the
Russian broker, became the clients’ primary representative. Initially,
the accounts that Volkov handled—funds based in Russia and overseas,
with such bland names as Westminster, Chadborg, Cherryfield, Financial
Bridge, and Lotus—placed conventional stock-market orders. But Volkov
soon made it clear to his contacts at Deutsche Bank that he wanted to
make a large volume of simultaneous trades. (He could not be reached for
comment.)
What
did Deutsche Bank know about the companies that Volkov represented?
Each new fund that wished to trade with Deutsche Bank, known as a
“counterparty,” was subjected to a “double check” by compliance
departments in London and Moscow, to insure that papers were in order.
Evidently, all the counterparties passed both internal reviews. The bank
was also required to complete a “know your client,” or “K.Y.C.,”
assessment, and determine if the client had any taint of criminality.
Deutsche Bank did little to interrogate the source of funds—including
those behind Westminster and other Volkov clients. According to people
who worked on the desk in 2011, the K.Y.C. procedure consisted of not
much more than sales traders asking counterparties to fill in a
paragraph stating the source of their funds. “Nobody asked any further
questions,” a former employee recalls.
The
Russian equities desk generally had four sales traders who took calls
from clients. Two were American, and two—Maksutova and Buznik—were
Russian. The sales traders reported to Tim Wiswell, the American in
charge of the Russian equities team, and to Carl Hayes, an executive in
London. Two other managers—Batubay Ozkan, in Moscow, and Max Koep, in
London—oversaw the desk.
Maksutova
and Buznik were allocated the equities desk’s Russian clients.
Maksutova was assigned the clients represented by Volkov. Colleagues say
that she knew few personal details about Volkov. (A former trading
colleague of Volkov’s said that Volkov is about forty years old and
heavyset, adding, “He likes beer.” Another former colleague said that
Volkov “wasn’t a great trader, but he was a good fisherman.”) Volkov
previously had worked at Antanta Kapital, a brokerage owned by Arcadi
Gaydamak, a Russian-Israeli billionaire. Antanta Kapital ceased trading
in 2008, and Gaydamak was later indicted in Israel for fraud and money
laundering. (He received probation, but he recently spent three months
in prison, in France, for illegal arms trading.)
In
2009, top managers at Antanta Kapital formed Westminster Capital
Management, which became one of the first major mirror-trade clients. As
a Deutsche Bank employee put it, Volkov was Westminster’s “execution
guy.” Volkov also began executing mirror trades for several other
companies.
Four employees at
Deutsche Bank in Moscow recall that nobody tried to hide the scheme.
Wiswell, Buznik, and Maksutova all met with Volkov, and his orders were
discussed openly on the desk. Colleagues also remember that Hayes asked
both Buznik and Wiswell about the mirror trades. Few conversations
relating to the trades, however, were likely retained by Deutsche Bank’s
internal monitoring systems. Within the office, conversations about the
trades typically occurred face to face, and videoconferences with
colleagues in London were not recorded.
Several
Deutsche Bank employees in London knew about the mirror trades, even
though the orders were taken in Moscow. The London office executed half
the transactions. The trades were also documented by a computer system,
called DB Cat, which catalogued every trade made by the bank. Hayes and
Koep, the supervisors in London, could call up trading receipts on their
computers.
Although many people at
Deutsche Bank knew about the mirror trades, not everybody was happy
about them. In late 2012, Maksutova, the sales trader, went on maternity
leave, and Buznik temporarily worked with Volkov. Buznik became uneasy
that Volkov was executing identical buy and sell orders, and twice asked
to meet with Wiswell to discuss the propriety of mirror trading.
Wiswell, colleagues say, looked after Volkov’s accounts personally.
Wiswell assured Buznik that the trades were legitimate, and Buznik did
not share his concerns with other managers. (Neither Wiswell nor his
attorney responded to dozens of requests for comment.)
One
day in 2011, the Russian side of a mirror trade, for about ten million
dollars, could not be completed: the counterparty, Westminster Capital
Management, had just lost its trading license. The Federal Financial
Markets Service in Russia had barred two mirror-trade counterparties,
Westminster and Financial Bridge, for improperly using the stock market
to send money overseas. The failed trade was a problem for Deutsche
Bank. It had paid several million dollars for stock without receiving a
cent from Westminster. Employees at all levels of a financial
institution notice when a trading desk abruptly falls short by a few
million dollars. The episode should have raised serious
suspicions—especially given the revoking of Westminster’s license—but
apparently it did not.
