What Makes Someone Attack a Work of Art? Here Are 9 of the Most Audacious Acts of Art Vandalism—and What Inspired Them

Conservators, here is your trigger warning.
Caroline Goldstein & Katie White, October 2, 2019

Vandals are afoot! What could possibly motivate someone to try and destroy a work of art? One might imagine that art vandals must be suffering from some form of mental instability, but in many cases works are targeted for a reason, often political, and the aesthetic aggressors aim to get their cause in the headlines by trashing a cultural treasure. (They might succeed with the latter, but we don’t yet know of any acts of art vandalism that have changed public policy.)

Here, we’ve outlined nine of the most egregious art attacks and rated them on a scale of one to five, taking into account the severity of the attack, the likelihood of successful restoration, and the perpetrator’s audacity.


1. Barnett Newman’s Who’s Afraid of Red, Yellow, and Blue III (1967–68)

When and Where: 1986 and 1997; the Stedelijk Museum in Amsterdam

Whodunit? A disgruntled 31-year-old painter named Gerard Jan van Bladeren

What and Why? The story of this painting’s multiple attacks has been so widely publicized it has spawned both a documentary, titled The End of Fear, and an episode of Roman Mars’s podcast “99 percent Invisible.” The painting itself shocked audiences when it first debuted at the Stedelijk Museum in Amsterdam—the massive size (almost 18-feet wide and eight-feet tall) was compounded by the fact that the seemingly endless red canvas is interrupted by just two lines of colors, blue and yellow, that Newman called “zips.” The museum received letters describing visitors’ disgust and dismay that the institution would deign to show such a work, which in their opinions fell firmly into the category of “my kid could do that.”

The painting was the pièce de résistance in a show in 1986 that purported to pose questions about what, in fact, does constitute art. One man in attendance, Gerard Jan van Bladeren, was adamant that this painting did not. He stormed into the museum with a box cutter and ravaged the canvas. He was sentenced to five months in prison, but some in the community agreed with him, with one writing to the museum that “this so-called vandal should be made the director of modern museums.”

Aftermath and Legacy: Conservator Daniel Goldreyer, who had worked with Newman during his life, spent four years restoring the canvas—but he actually ruined it by painting over the entire thing with house paint.

In 1997, van Bladeren returned to the museum and when he couldn’t find Red, Yellow and Blue III, he turned to the closest Newman he could find, Cathedra, and slashed it with a small blade. The museum’s press office said van Bladeren didn’t like “abstract and realist art,” but in interviews with Dutch radio, he claimed that he was just returning to finish the job he had started 11 years earlier.

Vandalism Rating: 🧨🧨🧨🧨🧨 This painting has suffered enough.


2. Auguste Rodin’s The Thinker (1881)

When & Where: 1970, outside of the Cleveland Museum of Art

Whodunit? No one was ever arrested for the crime, but there were rumors that it was the work of the radical activist group Weather Underground.

What and Why? In the early morning hours of March 24, 1970, an explosion shook the large cast of Rodin’s most famous sculpture, knocking off the lower legs and damaging the statue’s base with the force of what authorities imagined to be three sticks of dynamite.

Though no one was injured in the blast, the brazen act of violence brought the community, like the sculpture, to its knees. If Weather Underground is to blame—and we’re just guessing here—then perhaps the radicalized group of students protesting the war in Vietnam targeted the work as a symbol of the elitism of those in power.

Legacy and Aftermath? Officials at the museum considered a few options after the bombing, but since it was damaged to such an extent, any alterations would have compromised the artist’s original intent. In the end, the museum opted to keep what was left of the work on display without repairs—ensuring that anyone who visited would know the sad history of the pensive figure.

