Guest
Professor James Cahill returns, finally, after avoiding it throughout his series, to the controversial painting titled Riverbank, on which widely variant opinions are held by different authorities. He offers what he hopes is a convincing argument about why Riverbank cannot be old and must be a Zhang Daqian forgery. In this final lecture of the series A Pure and Remote View, close-up analysis of this and other known Zhang paintings exposes patterns of canvas aging and brush work that present decisive visual evidence of his contention
