Mrugalla was an expert art forger, copying the works of Rembrandt, Picasso, Renoir and many other masters. His self-taught skill even earned him two years in prison, only to be released by working with authorities to uncover which artworks might be forgeries, including his own.

Though none were original, some of Mrugalla works are now on display in a museum: the Museum of Art Fakes in Vienna. Diane Grobe, co-owner and founder of the museum that opened in 2005, credits Mrugalla with the inspiration for the opening. “[I was inspired by] his exciting stories,” Grobe told Smithsonian.com via email. “He gave [the museum] our first forgeries — [paintings copying] Rembrandt, Müller [and] Picasso. After this meeting, we [looked] for other counterfeiters with similar exciting lives, [including Thomas] Keating, [Eric] Hebborn [and Han van] Meegeren, and then we began to collect their forgeries.” Now, the museum holds a collection of more than 80 forged works.

Some of the more unique items in the museum, according to Grobe, include a set of fake diaries written by Konrad Kujau who claimed they had actually been written by Hitler; a forgery in the style of Christian Bernhard Rode sold to an antique shop by a man trying to help out some friends in the German Democratic Republic; and a fake Matisse first identified as a forgery by the artist’s daughter.

One of the other forgers whose work is exhibited in the museum, Han van Meegeren, became famous virtually overnight. After dropping out of architecture school in the early 1900s to focus on his first love, painting, he lived in poverty while painting portraits of citizens in the upper class. But he was unsatisfied; he wanted more acknowledgement for his work. So he moved to southern France in 1932, and there worked to copy paintings by Dutch painter Johannes Vermeer. He became so skilled at his forging work that he eventually painted what, for a time, many considered to be one of Vermeer's best works: a fake, painted by van Meegeren, called "Emmaus," which he sold to an art museum in Rotterdam for the modern equivalent of $6 million.
But it was another fake that eventually earned van Meegeren his fame. In 1945, he was arrested; he had forged another Vermeer and sold it to second-in-command Nazi Hermann Goering. But, as the war was now over, he was afraid of potential accusations that he had worked with the Nazis, so instead he confessed to faking the painting, and to faking Emmaus and several others. Though found guilty, he gained fame as a He died in 1947, just before his year-long sentence was meant to begin.

Each forger featured in the museum learned their trade a different way—whether through schooling, self-teaching, or simply a desire to learn to paint. And virtually all of them were caught, prosecuted, and sometimes sentenced to jail time.

The curators of the museum place great importance on correctly labeling when an artwork is a genuine fake. Three types of works exist inside the museum: copies, meaning it’s a legitimate copy of an existing artwork but does not claim that it’s by the original artist—and for this museum, the original painter should have been deceased for at least 70 years; a standard forgery, which is a piece done in the style of a certain painter and labeled with that artist’s name; or an identical forgery—a copy of an existing piece of artwork labeled with the original artist’s name. All of these are considered to be genuine fakes.

Grobe’s favorite piece in the museum is a faked Jean Puy painting by forger Tom Keating. On the back of the painting, Keating dedicated the work to Geraldine Norman, a famous art expert, who confirmed for the museum that the piece is indeed a forgery. Keating left little hints inside his work, things he called “time bombs” that would ultimately give the painting away as a fake—such as using peculiar materials, adding deliberate flaws or even writing on the canvas with a white lead pencil before painting so it would only be seen if the piece was x-rayed. The museum’s Puy forgery by Keating has one such time bomb included—though to find out what it is, you'll have to visit the museum and look for yourself.

In addition to housing the artworks themselves, the museum also tries to spread awareness of art law as it relates to fakes and forgeries. The production alone of a piece of art mimicking another artist, for example, is not illegal. But once the product is sold under the guise of an original, then it breaks the law. In that sense, the entire Museum of Art Fakes tells something of a crime story, chronicling the world of stolen creativity and intellectual property.

“The museum, with all the crime stories, makes people interested in art,” Grobe said. “It is funny, but also very informative. We allow a different look at art. And because the museum provides information on current art market law, perhaps we will prevent further fraud.”

The collection at the museum continues to grow; the owners are always purchasing new pieces.

