You can see the drawing — "Bridge No. 114" — and read about the creation of Nat Tate by writer William Boyd here.
It all started in 1998. I was on the editorial board of Modern Painters magazine, then a very classy and influential art quarterly, and one day in a meeting the editor of the magazine, Karen Wright, wondered out loud if there was a way we could introduce some fiction into the mix of artists' profiles, exhibition reviews and general essays in which the magazine specialised. I don't know what made me speak out but I said, without really thinking: "Why don't I invent an artist?" And so Nat Tate was born.So Boyd wrote his story, making Tate an Abstract Expressionist who gets depressed about his art after meeting Picasso* and ends up burning all his artwork and committing suicide.** Boyd allowed his fictional story to be published as a glossy art book with illustrations of artwork, and it was presented as if it were about a real artist. That it, it was a joke — the launch party was on an April Fool's Day 1998 — or, if you prefer, a hoax. People fell for it. The truth was revealed. Boyd professes himself hurt that it was called a hoax and not a joke. (Contemplate the hoax/joke distinction.)
Dogged by the accusations of hoax, Boyd conceived closure:
If this fictional artist could sell an artwork for real money then the Nat Tate story would have reached some kind of apotheosis and consummation. So I "found" another Nat Tate drawing – one from his famous bridge sequence... Sotheby's had form when it came to selling art by fictional artists, having successfully auctione [...]
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