He loathed modern art - he thought it childish and decadent, a passing fad for ugliness which would soon fade. For years he had eked out a living painting gloomy portraits of rich patrons in a faux-Rembrandt style and had winced as he heard his work ridiculed by his peers. A prominent critic reviewing van Meegeren's second solo exhibition wrote, "A gifted technician who has made a sort of composite facsimile of the Renaissance school, he has every virtue except originality."

The time had come, van Meegeren felt, to revenge himself on his critics. He devised a plan to paint a perfect Vermeer - neither a copy, nor a pastiche, but an original work - and, when it had been authenticated by leading art experts, acquired by a major museum, exhibited and acclaimed, he would announce his hoax to the world.