Stolen and Forged Artwork Essay

Sadly, while the largest in history, this type of theft is hardly unique (Honan, 1990). According to The New York Times, “enough stolen masterpieces are still ‘out there’” that art professionals and police specialists say they could “fill a museum” (1990). Immediately after they were burglarized, the Gardner could not post a reward large enough to entice the thieves due to their lack of theft insurance (Butterfield, 1990). The theft occurred during a period of rapidly rising art costs and increasingly prevalent art robberies, which rendered “theft insurance more expensive than the museum's entire operating budget” (Butterfield,

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

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.

For centuries, people’s aesthetic value has been influenced by Rome's perfectionism, so do I. I used to think that artworks that make people feel appreciated are just equivalent to visual appreciation and satisfaction. However, after observing the painting and researching sources of this pieces of art I realized that an excellent artwork needs to cover all aspect requirements. For instance, an excellent artwork needs to contain a high operation of art skills as well as art knowledge in order to persuade audience. In addition, to qualify as a great artwork it has to create a substantial amount of activity in the audience’s mind or heart. When I look at an artwork I always try to figure out what is the artwork's message or what the artist is trying to communicate, to convey. Overall, I think a good artwork needs include some of the elements and principles of the language of art as well as the structure they give to be able to successfully communicate an idea.

Found art (also known as Ready-mades) is a description of art created by modified and undisguised objects that are not considered art for the main reason of their non-art function. The art created by these found objects convey meaning through their context, assemblage/composition and by the artists intention and approaches taken to montage pieces together.

Recycled trash is just as amazing as fine art. Many artists including Marcel Duchamp doubted what could be used to create wonderful art in the 1900s. Artwork’s value depends on how an artist’s looks at his art. Trash, nature, and everyday items can be created to make loved and fascinating art.

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

The two essays, “What is Wrong with a Forgery,” by Alfred Lessing and “Artistic Crimes,” by Denis Dutton, explore the different reasons that they give negative connotation to the concept of an artistic forgery. Each author concludes that a forgery is indeed wrongful, however their reasons for this conclusion differ in several distinct ways. This essay will summarize both authors’ main points and compare and contrast the fundamental differences of their arguments.

Throughout history, the issue of appropriation in art has become a heated debate on whether it is good or whether it is bad. Appropriation is fundamentally the act of taking something from somewhere else and placing it into a new context. In art, appropriation is seen as using (or taking) someone else's artwork, manipulating it and ultimately changing the whole meaning behind the work. It is seen as a significant issue as many people (including art critics, art historians and art enthusiasts) see appropriation as whilst, others see it as being inappropriate and immoral, and see the growth in appropriation as being a destroyer of art. It is of the opinion that art indeed "feeds off itself" and every artwork, art movement, and art period is

Art: the ultimate form of self expression. But, what constitutes an art? And, who decides? These very questions plague society as it tries to decide and define the official status of graffiti--art or vandalism? Because it has found its way into art galleries and because of the community of artists who challenge and inspire each other, graffiti should be considered art and as a way to express oneself.

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

Of the many crimes that are present in this day and age, one that not only vandalizes the property, but as well as historical background is that of art theft. A crime that has taken away the sanctity of churches as well as many other religious and historical sites. Thefts have ranged from WWII (World War II) to the times of the Holocaust. Of the items that were taken from the churches, relics were items of great priority. These items not only had great value to the churches they were stolen from, but a great value to relic collectors. Most of the items taking during these times were either sold or placed in underground storage. Most of these items that were place in these secret places were never to be seen again. From the

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