The world of ART.. a can full of tomatoes and worms.

Do you remember where you were at the moment the Mona Lisa was smeared with cake, or when the Sunflowers of Van Gogh was attacked with a can of tomato soup, or liquefied mashed potatoes were thrown on Claude Monet's Les Meules? Mostly people remember time, location and what they were doing when a terrorist attack took place. (Terrorism: the unlawful use of violence and intimidation in the pursuit of political aims) Don’t get me wrong, I am concerned about humanity on this planet, in contrary to the planet itself, who wouldn’t mind the extinction of the human race. There is however a growing concern on how to protect cultural legacies and the artifacts that were left in our care to be saved for future generations.

One could subscribe that 36 year old individual, that has been arrested and placed in psychiatric care after he entered the Louvre in a wheelchair, dressed up as an elderly woman and smeared the Mona Lisa, as a terrorist. He called it a protest against artists not focusing enough on "the planet" and for some reason chose this act of vandalism as the most preferred way to make a statement. Of course there’s bulletproof glass to secure the masterpiece of Leonardo da Vinci, and the criminal lunatic didn’t manage to break it so no extensive damage was done. Lately a lot of these so called environmental motivated incidents took place where “super glue” turned out to be not so super.

The “art world” is all over the news, expressing their concerns about the recent events. It’s a welcoming distraction to camouflage how utterly corrupted and criminalized the elite world of art dealing has become over the last century. So called experts who are giving the power to authenticate or dismiss old master’s paintings, museum directors who knowingly display forgeries because the truth would be to scandalous. There are even museums that do so little research that a painting can be displayed upside down for 70 years. Piet Mondriaan’s, (the Americans at the MoMA in New York aren’t even capable of spelling his name right) “a lattice of yellow, red, blue and black tapes, could fall apart, they stated, if curators would try to put it the right way round. The proof is clear on a photo of Mondriaan's studio in New York in 1944, which showed the artwork the right way up.

The real criminals in the circuit of exchanging art for cash are the so called “Expert Institutes” who took control of authenticating paintings from well-known artists. Commercial companies with conflicting interests because of their own stock of masterpieces like The Wildenstein Plattner Institute are the real criminals, making a far more scruples attack on the art then any protestor, with his ear glued to a Vermeer, can ever achieve. The art world is strangled up in a system where paintings aren’t payed for by money but drugs, masterpieces can be downgraded to fake or disputed works can be signed to a master just by the opinion of one “expert”. The Wildenstein Institute published a Monet catalogue, which is regarded as the definitive, scholarly compendium of Monet paintings. Acceptance of a Monet by the Institute significantly increases the commercial value of a painting. The Institute controversially refused to authenticate “Bords de la Seine à Argenteuil” despite Fiona Bruce and Philip Mould (an art dealer and historian) in the BBC television program Fake or Fortune of which I for one am a big admirer for all the extensive research they do, submitted conclusive documentary evidence to prove its authenticity. The program's presenter, Philip Mould, rightfully called for the Wildenstein Institute to be replaced by a committee of scholars for the purpose of adjudicating whether a painting is an original or not.

Another controversial finding featured on Fake or Fortune, involved a painting purported to be by Pierre-Auguste Renoir held at Picton Castle, Wales. The Bernheim-Jeune is one of several sources that established provenance for the "Picton Renoir." The BBC investigators unearthed several lines of authenticity, including additional levels of provenance with photographic records of sale and forensically matching pigments and canvas to Renoir. The Bernheim-Jeune Gallery had approved the painting as genuine and have included it in Renoir's catalogue raisonné. The Wildenstein Institute declined to accept the painting citing so called “insufficient evidence”, although there is was no doubt it being authentic by all the other experts worldwide.

From Picasso to Van Gogh, centuries-old paintings have been targeted by environmentalists as a way of drawing attention to their cause. It’s hard to tell whether they even know the difference because it seems that the only target paintings that are well-known to the average public. The latest artwork to be targeted? Johannes Vermeer's famous piece, Girl with a Pearl Earring. One activist has tried to glue his head to the protective glass covering of the masterpiece while a second activist poured a can of tomato soup over him. What a dumb action to glue your ear to a Vermeer instead of a Van Gogh, it shows how little these morons know about the artworks they chose for their attacks.

They should glue themselves to paintings inside the extensive building of the Wildenstein Institute that fights in the French courts since 2011 accused of concealing art that had been reported as missing or stolen and contribute to the release of these high jacked works of art. The police already seized 30 artworks from the vault of the Wildenstein Institute. The villain Daniel Wildenstein had acted as executor of the estate of the Reinach family which was held at the Wildenstein Institute, at the trial the judge said that there was a “clear attempt” by Wildenstein and others to hide assets but it was impossible to return a guilty verdict due to shortcomings in the investigation. The prosecutors successfully appealed to the Cour de Cassation, and the case will be re-judged. In January of 2021 it was announced that Guy Wildenstein and family members will stand again trial for tax fraud charges. They are accused of concealing nearly £500 million from the French authorities. Still they are accepted as the institute to authenticate paintings although there’s no reason whatsoever to trust their “expertise”.

Climate activists, members of Ultima Generazione, glued themselves to Sandro Botticelli's Primavera at Galleria Degli Uffizi in Florence. Two protesters of Extinction Rebellion were arrested in Melbourne earlier after gluing themselves to the protective covering of a Picasso print at the National Gallery of Victoria. None of these artworks have been damaged, but the protests have grabbed global attention as did Just Stop Oil for the Van Gogh in London, but hasn't posted about this latest attack on the Girl with a Pearl Earring in the Netherlands on their official social media pages. Anyone can were a t-shirt with a slogan, and they are never certain they are attacking a real masterpiece or a fake by Van Meegeren, Beltracchi, Keating or Myatt which are pronounced authentic by the “experts”