دانلود کتاب I Was Vermeer: The Rise and Fall of the Twentieth Century's Greatest Forger

SUMMARY: Frank Wynne's remarkable book tells the story of Han van Meegeren, a paranoid, drug-addicted, second-rate painter whose Vermeer forgeries made him a secret superstar of the art world--and along the way, it reveals the collusion and ego that, even today, allow art forgery to thrive. During van Meegeren's heyday as a forger of Vermeers, he earned 50 million dollars, the acclamation of the world's press, and the satisfaction of swindling the Nazis. His canvases were so nearly authentic that they would almost certainly be prized among the catalogue of Vermeers if he had not confessed. And, no doubt, he never would have confessed at all if he hadn't been trapped in a catch-22: he had thrived so noticably during the war that when it ended, he was quickly arrested as a Nazi collaborator. His only defense was to admit that he himself had painted the remarkable "Vermeers" that had passed through his hands--a confession the public refused to believe, until, in a huge media event, the courts staged the public painting of what would be van Meegeren's last "Vermeer." "I Was Vermeer "is an utterly gripping real-life mystery, capturing both the life of the consummate art forger, phenomenally skilled and yet necessarily unrecognized, and the equally fascinating work of the experts who identify forgeries and track down their perpetrators. Wry, amoral, irreverent, and plotted like a thriller, it is the first major book in forty years on this astonishing episode in history. Frank Wynne is a writer and award-winning literary translator. Born in Ireland, he has lived and worked in Dublin, Paris, Amsterdam, London, Buenos Aires and currently lives in San Jose, Costa Rica. He has translated more than a dozen major novels, among them the works of Michel Houellebecq, Frederic Beigbeder, Pierre Merot and the Ivorian novelist Ahmadou Kourouma. A journalist and broadcaster, he has written for the "Sunday Times," the "Independent," the "Irish Times," "Melody Maker," and "Time Out." Frank Wynne's book tells the story of Han van Meegeren, a paranoid, drug-addicted, second-rate painter whose Vermeer forgeries made him a secret star of the art world. Along the way, it reveals the collusion and ego that, even today, allow art forgery to thrive. During van Meegeren's heyday as a forger of Vermeer, he earned fifty million dollars, the acclamation of the world's press, and the satisfaction of swindling the Nazis. His canvases were so nearly authentic that they would almost certainly be prized among the catalogue of Vermeer's if he had not confessed. And, no doubt, he never would have confessed at all if he hadn't been trapped in a catch-22: he had thrived so noticably during the war that when it ended, he was quickly arrested as a Nazi collaborator. His only defense was to admit that he himself had painted the remarkable "Vermeers" that had passed through his hands--a confession the public refused to believe until, in a huge media event, the courts staged the public painting of what would be van Meegeren's final "Vermeer." "I Was Vermeer "is an utterly gripping real-life mystery, capturing both the life of the consummate art forger, phenomenally skilled and yet necessarily unrecognized, and the equally fascinating work of the experts who identify forgeries and track down their perpetrators. Wry, amoral, irreverent, and plotted like a thriller, it is the first major book in forty years on this astonishing episode in history. "Wynne blends reportorial skill with a love of irony to tell van Meegeren's life story . . . Crime thriller or forgery primer, this intriguing read also proves another epigram: Beauty is in the eye of the beholder."--"Bookpage" "A spectacular story of vengeance and fraud told with verve and style by British journalist Wynne . . . The incredible story of how Dutch painter Han van Meegeren avenged himself on supercilious art critics by becoming an expert forger of Vermeer and fooling the Nazis conveys a valuable lesson in how we see, notes Wynne in this methodical, suspenseful tale . . . The forger's trajectory from wealthy charlatan to national hero makes for delicious reading. Wynne employs all the devices of an expert "roman" "policier.""--"Kirkus Reviews""" "Some real-life stories are more fantastic than anything Hollywood can invent. That a mid-20th-century artist could create forgeries that fooled the entire art world is the extraordinary story of Dutch art forger Han van Meegeren. Recognizing that very few Johannes Vermeer paintings were known in his time and that there were no known early Vermeers, Meergeren realized he could create works that could not be compared to any authenticated Vermeer. Those fakes fooled everyone: art scholars, museum curators, and Nazi Reich Marshal Hermann Goring included. Meegeren's deception was only discovered when he confessed it in court to save himself. London-based journalist and literary translator Wynne uses his journalistic skills to present a remarkable story that is part mystery, part adventure, part biography, and part courtroom drama. His thorough research and accomplished writing style bring this unique event in art history to the general public. Highly recommended."--Eugene C. Burt, "Library Journal" "In this intriguing . . . biography, Wynne recounts how Dutch forger Han van Meegeren successfully passed off more than a dozen bogus works--including, most famously, The Supper at Emmaus in 1937--as authentic Vermeers, Halses and de Hooches. Van Meegeren, who favored the style of the old Dutch masters just as modernism was hitting its stride, decided to embarrass his forward-looking critics by creating and selling his own 'Vermeer.' He continued his charade until he was forced to admit his crimes in 1947 while defending himself against a separate charge of treason. Wynne takes great care in explaining just how the increasingly paranoid and drug-addicted van Meegeren managed to fool the international art community, including a technical breakdown of how van Meegeren employed plastic to create the antique look of cracked craquelure in his canvases. Wynne also ruminates on how the arrogance of the art world--of critics like Abraham Bredius who were so confident in their ability to spot fakes that they brushed aside X-rays and other modern tests, as well as collectors desperate for authenticity--fuels the market for forgeries."--"Publishers Weekly"