Van Meegeren Research Articles

Artistic Crimes and Misdemeanours

Abstract Denis Dutton claimed that, to grasp why it matters to the artistic value of a painting like The Disciples at Emmaus that it was painted by van Meegeren in the first half of the twentieth century rather than by Vermeer in the seventeenth century, we need to locate what van Meegeren did in a wider class of ‘artistic crimes’ involving ‘misrepresented artistic performances’. I begin by clarifying how the notions of ‘artistic performance’ and ‘misrepresentation’ are to be understood in the context of Dutton’s paper. I survey a range of examples of misrepresented artistic performances in Dutton’s sense, and ask when they involve ‘artistic crimes’. I then seek a principled way of justifying what seem to be our clear intuitions—apparent in our artistic practice—as to which ‘misrepresented artistic performances’ are artistic crimes and which are not.

Forged: why fakes are the great art of our age

TABLE OF CONTENTS Part One The Art of Forgery Part Two Forgers: Six Modern Masters Lothar Malskat: What is Belief? Alceo Dossena: What is Authenticity? Han van Meegeren: What is Authority? Eric Hebborn: What is Heritage? Elmyr de Hory: What is Identity? Tom Keating: What is Culture? Part Three Forging a New Art Further Reading

Intra-articular blood coagulation aggravates joint damage after a bleed in a canine in vivo model

Intra-articular blood coagulation aggravates joint damage after a bleed in a canine in vivo model

Slipping and Sliding

Slipping and Sliding

Fake? The Art of Deception

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.

Art or Forgery? The Strange Case of Han Van Meegeren a videodisc for aesthetics and art history

PRESENTING AN INTERNATIONALLY NOTORIOUS AND INTRIGUING CASE STUDY in art forgery, the videodisc program Art or Forgery? The Strange Case of Han Van Meegeren is an educational tool designed to facilitate three crucial tasks in the critical study of visual art: •Access to data (a wealth of art works and information about them) •Attention to relevant detail and •Analysis of both the evidence and evidentiary issues relevant to our inter-related judgments of aesthetic value and attribution. The program provides easy access to a wealth and variety of evidence: albums of masterworks and forgeries, critical commentary, and an historic documentary film on the intensive investigations into the case and the motives and ingenuity of the alleged master forger. Besides aBookshelf of generic research material for free exploration or review, the program includes two structuredInvestigations that lead the user systematically through an assessment of the ‘Internal’ and ‘External’ evidence in the case. The videodisc won the Best Humanities Software Award in the 1990 EDUCOM/NCRIPTAL Higher Education Software Awards Program. I describe the design, uses and educational goals of the videodisc.

Authenticity in Art: The Scientific Detection of Forgery

A book having the following chapter headings and synopses: 1. Introduction. The art historian and the scientist Early examples of forgery detection The forger's technical approach: different kinds of fakes The first line of defense: errors and stylistic anachronisms in forgeries Surface examination: the microscope and the ultraviolet lamp. 2. Paintings. The history of pigments Pigment anachronisms Neutron activation analysis Mass spectrometry van Meegeren X-radiography Neutron autoradiography Blakelock Infrared reflectance measurements Painting grounds Tree-ring dating. 3. Ceramics. The high-temperature, thermoluminescence method T'ang pottery Renaissance terracottas Glazed T'ang funerary wares The Pevensey tile hoax. 4. Metals. Sassanian silver Burgundian gold coins The moneyers of Henry I Inflation in the Roman Empire The gold aurei of Cari Becker The sixth 1933 penny Bronze technology Authentication of early Chinese bronzes. -- AATA

Cheating History: The Rhetorics of Art Forgery

Art forgery is a curious crime. If aesthetic appreciation is based only upon the beauty of the work itself, forgery should not be considered a crime. However, art appreciation may be defined to include more than the form and content of the work itself. Appreciation can be connected to historical, biographical, legal, and economic issues which create the context of the work of art. I examine how art forgery is viewed by various participants in the art world and by the general public. Typically, forgers emphasize the beauty of the symbol abstracted from its circumstance, claiming that the value of the art work is not a function of its history. The establishment art critic insists on seeing the art symbol in its social and historical context, and defines a forgery as a work which cheats history. In order to examine the sociological nature of art appreciation and deviant art creation, I examine three case studies of forgers: 1) Han van Meegeren, the Dutch forger of Vermeer and De Hooch, 2) Elmyr de Hory, the Hungarian-born forger of modern French art, and 3) Tom Keating, the Cockney forger of Samuel Palmer and other artists. In these case studies I describe how the forger entered his trade, his attitude to the art world, the extent to which his works were accepted, his justifications for forgery, and the rhetorical strategies used by others to define his “crime.”

Erratum and Addendum: Application of Pyrolysis Gas Chromatography on Some of Van Meegeren's Faked Vermeers and Pieter de Hooghs

Erratum and Addendum: Application of Pyrolysis Gas Chromatography on Some of Van Meegeren's Faked Vermeers and Pieter de Hooghs

Application of Pyrolysis Gas Chromatography on Some of Van Meegeren's Faked Vermeers and Pieter de Hooghs

Application of Pyrolysis Gas Chromatography on Some of Van Meegeren's Faked Vermeers and Pieter de Hooghs

BOOKS REVIEWS

BOOKS REVIEWS The Van Meegeren Mystery. By MAURICE MOISEIWITSCH. Arthur Barker. 1964. pp 204. 25s. MICHAEL ESATHAM MICHAEL ESATHAM Wigan School of Art Search for other works by this author on: Oxford Academic Google Scholar The British Journal of Aesthetics, Volume 5, Issue 1, January 1965, Pages 103-a–103, https://doi.org/10.1093/bjaesthetics/5.1.103-a Published: 01 January 1965

Back to the Truth: Vermeer--Van Meegeren, Two Genuine Vermeers

Back to the Truth: Vermeer--Van Meegeren, Two Genuine Vermeers