Employees
recall that the failed trade was resolved in November, 2012, when
Westminster repaid Deutsche Bank. Volkov resumed calling in mirror
trades, on behalf of other counterparties. These companies were
supposedly subjected to a rigorous “client review” process, and all of
them were deemed satisfactory by a Deutsche Bank compliance team. But
there was a pattern suggesting malfeasance. Clients of the scheme
consistently lost small amounts of money: the differences between Moscow
and London prices of a stock often worked against them, and clients had
to pay Deutsche Bank a commission for every transaction—between ten
hundredths and fifteen hundredths of a percentage point per trade. The
apparent willingness of counterparties to lose money again and again, a
former manager at Deutsche Bank told me, should have “sounded an
air-raid alarm” that the true purpose of the mirror trades was to
facilitate capital flight.
Wiswell,
Buznik, and Maksutova also knew that there was a common interest among
the counterparties, because many of them were represented by Volkov. But
even Deutsche Bank employees who did not work on the desk could have
concluded, after a cursory examination, how closely aligned the funds
were. According to public documents, Chadborg Trade LLP, which was based
in the U.K., wholly owned Lotus Capital, which was based in Russia.
Another British mirror-trades entity, ErgoInvest, was registered in the
same office in Hertfordshire where Chadborg was registered. Westminster
Capital Management, meanwhile, was bought in 2010 by a man named Andrey
Gorbatov. In 2014, Gorbatov bought another Russian brokerage implicated
in mirror trades: Rye, Man & Gor. Clients of mirror trades told me
that the same people who established Westminster also established one of
the other counterparties: Cherryfield Management, in the British Virgin
Islands.
The
counterparties were not owned by Russian oligarchs. They were
brokerages run by Russian middlemen who took commissions for initiating
mirror trades on behalf of rich people and businesses eager to send
their money offshore. A businessman who wanted to expatriate money in
this way would invest in a Russian fund like Westminster, which would
then use mirror trades to move that money into an offshore fund like
Cherryfield. The offshore fund then wired the money, in dollars, into
the businessman’s private offshore account. A middleman who formed one
of the Russian counterparty funds told me that the cost of his services
depended upon the Russian authorities’ desire to stop the export of
capital. In 2011, when controls were lax, the fee was 0.2 per cent. In
2015, when sanctions were strong, and Putin was determined to retain as
much wealth as he could in Russia, the fee rose to more than five per
cent.
Crucially, the footprint of
individual mirror trades was small. One Deutsche Bank employee recalls
that, in 2014, the Moscow equities desk traded seventy to ninety million
dollars’ worth of stock daily. Mirror trades never exceeded twenty
million dollars a day, and were normally in the region of ten million
dollars. (Deutsche Bank claims that some of the suspicious trades were
“one-way,” meaning that another bank picked up the mirror order—a more
laborious but less traceable transaction.)
Whose
fortunes were being hidden? In April, I met a broker in Moscow who had
worked with clients of the Deutsche Bank mirror trades. He told me that
mirror trading was not a new scheme. It was invented, in the late
aughts, by other banks in Russia, to help importers avoid heavy taxes on
their products. The scam was ingeniously simple. A Russian importer
would claim on his invoices that he had bought, say, ten rubber ducks
rather than the true figure of ten thousand rubber ducks, in order to
pay tax on only ten rubber ducks. Of course, the importer still needed
to pay his supplier overseas for the remaining rubber ducks. He did this
by expatriating money using mirror trades. Instead of paying a large
tax to the Russian treasury, the importer paid a much smaller fee to
money launderers.
The broker found
it hard to believe that the wealthiest Russians, such as the Rotenberg
brothers, would have used mirror trades. After all, there were so many
ways for Putin’s friends to send their money offshore, including through
Russian government-owned banks, like Gazprombank, which have branches
overseas. Other people I spoke with disputed the broker’s assessment:
U.S. and E.U. sanctions have made it increasingly difficult for Russian
billionaires to expatriate money, and mirror trades had the advantage of
being a quiet method, because of the relatively small amounts involved
in each transaction.
