Another lost opportunity to bring the conservator’s work to the public’s attention

In the January 14, 2018 issue of The New York Times there is an article by Elisabetta Povoledo about a report by the Italian art expert Isabella Quattrocchi which claims that almost a third of the works in a 2017 Modigliani exhibit in Genoa were forgeries (“Authenticity of Modigliani Works Questioned” ). The photograph accompanying the article in both the print and online editions shows a woman retouching or inpainting the frame of a Modigliani painting. The caption reads, “The painting ‘Ritratto di Chaim Soutine’ (‘Portrait of Chaim Soutine’), attributed to Modigliani in an exhibition in Genoa”, making no mention of the activity going on in the photograph. Here is another lost opportunity to bring the conservator’s work to the public’s attention.