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Oxford University Press, A forged painting, for example, will not be inauthentic in every respect: Authenticity of presentation is relevant not only to performing arts.
Modern museums, for example, have been criticized for presenting old master paintings in strong lighting conditions which reveal detail, but at the same time give an overall effect that is at odds with how works would have been enjoyed in domestic spaces by their original audiences; cleaning, revarnishing, and strong illumination arguably amount to inauthentic presentation.
Religious sculptures created for altars have been said to be inauthentically displayed when presented in a bare space of a modern art gallery see Feagin First, works of art can be possess what we may call nominal authenticity, defined simply as the correct identification of the origins, authorship, or provenance of an object, ensuring, as the term implies, that an object of aesthetic experience is properly named.
This second sense of authenticity can be called expressive authenticity. The following discussion will summarize some of the problems surrounding nominal authenticity and will conclude with a general examination of expressive authenticity.
A forgery is defined as a work of art whose history of production is misrepresented by someone not necessarily the artist to an audience possibly to a potential buyer of the worknormally for financial gain.
A forging artist paints or sculpts a work in the style of a famous artist in order to market the result as having been created by the famous artist. Exact copies of existing works are seldom forged, as they will be difficult to sell to knowledgeable buyers.
The concept of forgery necessarily involves deceptive intentions on the part of the forger or the seller of the work: The line between innocent copy and overt forgery can be, as we shall see, difficult to discern. Plagiarism is a related but logically distinct kind of fraud.
The most obvious cases of plagiarism have an author publishing in his own name a text that was written by someone else. If the original has already been published, the plagiarist is at risk of being discovered, although plagiarism may be impossible to prove if the original work, or all copies of it, is hidden or destroyed.
Since publication of plagiarized work invites wide scrutiny, plagiarism is, unlike forgery, a difficult fraud to accomplish as a public act without detection.
In fact, the most common acts of plagiarism occur not in public, but in the private sphere of work that students submit to their teachers. There is nothing fraudulent about wrongly guessing the origins of an apparently old New Guinea mask or an apparently eighteenth-century Italian painting.
Fraudulence is approached only when what is merely an optimistic guess is presented as well-established knowledge, or when the person making the guess uses position or authority to give it a weight exceeding what it deserves. The line, however, that divides unwarranted optimism from fraudulence is hazy at best.
Authenticity, therefore, is a much broader issue than one of simply spotting and rooting out fakery in the arts. The will to establish the nominal authenticity of a work of art, identifying its maker and provenance — in a phrase, determining how the work came to be — comes from a general desire to understand a work of art according to its original canon of criticism: How was it related to the cultural context of its creation?
To what established genre did it belong? What could its original audience have been expected to make of it? What would they have found engaging or important about it? External context and artistic intention are thus intrinsically related. There may be Roman sculptures, copies of older Greek originals, which are in some respects aesthetically better than their older prototypes, as there may be copies by Rembrandt of other Dutch artists that are aesthetically more pleasing than the originals.
But in all such cases, value and meaning can be rightly assessed only against a background of correctly determined nominal authenticity for further discussion see Dutton ; Goodman ; Currie ; Levinson The Dutch artist Han van Meegeren — was born in Deventer and studied in Delft, which was the home of the great seventeenth-century Dutch artist Johannes Vermeer.
As his career declined in the years following the First World War, van Meegeren became increasingly resentful of dealers, critics, and academics.
Later he turned to the much scarcer and more valuable paintings of Vermeer. Fewer than forty Vermeers have survived into the twentieth century. His most ambitious plan, hatched in the mids, was to forge a large Vermeer on a religious subject.
This would have been an unusual find for an undiscovered Vermeer, and therefore an unlikely choice for a forger; but in fact van Meegeren was cleverly confirming published scholarly speculation that Vermeer had visited Italy and painted on religious themes in his youth, and that such paintings in a large, Italian style might yet be found.
To produce it, van Meegeren studied seventeenth-century pigment formulas, incorporated volatile flower oils in his pigments to create hardness, and used badger-hair brushes a single modern bristle embedded in the paint would give him away on canvas recycled from an unimportant seventeenth-century painting.
He conceived a way to produce a craquelure, the fine web of surface cracking characteristics of old paintings, and concocted a plausible provenance for the work, claiming that it had come into his hands from an old Italian family that had fallen on hard times and wanted to dispose of the painting under strict confidentiality Godley ;Dutton The work was ultimately purchased by the Boymans Museum in Rotterdam for a price of approximately 2.
Only then did he confess that he had actually created this painting and the others, going on to paint a last Vermeer in jail as a demonstration while he awaited trial. The trial itself was a media event, and the worldwide coverage made him a folk hero.
Van Meegeren was given a prison sentence of only one year; he died of a heart attack shortly after beginning his sentence Dutton The van Meegeren episode is justifiably notorious as a case of recognized experts being hoodwinked by a clever, artistically gifted fraudster.
After all, if even renowned experts cannot tell the difference between a Vermeer and a van Meegeren, and if the van Meegeren has the power to delight museum visitors, as the Emmaus clearly did, then why should anyone care very much whether or not the painting is a Vermeer?
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Leonardo da vinci mona lisa painting description essay. 4 stars based on reviews attheheels.com Essay. Share: Written by. Related posts. PAIEMENTS QUELLE EST MA CAPACITÉ FINANCIÈRE, Leonardo da vinci mona lisa painting description essay. Ekphrasis or ecphrasis, comes from the Greek for the description of a work of art produced as a rhetorical exercise, often used in the adjectival form ekphrastic, is a vivid, often dramatic, verbal description of a visual work of art, either real or attheheels.com ancient times, it referred to a description of any thing, person, or attheheels.com .
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