Another Russian
banker, who helped to set up the mirror-trade scheme, told me that much
of the money belonged to Chechens with connections to the Kremlin.
Chechnya, the semi-autonomous region in the North Caucasus, is ruled by
the exuberantly barbarous Ramzan Kadyrov, who is close with Putin.
Chechnya receives huge subsidies from Russia, and much of the money has
ended up in the pockets of figures close to Kadyrov.
The
Deutsche Bank mirror-trades operation appears to be linked to an even
bigger attempt to expatriate money: the so-called Moldovan scheme.
Starting in 2010, fake loans and debt agreements involving U.K.
companies helped funnel about twenty billion dollars out of Russia to a
Latvian bank, by way of Moldova. When the Moldovan scheme unravelled, in
late 2015, several people were arrested. One was Alexander Grigoriev, a
Russian financier who controlled Promsberbank—a now defunct
institution, based in a Russian backwater called Podolsk, which counted
Igor Putin as a board member. Two of Promsberbank’s major
shareholders—including Financial Bridge—have been accused of making
mirror trades. The Russian news agency RBC has reported that “the
criminal dealings of Promsberbank” and the mirror trades at Deutsche
Bank are connected.
Deutsche Bank
has not commented on whose money was expatriated through the mirror
trades, although John Cryan, the C.E.O., has said that the bank has not
knowingly assisted Russians on the sanctions list. In the deadening
argot of finance, Deutsche Bank’s Russian fiasco has frequently been
called a “failure of controls.” In an interview in March, 2016, Cryan
said, “To our knowledge, the individual transaction steps in themselves
were innocuous. However, the case raises questions about how effective
our systems and controls were, especially with regard to the onboarding
of new clients, an area where we experienced difficulties in collecting
sufficient information.”
This
passive language is hard to square with the blatant nature of the
scheme. Roman Borisovich, a former investment banker at Deutsche Bank in
London, who focussed on Russian businesses, told me, “ ‘Fucking
Obvious’ is the middle name of Russian corruption.”
Deutsche
Bank’s myopia has been noticed by regulators. In March, the Financial
Conduct Authority of the U.K. sent a letter to Deutsche Bank, saying
that the company’s U.K. branch had “serious A.M.L. (anti-money
laundering), terrorist financing and sanctions failings which were
systemic in nature.” A month later, Georg Thoma, a lawyer who sat on
Deutsche Bank’s integrity committee, and who was brought to the bank
specifically to improve controls and analyze the bank’s former
misconduct, was forced out. He had just argued with executives at a
board meeting. The deputy chairman of the board, Alfred Herling, told
the Frankfurter Allgemeine Sonntagszeitung that Thoma had been “overzealous” in probing links between senior executives and misconduct at the bank.
Reports
of Deutsche Bank’s internal investigation into mirror trades do not
inspire confidence. Mirror trades occurred for at least two years before
anyone raised any concerns, and when red flags appeared it was months
before anyone acted on them. According to Bloomberg News, the internal
report notes that, in early 2014, a series of inquiries about the
propriety of mirror trades had been logged by multiple parties,
including Hellenic Bank, in Cyprus, the Russian Central Bank, and
back-office staff members at Deutsche Bank itself. When Hellenic Bank
executives contacted Deutsche Bank and asked about the unusual trades,
they did not hear back from the compliance department. Instead, their
inquiry was fielded by the equities desk that was performing the mirror
trades. Deutsche Bank in Moscow reassured Hellenic Bank that everything
was in order.
Tim
Wiswell, the head of the equities desk, was known to his colleagues as
Wiz. He grew up in Essex, Connecticut. He has strong connections to
Russia. His father, George C. Wiswell III, worked for many years in the
oil-and-gas sector in Moscow. Tim spent a year of high school there.
Wiswell
graduated from Colby College, in Maine, in 2001. In his mid-twenties,
he arrived in Moscow. He already spoke Russian. His first job was at
Alfa-Bank, the private bank of Mikhail Fridman, the second-wealthiest
man in Russia. When a salaried position did not materialize, he moved to
a junior position in equities at United Financial Group, the Russian
investment bank co-founded by Charlie Ryan, an American pioneer in
post-Soviet Russian finance. In 2006, U.F.G. was bought by Deutsche
Bank. Within a few years, Wiswell had become the head of the Russian
equities desk.
