Meegeren in a sentence

Legacy A collection of genuine and fake signatures of Han van Meegeren Van Meegeren played different roles, some of which were shrouded in fraudulent intentions, as he sought to fulfill his goal of besting his critics.

Throughout 1941, van Meegeren issued his designs, which he published in 1942 as a large and luxurious book entitled Han van Meegeren: Teekeningen I (Drawings nr I).

Han van Meegeren was a real-life artist, con man and bon vivant who swindled Nazis during the war.

Van Meegeren was born 130 years ago today, and his career in forgery had earned him a fortune by 1945 when the Allies discovered a stash of Nazi art loot in an Austrian salt mine.

A biography/novel based on the author's conversations with van Meegeren's second wife.

A bottle with exactly that ingredient had been found in van Meegeren's studio.

After completing a painting, van Meegeren would bake it at convert to convert to harden the paint, and then roll it over a cylinder to increase the cracks.

After his death, the court ruled that Van Meegeren’s estate be auctioned and the proceeds from his property and the sale of his counterfeits be used to refund the buyers of his works and to pay income taxes on the sale of his paintings.

Back to the truth, Vermeer-Van Meegeren :Two genuine Vermeers.

Based on Miedl's confession, the painting was traced back to van Meegeren.

Career as a legitimate painter The Deer (or "Hertje") is one of Han van Meegeren’s best-known original drawings.

Death While waiting to be moved to prison, van Meegeren returned to his house at 321 Keizersgracht, where his health continued to decline.

During the German occupation of the Netherlands, one of van Meegeren’s agents sold the Vermeer forgery Christ with the Adulteress to Nazi banker and art dealer Alois Miedl in 1942.

Evidence against Han van Meegeren: a collection of pigments.

Existing paintings obtained a signature "H. van Meegeren", or new pictures were made in his style and falsely signed.

Experts could probably have identified it as a forgery; as van Meegeren's health declined, so did the quality of his work.

Fortunately for van Meegeren, there were no genuine Vermeers available for comparison, since most museum collections were in protective storage as a prevention against war damage.

Han van Meegeren knew that white lead was used during Vermeer’s time, but of course he had to obtain his stocks through the modern colour trade, which had changed significantly since the 17th century.

Han van Meegeren was a 20th-century Dutch painter who worked in the classical tradition.

He exclaimed, "The painting in Göring’s hands is not, as you assume, a Vermeer of Delft, but a Van Meegeren!