Vandalism Rating: 🧨🧨🧨🧨🧨


3. Anish Kapoor’s Dirty Corner (2011)

When and Where: Once, twice, maybe three times in 2015 and 2016, but it depends on who’s counting; The lawn of Versailles

Whodunit? We don’t know, but Anish Kapoor called one of the vandalizations an “inside job”

What and Why: The cavernous sculpture, which is shaped like the mouth of a French horn, became the center of controversy for its possible anatomical associations, earning the unflattering nickname the “queen’s vagina” (Marie Antoinette’s, we guess?). Kapoor assured an incensed French public that there were a variety of interpretations, but to no avail. After cleaning up a first attack where the work was splattered with yellow paint, it was later scrawled with numerous anti-Semetic slurs (Kapoor’s mother is Jewish).

Aftermath and Legacy: Kapoor controversially insisted that the hate-filled graffiti should not be removed from the sculpture and instead serve as a reminder of intolerance and racism. But after a court case instigated by the Councillor of Versailles—against the artist’s wishes—Dirty Corner was ultimately covered in gold-leaf.

Vandalism Rating: 🧨🧨🧨🧨


4. Rembrandt’s The Night Watch (1642)<

When & Where: 1911, 1975, 1990; the Rijksmuseum in Amsterdam

Whodunit? An unemployed chef, a former school teacher, and an escaped psychiatric patient

What and why? Rembrandt’s colossal depiction of the Militia Company of District II under the command of Captain Frans Banninck Cocq is by all accounts an exceptional work of Dutch Golden Age painting that defies earlier, more boring compositions. Rembrandt was able to capture the feeling of excitement within the company using dramatic light and shadow, and its grand scale makes it an imposing figure in the country’s history.

Alas, with great prominence comes misguided attention, and this painting has become the repository of aggression for many disgruntled museum goers. In 1911, an unemployed Navy chef attacked the painting with a knife, but ultimately failed to pierce the thick varnish. (Perhaps, as artnet’s Tim Schneider posited, his lackluster cutting abilities factored into his joblessness.)

The second attack came on September 14, 1975, when former schoolteacher William de Rijk walked up and began slashing at the work before being overpowered by guards. Why, you ask? The man shouted that he “did it for the Lord.” And he was especially angry because he had attempted to visit the museum the night before, but arrived after closing. De Rijk was committed to a psychiatric institution, where he died by suicide just one year later. His was the most effective attack on the Rembrandt, resulting in a six-month restoration process that could not undo the deep gashes in the canvas.

The last (and hopefully, final) incident to befall The Night Watch was in 1990, when an escaped mental patient concealed sulfuric acid in a spray bottle and aimed it at the painting. Luckily, guards were able to quickly douse the work in water and the acid did not damage any paint below the varnish.

Vandalism Rating: 🧨🧨🧨🧨


5. Leonardo da Vinci’s Mona Lisa (1503)

When and Where: Twice in 1956, 1974, 2009; The Louvre and the Tokyo National Museum

Whodunit? A homeless man, a vandal, and a Russian émigré

What and Why? Her enigmatic smile and knowing eyes have beguiled adoring viewers for centuries, but the Mona Lisa has been on the receiving end of her fair share of hatred as well. The first attack came in the winter of 1956 when a homeless man named Hugo Unzaga Villega hurled a rock at the masterpiece. Why? He wanted to go to prison for the warm bed. Meanwhile, a few months prior, a vandal had tossed acid at the iconic visage while the painting was on view in a museum in Montauban, France. Eighteen years later, in 1974, a disabled woman doused the painting in red spray paint when it was on loan to the Tokyo National Museum, purportedly because she disagreed with the museum’s accessibility policies. The painting’s most recent assault came at the Louvre in 2009, when a Russian woman, apparently fuming over having been denied French nationality, flung a coffee mug at the serenely unflinching Mona Lisa.

Aftermath & Legacy: The addition of a case of bulletproof glass shielded the painting from the 1974 and 2009 attacks. And in part due to its theft in 1911 (which launched her to international super-stardom) Mona Lisa reigns unperturbed by would-be destroyers as the world’s most famous artwork.

