The Rothschild and the Arts

For many years now, the Rothschilds have been leading patrons of the arts. Their history of unbroken dedication and strong incentives to artistic creativity has resulted in an unequalled philanthropic activity, as well as in the forging of bonds of friendship with some of the major names in the world of art. Back in the 18th Century, Mayer Amschel Rothschild, founder of the family dynasty, developed a notable expertise in his collecting of ancient coins. The oldest of his five children started a magnificent collection of artworks, which he used to promote the city of Frankfurt, the family’s hometown, to the highest spheres of the European artistic enlightenment.

The long list of artistic figures who, over the years, have been part of the Rothschilds’ circle of friends is truly extraordinary. In the 19th Century, Chopin was a personal friend and teacher to Betty de Rothschild, whose celebrated portrait of Ingres has delighted art connoisseurs and the general public all over the world. Mendelssohn gave classes to the talented daughters of Nathan Mayer Rothschild. Rossini, one of the geniuses of the Italian opera, was a personal friend of James de Rothschild. One of the best-known stories involving this composer tells of the strategy he would use to obtain a few bottles of exclusive wine from the great banker, owner of Château Lafitte, probably the best vineyard in the world. The same James is portrayed in novels by Balzac and Disraeli. Other eminent individuals from the world of music who were close to the Rothschild family included Liszt, Paganini, Poulenc e Milhaud, to name but a few.

Edmond James de Rothschild, grandfather of the eponymous founder of the LCF Rothschild Group, and also known as The Benefactor, donated more than 40,000 engravings and drawings to the Louvre Museum, a collection that he had started when he was just five years old! In Paris one can also marvel at the Grand Masters’ drawings from the Edmond de Rothschild Collection, with masterpieces from Leonardo da Vinci through Dürer to Rembrandt. His son, Maurice, played a crucial role in assuring the success of the Ballets Russes in Paris before the Second World War. It was an unprecedent triumph for all those involved, including the composer, Stravinsky. His grandson, Edmond, carried on this unfailing tradition through his worldwide promotion of the elegance and mastery of French arts and crafts. His donation of the sumptuous French Room to the Museum of Israel is considered a outstanding episode in the history of this country, as well as being a revelation of aesthetic beauty. His generosity was also felt in the city of Geneva where he presented the Fine Arts Museum with a legendary Greek vase, which, to this day, is recognized as the masterpiece of the museum’s collection. A final mention should go to Edmond’s unique collection of winegrowing artefacts, dating from the Renaissance period and much acclaimed by experts.

Our Philosophy

To Encourage Talent

This prize, arising from the Rothschild Family’s tradition of artistic patronage, represents yet another support and encouragement for both the Arts and artists. Ariane de Rothschild consented to lend her name to the prize as a clear expression of her belief in the vitality of the artistic talent  and also to provide a form of personalised support that has a face and a presence. The Rothschild Family has always believed that their personal involvement in causes not only makes these emotionally richer, but, more significantly, brings an authenticity to their intentions, unleashing, in all those involved in the work, the magic of a higher purpose whether it be in the arts, in science or simply in the serving of others.

Why a Painting Prize?

In his book, Painting the Task of Mourning, Yve-Alain Bois states that “if a picture is to be revealed, if new painters are to be discovered, this will come about through the least expected routes”.  What is painting today? Can this artistic discipline be reduced to paint, whether oil or acrylic, lying on the canvas? Is painting yet again under threat from the technology which is increasingly coming to the fore in artistic practice?
The new generation of emerging artists has been working experimentally on a number of mediums exploring the legacy of painting, redefining it in contemporary terms. In many cases this involves an updating of well-known genres, such as still life. This prize not only intends to bring painting back to life but also to reclaim its importance and status. To this end, we want to bring together the artistic traditions inherited through painting and the new artistic trends and lexicon emerging in the 21st Century. We are moving into an expanded field of painting, a hybrid field in which categories and demarcations no longer make sense and must be cast aside, the modern is merged with the old, figuration with abstraction. The Ariana de Rothschild Painting Prize aims to reflect, to question and to promote the proliferation of contemporary artistic practices that constitute the realm of painting. Thus, we want to show that the philosophy of painting can spill over into the fields of photography, sculpture, video and even performance.

Rules

1.  Organisation

The “3rd Ariane de Rothschild Painting Prize” is organised by the Portuguese Branch of the Banque Privée Edmond de Rothschild Europe, whose offices are located at Rua D. Pedro V, 130, 1250-095 Lisboa

2.  Participants

Participants must be Portuguese citizens, or have been resident in Portugal for more than 3 years, and must be no older than 35 by the 31st December 2007.

3.  Theme

The main focus of the prize is painting. In addition to the traditional mediums of painting, works may be submitted to the competition whose theme, technique or expression are related to or referents of those of painting. This includes works in photography, sculpture and video.

