Picasso Looks at Degas -forgeries- at the Sterling and Francine Clark Art Institute
NOTE: Footnotes are enclosed as follows: [FN].
Updated: August 29, 2010 with quote attribution to Arthur Beale.
Little Dancer Aged Fourteen, 1879–81
Bronze, with gauze tutu and silk ribbon, on wooden base, height: 99 cm
Sterling and Francine Clark Art Institute, Williamstown, Massachusetts (1955.45)
http://www.clarkart.edu/exhibitions/picasso-degas/content/checklist.cfm
NON-DISCLOSED POSTHUMOUS FORGERY
All so-called “bronzes by Degas,”[FN 1] much less in the Sterling and Francine Clark Art Institute’s June 13 to September 12, 2010 Picasso Looks at Degas exhibition, are non-disclosed posthumous -forgeries-.
On page 660 of the Seventh Edition of Black's Law Dictionary, -forgery- is defined as: "The act of fraudulently making a false document or altering a real one to be used as if genuine."[FN 2]
ALL DEGAS BRONZES ARE POSTHUMOUS FORGERIES
Here are three references that confirm all bronzes, attributed to Edgar Degas, are posthumous forgeries:
1. On page 180 of the National Gallery of Art’s published 1998 Degas at the Races catalogue, in the “The Horse in Wax and Bronze” essay, the authors Daphne S. Barbour and Shelly G. Strum 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.”[FN 3]
2. On page 609, of the Metropolitan Museum of Art’s published 1988 Degas catalogue, in his “A Note on Degas’s Bronzes” essay, the curator Gary Tinterow wrote: “The bronzes included in this exhibition, like those widely distributed throughout the world, are posthumous, second-generation casts of the original wax sculptures by Degas.”’[FN 4]
3. On page 152 of the Art Institute of Chicago’s published 1984 Degas catalogue by Richard R. Brettell and Suzanne Folds McCullagh, the authors wrote: “Because they were cast posthumously with neither the knowledge nor the supervision of the artist, Degas’s bronzes have a problematic existence as works of art.” [FN 5]
Therefore, the Sterling and Francine Clark Art Institute’s “act of fraudulently making a false document or altering a real one to be used as if genuine," is confirmed by the following facts:
FIRST, on the Sterling and Francine Clark Art Institute’s checklist’[FN 6] for their Picasso Looks at Degas exhibition, all ten so-called “bronzes by Degas” have dates that predates his 1917 death:
1. “Dressed Dancer at Rest, Hands behind Her Back, Right Leg Forward, c. 1895 Bronze, height: 42.9 cm The Metropolitan Museum of Art, New York. H. O. Havemeyer Collection, Bequest of Mrs. H. O. Havemeyer, 1929 (29.100.392)
2. “Fourth Position Front, On the Left Leg, c. 1880s Bronze, height: 57.5 cm Sterling and Francine Clark Art Institute, Williamstown, Massachusetts (1955.49)
3. “Grand Arabesque, First Time, c. 1880s Bronze, height: 48.2 cm Sterling and Francine Clark Art Institute, Williamstown, Massachusetts (1955.46)
4. “Grand Arabesque, Second Time, c. 1880s Bronze, height: 48.2 cm Sterling and Francine Clark Art Institute, Williamstown, Massachusetts (1955.47)
5. “Head of a Woman (Mlle Salle), 1892 Bronze, height: 25.5 cm Museum of Fine Arts, Boston. Bequest of Margarett Sargent McKean (1979.509)
6. “Little Dancer Aged Fourteen, 1879–81 Bronze, with gauze tutu and silk ribbon, on wooden base, height: 99 cm Sterling and Francine Clark Art Institute, Williamstown, Massachusetts (1955.45)
7. “Nude Study for “Little Dancer Aged Fourteen,” c. 1878 Bronze, height: 72.4 cm The National Gallery of Scotland, Edinburgh (NG 1624)
8. “Pregnant Woman, c. 1896–1911 Bronze, height: 43.2 cm Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C. The Joseph H. Hirshhorn Bequest, 1981 (HMSG 86.1415)
9. “The Tub, c. 1889 Bronze, height: 22.2 cm The National Gallery of Scotland, Edinburgh (NG 2286)
10. “Woman Arranging Her Hair (La Coiffure), c. 1896–1911 Bronze, height: 46.7 cm Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C. Gift of Joseph H. Hirshhorn, 1966 (HMSG 66.1305)”
Irrefutably, by posting this Picasso Looks at Degas exhibition checklist on their website, Sterling and Francine Clark Art Institute believes or wants the admission paying public to believe or both that the so-called “bronzes by Degas” in this exhibition were cast in bronze during his lifetime.
SECOND, the Sterling and Francine Clark Art Institute contradicts itself on its’ website when an online audio for their Picasso Looks at Degas exhibition, the moderator stated the museum’s -Little Dancer Aged Fourteen- is "one of number of casts made from Degas’ wax original after the artist’s death." [FN 7]
This contradiction is further confirmed on page 1 in the “Introduction” of the Joslyn Art Museum’s published 1998 Degas and the Little Dancer catalogue by Richard Kendall (one of two Picasso Looks at Degas exhibition curators), where the author wrote: “More than its illustrious companions, the Little Dancer has achieved a special kind of fame through multiplicity; made originally by Degas in wax and dressed by him in a fabric tutu, hair wig, and silk ribbon, the figure was replicated after the artist’s death...”[FN 8]
Aside that Edgar Degas -never- worked exclusively in wax and replicate[FN 9] by definition is an original work of visual art created by a living artist, we now discover that Picasso Looks at Degas exhibition curator Richard Kendall knew that Edgar Degas was dead when the so-called -Little Dancer Aged Fourteen- was forged.
The dead don’t bronze.
