“One day after a bloody clash between white supremacists and a mixture of non-violent, anti-fascist marchers and violent Antifa activists in Charlottesville, Virginia, a mob of activists destroyed a Confederate war statue in Durham, North Carolina. Fearing more violent action, authorities are concealing or removing potentially controversial public monuments nationwide. Far from easing tensions, this is likely to worsen the situation.
“From South Africa to Ukraine, statues have become proxy targets for political violence. Statues are soft targets. Often unprotected, easy to deface or destroy and unable to retaliate, they make ideal symbolic targets for those unwilling to endanger themselves. In an age when groups can be quickly mobilised via social-media postings and attacks can be livestreamed around the world, such assaults on cultural property are liable to become more common. Police rarely intervene, prosecutions for these attacks are uncommon and punishment light.
“Now the Culture Wars in the US are being fought on the streets between left-wing and right-wing activists. Civil War statues and memorials are flashpoints for this conflict…”
Read the full article online on Spiked 21 August 2017 here: http://www.spiked-online.com/newsite/article/the-liquidation-of-history/20226#.WZrPc1V97IU
“This title does not discuss the actual techniques used by restorers of the period but discusses the way restoration was seen and how business was conducted. The author examines the underlying assumptions of collectors, critics, administrators and restorers at time of great change in French (and European) history.
““A painting cleaned is a painting ruined; a thing to which the dealers never agree, but it is nonetheless true.” So wrote Pierre-Jean Mariette in 1851-3. Restoring was a controversial practice even in its early days. “Individuals engaged in some kind of restoration in Paris between 1750 and 1815 were generally also dealers, experts, copyists, or painters. That versatility underscores the breadth and variability of the profiles involved. The activity itself was nurtured by numerous related occupations, such as painting and forgery.” In business directories of the time, the classification of restorers was unclear and changeable. Dealers – initially based near the Louvre but later more widely distributed in central Paris – commonly repainted, retouched, cropped and expanded paintings that passed through their hands and a small community of restorers grew up to support such activity…”
Read the full book review on ArtWatch website, 6 June 2017, here:
“In a recent book investigating the work of Edward Collier (1641/42-c. 1708), historian Dror Wahrman has sought to uncover the methods and meanings of this neglected painter’s art. Collier was a Dutch still-life painter who was active in Leiden before moving to London in 1693. It is supposed that he died in London around 1708. Collier’s signature work was a form of trompe l’oeil painting. He painted letter racks depicting boards crossed by leather straps with items tucked into the straps. The items often included newspapers, sealed letters, pamphlets, combs, quills and bars of sealing wax…”
Read the full article at ARTWATCH UK, 21 June 2013: