Poussin attack - the security implications
July 18 2011
Picture: National Gallery (detail of floorplan)
I went to see the scene of the crime today. The two Poussins are fine, no trace of damage. The vandal must have used a water-based paint that did not penetrate the varnish, or something similarly removable. The National Gallery will not give out any further details. Nevertheless, the punishment surely should reflect the potential damage, not just the actual damage, if it is to act as any meaningful deterrent.
Having seen Room 19, where the pictures are, I think there are legitimate questions over security at the Gallery. The Golden Calf is a large picture, over two metres wide, and is hung at the end of the room (the red dot, above). The Adoration of the Shepherds, the other Poussin attacked, is to the right, some paces away (the blue dot). The room guard is placed at the end of the normally quite empty room, say some 20m away (the black dot), and stares straight at the Adoration of the Golden Calf. I wasn't there when it happened, of course, but one must wonder how the villain was able to comprehensively spray not one but two pictures before being stopped.
Jonathan Jones at The Guardian says we should step up security dramatically, and makes the comparison with the Louvre, where they x-ray all bags:
A painting like Poussin's Golden Calf is made by a great artist, cherished by owners, and miraculously preserved down the centuries. It is looked after in a museum, cleaned, studied, and silently enjoyed by thousands. And then in an instant someone can brutally attack this venerable human creation and make a vile mark on it.
That cannot be allowed, and modern society cannot be trusted – there is too much craziness out there. Museums should be more severe on visitors. No visitor gets into the Louvre without a security scan. It looks like no one should get into the National Gallery without such scrutiny either. If this is too expensive, museums should charge to cover the costs. Free museums are very fine. But what is the point if people just come in and desecrate the world's cultural heritage? Charge, search, protect.
Meanwhile, a reader with great experience of these things has kindly sent me this insightful view:
Your article [...] illustrates very well the almost impossible task of protecting public art and keeping works on view to that public. It is a delicate balance! As an ex Police officer, ex Christies Porter[...] I am, possibly in a unique position to see the argument on both sides.
[More below]
Vigilance is the best weapon. You can alarm, you can shield and you can imprison certain works behind glass like a dodgy head of state but well trained staff, paying attention cannot be beaten. So how do you stop your guy going to sleep?
Well a number of things can be done. Not tying security personnel to one room for more than half an hour. Move him to another gallery or position, preferably the front entrance and make sure that the supervising staff are on the floor going from room to room all the time. Moving security staff regularly gives the impression that there are more staff than there really are.
Education into how your average art vandal works would also be a good idea. Generally the perpetrator has picked his target and will make b-line for it. Security personnel should be a aware of 'fast trackers' within their environment and have the remit to follow that person whilst notifying his control by radio. Unfortunately knives feature high on the art vandals weapons of choice list, so great care and good training are critical.
Doing the same thing for long periods of time, all day, every day is extremely boring. I know, I've done it. Engaging the staff and making them more than one trick ponies can elevate a boring job into a useful one and as a consequence a more vigilant one.
It is, however, almost impossible to stop the determined vandal. The courts should sentence accordingly to make the 'easy' public art target just not worth making the point in return for a 10 year sentence. Public awareness of the problem should be geared up too.
