The Forger is a novel by Paul Watkins about a young American painter who comes to Paris in order to pursue a lifelong dream of the romantic life of a painter in the period prior to World War II. David Halifax, the aspiring artist, has been granted an all-expense-paid trip by a mysterious and unknown benefactor, called the Levasseur Committee, in order to study painting. Unbeknownst to him, the true purpose behind his presence in Paris is part of an intricate plan in order to allow Halifax to reproduce priceless works of art before they are destroyed by the invading Nazi forces. Plot summary When David Halifax arrives in Paris in 1939, he finds it a remarkable place, although artists are generally frowned upon and seen as idlers. His classes begin in an atelier, where Halifax is surprised to find only two other students, besides himself, sketching a picture of a nude woman posed on a stool. The teacher, a Russian named Alexander Pankratov, presents himself begrudgingly and carries himself around in an aloof and harshly critical manner yet possesses an unquestioned authority over whomever he meets. The other students introduce themselves, and warn Halifax that Pankratov may be a little deranged because of his eccentricities. The woman on the stool they are sketching is named Valya. She is about the only person who Pankratov seems to allow to do as they please. Later, Halifax learns that Valya is the adopted daughter of Pankratov, who was entrusted with her by his best friend during the Russian Revolution of 1917. Pankratov was an officer in the Tsar Nicholas II's White Army, but did not learn of his defeat until many years later. Valya harbors a deep-rooted dislike for Pankratov, yet displays obedience and praises his artistic genius. Halifax quickly tires of Pankratov's repeated insistence in sketching every day, and seeks time to complete his own works. He is successful in having Fleury sell some of his sketches, but is alarmed when he learns that Fleury has lied to the buyers, selling his reproductions as originals. While the fraud is forgotten, Halifax adapts well to Parisian life. Strangely, Pankratov has taken a liking in Halifax's sketches, and comments well on them. Balard and Marie-Claire reveal that Pankratov has never commended their work before. As Halifax falls into the routine of sketching, painting, and dining at the local cafe, there is much talk