Vandalism Rating: 🧨🧨🧨


6. Michelangelo’s Pieta (1498–99)

Michelangelo’s Pietà (ca. 1488-89) in St. Peter’s Basilica. Courtesy of Wikimedia Commons.

When and Where: Pentecost Sunday, May 21, 1972; The Vatican

Whodunit? Laszlo Toth, a Hungarian-born Australian geologist

What and Why? Toth was 33 years old at the time of the incident—the same age as Jesus at the time of his death. According to bystanders, the unwell geologist shouted “I am Jesus Christ—risen from the dead“ before leaning over the protective railing and striking the sculpture of the Virgin Mary and figure of Christ with a dozen blows of a hammer. The damage was swift and severe. The tip of Virgin’s nose was shattered into three parts. Her left arm was snapped off and she suffered damage to her cheek and left eye.

Aftermath and Legacy: Toth was not criminally charged for the offense, but was declared “socially dangerous” and hospitalized in Italy for two years before being deported to Australia. After some discussion, the sculpture was restored in a grueling 10-year process. But it was not without a silver lining: During the restoration, Michelangelo’s hidden signature was discovered. Today, the work is shown behind bulletproof glass.

Vandalism Ranking: 🧨🧨


7. Diego Velázquez’s Rokeby Venus (1651)

When and Where: 1914; The National Gallery of Art in London

Whodunit? A Canadian woman named Mary Richardson, who was active in Emmeline Pankhurst’s Women’s Social and Political Union, walked into London’s museum with a concealed meat cleaver. She attacked the canvas, successfully slashing the exposed backside of the Venus.

What and Why? The attack was meant to draw attention to the violent arrest of the suffragette Emmeline Pankhurst, leader of the Women’s Social and Political Union, which had taken place the previous day. Richardson, a student of art, had wrestled with her choice, but ultimately felt that targeting this representation of female beauty was necessary and that any outrage felt about the destruction of the representation of a woman should be outweighed by the violence against a living one. “You can get another picture, but you cannot get a life,” she said.

Aftermath and Legacy: The painting was successfully restored and Richardson was sentenced to a (maximum) six-month imprisonment.

Vandalism Ranking: 🧨


8. Pablo Picasso’s Guernica (1937)

When & Where: 1974; the Museum of Modern Art in New York

Whodunit? Art dealer and collector Tony Shafrazi

What and Why? Before he became a world-class art collector, Tony Shafrazi was a gimlet-eyed artist with dreams of changing the world. On the afternoon of April 30, he ran into the Museum of Modern Art wielding a canister of red spray paint and scrawled the words “KILL LIES ALL” across the Picasso masterpiece in broad daylight, to the astonishment of visitors and museum guards. In his fervor, he shouted “I’m an artist” to stunned onlookers and then implored the group to “call the curator!”

As luck would have it, a conservator from the Brooklyn Museum had been dining in the museum’s restaurant and was quickly dispatched from her niçoise salad to assist.

Aftermath & Legacy: In just under an hour, the team was able to remove the paint. A layer of varnish had “acted as an invisible shield,” meaning that conservators were able to erase Shafrazi’s frenzied, foot-sized lettering swiftly. Shafrazi was arrested on charges of criminal mischief, but still managed to become a successful art collector and gallery owner in New York.

Vandalism Ranking: 🧨


9. Ai Weiwei’s Colored Vase (2013)

When and Where: Pérez Art Museum in Miami, February 2014

Whodunit? Maximo Caminero, 51, a local artist and, according to the Miami New Times, a pretty well-known one at that.

What and Why? A spokesperson from the recently inaugurated museum said that 51-year-old Caminero strode into the gallery and picked up one of the many color-dipped vases by Ai Weiwei (worth about $1 million, according to the museum) and, when a guard asked him to put it back, Caminero threw the vase to the ground, shattering it.

