Cohon Robert (4 results)

Softcover. Condition: Very Good. 144 pages, illustrated with photos. Light wear to the covers, very good shape otherwise. Quantity Available: 1. Category: Art & Design; ISBN/EAN: 9780692021187. Inventory No: 227587.

Pamphlet. 48p., profuse b&w exhibit photography on coated paper, staplebound 11x8.5 inch glossy color-decorated wraps. A fine unblemished copy. The author has schmoozed with and learned from many other curators, and writes with more than a touch of humor.

Staple-stitched. Condition: Sehr gut. 48 p., Ill. Der Einband ist leicht berieben, ansonsten ein sehr gutes und sauberes Exemplar ohne Anstreichungen. / The binding is slightly rubbed, otherwise a very good and clean copy without markings. -- (Excerpt:) ABOUT THIS BULLETIN: FLEMMING JOHANSEN, THE DIRECTOR OF COPENHAGEN'S PREMIER MUSEUM, the Ny Carlsberg Glyptotek, has what museum people call a great eye. His uncanny ability to grasp the nature of a work of art is made manifest in his publications where he demonstrates, with what appears to be effortless confidence, why a sculpture is genuine or forged. Once, we were walking through the Glyptotek and looking at the collection of ancient Roman portraits, a real rogues' gallery, when we stopped in front of a head that I thought was a fake. It had always looked to me more like a late eighteenth-century work done in the ancient Roman style than a genuine antiquity from the first century B.C. In fact, the Glyptotek's scholarly publication of the Roman portrait collection listed it as not ancient. I asked Johansen what was it doing on display. "Well, I can pass by the head every day, and see it at different times in different lights at different angles and think about it," he replied. "Maybe it is ancient, maybe not. I'll keep it on view for a few months. I want to spend some time thinking about it." Flemming's constant questioning and rethinking of problems was what lay behind his scholarship and his great eye. As I've now learned, a bad forgery is usually not that hard for a professional to spot; a fine forgery is far more difficult. It can also be very hard to establish that a genuine work is really genuine. I have spent years puzzling over some sculptures. You ask experts; you get different opinions. You ask scientists; they can do only so much. You spend a lot of time with the object, you learn every detail, and yet sometimes it will leave you stumped. Even when you find the answer, chances are it was not the one you thought it would be when you began. I started my research on problems with authentication when I was hired as curator of ancient art at the Nelson-Atkins Museum in Kansas City, Missouri. I remember at my interview wanting the job so much because the staff was young and excited about being there. The collection was fascinating. Few archaeologists had had the opportunity to study it, and there was so much to discover. Purchased over a fifty-year period (the first sculpture was acquired in 1930), it offered immense possibilities for scholarship. And of course there was always the problem: how much of it was genuine [.]. ISBN 9780942614282 Sprache: Englisch Gewicht in Gramm: 355.…

Paperback. Condition: New.