Sentences with phrase «value in a work of art»

These principles can themselves be seen as «aesthetic» in both the narrower and the broader sense: they define the conditions for the achievement of value in a work of art, or in the experience of any actual occasion.

Working with Hannah [Barry] has had quite an influence — the idea of seeing a value in a work of art, even if you don't like it.

Here visitors will take on a journey through familiar imagery and obscure biographical references that mingle, repeat, trade places, and morph into new provocations that invite reflections upon memory, impulse, the stability of knowledge, and what constitutes value in a work of art.

Not exact matches

While one might think such a state - of - the - art technology and how it facilitates high - touch customer service would more suitable to upscale stores, eBay thinks the technology could work even in more value - oriented retail chains.

Shipments containing cash or other means of payment, precious metals, art work, jewelry, watches, precious stones or other articles of value or securities for which, in the event of damage, no stoppage and no cancellation and replacement procedure can be carried out; for the avoidance of doubt the following valuable goods are exempted from this rule: Shipments using the Registered Mail special service, which contain stamps, telephone cards, vouchers for goods and low - value goods in these classes (e.g. fashion jewelry and promotional articles), up to an actual value of 30 Special Drawing Rights of the International Monetary Fund (SDR) per shipment, and individual tickets and entrance tickets;

The historic properties managed by the Public Buildings Service represent the work of historic and prominent architects that are valued for significance in art, architecture, archeology, culture, engineering, and American history.

Music, literature, and the visual arts all depend upon the ability of the artist to select and arrange individual components (notes, words, colors) and to create relationships among them in which each element contributes to the beauty of the whole work while the unity of the work enhances the value of each individual part.

In literature and the arts valuing affects the relation of the arts to human life and the critical standards by which the intrinsic merit of works of art are judged.

One disciple of the school, indeed, has striven to impugn the value of works of genius in a wholesale way (such works of contemporary art, namely, as he himself is unable to enjoy, and they are many) by using medical arguments.

«Congratulations to all the project partners and thank you to Governor Cuomo and Homes and Community Renewal for recognizing the value of this kitchen as a lifeline to Albany's seniors and as a gateway to education and career opportunities for those aspiring to work in the culinary arts industry,» said Kathy Sheehan, Mayor, City of Albany.

I'm thankful for the outlets that struggle to maintain integrity in a sect of journalism frequently free of same and for the passion that drives any fan looking to start up a venue to convey his or her own perspective, for my comrades on the film awards beat who keep me on my toes, for the ability to work for myself covering an art form I love, and that there are some who find a modicum of worth in that coverage, as well as for the undying commitment of my colleagues here — Guy Lodge, Gerard Kennedy and Chad Hartigan — whose value is immeasurable.

Those surveys were designed to measure five types of outcomes: 1) whether the school tour helped create cultural consumers (students who want to return to museums and engage in other cultural activities), 2) whether the school tour helped create cultural producers (students who want to make art), 3) whether the school tour increased student knowledge about art and history, 4) whether the school tour improved student critical thinking about works of art, and 5) whether the school tour altered student values, like empathy and tolerance.

(Learning the value of inclusion and community) Perseverance (Learning the value of working hard when things don't come easy) Doing what you know is right (Issues of right or wrong) Learning the value of what you have (An introduction to money and saving) Taking Responsibility (Issues of having responsibilities as you grow up) Knowing you are special (Issues of self - esteem) Saying you're sorry (Learning the value of apologising) The art of giving (Learning the value in charity) Listening to those who know best Why rules are important

Diorio points out that the award - winning VAX booking engine is one of the keystones to helping travel agents work seamlessly and smoothly with the diversity of product, in addition to other TMTC hallmarks, such as state - of - the - art groups technology, a committed nationwide team of business development managers and well - defined core values that permeate every aspect of customer care.

Keep reading to find out about an art deco gem in an old water works building, another in the executive offices of a brewery, a Starwood property poised to become Australia's largest hotel, plus a great value in a converted mid-century mod office tower.

What elevates «Superhot» to a work of art is how it folds in on itself and questions its own value.

According to the story, there were six Chia paintings in question, and Saatchi, who wanted to expand his holdings of work by Andy Warhol, made an offer to Westwater to swap a Chia painting, Melancholic Camping, 1982, for a higher - valued Warhol silk - screen diptych, Blue Electric Chair, with the difference in price to be made up in either cash or art.

