A kouros purchased by the J. Paul Getty museum brings about skepticism of its legitimacy. According to Dr. Richard Serros the legitimacy of ancient works of art is often overlooked, as explained in the chapter titled, “Art and the Truth: The Getty Kouros and Provenance”. This is a notion worth noting as many priceless pieces of art may be seen as legitimate by several museums when in fact they are forgeries. These forgeries lack a true origin and may prove that many museums are indifferent as to where or from whom they receive ancient works of art. Along with the Getty Museum, Dr. Serros tells of John Pope-Hennessy, director of multiple museums in Britain who had detected several forged works in several other museums. These fakes, Pope-Hennessey found, had been “purchased by every great museum in the western world, including the Victoria and Albert, London; the Hermitage, St. Petersburg; the Musee du Louvre, Paris; the Metropolitan Museum of Art, New York; and the National Gallery, Washington, DC.” Forgeries could be found in famous museums all over, which disrupt what art historians have established thus far on the origins of many works of art. …show more content…
What historians can understand from a work of art’s provenance is where and when that piece is from. The acceptance of forged works of art changes what art historians thought about the provenance of several works of art to be incorrect. In the chapter, Dr. Serros recalls a bronze head that was once present in the Getty Museum that was originally thought to be from the Hellenistic age, but proved to have features similar to a work in a museum in Italy. A second fake was purchased by the Getty Museum in 1984. The museums mentioned previously are also worth noting for the forgeries detected by John Pope-Hennessey. The appearance of so many fakes in museums raises the question of how it was possible that they were accepted without detection of their
The durability of clay has brought forth an immense abundance of Greek pottery, a craft mastered by Athenian artists. Archeologists have found hundreds of varieties in creation, shape, function, style, and artwork in Archaic vases. The museum has been blessed with one of these priceless artifacts; it is the duty of this establishment to accumulate as much data as possible surrounding the vase. In first identifying technique, dimensions, and condition, as well as describing shape, ornament, and figural scenery, one may then begin to analyze the vase. This serves the general purpose of understanding where the artifact stands in Greek culture and history. Through the examination and research of figural scenes, it is then possible to compare these to other scenes and styles of the same and other painters. Finally, one can then hypothesize where, why, and how this piece was used.
Merryman, John Henry. Thinking about the Elgin Marbles: Critical Essays on Cultural Property, Art, and Law. London: Kluwer Law International Ltd, 2000.
Hunt insists that returning the marbles to Greece would create a precedent for other restitution claims. This in turn would rob all museums of their ability to provide a multicultural presentation of history. He declares that “we need the sharing of cultures.” I assert diversity can be achieved with castings, similar to the Romans copying Greek
Art for Art's Sake: Its Fallacy and Viciousness. The Art World, Vol.2. May 1917. 98-102
Though most works of art have some underlying, deeper meaning attached to them, our first impression of their significance comes through our initial visual interpretation. When we first view a painting or a statue or other piece of art, we notice first the visual details – its size, its medium, its color, and its condition, for example – before we begin to ponder its greater significance. Indeed, these visual clues are just as important as any other interpretation or meaning of a work, for they allow us to understand just what that deeper meaning is. The expression on a statue’s face tells us the emotion and message that the artist is trying to convey. Its color, too, can provide clues: darker or lighter colors can play a role in how we judge a piece of art. The type of lines used in a piece can send different messages. A sculpture, for example, may have been carved with hard, rough lines or it may have been carved with smoother, more flowing lines that portray a kind of gentleness.
The works of art from the Archaic Period, Classical Period, and Hellenic Period developed physically and mentally, and the study of their aesthetic differences from period to period allow for a decided contrast and comparability. This interpretation has had a profound effect on the art world and that continues even in today’s world. The importance of Greek sculptures is evident in the storytelling of the gods, the people, and the culture. We use these sculptures as a tool to go back into the past of the Greek people, letting us admire how far mankind has truly come, whether it is in art or intelligence. Generation after generation has been and will continue to be able to see for themselves the society, culture and uniqueness of these periods through the wonderful sculptures that came out of ancient
The Metropolitan Museum of Art. ‘Egyptian Art’, The Metropolitan Museum of Art Egyptian Art. New Series, Vol. 41, No. 3, Egyptian Art (Winter, 1983-1984): pp. 1+3-56
For years on end, countries have been fighting with big museums from other countries for ancient artifacts that belong to the original countries. The argument of whether or not the museums should be able to keep them still remains. It is the right of the country to have their own artifacts. It is imperative for countries to be able showcase their historical artifacts, therefor museums should return them to their rightful owners.
The Metropolitan Museum of Art came about as an idea from Jon Jay in Paris, France in 1866 with the idea of “national institution gallery of art” within the United States. Once this idea was proposed, it was immediately moved forward with his return to the United States. With the help of the Union League Club in NY they began to acquire civic leaders, businessmen, artists, and collectors who aided in the creation of the museum. For over 140 years, the visitors who go here have received everything the mission of the institution states.
...troversy as all countries have lost, to a great or lesser extent, treasures of national renown and significance over time. Wars, theft, treasure seeking, changing boundaries and migration have all in some way contributed to this diaspora of art. There is clear evidence that the historic placing of objects in locations remote from their origin has on occasion afforded protection and preservation, The Elgin Marbles in The British Museum being a case in point. However, given the overarching principle of self determination it is difficult to argue that serendipitous historic placement is sufficient reason for items of true national heritage to be kept indefinitely. A world-wide system of touring exhibitions and cultural exchange, with context being provided by the originating society may provide the natural progression to the accessible widening of people’s experiences.
Georges Didi-Huberman is critical of the conventional approaches towards the study of art history. Didi-Huberman takes the view that art history is grounded in the primacy of knowledge, particularly in the vein of Kant, or what he calls a ‘spontaneous philosophy’. While art historians claim to be looking at images across the sweep of time, what they actually do might be described as a sort of forensics process, one in which they analyze, decode and deconstruct works of art in attempt to better understand the artist and purpose or expression. This paper will examine Didi-Huberman’s key claims in his book Confronting Images and apply his methodology to a still life painting by Juan Sánchez Cotán.
The artworks of Mesopotamia, Ancient Egypt, the Aegean cultures, and Ancient Greece have similarities that not only reflect objects and images, but also the media, style and representation. These countries were not always wealthy, clever, creative and powerful enough to gain supplies, but they all find a way to create art with what they had. They have all influenced on each other’s cultures and belief through their artistic values and ways, ranging from the materials and tools they use, position and representation of their monuments and their religious intent.
...m 1643 – 1715 AD. By the 1630s, an Italian sculptor by name of Giovanni Francesco Susini made a bronze replica available to a larger group of audience. Such replication process became socially acceptable for artists looking for inspired works as well as the local and international art students. People from various parts of the world, such as: England, United States of America, Russia, China, and many more – continue to visit the Capitoline Museum of Rome to grab a full view of the renowned piece: Galata Morente.
The subject of art conservation and restoration has long been debated in the art world. Experts and historians have never agreed that all art must be salvaged at any cost. This paper will examine what art conservation and restoration is, what is involved in these endeavors, and what has been done over the centuries to many of history’s cherished art pieces.
‘Savage Beauty’ was an exhibition that pushed the boundaries of museology, in its artistic, social and critical undertakings. The questions brought to bear by the exhibition of contemporary art and culture in various situations is something I am interested in researching further with a degree in curating.