Solar Dance: Van Gogh, Forgery, and the Eclipse of Certainty, By Modris Eksteins, Harvard University Press, 341 pp., $27.95
“People who buy pictures on the basis of authentication alone deserve to be cheated.” Julius Meier-Graefe delivered this expert opinion—a high-culture take on “never give a sucker an even break”—on the witness stand in 1932 Berlin. He was one of Germany’s best and most respected art critics—and, it turned out, a bit of a sucker himself, having fallen victim, along with other pillars of the art establishment, to a young German forger named Otto Wacker. A dancer and art dealer, Wacker had offered for sale 30 paintings attributed to Vincent Van Gogh, some of which Meier-Graefe had authenticated. His verdict had carried a great deal of weight, and the paintings sold rapidly until their poor quality began to raise doubts. Wacker was convicted at the trial and sent to prison, and Meier-Graefe’s reputation fell. But even as late as the 1980s, some people doubted what we now know for certain: Wacker was a fraud.