One of the ways in which art consultants add value to curators and galleries is in their understanding of artistic trends and which artists are currently producing work that captures the current zeitgeist.

Honestly, having spent almost half a decade working within the industry of art websites — with a focus on social networking, online art competitions, and eCommerce — I must say that one of the biggest mistakes artists make when it comes to selling art online is to pay for services that may in reality be of little value to their career.

A similar impetus motivated David Novros to work in fresco, creating a physical unity between painting and site that negated the work of art's exchange value.

The Book of Kings: Art, War, and the Morgan Library's Medieval Picture Bible used medieval works from the Morgan and The Walters Art Museum, Baltimore, to explore ways in which Christian, Muslim, and Jewish cultures used storytelling to define themselves and their values.

Emily Butler, Mahera and Mohammad Abu Ghazaleh Curator at Whitechapel Gallery says: «We are very excited take our first journey into online commissioning with Jonas Lund, who has created a pertinent work asking important questions about the value of art in a globalised, technologised society.»

I value the referential quality of art, that fact that a work can allude to things or states of being without in any way representing them.

In more recent works such as Pile (2004), a painted bronze sculpture of a pile of garbage bags, Turk explores the way in which a work of art is conferred with iconic status and valuIn more recent works such as Pile (2004), a painted bronze sculpture of a pile of garbage bags, Turk explores the way in which a work of art is conferred with iconic status and valuin which a work of art is conferred with iconic status and value.

Fusco cites the fact that unlike film and literature, which are largely dependent on popular demand in determining their desirability, visual art is «exclusionary,» with the value of works determined by «a tiny elite.»

Greenberg, art critic Michael Fried, and others have observed that the overall feeling in Pollock's most famous works — his drip paintings — read as vast fields of built - up linear elements often reading as vast complexes of similar valued paint skeins that read as all over fields of color and drawing, and are related to the mural - sized late Monets that are constructed of many passages of close valued brushed and scumbled marks that also read as close valued fields of color and drawing that Monet used in building his picture surfaces.

During this same month, Gerhard Richter and Georg Baselitz threatened to withdraw their art works on loan to several German museums in protest of a proposed new German law that would result in stronger oversight over imported cultural artifacts and tighten export restrictions for cultural assets that are more than fifty years old or valued at more than $ 162,000.

Unveiled during couture week in Paris, the Art Capsul garments will be made to order and priced according to the current market value of the artists» work.

In his work, Gilewicz touches upon the value of labor, both artistic and physical, fulfillment as it relates to the production and over-production of art in a global economic slowdown and the roles of critics and art institutionIn his work, Gilewicz touches upon the value of labor, both artistic and physical, fulfillment as it relates to the production and over-production of art in a global economic slowdown and the roles of critics and art institutionin a global economic slowdown and the roles of critics and art institutions.

Although people who are older than me chide me and say that this is something that happened all the time, it seems new to me that, in the past five years or so, economic value is conferred on a work of art because of its auction price, and only because of its auction price.

In 1998, he had his first one man show at the Kamakura Gallery, and his work has been featured in the following group exhibitions: 2010, «assembling» vision's, Ningyo - cho; 2010, A-Thing; 2009, «The Dream of Cybord», Art Trace Gallery, Ryogoku; A-THing2006, The 3rd Fuchu Biennial «On Beauty and Value, Seven Artists of Post-Bubble Generation» Fuchu Art MuseuIn 1998, he had his first one man show at the Kamakura Gallery, and his work has been featured in the following group exhibitions: 2010, «assembling» vision's, Ningyo - cho; 2010, A-Thing; 2009, «The Dream of Cybord», Art Trace Gallery, Ryogoku; A-THing2006, The 3rd Fuchu Biennial «On Beauty and Value, Seven Artists of Post-Bubble Generation» Fuchu Art Museuin the following group exhibitions: 2010, «assembling» vision's, Ningyo - cho; 2010, A-Thing; 2009, «The Dream of Cybord», Art Trace Gallery, Ryogoku; A-THing2006, The 3rd Fuchu Biennial «On Beauty and Value, Seven Artists of Post-Bubble Generation» Fuchu Art Museum.