THIRD, as a member of the Association of Art Museum Directors’[FN 10], the Sterling and Francine Clark Art Institute’s director Michael Conforti (and former AAMD president), not to mention other thirteen participating AAMD museum members (see Addendum) in the Picasso Looks at Degas exhibition, endorses the College Art Association's ethical guidelines on sculptural reproductions which in part state: "any transfer into new material, unless specifically condoned by the artist, is to be considered inauthentic or counterfeit and should not be acquired or exhibited as works of art."[FN 11]
The dead don’t condone.
Page 101, Joslyn Art Museum’s 1998 Degas and the Little Dancer catalogue by Richard Kendall
NON-DISCLOSED POSTHUMOUS FORGERY
FOURTH, on page 101 of the Joslyn Art Museum’s published 1998 Degas and the Little Dancer catalogue by Richard Kendall, a contributor Arthur Beale, in his "Little Dancer Aged Fourteen: The Search for the Lost Modele" essay, wrote of the museum's posthumously (1920-21) forged plaster: “Quite simply put, if one looks for a stable sculptural medium that brings us through time close to the hand of Degas, then plaster meets the criterion. In addition, if my observations and conclusions are correct, the Joslyn Art Museum plaster cast (fig. 71) also possesses significant historic importance in that it represents the mother of the some twenty-three or more bronze casts of the sculpture now found world wide (cat. 45).”[FN 12]
So, the Picasso Looks at Degas exhibition curator Richard Kendall knew in 1998 that the -Little Dancer Age Fourteen- bronzes were posthumously forged, not from any waxes that Edgar Degas did not work exclusively in, but from posthumous plasters forged by the hands of the Hebrard foundry workers.
The dead don't plaster.
Edgar Degas, Pregnant Woman, c. 1896—1911. Bronze, height: 43.2 cm. Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C. The Joseph H. Hirshhorn Bequest, 1981 (HMSG 86.1415) / Photo by Lee Stalsworth.
http://blog.clarkart.edu/2010/08/10/behind-the-scenes-of-picasso-looks-at-degas/pregnant-woman-degas/
NON-DISCLOSED POSTHUMOUS FORGERY
FIFTH, on the Sterling and Francine Clark Art Institute’s website, in the same audio for their Picasso Looks at Degas exhibition, the moderator stated: “It is not surprising... Degas should have depicted pregnancy in a notably sympathetic manner on several occasions... the startling sculpture of a completely naked pregnant woman that now belongs in the collection of the Hirshhorn museum...”[FN 13]
On the Hirshhorn Museum and Sculpture Garden’s website, this same “Pregnant Woman,” ie., "startling sculpture" as characterized by the moderator, on loan to the Sterling and Francine Clark Art Institute’s Picasso Looks at Degas exhibition, is listed as: “cast 1919-1925.”[FN 14]
Edgar Degas died in 1917.
The dead don't sculpt.
SIXTH, are we to suspend disbelief or just believe when the Picasso Looks at Degas exhibition catalogue is promoted by the Sterling and Francine Clark Art Institute as -this groundbreaking study- by “noted Degas scholar Richard Kendall and Picasso expert Elizabeth Cowling” who “present well-documented instances of Picasso's direct responses to Degas's work, as well as more conceptual and challenging affinities between their oeuvres?”’[FN 15]
On page 922 of the Random House College Dictionary, -oeuvre- is defined as: “the works of a writer, painter, or the like.’[FN 16]
The dead don’t have an oeuvre.
SEVENTH, to go from the ridiculous to the sublime, in the “Behind the Scenes: ‘Picasso Looks at Degas’” posted on the Sterling and Francine Clark Art Institute’s blog, one of the exhibition curators Professor Emeritus of History of Art at Edinburgh University Elizabeth Cowling wrote: “All the works, whatever their medium, seem to interact with each other, and the more you look the more connections between them you notice. It’s almost dizzying, to the point where one forgets who—Picasso or Degas—made what.”[FN 17]
The dead don't make what.
Page 104 of Joslyn Art Museum's published 1998 Degas and the Little Dancer by Richard Kendall
POSTHUMOUS COUNTERFEIT DEGAS SIGNATURE
EIGHTH, to add insult to injury, all posthumous bronze forgeries, falsely attributed to Edgar Degas, have a so-called “Degas” signature inscribed to them.
Edgar Degas -never- signed his original mixed-media sculptures.
This is confirmed on the National Gallery of Art’s www.nga.gov/education/degas-11.htm website, where it stated: “By comparing the sculpture to stylistic changes in Degas' paintings and pastels, we are developing a chronology for the sculpture, which Degas did not date or sign.”
On page 1387 in the Seventh Edition of Black’s Law Dictionary, the term -signature- is defined as: “A person’s name or mark written by that person or at the person’s direction.”[FN 18]
Yet, on page 103 of the Joslyn Art Museum's published 1998 Degas and the Little Dancer catalogue by Richard Kendall, a contributor Arthur Beale, in his "Little Dancer Aged Fourteen: The Search for the Lost Modele" essay, wrote: "Degas' signature was added by the Founder by a stamp impressed in wax and added when the model version was still in wax."[FN 19]
The dead don't sign.
Resting on the Bed, c. 1876-77
Monotype, 12.1 x 15.9 cm
Private collection, Switzerland
Works by Edgar Degas (1835-1917)
http://www.clarkart.edu/exhibitions/picasso-degas/content/checklist.cfm
Photo: http://www.clarkart.edu/exhibitions/picasso-degas/content/brother-scenes.cfm
NINTH, and finally, the American Association of Museum’s Board of Directors approved July 2000 Guidelines on Exhibiting Borrowed Objects. In part, it stated: “Before considering exhibiting borrowed objects, a museum should have in place a written policy, approved by its governing authority and publicly accessible on request, that addresses the following issues:"'[FN 20]
One of those issues is: “requiring the museum to examine the lender's relationship to the institution to determine if there are potential conflicts of interest, or an appearance of a conflict, such as in cases where the lender has a formal or informal connection to museum decision making (for example, as a board member, staff member or donor).”[FN 21]
How can this be transparently accomplished when many of the lenders (See Addendum Private Collections for complete list) in this Picasso Looks at Degas exhibition are anonymous?