Colleagues at U.F.G.
remember Wiswell as an all-American type who loved sailing and skiing.
His boss there, Martin Skelly, told me that Wiswell was an industrious,
well-liked employee, and compared him to Matt Damon’s character in the
Jason Bourne films—“the same kind of rugged, good-looking, composed,
thoughtful guy.” In 2010, Wiswell and Natalia Makosiy, an art historian
from Moscow, got married in Newport, Rhode Island; photographs of the
event, which featured a samovar filled with Russian moonshine, appeared
in a wedding magazine.
Many
young Americans were drawn to Moscow banks in the aughts. Will Hammond,
an American who worked with Wiswell at U.F.G., has been writing a
memoir of his time on the trading floors—and dance floors—of Moscow. He
remembers Russia at the time as “the wild, wild East”: “If you wanted to
be competitive, you had to do a lot of things that were not done in the
developed world, because it was Russia. It was a very aggressive sales
mentality, which was going on across the board across all the Russian
banks.” Others recall that it was common to engage in “front
running”—using knowledge of a pending trade from a client to make money
on a personal account. In America, the tactic would be considered
insider trading. (Insider trading did not become illegal in Russia until
2011.)
A former colleague of
Wiswell’s at Deutsche Bank says that, even before the mirror trades,
some of Wiswell’s activity as head of the equities desk was
questionable. In the late aughts, a fund called Lanturno sometimes
traded with Deutsche Bank “over the counter.” Such trades do not pass
through a stock exchange; a broker sets the price based on the market
value. (Many mirror trades were also over-the-counter.) The former
colleague recalls occasions in which Lanturno lost money on a trade,
either by buying too high or selling too low. The next morning, however,
bank records would indicate that Lanturno had not lost money on the
trade. When challenged by colleagues, Wiswell would say that he had
altered the entries for Lanturno to rectify an error made on his part.
The sums involved were small and easily ignored—the reversed losses were
between ten and twenty thousand dollars. The former colleague, however,
noted that Wiswell was later flown to Mauritius on a private jet by
Lanturno’s owner, Dmitry Perevalov, to celebrate Perevalov’s fortieth
birthday. Two photographs on Facebook show that the men also went skiing
together. (Perevalov denied that any trades were amended on his behalf,
and said that it was “impossible” to change an order once it had been
entered into Deutsche Bank’s systems. Former employees recall trades
being amended regularly.)
Recently,
I received a photocopied trade blotter from a source within Deutsche
Bank. It showed that, between October 13, 2009, and October 27, 2009,
Wiswell made a series of curious over-the-counter trades on behalf of a
counterparty called Gigalogic Holdings, which, according to former
Deutsche Bank employees, was the personal investment fund of Stephen
Lynch, an American investor in Russia—and a friend of Wiswell’s. Because
a trader sets the price for over-the-counter trades based on a spread
of a few decimal points around a stock’s market value, there is scope to
create a margin. The blotter showed that Wiswell had repeatedly bought
low and sold high on Gigalogic’s behalf, effectively paying Lynch nearly
half a million dollars of Deutsche Bank’s money. According to
colleagues, when Wiswell was confronted about the transactions he said
that they had been approved by superiors. Lynch, Wiswell said, had been
helpful in a bankruptcy auction that Deutsche Bank had participated in,
and paying him through over-the-counter trades was “easier than writing
him a check.” (A lawyer representing Lynch denied that Lynch had been
paid by Wiswell, and also denied any connection between Lynch and
Gigalogic. When presented with company documents from Cyprus showing
that Lynch owned all the shares in Gigalogic between 2007 and 2012, the
representative declined further comment.)
When
the mirror trades began at Deutsche Bank, in 2011, revenues on
Wiswell’s desk were falling sharply, and Wiswell likely felt pressure to
improve performance. For Maksutova and Buznik, at least, there was no
obvious financial benefit to performing mirror trades: the extra volume
did not affect their bonuses. Many at Deutsche Bank, however, believe
that Wiswell profited personally from the scheme.
In
August, 2015, shortly after Wiswell was suspended from Deutsche Bank,
he was fired. He initiated a wrongful-dismissal suit. The court
hearings, in Moscow, were open to the press. On February 1, 2016, a
lawyer for Deutsche Bank called Wiswell “the mastermind of the scheme
for the withdrawal of billions of dollars from the country.” The lawyer
also said that Wiswell’s wife had received a quarter-million-dollar
payment, for “financial services,” into the bank account of a
corporation that is registered under her name. Wiswell lost the suit.
