Last night I watched an interesting documentary about a massive art fraud in New York City. In the late 1990s and much of 2000s $80 million of fake paintings were sold as if legitimate. The pieces had sketchy provenance, so they were often “authenticated” by experts.
This is a fascinating documentary, well done, but a number of points were never mentioned or were glossed over.
The Authenticating “Experts” Were Full of Shit
Various experts were asked to “authenticate” these paintings and often did so wholeheartedly, even though they turned out to be fakes. This process has been shown to be flawed over and over but keeps being used. If a new painting is discovered, one not seen in catalogues of the artist’s works, an expert should go no further than to comment something along the lines of “It appears to be in this artist’s style and the painting appears to be of an appropriate age.” That’s it. But these “experts” were stumbling all over themselves to state that the paintings were authentic, something that couldn’t be told without extensive testing. When the extensive testing was done, some of the pigments hadn’t been invented until after the artist died, which is kind of a clue, don’t you think?
The experts basically should limit there comments on a previously unknown painting to “is worth further testing.”
Collectors were Glowing About the Fakes
When the fakes were purchased, the new owners loved those paintings, gushed about how beautiful they were, etc. so they were good art, no? But when they were proved to be fakes the collectors were outraged. Clearly they were not buying art for the sake of the art. They, instead, wanted to brag about how much money it cost, or that it was painted by a famous painter, or looked at it as an investment, but these people never say things like: ”It was such a good bargain, I could see myself selling it for a nice profit is just a few years.” or “I wanted to snatch this up before a bidding war started. It will be much more valuable in time.” So, these hypocrites gush over the quality of the painting but are outraged when they find out that it was faked. Apparently they can distinguish between fake beauty and real beauty . . . not.
This Has Been Going On for Years
This was mentioned a couple of times. It was not a surprise to find out that the forger/painter was a Chinese gentleman. Whether he was a willing participant in the fraud was not determined because there is a tradition in China of copying other works (and not just China). These copies are often sold quite cheaply to people who could not come close to affording the real thing. Much like we have posters of famous art works to hang on our plebian walls. It was suspicious, of course, the lengths gone to to use period and artist correct materials, which would not be necessary for “decorative art pieces.”
Art students are often seen in museums copying masterworks as exercises. And when the originals are being sold for millions, the temptation is there. In this case the works copied were those of American Expressionists (not my cup of tea) which are random enough to be more easily copied, also materials of the age these were created (1950s and 1960s) are still available.
Fueling all of this were prices of hundreds of thousands paid by the art dealer for paintings that sold for much more, even millions. This was a point critics say should have cause alarms to go off, but since greed is the driving force of this age, no one noticed anything sketchy for over a decade.