Additionally, it stated: “Adhering to an ethical standard that exceeds legal minimums. AAM's Code takes as given that museums comply with all applicable local, state and federal laws and international conventions. The Code also makes clear that museums must abide by ethical standards that frequently exceed legal minimums because the purpose of the Code is to foster conduct that merits the confidence of the public. Without public confidence, museums cannot effectively carry out their missions.”[FN 22]
In other words, without transparency on who the lenders are, much less what they are truly lending, how will the public ever know there is no inherent conflict of interest?
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.”[FN 23]
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.”[FN 24]
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.”[FN 25]
FRAUD
Furthermore, 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...”[FN 26]
CONCLUSION
The Sterling and Francine Clark Art Institute's Picasso Looks at Degas exhibition contains at least ten non-disclosed posthumous forgeries, with counterfeit "Degas" signatures applied, misrepresented to the public as "bronzes by Degas" and "sculptures" for the $15 price of adult admission, city-state-federal grants, corporate sponsorship and potentially future monetary benefits such as tax-write-offs and outright sales.
In an heighten sense of hyprocrisy, the Sterling and Francine Clark Art Institute and thirteen of the participating museums, as members of the Association of Art Museum Directors, are violating their own endorsed ethical guidelines that state: "any transfer into new material, unless specifically condoned by the artist, is to be considered inauthentic or counterfeit and should not be acquired or exhibited as works of art."
Remember, the dead don't bronze, condone, sculpt, plaster, have oeuvres, or make what, much less sign.
The Sterling and Francine Clark Art Institute's "Mission," posted on its' website, in part states: "The Sterling and Francine Clark Art Institute is an art museum and a center for research and higher education, dedicated to advancing and extending the public understanding of art."[FN 27]
Therefore, in support of the Sterling and Francine Clark Art Institute's dedication "to advancing and extending the public understanding of art," this monograph documents the contentious issues of authenticity with all so-called "bronzes by Degas" so that with full and honest disclosure the museum patrons might be able to give informed consent on whether or not to attend this Picasso Looks at Degas exhibition, much less pay the price of admission.
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.
FOOTNOTES:
1. http://www.clarkart.edu/exhibitions/picasso-degas/content/the-ballet.cfm
2. © 1999 By West Group, ISBN 0314022864
3. © 1998 National Gallery of Art ISBN 0-300-07517-0
4. © The Metropolitan Museum of Art, New York, 1988, ISBN 0-88884-581-2 (National Gallery of Canada)
5. Copyright © 1984 by The Art Institute of Chicago, ISBN 0-8109-0804-2 (hard: H.N. Abrams)
6. http://www.clarkart.edu/exhibitions/picasso-degas/content/checklist.cfm
7. http://www.clarkart.edu/exhibitions/picasso-degas/content/audio.cfm
8. Copyright © 1998 by Joslyn Art Museum, ISBN 0-936-36428-9
9. On page 350 of Ralph Mayer’s Definitions of Art Terms & Technique, -replica- is defined as: “an exact copy or duplicate of a work, done in the same size and in the same medium, and done by the artist who created the original.” Copyright © 1991 by Bena Mayer, ISBN 0-06-461012-8 (pbk.)
10. http://www.aamd.org/about/#Members
11. www.collegeart.org/caa/ethics/sculpture.html “A Statement on Standards for Sculptural Reproduction and Preventive Measures to Combat Unethical Casting in Bronze Approved by the CAA Board of Directors, April 27, 1974. Endorsed by the Association of Art Museum Directors and the Art Dealers Association of America.”
12. Copyright © 1998 by Joslyn Art Museum, ISBN 0-936-36428-9
13. http://www.clarkart.edu/exhibitions/picasso-degas/content/audio.cfm
14. http://hirshhorn.si.edu/visit/collection_object.asp?key=32&subkey=5998
15. http://www.clarkart.edu/exhibitions/picasso-degas/content/catalogue.cfm
16. Copyright © 1980 by Randon House Inc., ISBN 0-394-43500-1
17. http://blog.clarkart.edu/2010/08/10/behind-the-scenes-of-picasso-looks-at-degas/
18. © 1999 By West Group, ISBN 0314022864
19. Copyright © 1998 by Joslyn Art Museum, ISBN 0-936-36428-9
20. http://www.aam-us.org/museumresources/ethics/borrowb.cfm
21. Ibid
22. Ibid
23. © Kluwer Law International 1998, ISBN 90-411-0697-9
24. Ibid
25. Ibid
26. Ibid
27. http://www.clarkart.edu/about/content.cfm?ID=37
ADDENDUM:
CURATORS:
Elizabeth Cowling is Professor Emeritus of History of Art at Edinburgh University, and an independent scholar and exhibition curator.
History of Art: School of Arts, Culture and Environment (ACE)
The University of Edinburgh
20 Chambers Street
EH1 1JZ
Scotland
United Kingdom
elizabeth.cowling@ed.ac.uk
Richard Kendall is Curator-at-Large at the Clark, as well as an independent scholar and exhibition curator.
Cécile Godefroy is a researcher at the Fundación Almine y Bernard Ruiz-Picasso para el Arte in Madrid.
Sarah Lees is Associate Curator of European Art at the Clark.
Montse Torras is Exhibitions Coordinator at the Museu Picasso in Barcelona.
ASSOCIATION OF ART MUSEUM DIRECTORS MEMBERS:
1. Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C.
