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« Faking It | Main | Svetlana Alpers Symposium »

03/08/2010

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Davidikus

IMVHO you raised the main problem: conservation. I have no issue with seeing the Venus of Milo out of the Louvre for an extended period of time (especially since it resides in one of the most bizarre parts of the Museum). On the other hand, chances are that the Venus will come back with a chip or an increased need for repair. This is what famously happened with La Liberté guidant le Peuple, which was almost destroyed in its last trip to Japan. Think about it: conservators refused to move the Delacroix from one room of the Museum to another because of its fragile state and they had to agree to send it on a plane trip!

It's all very good that more people the world over can see masterpieces - not at the cost of preventing future generations from seeing them.

http://davidikus.blogspot.com/

Art History Today

Thanks for your comment.Yes, its ultimately about conservation. Im sure that the curators at the NGS have their doubts about these paintings going on planes all the time.
Good examples you provide. I didnt know about the Delacroixs Libertys narrow escape. It just goes to show.BestDavid 

Suz Sippel

I feel conflicted about viewing traveling masterpieces. We don't have many of the "big guns" in Houston, but I know that my attendance just encourages traveling exhibitions. Do I skip it to make the point, and hope I can travel to them one day - if they are even "at home" of course.

Art History Today

I know what you mean. That's why I said I was glad that more people would see them.

I'm more concerned about the expanded loan period for such fragile masterpieces- david

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