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The Deceivers : Art Forgery and Identity in the Nineteenth Century / Aviva Briefel.

By: Material type: TextTextPublisher: Ithaca, NY : Cornell University Press, [2018]Copyright date: ©2006Description: 1 online resource (248 p.) : 10 halftonesContent type:
Media type:
Carrier type:
ISBN:
  • 9781501726873
Subject(s): DDC classification:
  • 702/.874 22
LOC classification:
  • PN3352.F67 B75 2006
Other classification:
  • online - DeGruyter
Online resources:
Contents:
Frontmatter -- Contents -- Acknowledgments -- Introduction. The Golden Age of Forgery -- 1. Imperfect Doubles: The Forger and the Copyist -- 2. Intimate Detections: Connoisseurs, Forgers, and the Thing between Them -- 3. Restorations: Cultural Authority and the Life of Objects -- 4. Real Sons of Abraham: Jewish Art Dealers and the Traffic in Fakes -- 5. Paste and Pearls: Drawing the Boundaries of Female Identity -- Conclusion: Magic Tricks -- Notes -- Works Cited -- Index
Summary: The nineteenth century witnessed an unprecedented increase in art forgery, caused both by the advent of national museums and by a rapidly growing bourgeois interest in collecting objects from the past. This rise had profound repercussions on notions of selfhood and national identity within and outside the realm of art. Although art critics denounced forgery for its affront to artistic traditions, they were fascinated by its power to shape the human and object worlds and adopted a language of art forgery to articulate a link between the making of fakes and the making of selves. The Deceivers explores the intersections among artistic crime, literary narrative, and the definition of identity.Literary texts joined more specialized artistic discourses in describing the various identities associated with art forgery: the forger, the copyist, the art expert, the dealer, the restorer. Built into new characters were assumptions about gender, sexuality, race, and nationality that themselves would come to be presented in a language of artistic authenticity. Aviva Briefel places special emphasis on the gendered distinction between male forgers and female copyists. "Copying," a benign occupation when undertaken by a woman, became "forgery," laden with criminal intent, when performed by men. Those who could successfully produce, handle, or detect spurious things and selves were distinguished from others who were incapable of distinguishing the authentic from the artistic and human forgeries. Through close reading of literary narratives such as Trilby and The Marble Faun as well as newspaper accounts of forgery scandals, The Deceivers reveals the identities—both authentic and fake—that emerged from the Victorian culture of forgery.
Holdings
Item type Current library Call number URL Status Notes Barcode
eBook eBook Biblioteca "Angelicum" Pont. Univ. S.Tommaso d'Aquino Nuvola online online - DeGruyter (Browse shelf(Opens below)) Online access Not for loan (Accesso limitato) Accesso per gli utenti autorizzati / Access for authorized users (dgr)9781501726873

Frontmatter -- Contents -- Acknowledgments -- Introduction. The Golden Age of Forgery -- 1. Imperfect Doubles: The Forger and the Copyist -- 2. Intimate Detections: Connoisseurs, Forgers, and the Thing between Them -- 3. Restorations: Cultural Authority and the Life of Objects -- 4. Real Sons of Abraham: Jewish Art Dealers and the Traffic in Fakes -- 5. Paste and Pearls: Drawing the Boundaries of Female Identity -- Conclusion: Magic Tricks -- Notes -- Works Cited -- Index

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The nineteenth century witnessed an unprecedented increase in art forgery, caused both by the advent of national museums and by a rapidly growing bourgeois interest in collecting objects from the past. This rise had profound repercussions on notions of selfhood and national identity within and outside the realm of art. Although art critics denounced forgery for its affront to artistic traditions, they were fascinated by its power to shape the human and object worlds and adopted a language of art forgery to articulate a link between the making of fakes and the making of selves. The Deceivers explores the intersections among artistic crime, literary narrative, and the definition of identity.Literary texts joined more specialized artistic discourses in describing the various identities associated with art forgery: the forger, the copyist, the art expert, the dealer, the restorer. Built into new characters were assumptions about gender, sexuality, race, and nationality that themselves would come to be presented in a language of artistic authenticity. Aviva Briefel places special emphasis on the gendered distinction between male forgers and female copyists. "Copying," a benign occupation when undertaken by a woman, became "forgery," laden with criminal intent, when performed by men. Those who could successfully produce, handle, or detect spurious things and selves were distinguished from others who were incapable of distinguishing the authentic from the artistic and human forgeries. Through close reading of literary narratives such as Trilby and The Marble Faun as well as newspaper accounts of forgery scandals, The Deceivers reveals the identities—both authentic and fake—that emerged from the Victorian culture of forgery.

Mode of access: Internet via World Wide Web.

In English.

Description based on online resource; title from PDF title page (publisher's Web site, viewed 26. Apr 2024)