The problem is that once you have gotten your nifty new product, the stealing rembr andts amore anthony m mashberg tom gets a brief glance, maybe a once over, but it often tends to get discarded or lost with the original packaging. Amore, since 2005 head of security for the Isabella Stewart Gardner Museum in Boston, does his utmost to prevent thefts there. One of many ironies is that Rembrandt died bankrupt and almost forgotten. We did not find any crime that was a mirror image or a match. And then there is the painting by Rembrandt, Saskia at Her Bath, stolen from a home never to return. The four hundred year old hand-made paper is usually the give away. Some thieves prove more cunning than others, but the star is Myles Connor, the mastermind behind a daring lift from the Boston Museum of Fine Arts that is reminiscent of a Hollywood movie.
Occasionally, people go to jail, but in most cases, in order to recover the stolen masterpieces, a long period of involved negotiations ensues. It is interesting to consider the weight and size! Amore is a security expert and currently head of security at the Isabella Gardner Museum in Boston. As they discuss the theft of specific Rembrandt works the authors give the reader details about Rembrandt himself, his art and offer insight into the thieves. Perhaps because it's still unsolved? They also provoke questions about the purpose of such thefts given that it is nearly impossible to re-sell world famous pieces of art. It is really a plea to thieves that stealing famous Rembrandts rarely results in big bucks and often badly damages priceless paintings, etchings etc. This book highlights both the vulnerability of great master works, as well as the impossibility of selling such works on the black market. Their point is that even the most ignorant thief will probably have heard of Rembrandt, and surmise that such works are valuable.
Forged etchings of Rembrandt are far more common and nearly impossible to detect. A focus on one heist instead of dozens may have reaped more rewards for readers seeking more drama and less analysis of bygone cases gathering dust in police annals. Amore and Tom Mashberg prove time and again that art thievery is generally low class crooks looking to make a buck. However, ever since the theft, the triptych has been located in Gdansk, Poland. Connor about how he cased museums, identified security weaknesses, planned his operations, implemented them, and sought to profit from the art he stole.
This may or may not appeal depending on whether you like your true-crime tales hot or cool. He regularly blogs for The Huffington Post, drawing on his 15 years of national security, law, intelligence and crisis management experience with two federal government agencies, incl Anthony M. Some of the individual thefts make interesting, often even funny, stories. Art security expert Anthony M. That's not the case here. The plot, in my opinion, needed re-working — I won't say more; but the characters and descriptions were both enjoyable and worth the time.
Art and Crime and Intrigue Anthony M Amore and Tom Mashberg have compiled a history of art theft that is as entertaining as it is astonishing. That makes him the most stolen artist, second only to Picasso. Given that, one of the most common methods that Rembrandt thieves use is the old snatch and grab. An interesting mish-mash of everything related to the thievery of valuable art. On the contrary, Stealing Rembrandts is proof that plundering art for profit is more dangerous than we could ever have imagined. With hard facts and a cleareyed perspective, this book sets the record straight.
Even so, there are some interesting tales of criminals and how they pulled off the job. But any semi intelligent person would realize the difficulty of reselling such obvious well known works of art. Their plan was to trade the stolen art for the freedom of a confederate, Anthony Carlo. In this interview he debunks myths about art theft, including the idea that some discerning Dr. Luckily I didn't feel like that often, though.
In Stealing Rembrandts, art security expert Anthony M. Amore and Mashberg mention that this painting is an easy target for thieves because of its small size. Back in 1990, the Gardner was the target of an infamous heist in which three of its four Rembrandts disappeared. And while the book claimed to be primarily a response to the 1990 Isabella Gardner Museum robbery, which remains unsolved, very little of the book dealt with that specific case. I've said it before, but I'll repeat: in any book about art, we need to see the art. I found myself googling artworks, museums, and art thieves that were mentioned, just to get a look at them myself. What could they do with it? For those looking for some well-written fiction on the subject of art theft, I recommend Charney's fictional work, The Art Thief.
However, a cloak of silence surrounds the case at present, and the artworks have yet to be returned. That mystery, for now, remains unsolved. This is also this book's major though survivable shortfall. By weaving together Rembrandt's own story with exclusive interviews and insights into the men who have stolen his masterpieces, authors Anthony M. Drawing on their vast experience they write an informative and interesting book on art theft. Another review also reminded me of this: I felt that pieces of the book did all too often meld in together; I would be hard-pressed to distinguish one heist from another; even while reading the book, I would get confused and forget which one I was reading about! Stealing Rembrandts was a fun book that kept me interested, but had some pretty massive holes that I didn't expect.
Most art thieves know nothing about art. Somehow, the thieves fail to grasp the common-sense reality that art masterpieces are difficult to fence because they stand out in underground markets. He imagined he would be able to sell the stolen Rembrandt for millions of dollars right away, and lo and behold he discovered that he had no customers at all. MashbergI definitely put Myles Connor in a category above most other criminals I've interviewed, because he really is well educated. True masters in their own right, they provide an unvarnished look at some of history's most notorious art heists, separating fact from popular fiction and defeating the notion that art theft is a victimless crime.