"Anderson's Film 'The Phoenician Scheme' Showcases an Authentic Renoir and a Satirical Take on Art Acquisition"
Art vs. Criminal Endeavors: The Phoenician Scheme Unearths the Peculiar Philosophy of an Art Collector
In Wes Anderson's latest flick, The Phoenician Scheme, currently gracing screens in New York and Los Angeles, the lead character, Zsa-Zsa Korda, remarkably played by Benicio del Toro, drops a pearl of unconventional wisdom about art acquisition: "Never buy good pictures, buy masterpieces." A piece of advice any art aficionado would savor, but how does one amass such a prestigious collection without breaking the bank? Well, apparently Korda's funding methods are questionable, to say the least.
Korda, a jet-setting businessman embroiled in a devious scheme to open a waterway near the Mediterranean, finds himself short on cash. Between assassination attempts and downed aircraft, he spends most of the movie trying to persuade his associates to foot the bill for his ambitious endeavor. His estranged daughter, Liesl, a nun portrayed by Mia Threapleton, steps in to help him out.
But imagine if Korda decided to part ways with a few of his real-life masterpieces, housed within his lavish 16th-century palazzo. The house, reminiscent of the abode of art collector Calouste Gulbenkian, boasts an impressive collection that is as haphazardly displayed as it is vast. Among the treasures are a 17th-century Floris Gerritsz van Schooten still life featuring a tempting roast, a 1942 René Magritte with leafy birds, and an 1889 Pierre-Auguste Renoir of the artist's nephew. But as Liesl sleeps beneath the Renoir, blissfully unaware of its illustrious history, it seems the art serves merely as background noise for Korda's criminal dealings.
His indifferent attitude towards his prized collection subtly echoes the approach of Russian oligarchs towards their coveted Picassos and Rothkos, before the conflict in Ukraine hindered their art-buying spree.
Anderson, a filmmaker known for his ornate sets that resemble art installations, has taken a different approach with The Phoenician Scheme. While some of the artworks appear to be fabricated props, a handful are authentic. The Renoir, once owned by Greta Garbo, is genuine, as is the Magritte and the van Schooten. Even the curator of the film, Jasper Sharp, arranged for the inclusion of original masterpieces in the movie.
While Korda can't distinguish between good art and great art in his grab-bag collection, Anderson urges viewers to do so. "You can tell the difference," he wrote, "and it has an aura to it." The film serves as a satire of collectors who view art more as a status symbol than as a profound cultural artifact. Anderson, it seems, encourages us to not only buy great works, but to cherish and appreciate them.
- The art collector Zsa-Zsa Korda, portrayed in Wes Anderson's film The Phoenician Scheme, draws inspiration from his character's statement about art acquisition: "Never buy good pictures, buy masterpieces."
- In the film, Korda's chaotic art collection housed within his 16th-century palazzo features notable works such as a 17th-century Floris Gerritsz van Schooten, a 1942 René Magritte, and an 1889 Pierre-Auguste Renoir.
- Reminiscent of Russian oligarchs before the conflict in Ukraine, Korda's casual treatment of his art collection raises questions about collectors who treat art primarily as a status symbol rather than a profound cultural artifact.
- Painstaking attention to detail is evident in Anderson's film sets, which often resemble art installations, and a few pieces in The Phoenician Scheme are genuine masterpieces, including the Renoir, once owned by Greta Garbo, and the Magritte.
- In contrast to Korda's attitude, Anderson encourages viewers to discern the difference between good art and great art, urging us to cherish and appreciate masterpieces, not just acquire them.
