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The expert tamed
by
Tromp, Henk
in
Agriculture
/ Applied arts
/ Architectural elements
/ Architecture
/ Archival principles
/ Archival science
/ Art dealing
/ Art genres and movements
/ Art history
/ Artists tools
/ Arts
/ Arts participation
/ Attorneys
/ Biological sciences
/ Brochures
/ Communications
/ Communications media
/ Courtrooms
/ Criminal law
/ Criminal offenses
/ Crop harvesting
/ Crop production
/ Easels
/ Economic disciplines
/ Economics
/ Employment
/ Farming
/ Forgery
/ Forgery, falsification & theft of artworks
/ Fraud
/ Haymaking
/ Haystacks
/ HISTORY OF ART / ART & DESIGN STYLES
/ Impressionism
/ Information science
/ Interior spaces
/ Judicial system
/ Labor economics
/ Law
/ Legal proceedings
/ Legal professionals
/ Library science
/ Occupations
/ Portraits
/ Print media
/ Prosecuting attorneys
/ Provenance
/ Rooms
/ Self portraiture
/ Social sciences
/ Trial court proceedings
/ Trials
/ Visual arts
2010
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The expert tamed
by
Tromp, Henk
in
Agriculture
/ Applied arts
/ Architectural elements
/ Architecture
/ Archival principles
/ Archival science
/ Art dealing
/ Art genres and movements
/ Art history
/ Artists tools
/ Arts
/ Arts participation
/ Attorneys
/ Biological sciences
/ Brochures
/ Communications
/ Communications media
/ Courtrooms
/ Criminal law
/ Criminal offenses
/ Crop harvesting
/ Crop production
/ Easels
/ Economic disciplines
/ Economics
/ Employment
/ Farming
/ Forgery
/ Forgery, falsification & theft of artworks
/ Fraud
/ Haymaking
/ Haystacks
/ HISTORY OF ART / ART & DESIGN STYLES
/ Impressionism
/ Information science
/ Interior spaces
/ Judicial system
/ Labor economics
/ Law
/ Legal proceedings
/ Legal professionals
/ Library science
/ Occupations
/ Portraits
/ Print media
/ Prosecuting attorneys
/ Provenance
/ Rooms
/ Self portraiture
/ Social sciences
/ Trial court proceedings
/ Trials
/ Visual arts
2010
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The expert tamed
by
Tromp, Henk
in
Agriculture
/ Applied arts
/ Architectural elements
/ Architecture
/ Archival principles
/ Archival science
/ Art dealing
/ Art genres and movements
/ Art history
/ Artists tools
/ Arts
/ Arts participation
/ Attorneys
/ Biological sciences
/ Brochures
/ Communications
/ Communications media
/ Courtrooms
/ Criminal law
/ Criminal offenses
/ Crop harvesting
/ Crop production
/ Easels
/ Economic disciplines
/ Economics
/ Employment
/ Farming
/ Forgery
/ Forgery, falsification & theft of artworks
/ Fraud
/ Haymaking
/ Haystacks
/ HISTORY OF ART / ART & DESIGN STYLES
/ Impressionism
/ Information science
/ Interior spaces
/ Judicial system
/ Labor economics
/ Law
/ Legal proceedings
/ Legal professionals
/ Library science
/ Occupations
/ Portraits
/ Print media
/ Prosecuting attorneys
/ Provenance
/ Rooms
/ Self portraiture
/ Social sciences
/ Trial court proceedings
/ Trials
/ Visual arts
2010
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Book Chapter
The expert tamed
2010
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Overview
Despite all the setbacks, De la Faille's faith in his own convictions remained unshaken, at least in the eyes of the world. At the end of 1930 he smugly stated that no one, except for Bremmer and his circle, still believed in the authenticity of art dealer Otto Wacker's Van Goghs - neither in the Netherlands nor in Germany. \"J. Meier-Graefe and the other German experts have also come over to my side,\" he wrote in the NRC.
1
Meier-Graefe had told him in a letter that he had retracted his certificates of authenticity - at least that is what De la Faille claimed. This letter has not been found, but whether Meier-Graefe would so readily admit his error is highly debatable. In any case, the Berlin art expert Hans Rosenhagen (1858-1943) is not known to have retracted any of his fourteen certificates of authenticity, and in 1932 it would emerge that he still regarded eight of the works as thoroughly genuine. De la Faille's self-assured pronouncement was probably based on the judgment of duped German art dealers and the Nationalgalerie (not the least important parties in the conflict, it must be said), and in the Netherlands he may have received support behind the scenes from Engineer Van Gogh and a few friendly dealers and critics. The Dutch press, however, continued to stick with the story of a core of genuine works around which a larger group of forgeries had been collected. In fact, that was Bremmer's view. Actually, De la Faille's take on the situation - consensus in Germany and the Netherlands, disrupted by a few Bremmerians - was wishful thinking more than anything else, as the case against art dealer Otto Wacker would soon reveal.
Publisher
Routledge,Amsterdam University Press
Subject
ISBN
9789089641762, 9089641769
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