- Tapa blanda: 192 páginas
- Editor: Madison Press Books (1 de octubre de 2009)
- Idioma: Inglés
- ISBN-10: 1897330448
- ISBN-13: 978-1897330449
- Valoración media de los clientes: Sé el primero en opinar sobre este producto
Museum of the Missing: A History of Art Theft (Inglés) Tapa blanda – oct 2009
Descripción del producto
Reseña del editor
Offering a thrilling introduction to the underworld of stolen art, this investigation reveals the little-known story of modern art theft and shows how the legitimate art market, with its hyped auctions and landmark sales, has ignited criminal interest in these high-end pieces. The photographs, illustrations, and case studies give a fascinating and detailed behind-the-scenes account of the major thefts during the past hundred yearsranging from Edvard Munchs The Scream and looting during World War II and the Iraq wars to a brazen and bizarre theft of a two-ton bronze Henry Moore sculpture. A gallery lists the estimated value of each stolen piece, painting an overview of the cultural, historical, and economic losses.
Biografía del autor
Simon Houpt is an art columnist and correspondent for The Globe and Mail whose writing has appeared in GQ and The New York Times. He lives in New York City. Julian Radcliffe is the chairman of the Art Loss Register, an organization that assists in art recovery around the world, and a member of the Order of the British Empire.
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Houpt - a Canadian arts columnist for The Globe and Mail - writes as if the reader knows a painting from a statue and has at least heard of the big names in art, but has no specialized knowledge of either art or the art market. By and large this works well; he doesn't bother explaining who Rembrandt or Picasso are, but will spend a line identifying some of the less-famous names he mentions.
Likewise, he assumes all you know about art theft is The Thomas Crown Affair, which he name-checks several times. (It appears he has a thing for Rene Russo; I totally understand.) So you meet the top good guys (Robert Wittman, Charley Hill) and the top bad guys (Martin Cahill, Stephane Breitwieser) and get stories about how they did the things they did.
And there are pictures. I can't discount this; a book about art has to have pictures. It's one thing to read about a painting called "Storm on the Sea of Galilee," quite another to see the power and drama of Rembrandt's masterpiece with your own eyes. This is a very handsomely produced book, with page after thick, glossy page of full-color artwork. The appendix is a gallery of major paintings still missing after having been stolen. This volume could be a coffee-table book if it was bigger.
Despite a couple pages devoted to Napoleon's looting rampage across Europe and Africa (the Louvre is stuffed with the spoils of Napoleon's many campaigns), Houpt's focus is squarely on modern-day art crime starting, for all intents and purposes, in the early 1930s. He mentions antiquities looting and smuggling only in passing, even though by all rights it's a much larger segment of the overall art-crime enterprise. He doesn't explain the process of laundering an artwork's provenance (its archaeological and collecting history), even though it's pretty interesting even for a layman and would take only a couple pages, nor does he place enough blame on the major auction houses for their role in abetting the sale of artworks with shady histories. Stolen statues and decorative arts get short shrift in his gallery of the missing.
Like I said, this is a survey for a newcomer. If you follow the ARCA or Looting Matters blogs, or you've already read Wittman's memoir or Chasing Aphrodite, you're past the text in this book. But if Pierce Brosnan's shoulders or Rene Russo's transparent dress inspired you to dip your toe into the real world of art crime, Museum of the Missing is a pretty good place to start.
If you love great art you will enjoy this book