Word: mancusi
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Dates: during 2000-2009
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...Technically, they are very close to large watercolors…museums are constantly exhibiting watercolors that have faded and we still admire and appreciate them as watercolors,” Mancusi-Ungaro says...
...Mancusi-Ungaro also points out that “in 50 years, no work of art is going to be in its first youth…as works of art age, they change. People in the Harvard community remember these paintings as they looked new but [students] don’t.” Instead of thinking of paintings that are part of the present era as infallible, aging works of modern art should be considered in the same light as the fresco cycles of the aged Italian Renaissance that inspired Rothko to carry out his large commissions...
Understanding modern art in terms of the passage of time—rather than giving up on damaged work—means regarding these paintings with the same frame of mind as viewers look at art of the not-so-recent past. Mancusi-Ungaro predicts that “they will become more important as time goes...
Cohn believes this has nothing to do with a misunderstanding or negative attitude towards modern art, nor with the negligence of any specific player. On Rothko’s part, Mancusi-Ungaro says, “if [he] had called a conservator when he was making these paintings in the early 1960s and said ‘I bought this red paint, is it okay to use?’ No one would have been able to tell him whether it would fade...
...Mancusi-Ungaro believes they could have a permanent place if careful arrangements were made as to the light levels and conditions in which they were hung. She adds that the unique history of the Rothko murals is itself enough reason for a modern art museum to be built, as this would allow them to be studied by both historians and conservators...