4.  Entry Conditions

i. The competition entry form, available on this site, should be filled in and submitted as instructed.
ii. The entry shall only be considered valid upon confirmation of the information given.
iii. Entries must be made before or on 28th September 2007. No entries will be accepted after this date.
iv. Each participant may submit one piece of work only, with a maximum size of 200 x 200 x 200 cm. If a participant should wish, exceptionally, to submit a larger work then he or she must contact the Prize organisers by email, explaining why the work should be accepted. All such justifications will be considered.
v. Each work should be duly signed and authenticated by its author, either on the work itself or through an accompanying certificate.

5.  Jury

i. The members of the jury are prestigious, highly-qualified and widely-recognised figures in the world of contemporary art.  They are Richard Julin (Magasin3, Estocolmo), Lilian Tone (MoMA, New York), Pedro Cabrita Reis, Baronesa Ariane de Rothschild and José Luís Vasconcelos e Sousa (Banque Privée Edmond de Rothschild Europe, Portuguese Branch).
ii. The decisions of the jury are final and are not subject to appeal.
iii. Members of the jury may be changed without the competition itself being affected in any way.

6. Selection of Works and Allocation of Prizes

i. In addition to any other criteria deemed relevant by the jury, works will be selected in accordance with their originality and artistic merit. 

ii. The jury will draw up a short list of works, from which the 3 prize-winners will be selected.
iii. The Grand Prize will be awarded by the Ariane de Rothschild foundation. This will be a non-monetary prize in the form of  an all expenses paid 3 month scholarship to a university in London. Each participant should declare on their entry form whether or not they are available to accept this prize.
iv. The monetary value of the 3 prizes to be awarded is as follows:
. 1st Prize: 7.000€
. 2nd Prize: 4.500€
. 3rd Prize: 3.500€

7. The Works

i. The prizes are acquisition-based, with the winning works becoming part of the Bank’s collection and becoming the sole property of the Bank from the date on which the prize is awarded, with the author having no further rights to reward, beyond the monetary value of the prize itself.
ii. Winners will need to provide a receipt in order to receive the monetary prize.
iii. The Bank reserves the right to acquire any work entered into the competition, whether or not this makes it on to the short list.
iv. The bank reserves the right to exhibit and/or reproduce works entered into the competition in any place, and through any means, that it sees fit for the purposes of promoting the competition, particularly in any printed form or on its Internet page.

8.  Reception and collection of  Works

i. The works should be handed in as follows:
1. In Porto, on the 29th of September 2007, at the bank’s head office at: R. Domingo Sequeira, 105, 4050-232 Porto. From 10 am to 7 pm.
2. In Lisbon, on the 30th of September and the 1st of October 2007, at a place to be decided. From 10 am to 6 pm.
ii. On reception, works will be registered and coded. A receipt will be issued to the person handing in the work.
iii. The delivery, sending, carriage costs, transport and subsequent retrieval of the works entered into the competition are the sole responsibility of the competing artists.
iv. Works entered into the competition should be picked up, without fail, by their respective owners, or their duly authorised representatives, from the same places to which they were delivered on the 8th, 9th and 10th of October in Lisbon and the 11th and 12th of October in Porto
v. The bank shall not be held responsible for the conservation or storing of the works, or for any damage they might sustain, after the 14th of October 2007.
vi. Ownership of any works which are not picked up by this date shall pass to the bank.

9.  Exhibition and Promotion

i. The winning and short-listed works will be exhibited together in November, in a location to be announced.
ii. These works may not be withdrawn or substituted, for any reason, before the close of the exhibition.
iii. The organisers will sponsor the publication of a book containing the winning works and all, or some, of the short-listed works, as well as a focus on their respective authors. There shall be no monetary or any other form of payment due to artists as a result of their inclusion in the book that is to be published.

10.  Responsability

i. The Bank does not accept responsibility or liability for any works that are not in perfect condition on reception, or which go missing for reasons beyond their control.
ii. The Bank does not accept responsibility or liability for any damage suffered by works during the period of the competition, specifically during the jury selection phase, or for any damage suffered during the transport of the works to their pick up points. Entrants should arrange insurance to cover any such risk of damage.

11.  Changes to the Rules

These rules may be changed by the Prize Organisers in concert with the jury.

12.  Contacts

Any communication or requests for information should be addressed to the prize coordinator, Filipa Oliveira, by telephone (+351) 913 705 500, or e-mail: portugal@arartprize.com

13.  Final Remarks

All entries are taken to indicate full acceptance of the rules, as established here, or in any other documents issued by the organisers.

14.  Law and Jurisdiction

The competition and these rules are governed by Portuguese law, and any dispute or litigation arising from the competition or the rules is to be settled in the courts of Lisbon.

Participants

Filipa Oliveira
t: (+351) 913 705 500
portugal@arartprize.com

Press

Filipa Oliveira
t: (+351) 913 705 500
portugal@arartprize.com