Richard Koshalek
PO Box 37012
MRC Code 350
2. Los Angeles County Museum of Art
Michael Govan
5905 Wilshire Blvd
Los Angeles, CA 90036
3. The Phillips Collection, Washington, D.C.
Dorothy Kosinski
1600 21st Street, NW
Washington, DC 20009
4. Sterling and Francine Clark Art Institute, Williamstown, Massachusetts
Michael Conforti
225 South Street
P.O. Box 8
Williamstown MA 01267
5. Museum of Fine Arts, Boston
Malcolm Rogers
465 Huntington Ave of the Arts
Boston MA 02115
6. Solomon R. Guggenheim Museum, New York
Richard Armstrong
1071 Fifth Avenue
New York, NY 10128
7. The Baltimore Museum of Art, Maryland
Doreen Bolger
10 Art Museum Drive
Baltimore MD 21218-3898
8. The Museum of Modern Art, New York
Glenn Lowry
11 W. 53rd Street
New York NY 10019
9. The Metropolitan Museum of Art, New York
Thomas Campbell
1000 Fifth Avenue
New York NY 10028-0194
10. Brooklyn Museum, New York
Arnold L. Lehman
200 Eastern Parkway
Brooklyn NY 11238
11. The Art Institute of Chicago
James Cuno
111 South Michigan Avenue
Chicago IL 60603-6110
12. National Gallery of Art, Washington, D.C.
Earl A. Powell, III
2000 B South Club Drive
Landover, MD 20785
13. National Gallery of Canada, Ottawa
Marc Mayer
380 Sussex Drive, P.O. Box 427
Ottawa Ontario K1N 9N4
14. Allen Memorial Art Museum, Oberlin College
Stephanie Wiles
87 North Main Street
Oberlin OH 44074
OTHER U.S. MUSEUMS:
15. Dumbarton Oaks House Collection, Washington, D.C.
Jan M. Ziolkowski
1703 32nd Street Northwest
Washington, DC 20007-2961
(202) 339-6401
16. The Kreeger Museum, Washington, D.C.
Judy A. Greenberg
2401 Foxhall Road, NW
Washington, D.C. 20007
(202)337-3050
publicrelations@kreegermuseum.org
FORIEGN MUSEUMS:
17. Museu Picasso, Barcelona
C/ Montcada, 15-23
08003 Barcelona, España
933 196 310
museupicasso@bcn.cat
18. Musée National Picasso
5 Rue Thorigny
75003 Paris, France
01 42 71 25 21
19. Museum Ludwig, Cologne
Heinrich-Böll-Platz 1
50667 Köln, Deutschland
0221 221-26165
20. Museo del Novecento, Milan
Piazza del Duomo, 12
20122 Milano, Italia
02 72095659
21. Kunstmuseum Basel, Kupferstichkabinett
Dr. Bernhard Mendes Bürgi
St. Alban-Graben 16
CH-4010 Basel
Telefon 0041 (0)61 206 62 62
22. Sainsbury Centre, Norwich, England
Nichola Johnson, Director
University of East Anglia/Earlham Road
Norwich NR47TJ, United Kingdom
01603 593193
n.johnson@uea.ac.uk
23. Bibliothèque de l’Institut national d’histoire de l’art, Paris
24. The National Gallery, London
Trafalgar Square
London
WC2N 5DN
44 (0)20 7747 2885
information@ng-london.org.uk
NOTE: The National Gallery, London ironically has a current June 30 - September 12, 2010 exhibition titled: Close Examination: Fakes, Mistakes and Discoveries.
25. Tate, London
44 (0) 20 7887 8888
pressoffice@tate.org.uk
NOTE: The Tate collection contains numerous non-disclosed forgeries falsely attributed to Edgar Degas, as well as other artists. Here are links to two examples: http://www.tate.org.uk/servlet/ViewWork?workid=3705&searchid=29067
http://www.tate.org.uk/servlet/ViewWork?workid=4031&searchid=29073
26. Musée d’Orsay, Paris
1 Rue de la Légion d'Honneur
75007 Paris, France
01 40 49 48 14
27. The National Gallery of Scotland, Edinburgh
The Mound
Edinburgh, City of Edinburgh EH2 2EL, United Kingdom
0131 624 6200
enquiries@nationalgalleries.org
28. Birmingham Museums and Art Gallery, England
Chamberlain Square
Birmingham B3 3DH, United Kingdom
0121 303 1966
rita.mclean@birmingham.gov.uk
29. British Museum, London
Great Russell Street
London WC1B 3DG, United Kingdom
020 7323 8000
communications@britishmuseum.org
PRIVATE COLLECTIONS:
Works by Pablo Picasso (1881–1973)
An Artist (Portrait of Degas), 6 February 1968
Oil on canvas, 81 x 65 cm
Private collection
Bather, 1931
Bronze, height: 40 cm
Private collection. Courtesy Fundación Almine y Bernard Ruiz-Picasso para el Arte (55297)
Nude Wringing Her Hair, 7 October 1952
Oil on wood panel, 150.5 x 119.4 cm
Private collection
Running Woman, 1931–32
Plaster and wood, height: 52 cm
Private collection
Seven Dancers, 1919–20
Ink and watercolor on paper, 26.3 x 39.5 cm
Private collection
Two Seated Dancers, 1925
Pencil on paper, 50 x 40 cm
Private collection
Works by Edgar Degas (1834–1917)
Conversation, c. 1876–77
Monotype, 16 x 12.1 cm
Private collection, Switzerland
Resting on the Bed, c. 1876–77
Monotype, 12.1 x 15.9 cm
Private collection, Switzerland
Self-Portrait, c. 1895
Original print with modifications, possibly made by Picasso. Inscribed on the reverse in Picasso’s hand “Portrait P.H. / de E. Degas,” 18.2 x 24.2 cm
Private collection. Courtesy Fundación Almine y Bernard Ruiz-Picasso para el Arte
Studies for the “Little Dancer Aged Fourteen” (Nude), c. 1878–80
Charcoal heightened with white chalk on gray paper; stamped with red signature lower right, 48 x 63 cm
Private collection, London
The Tub, c. 1878–80
Monotype, 16 x 21.1 cm
Private collection
Two Dancers in the Wings, c. 1880–95
Pastel on paper mounted on cardboard on a wooden stretcher, 59 x 46.4 cm
Private collection
Woman Combing Her Hair, c. 1896–99
Charcoal and pastel on tracing paper, 109 x 76.3 cm
Private collection
Updated: August 29, 2010 with quote attribution to Arthur Beale.
