Flattering the Masters: Fakes, Forgeries and Counterfeits for Fun and Fundraising.
By Neale Beckwith
L - R: Wayne Maloney Sidewalk Cafe at Night (after Van Gogh); Bonnie Leyton Portrait of Matisse (after Andre Derain): oil; Kathleen Knowling The Ballerinas (after Degas): oil; Tara Bryan Mrs. Joshua Montgomery Sears (after Sargent): oil on linen; Jim Maunder The Persistance of Fish Memory (after Dali): oil;
Grant Boland Abraham and Isaac (after Caravaggio): oil; Mary Pratt Our Lady of the Goldfinch (after Raphael): watercolour
Imitation is sometimes the sincerest form of flattery, and, when wedded to a noble cause,
it can be not only worthy but also a lot of fun. This was the case November 14 to December 5,
when the art of appropriation was displayed for fun and profit at the RCA Visual Gallery.
Artwork fakes, counterfeits and forgeries have been documented since the days of ancient Rome. Modern day artists, still trying to fool art enthusiasts for a variety of reasons both suspect and legitimate, are becoming increasingly sophisticated in their methods. Art fakers and forgers go to great lengths to deceive. They alter or add a signature, complete an unfinished work, misrepresent the work of a pupil as the work of a master, create an original composition similar in color and style to the work of a known artist, or duplicate an existing work. They mix paints from the same ingredients used by the original artist, use old canvas to paint on, and artificially age the work by means of elements such as colors used,
the way paint is applied (certain brushstrokes can be attributed to specific artists and styles), the use of light, motifs, and the facial features and posture of figures. Some forged pieces have been discovered by means of objects in the painting that did not actually exist at the time it was supposed to have been produced. When caught out, the perpetrators often say they have done nothing wrong and were simply painting in the style of the old masters, in homage to the inspiration and influence of the great works. Their “forgeries” are often viewed as things of beauty in themselves.
One notable case during the 1930s and 1940s was van Meegren, who specialized in the paintings of the 17th century Dutch master, Vermeer. Van Meegren did not copy Vermeer originals, but created paintings in the artist’s style, such as “Supper at Emmaus.” This painting was declared to be one of Vermeer’s finest works until years later when it was discovered to be a fake. Van Meegren was eventually convicted of forgery in 1947 after selling the supposed Vermeers to the Germans during the occupation of Holland.
Today, copying can be a form of practice for students, or an art form in itself, even encouraged in the right situation. Flattering the Masters II showed Newfoundland’s finest artists taking liberties with Old Masters, Modern Icons and Contemporary Classics and in the process raising funds to support the Gallery’s operations.
Linda Swain Lady with Ermine (after Da Vinci): acrylic
Jim Maunder did Dali, Wayne Maloney got Van Gogh, Mary Pratt riffed on Raphael, Grant Boland cribbed Caravaggio, and over twenty other leading Newfoundland artists combined for an impressive showing of mixedmedia homages to the world’s leading art icons. Deena Riggs, the show’s curator and leading light, said that almost $25,000 was raised to boost RCA Visual’s gallery efforts and support Newfoundland’s artistic growth. “For us, it is a very special show,” she said. “To have so many of Newfoundland’s premiere artists together in one show is really fantastic. The artists’ response is always very positive when invited. Each and every one is supportive, and with such successful events as this, it’s apparent that the Newfoundland arts community always comes together to support the LSPU Hall.”
Gerry Squires Mother and Child (after Michelangelo): fried paper, watercolour, conte charcoal on watercolour paper
Monies raised by the event provide the means to produce other shows throughout the year and pay artist fees to emerging and established visual artists. With support from the Newfoundland and Labrador Arts Council, the City of St. John’s, and along with other fundraising efforts, a full year of programming is possible.
Apart from giving established artists the opportunity to make a collective statement, Flattering the Masters also allowed the artists to demonstrate their technical skills as well as to create and produce something based on another artist they respect. What they do is usually fun for them, and the pieces reflect that.
“The goal for us,” Deena said, “is to continue todevelop and enrich the RCA Visual Gallery. So it remains a place for artists to create, support, and produce world class exhibits.”
Artists are encouraged to put market value reserve bids on their work.
“We do not want to create an atmosphere of patrons ‘getting a deal’ on artwork. If the reserve price is not met, we will not let the piece go,” Deena said. “We are very careful not to devalue the work.”
April Norman The Lovers: (after Magritte): oil on canvas
Each artist gets 50% of the final auction price.
“This is extremely important to us because even
though this is a fundraiser, everyone should
benefit,” she said.
Tickets to the event were a sell-out at $25, and included a bidding card, opening reception cocktails and food, with live entertainment from Boyd Chubbs.
“It was a great social evening all around, ”Deena said.
Along with pieces from professional visual artists, artists from other genres, including musicians, actors, directors and emerging artists were asked to create pieces on 6 x 8 inch canvases to be sold at silent auction. This proved to be a profitable opportunity for ‘recreational’ artists to be part of a professional show.
Brenda McClellan The Hug (after Klimt): mixed media
A review of the ‘Art on the Walls’ revealed that more than simple imitation and copying was on display. Many of the artists were able to take an established masterpiece and channel their own artistic personality and style. A Luben Boykov sculpture was unmistakably a Boykov. Bill Rose made the “Head of Rembrandt” in his own unique style. Boyd Chubbs’ Blake, Clement Curtis’ Schnabel ‘Plates’ piece, Jim Maunder’s Dali and many more all managed to give as much of the artist as of the ‘Flattered Master.’
Clement Curtis Portrait of Olatz (after Schnabel): oil, plates and bondo
While fakes, forgeries and counterfeits have been present in the world of art for as long as that world has existed, RCA Visual’s Flattering the Masters is just beginning to establish its own tradition.
L - R: Wayne Maloney Sidewalk Cafe at Night (after Van Gogh); Bonnie Leyton Portrait of Matisse (after Andre Derain): oil; Kathleen Knowling The Ballerinas (after Degas): oil; Tara Bryan Mrs. Joshua Montgomery Sears (after Sargent): oil on linen; Jim Maunder The Persistance of Fish Memory (after Dali): oil;
Grant Boland Abraham and Isaac (after Caravaggio): oil; Mary Pratt Our Lady of the Goldfinch (after Raphael): watercolour 
