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