Little Dancer Aged Fourteen, 1879–81
Bronze, with gauze tutu and silk ribbon, on wooden base, height: 99 cm
Sterling and Francine Clark Art Institute, Williamstown, Massachusetts (1955.45)
http://www.clarkart.edu/exhibitions/picasso-degas/content/checklist.cfm
NON-DISCLOSED POSTHUMOUS FORGERY
All so-called “bronzes by Degas,”[FN 1] much less in the Sterling and Francine Clark Art Institute’s June 13 to September 12, 2010 Picasso Looks at Degas exhibition, are non-disclosed posthumous -forgeries-.
On page 660 of the Seventh Edition of Black's Law Dictionary, -forgery- is defined as: "The act of fraudulently making a false document or altering a real one to be used as if genuine."[FN 2]
ALL DEGAS BRONZES ARE POSTHUMOUS FORGERIES
Here are three references that confirm all bronzes, attributed to Edgar Degas, are posthumous forgeries:
1. On page 180 of the National Gallery of Art’s published 1998 Degas at the Races catalogue, in the “The Horse in Wax and Bronze” essay, the authors Daphne S. Barbour and Shelly G. Strum 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.”[FN 3]
2. On page 609, of the Metropolitan Museum of Art’s published 1988 Degas catalogue, in his “A Note on Degas’s Bronzes” essay, the curator Gary Tinterow wrote: “The bronzes included in this exhibition, like those widely distributed throughout the world, are posthumous, second-generation casts of the original wax sculptures by Degas.”’[FN 4]
3. On page 152 of the Art Institute of Chicago’s published 1984 Degas catalogue by Richard R. Brettell and Suzanne Folds McCullagh, the authors wrote: “Because they were cast posthumously with neither the knowledge nor the supervision of the artist, Degas’s bronzes have a problematic existence as works of art.” [FN 5]
Therefore, the Sterling and Francine Clark Art Institute’s “act of fraudulently making a false document or altering a real one to be used as if genuine," is confirmed by the following facts:
FIRST, on the Sterling and Francine Clark Art Institute’s checklist’[FN 6] for their Picasso Looks at Degas exhibition, all ten so-called “bronzes by Degas” have dates that predates his 1917 death:
1. “Dressed Dancer at Rest, Hands behind Her Back, Right Leg Forward, c. 1895 Bronze, height: 42.9 cm The Metropolitan Museum of Art, New York. H. O. Havemeyer Collection, Bequest of Mrs. H. O. Havemeyer, 1929 (29.100.392)
2. “Fourth Position Front, On the Left Leg, c. 1880s Bronze, height: 57.5 cm Sterling and Francine Clark Art Institute, Williamstown, Massachusetts (1955.49)
3. “Grand Arabesque, First Time, c. 1880s Bronze, height: 48.2 cm Sterling and Francine Clark Art Institute, Williamstown, Massachusetts (1955.46)
4. “Grand Arabesque, Second Time, c. 1880s Bronze, height: 48.2 cm Sterling and Francine Clark Art Institute, Williamstown, Massachusetts (1955.47)
5. “Head of a Woman (Mlle Salle), 1892 Bronze, height: 25.5 cm Museum of Fine Arts, Boston. Bequest of Margarett Sargent McKean (1979.509)
6. “Little Dancer Aged Fourteen, 1879–81 Bronze, with gauze tutu and silk ribbon, on wooden base, height: 99 cm Sterling and Francine Clark Art Institute, Williamstown, Massachusetts (1955.45)
7. “Nude Study for “Little Dancer Aged Fourteen,” c. 1878 Bronze, height: 72.4 cm The National Gallery of Scotland, Edinburgh (NG 1624)
8. “Pregnant Woman, c. 1896–1911 Bronze, height: 43.2 cm Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C. The Joseph H. Hirshhorn Bequest, 1981 (HMSG 86.1415)
9. “The Tub, c. 1889 Bronze, height: 22.2 cm The National Gallery of Scotland, Edinburgh (NG 2286)
10. “Woman Arranging Her Hair (La Coiffure), c. 1896–1911 Bronze, height: 46.7 cm Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C. Gift of Joseph H. Hirshhorn, 1966 (HMSG 66.1305)”
Irrefutably, by posting this Picasso Looks at Degas exhibition checklist on their website, Sterling and Francine Clark Art Institute believes or wants the admission paying public to believe or both that the so-called “bronzes by Degas” in this exhibition were cast in bronze during his lifetime.
SECOND, the Sterling and Francine Clark Art Institute contradicts itself on its’ website when an online audio for their Picasso Looks at Degas exhibition, the moderator stated the museum’s -Little Dancer Aged Fourteen- is "one of number of casts made from Degas’ wax original after the artist’s death." [FN 7]
This contradiction is further confirmed on page 1 in the “Introduction” of the Joslyn Art Museum’s published 1998 Degas and the Little Dancer catalogue by Richard Kendall (one of two Picasso Looks at Degas exhibition curators), where the author wrote: “More than its illustrious companions, the Little Dancer has achieved a special kind of fame through multiplicity; made originally by Degas in wax and dressed by him in a fabric tutu, hair wig, and silk ribbon, the figure was replicated after the artist’s death...”[FN 8]
Aside that Edgar Degas -never- worked exclusively in wax and replicate[FN 9] by definition is an original work of visual art created by a living artist, we now discover that Picasso Looks at Degas exhibition curator Richard Kendall knew that Edgar Degas was dead when the so-called -Little Dancer Aged Fourteen- was forged.
The dead don’t bronze.
THIRD, as a member of the Association of Art Museum Directors’[FN 10], the Sterling and Francine Clark Art Institute’s director Michael Conforti (and former AAMD president), not to mention other thirteen participating AAMD museum members (see Addendum) in the Picasso Looks at Degas exhibition, endorses the College Art Association's ethical guidelines on sculptural reproductions which in part state: "any transfer into new material, unless specifically condoned by the artist, is to be considered inauthentic or counterfeit and should not be acquired or exhibited as works of art."[FN 11]
The dead don’t condone.
