South DaCola

Another perspective on the Rockwell exhibit

I received this email today that I found interesting concerning Rockwell ‘prints’;

December 20, 2010

Attention Sioux Falls residents:

Norman Rockwell -never- created a lithograph.

That fact was confirmed by the Norman Rockwell Museum in the Buffalo News’ published  June 30, 2003 “ORIGIN OF ROCKWELL LITHOGRAPHS CAUSING CONTROVERSY” article that this scholar was the source for.

Late in his life, Norman Rockwell want to cash-in on his celebrity status, which was his right.

So, in late 1960’s, Norman Rockwell hired Circle Fine Art chromists (someone who copies another artist work) to reproduce his paintings. The problem was those thousands upon thousands of chromist-made reproductions were subsequently misrepresented by Norman Rockwell and his representatives, for sale (at $200 or more 1960’s dollars) as original works of visual art ie., lithographs.

As an artist who creates original lithographs, I speak from experience on what constitutes a lithograph but for those who require little more substantial documentation, as a scholar, I cite U.S. Customs Informed Compliance May 2006. In part, it states that a -lithograph- “must be wholly executed by hand by the artist and excluding any mechanical and photomechanical processes.”

Upon Norman Rockwell’s death, this “knowing concealment of the truth or misrepresentation of a material fact to induce someone to his or her detriment” which is one legal definition of -fraud- was continued by Eleanor Ettinger, their chromists and others with thousands upon thousands of posthumously forged editions misrepresented for sale as Norman Rockwell lithographs.

The dead don’t lithograph.

Therefore, all so-called -Norman Rockwell lithographs-, albeit non-disclosed chromist-made and/or photomechanical reproductions, became “something that is not what it purports to be” which is one legal definition of -fake-.

Finally as for the prior -Rodin, A Magnificent Obsession- exhibition held a couple years ago at the Sioux Falls Pavilion, 54 of the 63 so-called sculptures were non-disclosed 2nd-generation-removed forgeries with counterfeit “A Rodin” signatures posthumously inscribed between 1919 and 1996, some 2 to 79 years after Auguste Rodin’s death in 1917.

The dead don’t sculpt, much less sign.

In closing, without full and honest disclosure to these contentious issues of authenticity, the museum patrons will find it difficult if not impossible to give informed consent on whether to attend an exhibition of non-disclosed reproductions and/or forgeries at the Sioux Falls Pavilion, much less pay the price of admission.

Unfortunately, with the Sioux Falls Pavilion that seems to be the plan.

Caveat Emptor!

Gary Arseneau

artist, creator of original lithographs & scholar

Fernandina Beach, Florida

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