Articles Go to News & notices [23/11/2016] Connoisseurship: Examinations, Debates and Snap Visual Responses[16/02/2016] Chartres’ Flying Windows[29/03/2015] The Conservation Laundering of Illicit Antiquities[07/01/2015] Art’s Toxic Assets and a Crisis of Connoisseurship ~ Part II: Paper (sometimes photographic) Fakes and the Demise of the Educated Eye[03/10/2014] Art’s Toxic Assets and a Crisis of Connoisseurship[20/09/2014] “Art’s Toxic Assets” ~ Announcing a new ArtWatch UK website[15/09/2014] The Samson and Delilah ink sketch – cutting Rubens to the quick[06/06/2014] Sistina Progress and Tate Transgressions[08/05/2014] Ghosts in the Lecture Room: Connoisseurship and the Making, Appraising, Replicating and Undoing of Art’s Images[13/04/2014] How the Metropolitan Museum of Art gets hold of the world’s most precious and vulnerable treasures[07/04/2014] How ‘good taste’ destroyed art[24/03/2014] From Veronese to Turner, Celebrating Restoration-Wrecked Pictures[13/03/2014] Mantegna’s Dead Christ : They Know Not What They Do[24/02/2014] Good Science; Over-Reaching Science; Over-Promoted Science.[07/02/2014] From the Horse’s Mouth: Seventy years of worthless “science” and reassurances on the safety of picture cleaning solvents[04/02/2014] The Futurist Louvre and Leonardo’s Fate: nothing ventured, nothing lost[20/01/2014] THE FATE OF SCULPTURES AT: 1) The Metropolitan Museum of Art; 2) The British Museum; 3) The National Museum of Kolkata; 4) The Academy of Art in Perugia; And, the Burrell Collection next?[06/01/2014] NEW YEAR REPORT[11/12/2013] The Twilight of a God: Virtual Reality in the Vatican[25/11/2013] Bubbles burst.[11/11/2013] A Poor Day of Remembrance for Burrell[30/10/2013] Art and Photography[14/10/2013] Barnes, Burrell and a Beck Memorial Lecture: “Philippe Mercier Watteau’s English Follower” ~ by Martin Eidelberg[24/09/2013] Betraying Burrell – Shame on Glasgow[06/09/2013] Protecting the Burrell Collection ~ A Blast against Risk-Deniers[26/08/2013] Destroying archives[30/07/2013] Farewell, then, Fine Old Sindie Arts Coverage[11/07/2013] Review: Who Cleaned the Queen’s Windows and the Lady’s Pearls?[01/07/2013] Review: Ways of Showing – or not[21/06/2013] Review: The Unobservant Eye[01/04/2013] The Sistine Chapel Restorations, Part III: Cutting Michelangelo Down to Size[28/03/2013] The Sistine Chapel Restorations, Part II – CODA: The Remarkable Responses to Our Evidence of Injuries; and Thomas Hoving’s Rant of Denial[01/02/2013] The Sistine Chapel Restorations, Part II: How to Take a Michelangelo Sibyl Apart, from Top to Toes[21/01/2013] The Sistine Chapel Restorations: Part I ~ Setting the Scene, Packing Them In[10/01/2013] ArtWatch Stock-taking and the Sistine Chapel Conservation Debacle[17/12/2012] “Pick Up A Pencil”[01/10/2012] Coming to Life: Frankenweenie – A Black and White Michelangelo for Our Times[01/09/2012] The Battle of Borja: Cecilia Giménez, Restoration Monkeys, Paediatricians, Titian and Great Women Conservators[30/08/2012] The “World’s worst restoration” and the Death of Authenticity[02/08/2012] Reviews: Taking Renoir, Sterling and Francine Clark to the Cleaners[18/07/2012] L. O. L. It’s Peeping Tom Time at the National Gallery![11/07/2012] Review: Stone-washed Renoirs and the Shock of the Undone[12/06/2012] Could the Louvre’s “Virgin and St. Anne” provide the proof that the (London) National Gallery’s “Virgin of the Rocks” is not by Leonardo da Vinci?