Page 101, Joslyn Art Museum’s 1998 Degas and the Little Dancer catalogue by Richard Kendall
NON-DISCLOSED POSTHUMOUS FORGERY
FOURTH, on page 101 of the Joslyn Art Museum’s published 1998 Degas and the Little Dancer catalogue by Richard Kendall, a contributor Arthur Beale, in his "Little Dancer Aged Fourteen: The Search for the Lost Modele" essay, wrote of the museum's posthumously (1920-21) forged plaster: “Quite simply put, if one looks for a stable sculptural medium that brings us through time close to the hand of Degas, then plaster meets the criterion. In addition, if my observations and conclusions are correct, the Joslyn Art Museum plaster cast (fig. 71) also possesses significant historic importance in that it represents the mother of the some twenty-three or more bronze casts of the sculpture now found world wide (cat. 45).”[FN 12]
So, the Picasso Looks at Degas exhibition curator Richard Kendall knew in 1998 that the -Little Dancer Age Fourteen- bronzes were posthumously forged, not from any waxes that Edgar Degas did not work exclusively in, but from posthumous plasters forged by the hands of the Hebrard foundry workers.
The dead don't plaster.
Edgar Degas, Pregnant Woman, c. 1896—1911. Bronze, height: 43.2 cm. Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C. The Joseph H. Hirshhorn Bequest, 1981 (HMSG 86.1415) / Photo by Lee Stalsworth.
http://blog.clarkart.edu/2010/08/10/behind-the-scenes-of-picasso-looks-at-degas/pregnant-woman-degas/
NON-DISCLOSED POSTHUMOUS FORGERY
FIFTH, on the Sterling and Francine Clark Art Institute’s website, in the same audio for their Picasso Looks at Degas exhibition, the moderator stated: “It is not surprising... Degas should have depicted pregnancy in a notably sympathetic manner on several occasions... the startling sculpture of a completely naked pregnant woman that now belongs in the collection of the Hirshhorn museum...”[FN 13]
On the Hirshhorn Museum and Sculpture Garden’s website, this same “Pregnant Woman,” ie., "startling sculpture" as characterized by the moderator, on loan to the Sterling and Francine Clark Art Institute’s Picasso Looks at Degas exhibition, is listed as: “cast 1919-1925.”[FN 14]
Edgar Degas died in 1917.
The dead don't sculpt.
SIXTH, are we to suspend disbelief or just believe when the Picasso Looks at Degas exhibition catalogue is promoted by the Sterling and Francine Clark Art Institute as -this groundbreaking study- by “noted Degas scholar Richard Kendall and Picasso expert Elizabeth Cowling” who “present well-documented instances of Picasso's direct responses to Degas's work, as well as more conceptual and challenging affinities between their oeuvres?”’[FN 15]
On page 922 of the Random House College Dictionary, -oeuvre- is defined as: “the works of a writer, painter, or the like.’[FN 16]
The dead don’t have an oeuvre.
SEVENTH, to go from the ridiculous to the sublime, in the “Behind the Scenes: ‘Picasso Looks at Degas’” posted on the Sterling and Francine Clark Art Institute’s blog, one of the exhibition curators Professor Emeritus of History of Art at Edinburgh University Elizabeth Cowling wrote: “All the works, whatever their medium, seem to interact with each other, and the more you look the more connections between them you notice. It’s almost dizzying, to the point where one forgets who—Picasso or Degas—made what.”[FN 17]
The dead don't make what.
Page 104 of Joslyn Art Museum's published 1998 Degas and the Little Dancer by Richard Kendall
POSTHUMOUS COUNTERFEIT DEGAS SIGNATURE
EIGHTH, to add insult to injury, all posthumous bronze forgeries, falsely attributed to Edgar Degas, have a so-called “Degas” signature inscribed to them.
Edgar Degas -never- signed his original mixed-media sculptures.
This is confirmed on the National Gallery of Art’s www.nga.gov/education/degas-11.htm website, where it stated: “By comparing the sculpture to stylistic changes in Degas' paintings and pastels, we are developing a chronology for the sculpture, which Degas did not date or sign.”
On page 1387 in the Seventh Edition of Black’s Law Dictionary, the term -signature- is defined as: “A person’s name or mark written by that person or at the person’s direction.”[FN 18]
Yet, on page 103 of the Joslyn Art Museum's published 1998 Degas and the Little Dancer catalogue by Richard Kendall, a contributor Arthur Beale, in his "Little Dancer Aged Fourteen: The Search for the Lost Modele" essay, wrote: "Degas' signature was added by the Founder by a stamp impressed in wax and added when the model version was still in wax."[FN 19]
The dead don't sign.
Resting on the Bed, c. 1876-77
Monotype, 12.1 x 15.9 cm
Private collection, Switzerland
Works by Edgar Degas (1835-1917)
http://www.clarkart.edu/exhibitions/picasso-degas/content/checklist.cfm
Photo: http://www.clarkart.edu/exhibitions/picasso-degas/content/brother-scenes.cfm
NINTH, and finally, the American Association of Museum’s Board of Directors approved July 2000 Guidelines on Exhibiting Borrowed Objects. In part, it stated: “Before considering exhibiting borrowed objects, a museum should have in place a written policy, approved by its governing authority and publicly accessible on request, that addresses the following issues:"'[FN 20]
One of those issues is: “requiring the museum to examine the lender's relationship to the institution to determine if there are potential conflicts of interest, or an appearance of a conflict, such as in cases where the lender has a formal or informal connection to museum decision making (for example, as a board member, staff member or donor).”[FN 21]
How can this be transparently accomplished when many of the lenders (See Addendum Private Collections for complete list) in this Picasso Looks at Degas exhibition are anonymous?