Caminero told the New Times that he “did it for all the local artists in Miami that have never been shown in museums here.” He added that the museums “have spent so many millions now on international artists.” Caminero, upon learning the value of the vase, said it was a spontaneous protest, in part inspired by Ai’s own art: One of the artist’s most famous works, Dropping a Han Dynasty Urn (1995), involved smashing a 2,000-year-old vase, a cultural object he said is “powerful only because someone thinks it’s powerful and invests value in the object.” The vases in Miami, too, were themselves the victims of vandalism of sorts. Ai had acquired 51 vases dating from the Neolithic Age and then dunked them in common paint.

Aftermath and Legacy: Caminero pled guilty to criminal mischief and paid insurers $10,000 in restitution. Surprisingly, many people in the community praised his deed, drawing parallels between Ai’s political troubles in China and those Caminero experienced as a native of the Dominican Republic. Ai himself wasn’t pleased by the vandalism, but said “I’m OK with it, if a work is destroyed,” he says. “A work is a work. It’s a physical thing. What can you do? It’s already over.”

Vandalism Ranking: 🧨

https://news.artnet.com/art-world/9-acts-of-art-vandalism-1630771

Man threatening to make French museum 'hell' taken into psychiatric care

Police officers and journalists stand in front of the archeology museum in Saint-Raphael, southern France on October 23, 2019 after a man who had broken into the museum and threatened to turn it into a "hell", provoking a four-hour standoff, has been detained. Police had surrounded the site, where several messages in Arabic had been scrawled on the walls, including: "The museum is going to become a hell". Valery HACHE / AFP.

SAINT-RAPHAEL (AFP).- Police in southern France on Wednesday detained a man who had broken into a museum overnight and threatened to turn it into "hell", before admitting him to a psychiatric hospital, authorities said.

The man, who had provoked a four-hour standoff with police, was "mentally disturbed", regional prosecutor Patrice Camberou said. He was "a very mentally disturbed person, he was totally delusional, it was impossible to question him," said Camberou.

The museum, a historic monument, includes a medieval stone church and a vast collection of amphoras and other items from the region's Roman history.

"Some amphoras dating from the Roman period have been destroyed," Saint-Raphael's mayor, Frederic Masquelier, said at a press conference.

The man was about 18 years old but gave officers several identities, including that of the fictional "Aladdin". The man was seized "without resistance and without violence" in the gardens of the archeology museum in the Mediterranean town of Saint-Raphael shortly after 11:00 am (0900 GMT), the government's top regional official Eric de Wispelaere said.

Officers from the elite RAID crisis intervention unit as well as a bomb disposal squad surrounded the site, where several messages in Arabic, including "The museum is going to become a hell," had been scrawled on the walls, according to police sources. De Wispelaere said the man had acted alone and no explosives were found.

The standoff led officials to lock down a large part of the historic centre of the resort town of some 35,000 people, tucked between Cannes and Saint-Tropez. "There are barricades everywhere, the street is completely blocked off," Sebastian Belkacem, who owns the Duplex restaurant opposite the museum, told AFP by telephone.

https://artdaily.cc/news/117786/Man-threatening-to-make-French-museum--hell--taken-into-psychiatric-care © Agence France-Presse

F.B.I. Recovers Nazi-Looted Painting From New York Museum

The Arkell Museum had no inkling of the early 20th-century canvas’ dark past Winter

The Nazis seized Winter, an early 20th-century painting by American artist Gari Melchers, in 1933. (U.S. Attorney's Office)

By Jason Daley smithsonian.com October 28, 2019

Soon after Adolf Hitler’s rise to power in 1933, his Nazi propaganda machine singled out the Berliner Tageblatt, a liberal-leaning newspaper known for its criticism of the far-right party, as a symbol of the so-called “Jewish press.” That same year, the paper’s publisher, Hans Lachmann-Mosse, fled to Switzerland with his wife Felicia. The Nazis, in turn, quickly seized the family’s art collection—a trove including, among others, a painting titled Winter by American artist Gari Melchers.

