Study day: Fakes, forgeries and the experience of art
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- Start Date: 11 May 2025End Date: 11 May 2025Last Spaces LeftSun (Daytime): 10:30 - 16:30In PersonFull fee £69.00 Senior fee £55.00 Concession £45.00
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What is the course about?
From paintings ‘by’ Vermeer and Leonardo to ancient Roman artefacts and NFTs, this course explores a variety of fakes, both forgeries and replicas, to question the motives for producing such objects. We examine how this history of fakes impacts our understanding of art by challenging our perceptions of what has cultural value. We look at how the art market drives the production of fakes, how the power of ‘the expert’ complicates authenticity and how the conservator supposedly reveals the ‘truth’ of an artwork.
This course uses case studies of famous forgers and the history of art fakes (including sanctioned replicas) so that we can explore how the art market the creates the conditions for fakery. More broadly, we explore the concept of authenticity with the goal of examining what we give value to and why.
The course will include discussion-based activities and group work as well as time for reflecting on the case-studies presented.
Please note: this course will not teach you how to authenticate artworks for auction; it focuses on the idea of fake and forgery in the history of Western art and how that impacts our cultural understanding of art.
What will we cover?
• A history of fakes, forgeries and copies including oil paintings, drawings, sculptures and cultural artefacts
• An introduction to connoisseurship and its impact on how we value art works and museum objects.
• The science of conservation and restoration and how it helps us to find the ‘truth’ within the object
• The power of the art market in driving the industry of fakes, forgeries and replicas.
What will I achieve?
By the end of this course you should be able to...
• Explain the concept of connoisseurship and its impact on how we understand the ‘real’ and the ‘fake’ in art history
• Describe the challenges posed by restoration and conservation, from a museum perspective
• Identify at least three artworks/artefacts and/or key individuals from different times who have challenged our notions of authenticity.
What level is the course and do I need any particular skills?
This course is suitable for all levels.
You should be able to follow simple written and verbal instructions, demonstrations, hand-outs and health and safety information.
How will I be taught, and will there be any work outside the class?
You will be taught with lecture, slide presentations and will be invited to participate in group discussions. Documents related to the course will be provided by the tutor on the day.
Are there any other costs? Is there anything I need to bring?
You might wish to purchase a notebook for taking notes. You might wish to buy some of the books on any reading list provided.
When I've finished, what course can I do next?
Looking inside paintings
Art and critical theory: vision and gaze
Contemporary art in London.
Sarah Jaffray holds a BA and MA in Art History with an emphasis in 19th/20th century France and a minor in the Italian Renaissance. She holds a second MA in Cultural Theory from Goldsmiths, University of London. Sarah was a lecturer for several colleges and universities in the Los Angeles area before relocating to London in 2012. She has worked in curatorial roles at the British Museum and Wellcome Collection. In addition to her current teaching at City Lit, Sarah is a lecturer at the University of Arts London and the Tutor Coordinator for City Lit's Art History programme. Her art historical practice focuses on experimental narratives, artistic process, art pedagogy, politics and philosophy. Sarah's current research is focused on translation and empathy.
Please note: We reserve the right to change our tutors from those advertised. This happens rarely, but if it does, we are unable to refund fees due to this. Our tutors may have different teaching styles; however we guarantee a consistent quality of teaching in all our courses.
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