{"id":547,"date":"2021-05-11T18:36:51","date_gmt":"2021-05-11T18:36:51","guid":{"rendered":"http:\/\/web.colby.edu\/copiesfakesforgeries\/?page_id=547"},"modified":"2021-05-20T15:13:16","modified_gmt":"2021-05-20T15:13:16","slug":"clause-lorrain-liber-veritatis","status":"publish","type":"page","link":"https:\/\/web.colby.edu\/copiesfakesforgeries\/clause-lorrain-liber-veritatis\/","title":{"rendered":"Claude Lorrain, Liber Veritatis<\/em>"},"content":{"rendered":"\n

In 1634, Claude Lorrain (1600\u201382), then working for Philip IV of Spain, set out to compile an official record of his paintings. This book of drawings after paintings, known as the Liber Veritatis<\/em>, served to protect Lorrain against forgers of his work. Patrons and collectors could consult the Liber Veritatis<\/em> to determine the authenticity of their Lorrain painting. After Lorrain\u2019s death in 1682, Lorrain\u2019s daughter, Agnese Gell\u00e9e, inherited the Liber Veritatis<\/em>. While on a trip to Paris around 1720, the Duke of Devonshire brought the book and brought it back to London. Once in London, five drawings were added, bringing the total up to two-hundred. In 1774, Richard Earlom made the first prints after the drawings. Earlom used a process known as mezzotint to mimic the ink wash of the originals. John Boydell published Earlom\u2019s prints in two volumes between 1774\u201377. It quickly became standard practice for art students to copy these prints.<\/h2>\n\n\n\n
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