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Jef Van der Veken
Jef Van der Veken (official name: Josephus Maria Vander Veken)〔(Biographical details ) at the Netherlands Institute for Art History 〕〔Alternative name spellings and name variations: Jef Vanderveken, Jef van der Veken, Josephus Maria Vander Veken, Josephus Maria Vander Veken, Joseph-Marie Van der Veken, Joseph Van der Veken, Joseph van der Veken〕 (1872, Antwerp – 1964, Ixelles) was a Belgian art restorer, copyist and art forger, who had mastered the art of reproducing the works of the Flemish primitives.
==Early life==
Jef Van der Veken’s parents operated a crystal and porcelain ware business in Antwerp. From a young age Jef Van der Veken nourished artistic ambitions. While performing his compulsory military service, he attended drawing classes at the Academy of Fine Arts in Antwerp. Here he learned the art of painting by copying photographs and making free adaptations of the old masters. He completed his academic training at the top of his class. Van der Veken then started to make pastiches on order and established himself as an antique dealer in Brussels in 1908.〔(Persdossier ''Autour de la «Madeleine Renders»'' ) at the Koninklijk Instituut voor het Kunstpatrimonium 〕 He became so skilled in mimicking the style of the old masters that his works were taken for originals and some were even sold as such. For instance, at the 1927 London exhibition on Flemish and Belgian Art between 1300-1900 a work by his hand was exhibited as an original old master. Van der Veken had to convince the organizers to remove the painting that he had made on the basis of a badly damaged original. This incident caused quite a scandal in the press and scientific literature of the time.
The start of the First World War marked a change in his professional and artistic career as Van der Veken shifted his interest to restoration work and perfected his own restoration process, the "hyperrestauration". This process consisted in the recovery of an old, damaged or modest work, which served as the support for a new creation. He was passionate about the Flemish Primitives, particularly Rogier van der Weyden and Jan van Eyck, and prided himself on having rediscovered the technique of painting with eggs which according to him had been used by early Netherlandish painters. It has been demonstrated since that the basis of the technique of early Netherlandish painters was not the use of eggs but the use of oil-based paint.〔
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