Deutsche
Bank refused to say whether it believes that Wiswell took bribes, and
declined to discuss the case further for this article, perhaps because
of the ongoing investigations into its Moscow office. According to
people within Deutsche Bank, however, senior executives have told
colleagues that Wiswell received bribes far in excess of the
quarter-million-dollar payment cited by the company’s lawyer.
Will
Hammond, Wiswell’s colleague at U.F.G., suggested to me that the
bribery allegations were part of an effort to place the blame solely on
Wiswell and save the jobs of Deutsche Bank supervisors. One of the
executives who oversaw the desk, Batubay Ozkan, plans to leave the bank
this year, by mutual agreement; Hayes and Koep—the supervisors who could
monitor the trades made by Wiswell’s desk—still work for Deutsche Bank
in London. (None of the three have been charged with wrongdoing.)
“Someone is going to an awful lot of trouble to make Wiz look guilty,”
Hammond said.
On an April evening
in Moscow, I met with a broker who had intimate knowledge of the
structure of the mirror trades. The city was emerging from the choking
cold of winter, and young people flirted outside Paveletskaya Station as
if it were high summer. As the broker and I walked across the square,
he characterized mirror trades as just one of a thousand ruses employed
by smart businessmen. But why, I asked him, would somebody with a
prominent position at a major bank get involved in such a scheme?
Wiswell’s annual compensation was in the region of a million and a half
dollars. The broker laughed. He said that Wiswell had been paid
handsomely by clients of the mirror trades. For the architects of the
scheme, the broker explained, it was worth it to bribe someone inside
the bank: “Guys always pay something. They think it will hook you, so
you are not going to do unexpected things.” In the estimation of the
broker, Wiswell was a useful functionary but hardly a criminal genius.
Sometimes, the broker said, money was transferred into an offshore
account maintained by Wiswell’s wife, and sometimes cash was delivered
to Wiswell in a bag.
Wiswell’s
current whereabouts are unclear. He recently launched a craft-beer
business, Barbell Brewery, in Moscow, but some months ago he left the
country with his wife and their two children for a trip to Southeast
Asia. In March, his wife posted a request on Facebook for a nanny,
noting that her family was on an extended stay in Bali, in the resort
town of Seminyak. She later told a Balinese dance instructor that the
family planned to remain on the island for a year. (Wiswell’s wife
declined, through a lawyer, requests for an interview.)
Former
colleagues expect Wiswell to return to Moscow, where he owns an
apartment. Russia is likely to be a friendly jurisdiction to him. When
Moscow regulators looked into the mirror trades, they found little to
trouble them. They said simply that Deutsche Bank had fallen victim to
an illegal scheme, and levied a token punishment—about five thousand
dollars. American and European regulators are likely to be much more
punitive. Indeed, Wiswell probably will not return to America anytime
soon, given the Department of Justice’s investigation of Deutsche Bank.
One of Wiswell’s friends, now in America, called him “finance’s Edward
Snowden.”
On March
9, 2015, less than a month before the mirror-trades scandal became
public, Oliver Harvey and Robin Winkler, two strategists in the research
department of Deutsche Bank in London, published a report, “Dark
Matter,” which described the vast unrecorded transfer of money among
nations. Most economic papers are politely ignored by the world at
large, but “Dark Matter” attracted wide interest. Several newspapers ran
articles about it, and Harvey appeared on both CNN and the BBC to
discuss his research.
The report’s
conclusions confirmed long-held suspicions. In any national economy,
the authors explained, there are capital flows that do not appear on
what is called “the balance of payments.” Errors and accidental
omissions should be random, and therefore reveal no pattern. The authors
found that in the United Kingdom the pattern was anything but random.
Britain had “large positive net errors” that suggested significant
“unrecorded capital inflows.” Analyzing data from other countries,
Harvey and Winkler deduced where the vast majority of unrecorded capital
flowing into the U.K. was coming from. Since 2010, they wrote, about a
billion and a half dollars had arrived, unrecorded, in London every month;
“a good chunk” of it was from Russia. “At its most extreme,” the
authors explained, the unrecorded capital flight from Moscow included
“criminal activity such as tax evasion and money laundering.”