Eighty-five years later, the Associated Press reports, authorities have finally found this looted work of art. As court documents obtained by the AP reveal, the early 20th-century scene has long been hidden in plain sight, albeit in an unexpected locale: namely, the Arkell Museum in Canajoharie, New York. The upstate museum, unaware of the painting’s provenance until contacted by agents from the Federal Bureau of Investigation, surrendered the work in mid-September.

As Suzan D. Friedlander, the museum’s executive director and chief curator, tells the AP, staffers were “of course very upset to learn the history of the painting’s seizure from the Mosse family by the Nazis in 1933.” Winter will remain stored in the F.B.I.’s Albany office until it can be returned to the family’s descendants.

According to the AP, businessman and philanthropist Rudolf Mosse—known for building a German media empire comprised of some 130 newspapers and journals—purchased the painting at the Great Berlin Art Exhibition in 1900. Following his death in 1920, Mosse’s daughter and sole heir, Felicia, inherited both the family business and her father’s extensive art collection. Her husband, Hans, meanwhile, became publisher of the Mosses’ flagship publication, the Berliner Tageblatt.

Per the Albany Times Union’s Brendan J. Lyons, the Nazis relied on collaborator and art dealer Rudolph Lepke to sell Winter and similarly looted paintings following their seizure from Jewish families. Lepke sold the painting to an unknown buyer in May 1934, and five months later, Bartlett Arkell, co-founder of the Beech-Nut Packing Company, purchased the work for his personal collection during a sale at Manhattan’s Macbeth Art Gallery.

“The Macbeth Gallery was a popular gallery where Mr. Arkell purchased a number of his paintings that he eventually donated to the Arkell Museum,” museum trustee Charles J. Tallent tells Lyons. “The painting was with the museum since 1934, until it was reclaimed by the Mosse family.”

Arkell, who was by all accounts unaware of Winter’s unsavory past, later donated the painting to the New York museum that bears his name.

As Kate Brown writes for artnet News, the Arkell Museum immediately waived its legal rights to the painting upon learning of the work’s Nazi ties. “We have been part of making something right, at long last, and take that responsibility very seriously, and to heart,” Friedlander, who says she’d like to be present when the painting is returned to the Mosses, tells Brown.

The looted work of art’s rediscovery is no fluke, but rather the product of a fruitful collaboration—fittingly dubbed the Mosse Art Research Initiative—between the family’s descendants and the Free University of Berlin. According to Colin Moynihan of the New York Times, five university researchers have combed through correspondence, auction catalogs and Nazi-era records to identify art once owned by Mosse and his heirs. Although the team suspects the Nazis took 4,000 items from the family, the project has only identified 1,000 by name to date.

The Mosse heirs, meanwhile, have spent the last seven years working to recover their stolen art. In addition to Winter, they have successfully reclaimed a lion sculpture by August Gaul, an Egyptian sarcophagus dating to 200 A.D., and a drawing by artist Adolph Menzel.

https://www.smithsonianmag.com/smart-news/fbi-seizes-nazi-looted-painting-new-york-museum-180973411/

Looted coffin acquired by Metropolitan Museum is headed back to Egypt

US and Egyptian officials presided over handover at a repatriation ceremony in New York

From left in foreground, US Homeland Security Investigations special-agent-in-charge Peter C. Fitzhugh; the Egyptian minister of foreign affairs, Sameh Hassan Shoukry; Manhattan District Attorney Cyrus R. Vance Jr.; and Assistant District Attorney Matthew Bogdanos witness the handover of an ancient Egyptian coffin at a repatriation ceremony in New York AP Photo/Michael R. Sisak

NEW YORK - A looted gilded coffin that was removed from display this year at the Metropolitan Museum of Art is headed back to Egypt after a repatriation ceremony in New York attended by an Egyptian minister and a US Department of Homeland Security Investigations agent.

