LAUSR

David A. Scott courageously wades into the precarious realm of authenticity with his recent book, Art: Authenticity, Restoration and Forgery. This ambitious text, intended for both general readers and scholars, seeks to reduce discord between conservators and art historians, promote a model for exploring the questions and controversies surrounding authenticity in the realm of conservation, consider the many ways in which restoration and conservation programs impact past and present understandings of artistic productions, and champion actions that heighten the visual discernibility of conservation interventions. The book is a greatly expanded version of Scott’s recent article, “Conservation and Authenticity.”1 While not providing any new argument or theory, Scott’s text summarizes philosophical and historical concepts related to authenticity, fakes, and forgery and discusses many artworks that have been conserved and/or restored to public acclaim or disdain. Scott’s graduate studies in ancient metallurgy at London’s University College, professorial work at the Institute of Archaeology, London, and at the University of California, Los Angeles, leadership in the Museum Research Laboratory at the J. Paul Getty Museum, and his many texts on scientific analyses of ancient metals and pigments and on topics of conservation provide a practical and theoretical foundation for this recent publication. Though not identified as such, Scott’s book is divided into three principal sections. The first section, Chapters 1–4, explores the philosophical, historical, and legal concepts of authenticity. The following six chapters are a mix of case studies, musings, and interesting tales loosely organized into chronological order. Finally, a concluding chapter, glossary, bibliography of cited references, and index round out the book.