Cultural and Economic Damage
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Art forgery is a nuanced issue that deeply impacts the foundation of the art world. Museums and cultural institutions act as trustworthy repositories of knowledge for the public. Therefore, they rely on original works to preserve cultural heritage and artistic integrity. Authenticity is crucial since it affects the market value and its availability to provide insights into artists and their time. Fraudulent artworks, whether an archaeological forgery or a counterfeit modern painting, undermine this foundation, causing both cultural and financial harm.
Culturally, forgeries distort art history. Museums serve as trusted institutions, shaping public understanding of artistic movements and legacies. When counterfeit works enter collections, they mislead students, scholars, and the public. For instance, Greek antiquities carry historical significance, but if forgeries replace genuine artifacts, as in the case of the fake Greek cups in the exhibit, our comprehension of ancient craftsmanship and storytelling becomes compromised. Forgeries are also responsible for destabilizing the art market. Authentic works command high prices due to their historical and artistic significance. A fake discovered within a collection can devalue an entire artist’s oeuvre, the body of work of the artist. Experts like the early 20th-century philosopher Walter Benjamin argued that original artworks possess an “aura,” meaning a unique cultural context from their presence in time and space. This aura is derived from their contemporary context, an intangible quality that fakes lack. When placed in the art market, forgeries significantly impact the broader cultural and economic landscape because undermine trust. A fake Warhol or Picasso, for example, contributes to devaluate the artistic and financial potential of original works. As seen in recent high-profile cases, once an artwork is proven inauthentic, collectors suffer financial loss, and trust in the market erodes. The proliferation of fakes ultimately commodifies culture, reducing artistic expression to mere profit. This exhibition invites visitors to consider the impact of forgery on both cultural identity and economic stability.
- A. Warhol, Marilyn Monroe
Date: 21st century; Forgery of Andy Warhol (American, Pittsburgh 1928–1987 New York)
Medium: Color screenprint
Dimensions: 72 x 72 cm (28.3 x 28.3 in.)
Credit Line: Comando Carabinieri Tutela Patrimonio Culturale (TPC)
This forgery depicts the famous icon Marylin Monroe in a style reminiscent of Andy Warhol’s distinctive Pop-Art in silkscreen printing. Silkscreen artists use torn sheets of paper, photographs, and a precise method of application with each layer to make it one of a kind. This counterfeit Marilyn Monroe set against a hot pink background mimics Warhol's iconic series, showcased in 1964, one of which is currently housed at the MoMA (Museum of Modern Art) in New York. Andy Warhol is widely recognized for the use of silkscreen printing, a technique that originated in 10th-century East Asia and that especially over the course of the 20th century was employed to create graphic designs for ad campaigns, t-shirt fabrics, etc. Such a technique is time-consuming, and fakes generally can be spotted through incorrect numbering, Warhol's signature appearing too crisp, and a lack of smooth finishing.
- P. Picasso, Head of a Woman in Profile
Date: 21st century; Forgery of Pablo Picasso (Spanish, Malaga 1881–1973 Mougins, France)
Medium: Tempera on canvas
Dimensions: 40.7 x 31.1 cm (16 x 12.2 in.)
Credit Line: Comando Carabinieri Tutela Patrimonio Culturale (TPC)
This forged Picasso depicts a woman's head in profile with a distinct aquiline nose, almond-shaped eyes, and darker hair. The forger tried to replicate the cool, muted colors typical of Picasso with the intent to imitate, yet not directly replicate the artist’ Cubist style. They seem to have taken inspiration from Picasso’s “Blue Period,” used to define the works produced between 1901 and 1904, when the artist created essentially monochromatic paintings in shades of blue and blue green, only occasionally warmed by other colors. Picasso frequently painted distorted portraits, often inspired by his muses, such as his last muse and wife Jacqueline Roque, who may be the one the forger tried to reproduce here. The signature on the top left corner also proves the unauthenticity of the work. In particular, the letter “P” appears to be quite elongated and stands out very prominently in height compared to the other letters, unlike Picasso’s authentic signature.
- Small Cup in the Shape of a Miniature Calyx Krater
Date: 21st century (forgery)
Medium: Pottery; Black-Figure (imitates)
Dimensions: H. 17 cm (6.6 in.); diameter 14.9 cm (5.8 in.)
Credit Line: Comando Carabinieri Tutela Patrimonio Culturale (TPC)
This modern vase attempts to replicate a miniature 6th-century BCE Black-Figure Greek cup in the shape of calyx krater, a type of vessel used in antiquity to mix wine and water. The forger also painted on the body of vase mythological scenes that frequently appear on authentic pottery. One side of the vessel depicts a male figure in the action of striking a bovine with a sword. This scene most likely portrays Theseus slaughtering the Minotaur, the bull-headed man trapped in the famous labyrinth in Crete. The other side depicts two dancing female figures, while two decorative lotus bulbs adorn either side of the vessel. The forger tried to mimic an upside-down lotus blossom, an ornamental motif that often appears on ancient Greek pottery to fill the empty spaces of the fields. The careless rendering of the various details, including human figures, natural and ornamental elements, as well as the poor craftsmanship of the vase, all indicate that this not an authentic piece.
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