Word: copyists
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Dates: during 1960-1969
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Next, a gang of thieves try to bully Fidelman into art forgery. He proves to be possibly the first copyist in the world with painter's block. But when he finally does manage to complete a counterfeit of Titian's Venus of Urbino, he likes the fake so much that he steals it back from the thieves in preference to the real thing. Skillfully Malamud somehow turns this gesture into a superbly comic act of integrity...
Arnold Arnstein, 68, is one of music's obscure middlemen-or more accurately, muddlemen: he is a copyist whose job it is to decipher the scribblings of composers. He works in a dingy cubbyhole on Manhattan's upper West Side, surrounded by towering stacks of music and a massive duplicating machine named Ozalid. Together they make a unique team: Arnie singing an aria from La Bohème while bent over a new score, Ozalid humming contentedly and smelling of ammonia. Yet despite the humble trappings, for the past 25 years Arnstein's office has been...
Genius v. Vanity. After a stretch as a seminarian and a valet, Rousseau moved to Paris, where he lived as a music copyist. Somewhere along the line, tramping the road to Vincennes, he underwent a sort of religious experience, and concluded that revealing the truth about himself would reveal the truth to all other men. It cannot be said that he was very good at it, though the poetic cloud with which he haloed his life story is luminous to this...
Scent on the Hill. When Paris came in the auction-house door, judgment apparently flew out the window. Christie's director, David Carritt, was on vacation, and his evaluators, incredibly, attributed the work to a mediocre 17th century copyist named Lankrink, appraised it at $280, and placed it in the July 28 auction catalogue. Then it was hung in "the Hill," a long, sloping corridor where a few specialists are allowed to browse among works soon to be sold. There it was that Oliver Millar, deputy surveyor of the Queen's painting collection, paused and pondered...
These priceless oils were buried under layers of ignorance, neglect and anonymity," explains Neumann. Tintoretto's Flagellation, with all the master's mannerist mystery of depth, stage lighting and evanescent flesh tones, had been attributed to a copyist. Titian's Toilet was supposedly by his son Orazio, although the supple shoulder line and illusory intermingling of the young woman's ripply tresses with her fluid sleeve reveals the artist's lustrous trademark...