[01/06/2012] Review: Renoir at the Frick – The Curatorial and Conservational Photographic Blind Spots[15/05/2012] Review: Deadly Docents, Dirty Varnish and a Big Educational Push at the Frick[28/04/2012] Rocking the Louvre: the Bergeon Langle Disclosures on a Leonardo da Vinci restoration[08/04/2012] Another Restored Leonardo, Another Sponsored Celebration – Ferragamo at the Louvre…[23/03/2012] Black is a Colour[14/03/2012] The Perpetual Restoration of Leonardo’s Last Supper, Part 2: A traumatic production of “a different Leonardo”[28/02/2012] Shedding archival records at the Tate and the Victoria and Albert Museum[07/02/2012] The Perpetual Restoration of Leonardo’s ‘Last Supper’ – Part 1: The Law of Diminishing Returns[19/01/2012] What Price a Smile? The Louvre Leonardo Mouths that are Now at Risk[04/01/2012] The Louvre Leonardo Restoration Committee Resignations[24/12/2011] Something Not Quite Right About Leonardo’s Mouth ~ The Rise and Rise of Cosmetically Altered Art[06/12/2011] Two “As Good as New”, Colour Contrasting Velazquezs ~ Thanks to the Fundación Iberdrola[24/11/2011] The National Gallery’s £1.5 billion Leonardo Restoration[29/10/2011] Makeovers, Sleepovers and Martyrs ~ Is St Paul’s Cathedral fit for purpose?[12/10/2011] Applying recreated authenticity to historic buildings in the name of their conservation[05/10/2011] Sir’s not always right[21/09/2011] A conservation appeal too far: Sophie Dahl’s public relations disaster[07/09/2011] The Controversial Treatments of the Wallace Collection Watteaus[17/08/2011] From Annigoni to Banksy: restorers’ crimes against art and graffitist’s crimes against architecture[11/08/2011] Dicing with Art and Earning Approval[24/07/2011] Lucian Freud’s blast against picture restorers, and a fellow painter’s note of appreciation[20/07/2011] Attacked Poussins at the National Gallery[17/07/2011] Leonardo, Poussin, Turner: Three Developments in London and Krakow[09/07/2011] Questions and Grey Answers on the Tate Gallery’s recovered Turners[03/07/2011] Brighter than Right, Part 2: Technical Problems of Protection, Health and Safety at St Paul’s Cathedral[31/05/2011] Brighter than Right, Part 1: A Modernist Makeover at St Paul’s Cathedral[20/04/2011] John Singer Sargent and how something ‘really filthy’ comes off in the conservation studio, time and time again[11/04/2011] Vandalism and restoration ethics: The case of the Dutch “Thinker”[06/04/2011] Thomas Eakins’ The Gross Clinic – A suitable Case for Treatment?[01/04/2011] Misreading Visual Evidence ~ No 2: Michelangelo’s Sistine Chapel Ceiling[26/03/2011] Misreading Visual Evidence ~ No 1: David Hockney, an art historian and an x-ray photograph[17/03/2011] “With our Art Laser you can clean any work of art without damaging it” ~ Why professional art conservation is not always a good thing for works of art[09/03/2011] Why is the Metropolitan Museum of Art afraid of public disclosures on its picture restorers’ cleaning materials?[25/02/2011] Discovered Predictions: Secrecy and Unaccountability at the Metropolitan Museum of Art, New York[18/02/2011] An ominous silence at the Metropolitan Museum of Art, New York[08/02/2011] The European Commission’s way of moving works of art around[02/02/2011] Why is the European Commission instructing museums to incur more risks by lending more art?