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Forgeries

A  HISTORY OF COPIES AND FORGERIES
Cet article se compose de 20 pages.
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Jose Ribera also copied works by Caravaggio and himself had imitators like Geronimo de Espinosa, Massimo Stanzione, Murillo, Francesco Capurro, Domenico Fiasella or Francisco Zurbaran who was copied in turn by Mateo Gilarte, F. Cubrian or J. de Sarabia.

Velasquez, the great Spanish master, copied elements from works by Titian or Michelangelo. Mazo, his son-in-law, completed some of his paintings and even copied a certain number of his works.

Mazo also copied works by certain great masters such as Tintoretto, Titian and Raphael and today specialists have been experiencing problems when it comes to authenticate works by these painters.

Other imitators of Velasquez were Carreno de Miranda, Juan de Alfaro y Gomez, Pablo Legote, Ginès de Aguirre, Alonso Cano or Andrea Sacchi.

In addition, the so-called journal written by Velasquez during his first trip to Italy was a fake.

Murillo on his part became a reknown painter after copying Old Masters such as Titian, Veronese, Rubens, Van Dyck and Velasquez. He worked under the influence of these masters until at least 1655.

Ignacio de Iriarte, Murillo's pupil, and Meneso Osorio, Pedro Nunes de Villa Vicenzio or Miguel Tobar then copied this master.

Other imitators of Murillo were Felipe de Leon, Germano Clorante, Tomas Martinez, Lorenzo Quiros, Joachim Cano, Jose Lopez, Gazon Gutierrez, Marquez, Aiguilar, Perez de Miranda and de Sarabia as well as Sebastiano Gomez, a black slave.

Murillo's mystical "Marriage of Saint Catherine", offered by Queen Christina of Spain to Pope Pius 9, was in fact a fake produced during the 18th Century as proved by an X ray examination carried out in the Vatican recently.

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