The need for catalogue raisonnes*
February 13 2012
Writing in The Art Newspaper, the art market commentator Marion Maneker says that catalogue raisonnes are the best way to protect against the growing problem of fake art:
The other key pillar of the self-regulating market is the scholarship that produces reliable catalogues raisonnés. But, the field appears increasingly under threat. The troubling retreat of scholars in the case of a group of Francis Bacon drawings (The Art Newspaper, December 2011, pp1, 8) indicated that experts, fearful of costly lawsuits, are shying away from taking a public stance on what is, or is not, a legitimate work. [...]
Ultimately, the best way to protect the art market—and address the issue of regulation—is to safeguard scholarship: this underpins an artists’ value, provides proof of provenance and lubricates an expanding market. As the art business continues to globalise, its growth depends upon making scholarship reliable and accessible. Because, in the end, the experts are the only candidates who can provide the adult supervision the market desperately craves.
Though she** is primarily concerned with modern and contemporary art, the same could probably be said for the whole art market, including Old Masters, where the issue is not one of fakes, but of correct attributions. But the problem is, not enough art historians these days are interested in publishing catalogue raisonnes. Devoting years of study to one artist is unpopular, and seen as too like the old-fashiond approach to art history of 'who painted what when'. This is sad, but a fact.
* A reader has suggested this should be 'catalogues raisonne'.
** Another reader writes:
As always, enjoyed logging on to Art History News but I think Marion Maneker, whose article I also read with much interest – valuation and attributions being such vexed subjects – is male not female. Maybe Marian/Marianne = female!
And to be completely pedantic, it should be catalogues raisonnés (old French grad here).
Whoops - Marion, Sorry!