Mrugalla是一名专家艺术伪造者，复制了伦勃朗、毕加索、雷诺阿和许多其他大师的作品。本文向您介绍有关《关于博物馆的英语This Museum Is Fake》的内容他的自学技能甚至让他在监狱里服刑两年，只有在与当局合作揭露哪些艺术品可能是伪造的，包括他自己的作品时才得以释放。

虽然没有一件是原创的，但一些Mrugalla作品现在正在博物馆展出:维也纳的艺术博物馆。黛安娜·格罗博(Diane Grobe)是该博物馆于2005年开业的共同所有者和创始人，她认为Mrugalla是开幕式的灵感来源。“我的灵感来自于他激动人心的故事，”Grobe通过电子邮件告诉Smithsonian.com。“他把我们的第一批赝品送给了博物馆——(画作复制)伦勃朗、穆勒和毕加索。”在这次会议之后，我们看到了其他有类似刺激生活的伪造者，[包括托马斯]基廷，[埃里克]赫伯恩[和Han van]Meegeren，然后我们开始收集他们的赝品。现在，博物馆收藏了80多件伪造作品。

据Grobe说，博物馆中一些比较独特的物品包括一套由Konrad Kujau写的假日记，他声称这些日记实际上是希特勒写的;在德国民主共和国，一名男子试图帮助一些朋友，他被卖到一家古董店。而一个假冒的马蒂斯首先被艺术家的女儿鉴定为伪造品。

另一个在博物馆展出的福格尔人，韩文·米格伦，几乎一夜成名。在20世纪初从建筑学校退学，专注于他的初恋，绘画，他生活在贫困中，同时画着上层阶级的公民画像。但是他是不满意;他想要更多的承认他的工作。1932年，他搬到了法国南部，并在荷兰画家约翰内斯维梅尔(Johannes Vermeer)的作品中作画。他对自己的锻造作品如此娴熟，以至于最终画出了一幅被认为是维梅尔最优秀作品的作品:一幅由范·米格伦(van Meegeren)绘制的赝品，名为“Emmaus”，他把它卖给了鹿特丹的一家艺术博物馆，现代版的价值约600万美元。

但这是另一件赝品，最终赢得了范美伦的名声。1945年，他被捕;他伪造了另一个Vermeer，卖给了纳粹的二号人物赫尔曼·戈林。但是，随着战争的结束，他害怕潜在的指控，因为他曾与纳粹合作过，所以他承认伪造了这幅画，并伪造了Emmaus和其他几个人。尽管他被判有罪，但他在1947年去世，就在他长达一年的刑期即将开始之前。

博物馆里的每一个伪造者都以不同的方式学习他们的交易——无论是通过学校教育、自我教育，还是仅仅是想学习绘画。几乎所有的人都被抓，被起诉，有时被判入狱。

博物馆馆长非常重视正确地标示艺术品是赝品。博物馆内有三种类型的作品:复制品，这意味着它是现存艺术品的合法复制品，但并没有声称它是由最初的艺术家创作的，而对于这个博物馆来说，最初的画家应该已经去世了至少70年;一种标准的伪造品，一种以某画家的风格做的作品，并以艺术家的名字命名;或者是一模一样的赝品——一件现存的艺术品，上面贴着原始艺术家的名字。所有这些都被认为是真正的赝品。

格罗贝在博物馆里最受欢迎的作品是福格·汤姆·基廷(forger Tom Keating)的一幅伪造的让·皮伊(Jean Puy)画作。在这幅画的背面，基廷把作品献给着名的艺术专家杰拉尔丁·诺曼(Geraldine Norman)，他向博物馆证实这幅画确实是赝品。基廷左小提示在他的工作,他被称为“定时炸弹”,最终将放弃这幅画作为造假使用特殊的材料,添加深思熟虑的缺陷,甚至写在画布上用白色铅笔绘画之前这只会出现如果块x光检查。Keating博物馆的Puy forgery有一个这样的定时炸弹，但为了弄清楚它是什么，你必须参观博物馆，自己找。

除了艺术品本身，博物馆还试图传播艺术法律的意识，因为它与赝品和赝品有关。例如，模仿另一位艺术家的艺术作品，并不违法。但一旦产品以原创的名义出售，那么它就违反了法律。从这个意义上说，整个艺术博物馆都在讲述一个犯罪故事，记录了世界上盗窃的创造力和知识产权。

“博物馆，有所有的犯罪故事，让人们对艺术感兴趣，”Grobe说。这很有趣，但也很有用。我们允许不同的艺术。?