In
a connected and digitized financial system, how could such capital
flight happen? Bank transfers leave a footprint. Imports and exports are
accounted for. How could money disappear in one place and show up in
another? The two strategists did not have to wait long, or look far, to
learn the shameful answer: of the eighteen billion dollars that the
researchers had estimated was flowing into the U.K. each year, about
twenty per cent had arrived there as the result of trades made at their
own bank. Half the trades were settled at Deutsche Bank’s City of London
headquarters, which is a short walk from the office, in Pinners Hall,
where Harvey and Winkler worked.
John
Cryan, the Deutsche Bank C.E.O., has little time to think about such
embarrassments. Whatever the outcome of the various investigations into
mirror trades, the bank is in trouble. It lost seven and a half billion
dollars last year. Cryan has called the 2015 result “sobering.”
Britain’s recent decision to leave the E.U. has imperilled Deutsche Bank
even further. So far in 2016, the bank has lost half its market
valuation, and in early August its stock price dipped to an all-time
low, of $12.58. The only investors who now like the bank are
short-sellers. The financier George Soros took a short position in
Deutsche Bank before the Brexit referendum, effectively betting against
the share price, and is estimated to have made more than a hundred
million dollars as the stock nose-dived. Meanwhile, unlike many other
Wall Street lenders, Deutsche Bank continues to loan millions of dollars
to businesses associated with Donald Trump. When the Times
questioned Trump recently about his credentials on Wall Street, he said
that a private wealth manager at Deutsche Bank, Rosemary Vrablic, could
vouch for him.
The mood within the
bank is bleak, not least because Cryan has announced that job cuts are
forthcoming. A recent survey found that less than half of Deutsche Bank
employees are proud to work there. (Cryan also called this news
“sobering.”) The mood among shareholders is, if anything, worse. Ingo
Speich, a fund manager at Union Investment, a German company that is one
of Deutsche Bank’s biggest shareholders, told me that in 2015 there
were catcalls at the bank’s annual general meeting. This year, Speich
stood up and inveighed against “a decade of mismanagement.” Meanwhile,
the market capitalization of Deutsche Bank has become a grim Wall Street
joke. This summer, Deutsche Bank, which is a hundred and forty-six
years old, has been valued at about eighteen billion dollars—the same as
Snapchat.
Since 2011, the Federal
Reserve has performed a yearly “stress test” of U.S. lenders, assessing
whether banks would have enough capital to withstand the shock of an
economic downturn. Deutsche Bank failed the test in 2015, and failed
again this June, when “broad and substantial weaknesses” were uncovered.
Soon after the Federal Reserve’s latest report was released, the
International Monetary Fund issued a dire warning. Deutsche Bank, it
said, was not only “one of the most important net contributors to
systemic risks in the global banking system”; it was also a contagious
agent, because of heavy financial “spillover” between Deutsche Bank and
other lenders and insurers. Any kind of failure at Deutsche Bank, the
I.M.F. suggested, would be extremely bad news for everybody.
Given
Deutsche Bank’s fragility, the mirror-trading scandal could not have
come at a worse time. Cryan has promised to settle the Russian case by
the end of this year, and the bank recently set aside about a billion
dollars for legal costs. This may not be enough. Last year, Deutsche
Bank was fined the relatively small sum of two hundred and fifty-eight
million dollars for its circumvention of sanctions against Iran, Sudan,
and elsewhere. In 2014, however, BNP Paribas agreed to pay nearly nine
billion dollars to settle with regulators over sanctions violations. And
the mirror trades may exact a heavy fine from U.S. regulators, who take
a dim view of activity that looks like money laundering. A payment as
vast as the one levied at BNP Paribas could require Deutsche Bank to
raise capital to survive. A German government bailout might become a
necessity. A capital shortfall at Germany’s largest bank might provoke a
banking crisis across Europe. The shock to the global economy would be
profound.
Deutsche Bank’s Web site
includes a statement of values. The document was written in 2013, when
Deutsche Bank created a new code of ethics to help it “conduct business
with the utmost integrity.” In the wake of the mirror-trades scandal,
one section of the text stands out. “We enable our clients’ success by
constantly seeking suitable solutions to their problems,” it reads. “We
will do what is right—not just what is allowed.” ♦