Degas bronze forgeries at the Art Gallery of Alberta

Note: Footnotes enclosed with { }.

Edgar Degas, (French, 1834-1917), Little Dancer, Aged Fourteen, conceived around 1878-1881, bronze cast in 1920’s and after from a mixed media sculpture. Private Collection, Acquavella Galleries, New York. © 2009 Courtesy of International Arts®"
http://www.artdaily.org/index.asp?int_sec=2&int_new=34228

The Art Gallery of Alberta is misrepresenting posthumous bronze forgeries, in their January 31-May 30, 2010 Edgar Degas: Figures in Motion exhibition, as: "40 Hébrard sculptures of ballet dancers and horses, dating from 1865-1911."{1}

Edgar Degas, who -never- cast in bronze, was dead when they were posthumously forged.

The dead don't sculpt.

This fact is confirmed in the Washington D. C. National Gallery of Art’s published 1998 Degas at the Races catalogue. On page 180 in Daphne S. Barbour’s and Shelly G. Strum’s “The Horse in Wax and Bronze” essay, these authors wrote: “Degas never cast his sculpture in bronze, claiming that it was a “tremendous responsibility to leave anything behind in bronze -- the medium is for eternity.”{2}

Yet, the Art Gallery of Alberta states: "The exhibition includes the famous sculpture Little Dancer, which is the largest and rarest of Degas’ sculptures and was the only work ever exhibited during the artist’s lifetime. This rare and historically significant work is on loan from a private collection in Europe."{3}

Then going from the ridiculous to the sublime, the Art Gallery of Alberta contradicts their assertion that their exhibition includes the Little Dancer exhibited during Degas' lifetime when their photograph's caption (see above) states: "Edgar Degas, (French, 1834-1917), Little Dancer, Aged Fourteen, conceived around 1878-1881, bronze cast in 1920’s and after from a mixed media sculpture."{4}

In the 1920's, this so-called "historically significant work" was so rare that even the dead Edgar Degas (d 1917) has never seen it.

So, rhetorically speaking, shouldn't an artist at least be alive to view something, much less have created and approved it, that some are so eager to give them credit for?

The Association of Art Museum Directors thought so when they endorsed in 1974 the "Statement on Standards for Sculptural Reproduction and Preventive Measures to Combat Unethical Casting in Bronze" by the College Art Association. In part, it stated: “All bronze casting from finished bronzes, all unauthorized enlargements, and all transfers into new materials, unless specifically condoned by the artist, all works cast as a result of being in the public domain should be considered as inauthentic or counterfeit. Unauthorized casts of works in the public domain cannot be looked upon as accurate presentations of the artist’s achievement. Accordingly, in the absence of relevant laws and for moral reasons, such works should: -- Not be acquired by museums or exhibited as works of art.”{5}

Obviously, the dead don't condone.

Yet, to go from insult to injury, ten of the eleven Association of Art Museum Directors members{6}, contributing to this Edgar Degas: Figures in Motion exhibition, are lending their non-disclosed counterfeits, in violation of their own endorsed ethical guidelines on sculptural reproduction. Those members are the Baltimore Museum of Art, Columbus Museum of Art, Dallas Museum of Art, Denver Art Museum, Flint Institute of Art, Museum of Fine Art-Houston, National Gallery of Art-Washington D.C., San Diego Museum of Art and Smart Museum of Art.

LAW, ETHICS AND THE VISUAL ARTS

On page 816-817 of Kluwer Law International’s published 1998 Law, Ethics and the Visual Arts, Third Edition by John Henry Merryman and Albert E. Elsen wrote about “Counterfeit Art.”{7}

TRUTH

Under the subtitle “Truth,” the authors wrote: “The most serious harm that good counterfeits do is to confuse and misdirect the search for valid learning. The counterfeit objects falsifies history and misdirects inquiry.”{8}

