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Review
“When it comes to forgery and its ability to fascinate . . . Edward Dolnick has hit the mother lode. . . . Dolnick more than does it justice, drawing on his knowledge of a wide range of subjects.” (Los Angeles Times)“Dolnick brilliantly re-creates the circumstances that made possible one of the most audacious frauds of the 20th century. And in doing so Dolnick plumbs the nature of fraud itself . . . an incomparable page turner.” (Boston Globe)“Riveting new art thriller. . . . Likely to captivate not just readers moved by war, art, and the art of deception, but anyone interested in human vanity and our sometimes baffling ability to see only what we want to see.” (Christian Science Monitor)“The Forger’s Spell is an excellent read, a swift and astute narrative written from many complex perspectives to great effect.” (Chicago Sun-Times)“Dolnick…tells his story engagingly and with a light touch. He has a novelist’s talent for characterization, and he raises fascinating questions.” (New York Times Book Review)“An engaging and highly amusing account of a clever craftsman. . . . On all those levels this is a delightful foray into art history and psychology” (St. Louis Post-Dispatch)“Gripping historical narrative. . . . Dolnick, a veteran science writer, knows his way around a canvas. . . . The Forger’s Spell has raised provocative questions about the nature of art and the psychology of deception.” (Washington Post Book World)“This is the first book on art forgery that really gets to the bottom of the Han van Meegeren tale of chicanery and double dealing. A spirited and provocative read.” (Thomas Hoving)“Edward Dolnick’s Forger’s Spell gives us a well-researched and highly readable account of the underworld of forgers, corrupt dealers, and collectors in Nazi occupied Europe. . . . Wonderful theater, full of fascinating stories, this is a great cautionary tale for all in the art world.” (Lynn Nicholas)Who can resist the story of a great scam--especially when the mark is art-greedy Hermann Goering and the author is an Edgar winner? (Publishers Weekly (Staff Picks))
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About the Author
Edward Dolnick is the author of Down the Great Unknown, The Forger’s Spell, and the Edgar Award-winning The Rescue Artist. A former chief science writer at the Boston Globe, he lives with his wife near Washington, D.C.
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Product details
Series: P.S.
Paperback: 384 pages
Publisher: Harper Perennial; Softcover Ed edition (June 16, 2009)
Language: English
ISBN-10: 0060825421
ISBN-13: 978-0060825423
Product Dimensions:
5.3 x 0.9 x 8 inches
Shipping Weight: 11.2 ounces (View shipping rates and policies)
Average Customer Review:
4.4 out of 5 stars
114 customer reviews
Amazon Best Sellers Rank:
#130,158 in Books (See Top 100 in Books)
I love stories like this: once-well known news events, made obscure by the passing of decades, but brought back to life by a talented researcher and writer. This is one of the most fascinating stories I have ever read, with lessons for all – but particularly for people claiming to be art experts.In 1938, a mildly popular Dutch artist named Han van Meegeren, frustrated by the lack of acclaim that his own art should have generated, decided to show that he was the equivalent of the great Dutch masters of the past. After long research and testing of paints, styles, and aging techniques he produced a painting that appeared to be a previously unseen work of one of the very greatest painters: Johannes Vermeer, who lived more than 200 years earlier. Vermeer’s most famous painting to most of us today is *The Girl with the Pearl Earring.* Van Meegeren’s forgery was entitled *Christ at Emmaus.* Even though today we might say the picture looks nothing like a real Vermeer, many art experts of the time fell all over themselves praising it. The painting sold for the equivalent of several million dollars in today’s money. Van Meegeren painted and sold several more fakes and made millions more.He might have gotten away with it and we might still have these lower-quality paintings hanging in major museums today, labeled as the works of a master, if he hadn’t run into some misfortune. He sold one of the fakes to Adolph Hitler and one to Hitler’s second-in-command, Hermann Goering. It wasn’t the Nazis who got him in trouble. No, Hitler and Goering were happily taken in by the forgeries. But when the war ended and American, English, and French art experts began going through all of thousands of pieces of museum art bought or stolen by the Nazis, they found these supposedly priceless “Vermeers.†And the one in Goering’s collection listed Han van Meegeren as the seller.Van Meegeren was facing charges of treason and possible execution for collaboration with the Nazis. His only way out was to confess to the forgeries. But now no one would believe him. Even after Van Meegeren showed all of his techniques to the police and art investigators looking into the case, the art critics and the people who had come to love the forgeries would not believe they were anything but real. Van Meegeren was forced to paint another fake in front of witnesses in order to save his life. This is really several books in one. It includes discussion of the real Vermeer and why he is so popular today and a biography of the forger van Meegeren. But it also includes a history of the Nazis’ looting of Europe and a brief biography of Goering. It is also a history of art forgery and a discussion of the inventive techniques used by van Meegeren, including using Bakelite (the world’s first synthetic plastic) to artificially age the paintings. Finally it is a study of how easy it is to fool all of us and why it is often easier to fool “experts†than people with little knowledge of the subject.
