The Man Who Made Vermeers: Unvarnishing the Legend of Master Forger Han Van Meegeren

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Hammond, Pete (August 29, 2019). "Telluride Film Festival: 'Ford V Ferrari', 'Judy', 'Motherless Brooklyn', Weinstein-Inspired Drama 'The Assistant' Among Premieres Headed To 46th Edition – Full List". Deadline Hollywood . Retrieved August 29, 2019.

fn2. Still basic on Duveen is S. N. Behrman, Duveen (New York: Random House, 1952). A useful recent publication on Widener is Esmée Quodbach, “’The Last of the American Versailles’: The Widener Collection at Lynnewood Hall,” Simiolus 29 (2002), 42–96. Kenny, Glenn (2020-11-19). " 'The Last Vermeer' Review: A Lost Masterpiece Is Only the Beginning". The New York Times. ISSN 0362-4331 . Retrieved 2023-06-08.

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Wynne, Frank (2006). I was Vermeer: the rise and fall of the twentieth century's greatest forger. New York: Bloomsbury. ISBN 978-1-58234-593-2. Fleming, Mike Jr. (September 11, 2019). "Toronto: Sony Pictures Classics Taking North America + On Dan Friedkin-Directed Post-WWII Drama 'Lyrebird' ". Deadline Hollywood . Retrieved September 11, 2019. Lopez, Jonathan (2008). The Man who Made Vermeers: Unvarnishing the Legend of Master Forger Han Van Meegeren. Harcourt. p.214. ISBN 9780151013418 . Retrieved 27 March 2021. De voetwassing - Het Geheugen van Nederland - Online beeldbank van Archieven, Musea en Bibliotheken". Geheugenvannederland.nl. Archived from the original on 2015-10-16 . Retrieved 2013-12-29.

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Fleming, Mike Jr. (April 25, 2018). "Guy Pearce Stars & Imperative's Dan Friedkin Directs 'Lyrebird', About Art Forger Whose Paintings Duped Nazis". Deadline . Retrieved April 25, 2018. Van Meegeren's Fake Vermeer's". essentialvermeer.com. Archived from the original on 2015-08-26 . Retrieved 2012-07-08. In 1932, Van Meegeren moved to the village of Roquebrune-Cap-Martin with his wife. There he rented a furnished mansion called " Primavera" and set out to define the chemical and technical procedures that would be necessary to create his perfect forgeries. He bought authentic 17th-century canvases and mixed his own paints from raw materials (such as lapis lazuli, white lead, indigo, and cinnabar) using old formulas to ensure that they could pass as authentic. In addition, he created his own badger-hair paintbrushes similar to those that Vermeer was known to have used. Van Meegeren's own work rose in price after he had become known as a forger, and it consequently became worthwhile to fake his paintings, as well. Existing paintings obtained a signature "H. van Meegeren", or new pictures were made in his style and falsely signed. When Van Meegeren saw a fake like that, he ironically remarked that he would have adopted them if they had been good enough, but regrettably he had not yet seen one.

making great fortunes for van meegeren and manyh of his associates in the art and criminal worlds-- The Procuress given to the Courtauld Institute as a fake in 1960 and confirmed as such by chemical analysis in 2011. In 2001 the Metropolitan Museum of Art offered as the very last work in its large, enormously popular exhibition Vermeer and the Delft School a small painting of a young woman seated at a virginal (a keyboard instrument of the seventeenth century). Presented without fanfare by curator Walter Liedtke and not included in the catalogue, this picture was familiar to specialist scholars: as the final image in Lawrence Gowing’s seminal 1952 monograph on Vermeer, the work had claims to authenticity, but has since encountered doubts. On public view for the first time in half a century, this tiny work sparked spirited debate among Vermeer scholars and aficionados. 1

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Keats, Jonathon (2013). Forged: Why Fakes are the Great Art of Our Age. Oxford [Oxfordshire]: Oxford University Press. p.69. ISBN 9780199279456. Archived from the original on 2021-05-08 . Retrieved 2016-09-23. In 1942, during the German occupation of the Netherlands, one of Van Meegeren's agents sold the Vermeer forgery Christ with the Adulteress to Nazi banker and art dealer Alois Miedl. Experts could probably have identified it as a forgery; as Van Meegeren's health declined, so did the quality of his work. He chain-smoked, drank heavily, and became addicted to morphine-laced sleeping pills. However, there were no genuine Vermeers available for comparison, since most museum collections were in protective storage as a prevention against war damage. [36] The book races by trying to cover as much of the whirlwind as possible; the art, the forgery, the lies, the lifestyle, the marriages, the Nazis and the aftermath. The story of a consummate con artist in every sense. The book does a wonderful job covering certain details of art forgery for that time period (though I should state I am neither an art expert nor an art historian). It is a fine non-fictional book about a fraudster named Han van Meegeren who created fake Vermeer's paintings at the turn of the century. (More information: https://en.wikipedia.org/wiki/Han_van...)