RESOURCE ALLOCATION

Additionally, under the subtitle “Resource Allocation,” the authors wrote: “Museum and art historical resources are always limited. What gets acquired, displayed, conserved and studied is the result of a continuous process of triage, in which some objects can be favoured only at the expenses of others. Counterfeit objects distort the process.”{9}

FRAUD

Finally, under the subtitle “Fraud,” the authors wrote: “There remains the most obvious harm of all: counterfeit cultural objects are instruments of fraud. Most are created in order to deceive and defraud, but even “innocent” counterfeits can, and often will, be so used. The same considerations of justice and social order that make deliberate fraud of others kinds criminal apply equally to fraud through the medium of counterfeit art...”{10}

CONCLUSION

What needs to be accomplished is the full and honest disclosure of all reproductions as -reproductions- by all museums, auction houses and art dealers. If the Art Gallery of Alberta, much less all participating museums and anonymous lenders, will give full and honest disclosure for all reproductions as: -reproductions- it would allow museum patrons to give informed consent on whether they wish to attend an exhibit of reproductions, much less pay the price of admission.

But if these objects are not reproductions by definition and law, but posthumous -forgeries- with or without counterfeit signatures or inscriptions posthumously applied to create the illusion the artist created it, much less approved and signed it, then serious consequences of law may come into play for those who chose to misrepresent these -forgeries- for profit.

The reputations and legacy of living and past artists, present and future museum art patrons and the art-buying public deserve the re-establishment of the obvious; that the living presence and participation of the artist to once again be required, as it always should have been, to create the piece of art attributable to the artist if indeed it is attributed to them, much less purported to have been signed by them.

To learn more about these contentious issues of authenticity, link to:
Propaganda, how the Art Gallery of Alberta hopes t...

DEGAS BRONZE FAKES, The ABCs of one of the largest...

FOOTNOTES:
1. http://www.artdaily.org/index.asp?int_sec=2&int_new=34228

2. © 1998 National Gallery of Art ISBN 0-300-07517-0

3. http://www.artdaily.org/index.asp?int_sec=2&int_new=34228

4. Ibid

5. www.collegeart.org/caa/ethics/sculpture.html

6. http://aamd.org/about/#Members

7. © Kluwer Law International 1998, ISBN 90-411-0697-9

8. Ibid

9. Ibid

10. Ibid



PRINCIPALS:
1. Art Gallery of Alberta
Gilles Hébert
Executive Director
Catherine Crowston
Deputy Director and Chief Curator
2 Sir Winston Churchill Square
Edmonton, Alberta T5J 2C1
780.422.6223
gilles.hebert@youraga.ca
"Mission- The Art Gallery of Alberta is a museum dedicated to excellent and innovative practice in programming, stewardship, and presentation of visual arts in Western Canada and across the nation." http://www.youraga.ca/about-aga/our-mission/

2. Ball State University Museum of Art
Peter Blume
Director
AR 216
Ball State University
Muncie, IN 47306
(765) 285-3373
pfblume@bsu.edu
"Our Mission: The Ball State University Museum of Art cultivates lifelong learning and recreation in the visual arts through its collection of original works of art, engaging exhibitions, and educational programs for the university community and other diverse audiences."
http://www.bsu.edu/artmuseum/mission/

3. Baltimore Museum of Art
Doreen Bolger
Director
10 Art Museum Drive
Baltimore MD 21218-3898
443-573-1711
dbolger@artbma.org
"Mission- The Baltimore Museum of Art seeks innovation and excellence in an artistic program that focuses on art of the modern era, from the 19th century to the present. The Museum is committed to creating an environment that inspires creativity, encourages learning, and fosters human understanding in a place where everyone feels welcome."
http://www.artbma.org/about/mission.html

4. Columbus Museum of Art
Nannette Maciejunes
Director
480 East Broad Street
Columbus OH 43215
(614) 221-6801
Nannette.Maciejunes@cmaohio.org
"The Columbus Museum of Art has adopted a bold, new mission: great experiences with great art for everyone."
http://columbusmuseum.org/involved/artmatters.php

