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Sculptures

BRONZE REPRODUCTIONS OR ORIGINAL WORKS ?

Cet article se compose de 9 pages.
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Some legal consultants in the U.S nevertheless agree that Arseneau is a least generally correct in his assertion that the posthumous bronzes should be identified as reproductions.

After the Second World War the Musée Rodin found a way to reintroduce the artist's work on the market due to increased demands from collectors. The works eventually became so valuable that the Musée Rodin kept making more of them.
In failing to identify such posthumous reproductions as such, many public institutions are thus misrepresenting what the works really are as people might come to the conclusion that they are by Rodin especially as the prices for these pieces are often in the six-figure region. Arseneau has claimed that museums and institutions wanted to avoid the word «reproduction» fearing that such description would undermine the perceived value of these pieces.

When often donated to museums, as many have been, these reproductions pay off in the form of generous tax write-offs and because the Iris and Gerald Cantor Foundation is also a major back-up of Rodin scholarship, Arseneau has been suggesting that knowledgeable scholars haven't raised the issues he has uncovered because they did not want to bite the hand that feeds them, the JournalNow Web site stressed on July 16th, 2000.

NOT ONLY RODIN'S WORK

In October 1994 a major Giacometti exhibition opened in the Malmö Konsthall in Sweden. Most of the bronzes came from the estate of Annette Giacometti, the artist's widow, and were lent by the Paris-based Association. In fact, most of the borrowed bronzes were posthumous casts, never seen or touched by Alberto Giacometti.

Some of these were even casts of early abstract works that the artist never executed in bronze. When he died Giacometti had left no instructions about posthumous casting and no one knows how he would have reacted about this.

As for Rodin, some of his greatest compositions, «The Gates of Hell» and «The Monument to Balzac», were turned into bronze only posthumously. In recent years, as posthumous casts have proliferated in museums all over the world, questions have arisen about their quality.

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