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Art Forgery: the history of a modern obsession by Thierry LenainWith the recent advent of technologies that make detecting art forgeries easier, the art world has become increasingly obsessed with verifying and ensuring artistic authenticity. In this unique history, Thierry Lenain examines the genealogy of faking and interrogates the anxious, often neurotic, reactions triggered in the modern art world by these clever frauds. Lenain begins his history in the Middle Ages, when the issue of false relics and miracles often arose. But during this time, if a relic gave rise to a cult, it would be considered as genuine even if it obviously had been forged. In the Renaissance, forgery was initially hailed as a true artistic feat. Even Michelangelo, the most revered artist of the time, copied drawings by other masters, many of which were lent to him by unsuspecting collectors. Michelangelo would keep the originals himself and return the copies in their place. As Lenain shows, authenticity, as we think of it, is a purely modern concept. And the recent innovations in scientific attribution, archaeology, graphology, medical science, and criminology have all contributed to making forgery more detectable--and thus more compelling and essential to detect. He also analyzes the work of master forgers like Eric Hebborn, Thomas Keating, and Han van Meegeren in order to describe how pieces baffled the art world. Ultimately, Lenain argues that the science of accurately deciphering an individual artist's unique characteristics has reached a level of forensic sophistication matched only by the forger's skill and the art world's paranoia.
The Art of the Con: the most notorious fakes, frauds, and forgeries in the art world by Anthony M. AmoreArt scams are today so numerous that the specter of a lawsuit arising from a mistaken attribution has scared a number of experts away from the business of authentication, and with good reason. Art scams are increasingly convincing and involve incredible sums of money. The cons perpetrated by unscrupulous art dealers and their accomplices are proportionately elaborate. The Art of the Con tells the stories of some of history's most notorious yet untold cons. They involve stolen art hidden for decades; elaborate ruses that involve the Nazis and allegedly plundered art; the theft of a conceptual prototype from a well-known artist by his assistant to be used later to create copies; the use of online and television auction sites to scam buyers out of millions; and other confidence scams incredible not only for their boldness but more so because they actually worked. Using interviews and newly released court documents, The Art of the Con will also take the reader into the investigations that led to the capture of the con men, who oftentimes return back to the world of crime. For some, it's an irresistible urge because their innocent dupes all share something in common: they want to believe.
Call Number: N8790 .A46 2015
Publication Date: 2015
Fake?: the art of deception by Mark Jones (Editor)What is a fake and why are fakes made? Did the forgers of the Turin Shroud and Piltdown Man have the same motives? Does a famous Vermeer cease to be beautiful when it turns out to be a Van Meegeren? Is the Piranesi Vase an eighteenth-century masterpiece or a faked-up antique? Fakes, argue the contributors to this volume, have always been unjustly neglected, especially given the unparalleled evidence they provide of the values and perceptions of both those who make them and those who commission them. Included in this major survey of fakes and forgeries from ancient Babylonia to the present day are more than 600 objects from the British Museum and other outstanding collections. There are spectacular fakes once hailed as masterpieces of ancient and modern art. There are musical instruments and manuscripts, Chinese bronzes and Chelsea porcelain. There are literary and documentary frauds and political forgeries that have changed the course of history. Both the methods of making fakes and the recent scientific advances in their detection are described, but many puzzles remain. The book concludes with a discussion of intriguing cases like the Vinland Map, the "Aztec" rock-crystal skull, and the mysterious discoveries at Glozel, which continue to perplex curator, historian, and scientist alike.
Call Number: N8790 .F3 1990
Publication Date: 1990
False Impressions: the hunt for big-time art fakes by Thomas HovingDelving into one of the most sacrosanct areas of culture--fine art collecting--Thomas Hoving presents a gallery of art fakes, fakers, and the suckers who fell for the scams. From the shroud of Turin to pre-Colombian pottery, Hoving reveals the biggest, the best, the most embarrassing, and the most costly forgeries in history--many of them unknown until now. photos.
Call Number: N8790 .H68 1997
Publication Date: 1997
Forged: Why Fakes are the Great Art of Our Age by Jonathon KeatsAccording to Vasari, the young Michelangelo often borrowed drawings of past masters, which he copied, returning his imitations to the owners and keeping originals. Half a millennium later, Andy Warhol made a game of "forging" the Mona Lisa, questioning the entire concept of originality.Forged explores art forgery from ancient times to the present. In chapters combining lively biography with insightful art criticism, Jonathon Keats profiles individual art forgers and connects their stories to broader themes about the role of forgeries in society. From the Renaissance master Andreadel Sarto who faked a Raphael masterpiece at the request of his Medici patrons, to the Vermeer counterfeiter Han van Meegeren who duped the avaricious Hermann Goring, to the frustrated British artist Eric Hebborn, who began forging to expose the ignorance of experts, art forgers have challenged"legitimate" art in their own time, breaching accepted practices and upsetting the status quo. They have also provocatively confronted many of the present-day cultural anxieties that are major themes in the arts.Keats uncovers what forgeries - and our reactions to them - reveal about changing conceptions of creativity, identity, authorship, integrity, authenticity, success, and how we assign value to works of art. The book concludes by looking at how artists today have appropriated many aspects of forgerythrough such practices as street-art stenciling and share-and-share-alike licensing, and how these open-source "copyleft" strategies have the potential to make legitimate art meaningful again.Forgery has been much discussed - and decried - as a crime. Forged is the first book to assess great forgeries as high art in their own right.