5. Denver Art Museum
Lewis I. Sharp
Director
100 West 14th Avenue Parkway
Denver CO 80204
720 865-5000
info@denverartmuseum.org
"The mission of the museum is to enrich the lives of Colorado and Rocky Mountain residents through the acquisition, preservation, and presentation of art works in both the permanent collections and temporary exhibitions, and by supporting these works with exemplary educational and scholarly programs."
http://www.denverartmuseum.org/discover_the_dam/history

6. Flint Institute of Arts
John B. Henry III
Director
1120 East Kearsley Street
Flint MI 48503
(810) 234-1695
info@flintarts.org
"The Flint Institute of Arts is committed to promoting understanding and enjoyment of the visual arts through high quality art education programs. We believe art is a vital component of life and that learning is a lifelong process."
http://web.mac.com/flintartsed/Flintartsed/home.html

7. Rozven Company Limited

8. Ravidor Investments Inc.

9. Musée d’Orsay
Guy Cogeval
Director
1 Rue de la Légion d'Honneur
75007 Paris, France
01 40 49 48 14
"The Musée d'Orsay collections are rich and multi-disciplinary: painting, sculpture, decorative arts, architecture and photography. Its masterpieces by Monet, Renoir, Cézanne, Van Gogh, or Courbet, Rodin and Carpeaux, have brought it an international reputation, as well as recognition for its expertise in the history of art in the second half of the 19th century."
http://www.musee-orsay.fr/en/info/support-the-museum/support-the-museum.html

10. Museum of Fine Arts, Houston
Peter C. Marzio
1001 Bissonnet
Houston TX 77005
pmarzio@mfah.org
713-639-7554
"The MFAH presents a host of exciting, engaging, and educational programs and resources for children, adults, educators, and students to learn about and enjoy art."
http://www.mfah.org/education.asp?par1=1&par2=1&par3=1&par4=1&par5=1&par6=1&par7=&lgc=5&eid=&currentPage=

11. Nahmad Collection
(Nahmad Collection, Switzerland)

12. National Gallery of Art, Washington, D. C.
Earl A. Powell, III
Director
401 Constitution Ave NW
Washington, DC 20004
(202) 737-4215
pressinfo@nga.gov
"The mission of the National Gallery of Art is to serve the United States of America in a national role by preserving, collecting, exhibiting, and fostering the understanding of works of art, at the highest possible museum and scholarly standards."
http://www.nga.gov/xio/mission.shtm

13. San Diego Museum of Art
Derrick Cartwright
1450 El Prado
San Diego, CA 92101
(619) 232-7931
information@sdmart.org
"As San Diego County's first and largest art institution, the San Diego Museum of Art (SDMA) provides access to original art works of the highest caliber and is thus the community's primary resource for enjoying and learning about art."
http://www.sdmart.org/info-collections.html

14. Smart Museum of Art
Anthony Hirschel
University of Chicago
5550 South Greenwood
Chicago, IL 60637
773.702.0170
hirschel@uchicago.edu
"Mission Statement - As the art museum of the University of Chicago, the David and Alfred Smart Museum of Art promotes the understanding of the visual arts and their importance to cultural and intellectual history through direct experiences with original works of art and through an interdisciplinary approach to its collections, exhibitions, publications, and programs. These activities support life-long learning among a range of audiences including the University and the broader community."
http://smartmuseum.uchicago.edu/general/

15. Smithsonian Institution,
Hirshhorn Museum and Sculpture Garden
Richard Koshalek
Director
Independence Ave SW & 7th St SW
Washington, DC 20024
202-633-4674
hmsgcollections@si.edu
"The Smithsonian’s Hirshhorn Museum and Sculpture Garden is a leading voice for contemporary art and culture and provides a national platform for the art and artists of our time. We seek to share the transformative power of modern and contemporary art with audiences at all levels of awareness and understanding by creating meaningful, personal experiences in which art, artists, audiences and ideas converge. We enhance public understanding and appreciation of contemporary art through acquisition, exhibitions, education and public programs, conservation, and research."
http://hirshhorn.si.edu/info/columns.asp?key=89

