devoted to the detection of forgeries by stylistic analysis, and the next one, on scientific methods of detection, should be thought of together, for they are complementary and one can't stand independently of the other. Modern science has brought us new techniques of analyzing works of art that reinforce and are a considerable help to the stylistic methods that have existed for a long time, which we will discuss here this evening.
The last exhibition of the Metropolitan Museum's Centennial sets the theme for its activities in its second hundred years. Masterpieces of Fifty Centuries presents works of art of the finest quality in chronological order from the earliest times to the present. This has never been done before by any museum; indeed, only the Metropolitan could assemble such an exhibit from its own collections because it is unique in sheltering under one roof the art of practically every significant culture known to man. The Museum's first century has been devoted to gathering great works of art. This period is now ending. The time has come to concentrate on using the collections, to make them significant in the fullest sense, for the enjoyment and instruction of every visitor.Art has always been an essential part of man's life. Ever since he painted the animals he hunted for food on the walls of caves or carved decorations on the weapons he used to kill them, artistic creation has been a fundamental impulse. Today it has become more important than ever before. Never have there been so many artists, so many art schools and museums, such an active market, and such broad public interest.Technical developments peculiar to our times have given us visual appetites that never existed before. The invention of photography and improvements in methods of reproducing images have made it possible to lay the whole history of art before the eyes of anyone who is interested. It has also increased immeasurably the number of images that pass daily before us. From packaging to television, pictures are everywhere. They have replaced the written word as the principal means of conveying ideas. The great majority of them are advertisements, commercial propaganda intended to make us act without further thought. They urge us to buy this, go there, eat, drink, smoke, think in a certain way. Given no time for reflection, we are expected to react almost automaticallythe image shocks and the spectator must play a passive role.The museum is also concerned with images. Indeed, it is a treasure house of images. But these are works of art and their effect is fundamentally different from the stupefying sort with which we are constantly assailed. The work of art asks us to respond rather than submit to it, and in responding we find an antidote to the unquestioning acceptance demanded by the other images that are constantly thrust upon us.From the museum we can get something that is fast becoming lost in modern life. It is a place where we can exercise our power of choice and appreciation according to our own will and at our own tempo. To serve its public successfully, a museum should be a center of recreation that offers every member of our society education of the richest kind. It should present works of art in such a way that each visitor can enjoy the extremely personal experience they have to offer. This means using all the techniques at its disposal to help the visitor use his eyes and judgment, to see truly, to feel beauty, and to understand the deepest meani...
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