The Art Of The Con: The Most Notorious Fakes, Frauds, And Forgeries In The Art World - Plot & Excerpts
In what might or might not have been a case of projection, she said, “Larry always has some mystery. Success for him was to find the undiscovered painting, to prove this was a masterwork against all odds.”1 If Freedman’s evaluation may have offered a glimpse into her own psyche, it was accurate nonetheless when it came to Salander. Salander was at the time working feverishly on two major shows that he saw not only as a financial necessity, but also as a grand moment for the art market the world over. One exhibition, to be titled Masterpieces of Art: Five Centuries of Painting and Sculpture, would feature the works of true classical giants such as Rubens, Correggio, Botticelli, El Greco, Titian, and Michelangelo. Masterpieces of Art represented Salander’s deep interest in what he saw as truly valuable art—that of the classical masters. Speaking to the critic James Panero, Salander made a blunt comparison between the prices fetched by the work of contemporary artists versus that of the Old Masters: “Our society now values a Warhol for three times as much money as a great Rembrandt.
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