Bart D. Ehrman, the New York Times bestselling author of Jesus, Interrupted and God’s Problem reveals which books in the Bible’s New Testament were not passed down by Jesus’s disciples, but were instead forged by other hands—and why this centuries-hidden scandal is far more significant than many scholars are willing to admit. A controversial work of historical reporting in the tradition of Elaine Pagels, Marcus Borg, and John Dominic Crossan, Ehrman’s Forged delivers a stunning explication of one of the most substantial—yet least discussed—problems confronting the world of biblical scholarship.
When Art Mimics Life, Somebody’s Going to Get What’s Coming to Them Henry Lindon's flight across the north Atlantic was turbulent and sleepless. His plane has just touched down in Amsterdam, where he’s come to work as a visiting professor. Lindon is torn about leaving his troubled wife, Marylou, behind in Dallas, but relieved and excited to start a new chapter in a lively city. The taxi drops him off at an elegant building at Roetersstraat 8-1, where he’s greeted by his university liaison and soon-to-be neighbor, the lovely and spunky art professor, Bernadette Gordon. After settling into his apartment, Lindon changes clothes and sets out to explore canals and cafés, wondering what the dinner invitation from Bernadette means for his fresh start. But troubles from the past soon cross the Atlantic. Lindon discovers that notorious Dutch art forger Han van Meegeren, born in 1899, is about to play a part in Lindon’s own personal drama. With evil closing in, Lindon, Bernadette, and Marylou find that secrets of the art world may hold the key to settling old scores and putting a predator away for good. Whether you are familiar with the world of Henry Lindon from author Clay Small’s first book, Heels Over Head, or this is your introduction to his works, you’re in for an exciting and unusual international adventure with characters that will live on in your memory long after you’ve finished the book.
With 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.
An artist races to finish his forgery of a masterpiece while held captive in surreal, menacing splendor. José Federico Burgos is a failed painter turned forger trapped in surreal, an architectural masterpiece hidden behind high walls, an impish vagabond, and some very resourceful, very intimidating twins—Forgery pays homage to greats like Juan Rulfo and Luis Barragán, traversing late 20th Century Guadalajara with the exuberance and eccentricity of an 18th Century picaresque.
The Art of Forgery: Case Studies in Deception explores the stories, dramas and human intrigues surrounding the world’s most famous forgeries – investigating the motivations of the artists and criminals who have faked great works of art, and in doing so conned the public and the art establishment alike.
'The scientific techniques described encompass relevant examples of forgery detection and of authentication. The book deals, to name a few, with the Chagall, the Jackson Pollock and the Beltracchi affairs and discusses the Isleworth Mona Lisa as well as La Bella Principessa both thought to be a Leonardo creation. The authentication, amongst others, of two van Gogh paintings, of Vermeer's St Praxedis, of Leonardo's Lady with an Ermine and of Rembrandt's Old Man with a Beard are also described.'Over the last few decades there has been a disconcerting increase in the number of forged paintings. In retaliation, there has been a rise in the use, efficiency and ability of scientific techniques to detect these forgeries. The scientist has waged war on the forger.The Scientist and the Forger describes the cutting-edge and traditional weapons in this battle, showing how they have been applied to the most notorious cases. The book also provides fresh insights into the psychology of both the viewer and the forger, shedding light on why the discovery that a work of art is a forgery makes us view it so differently and providing a gripping analysis of the myriad motivations behind the most egregious incursions into deception.The book concludes by discussing the pressing problems faced by the art world today, stressing the importance of using appropriate tools for a valid verdict on authenticity. Written in an approachable and amenable style, the book will make fascinating reading for non-specialists, art historians, curators and scientists alike.
Don't miss B. A. Shapiro's new novel, Metropolis, available now! “[A] highly entertaining literary thriller about fine art and foolish choices.” —Parade “[A] nimble mystery.” —The New York Times Book Review “Gripping.” —O, The Oprah Magazine Almost twenty-five years after the infamous art heist at the Isabella Stewart Gardner Museum—still the largest unsolved art theft in history—one of the stolen Degas paintings is delivered to the Boston studio of a young artist. Claire Roth has entered into a Faustian bargain with a powerful gallery owner by agreeing to forge the Degas in exchange for a one-woman show in his renowned gallery. But as she begins her work, she starts to suspect that this long-missing masterpiece—the very one that had been hanging at the Gardner for one hundred years—may itself be a forgery. The Art Forger is a thrilling novel about seeing—and not seeing—the secrets that lie beneath the canvas.
One of the finest characters in the world was the old English merchant. We may and have improved upon many things, but not upon that. A different spirit reigns in commerce from that which ruled it long ago, and not a better one. We are more the shopkeeper, as a celebrated but not a great man called us, and less the merchant. As a people, our commerce is more extended, but the separate transactions are smaller; and minute dealings almost always produce paltry minds. Not at all do I mean to say that the old English merchant is without his representatives; but they are fewer than in other times, both with reference to our numbers and to our extended trade. There are many still, however, whose notions are as vast and as just as those of any of our ancestors; and amongst them, not very long ago, was a gentleman of the name of Humphrey Scriven. He was a highly-educated and naturally-gifted man, the son of wealthy and respectable parents in a class of society peculiar to England--the untitled country gentry; and he had been originally intended for the church. Circumstances, however, are to most men fate. He became acquainted, by some mere accident, with the only daughter of a rich merchant--admired, loved her, and won her love in return. He was a younger son; but, nevertheless, her father was a kind and liberal man, and he consented to their marriage upon one condition: that Mr. Scriven should abandon his intention of entering the church, and become a merchant like himself. He fancied that he had perceived in the young man a peculiar aptitude for business, and he was not mistaken. Mr. Scriven became his son-in-law, his partner, and his successor; and well did he bear up the name and honour of the house. It was a fine thing to see him, some twenty years after his marriage, when, with the business of the day over, he sat in his splendid house in St. James's Square, surrounded by his family, and often associated with the noblest and the proudest of the land. His wife was no longer living, but she had left him four very handsome children. She had herself been remarkably beautiful, and her husband was as fine a looking man as eye could see--tall, graceful, vigorous, and possessing that air of dignity which springs from dignity of mind. From the moment that five o'clock struck, Mr. Scriven cast off all thought and care of business; for, though there were, of course, with him as with other men engaged in similar pursuits, fluctuations and changes, bad speculations, failing debtors, and wrecked ships, still his transactions were too extensive for the loss of a few thousand pounds here or there to weigh upon his mind; and, being of a cheerful and happy disposition, he spread sunshine through his dwelling.
