Harry Bellet's 'Falsari illustri' explores the creative side of art forgers

In his book 'Falsari illustri' (Skira, 2019), Le Monde art critic Harry Bellet examines notorious art forgery cases from antiquity to the present, focusing on the creative ingenuity of forgers rather than mere fraud. Bellet identifies money as the primary motive, but also notes revenge against an art world that failed to recognize them, or mockery of the art establishment. He argues that forgers primarily harm artists, citing Corot's reputation suffering due to widespread fakes. Bellet selected forgers for their inventiveness, such as John Drewe, who forged documents and infiltrated museum archives to create a false provenance for poorly painted works. His favorite forger is Eric Hebborn, who was never convicted despite known guilt. Another case is Han van Meegeren, who became a Vermeer forger after critics panned his second exhibition following his elopement with a critic's wife. Bellet discusses the 1997 Metropolitan Museum director's claim that 40% of its paintings are fakes, noting that newer museums face greater attribution challenges than old ones like Brera. He warns that virtual exhibitions and 3D reproductions, as seen with the Lascaux caves and van Gogh computer-generated shows, risk losing the 'magic' of original artworks touched by the artist's hand.