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Fake art sits unnoticed in galleries around the world. A talented fraudster has been playing the art market and ripping off collectors for years. Who is the mystery conman? Discover more in THE MYSTERY CONMAN - THE MURKY BUSINESS OF COUNTERFEIT ANTIQUES. Museum curators and art collectors want to sweep the topic of counterfeiting under the carpet. But archaeologist Stefan Lehmann is on the hunt for the elusive figure whose counterfeit antiques are in some of the world's biggest collections. Around 40 fakes have been discovered and Lehmann believes this is just the tip of the iceberg. Alongside antique dealer Christoph Leon, Lehmann follows the forgery trail through Europe and to the US. _______ Exciting, powerful and informative – DW Documentary is always close to current affairs and international events. Our eclectic mix of award-winning films and reports take you straight to the heart of the story. Dive into different cultures, journey across distant lands, and discover the inner workings of modern-day life. Subscribe and explore the world around you – every day, one DW Documentary at a time. Subscribe to DW Documentary: https://www.youtube.com/channel/UCW39zufHfsuGgpLviKh297Q?sub_confirmation=1# For more information visit: https://www.dw.com/documentaries Instagram: https://www.instagram.com/dwdocumentary Facebook: https://www.facebook.com/dw.stories
A fantastic 2001 documentary, with a huge chunk exploring Vermeer's compositional methods and techniques. Narrated by Meryl Streep My rebuttal to Tim's Vermeer: It's obvious that Vermeer played around with a camera obscura, but the more likely explanation is that he became so familiar with its optical distortion that he 'became' a camera obscura (he adopted its way of seeing as his aesthetic). The placement of his pointillist highlights on the bread in the Milkmaid (for example) is like a how a camera obscura would place highlights on a highly reflective object, but NEVER a loaf of bread. He placed them there because he was creating it in his imagination to look how shinier objects would look through a camera obscura, because he consciously enjoyed the effect of it and created it thus. If Vermeer were dependent on a bulky optical device he would never have painted the View of Delft -- a massive outdoor landscape scene that was certainly created at home. It was generally impossible before the advent of tubed paint to work alla prima outside, and if the camera obscura were a trade secret he would have never have risked using it in public. Vermeer worked it up (along with the 'Little Street') from drawings and returned to the studio to make it. Vermeer painted all of his interiors in the same room of his small house in Delft, yet the windows, the floor, the walls etc. always look different. Why? Because he was creating them in his head to look like a camera obscura, but not slavishly with a camera obscura. Finally, X rays of Vermeer's paintings show that he reworked the placement of things over and over -- meaning he was building from imagination, not directly from an optical device.
Diego Rodríguez de Silva y Velázquez baptised June 6, 1599 -- August 6, 1660) was a Spanish painter who was the leading artist in the court of King Philip IV and one of the most important painters of the Spanish Golden Age. He was an individualistic artist of the contemporary Baroque period, important as a portrait artist. In addition to numerous renditions of scenes of historical and cultural significance, he painted scores of portraits of the Spanish royal family, other notable European figures, and commoners, culminating in the production of his masterpiece Las Meninas (1656).