I was not familiar with the story of the Dutch forger, Han Van Meegeren who made millions before and during WWII from his forged paintings, primarily Vermeers. These were not copies of existing paintings, but creations of his own. His undoing after the war came as a result of a forgery he sold to Goering, which led to his being investigated as a collaborator. He decided it would be better to confess to his forgeries than to be tried as a collaborator. However, he had a hard time getting anyone to believe that he had produced paintings that had been hailed by important experts as real Vermeers. This is a terrific book, which is well-written and brings together many different strands. There is, of course, simply the story of Van Meegeren, which includes the very interesting technical aspects of how he was able to produce paintings that would pass scientific tests to determine if the works were in fact centuries old. The book describes at length the situation in Holland under the Nazis, as well as Goering's and Hitler's obsession with acquiring all of the great art in Europe, either purchasing it with confiscated money or confiscating the art itself. The scale of their plundering was astounding. At times, Goering's seems to have focused more on these acquisitions than on the conduct of the war, to the possible detriment of the Nazi war effort. Dolnick also goes into the psychology of the forger, as well as of the experts who were duped. Altogether, a wonderful book.Jon
I liked this intriguing story so much I ended up buying multiple other copies for artist friends. Great background info on the historical context of Holland during WWII. Insightful portrait of Goring and his incredible stash of art loot. The amazing story of the U.S.. soldiers known as "the Monuments Men" was much more informative than the recent film of the same name. The perpetrator of the frauds, Hans Van Meegeren himself was well portrayed--a fascinating, complex artist arrested for treason but who ended up as a national hero in the bizarre psychological twists and turns author Edward Dolnick so lucidly depicts. I found this book a real page-turner! Highly recommend for anyone interested in the Nazi looting of art treasures during WWII, the Monuments Men or the high-stakes world of art dealing.
This enjoyable, discursive, informative book is a great read. Author Edward Dolnick is a journalist and like all good journalists he has a wide range of interests and is a quick study. The book's topic is nominally Han van Meegeren, a Dutch painter who worked from just after the First World War until just after the Second World War. Although he was competent and made a decent living from his work, the art critics of the day panned his work for being simpering and shallow. So, to make a long story short, he took to forgery, with his main focus being the 17th Century Dutch painter Johannes Vermeer. This was a bold choice, because only around three dozen Vermeers are known, and were known in the 1930s when van Meegeren started his forgeries. The book discusses van Meegeren's techniques and choices, but also discusses the rise of the Nazi Party in Germany and especially Hermann Goering, the Reichsmarschall, second in command to Hitler. In fact, both collected immense amounts of art and sometimes Hitler took what Goering had wanted. It turns out that Goering ended up with one of van Meegeren's "Vermeers," which leads the story into many interesting twists and turns. There are many other sidelights, including the Getty Museum's purchase of a famous, extremely expensive, and fake kouros, a supposedly a Greek statue, as well as stories about other fakes, forgeries, and copies. It is a terrific book and I recommend it highly.
This book was worth reading, but not engrossing. I liked how it told the story of WWII art collected by the Nazis, and Van Meegeren. I learned more about Vermeer too, but it was hard to identify with the people involved. It lacked passion and emotion to me.
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