16. Art Institute Chicago
James Cuno
Director
111 South Michigan Avenue
Chicago IL 60603-6110
(312) 443-3626
jcuno@artic.edu
"Mission - The purposes for which the Art Institute of Chicago is formed are: to found, build, maintain, and operate museums, schools, libraries of art, and theaters; to provide support facilities in connection therewith; to conduct appropriate activities conducive to the artistic development of the region; and to conduct and participate in appropriate activities of national and international significance;"
http://www.artic.edu/aic/aboutus/mission.html



EXHIBITION CHECKLIST:

http://www.qp.alberta.ca/documents/orders/orders_in_council/2009/1209/2009_612.html
"O.C. 612/2009
"December 9, 2009

"The Lieutenant Governor in Council determines that the cultural property listed in the attached Appendix and brought into Alberta pursuant to agreements between the owners or custodians of the cultural property and Her Majesty the Queen in right of Alberta, as represented by the Minister of Culture and Community Spirit, and the Art Gallery of Alberta for the purpose of temporarily exhibiting or displaying the cultural property in the Art Gallery of Alberta in an exhibition known as “EDGAR DEGAS: Figures in Motion” is of significance."

For Information only
Recommended by: Minister of Culture and Community Spirit
Authority: Foreign Cultural Property Immunity Act
Section 2

APPENDIX

Art Gallery of Alberta – Edgar Degas Exhibition

Item	Number	Description	Media	Size
	Lender	Ball State University Museum of Art
1	1940.027.000	Dancer 1885	Charcoal, white chalk	24 1/8 X 18 3/8 inches
2	1986.016	Pregnant Woman	Bronze	43.6X16.8X15.2 cm
	Lender	Baltimore Museum of Art
3	BMA 1950.413	Fourth Position Front, on Left Leg	Bronze	57.3X31.4X33.7
4	BMA 1950.415	Dancer Looking at the Sole of Her Right Foot	Bronze	45.7X21.7X18.7
5	BMA 1968.4	La Sortie du Bain	Lithogragh	16 9/16 X 19 1/16 inches
6	BMA 1931.39.7	Nude Woman, Standing, Drying Herself	Monotype	13 X 9 7/16 inches
	Lender	Anonymous
7	Hébrard 11/8	Horse Walking	Bronze	23.1X9.3X22.8 cm
8	Hébrard 00, no.74	Schoolgirl (Woman Walking in the Street)	Bronze	27.5X11X7X9.2 cm
	Lender	Columbus Museum of Art
9	1983.015	Dancer at Rest, Hands Behind Her Back, Right Leg Forward	Bronze	45.7X14.7X23.5 cm
10	1931.050	After the Bath, 1899	Pastel, Charcoal	80.1X54.4 cm
	Lender	Dallas Museum of Art
11	1965.26.MCD	The Masseuse	Bronze	43X36.5X42.5 cm
	Lender	Denver Art Museum
12	1974.354	Grande Arabesque	Bronze	45.5X56.2X26.5 cm
	Lender	Flint Institute of Arts
13	1988.1	Danseuse a la Barre	Pastel, Charcoal	9X11.5 inches
	Lender	Anonymous
14		Grande Arabesque, Second Time	Charcoal	30X26 inches
	Lender	Anonymous
15	Hébrard 18- Rewald XXXV	Grande Arabesque, Premier Temps	Bronze	48.9X38.5X26.0 cm
16	Hébrard 57- Rewald XLVI	Préparation á la Danse, Pied Droit en Avant	Bronze	56.8X32.2X22.4 cm
17	Hébrard 58- Rewald XLIII	Position de Quatrième Devant sur la Jambe Gauche	Bronze	60.3X36X37 cm
18	Hébrard 16- Rewald XXXIX	Grande Arabesque, Troisieme Temps	Bronze	45.5X56.2X26.5 cm
	Lender	Rozven Company Limited
19	Hébrard 65Q	Prancing Horse	Bronze	27X13X28 cm

