The Man Who Made Vermeers: Unvarnishing the Legend of Master Forger Han Van Meegeren

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Lopez makes a link between fasciosm and the forgers of the peirod between the two world wars, however doesn't go into it much more than stating this--so wil have to "find outfor myself" more re this--it intrigued me in relation with the uses of forgery by the Bush administration and throughout history in producing "reasons for war"--(Gulf of Tonkin Incident or the Maine explosion for exmple, as well as those used by the Germans and Israelis)--as well as in relation with roberto bolano's book of fictionl writer's bios and works Nazi Literature of the Americas-- De Boer, H., and Pieter Koomen (1942). Photographs of the paintings of Han van Meegeren: Han van Meegeren (Teekeningen I). With a preface by Drs-Ing. E. A. van Genderen Stort. 'sGravenhage: Publishing House L. J. C. Boucher.

Van Meegeren had become a well-known painter in the Netherlands with the success of Hertje (1921) and Straatzangers (1928). [13] His first legitimate copies were painted in 1923, his Laughing Cavalier and Happy Smoker, both in the style of Frans Hals. By 1928, the similarity of Van Meegeren's paintings to those of the Old Masters began to draw the reproach of Dutch art critics, who said that his talent was limited outside of copying other artists' work. [12]and also give an illumination on ares of the theatrical in ways that the theater itself often seems incapable of-- Portrait of a Man [78] 1935–1936 in the style of Gerard ter Borch (unsold, on display at the Rijksmuseum)

He found that the paint contained the phenolformaldehyde resins Bakelite and Albertol as paint hardeners. [5] [19] [47] A bottle had been found in Van Meegeren's studio. [48] As Bakelite was not discovered until the 20th century, this proved that the paintings could not be genuine. Ian Walker (playwright). Ghost in the Light [Play]. Produced by Second Wind Productions of San Francisco. Brieflezende vrouw - Het Geheugen van Nederland - Online beeldbank van Archieven, Musea en Bibliotheken". Geheugenvannederland.nl. Archived from the original on 2015-10-16 . Retrieved 2013-12-29. fn2. Still basic on Duveen is S. N. Behrman, Duveen (New York: Random House, 1952). A useful recent publication on Widener is Esmée Quodbach, “’The Last of the American Versailles’: The Widener Collection at Lynnewood Hall,” Simiolus 29 (2002), 42–96. Lopez has lectured at the Metropolitan Museum of Art, New York, the Museum of Fine Arts, Boston, the National Gallery of Art, Washington, D.C., and the Louvre, Paris, among other venues.This book is probably intended for a niche market, but if the subject matter appeals to you, I'd highly recommend it as a concise, clearly-written, and approachable rendering of the subject. Unfortunately, in common with many/most nonfiction books on Kindle, the actual story ends at about 70% through, with the remainder being notes, bibliograpy, etc. On April 25, 2018, it was announced that Imperative Entertainment had begun production on Lyrebird, a film directed by Dan Friedkin and produced by Ridley Scott from a screenplay by James McGee, Mark Fergus and Hawk Ostby. [5] [2] [6] [7] The film is Friedkin's directorial debut. [8] Van Meegeren's father did not share his son's love of art; he often forced Han to write a hundred times, "I know nothing, I am nothing, I am capable of nothing." [11] [12] . Instead, Han's father compelled him to study architecture at the Delft University of Technology in 1907. [4] He received drawing and painting lessons, as well. He easily passed his preliminary examinations but never took the Ingenieurs (final) examination because he did not want to become an architect. [9] He nevertheless proved to be an apt architect and designed the clubhouse for his rowing club in Delft which still exists (see image). [9]

Portrait of the actress Jo Oerlemans image". Archived from the original on 2012-03-11 . Retrieved 2012-05-05. a b c Doudart de la Grée, Marie-Louise (Amsterdam 1966) Geen Standbeeld voor Van Meegeren ( No Statue for Van Meegeren). Nederlandsche Keurboekerij Amsterdam. OCLC 64308055 Froentjes, W., and R. Breek (1977). "A new study into the identity of the [portfolio] of Van Meegeren". Chemical Magazine: 583–589. Re-spins the van Meegeren saga...in profoundly researched, focused, absorbing depth. -- The New Yorker, October 27, 2008Jonathan Lopez has drawn on never-before-seen documents from dozens of archives to write a revelatory new biography of the world’s most famous forger. Neither unappreciated artist nor antifascist hero, Van Meegeren emerges as an ingenious, dyed-in-the-wool crook who plied the forger's trade far longer than he ever admitted—a talented Mr. Ripley armed with a paintbrush. Lopez also explores a network of illicit commerce that operated across Europe: Not only was Van Meegeren a key player in that high-stakes game in the 1920s and '30s, landing fakes with powerful dealers and famous collectors such as Andrew Mellon, but he and his associates later offered a case study in wartime opportunism as they cashed in on the Nazi occupation. Lopez shows how fabulously wealthy van Meegeren became, especially after he eliminated the middle man in his transactions; but afterwards he faced the difficulty of finding dupes to bring his canvases to dealers and collectors in the market. Following the artist’s career away from his works in his own name to life as a forger, Lopez traces with clarity the shifting material problems of forgery, moving from detectable gelatin glue to the (then) untestable early plastic of Bakelite as a medium. Authentication in Art List of Unmasked Forgers". Archived from the original on 2017-12-22 . Retrieved 2017-12-21. Drawing on never-before-seen documents from dozens of archives, Lopez explores a network of illicit commerce that operated across Europe in the 1920s and ’30s: Not only was Van Meegeren a key player in that high-stakes game, landing fakes with famous collectors such as Andrew Mellon, but he and his associates later cashed in on the Nazi occupation.

If you only wanted to read one book about Han van Meegreren, then this is probably the one. It covers his life in all phases (however briefly at points), his art, his fakes, and how he was perceived by the world of art lovers and by the Dutch (before and after his arrest). If you want a deeper look at his early life and his painting methods, then I recommend also reading “I Was Vermeer”. It is a much more romantic look at the man and while it may be based on not-always-reliable facts, it has color reproductions of the paintings both real and faked. Together they offer a pretty complete look at the man. The “endgame” of van Meegeren’s show trial is fully covered by Lopez. He sensitively profiles Joseph Piller, the former Resistance hero who was van Meegeren’s captor but then developed a curious sympathy for his prisoner afterwards. Meanwhile, the artist was allowed to paint one final work, Christ in the Temple, to show the consistency of his handiwork with both the Rotterdam Emmaus and the notorious Christ and the Adulteress sold to Hermann Goering for a colossal sum. Lopez has also written some fascinating articles for the journal Apollo on this and other strange subjects re primarily Dutch painting--

The film had its world premiere at the Telluride Film Festival on August 31, 2019. [10] [11] It also screened at the 2019 Toronto International Film Festival on September 11, 2019. [12] Prior to, Sony Pictures Classics acquired distribution rights to the film. [13] It was scheduled to be released on May 22, 2020, [14] but was pulled due to the COVID-19 pandemic. [15] It was then released on November 20, 2020, with TriStar Pictures distributing instead of Sony Pictures Classics. [16] Reception [ edit ] Box office [ edit ]