An obsession with names of artists, instead of the quality of the art is a key to the problem of fakes.
One of the Whiteley canvases under dispute. Image via au.blouinartinfo.com
This content is only available to members of ArtsHub
Join Now for instant access!
A subscription to ArtsHub will enable you to:
- Access the most comprehensive jobs board for the arts sector, with hundreds of positions posted weekly
- Keep up to date with the latest industry news
- Access thousands of members-only features, articles and guides
- Be in the know with upcoming events and exhibitions added daily
- Learn how and where to get grants, with the most extensive grant finder
... and much, much more.
Join Now and join the Australian arts community today
It was once famously reported that French painter Jean-Baptist-Camille Corot in his lifetime completed about 2,500 paintings of which 7,800 are now in American collections.
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.