Presenting work by some of the greatest artists of the 20th century alongside those at the forefront of contemporary art, Christie's Post-War and Contemporary Art Evening Auction in London totalled # 137,459,750 / $ 189,969,375 — the highest ever for a London Post-War sale, and was 92 per cent sold by lot and 96 per cent by valart, Christie's Post-War and Contemporary Art Evening Auction in London totalled # 137,459,750 / $ 189,969,375 — the highest ever for a London Post-War sale, and was 92 per cent sold by lot and 96 per cent by valArt Evening Auction in London totalled # 137,459,750 / $ 189,969,375 — the highest ever for a London Post-War sale, and was 92 per cent sold by lot and 96 per cent by value.

KB: We both very much valued Duncan Campbell's extensive presentation of his film works at the Irish Museum of Modern Art in Dublin, and also Soleil politique.

One of these works, HORIZONTAL (1973), was censored from the exhibition «FOCUS: Women's Work — American Art in 1974» at the Museum of the Philadelphia Civic Center for «lacking redeeming social value,» phraseology commonly applied to pornography.

That means that if you have your work in the Museum of Modern Art, it confers some value, though I think a lot less than it used to.

Inequality in almost every area of the art world was obvious: male artists dominated both historic collections and also exhibitions of contemporary art; women were excluded or absent from major art history books; almost all the staff in art institutions and universities were men; and work by female artists had less commercial value.

With concise eloquence she traverses a complex field of issues: inviting criticism she evokes ideas of value; the reference to a «crit», a nod to art education; in composition her works explore colour, line and form; and as drawings they point to experimentation and process.

This new group exhibition features painting and sculpture works by four contemporary Korean artists whose striking and intimate art serves as a record of personal experiences and key moments in life, memorializing the often - overlooked value of the everyday.

Christy's work has reflected these aesthetics and values since he was a student at Nashville's Watkins College of Art, Design & Film in the middle 00's, and these current trends are recasting artists like Christy as prophets of this new school cool.

«Simultaneously an art object, a memorabilia item, and a hyper - intimate autograph,» he writes, «CTA works (and super goods as a whole) are a highly potent bundle of commodities nestled within themselves, able to be extracted individually or allowed to appreciate in value simultaneously as a diversified portfolio.»

In essays, poems, interviews and artworks, 19 contributors consider artworks that resist institutional parameters; how and why performers, choreographers and dancers might go about making art institutions into proper venues for their works; and how race figures into assessments of value.

In 2005, the artist opened lesser new york in her Williamsburg loft, which was a response to Greater New York (2005) but it was lesser; it was a greater response to the lesser limits of the art world that she saw reflected in PS1's concurrent survey; this lesser exhibit / installation was organized under the auspices of a «fia backström production,» a lesser production of curated ephemera such as press releases, invites, posters, and so on culled from found materials and the work of a greater local network of friends and peers; the lesser aesthetics of dejecta, pasted directly onto the walls, reflects a greater decorative pattern, not unlike Rorschach images of a lesser art industry itself within a critique of a greater institutional relationship to art production; as such, the lesser display of curated ephemera (from nonartists and artists alike) not only comments on the greater vortex of art and capital, but also serves as a lesser gesture toward something like a memorial wall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greateIn 2005, the artist opened lesser new york in her Williamsburg loft, which was a response to Greater New York (2005) but it was lesser; it was a greater response to the lesser limits of the art world that she saw reflected in PS1's concurrent survey; this lesser exhibit / installation was organized under the auspices of a «fia backström production,» a lesser production of curated ephemera such as press releases, invites, posters, and so on culled from found materials and the work of a greater local network of friends and peers; the lesser aesthetics of dejecta, pasted directly onto the walls, reflects a greater decorative pattern, not unlike Rorschach images of a lesser art industry itself within a critique of a greater institutional relationship to art production; as such, the lesser display of curated ephemera (from nonartists and artists alike) not only comments on the greater vortex of art and capital, but also serves as a lesser gesture toward something like a memorial wall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatein her Williamsburg loft, which was a response to Greater New York (2005) but it was lesser; it was a greater response to the lesser limits of the art world that she saw reflected in PS1's concurrent survey; this lesser exhibit / installation was organized under the auspices of a «fia backström production,» a lesser production of curated ephemera such as press releases, invites, posters, and so on culled from found materials and the work of a greater local network of friends and peers; the lesser aesthetics of dejecta, pasted directly onto the walls, reflects a greater decorative pattern, not unlike Rorschach images of a lesser art industry itself within a critique of a greater institutional relationship to art production; as such, the lesser display of curated ephemera (from nonartists and artists alike) not only comments on the greater vortex of art and capital, but also serves as a lesser gesture toward something like a memorial wall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatein PS1's concurrent survey; this lesser exhibit / installation was organized under the auspices of a «fia backström production,» a lesser production of curated ephemera such as press releases, invites, posters, and so on culled from found materials and the work of a greater local network of friends and peers; the lesser aesthetics of dejecta, pasted directly onto the walls, reflects a greater decorative pattern, not unlike Rorschach images of a lesser art industry itself within a critique of a greater institutional relationship to art production; as such, the lesser display of curated ephemera (from nonartists and artists alike) not only comments on the greater vortex of art and capital, but also serves as a lesser gesture toward something like a memorial wall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatein the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatein Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatein its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatein one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatein the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatein both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatein its lesser relationship to the greater.

