On March 22, Dr. Kahren Jones Arbitman will give a lecture at The Frick Pittsburgh on the intriguing world of art fakes and forgeries at 2 p.m. in The Frick Art Museum Auditorium. Tickets are available here.
Nowhere does the discovery of a fake arouse more public curiosity than when it happens within the exalted art world, where its announcement is likely to end up on the front page of The New York Times. This trickery occurs despite the natural skepticism connoisseurs bring to the authentication process when previously unknown works by “big name” artists seemingly fall from the sky. Are the materials age-appropriate? Is the style and handling right? Is the story of its “discovery” plausible? These, and a laundry list of standard enquiries, are essential tools that experts use to separate the real from pretenders.
Three Deadly Sins of Fake Art: Need, Greed, & Speed
If all the rules for uncovering fakes are scrupulously followed, then it should be a fairly straightforward process to expose a fake. But errors of judgment occur more often than the public would suspect. Thomas Hoving, former director of The Metropolitan Museum of Art and self-proclaimed “Fake Buster,” says that connoisseurs, collectors, and curators alike succumb to the three deadly sins: Need, Greed, and Speed. This unholy trio, Hoving contends, has accounted for the sale of multi-million dollar fakes to some of the world’s greatest art museums.
Not All Fake Art Deserves An Ignominious Fate
Indeed, the word “fake,” once attached to a work of art, will assure its rapid, inglorious trip to the farthest corner of the storeroom. There are many works of art, however, that, while not by the famous artist whose styles they evoke, do not deserve this ignominious fate. During my lecture, I will also discuss legitimate copies, student works, and school pieces. There’s some great art to be found among these “hangers-on.” Who, for instance, would hustle the extraordinary painting of The Man with the Golden Helmet to the basement, just because Rembrandt’s name can no longer be found on its museum label?
With the acuity of hindsight, fakes now stand out like a red dress at a funeral, but something about each imposter made it initially appear legitimate. What was the story behind its creation? Who were the victims? How was it eventually uncovered? My upcoming lecture—featuring tales worthy of a Hollywood script—will attempt to provide some clarity to the sticky subject of Fakes.
Join Kahren Jones Arbitman’s lively talk on the intriguing world of art fakes and forgeries on March 22 at 2 p.m. in The Frick Art Museum Auditorium. Tickets are available here.
Arbitman received both an MA and a PhD in art history from the University of Pittsburgh, specializing in seventeenth-century Dutch art, particularly Rembrandt. She has published books, catalogues, and articles on the subject. In 1985, she became the first curator-in-charge of The Frick Art Museum, where she organized its first temporary exhibitions and educational programs.