Ninety One Percent Not Rubens
A museum discovers its beloved masterpiece is a flawless forgery. Nothing on the canvas changes. The thing the visitors lost was never on the canvas, and the machines we built to keep it safe cannot hold it either. Two canvases, the same brushwork, opposite receptions. The wires run to the placards, not to the paint. In November 1937 Abraham Bredius, the most respected Vermeer scholar alive and seventy-nine years old, published a notice in The Burlington Magazine about a painting shown to him in Monte Carlo. It was a wonderful moment in the life of a lover of art, he wrote, to be confronted with a hitherto unknown work by a great master, and he was inclined to call this one the masterpiece of Johannes Vermeer of Delft. The painting was The Supper at Emmaus. Museum Boijmans in Rotterdam bought it that year for a figure usually given as 520,000 guilders, raised from the Rembrandt Society, the shipowner W. van der Vorm, several Rotterdam collectors, and Bredius himself. In 1945 a pa...