The Manhattan district attorney, Cyrus Vance Jr, announced the handover on Wednesday, which was the result of an investigation by his office’s antiquities trafficking unit in cooperation with law enforcement agencies in Egypt, Germany and France.

Vance’s office and Homeland Security officials had executed a search warrant in February and confiscated the coffin from the Met, where it had been on view as the centerpiece of an exhibition. The coffin was crafted in Egypt between roughly 150 and 50BC and is thought to have once held the remains of a high-ranking priest, Nedjemankh.

The museum had acquired the coffin in July 2017 from what it described as a private collection under the understanding that it had been legally exported from Egypt in 1971. It turned out that the museum had been given fraudulent documents: the gilded coffin had actually been looted in the Minya region of Egypt in 2011 and then smuggled out of the country.

After leaving Egypt, Vance’s office said, the coffin was transported through the United Arab Emirates to Germany, where it was restored before travelling to France. The Met has said that it purchased the coffin from the Paris-based dealer Christophe Kunicki for €3.5m. Vance’s office said that the Met had “fully cooperated” with law enforcement agents once museum officials learned that it had been stolen.

A Homeland Security official said that such investigations had strengthened his department’s relationships and connections with the art world. “The high profit business of smuggling and trafficking antiquities has been around for centuries,” said Peter C. Fitzhugh, special agent-in-charge for the department in New York. “But it is the responsibility of a buyer to confirm the proper provenance of a piece of art or antiquity.”

“The tremendous collaboration between HSI New York and the Manhattan DA in building art cases has allowed us to strengthen relationships within the art world, both domestic and global; develop investigations to track the illicit movement of stolen art and locate its final destination; and, return the priceless cultural property to its rightful homeland for its citizens to enjoy,” added Fitzhugh, who attended the repatriation ceremony with the Egyptian minister of foreign affairs, Sameh Hassan Shoukry.

The district attorney’s office has declined to say whether it anticipates imminent arrests in connection with the looted coffin. To date, it says, its antiquities trafficking unit has recovered several thousand stolen antiquities jointly valued at more than $150m, many of which have been returned to their rightful owners.

NANCY KENNEY, 26th September 2019 23:09 BST
https://www.theartnewspaper.com/news/looted-coffin-acquired-by-metropolitan-museum-is-headed-back-to-egypt

Thieves Used Neckties to Steal $2.2 Million in Loot From a French Castle That Helped Inspire Versailles

Christina and Patrice de-Vogüé outside the chateau. Courtesy of the Château de Vaux-le-Vicomte.

Caroline Goldstein, September 23, 2019

Chateau de Vaux-le-Vicomte, Maincy, Seine et Marne, France. Photo by Alain KUBACSI/Gamma-Rapho via Getty Images. Last week, in the hours before dawn, six masked thieves crept into the private quarters of the lavish 17th-century chateau Vaux-le-Vicomte. There, the robbers tied up 90-year-old Patrice de Vogüé and his 78-year-old wife, Cristina, with neckties, according to local police. The couple were otherwise uninjured—chateau management told artnet News that they are now “doing fine”—but the thieves made off with €2 million ($2.2 million) worth of loot.

Despite making off with an impressive haul of emeralds, the thieves didn’t attempt to take any of the tapestries, bronze sculptures, or paintings that adorn the lavish buildings. As of press time, they have yet to be caught.

The estate is often used as a stand-in for Versailles on movie sets, like the 1979 James Bond film Moonrake and Sofia Coppola’s Marie Antoinette. The dramatic landscape is also used as an event space for lavish gatherings like the 2007 nuptials of Eva Longoria and Tony Parker and yearly Grand Siècle events, where costumed enthusiasts gather to frolic on the expansive lawns in 17th-century garb.

