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					                                                                            MEDIA ADVISORY
                                                                     FOR IMMEDIATE RELEASE

                            h C r u Fx i o te R dn hsr
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                           T e ui s i t n fh “ o i C ae”

Calgary, AB (September 23, 2004) –                           T e R d hs ” isi n u cyn
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                                            Beware Calgary! h “ oiC a rwl tk iori i l re           t
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a few weeks. His target will be GebwMuemsa eh i nRodin: A Magnificent Obsession:
Sculpture from the Iris and B. Gerald Cantor Foundation, which will be on view from October 30, 2004 to
January 30, 2005. This exhibition features nearly 70 sculptures, drawings, and studies by Auguste
Rodin, considered by many as one of the greatest sculptors since Michelangelo.

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United States. By now, the pattern is familiar. Shortly before the scheduled opening of the exhibition,
local media are bombarded with lengthy and inflammatory e-mails from Florida artist and gallery
owner Gary Arseneau that denounce the sculptures in the Magnificent Obsession show as fakes. Driven
by an obsession of his own, Mr. Arseneau is a self-proclaimed crusader on a mission to expose
supposed art fraud. He is the self-published author of several books on art and deception and has
been a vocal critic of many different exhibitions over the years. Mr. Arseneau tracks the itinerary of
A Magnificent Obsession as it travels from place to place and Glenbow Museum is the next venue.

                                               ht   dead        o’ c p and
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Gary Arseneau constantly repeats his mantra ta‘ men dn s l’ his claim that all
                       a sr f e e outn’
                         t ea /p               i .
posthumous Rodin cs a ‘ksr rdcos The resulting controversy is quickly dispelled
  hn h t m o R d ’wl n te n u sut n fh Mué oi r xln . oi
            r             n l               q t i
w e tee s f ois iad h ui eiao o te s R d a ep i dR d                   e     n e ae              n
willed his entire estate to France and he authorized the casting of his work after his death. As
  l o r ua r n u We rep i “ ed e dn s p u da m n o’ hne
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Gebwa cr o Moi e sa xln,D a m n o’ cl bt ed e dn cag
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                      h to et li ro R d ’l c w r h fudtn f m s ,
                                   a l  a          n g
their minds either. T ew cnr pls f oiseay e teonao o a uem the   e             i              u
Musée Rodin, dedicated to his work and the ongoing casting of his sculptures following his death to
ensure the broad dissemination of his art. ”

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Art experts, scholars and museum curators dismiss Arseneu acs i ss os s            n.
  not a lAs eu i
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U fr nty r na’ms   e s informed allegations temporarily divert attention from the true value of
the exhibition, which presents the astounding work of a remarkable artist whose images, ideas and
working methods were daring and original, setting artistic precedents which had a huge impact on the
course of modern art.

Rodin: A Magnificent Obsession, Sculpture from the Iris and B. Gerald Cantor Foundation is drawn from the
largest private collection of Rodin in the world. It was amassed by the late B. Gerald Cantor who was
 a i t b te r t r h rss ok h r ei eh i hslay en e b
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f c a d yh g aFec ai’w r T it vl g xit n aaed be s n y
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thousands of people across the United States. On at Glenbow Museum from October 30, 2004 to
January 30, 2005, Calgary is the first Canadian venue before the show moves on to Halifax and
Vancouver.

                                                  -30-

Media contact:
Tanis Booth, Communications Specialist
Glenbow Museum
(403) 268-4246
tbooth@glenbow.org
                     Backgrounder on the Authenticity of the Bronze Casts in
                                 Rodin: A Magnificent Obsession,
                     Sculpture from the Iris and B. Gerald Cantor Foundation

In the 19th century, a time of rapid industrial growth and prosperity, there was a huge market for
sculpture in both public and private sectors. Auguste Rodin was blessed with entrepreneurial gifts as
well as sublime artistic talent and he translated his creative brilliance into a lucrative business. Like all
successful sculptors at this time, Rodin produced and re-produced his sculptures to meet the
increasing demands of his patrons, employing a large staff of studio assistants. His most popular
works, such as The Kiss, were cast in large numbers and in different sizes for sale.

In 1916, the year before he died, Rodin willed to France his entire estate, including his artistic
property and the right to cast his works posthumously. The Musée Rodin is the agency that oversees
this bequest for the French government. By granting the right to cast his work after his death and by
leaving all of the plasters and moulds in his studio for this purpose, Rodin ensured that multiple
bronzes of his entire oeuvre would eventually be cast. This includes sculptures which had not been
cast in bronze during his lifetime. Rodin was keenly interested in the broad dissemination of his work
and Musée Rodin is the legal mechanism by which he continues to fulfill his wishes into posterity.

Today, the number of posthumous casts taken from any given plaster is limited to twelve by French
 a Ii n r t go oe o ee tat ocp o te l id di ” aol enn
  w s tei                    ,
l .t i e sn t nt hw vr hth cnet fh “mt ei n hs n be i
                                      ,       e                    i e t      o           y
 f cfrbute a 0 er D r g oisi i ,
  f                      t       s       n      n fm  e
e eto aoth ps5 ya . ui R d ’l t eartists did not limit or number bronze
casts. Instead, they had as many casts made as could be sold. It is also a myth that sculptors
participated in every phase of the casting process. The reality is that Rodin, like most of his
contemporaries, did not generally supervise this process but entrusted his work to employees who
used certain reputable foundries.

The issues to be addressed with regard to a posthumous cast relate to its legality on the one hand,
and its quality on the other. As all Musée Rodin bronze casts conform strictly and scrupulously to the
 e s ui dn ois i
  r        l n          n l    ;
t m ot e iR d ’wlthere is no doubt about their legality. However, quality can be variable,
even in an authentic, original cast. Therefore, each work must be assessed for quality on an individual
basis. This is done by a Rodin expert who evaluates the bronze used in the cast, determines its
fidelity to the modelling of the plaster model, and considers the technical finishing and the patina
(colour). Notably, all the bronzes in the Iris and B. Gerald Cantor Collection and Foundation were
                    yh w r ’l i epr n oi t le r b t ln d 95o
                               d an             t        nh t
personally vetted b te olsed g xe o R d , ea D . l rEs (19) f          A e         e .
Stanford University.

  l s u osa s evd r
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Alot m u cs dre f mm u sn p s riR d ’s d udrh ag o t
                                o ol ad ltsn oist i nete ei fh
                                           d       ae           n uo                    s e
              uiR d ’epe ws s hs ot m u cs a n e ay os e d s
                f l      n         s h. e h
Musée Rodin fll oisxr s i e T e ps u os a srui r l cni r a         t e v sl               de
authentic and original by scholars, art experts, museums and collectors around the world.

Prepared by: Monique Westra, Art Curator, Glenbow Museum
                                              -30-
Media contact:
Tanis Booth, Communications Specialist
Glenbow Museum
(403) 268-4246
tbooth@glenbow.org

				
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