	Lender	Ravidor Investments Inc.
20	Pingeot 73 / HER.D	Little Dancer, Aged Fourteen	Bronze, Linen, Muslin	98X35.2X24.5 cm
	Lender	Musée d’Orsay
21	Hébrard 8, RF2085	Danseuse au Repos, les Mains sur les Hanches, Jambe Gauche en Avant	Bronze	38X17X18 cm
22	Hébrard 1P, RF2066	Danseuse, Arabesque Ouvert Sur la Jambe Droite, Bras Gauche en Avant	Bronze	29.1X39.5X14.5 cm
23	Hébrard 9P, RF2089	Danseuse Saluant, Première étude	Bronze	21.5X11.5X13.2 cm
24	Hébrard 12P, RF2084	Danseuse au Tambourin	Bronze	27.7X16.4X19.0 cm
25	Hébrard 15P, RF2070	Danseuse, Grande Arabesque, Deuxième Temps	Bronze	43.5X61.2X27.5
26	Hébrard 20P, RF2080	Danseuse, Espagnole, Première étude	Bronze	41.5X17.0X19.0 cm
27	Hébrard 42P, RF2125	Femme Surprise	Bronze	41X28X19.2 cm
	Lender	Museum of Fine Arts, Houston
28	80.43	Dancer Putting on Her Stocking	Bronze	47X20X31.4 cm
	Lender	Nahmad Collection
29	Hébrard 32H/36H	Cheval au Galop Tournant le Tête á Droit, les Pieds ne Touchant Pas le Sol	Bronze	24.8X13.1X36.6 cm
30	Hébrard 10L	Cheval en Marche	Bronze	21.3X26.6X9.6 cm
31	Hébrard 25Q/35Q	Cheval au Galop	Bronze	24.2X18.2X33.5 cm
32		Femme á la Toilette	Charcoal, Pastel, Chalk	105X74.7 cm
	Lender	National Gallery of Art, Washington
33	1985.64.67	Study in the Nude of Little Dancer Aged Fourteen	Bronze	72.8X35.2X27.4 cm
34	1985.64.66	Woman Seated in an Armchair	Bronze	31.6X27X30.1 cm
35	1943.3.3367	Nude Woman Standing, Drying Herself	Lithograph	38.1X30.4 cm
	Lender	San Diego Museum of Art
36	1991:12	Dancer Fastening the String on Her Tights	Bronze	43.1X21.6X16.2 cm
37	1976:111	The Ballerina	Oil on Canvas	12 5/8 X 9 3/8 inches
	Lender	Smart Museum of Art
38	1974.147	Woman Stretching	Bronze	36.5 cm (Height)

	Lender	Smithsonian Institution, Hirshhorn Museum and Sculpture Garden
39	1966.66.1303	Seated Woman Wiping Her Left Side	Bronze	34.7X37.6X24.4 cm
40	1966.66.1298	Dancer Moving Forward, Arms Raised, Right Leg Forward	Bronze	69.2X31.4X31.7 cm
41	1966.66.1296	Dancer: Arabesque Over Right Leg, Left Arm in Line	Bronze	30.5X42.7X9.5 cm
42	1966.66.1291	Dancer Moving Forward, Arms Raised	Bronze	35X17.5X15.1 cm
43	1966.66.1285	Dancer Holding Her Right Foot in Her Right Hand	Bronze	52.9X34.5X18.5 cm
44	1966.66.1304	Woman Rubbing Her Back with a Sponge	Bronze	43.1X26.5X17.7 cm
	Lender	Anonymous
45	Hébrard 66F	Thoroughbred Horse Walking	Bronze	13.3X21.3X10.4 cm
	Lender	Art Institute Chicago
46	1950.112	Dancer Ready to Dance, Right Foot Forward	Bronze	56.2 X 38.7 cm