Sarah: I can't even tell which ones we decided to re-matte and not, so that's a good…
Peter: Well, what we did was… remember that we tried to…
Sarah: We went with some of the existing?
Peter: Well, we wanted to come up with the sizes that were very close to each other.
So we came up with the 18–22" as the sizes that could work as a whole, so even the frames
that are…
Sarah: …horizontal are the same?
Peter: Yeah, they still have the same size frame.
Sarah: So did we reuse any frames?
Peter: No, I ordered the frames, yeah, yeah.
Sarah: You're spoiling me.
Sarah: There were two that I was worried about the orientation that I just wanted to check
because we had a little…
Peter: Wasn't this the one?
Sarah: That was one.
And then the other one is on the corner.
Because this is upside down unless you hinged it backwards.
Peter: We could open this one so we can take a look.
Sarah: Oh good.
The hanging hardware isn't there, so does it matter?
Peter: It doesn't.
That's the orientation that we have.
Sarah: Okay, well how about this way?
Is it the same at the top and bottom?
Could we…?
Peter: Yep.
Sarah: Then maybe we're saved?
Peter: You mean like this?
Sarah: Yeah.
Is it hinged?
Peter: Yeah, it's cornered.
Sarah: Okay, all around.
Because we found this from 1952 where it was the opposite of what we thought.
Peter: So what we'll do is we'll change the number on the back because it's upside down now
and then we'll put it here.
So now we know the orientation is this.
Sarah: So this one we found in this book, and I thought it was…
I mean, gravity would have left it the other way.
Peter: Yeah, so we have it like this.
Sarah: No.
This one's actually a vertical.
Peter: A vertical like?…
Peter: Like this.
Sarah: A vertical like that.
And the reason we know is because on the back she signed and titled it
and they helpfully reproduced the backs and everything in this catalogue.
It's much more interesting, huh?
Peter: This is the top.
Sarah: Want me to leave you a photocopy?
Peter: You can, yeah, we could do that.
Just put it with this.
Sarah: This is a warm white?
Peter: Warm white and so is the frame.
Sarah: Beautiful.
Thank you.
Peter: I think we're ready to go.
Sarah: Great.
You know, the default position is that gravity is how you would orient a work, but we know
that for these Brazilian modernists they are sometimes subverting that or playing with it.
So we found a reproduction in a recent catalogue where the picture was oriented as a vertical
instead of as a horizontal as we had it.
And the first thing we have to do is to check the back of our print to make sure there isn't
information that contradicts the way it's reproduced in the catalogue
so it's sort of like a "trust, but verify" situation.
And then the helpful thing about this catalogue is that it's not only oriented a certain
way in the catalogue
but also they show the verso of the print so we can see the artist's inscriptions
and stamps all support the way they orient it in the catalogue
and that makes us feel very confident that the way we had it was wrong
and the way that it's oriented in the catalogue (as a vertical instead of a horizontal) is correct
even though that's not the way gravity would lead you to expect it to be.
Không có nhận xét nào:
Đăng nhận xét