Post by GBPost by Jon RibbensHis comments are utterly stupid. "If you had done something, that you
did not in fact do, it would have been violent, but you didn't, so it
wasn't, but I'm going to harangue you as if you did and it was."
They had no way of knowing how well protected the painting actually was.
There was a small risk of doing a great deal of harm, and they were
reckless about that risk.
Except of course that they were there in person and could see. And
would naturally and reasonably expect that such an 'important' work
would be adequately protected against moisture ingress. It would, after
all, have been very remiss of the gallery not to.
Anyway, I don't think tomato soup is a natural predator of oil paintings
in the wild, which are intrinsically water-resistant, just like the
paint you put on your window frames. It would simply wash off with a
little water, probably causing no damage whatsoever.
All this escalation from 'no damage actually being caused' to 'great
deal of harm to an important work' is very much a middle class
affectation based on conditioning to think certain things are sacrosanct
even when, looked at with an open mind, they aren't. The art world is a
prime exponent of that. It tells (cons) you that a work is of extreme
value when you wouldn't probably want it on your own wall at home which,
to be honest, is the only valid criterion. That's what paintings are
for. And if you don't like them, or they don't fit with your colour
scheme, they don't comply with that so, to you, they're essentially
worthless.
Here's a little test. If you'd seen 'Sunflowers' in a junk shop, it
being unknown and being by a completely unknown artist, eg Norman de
Wells, would you have bought it?
Would the answer be different if you'd seen it in an upmarket gallery?