Additionally, it stated: “Adhering to an ethical standard that exceeds legal minimums. AAM's Code takes as given that museums comply with all applicable local, state and federal laws and international conventions. The Code also makes clear that museums must abide by ethical standards that frequently exceed legal minimums because the purpose of the Code is to foster conduct that merits the confidence of the public. Without public confidence, museums cannot effectively carry out their missions.”[FN 22]
In other words, without transparency on who the lenders are, much less what they are truly lending, how will the public ever know there is no inherent conflict of interest?
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.”[FN 23]
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.”[FN 24]
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.”[FN 25]
FRAUD
Furthermore, 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...”[FN 26]
CONCLUSION
The Sterling and Francine Clark Art Institute's Picasso Looks at Degas exhibition contains at least ten non-disclosed posthumous forgeries, with counterfeit "Degas" signatures applied, misrepresented to the public as "bronzes by Degas" and "sculptures" for the $15 price of adult admission, city-state-federal grants, corporate sponsorship and potentially future monetary benefits such as tax-write-offs and outright sales.
In an heighten sense of hyprocrisy, the Sterling and Francine Clark Art Institute and thirteen of the participating museums, as members of the Association of Art Museum Directors, are violating their own endorsed ethical guidelines that state: "any transfer into new material, unless specifically condoned by the artist, is to be considered inauthentic or counterfeit and should not be acquired or exhibited as works of art."
Remember, the dead don't bronze, condone, sculpt, plaster, have oeuvres, or make what, much less sign.
The Sterling and Francine Clark Art Institute's "Mission," posted on its' website, in part states: "The Sterling and Francine Clark Art Institute is an art museum and a center for research and higher education, dedicated to advancing and extending the public understanding of art."[FN 27]
Therefore, in support of the Sterling and Francine Clark Art Institute's dedication "to advancing and extending the public understanding of art," this monograph documents the contentious issues of authenticity with all so-called "bronzes by Degas" so that with full and honest disclosure the museum patrons might be able to give informed consent on whether or not to attend this Picasso Looks at Degas exhibition, much less pay the price of admission.
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.
FOOTNOTES:
1. http://www.clarkart.edu/exhibitions/picasso-degas/content/the-ballet.cfm
2. © 1999 By West Group, ISBN 0314022864
3. © 1998 National Gallery of Art ISBN 0-300-07517-0
4. © The Metropolitan Museum of Art, New York, 1988, ISBN 0-88884-581-2 (National Gallery of Canada)
5. Copyright © 1984 by The Art Institute of Chicago, ISBN 0-8109-0804-2 (hard: H.N. Abrams)
6. http://www.clarkart.edu/exhibitions/picasso-degas/content/checklist.cfm
7. http://www.clarkart.edu/exhibitions/picasso-degas/content/audio.cfm
8. Copyright © 1998 by Joslyn Art Museum, ISBN 0-936-36428-9
9. On page 350 of Ralph Mayer’s Definitions of Art Terms & Technique, -replica- is defined as: “an exact copy or duplicate of a work, done in the same size and in the same medium, and done by the artist who created the original.” Copyright © 1991 by Bena Mayer, ISBN 0-06-461012-8 (pbk.)
10. http://www.aamd.org/about/#Members
11. www.collegeart.org/caa/ethics/sculpture.html “A Statement on Standards for Sculptural Reproduction and Preventive Measures to Combat Unethical Casting in Bronze Approved by the CAA Board of Directors, April 27, 1974. Endorsed by the Association of Art Museum Directors and the Art Dealers Association of America.”
12. Copyright © 1998 by Joslyn Art Museum, ISBN 0-936-36428-9
13. http://www.clarkart.edu/exhibitions/picasso-degas/content/audio.cfm
14. http://hirshhorn.si.edu/visit/collection_object.asp?key=32&subkey=5998
15. http://www.clarkart.edu/exhibitions/picasso-degas/content/catalogue.cfm
16. Copyright © 1980 by Randon House Inc., ISBN 0-394-43500-1
17. http://blog.clarkart.edu/2010/08/10/behind-the-scenes-of-picasso-looks-at-degas/
18. © 1999 By West Group, ISBN 0314022864
19. Copyright © 1998 by Joslyn Art Museum, ISBN 0-936-36428-9
20. http://www.aam-us.org/museumresources/ethics/borrowb.cfm
21. Ibid
22. Ibid
23. © Kluwer Law International 1998, ISBN 90-411-0697-9
24. Ibid
25. Ibid
26. Ibid
27. http://www.clarkart.edu/about/content.cfm?ID=37
ADDENDUM:
CURATORS:
Elizabeth Cowling is Professor Emeritus of History of Art at Edinburgh University, and an independent scholar and exhibition curator.
History of Art: School of Arts, Culture and Environment (ACE)
The University of Edinburgh
20 Chambers Street
EH1 1JZ
Scotland
United Kingdom
elizabeth.cowling@ed.ac.uk
Richard Kendall is Curator-at-Large at the Clark, as well as an independent scholar and exhibition curator.
Cécile Godefroy is a researcher at the Fundación Almine y Bernard Ruiz-Picasso para el Arte in Madrid.
Sarah Lees is Associate Curator of European Art at the Clark.
Montse Torras is Exhibitions Coordinator at the Museu Picasso in Barcelona.
ASSOCIATION OF ART MUSEUM DIRECTORS MEMBERS:
1. Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C.
