The article published on the website of the newspaper ARTNews on February 25, 2013 is headlined Gilty Pleasures: The Guggenheim Reframes Its Classics. The article reports the information about reframing modernist works from the Thannhauser collection in period frames dating back to the 17th century.
the author of the article reports that Justin K. Thannhauser, the German art dealer who gave the Guggenheim the collection of some 75 early modernist paintings, preferred heavy, ornate frames. Now one by one canvases by Picasso, Manet, van Gogh, and Gauguin in the Guggenheim Museum’s Thannhauser Collection are coming to life in new frames.
By 1978, two years after Thannhauser’s death, those frames had been replaced with the white shadow frames favored by Thomas M. Messer, the Guggenheim’s director at the time. In 2006, when the cleaning and restoration of important Thannhauser paintings, including Pissarro’sThe Hermitage at Pontoise (ca.1867), underscored the bad condition or the unsuitability of their frames a committee was formed to choose the most historically and esthetically appropriate frames for the pictures.
the author of the article reports that Justin K. Thannhauser, the German art dealer who gave the Guggenheim the collection of some 75 early modernist paintings, preferred heavy, ornate frames. Now one by one canvases by Picasso, Manet, van Gogh, and Gauguin in the Guggenheim Museum’s Thannhauser Collection are coming to life in new frames.
By 1978, two years after Thannhauser’s death, those frames had been replaced with the white shadow frames favored by Thomas M. Messer, the Guggenheim’s director at the time. In 2006, when the cleaning and restoration of important Thannhauser paintings, including Pissarro’sThe Hermitage at Pontoise (ca.1867), underscored the bad condition or the unsuitability of their frames a committee was formed to choose the most historically and esthetically appropriate frames for the pictures.
The author of the article gives some exmamples: Picasso’s Le Moulin de la Galette (1900) was hanging in a thin 20th-century reproduction frame in 2006, but photographs of Thannhauser’s apartment revealed that it had once had a deeply carved 17th-century Florentine Baroque frame.
For Braque’s colorful Landscape near Antwerp (1906), the group commissioned New York framer Gill & Lagodich to custom-make a replica in honey-colored maple of a simple flat frame designed by French Neo-Impressionist Paul Signac.
It's is remarkable that this project has the worthy budget. I think that museums in our country, unfortunately,hasn't got such opportunity.
Well done!
ОтветитьУдалитьWhere is the AUTHOR's opinion?
Your opinion is too short and has a little to do with the problems of the article!