1- Michelangelo (reputedly) got his start in art by forging Greek and Roman works of art, even burying them to appear "authentic." Enough anecdotal and circumstantial evidence exists to suggest this almost certainly happened to some degree, but some scholars believe he was responsible for some well-known "Greek" treasures such as the Laocoon.
2- The world's most famous forger was only caught after he was charged with...treason? After the Second World War, Han van Meegeren faced the death penalty for selling a Dutch national treasure, a Vermeer painting, to Hermann Göring. Van Meegeren's defence? Goring got a fake. Van Meegeren proved he had painted it himself, and conned Göring . All's well that ends well? He was acquitted for treason, but went to jail anyway. He'd been making and selling fake Vermeers for quite some time. And not just to Nazis.
3-In 2000, Famed Japanese archaeologist Shinichi Fujimura sparked a national crisis when he was filmed digging holes and burying artifacts, only to discover them, often the next day. Fujimura had been considered the leading expert on Japan's paleolithic age, mostly because of his uncanny luck discovering artifacts. This necessitated a complete rethink of Japanese's prehistoric past. How complete? Well...Japan may not actually have been settled during the paleolithic age.
4- Unsurprisingly, religion has inspired generations of forgers - sometimes to make money, sometimes to provide "proof." The Kinderhook Plates belong in the latter category. "Found" in a Native mound in Illinois, they were bell-shaped brass plates with Egyptian inscriptions, which the Mormon church seized on as evidence that a lost (white) tribe of Israel really did end up in America. (They've since conceded they were fakes. Probably. Though maybe not.)
5- According to various sources, 19th-century French landscape artist Jean-Baptiste-Camille Corot is the most-forged artist of all time. Why? Very simple: he was popular, and his work wasn't too difficult to duplicate. You were expecting some shadowy Da Vinci Code-esque conspiracy? It's not always a convoluted answer, kids.
"The existence of forgeries can hardly be regarded as an unmixed evil. The knowledge of their existence tends...to encourage a more minute and scholarly investigation of every detail in genuine objects of antiquity."
- Sir John Evans, 1893
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| The lady herself. Not pictured: authenticity |
Long the centrepiece of Boston's Museum of Fine Arts' Minoan collection, the goddess was the apex of a huge wave of interest in pre-classical archaeology in the early 1900s.
The sudden interest was partly an offspring of Heinrich Schliemann's incredible finds at Troy and Mycenae, and partly because white Europeans and North Americans were keen to discover ancient white civilizations to rival their better-known cousins in Egypt and Mesopotamia.
That sounds pretty racist by today's standards, and undoubtedly there was an element of an inferiority complex and chauvinism at play. But the Iliad and Odyssey had literally been popular for 2,500 years - and that's conservative. Discovering the actual city, which most believed was mythical, naturally attracted a lot of interest in civilizations and artifacts from the era.
Another myth from (approximately) the same era involved the Minotaur, which lived in a labyrinth on Crete, and had to be fed virgins. Excavations at Knossos revealed a huge palace complex, with a floor plan that looked...well...labyrinthine.
Public interest inevitably leads to ways of making money. And ways of making money lead to grasping and abuse. And forgeries - ever noticed how many relics from the Titanic for sale online? If they were all genuine, the poor boat would've sunk in the harbour.
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| I assure you, this goddess is 1,000% genuine |
Desperate to get in on the Minoan craze, museums played loose with rules of provenance and provenience - where stuff came from, and who owned it.
The problem was most of the stuff dug up at Knossos was in horrible shape. (A lack of obvious artifacts being a primary reason it lay hidden so long.) What recognizable items and images did emerge became huge draws.
Boston's Snake Goddess, allegedly from Knossos, was the biggest draw of them all. Mostly restored, it was a striking and hauntingly beautiful figure, much rhapsodized over by writers, scholars, poets, and more.
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| Possibly also a fake. |
Not the last one. Definitely not the last one.
The problem was, real artifacts did start to emerge, including other "snake goddesses." Boston's goddess didn't really look like any of them. Neither did the handful of other, inevitable forgeries. (Even more ridiculous, the factory where this and other forgeries were made, right down to the individual artisan, were identified. The story was ignored.)
In the end - well, there really isn't one here. Author Kenneth Lapatin makes a pretty conclusive and damning case the Boston Goddess is a fake, but it's hard to prove a negative. Even the otherwise-conclusive carbon 14 test (which makes the statue "several hundred years old") is prone to serious error, as the statue was restored using modern materials.
So what happened? The Minoan craze died out. Nobody cared whether the Snake Goddess was real or not. But she definitely did inspire a whole generation of archaeologists, and almost certainly funded two of them.
So yeah - forgeries aren't all bad after all.*
*Do not forge art. Forging art is bad.


































