Art Forgery

Furthermore, he considers secondary sources in interpreting and analyzing the different artists’ paintings. Baxandall examines the importance of contracts, where marketing negotiations are made between an artist and their client. This includes detailed aspects in the content of the painting, the quantity and quality of materials used in the painting and the cost for labor in making the piece. He argues that although a painting is convincing and strong, the painting could, however, be reduced to nothing more than a constructional argument between the buyer and the seller. This is done by explaining the mechanics through which the Renaissance artists went about to develop their talent. A painting in Italy during that period resulted in a social relationship between the painter, who produced the picture, and the client, who provided the funding and ultimately used the artwork. He clearly suggests that the great materials and effort placed into an art piece provide the groundwork for an

Specifically, he notes if the similar work is well done and has aesthetic value. Essentially he argues that forgeries do not indeed lose any aesthetic value, because they are in fact well-crafted and executed but rather, compromise the nonaesthetic standard of judgment (92). The piece of art, regardless of its quality, loses its extrinsic value. It is no longer considered a trademark of its society, there is no novelty in regards to a historical artistic period. Without this nonaesthetic standard of judgment, a forgery thus becomes inferior. He notes that it is not primarily due to the fact that a successful forgery is deceitful and tricks novice audience and expert critics alike. Yet, it exacerbates the quality of intangibility and mystic that gives a piece of art aesthetic value, which makes critical analysis of art seem to lack logical, concrete reasoning. A key nonaesthetic value that becomes questioned is the idea of originality. The concept of originality is tangible and thus gives authentic pieces ‘imaginative novelty’ (97), which has no regards to aesthetic value. Everything created is original as another object of the type will never exist. Whether one piece looks identical to another is not a testament to its originality, because all things created are original. Lessing makes this point and mentions that maybe the term individuality should be more

When I examine the iconic painting “Gold Marilyn Monroe”, I viewed dazzling art elements that consist of lines, shapes, texture, values, and color. Firstly, the lines within the painting posses thickly curved, curled, diagonal, and straight lines. The curled lines are prominent on the hair of Marilyn. Additionally, the thickly curved lines the bring out the facial features can be viewed on Marilyn’s hair, eyebrows, eyes, forehead, and lips. Moreover, the diagonal line can be seen on the sides of Marilyn’s jawline. Also, the straight lines are noticed on the left side of Marilyn’s neck, her lower chin and the framing that encapsulates Monroe’s face. Secondly, the shapes of the painting are organic because Marilyn’s face is natural and symmetrical

Have you ever heard about how an artist gets his work copied by another artist? It could either be a popular artist who has their work plagiarized by another lesser-known artist.

The assignment will require you to explore several website to learn more about their efforts, examine one case of art theft and identify why art is so valuable. Prepare a five paragraph essay citing at least two sources.

If the image is no longer unique and exclusive, the art object, the thing, must be made mysteriously so,” (Berger 44). Therefore, the final step in the exploitation of power is mystification of its origins. Over time a concept will build its image and solidify its strength through results, showing the public its value until it becomes integrated and thus, hidden within society. There are several examples of power that has become formally accepted or internalized by the public and it is difficult to see how they exploit power because their origins are mystified. For the concept of originality in art, we can see how its status may have risen because of the definition we give to “originality” rules that have commercial purposes or vice versa. Some examples include companies that have copyright issues to protect names and identities that belong to them, or schools that incorporate rules about plagiarism. The idea of originality has already become internalized within our society that assigning a market meaning with it, just seems natural. If our judicial system has already incorporated ideas of “originality”, then not many people will see any problems with it. However, it is important to look at the origins and realize how a power came to be to prevent it from being exploited. Another covert concept integrated within society

Artwork is a unique commodity. It is easily identifiable, and thus, subsequent purchasers may initially succeed in concealing stolen artwork for some time. Eventually, the artwork is likely to resurface. This resurfacing often gives rise to claims to the work and disputes over its ownership. Sentiment is often the driving force behind Jewish survivors and families of

Art by its nature is a subject of the philosophical, social, economic, political or religious context surrounding its creator. More often than not, a work of art addresses a specific topic or somewhat revolves around a particular person. Therefore, it is impossible to separate the context of a piece of painting, either historical or cultural, to its intrinsic value or the artwork's meaning. On the other hand, different cultures and time utilized specific conventions that govern the representation of objects of creativity. This essay highlights various pieces of art and their relationship to particular cultural, political, economic, or social settings. Moreover, it pinpoints how different times influence art presentation.

Art is one aspect of the past that has carried on for decades. Art in any form may it be poetry, novels, and playwright, sculpting as well as painting, has been an outlet for generations and continues to be an outlet and a means for expression. This paper will discuss “ The Mona Lisa” one of Da Vinci’s most famous paintings, as well as another great painting, Antonio Veneziano’s

With images, words, and sounds been almost endlessly reproduced and distributed, various critics of modern culture suggest that traditional ideas about art and authenticity are no longer applicable. The problem is said to have been noticed back in the 1930s in the popular essay The Work of Art in the Age of Mechanical Reproduction that was concerned about what would happen to the “aura” of unique works of art when photography and other techniques if anybody could make unlimited copies of images. With the rise of digital technology, copying ability became vast and complex and hence the idea of originality is thrown into

In The Ecstasy Of Influence: A Plagerism, the author Jonathan Lethem attempts to decipher the difference between getting an idea that is influenced by another’s work, and plagiarizing somebody’s work. Not only does he discuss the multiple times in history where new ideas have been derived from other works, but he also attempts to discover where the line can be drawn between influence and plagiarism. Throughout the work, the author discussed what he thinks about adopting ideas and why some people may consider something plagiarism while others may not. He argues that while some artists may consider similar ideas to be a form of plagiarism, others like himself see the sharing of ideas & being influenced and inspired by other works is what helps

Throughout history, art has changed and transformed dramatically as empires have fallen and new civilizations have formed. There have been many different forms of art and extremely different tastes of art based on which civilization you decide to focus on. According to this opinion, out of all the different types of art, “the highest form of art is realism.” The writer then claims how many civilizations have undergone intellectual and creative declines when creating unrealistic art. This, of course, is simply an opinion, but the the thoughts and ideas of this writers bring up many intriguing questions about art and how society perceives art.

“forgery is a concept that can be made meaningful only by reference to the concept of originality, and hence only to art viewed as a creative, not as a reproductive or technical, activity. The element of performance or technique in art cannot be an object for forgery because technique is not the kind of thing that can be forged. Technique is, as it were, public.”

The world of art is plagued by forgeries. In the case of some artists, such as Vermeer, there are often nearly as many fakes out there as there are genuine pieces. The infamous forger Han van Meegeren was known to have made at least 11 forged Vermeer’s that were accepted as genuine until his arrest in the 1940’s (Wynne, 257). Wolfgang Beltracchi made millions selling pieces that his wife claimed to have inherited from an uncle, telling brokers, art historians, and museums that the pieces were rare works, previously unseen. In actuality, Beltracchi was using modern techniques to make paintings in the style of 20th century masters (Birkenstock, Beltracchi). These are genuine criminals, no different than people who scam the elderly via email or

It is important to note - since the work is still authenticated by its audience, art still