Richard Koshalek
PO Box 37012
MRC Code 350
2. Los Angeles County Museum of Art
Michael Govan
5905 Wilshire Blvd
Los Angeles, CA 90036
3. The Phillips Collection, Washington, D.C.
Dorothy Kosinski
1600 21st Street, NW
Washington, DC 20009
4. Sterling and Francine Clark Art Institute, Williamstown, Massachusetts
Michael Conforti
225 South Street
P.O. Box 8
Williamstown MA 01267
5. Museum of Fine Arts, Boston
Malcolm Rogers
465 Huntington Ave of the Arts
Boston MA 02115
6. Solomon R. Guggenheim Museum, New York
Richard Armstrong
1071 Fifth Avenue
New York, NY 10128
7. The Baltimore Museum of Art, Maryland
Doreen Bolger
10 Art Museum Drive
Baltimore MD 21218-3898
8. The Museum of Modern Art, New York
Glenn Lowry
11 W. 53rd Street
New York NY 10019
9. The Metropolitan Museum of Art, New York
Thomas Campbell
1000 Fifth Avenue
New York NY 10028-0194
10. Brooklyn Museum, New York
Arnold L. Lehman
200 Eastern Parkway
Brooklyn NY 11238
11. The Art Institute of Chicago
James Cuno
111 South Michigan Avenue
Chicago IL 60603-6110
12. National Gallery of Art, Washington, D.C.
Earl A. Powell, III
2000 B South Club Drive
Landover, MD 20785
13. National Gallery of Canada, Ottawa
Marc Mayer
380 Sussex Drive, P.O. Box 427
Ottawa Ontario K1N 9N4
14. Allen Memorial Art Museum, Oberlin College
Stephanie Wiles
87 North Main Street
Oberlin OH 44074
OTHER U.S. MUSEUMS:
15. Dumbarton Oaks House Collection, Washington, D.C.
Jan M. Ziolkowski
1703 32nd Street Northwest
Washington, DC 20007-2961
(202) 339-6401
16. The Kreeger Museum, Washington, D.C.
Judy A. Greenberg
2401 Foxhall Road, NW
Washington, D.C. 20007
(202)337-3050
publicrelations@kreegermuseum.org
FORIEGN MUSEUMS:
17. Museu Picasso, Barcelona
C/ Montcada, 15-23
08003 Barcelona, España
933 196 310
museupicasso@bcn.cat
18. Musée National Picasso
5 Rue Thorigny
75003 Paris, France
01 42 71 25 21
19. Museum Ludwig, Cologne
Heinrich-Böll-Platz 1
50667 Köln, Deutschland
0221 221-26165
20. Museo del Novecento, Milan
Piazza del Duomo, 12
20122 Milano, Italia
02 72095659
21. Kunstmuseum Basel, Kupferstichkabinett
Dr. Bernhard Mendes Bürgi
St. Alban-Graben 16
CH-4010 Basel
Telefon 0041 (0)61 206 62 62
22. Sainsbury Centre, Norwich, England
Nichola Johnson, Director
University of East Anglia/Earlham Road
Norwich NR47TJ, United Kingdom
01603 593193
n.johnson@uea.ac.uk
23. Bibliothèque de l’Institut national d’histoire de l’art, Paris
24. The National Gallery, London
Trafalgar Square
London
WC2N 5DN
44 (0)20 7747 2885
information@ng-london.org.uk
NOTE: The National Gallery, London ironically has a current June 30 - September 12, 2010 exhibition titled: Close Examination: Fakes, Mistakes and Discoveries.
25. Tate, London
44 (0) 20 7887 8888
pressoffice@tate.org.uk
NOTE: The Tate collection contains numerous non-disclosed forgeries falsely attributed to Edgar Degas, as well as other artists. Here are links to two examples: http://www.tate.org.uk/servlet/ViewWork?workid=3705&searchid=29067
http://www.tate.org.uk/servlet/ViewWork?workid=4031&searchid=29073
26. Musée d’Orsay, Paris
1 Rue de la Légion d'Honneur
75007 Paris, France
01 40 49 48 14
27. The National Gallery of Scotland, Edinburgh
The Mound
Edinburgh, City of Edinburgh EH2 2EL, United Kingdom
0131 624 6200
enquiries@nationalgalleries.org
28. Birmingham Museums and Art Gallery, England
Chamberlain Square
Birmingham B3 3DH, United Kingdom
0121 303 1966
rita.mclean@birmingham.gov.uk
29. British Museum, London
Great Russell Street
London WC1B 3DG, United Kingdom
020 7323 8000
communications@britishmuseum.org
PRIVATE COLLECTIONS:
Works by Pablo Picasso (1881–1973)
An Artist (Portrait of Degas), 6 February 1968
Oil on canvas, 81 x 65 cm
Private collection
Bather, 1931
Bronze, height: 40 cm
Private collection. Courtesy Fundación Almine y Bernard Ruiz-Picasso para el Arte (55297)
Nude Wringing Her Hair, 7 October 1952
Oil on wood panel, 150.5 x 119.4 cm
Private collection
Running Woman, 1931–32
Plaster and wood, height: 52 cm
Private collection
Seven Dancers, 1919–20
Ink and watercolor on paper, 26.3 x 39.5 cm
Private collection
Two Seated Dancers, 1925
Pencil on paper, 50 x 40 cm
Private collection
Works by Edgar Degas (1834–1917)
Conversation, c. 1876–77
Monotype, 16 x 12.1 cm
Private collection, Switzerland
Resting on the Bed, c. 1876–77
Monotype, 12.1 x 15.9 cm
Private collection, Switzerland
Self-Portrait, c. 1895
Original print with modifications, possibly made by Picasso. Inscribed on the reverse in Picasso’s hand “Portrait P.H. / de E. Degas,” 18.2 x 24.2 cm
Private collection. Courtesy Fundación Almine y Bernard Ruiz-Picasso para el Arte
Studies for the “Little Dancer Aged Fourteen” (Nude), c. 1878–80
Charcoal heightened with white chalk on gray paper; stamped with red signature lower right, 48 x 63 cm
Private collection, London
The Tub, c. 1878–80
Monotype, 16 x 21.1 cm
Private collection
Two Dancers in the Wings, c. 1880–95
Pastel on paper mounted on cardboard on a wooden stretcher, 59 x 46.4 cm
Private collection
Woman Combing Her Hair, c. 1896–99
Charcoal and pastel on tracing paper, 109 x 76.3 cm
Private collection
posted by Gary Arseneau at
4:42 PM
2 Comments:
beautiful piece of art. nice done!
wicked! the best essay I have ever read. Congratulations
Picasso would have love this!
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