The militarized Da Vinci in London

Should we be glad we are able the so-called “new” Da Vinci, in a so-called last chance before it goes into the market? Should we be happy because we live in a city that allows you the chance to see it? Should we be content that they allow us to see it before the piece returns to its past of adorn in an over-decorated dining room?

If the answer for any of these questions is yes, we could remain unhappy after we saw the masterpiece. It is no doubt a privilege, but who endured the rainy Friday queue in front of Christie’s London (meters away from the Piccadilly Circus frenzy) and passed security checks, cloakrooms, and overcame the boredom of being watched by dozens of security guards to find the ultimate two who guarded the painting looking at you as a potential thief.

file1-1If you survived to all this, you certainly prayed for the return of the Salvator Mundi.

Going to see a painting to be seen as suspect.

It is not about whining because of security (or crime prevention), it is about craving for seeing the artwork without disruption and fear. Not for us, but because Da Vinci.

This mysterious Jesus Christ would deserve better settings of course. Whatever the outcome of its future auction, we, audiences from the whole world, will always remember this moment of global spectacle; a painting flown across the rich world, lying in totally privatized, and militarized surroundings.