Book Description
Always, whenever George Encil acquired a new work of art, something completely ovbious, and yet very rare, then happened. He didn't just become the owner: rather he undertook a sponsorship. He has adopted a piece from the orphanage of the world's art supply and received it into his collection. In many cases, a deed was established which brought to the work an Interpretation which befitted it for the first time since the piece issued from the shaping hands of the artist. Each stage play, each performance of a piece of music, brings today nearly perfect expositions of its creator's intentions; only in the area of visual art, do people think it permissable to make a junk room out of the gallery, from which, in case of financial need, a piece can be thrown upon the slave block of the international art market. The author opposes this attitude wehemently. In the examples taken from the narrative of his experiences he demonstrates that with the acquisition of a work of art commences the duty of preserving it, of restoring it, finding the requisite frame, and alloting it a worthy place for itself. The exposition and proclamation of this conviction is the mission to which the author feels called. His report is an appeal for people to take an interest in the ever dwindling supply of works of art and he would prefer to see every collector become a godfather rather than a possessor; an interpreter rather than a beneficiary. This proclamation does not exempt public collections, in which, following exemplary interpretations, even stepchildren of art will be sheltered. A lifetime spent as a collector qualifies the author for this proclamation, and the presentation before us supports and explains this attitude.
