One of the most mysterious art crimes is the theft and ransom of Picasso’s Weeping Woman from the NGV in Melbourne. Not a lot is known about it apart from some ransom notes sent by the thieves. The painting was returned undamaged after being held by the Australian Cultural Terrorists. So SBS’s four-part documentary was always going to be a stretch.
The various commentators on Framed tell us many contradictory things. That the NGV was amongst the best art galleries in the world and then that it had aircon and security problems at the time. That staff loved that NGV Director, Patrick McCaughey, and that the docents went on strike after he took away their chairs. That Arts and Police Minister, Race Matthews, was good for the arts and that he was pompous. And many guesses at who did the crime while explaining how damaging this was to the people implicated.
Framed frames people from perennial favourites to secret cabals of art insiders and other wild theories. It then looks at the damage that wild accusations cause. The program presented about five, including Ashley Crawford’s pure speculation, McCaughey’s biography and the anonymous letter sent to Virginia Trioli. And why do all these wild theories assume that it was a man who stole the painting? Why not a woman? If they wanted to go wild, they could have asked Trioli if she stole it; after all, she has written about being involved in stealing the bronze dog, Larry La Trobe.
Part of the mystery of the theft of the Weeping Woman is that it is a very different kind of crime. And it has become a genre of stories, very creative non-fiction in autobiographies and speculations from authoritative sources. As everybody wants to solve the mystery themselves.
Framed doesn’t frame the cubist painting regarding the politics in Australia’s historical relationship to modern art. What it symbolised to the NGV and a “philistine country” (to use McCaughey’s own words). TV is good at setting the scene, and the program includes lots of shots of Melbourne in the early 1980s and McCaughey in different coloured bow ties. Unfortunately, there is not the same background about the painting or Picasso.
Instead of presenting unprovable speculations, the program could have shown more details and context about art crimes. Although it briefly examines art forgery, it doesn’t look at art theft in any great detail and even less about art theft for ransom.
Would someone steal art to get better security for the gallery? Were there art thieves in Australia who could smuggle stolen paintings out of the country? What happens in other art for ransom theft in Australia? And why did the police drain the NGV’s moat in their search? I answer these questions that Framed doesn’t in my yet unpublished book on Australian art crimes.
Incidentally, presenter Marc Fennell asked the questions when I was a contestant on Mastermind.
January 2nd, 2022 at 8:47 PM
It was a rather strange program I thought. As you say no context around what art crimes look like, and no information about the funding make up in the 80s, or the proportion spent on Australian art versus international art – very important information if the theft was about getting a better deal for artists. And the fourth episode came out of the blue – like the program researchers discovered the tale of Rosson late in the piece and tacked it on. Gary Willis came off the best as an interviewee – intelligent and with a smile, with the others including Trioli strangely stiff.
January 2nd, 2022 at 10:01 PM
Yes, I was surpised by the direction they pursued for the final episode.
January 22nd, 2022 at 12:00 PM
Yes, it didn’t give much context on Picasso or art crime in general. Made for generation Z and Y and millennials. Would love to have to it solved though …
January 22nd, 2022 at 6:40 PM
It will be solved when the original pack of provenance documents that was in an envelope on the back of the painting is found, probably on the death of one of the thieves.
April 15th, 2023 at 11:25 AM
[…] well as I’ve also reviewed Marc Fennell’s tv series about the Picasso theft, Framed. Fennell’s other series, Stuff the British Stole, is also relevant, even though the British stole […]