Abstract
The concept of forgery is a touchstone of criticism. If the existence of forgeries — and their occasional acceptance as authentic works of art — has been too often dismissed or ignored in the theory of criticism, it may be because of the forger’s special power to make the critic look ridiculous. Awkward as it is, critics have heaped the most lavish praise on art objects that have turned out to be forged. The suspicion this arouses is, of course, that the critics were led to praise the forgery for the wrong reasons in the first place. Since the aesthetic object as perceived is no different after the revelation that it is forged, the implication to be drawn is that it has previously been critically valued not for its intrinsic aesthetic properties, but because it was believed to be the work of an esteemed artist.
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Aesthetics and Cognitive Science.Dustin Stokes - 2009 - Philosophy Compass 4 (5):715-733.
Meriting a Response: The Paradox of Seductive Artworks.Nils-Hennes Stear - 2019 - Australasian Journal of Philosophy 97 (3):465-482.
Forgery and the Corruption of Aesthetic Understanding.Sherri Irvin - 2007 - Canadian Journal of Philosophy 37 (2):283-304.
Meals, Art, and Artistic Value.Eileen John - 2014 - Estetika 51 (2):254-268.
Artistic Crimes and Misdemeanours.David Davies - 2019 - British Journal of Aesthetics 59 (3):305-321.

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