Line up the letters designating the complex levels held by the curators who worked in the Metropolitan over the decades — people M.A.s, M.F.A.s, and Ph.D.s — plus they would extend from Maine to Oregon. Still, the one most accomplished curator at the background of this grand association had no advanced level and has been self-taught in art history. He had been, for the majority of his lifetime, a stockbroker. His name was William Ivins, and he had been responsible for setting the all-encompassing design collection.
Just, somebody who can immediately place quality in art in all of its delicate gradations. How did Bill Ivins become this kind of particular “attention”? To begin with, he had the impulse to understand about artwork, and secondly, he owned an inborn gift for enjoying art, which he might not have understood for a few years. However he had more than that. He recognized he would never have the ability to enjoy art in the ideal way if he did not get saturated.
The bottom field of connoisseurship and art recognition is saturation — viewing it all. Ivins immersed himself in prints, tens of tens of thousands of all types and degrees of quality. Shortly he had been cataloging in his enthusiastic mind every exceptional caliber — that the strokes of genius and the glitches, also. If you analyze each one of tens of thousands of current prints of Rembrandt van Rijn, these in good state, the messed up ones, the actual posts, the copies and fakes, at a shorter period than you believe, you are going to have the ability to appreciate quality. Ivins did. Only by opening up his eyes and looking.