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Authentication in Art 2014 & Guidelines

“The state of methods and protocols used in attribution is a professional disgrace. Different kinds of evidence – documentation, provenance, surrounding circumstances of contexts of varied kinds, scientific analysis, and judgement by eye – are used and ignored opportunistically in ways that suit each advocate (who too frequently has undeclared interests). Scientific evidence is particularly abused in this respect. The status of different kinds of evidence is generally not acknowledged, particularly with respect to falsifiability. It is generally true to say that the most malleable of the kinds of visual evidence are those that bear in most specifically on issues of attribution (e.g. the individual artist and precise date), while those that are least malleable (e.g. pigment analysis) are only permissive (i.e. nil obstat) rather than highly specific.”
Prof em Dr Martin Kemp

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Congress 2014 Posters

Lead White Isotope Analysis on a Painting by Édouard Manet

Case study of the scientific expertise of an XX th century painting court case

Garofalo’s circumcision (1519) : Examining Authenticity

Dendrochronological investigations of stretcher frames from canvas paintings – linking wooden frames of a larger fraud case to a common origin

Discrimination of blue copper phthalocyanine polymorphs by chemometric analysis of micro-Raman results from paint layer samples of “real” fakes

Interdisciplinary Practice and Attribution Challenges: Facing the Catalogue Raisonné in an Authentication Framework

Portable XRF analyses – non-invasive pigment identification, supporting authenticity assessment and dating of the 19th century paintings

Modigliani, what else?

Manet or Not?

Rediscovery Of ‘La Famille Soler’ By Picasso Through Portable Analytical Instrumenation

Abstract Expressionist Catalogues Raisonnés and Art Authentication

Congress 2014 Papers

Keynote Speech – Javier Lumbreras

Science and judgment by eye in the historical identification of works of Art – Martin Kemp

A More of Certainty. Giovanni Morelli (1816–1891) or The Quest for Scientific Connoisseurship – Dietrich Seybold

Remaking the x-ray as an instrument of authentication – Evan-Hepler-Smith

Building evidence for use in criminal cases – standard practice and methodologies – A case study in Australia – Robyn Sloggett and Vanessa Kowalski

Examining artworks attributed to Francis Bacon (1909-1992) to aid authentication – Elke Cwiertnia et al.

Conservation as a Connoisseurship Tool: Jackson Pollock’s 1943 Mural for Peggy Guggenheim, A Case Study – Ellen Landau

Transcription Panel Common Terminology AiA Congress 2014

Transcription Panel Art Law AiA Congress 2014

Transcription Panel Cataloguing and Publishing AiA Congress 2014

Transcription Panel Standards for Research AiA Congress 2014

Transcription Question and Answers Friday AiA Congress 2014

Program overview

May 7
Historical developments in Authentication from c.1700 – c.1940

May 8
Authentication – status quo

May 9
Future developments and improvements

Program topics

  • Common terminology and understanding
  • Standards for scientific and technological research
  • Education and Training
  • Cataloguing and Publishing
  • Art and Law
  • History of authentication of paintings
  • Connoisseurship and the issuing of opinions

Download the Conclusive Congress Program

Target audience

The Art World
Collectors
Auctioneers
Art Dealers
Committees of Catalogue Raisonnés
Art Historians
Paintings Conservators
Material Scientists
The Legal Sphere
Legal Departments
Lawyers
Universities
Cultural, Law & Social Studies
Students

Venue

The excellent reputation of The Hague, International City of Peace and Justice, as a European centre for legal matters and art historical research makes it an ideal choice for the congress venue.

AiA Guidelines Education

We thank our partners and supporters

 
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