Volume 10, Number 2, May 1988, pp.11-12

AYMHM: Articles You May Have Missed

Rosanna Zubiate, column editor
"Uncovering the Secrets of Medieval Artists", Mary Virginia Orna and Thomas F. Mathews, Analytical Chemistry, Vol 60, no 1 (January 1, 1988), pp 47A- 56A.

The article discusses the role of small particle analysis techniques in the art historical research on a series of medieval illuminated manuscripts. The study focused first on Armenian manuscripts, most of which were dated and located by colophons or inscriptions. The research has been expanded to include Byzantine and Islamic manuscripts.

"Cast in Bronze: The Degas Dilemma", Patricia Failing, Art News, January 1988, pp 136-141.

The article discusses the difficulty in interpreting the sculptural work of Degas. The bronzes were all cast posthumously from wax originals without the artist's authorization. Only one wax figure was ever exhibited, but visitors to the artist's studio recorded comments on the presence of sculpture. George Moore, the Irish writer, recalled "there is much decaying sculpture - dancing girls modeled in red wax, some dressed in muslin skirts, strange dolls - dolls if you will, but dolls modeled by a man of genius."

"Costume Conservation for Hollywood and History", Catherine C. McLean, Associate Textile Conservator, LACMA. Members' Calendar, Los Angeles County Museum of Art, Vol 26, no 2 (February 1988), pp 8-9.

The article discusses the conservation department's role in mounting the exhibit "Hollywood and History: Costume Design in Film".

The winter 1988 Journal of Decorative and Propaganda Arts, contains eight articles in this "Illustrated Book Theme Issue."

Following are the article titles and authors: "Thomas Mackenzie and the Beardsley Legacy", Colin White; "Ilizad and the Book as a Form of Art", Johanna Drucker; "Illustrated Books at the Toledo Museum of Art", Marilyn F. Symmes; "The Illustrated Book in California 1905-1940", Victoria Dailey; "Art for Miniature Art's Sake", Anne C. Bromer; "Cover Story"; Stephen Greengard; "Concerning Dwiggins: DAPA Interview with Dorothy Abbe"; and "London Letter", Peyton Skipwith.

A one-year subscription to the quarterly DAPA is $25.00 ($45.00 institution). Send to: The Journal of Decorative and Propaganda Arts, 2399 N.E. Second Ave., Miami, FL 33137-9956.

"Where's the Grease?", John Dornberg, Art News Vol. 87, no. 3 (March 1988), page 13.

Johannes Stuttgen, a master pupil of Joseph Beuys, has filed a $31,250 suit against the government of the West German state of Rhine-Westphalia. In his suit Stuttgen claims that when the offices of "The International Academy" lost their lease in a building owned by the North Rhine-Westphalian ministry of culture, cleaning teams came into the offices to clean and removed both furniture and the Fettecke (Greasy Corner). The eleven pound chunk of butter was simply trashed. Stuttgen claims that this art work had been a personal gift from Beuys, and is therefore demanding compensation.

Legal responsibility was disclaimed as attorneys for the state said that "the cleaning of a room, even in a government owned building, does not constitute a sovereign executive act for which the state can be held liable." It was also pointed out that Beuys had created the art work for that room and its removal by Stuttgen would have changed the essence of Beuys work of art. Wolfgang Volker, district court justice for Dusseldorf ruled on Dec. 16, 1987 that because Stttgen had no documentation proving "sole and legitimate" ownership of the piece, no damages could be awarded. The justice was careful to point out that his ruling in no way represented "judgment on contemporary art". Additional keywords: site-specific art, artists' rights

"Arts of the Restorer", G. V. Dyannsky, Connoisseur, Vol. 218, no. 915 (April 1988), pp 108-113.

The definition of 'restorer' is clearly defined in this informative article. In Paris, the House of Andre today, as it has done since 1859 when it was first established by Monsieur Andre, restores objects of any period and location. The article emphasizes the fact that as restorers a greater liberty is taken in replacing missing areas of the objects, thus creating art which in many cases should be qualified as reproductions.

"Leonardo Revealed", George Armstrong, Art News, Vol. 87, no. 3 (March 1988), pp 162-167.

Discusses the progress of the restoration being carried out by Pinin Brambilla on Leonardo da Vinci's The Last Supper.

"Wool, fabric of History", by Nina Hyde, National Geographic, Vol. 173, no. 5 (May 1985), pp 552-591.

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