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Forgeries

A  HISTORY OF COPIES AND FORGERIES
Cet article se compose de 20 pages.
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Finally, after 1955, many specialists had come to the conclusion that most fakes produced by van Meegeren were full of disturbing mistakes, notwithstanding the fact that they only dealt with religious themes. Certain figures appeared to be miles away from those painted by Vermeer and truly signalled the hand of a 20th Century painter. Today it would be quite impossible to imagine at first glance that Vermeer could have painted these works.

FRENCH COPIES

Many 17th Century French painters copied Italian masters notably Simon Vouet who was much inspired by Titian and Veronese. Vouet himself was much copied by his brothers Aubin and Claude as well as by Michel Dorigny, his son-in-law, Jacques Blanchard, François Perrier, Claude Vignon or Michel Corneille.

Claude Vignon copied works by Martin Fréminet, a painter of the School of Fontainebleau while another imitator of Vouet was Eustache Le Sueur.

Nicolas Poussin copied Raphael, Giulio Romano or Valentin de Boullongne. After becoming famous, Poussin had several aides who helped him produce many paintings. His main pupils or followers were Gaspard Dughet, Nicolas-Pierre Loir, Jean Mosnier, Jean Dominique, Nicolas de la Fage, Jean Letellier or Francisque Millet.

Dughet's works were often mistaken with those painted by Poussin. On the other hand, Dughet was copied by F. Joachim Blich.

Nicolas Colombel, Pierre Le Maire, Jacques Stella, Charles Evrard, Jean de Troy, Antoine Ranc and even Charles le Brun were over-zealous imitators of Poussin.

Sébastien Bourdon reproduced works by Claude Gellée, Michelangelo, Caravaggio, Bamboccio, Poussin, Veronese, Cerquozzi or Jan Miel. Gellée himself called on the assistance of Miel, J. Courtois or Francesco Allegrina da Gubbio to add figures in his paintings while Gian-Domenico Romano and Jan Both were among his best imitators.

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