When I first picked up
The Forger's Spell, I was expecting to find a far-fetched novel spun around an artist or painting, sort of like
The Da Vinci Code. It turned out to be an historical non-fiction account of a twentieth-century art forger who made millions of dollars and made fools of the art experts of his time; it's such a fascinating series of events that it's just as entertaining to read as a novel.
The Basics:
Title: The Forger's Spell: A True Story of Vermeer, Nazis, and the Greatest Art Hoax of the Twentieth Century
Author: Edward Dolnick
Publisher: HarperCollins
Year: 2008
Content:
The book is divided into five sections that follow a topical sequence rather than a strictly chronological line. I've written the chronological story here more or less as I pulled it from different sections of the book. At the end I add some theoretical points the author made.
Han Van Meegeren, a mediocre Dutch painter who began his career in the early twentieth century, wanted more than anything to be recognized as a genius. That was not to be; his work lacked originality and depth, and the art community snubbed him. Out of bitterness he hatched a plan to sell his work under the name of the old 17th-century master Johannes Vermeer, guessing that
then they would see his paintings as brilliant. Van Meegeren may not have been a genius of an artist, but it turned out he was a genius of a forger.
Johannes Vermeer was a smart choice to imitate. Vermeer lived in Holland in the seventeenth century and is most famous for his realistic and peaceful domestic scenes. He was almost
everyone's favorite artist in the 1930s. We only have about three dozen authentic Vermeers today, and several of those had been found recently when Van Meegeren began his hoax. Some Dutch art connoisseurs wondered and hoped- and predicted- that more would turn up. Van Meegeren hand-picked certain experts he thought most likely to declare his forgeries to be authentic Vermeers. The connoisseur who saw his very first forgery was Abraham Bredius. This man had discovered a few Vermeers when he was young; he wanted nothing more than to end his career with one more, and he did indeed fall for the forgery. Very little is known of Vermeer, so Van Meegeren had a clean slate to work with. Since Van Meegeren's trial runs of domestic scenes looked inferior next to Vermeer's beautiful ones, the forger switched gears and painted Biblical "Vermeers" the way he thought the old master would have done them.
What Van Meegeren lacked artistically, he made up for technically. For his first forgery, he found an old painting by a contemporary of Vermeer, scraped the painting off the canvas, removed the canvas from the wooden stretcher, cut both smaller (because Vermeer painted small-scale works), and nailed them together again, using the original nails. Most impressive, he invented his own paint made of plastic. It looked just like oil when brushed onto the canvas, but it hardened much more quickly (in the oven) and could pass the typical tests. This paint even cracked in the same pattern as authentic seventeenth-century oils when the forger cracked it over his knee. He used India ink for grime in the cracks. No one even bothered with tests though! For good measure, he ripped the canvas in a couple places and then crudely patched it up.
The timing was excellent for a successful art hoax. The new American millionaires were buying art as if it were a sport, and the Dutch became very protective of their national treasures. They didn't want to risk any Dutch masterpiece, especially a Vermeer, falling into American hands. Then the Nazis conquered Holland, and as food and energy shortages hit, Dutch families searched their attics for forgotten old art and other valuables to "sell" to the Nazis. It was plausible that a new Vermeer could be discovered. Both Adolf Hitler and his second-in-command, a man named Hermann Goering, were looting as much of Europe's art as they could, although they "paid" the owners a fraction of the art's value (provided those owners were not Jewish, Slavic, or other ethnicity that the Nazis despised). Some prizes were more special than others; Goering was especially greedy for a Vermeer.
Van Meegeren's first forgery to take off was
Emmaus, a painting of Jesus the moment before he revealed his identity to two disciples after His resurrection. After coming to believe that it was an early work of Vermeer, Abraham Bredius become a champion for the painting. He strongly urged the curator of an art museum in Rotterdam to buy the painting for Holland, especially because it would elevate the prestige of that museum, which had always played second fiddle to the Rijksmuseum in Amsterdam. Van Meegeren's dealer asked a price that is today's equivalent of several million dollars, and the museum raised the funds just in time. Bredius wrote many letters and articles about the painting, creating a lot of publicity about the new Vermeer. Most of the other experts echoed his praise of the painting. It was even deemed Vermeer's best work ever.
Emmaus was unveiled to an already-smitten public, and Van Meegeren himself attended the party, quietly savoring the success.
Van Meegeren wasn't content to stop there though. He painted seven (?) Vermeers, each getting uglier and uglier and sloppier and sloppier.
Emmaus was the new standard that they had to measure up to, and that was easy. They all went for high prices and all were bought by Dutch art collectors, except for one, which was sold to none other than Hermann Goering. Ironically, Goering paid with 137 other paintings that were already in his collection.
Only two weeks after the war ended in Europe, while Holland's government was still in disarray, a policeman named Joop Piller set out independently to find Dutch traitors who had collaborated with the Nazis during the war. Because he had sold a painting to Goering without a middleman, Van Meegeren's name came up on a list of Dutch people who had had business transactions with the Germans. Van Meegeren clearly had a lot of money at a time when the average Dutch man was starving. Piller took him into custody, and fearing charges of treason, Van Meegeren declared that Goering's painting was a fake. He helped the investigation as much as possible, even painting one more "Vermeer" while he was in custody. At the trial he pled guilty for forgery and received a penalty of just one year in prison. All of this was reported in the media, and finally Van Meegeren enjoyed the fame he craved. Most people found the truth easy to believe- and also quite amusing. For having cheated the Nazis out of millions of dollars, Van Meegeren became a hero of sorts for the Dutch.
The author explains the psychology behind the way an expert who really knows his stuff can fall for a hoax. For one thing, experts' professional reputations are at stake. They walk a fine line between failing to see a forgery and failing to see a masterpiece, both of which are devastating to their prestige among their peers. It's not really possible for them to have no opinion; they're forced to go one way or the other, and it's published for all to see. Another factor is their trust in their own judgment. They know that it's possible for other experts to be wrong, and they expect it. The result is that an expert, once he has declared his position, will stand by that statement no matter what, even if doubts sneak in later. The author also suggests that when an expert knows everything that there is to know about art, he can be led astray by rabbit trails of his own devising. Perhaps, when it comes to judging a contemporary forgery, an art critic's worst enemy is his cultural blind spots, those assumptions common to his time and place, which are shared by both the forger and the critic and they both are unaware of. In this case, the Dutch were somewhat religious, but their belief about Jesus was that He was just a man who endured a lot of misery. Van Meegeren's pathetic-looking Jesus resonated with them of course, because he shared that view. They failed to consider that in Vermeer's time, Europeans still thought of Jesus as divine and powerful. It's interesting to note that a pair of American art dealers came to see Emmaus before the museum bought it, and they instantly, without hesitation, declared it a "rotten fake." It's probably safe to say that the religious climate they were coming from was quite different from that in Europe, and that might account for their different reaction.
The author gets into the psychology of a forger too. There are three reasons why someone chooses to forge art: greed, fame, and revenge. All were ingredients in Van Meegeren's case, but he was motivated the most by the latter. As each forgery he churned out deviated more and more from Vermeer's work, I can't help but think he was doing it for revenge, not money. I think he wanted them to fall for the worst painting possible. Strangely enough, Van Meegeren achieved riches, fame, and revenge. The only thing he never got was honor.