Naturally, in dealing with false realities, the artist's work continues to explore labor, perception, women's issues and history - as they relate to art and Art History as well, and of course, valart and Art History as well, and of course, valArt History as well, and of course, value.

She was also head of sale for the Essl: 44 Works single owner collection auction, which represents the highest pre-sale value, single owner collection of Post-War and Contemporary Art, ever to be offered at auction in Europe.

His work can be seen across a variety of different media applying his playful, tongue - in - cheek imagery with anti establishment values, he was also one of fifty artists commissioned to create a 50th anniversary Penguin book cover and is the only urban artist to date to be featured on the front cover of the fine art publication Art Reviart publication Art ReviArt Review.

There is a push - pull in the art market where value often comes from works of art trading with exceptional infrequency even as the fact of repeated sales of art in general and an artist's work or even a specific work, in particular, gives buyers greater confidence in art as a store of value (or an asset class.)

The programme will not only celebrate the important and integral work of Travelling Gallery but will explore and test its values within today's contemporary context, advocating for its vision that we live in a Country in which everyone has the opportunity to experience and engage in the arts.

Arcangel is concerned with the democratization of his own art: by exhibiting the same image both IRL in a white cube and online as «click bait»; in the leveling of cultural value, despite variance of image quality; and in his adherence to open source culture (evidenced especially in work titles that double as instructions to make them oneself).

Other works in the exhibition include Jorge Pardo's handcrafted wooden palette and modernist designed furniture that question the nature of the aesthetic experience; pioneering conceptual artist Joseph Kosuth's discourse on aesthetics in neon, An Object Self - Defined, 1966; Rachel Lachowicz's 1992 row of urinals cast in red lipstick, which delivers a feminist critique of Duchamp's readymade; Richard Pettibone's paintings of photographs of Fountain; Richard Phillips» recent paintings based on Gerhard Richter's highly valued work; Miami artist Tom Scicluna's neon sign, «Interest in Aesthetics,» a critique of the use of aesthetics in Fort Lauderdale's ordinance on homelessness; the French collaborative Claire Fontaine's lightbox highlighting Duchamp's critical comments about art juries; Corey Arcangel's video Apple Garage Band Auto Tune Demonstration, 2007, which tweaks the concept of aesthetics in the digital age; Bernd and Hilla Becher's photographs, Four Water Towers, 1980, that reveal the potential for aesthetic choices within the same typological structures; and works by Elad Lassry and Steven Baldi, who explore the aesthetic history of photography.

In 2013 Van Buuren Museum, Brussels, suffered a robbery in which several works of art were stolen from its collection; including «The Thinker» (1907) by Dutch painter Kees van Dongen, estimated at a replacement value of $ 1.2 million, or over # 861,00In 2013 Van Buuren Museum, Brussels, suffered a robbery in which several works of art were stolen from its collection; including «The Thinker» (1907) by Dutch painter Kees van Dongen, estimated at a replacement value of $ 1.2 million, or over # 861,00in which several works of art were stolen from its collection; including «The Thinker» (1907) by Dutch painter Kees van Dongen, estimated at a replacement value of $ 1.2 million, or over # 861,000.