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• W1657021471 abstract "IntroductionForgers Han van Meegeren (1889-1947) and Wolfgang Beltracchi (b 1951 as Wolfgang Fischer) created new compositions which were taken to be unknown works by the artists they were forging. The two men had much in common: skills, artistic ability, technical competence, and nerve. They identified the gaps that existed in the market. They knew what contemporary tastes dictated. Importantly, they were also able to anticipate the opinions of connoisseurs, and adapted their to them. Van Meegeren painted religious works that would be lauded as newly discovered Vermeers. Vermeer's work did not feature very prominently on collectors' agendas between early 1700 and 1860, with the exception of works that were thought to be by artists such as Rembrandt who were more famous than him (Keats, 2013, 75). With the upsurge in interest in Vermeer's work in the early '30s, van Meegeren saw an opportunity to supply the market with the type of Vermeers it desired and anticipated (van den Brandhof, 1979, 170). No detailed catalogue raisonne of Vermeer's oeuvre existed in the early part of the 20th century. The art market was presented with a single unfamiliar picture at a time. It stood amidst a rather small canon of works which was all but readily accessible. Comparisons were not feasible (Goodman, 1983, 101-2). Van Meegeren also faked the provenance of his forgeries. Beltracchi's deception was similar in many ways. He is a high caliber trickster. He combined an advanced understanding of the failings and weaknesses of the art market with an extensive knowledge of the work and methods of a very large number of different modern artists. Beltracchi painted what would be regarded as works missing since World War II that had come to light, or works which the experts would expect an artist to have painted on account of having seen the work listed before. Since no visual record of these works existed he knew that checking would be difficult to do. Like van Meegeren, he created a fake history of production for an original of what he was forging. Not only was he willing to take the risk that the original could surface at any moment (Koldehoff and Timm, 2012, 127), but he also supplied evidence for the fake provenance in the form of falsified photo material and labels that conjured up pertinent aspects of the war-era narrative.The authentication and accurate attribution of art can be a complex issue. Knowledge is constructed from data, but it is fallible and defeasible (Covey, 1990, 27). Authenticity is closely linked to a judgment and to the aims of those who pass judgment. The forgers' purposeful misrepresentations led connoisseurs to mistake their for works by the masters. This close link between intent to deceive and error can make the boundary line dividing the forgers and the experts hard to locate (Briefel, 2006, 60). A good expert can be the forger's best ally if his or her competence manifests in predictable and stable expectations which the forger can fulfill (Lenain, 2014, 56). One antagonist provides support for the other: the-forger-as-expert and the-expert-as-forger. In both cases, a psychological strategy that relied among other things on active cultivation of endorsements by connoisseurs was devised for purposes of ensuring that buyers could be secured. The ethical lines became blurred, because these connoisseurs were giving and receiving something in return.Van Meegeren claimed to have duped the Nazis by selling Reichsmarshall Hermann Goring a forgery he had painted himself, and insisted he could do much better than to copy a Vermeer to prove that this was true. He would make a completely novel work, Christ and the Scribes in the Temple. This clever plot device helped to turn the spotlight away from himself and the deep Nazi ties he had cultivated since the late 1920s. More than 60 years after World War II ended, the Beltracchis concocted pre-packaged narratives that were cleverly interwoven with the persecution that followed from Nazi cultural policy. …" @default.
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• W1657021471 date "2015-10-01" @default.
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• W1657021471 title "Forgers, Connoisseurs, and the Nazi Past" @default.
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