HA1B6-15 Fakes and Forgeries
Introductory description
This module has been designed to introduce students to the critical evaluation of visual and documentary evidence through a discussion of works of art that have been revealed or are polemically considered to be fakes. It will be team-taught to introduce students to the range and presentation methods of the members of the department.
Module aims
Taking a thematic approach, the module will consider cases from the medieval to the contemporary across different media. The following questions will be addressed: What is authenticity? When did the notion of forgery emerge? What is the difference between copy, replica, and forgery? Is restoration a sort of forgery? Is there a science to reveal forgeries? What is the relationship between fake and mass culture? Two important 20th-century films will provide further points for study.
Outline syllabus
This is an indicative module outline only to give an indication of the sort of topics that may be covered. Actual sessions held may differ.
Introduction: Restoration or Replication?
Reproduction, Revival, Forgery
Technical Analysis: An Anti-Forgery?
Archives of Forgeries
The Forger as Artist?
The Architectural Simulacrum
Appropriation, Authorship, Copyright
The Real/Fake Debate
Forgery and Connoisseurship
Learning outcomes
By the end of the module, students should be able to:
- Demonstrate an understanding of the term authenticity
- Demonstrate an understanding of the difference between copy, replica and forgery
- Understand the relationship between fake and mass culture
- Present an argument, initiate and sustain group discussion through intelligent questioning and debate at an appropriate level
- Ability to undertake research and to write up the results in the form of a well-structured argument at an appropriate level
- Show understanding of diverse viewpoints
- Familiarity with essential ICT skills
- Ability to collaborate effectively with others
- Ability to find, select, organize and synthesize evidence
- Ability to formulate a sustained argument
- Think conceptually and independently at an appropriate level
- Demonstrate critical analysis of cultural artefacts in their context
- Demonstrate sophisticated visual analysis
- Demonstrate bibliographical skills at an appropriate level
Indicative reading list
Walter Benjamin, The Work of Art in the Age of Mechanical Reproduction (London: Penguin, 2008).
Lynn Catterson, Finding, Fixing, Faking, Making: Supplying Sculpture in ‘400 Florence (Todi: Ediart, 2014).
Leah R. Clark, “Transient Possessions: Circulation, Replication, and Transmission of Gems and Jewels in Quattrocento Italy,” in Journal of Early Modern History 15 (2011):185–221.
Bruce Cole and Ulrich Middledorf: “Masaccio, Lippi, or Hugford?,” in Burlington Magazine 113 (1971):500–507.
Thomas Da Costa Kaufmann, “Antiquarianism, the History of Objects, and the History of Art before Winckelmann,” in Journal of the History of Ideas 62 (2001):523–41.
Jonathon Keats, Forged: Why Fakes Are the Great Art of Our Age (Oxford: Oxford University Press, 2013).
Joris Kila and Marc Balcells, eds., Cultural Property Crime (Leiden and Boston: Brill, 2014).
Thierry Lenain, Art Forgery: The History of a Modern Obsession (London: Reaktion Books, 2011).
Tomas Loch, “The Changing Meaning of Copies: Citations and Use of Plaster Casts in Art from the Renaissance to the Beginning of the 20th Century,” in Copia e invención (Valladolid: Museo Nacional de Escultura, 2013):107–39.
Ken Perenyi, Caveat Emptor: The Secret Life of an American Art Forger (New York: Pegasus, 2012).
David A. Scott, Art: Authenticity, Restoration, Forgery (Los Angeles: Cotsen Institute of Archeology Press, 2016).
Walter Stephens, “When Noah Ruled the Etruscans: Annius of Viterbo and his Forged Antiquities,” in MLN 119 (2004):201–23.
Subject specific skills
- demonstrate an understanding of the term authenticity
- demonstrate and understanding of the difference between copy, replica and forgery
- understand the relationship between fake and mass culture
- demonstrate sophisticated visual analysis
- demonstrate critical analysis of cultural artefacts in their context
Transferable skills
- present an argument, initiate and sustain group discussion through intelligent questioning and debate at an appropriate level
- ability to undertake research and to write up the results in the form of a well-structured argument at an appropriate level
- familiarity with essential ICT skills
- ability to collaborate effectively with others
- show understanding of diverse viewpoints
- ability to find, select, organize and synthesize evidence
- ability to formulate a sustained argument
- think conceptually and independently at an appropriate level
- Demonstrate bibliographical skills at an appropriate level
Study time
Type | Required |
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Seminars | 10 sessions of 2 hours (13%) |
Fieldwork | 1 session of 2 hours (1%) |
Private study | 128 hours (85%) |
Total | 150 hours |
Private study description
Required and recommended reading for seminar preparation, research for written assessments and revision for examinations.
Costs
No further costs have been identified for this module.
You do not need to pass all assessment components to pass the module.
Assessment group D
Weighting | Study time | Eligible for self-certification | |
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Assessment component |
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Assessed Essay | 40% | No | |
1500 word essay |
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Reassessment component is the same |
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Assessment component |
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Engagement | 20% | No | |
Reassessment component is the same |
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Assessment component |
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Online written assignment (Open book) | 40% | No | |
~Platforms - WAS
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Reassessment component is the same |
Feedback on assessment
Written feedback and dedicated feedback tutorials.
Courses
This module is Option list B for:
- Year 1 of UHAA-V401 Undergraduate History of Art