The baroque chateau was built over the course of 20 years under the direction of Nicolas Fouquet, Louis XIV’s finance minister as he was quickly ascending the social strata of the monarchy. Fouquet’s design was revolutionary for uniting the various aspects of the estate: Louis Le Vau was brought on as architect, along with landscape gardener André Le Notre, and renowned painter Charles Le Brun, who together created a harmonious mise-en-scene that would become the hallmark of Louis XIV’s style.

The recent theft wasn’t the first time trouble hit came to the palace, however. Shortly after its completion in 1661, Fouquet was arrested for allegedly embezzling from the king. But even though it turned out to be a ruse concocted by Jean-Baptise Colbert, who took Fouquet’s place as finance minister, in the aftermath of the scandal, Voltaire wrote: “on 17 August at six in the evening Fouquet was the King of France: at two in the morning he was a nobody.” Louis XIV responded by ordering his own bigger and better version of Vaux-le-Vicomte, thus heralding the considerably larger palace Versailles.

Artnet: https://news.artnet.com/art-world/thieves-rob-french-chateau-1658332?utm_content=from_&utm_source=Sailthru&utm_medium=email&utm_campaign=US%204%3A55%20p.m.%20afternoon%20newsletter%20for%209%2F23%2F19&utm_term=NEW%20US%20NEWSLETTER%20LIST%20%2890%20DAY%20ENGAGED%20ONLY%29

Knife attack badly damages work by top French modern artist

Daniel Buren (1938 - ), Peinture [Manifestation 3] © Philippe Migeat - Centre Pompidou, MNAM-CCI /Dist. RMN-GP © DB - Adagp, Paris.

PARIS (AFP).- An attacker wielding a utility knife has badly damaged a work by the celebrated French conceptual artist Daniel Buren at the Pompidou Centre in central Paris, the museum said on Friday. The work, "Peinture [Manifestation 3]", suffered "serious deliberate damage" in Thursday afternoon's attack by the man, the museum said in a statement. It said that a museum attendant alerted security, and video cameras allowed the rapid finding of the suspect. "He made no claim (over the attack) and was handed over to the police," it said.

An investigation has been opened by the judicial authorities after the museum filed a complaint to police. The artist, 81, has been informed of the incident and the work itself transferred to the stores of the Pompidou Centre to estimate the damage and restoration needed. It will be replaced on public display by another work from the artist. The Pompidou Centre said it understood the suspect was no longer in detention and had been transferred to a psychiatric unit.

"Peinture [Manifestation 3]" was created by Buren in 1967 and shows red and white stripes. It was purchased for the museum's collection in 1986. Buren is perhaps best known for the succession of black-and-white columns he inlaid into the inner courtyard of the Palais Royal complex in central Paris in a hugely controversial installation that opened in 1986.

The damage to the work comes just over a week after a stencilled work by the elusive British street artist Banksy was stolen from outside the Pompidou Centre. The Pompidou, which houses Europe's biggest collection of contemporary art but does not own the Banksy work, filed a police complaint for destruction of property.

© Agence France-Presse
http://artdaily.com/news/116787/Knife-attack-badly-damages-work-by-top-French-modern-artist#.XX_p3ShKiUk

Court’s New Morrisseau Forgery Decision a “Big Warning to Art Dealers”

Art dealing in Canada may become more transparent, some people hope, in the wake of a groundbreaking court decision issued this week.

Art dealer Donald Robinson of Kinsman Robinson galleries examines the painting at the centre of a Norval Morrisseau forgeries case in a scene from the new documentary There Are No Fakes. https://canadianart.ca/news/courts-new-morrisseau-forgery-decision-a-big-warning-to-art-dealers/?utm_medium=email&utm_campaign=Weekly%20September%205%202019&utm_content=Weekly%20September%205%202019+CID_4897313ce52e65c08a0bb3db20b7c7ca&utm_source=E%20Weekly%20Campaign&utm_term=Courts%20New%20Morrisseau%20Forgery%20Decision%20a%20Big%20Warning%20to%20Art%20Dealers