In Forged Jonathon Keats looks at art forgery with the usual stories of art forgery. The first part of the book Keats tells a short history of art from Ancient Egypt to the present day from the perspective of his thesis of the greatness of fakes. In this loose history Keats doesn’t distinguish between fakes, forgeries, copies, appropriation and piracy. In an odd version of the artistic skill verses originality argument Keats argues that forgeries are the great art.
However, Keats’s argument only works when the fake is discovered or revealed because part of the greater quality that Keats believes exists in them is that they have fooled people in the past. There is little else to prove any quality aside from the fact that they fooled people who wanted to be fooled, like Nazi’s supporting the forgery of medieval turkeys because the Vikings could have brought them back from America. When the fake has not been discovered it remains a mediocre to poor example of the supposed artist’s work.
The second part, and the bulk of the book, tells the story of several famous forgers in the twentieth century: Lothar Malskat, Alceo Dossena, Han Van Meegeren, Eric Hebborn, and Tom Keating. All of these forgers have been extensively written about in many other books.
It is in these biographical chapters that Keats argument of technique over anything else flounders. Even when cherry picking examples of famous forgers their technical ability appears over-rated. The Australian forger Pamela Liberto’s fake Rover Thomas works proved that you don’t need any artistic talent or technique to make and sell fakes.
These famous forgers are not really an appealing lot and Keats doesn’t help them; he even compares Van Meegeren’s aesthetics to Hitler’s. The famous forgers that Keats writes about are bitter, thwarted anachronisms; they certainly don’t appear to be the great artists of our age.
In the third part Keats continues his history of art that he started in the first part. He doesn’t look at forgeries at all but rather at copies. The closest that this part gets to forged is the art of J. S. G. Boggs who hand-draws pictures of money and exchanges it for goods of that value. There is an examination of copies of Mona Lisa by Warhol, Banksy and Duchamp before wandering into contemporary art.
It feels like the meat of this book, art forgers, has been sandwiched between an essay on originality in the history of art and I don’t think that they go together.
Jonathon Keats Forged: Why Fakes are the Great Art of Our Age (Oxford University Press 2013)
August 6th, 2019 at 7:55 AM
Sounds like a disappointing book.
August 6th, 2019 at 8:33 AM
It felt like somewhere between false advertising, stuff I’ve heard before and a failed argument about originality in the history of art. So yes, disappointing on a number of different levels.
August 6th, 2019 at 4:13 PM
Hi Mark, would you mind if I reblogged this review on my ANZ LitLovers blog? It would only publish the first paragraph and then link through to your site here.
I think my readers would be interested…
August 6th, 2019 at 6:12 PM
Hi Lisa, Yes that would be great. Cheers.
August 8th, 2019 at 12:50 PM
Reblogged this on ANZ LitLovers LitBlog and commented:
For those of us who love books about art, this review by Mark Holsworth at Melbourne Art Critic is an interesting one.
August 1st, 2021 at 10:26 PM
Pamela Liberto, never did these paintings.
August 1st, 2021 at 11:04 PM
So who did then? Was it you, Ivan? That would explain why paint matching the painting was found at your home.