famous oils. Thus while it is believed that Kinkade designed and painted all of his original paintings, the ones collectors were likely to own were printed factory-like and touched up with manual brush strokes by someone other than Kinkade. Kinkade is reportedly one of the most counterfeited artists, in large part because of advances in affordable, high resolution digital photography and printing technology. Additionally, mass-produced hand-painted fakes from countries such as China and Thailand abound in the U.S. and around the globe. In 2011, the Kinkade studio said that Kinkade was the most collected artist in Asia but received no income from those regions because of widespread forgery. Business Kinkade's works are sold by mail order and in dedicated retail outlets. Some of the prints also feature light effects that are painted onto the print surface by hand by "skilled craftsmen," touches that add to the illusion of light and the resemblance to an original work of art, and which are then sold at greater prices. Licensing with Hallmark and other corporations has made it possible for Kinkade's images to be used extensively for other merchandise such as calendars, jigsaw puzzles, greeting cards, and CDs. By December 2009, his images also appeared on Walmart gift cards. Kinkade was reported to have earned $53 million for his artistic work during the period 1997 to May 2005. About 2000, there was a national network of several hundred Thomas Kinkade Signature Galleries; however, they began to falter during the late-2000s recession. During June 2010, his Morgan Hill, California manufacturing operation that reproduced the art filed for Chapter 11 bankruptcy protection, listing nearly $6.2 million in creditors' claims. The company, Pacific Metro, planned to reduce its costs by outsourcing much of its manufacturing. Criticism and controversy Reception Although Kinkade was among the most commercially successful painters of the 1990s, his work has been criticized negatively by art critics. Soon after news of Kinkade's death in April 2012, author Susan Orlean termed his passing the death of a "kitsch master". During the same month, journalist Laura Miller lampooned Kinkade's work as "a bunch of garish cottage paintings". Kinkade was criticized for the extent to which he commercialized his art, for example, by selling his prints on the QVC home shopping network. Some academics expressed concerns about the implications of Kinkade's success in relation to Western perceptions of visual art: in 2009, Nathan Rabin of The