[27/01/2011] How the National Gallery belatedly vindicated the restoration criticisms of Sir Ernst Gombrich[23/01/2011] In Memoriam: Thomas Molnar (1921-2010)[20/01/2011] Shifting contours – and other faults with the Metropolitan Museum of Art’s photographs[16/01/2011] The museum world’s increasing acceptance of virtual-reality “resurrections”[10/01/2011] The National Gallery, London:The World-Leader in museums’ online provision of photographic reproductions of paintings[08/01/2011] An Unreported Tragedy, Picasso’s Warning, a Dog That Didn’t Bark, Fried Peaches and Coloured Cleaning Swabs: The Sheldon Kecks’ Unexamined Restoration of ‘The Luncheon of the Boating Party’ – The Phillips Collection’s Fabled Renoir[29/12/2010] Response to Attack[29/12/2010] A spectacular restoration own-goal: undoing, re-doing and (on the quiet) re-re-doing a Veronese masterpiece at the Louvre Museum[20/12/2010] Romanian Heritage: the Struggle to Protect the “Protected”[18/12/2010] Waste Much, Want Not: the feather-bedded public-sector avant gardists[13/12/2010] An Appeal from Poland[26/11/2010] The New Relativisms and the Death of “Authenticity”News & Notices Go to Articles [29/11/2016] The Louvre’s Leonardo Restorations: The Tide Turns[06/11/2016] Bendor Grosvenor’s Eye, a new Raphael, and further barbarism at the Louvre[23/10/2016] Barbarism at the Louvre[20/10/2016] The Art World’s Toxic Assets – Part III: Failures of Scrutiny[31/08/2016] The 2016 James Beck Memorial Lecture[30/08/2016] SAVE THE HITCHCOCK ODEON![28/07/2016] Trouble at Yale University Press London[21/07/2016] Fake or Fortune: Hypotheses, Claims and Immutable Facts[01/07/2016] A restorer’s aim – The fine line between retouching and forgery[24/05/2016] Problems with “La Bella Principessa” – Part III: Dr. Pisarek responds to Prof. Kemp[03/05/2016] Problems with “La Bella Principessa” – Part II: Authentication Crisis[05/04/2016] Restoration criticism should be banned: official[02/04/2016] Bring on the Clowns (- or, “Italy Loses It”)[30/03/2016] ArtWatch and the Death of the Independent[18/03/2016] Opera, Authenticity and Madness[09/03/2016] How Illissos (and Mr MacGregor) flew close to the Sun[02/03/2016] Iconoclasts, Replicators and Nostalgists[25/02/2016] Problems with “La Bella Principessa”~ Part I: The Look[16/02/2016] Sandle at Flowers Gallery, Kingsland Road[10/01/2016] Connoisseurship in Action and in Peril[27/10/2015] The Sixth James Beck Memorial Lecture[23/10/2015] Art, Law and Crises of Connoisseurship[06/10/2015] Brian Sewell – Still Stinging in Death[16/09/2015] Heritage Industry Abuses[09/08/2015] Fake or Fortune II[25/07/2015] THE ELEPHANT IN KLIMT’S ROOM[02/07/2015] A Broadside at Bankside[08/06/2015] Does the art trade turn a blind eye to church thefts?[05/06/2015] Now let’s murder Klimt[31/05/2015] Whatever happened to “Do not touch”?[08/05/2015] And the World’s Worst Restoration is…[13/04/2015] Bags and Abuses of National Trust – Florence Hallett reports:[01/03/2015] The Spring 2015 ArtWatch UK Journal[18/02/2015] Heritage at Risk – from the Heritage Lottery Fund[24/01/2015] A bodge too far: “Conservation’s” catalogue of blunders[22/01/2015] The Consequences of “Cleaning” Pictures[12/01/2015] Je suis CHARLIE[15/12/2014] Chartres Cathedral Make-Work Scheme[20/11/2014] A New Threat to the Warburg Institute[11/11/2014] Michelangelo’s disintegrating frescoes[24/10/2014] Jonathan Jones over-heats, again[10/08/2014] The 2014 James Beck Memorial Lecture
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