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Thesis art forgery

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Here, and in a succession of papers defending the original essay, Elliot argued that ecological restoration was akin to art forgery. Just as a copied art work could not reproduce the value of the original, restored nature could not reproduce the value of nature. I reject Elliot's art forgery analogy, and argue. What distinguishes a good theory from a bad theory?
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`` Faking Nature `` By Robert Elliot

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Art forgery research paper - Writing an Academic Term Paper Is a Trifle!

We use cookies to give you the best experience possible. Words: , Paragraphs: 14, Pages: 5. Paper type: Essay , Subject: Aesthetics. The sample essay on Art Fakes And Forgeries deals with a framework of research-based facts, approaches, and arguments concerning this theme. Each author concludes that a forgery is indeed wrongful, however their reasons for this conclusion differ in several distinct ways.
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Han van Meegeren

As a child, Van Meegeren developed an enthusiasm for the paintings of the Dutch Golden Age , and he set out to become an artist. Art critics, however, decried his work as tired and derivative, and Van Meegeren felt that they had destroyed his career. He decided to prove his talent by forging paintings by 17th-century artists including Frans Hals , Pieter de Hooch , Gerard ter Borch and Johannes Vermeer. The best art critics and experts of the time accepted the paintings as genuine and sometimes exquisite.
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In August this year, federal authorities in New York revealed that numerous multi-million dollar paintings sold over a fifteen-year period through the famous Knoedler Gallery, and purporting to be by major Abstract Expressionists such as Jackson Pollock and Mark Rothko, were likely to have been painted by an unknown artist working from a studio in Queens. Many of the paintings had been accepted as genuine by connoisseurs and collectors and exhibited in prestigious museums around the world. This revelation served as further evidence, if any were needed, that as art prices rise, so art-related crime — and particularly forgery — appears to be on the increase. Despite what we are frequently told by some commentators on art crime, there is no reliable statistical means of assessing the monetary value of what is now a global problem that embraces theft, forgery, looting from archaeological sites, and, more recently, various forms of money-laundering. A great deal of art theft, particularly of the domestic kind, goes unreported; many fakes and forgeries are never detected, even after the perpetrators are exposed, while the illicit traffic in cultural objects looted from archaeological sites is now arguably beyond the control of law enforcement agencies.
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