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10) Historically, almost every art forger we know of, is male. This is probably because the losing out took different shapes whether you were male or female. The female losers be­came copyists, whereas some of the male losers became for­gers. But as Aviva Briefel suggests, this may change of which shift focus from forgery vs copying to a question hu­mi­liation and revenge. If we stick with the dichotomy between forgery and copy, the result is typically that the female copyist becomes incapable of performing the 'time-traveling' feats of the for­ger and resulting from the "extreme visibility of the fe­male copyist bars her from the forger’s invisi­bi­li­ty." Aviva Brie­fel, The Deceivers. Art Forgery and Identity in the Nineteenth Century, Ithaca: Cornell University Press, 2006, 41.