A Conversation with the Author

How did you first hear about Vincent Peruggia’s theft of the Mona Lisa?

I was reading a pamphlet about the history of the Louvre museum, and it was mentioned in one sentence, but it stayed with me and captured my imagination: the idea that someone actually stole the Mona Lisa right out of the museum!

Do you think your interpretation of events could be the truth?

I based as much as I could on facts—newspaper articles about the theft and art historians who had various theories—but when it comes down to it, what I love most is to invent stories and scenarios that might have been.

Luke and Smith have an unusual partnership. Was there anything in particular that inspired their wary trust and reliance on each other?

At first, their relationship is based on need; they cannot get what they want or succeed alone. After a while, they start to respect each other’s intelligence and dedication. I thought a lot about these two men, how they came from tough backgrounds and had to create themselves, become new people, something many of us do to move forward, sometimes to survive. I saw that as an eventual bond between them, seeing something of themselves in the other person. To me, that is one of the most important human qualities: the ability to empathize with others.

You’re an artist and replicator yourself. How did your experiences in that realm shape the book?

Having gone to art school and being a painter helped me understand Luke and his desires as well as those of the art forger in the book, Yves Chaudron.

I have been painting replications of known artworks for art collectors for over two decades. Though I would never try to pass them off as forgeries, I do my best to make exact copies while abiding by the legal guidelines concerning art replication: I change the size or medium, I use contemporary art supplies that would be detected under scientific scrutiny, and I always sign MY name on the back. Making “fakes” has given me tremendous insight into the world of art forgery, how you sort of slip into the skin of the artist whose work you are replicating and how exciting it is to have this finished painting that looks exactly like that famous Picasso or Manet, but you made it.

When my daughter was about ten, she asked why I didn’t just sell my reproductions as the originals. I explained why it was illegal to replicate other people’s artwork and try to pass it off as your own. She understood but still thought I should try to sell my copy as the real thing!

What are the most common misconceptions about forgery and replication of famous masterpieces?

I think most people believe art forgeries are easily detected, but that’s not true. Many forgers elude detection for decades, fooling museums, auction houses, and experts. Eventually, they make a mistake (like accidentally using a pigment that was not invented until a few years after the painting they are forging), and that’s it—they get caught. There are many forgeries in well-known art collections and museums all over the world, awaiting detection.