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Place Published: Buenos Aires
Publisher: Fondo de Cultura Economica
Date Published:
Size: 21cm
Pages: 303p
ISBN: 9505578199; 978950
Book Id: 97070


b/w plates, bibl., ind., color pict. wrps


An exhaustive work of the architect, restoration expert of archaeological monuments and Doctor in Pre-Columbian history Daniel Schávelzon. In addition to the data that offer on the falsifications that are in the art, the style where upon the book is written is of pleasant reading. It offers remarkable cases of different falsifications that can be found in the art as in archaeology. "Did the Louvre Museum erased the signature of the author of the Venus of Milo so it could pass as another sculpture from a different period? The Statue of Laocoön and his Sons, (Vatican Museum), the most spectacular classic Greek artwork, was it carved in the Renaissance by a young Michael Angel Buonarroti? The Mona Lisa (also known as La Gioconda or La Joconde), hanging in Paris, ¿is it authentic or a fantastic copy? At least half of the cultural products of the past are falsified copies, have been altered or are wrongly attributed. Despite this, the museums treasure and exhibit them; even many consider the falsification as a mere police event and will not allow their study or divulgation. What is false and what is authentic? Why both are cultural concepts? What roles do offer and demand play in the market of art and archaeology? What is the responsibility of the museums and the collectors? What goal are these liars after? In Latin America, forgeries have tricked professionals since the 18th century. The questioned Codex Grolier and coarse Codex of La Malinche, the colonial book upon where Peruvian history is based assigned to an incorrect author, the paintings of a Guatemalan artist that never existed, the Zapoteca urns and the black ceramic pieces of Tlatelolco falsified in Mexico, the hoaxed medieval origin of the stone "Baton of Command" discovered in the Uritorco mountains in Argentina, the skulls made out of crystal rock in Belize attributed to extraterrestrials and the Brazilian antropolito as the symbol of Uruguayan identity are some of the many impostures that constitute the object of analysis and reflection of this book "--P. [4] of cover

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