Multilateral treaties and bilateral agreements relating to art, made largely in the latter part of the 20th century. These agreements were set up by nations in response to an unprecedented combination of political, economic, and technological changes affecting the art world, especially the tension between the demand for a free international art market and the need for countries to protect their own resources. This need for regulation is manifested in two important legislative areas: the increasing demand among developed nations for global recognition of their intellectual property rights, and the increasing demand among emerging nations for legislation to protect their cultural properties....
Laurie A. Morin
Reviser Friederike Gräfin von Brühl
Norwegian, 19th century, male.
Born 1811, in Bergen; died 1889.
Painter. Landscapes, mountainscapes, urban landscapes.
Condemned to 40 years of forced labour for forgery and deported to Norfolk Island in the Pacific in 1846, Knud Bull was transferred to Van Diemen's Land (Tasmania) the following year. Freed conditionally in ...
Manual repetition of another work of art, executed without dishonest intention. The contemporary notion of Authenticity has tended to obscure the fact that the exercise of copying has been a central feature of art practice since antiquity. Unlike the forger, the copyist produces a work that, while taking another work as its point of departure, is not intended to deceive the spectator or the buyer, although such a work may subsequently be identified and sold as an original. This difference in intention distinguishes the copy from the ...
Elizabeth F. Bennett
Chinese painter, calligrapher, collector and forger . From an artistic family, he began to paint under the tutelage of his mother, Ceng Yi, and did his first paid painting for the local fortune-teller when he was 12 years old. Zhang’s elder sister gave him his first lessons in the classics. At 15 he embarked on three years of schooling at the Qiujing Academy in Chongqing. In ...
One of many forms of deceit wherein one attempts to make an object pass for something it is not. Within discussions of art, this object is an artwork intentionally misrepresented so as to appear substantially different from what it actually is. The fraud may affect first-degree properties of the work, such as its material constitution, artistic content, or general appearance, but may also be applied to its historical background. In some cases, part of an existing artwork may be retained while other elements are added or removed. The work as a whole can be altered so as to present an alternate reality: it may be made to appear older, or in a better state of preservation, or to represent a different subject (a royal, rather than a common subject for example), and so forth. A similar end can be achieved through the construction of a completely new object disguised as something else; this is what is usually referred to as ‘forgery’ in the narrowest sense of the word....
Term applied broadly to whatever of the past is considered to hold cultural significance; closer definition has become contentious in the late 20th century. Architecture, the fine and applied arts, and objects of archaeological interest are frequently the physical objects of heritage (literature, academic learning, music, etc being other aspects), although by no means is every building or work of art regarded as significant. Exactly what is deemed part of heritage and thus worthy of preservation depends on prevailing attitudes to art and the art market, as well as notions of statehood and cultural history, and other issues regarding ownership, such as the public right of access to a particular work. The role of museums and the problems of looting form part of these issues....
Italian forger, restorer and writer. He is best known for his autobiography, a broad panoramic portrait of life in provincial Italy at the end of the 19th century, which conveys something of the disquiet concerning the loss of Italy’s prestige. He also worked as a skilful forger and restorer at a time when the distinctions between the two activities were blurred. Much of his success as a forger was due to the fact that he imitated either the works of lesser painters (such as ...
Japanese, 18th – 19th century, male.
Born 1747, in Edo (now Tokyo); died 1818, in Edo.
Kokan, a pupil of Harunobu (1725?-1770), one of the great ukiyo-e masters, is infamous as one of the most brilliant forgers of his master’s work, openly admitting his wrongdoing in his autobiography ...
Dutch painter and forger. He studied art at The Hague Academie and obtained his degree in 1914. He became a painter of mediocre talent, though a respected one. It is said that he developed a grievance against the critics who had slighted his work and began to manufacture forgeries of 17th-century Dutch masters, perhaps as early as ...
Roberta Rosenthal Kwall
Legal doctrine concerning authors’ rights that protects a creator’s personal, as opposed to economic, interests. These protections include the creator’s right to appropriate attribution and the right to have the integrity of one’s work properly maintained (see also Art legislation).
The law governing authors’ rights in the USA reflects an incomplete understanding of the motivations for human artistry. Copyright law, the body of law governing authors’ rights, rewards economic incentives almost exclusively. From the beginning, American copyright law has been designed to calibrate the ideal level of economic incentive to promote creativity. With the exception of a narrow form of protection for certain types of visual art, copyright law in America does not provide authors with legal protection such as the right to have their works attributed to them, or the right to have their works maintained and presented in a manner consistent with their artistic vision. These rights are known, respectively, as the right of attribution and the right of integrity and they are part of the larger doctrine of moral rights law....