
I saw this headline in the New York Times yesterday, and just had to check it out:
Questions Over Fixing Torn Picasso
because, of course, we are horrified and fascinated when we hear of something happening by accident to a staggeringly expensive painting. How could such a thing happen?
Seems that an unfortunate, nameless woman has joined a very select group, entitled "Clumsy People Who Have Accidentally Put a Huge Hole in a Picasso" (gambling mogul Steve Wynn is another member). Poor thing, she was at the Metropolitan Museum of Art in New York, innocently attempting to improve her mind by taking an adult education class, when she stumbled and fell into the painting, entitled "The Actor", a (slightly altered) version of which illustrates this post.
It is a large, rare early Picasso from his Rose Period, and its worth is estimated at approximately 100 million dollars. Or, at least, it was. Not bad for a picture of a slightly creepy guy in pink britches.
Questions Over Fixing Torn Picasso
because, of course, we are horrified and fascinated when we hear of something happening by accident to a staggeringly expensive painting. How could such a thing happen?
Seems that an unfortunate, nameless woman has joined a very select group, entitled "Clumsy People Who Have Accidentally Put a Huge Hole in a Picasso" (gambling mogul Steve Wynn is another member). Poor thing, she was at the Metropolitan Museum of Art in New York, innocently attempting to improve her mind by taking an adult education class, when she stumbled and fell into the painting, entitled "The Actor", a (slightly altered) version of which illustrates this post.
It is a large, rare early Picasso from his Rose Period, and its worth is estimated at approximately 100 million dollars. Or, at least, it was. Not bad for a picture of a slightly creepy guy in pink britches.
Fortunately, the article says that the tear is in a corner of the painting and will most likely be ompletely unnoticeable (to the untrained eye) after its repair.
Now, I don't know about you, but I myself do not have the leaping grace of a gazelle. It is only too easy for me to imagine going into the Met, or the Louvre, or the Pitti Palace in Florence, and, while gazing raptly at Venus on the Half Shell, or the Mona Lisa, or that kid in the blue knickers by Gainsborough, losing my balance, tripping over my own long, narrow feet (like Italian rolls, I have been told) and, putting out a hand to stop myself from toppling, stick it right through Venus' nether regions. Or whatever.
How must Nameless Woman have felt! It gives me a delicious shiver of horror to imagine the immediate aftermath. Did she run for the Scotch Tape? Did she nonchalantly stand in front of the paining for hours, hoping no one would notice? Did alarm bells go off in the museum? Was she hustled into some back room by security thugs? Did they strongarm her to the front door and pitch her out, barring her from ever setting foot in the Met again?
I certainly hope not, but the article is tactfully mum about that subject.
However the Met handled the coup de graceless, I would like to address myself directly to Nameless Woman and say, on behalf of my maladroit, ungainly brothers and sisters, we salute you! You took the hit for us, your uncoordinated fellows. We, whose bodies are covered with the bruises from unintended encounters with furniture, whose crockery shows the delicate tracery of glue, whose decorative panel on the kitchen island has been magic-markered into a semblance of its original self (don't even ask), are grateful to you for leading the way into priceless artifacts. Never again will we worry about accidentally castrating the David while gesturing wildly at its beauty.
We will think of you, and we will be strong. And stay far, far away from the artwork.