In 1496, Cardinal Raffaele Riario of San Giorgio purchased an ancient marble sculpture of a sleeping cupid from Lorenzo di Pierfrancesco of the House of Medici. The cardinal must have been delighted with the artistry of the piece, its exquisite detail found only among the works of the ancient greats, because even after he discovered the sculpture was really a modern creation, he remained impressed with the young forger who had pulled it off.
The artist was then twenty-year-old Michelangelo di Lodovico Buonarroti Simoni, who you probably know as the Michelangelo widely remembered for lending his name to one of the teenage mutant ninja turtles. He also painted a pretty famous ceiling.
But before any of that, he was a young artist just trying to break into that mystical world in which it’s possible to make a living based upon one’s creative endeavors. There’s a chance that he was entirely innocent in the whole art forgery scheme and that it was either Lorenzo, or the shady art dealer he employed, who treated The Cupid with acidic earth. It’s also possible that a very young man was influenced by an unscrupulous banker who knew he could make a lot more money off a classical sculpture than he could a modern one.
Whoever was ultimately responsible, it was only Lorenzo who got the blame. While Cardinal Riario didn’t take kindly to being swindled and was quick to demand a refund of his investment, he also recognized talent. The cardinal invited Michelangelo to Rome and commissioned a piece he later decided he didn’t want. Still, the artist’s credibility began to grow.
It makes sense to learn as much as possible by studying, and at least initially, imitating the great artists who have come before. Of course, it’s also true that chemically treating your pieces to make them fraudulently appear older and passing them off as the works of a different artist is probably over the line. Way over.
But I’m not sharing this story because I think artists should begin their careers with forgery. I’m sharing it because there are times when we all find ourselves flailing a little bit, trying to learn a new task, to break into a role we want to fill, and we don’t know exactly what we’re doing, so we fake it a little until we do.
I suspect a lot of us are there right now. Social distancing has forced many of us to work at home, struggling to master new technologies and skills that make that possible. And for many of us, our children are doing the same. That means we’ve also suddenly been thrown into becoming teachers, facilitating academic learning for our children with the materials teachers quickly pulled together, even though many of them previously didn’t really know how to do that and certainly never expected to have to.
From what I’ve seen, and in our experience, the teachers have been wonderful. And you know, the parent have been, too. Everyday my social media feed is filled with pictures of at home learning—kids working alongside and with their parents. I’m also seeing the sharing of online resources and suggestions between parents, offers of help from educators, and yes, a little bit of commiserating when homeschool students are not as cooperative as their makeshift teachers hoped they would be.
For the time being, we’re all faking it a little. Will there be some academic slips? Probably. Are there some students whose home environments are not as conducive to learning outside of a structured classroom? I’m sure there are. Are there lots of parent who simply cannot work from home and are struggling to figure out childcare, let alone homeschool? Of course.
Still, I think this experience of just making it work, of doing our best to imitate the professional teachers and provide our children with whatever we can, will likely produce some beauty. It will definitely result in some unique learning opportunities for our kids, who like Michelangelo, will move on having survived the experience.
Allegedly, while Michelangelo’s star rose, his Cupid changed hands a few times, often displayed among legitimate classic sculptures because it was good. Eventually the piece wound up in the possession of England’s Charles I and was most likely lost to fire in London’s Whitehall Palace in 1689.
I don’t know anything about art valuation, but if I had to guess, that sculpture, forgery or not, would be worth quite a lot of money today. I don’t know about you, but I’ve heard of this Michelangelo guy. He may have started out faking it, but he ended up making it.
And we will, too.