Is that a Whiteley? Why collectors buy lousy fakes as masterpieces

An obsession with names of artists, instead of the quality of the art is a key to the problem of fakes.
[This is archived content and may not display in the originally intended format.]

The gentle Corot did little to help his own cause and would obligingly sign fakes, made by needy artists, reasoning that if a collector was so ignorant as to accept such rubbish as an authentic Corot, he might at least have a real signature for his money.

This cavalier attitude did cause problems for posterity and despite a huge effort and the undisputed significance of Corot in any account of 19th-century European art, prices for his art have suffered.

Unlock Padlock Icon

Unlock this content?

Access this content and more

Sasha Grishin
About the Author
Sasha Grishin is the Sir William Dobell Professor of Art History at the Australian National University.