Artwatch UK
NEWS & NOTICES [ News Desk: ]
  • Jonathan Jones, the Guardian’s visual art blogger, has taken a second swipe at ArtWatch UK (- he was livid some years ago when leading scholars and conservators in Poland appealed to this organisation for support - An Appeal from Poland.) His viciousness then seemed bizarre – see Response to Attack. Now, we are just collateral damage, caught in his (very, very) cross wires for having been cited by one of Fleet Street’s funniest (and most trenchant) critics, Quentin Letts, who had observed in his review ("Tracey Emin's vulgar show proves the art luvvies are dragging civilisation backwards") of Tracey Emin’s current exhibition, that: "The art critic of The Guardian almost self-immolated, he was so hot for this show. He called it 'eerie, poetic and beautiful', and 'a masterclass in how to use traditional artistic skills in the 21st century'.” That, in our view, was a fair and moderate account of Jones’s own, over-heating review: “Tracey Emin: The Last Great Adventure is You review – a lesson in how to be a real artist”. Jones may be in thrall to the talents of the Royal Academy’s former, short-lived [not current, Ed., 26 Oct.] Professor of Drawing - to the point, even, of likening her to Michelangelo. I (as an alumnus of the Royal Academy Schools, as it happens), am not and would not. Words are Jones’ currency. Drawings are mine. He talks about drawing. I do it. Each to his own? - Michael Daley [read more]
  • “King Midas’s Furniture: A Tale of Archaeological Conservation”
    “We don’t need a New Michelangelo - there was nothing wrong with the old”, so said the late Professor James Beck, founder in 1992 of ArtWatch International. This year’s memorial lecture is to be given on November 6th in New York by Professor Elizabeth Simpson of the Bard Graduate Center, New York. [read more]


“Art’s Toxic Assets” ~ Announcing a new ArtWatch UK website

20 September 2014

We have opened our website on a new address:

The new site has two additional features. First, a dedicated, one-click NEWS & NOTICES box to carry short, topical items. (Our first announcement is of the sixth annual James Beck memorial lecture which is to be given on 6 November in New York.) Second, a PREVIOUS ARTICLES feature. This provides a rapid means of locating (visually, as well as by titles and by dates) any and all previous posts in easy one-click succession. All articles previously published on this site are now available on the new site and carry down-loadable printer-friendly pdfs.

We launch the new site with an examination of problematic attributions in the museum world and on the wider art markets (“Art’s Toxic Assets and a Crisis of Connoisseurship”). We challenge the attributions of four works – three Rubens’s and a Caravaggio – all of which are professionally supported and are now housed in public museums. We argue that such misattributions are products of unsound and insufficiently-examined modern practices of connoisseurship and art critical methodology. Further, we show how shortcomings of visual appraisal evident in the mis-attributions of individual works are also widely encountered in professional failures to recognise and acknowledge restoration-induced injuries in pictures. Holding that these failures of artistic appraisal are present in both art restoration and art attribution and considering them to be two sides of the same debilitating coin, we warn that their frequency and their magnitude now threaten the credibility of the wider art market itself (as might be seen, for example, in the collapse of the Knoedler Gallery), and that they do so in much the same way that the successive and unchecked incorporation of “toxic assets” within investment dealings ultimately led to the recent collapses of confidence in major financial institutions and markets.

To read the article and to visit the new site, please click on:

Michael Daley

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Above, Fig. 1: “From Duccio to Raphael ~ Connoisseurship in Crisis”, Florence, Italy, 2006, the last book of the late Professor James Beck of Columbia University and the founder (in 1992) of ArtWatch International.
Above, Fig. 2: The Massacre of the Innocents, which sold at Sotheby’s in 2002 as a Rubens for £49.5m even though it contained pigments said never to have been used by the artist, and an allusion to an antique sculpture (the Borghese Warrior) that had yet to be excavated. Furthermore, the earliest plausible date for the manufacture of the panel on which it was painted had been found during technical examinations by a leading international authority on oak panels to have been five years too recent for the attributed date of this work.
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