Subject is interesting, please comment on the merits.

In general, appraisers and art seems summed up the technical side of implementation falshakov. Namely, the materials and there was also a signature? That is called "Do not believe your eyes" it is possible that they too had doubts, but the materials of the time and decided to all signature.

I agree that to pick up materials at the time and wear out the picture - this is the most difficult.

What is there to basically say?
 29 May 1945 Meegerena arrested on charges of collaborating with the Nazis. 12 July, he makes a sensational confession that he wrote the court discussed the picture. He, of course, nobody believes. Investigators arrange a kind of judicial experiment, in which Meegeren must prove that he can imitate the masters of XVII century. Just write them under the supervision of the investigation proved his authorship of the forgery.

Cyril I already wrote on the forum ,.... now I can not find, but can you can find .....
About the painting by Caravaggio, one that was stolen from the Odessa museum. So, when we visited the museum that the painting was still in place, I remember how I admired her, and Arthur says, "This job is not like Caravaggio's" I'm still arguing with him, saying that many experts it looked, but they do not could be mistaken. But Arthur was left to his own opinion, said that it was not Caravaggio's all! That he just feels it. He says that not enough volume, the technique is but somehow dry.

http://yug.odessa.ua/index.php/home/arc/393.html

This is once again suggests that those who went to school and see and feel a much deeper ..
And If I do not know (or do not understand) it does not mean that it does not exist.
And the biggest misconception is the unshakable belief that neposobny mistake.

From "The Taking of Christ in custody, in fact, there are questions.
Such works have known two of Caravaggio: in Odessa, dating from the 1598 year, and more izaestnaya, in Dublin, dating from 1602.

No, of course, I just described a subjective assessment of the artist. By the way, in Odessa, there are other good work, but about which Arthur said nothing, but now with Caravaggio was adamant.
Note, Cyril, that to Odessa, we were already in the museums of Paris, Budapest, Moscow, Kiev, that is certain is nasmotrennost.

And you think that if some experts with the latest scientific techniques to prove that the famous thing, such as the Hermitage, can not belong to the artist N., now immediately be removed from exposure or make a change in labels, it will write "N /V ?
And the public will be told that 300 years of looking at the picture of the artist N., and it is not his hand, and the picture is not it written?

Cyril, it is difficult to say how do the museum, in each case, I think differently.
Recently, we have, for example, went to the exhibition of Italians (Raphael, Michelangelo, etc.) in Budapest, traveling exhibition. So there is exhibited a copy of Leonardo's "Madonna in the grotto" of his students. Excellent copy, by the way, I'd like to close the original and a copy of this view. This work is hung with a name and nothing, a lot of people crowded around it.

There are no difficulties understanding the actions of the museum.
In our case, the vast-authorship of pereatributsiyah not inform the public.
The West a little differently. There even exist quota output from the museum's turnover.

This is for me not ochem not said those who went to school see and feel is much deeper than those who did not pass school. But among those who went to school does not necessarily :) "all will see and feel the same way.

I think this is a good example showing that many art historians, despite their education (ie, extensive reading) is not able to understand the essence of art and guided only by external features, ie, turn its attention to the formal side of art. And sometimes, just speculating.

"Where the spirit does not leads the artist's hand, there is no art" (Leonardo da Vinci).

I have also considered a copy of Odessa - because of facial expressions of Christ and the fact that for him, who shouted. A person too melodramatic, a little sugary ... and screaming is not as "passionate" ... I do not know how better to say ...

tchaika, recall in this connection the story of how the European professors could not believe that in Africa in the 14 th century could have produced such a level Art of (casting) .. "Smutty play can not !"...
And they still (in Africa), cast ... (According to the same obscene primitive artisanal recipes melted metal from junk nepotrebnyh metal residues and pour figurines for tourists) ..
 The level now (art) in accordance with the level of tourists. course ..
Threat:
What kind of cast reliefs and high reliefs in wax form 14 century! Captures the spirit of this beauty. What is the elegant styling, a taste! Repeat the impossible!
(I do not know how to look for pictures, sorry, people!)

Han van Meegeren Antonius
 

«Christ and the Sinner" (Vermeer)


Vermeer's painting "Christ and the Sinner" was found in the collection Goring (Hermann Wilhelm Göring). Sledsvie happened at Van Meegerena studying the history of sales, this particular painting. The most lucrative forgery (and experts believe the worst) proved fatal.
Passed through the hands of multiple mediators from Meegerena to Dr. Walter Hofer (Dr. Walter Hofer) who bought the painting on behalf of Goering in a record amount ever received for forgery Meegerena - 1 650 000 guilders (£ 4,000,000)

The Woman Taken in Adultery 96 x 88 cm, oil on canvas, painted around 1941-42