Knjiga - Aksioma

18 keramiki. Da se je Picasso dobro zavedal pomena in vrednosti20 th century – to create fake Vermeers, he used canvases 19signirane umetnine, pokaže anekdota:Vstopila je ženska, ki je pod roko nosila paket,pazljivo povezan z vrvico. Želela je videti Picassa.‚Nekaj bi mu rada pokazala, nekaj, kar ga bogotovo zanimalo.‘ Nanj lahko čaka vse jutro, čeje treba. Ko se je Picasso dve uri kasneje vrnildomov, je odvezala paket in prikazala se jepodobica. ‚Gospod Picasso,‘ je rekla, ‚naj vampokažem eno od vaših starih slik.‘ Picasso, ki jebil vedno ganjen, kadar je po dolgem času videlkatero od dolgo izgubljenih del, se je nežno zazrlv malo platno in rekel: ‚Da, Picasso je. Avtentičenje. Naslikal sem ga poleti leta 1922.‘ Obiskovalkaga je prosila, da bi platno podpisal: ‚Biti lastnikpravega Picassa brez podpisa je vendarle zelomučno! Ljudje, ki ga vidijo v našem domu, silahko mislijo, da gre za ponaredek.‘ Picasso ji jeodvrnil: ‚Ljudje me vedno prosijo, da bi podpisalstara platna. To je popolnoma nesmiselno!‘ [...]‚Toda saj je slika vaša! Gospod Picasso, mi ne bifrom Vermeer’s period, and to avoid being exposed, heprepared the pigments himself – the frauds that concernedthe artist’s signature on an inauthentic work of art ofteninvolved the artists themselves. Dalí, Picasso, Chagall andMiró are artists known also for their fraudulent signatureson inauthentic graphics and ceramics. Picasso was wellaware of the meaning and value of a signed work of art, asthe following anecdote demonstrates:[A] woman enters with a package carefully tiedup with string under her arm. She would liketo see Picasso ‘in person’. She has something toshow him that will undoubtedly interest him. Shecan wait for him all morning if necessary. WhenPicasso returns two hours later, she undoes thepackage and takes out a little picture: ‘M. Picasso,’she says, ‘allow me to present you with one ofyour old paintings.’ And he, always rather movedto see again a work long lost from sight, lookstenderly at this little canvas. ‘Yes, it’s a Picasso.It’s authentic. I painted it in Hyères where I spentmogli narediti usluge in je vendarle podpisati?‘5 Brassaï, Conversations5 Brassaï, Conversations the summer in 1922.’ ‘May I ask you to sign it,with Picasso (pre-with Picasso (translated‚Ne, gospa! Če bi jo podpisal zdaj, bi bilo tovedla Jane Marie Todd),by Jane Marie Todd), Thethen? Owning a real Picasso without his signatureponarejanje. Moj podpis iz leta 1943 bi dodal na The University of ChicagoUniversity of Chicago is very distressing, after all! People who see it insliko, ki sem jo naslikal leta 1922. Ne, gospa, nePress, Chicago inPress, Chicago and Lon-London [1964] 1999, odlomekdon [1964] 1999; the ex-our home may assume it’s a fake.’ [But Picassodostopen tudi na:cerpt is also accessible at responds:] ‘People are always asking me to signmorem je podpisati. Žal mi je.‘ 5http://www.artnewyork-http://www.artnewyorkcity.com/2007/01/28/picity.com/2007/01/28/pic-my old canvases. It’s ridiculous!’ [...] ‘But sinceZavest umetnikov, da je njihov podpis na umetnini ccassos-fakes-from-seth-godin/godin/.cassos-fakes-from-seth-the picture is by you, M. Picasso, couldn’t you dopomemben ne le zato, ker umetniško delo s tem dejanjemme the favor of signing it?’ ‘No, ma’am! If I werepreseže trenutek non finito, ampak tudi zato, ker s podpisomzaznamujejo, da so avtorji umetnine in ji tako dodajokulturno in tržno vrednost, ki jo družbeno dogovorjenoto sign it now, I’d be committing forgery. I’d beputting my 1943 signature on a canvas painted in1922. No, I cannot sign it, madam, I’m sorry.’ 5prinaša lastnoročni podpis, je vse bolj rasla. Vprašanje,kdo je avtor umetnine, je v svetu umetnosti postalo takopomembno, da ga ni bilo več moč zaupati umetniku, in sredina19. stoletja je na trg poslala poznavalca – osebo, ki jeThe artists were becoming increasingly aware of thesignificance of their signature on works of art – not onlybecause the act of signing moved the work of art beyond