By Henk Tromp
Vincent van Gogh’s work and drawings are fabulously dear. thousands of individuals appreciate his paintings, yet are these masterpieces all actual? To this present day, the overseas artwork global struggles to split the true Van Goghs from the faux ones, and the main query addressed during this ebook is what might take place to artwork specialists once they publicly voice their reviews on a selected Van Gogh (or not). the tale starts off with paintings professional J.B. de l. a. Faille who came upon to his personal bewilderment that he had incorporated dozens of faux Van Goghs in his 1928 catalogue raisonné. He desired to set the checklist directly, yet met with powerful resistance from paintings purchasers, creditors, critics, politicians and others, marking the start of a fierce conflict of pursuits that had seized the artwork international for plenty of many years of the 20th century. In his interesting account of the fight for the true Vincent van Gogh, Tromp indicates the fewer appealing aspect of the paintings international. His reconstruction of many such confrontations yields a bunch of fascinating and infrequently bewildering insights into the fates of paintings specialists once they convey unwelcome information.
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Additional resources for A Real Van Gogh: How the Art World Struggles with Truth
Indd 32 an eye for an eye 29-5-2010 15:23:5429-5-2010 15:23:54 In 1922 De la Faille criticized the German art expert Valentiner (18801958), who had allegedly discovered dozens of paintings by Rembrandt. De la Faille was scandalized by the ease with which Valentiner and others increased the oeuvre of the Dutch Old Masters. The following table on the various Rembrandt catalogues raisonnés, which was not part of De la Faille’s article, shows the extent of the problem. Table 1 Number of paintings attributed to Rembrandt between 1836 and 1921 Publication Compiler Number 1836 Smith 620 1868 Vosmaer 342 1885 Dutuit 456 1897 Bode 595 1915 Hofstede de Groot 988 1921 Valentiner 706 Source: Bruin 1995, 184.
These would have numbered high in the hundreds, but only a portion of them have been preserved. In retrospect, Balk notes, Bremmer had made some remarkable discoveries, but in just as many cases he got it all wrong. Art dealer N. Eisenloeffel, with whom Bremmer had done business, took notes on the subject. When a participant in one of Bremmer’s courses bought a drawing by Odilon Redon on his own initiative, Bremmer announced it was a fake: “Bremmer says that even if Mr. ” Eisenloeffel noted the same confident attitude with regard to a Van Gogh: “Roland Holst had been given permission to select a drawing from Mrs.
Siedenberg of the Frans Buffa & Zonen gallery of Amsterdam in February 1928. Siedenberg had misgivings. W. 54 The canvases were almost identical in terms of composition, yet they differed greatly in color and execution. The execution of the Wacker painting was weaker. Siedenberg and De la Faille agreed that the Van Gogh from the Wacker gallery was not by the master. De la Faille informed Wacker, but he had already found another buyer for the canvas. So De la Faille contacted the new owner – the conductor and art dealer Joseph Stransky of New York – and told him of his findings.