The Treason of Images

Dogtooth is not usually known to equivocate, but in the case of Robert Thwaites I find myself once again navigating a tight passage between liberty and practicality. The value of authenticity has never diminished - much to the consternation of Roland Barthes, who would argue, probably quite sensibly, that a flawless forgery of van Gogh's 'Sunflowers' should fetch the price of the original. Or alternatively - as our economics would have it - the price of the original should fall to the aggregate of the collected fakes. In essence, Thwaites's crime was only to take advantage of the absurdly inflated value of original works of fine art. His forgeries received high praise from everyone up to and including his sentencing judge, not to mention that the paintings were of such a quality to dupe the art experts who purchased them. Honesty in one's dealing should of course be encouraged, and serious fraud exposed and punished. But as a country that hands out serious prison terms to forgers, we should reflect soberly on the how selling high-quality paintings under the name of a past-master (these were not copies of originals, but original works in the style of John Fitzgerald, a 19th century dreamscape artist) came to be a criminal offence.