Usually the original (advertised) names are kept – also because of their occasional bizarreness.
If the photographs differ significantly, the repeated occurrences of the falsos in different galleries are also retained.
Andrea Pillar – Belotsvetová: The falseness of Bělocvětov’s paintings are usually apparent at a glance because the forger, or forgers, are complete dilettantes. On close examination, this is even quite clear.
For the sake of clarity, I compare the falses with the true images:
absence of elementary craft knowledge, randomness and deformation of shape, absence of composition – of course, any content is also missing
perfect knowledge of craft and the resulting superstructure, establishing perfect composition and meaningful content in each painting
inability to easily match colours – even on a “designer” level – which adds to the chaotic impression
a sophisticated color palette, completing the drawing basis of the composition, the artist is able to create shape in space with “mere” color – moreover, color has philosophical content
This most difficult part of the painter’s craft, in which even many a master often “gets it wrong,” best illustrates the abysmal difference between Bělocvětov’s paintings and their falsities. I should add that Bělocvětov is one of those masters who do not get lost.
That a forger would even attempt “products with anatomical shapes” in this situation, is either incredible arrogance or sheer incapacity for artistic vision. Probably both.
False – Anatomy
Pictures – Anatomy
Unfamiliarity with anatomy at the most basic level. If a forger draws, or even worse – sketches (in a drawing it is more noticeable) a “simple” figure, it is always badly built. An even worse situation occurs if he tries to imitate the masterful abbreviations of the original. This results in deformations that would render the living body non-functional.
The extraordinary rehearsal, coupled with years of “training” in anatomical drawing, when the painter many times exceeded Ingres’s recommended penumbra of “at least one drawing a day”, gives Bellocveto a drawing virtuosity that allows him to depict, in detail and as a whole, even very difficult positions of the human figure in a correct manner.
It is a definite nuisance that Belotsvetov in his mastery often allows himself real equilibrism, in which he seemingly breaks the rules of character stability, as can be seen graphically in the 1980s painting, ”The Jester and His Son”.
Resume: Even if a painter with good craftsmanship and technical knowledge had forged Bellocvet’s paintings, he would not have been able to achieve the depth and content of the original, because only the artist went through the entire path of his work’s development.
In this situation, where a complete dilettante attempts a falsetto, it can be said that this is both good and bad: good because the fake is recognizable at first glance, bad because the artist’s work is shamelessly caricatured and his name damaged by even the mere verbal association with these spoofs, let alone their sale.
Galerie “Obrazy v aukci”: