By Dolnick, Edward; Vermeer van Delft, Jan; Göring, Hermann; Meegeren, Han van
As riveting as a global struggle II mystery, The Forger's Spell is the genuine tale of Johannes Vermeer and the small-time Dutch painter, Han van Meegeren, who dared to impersonate Vermeer centuries later. The con man's mark was once Hermann Goering, essentially the most reviled leaders of Nazi Germany and a enthusiast collector of art.
summary: As riveting as an international conflict II mystery, The Forger's Spell is the real tale of Johannes Vermeer and the small-time Dutch painter, Han van Meegeren, who dared to impersonate Vermeer centuries later. The con man's mark used to be Hermann Goering, the most reviled leaders of Nazi Germany and a enthusiast collector of artwork
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As riveting as an international conflict II mystery, The Forger's Spell is the real tale of Johannes Vermeer and the small-time Dutch painter, Han van Meegeren, who dared to impersonate Vermeer centuries later. The con man's mark was once Hermann Goering, some of the most reviled leaders of Nazi Germany and a enthusiast collector of paintings.
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Extra resources for The forger's spell : a true story of Vermeer, Nazis, and the greatest art hoax of the twentieth century
Sample text
The problem was to find a way to harden paint without harming the picture. Heat, Van Meegeren knew, would play a crucial role. In 1932, he bought a large oven— large enough to swallow up a painting—and set to work baking test canvases. Like some hapless cook in ancient times who had seen a soufflé in a vision, Van Meegeren knew what he wanted but didn’t know if it was possible. He smeared his paints on one test strip of canvas after another and cooked away, but no ex periment yielded anything but frustration.
As home to both the government and the royal court, The Hague abounded in judges and politicians and elegant spouses who wanted to commemorate themselves in oils, and Van Meegeren prospered. His personal life was hectic, too. He fell in love with an actress named Jo de Boer. Jo was married to an art critic, one of those who, early on, had been impressed by Van Meegeren. The critic had come round for an interview, ac companied by his wife. In short order Van Meegeren had a new portrait sub ject and a new mistress.
Instead, writes Moore, Lentz was “that strange animal, the bureaucrat who was always anxious to please his masters and for whom perfect organization was everything. . ” s T H E WA R AG A I NST 8 THE JEWS H olland’s Jews were no better prepared to recognize their predicament than were the rest of the Dutch. At home in famously tolerant Holland since the time of the Spanish Inquisition, the Jews had let down their guard. But even if they had grasped the full extent of Nazi fanaticism as soon as the war began, by then it was too late.
