The Scientist and the Forger: Insights into the Scientific Detection of Forgery in Paintings (284 Pages)

"The scientific techniques described encompass relevant examples of forgery detection and of authentication. The book deals, to name a few, with the Chagall, the Jackson Pollock and the Beltracchi affairs and discusses the Isleworth Mona Lisa as well as La Bella Principessa both thought to be a Leonardo creation. The authentication, amongst others, of two van Gogh paintings, of Vermeer's St Praxedis, of Leonardo's Lady with an Ermine and of Rembrandt's Old Man with a Beard are also described." Over the last few decades there has been a disconcerting increase in the number of forged paintings. In retaliation, there has been a rise in the use, efficiency and ability of scientific techniques to detect these forgeries. The scientist has waged war on the forger. The Scientist and the Forger describes the cutting-edge and traditional weapons in this battle, showing how they have been applied to the most notorious cases. The book also provides fresh insights into the psychology of both the viewer and the forger, shedding light on why the discovery that a work of art is a forgery makes us view it so differently and providing a gripping analysis of the myriad motivations behind the most egregious incursions into deception. The book concludes by discussing the pressing problems faced by the art world today, stressing the importance of using appropriate tools for a valid verdict on authenticity. Written in an approachable and amenable style, the book will make fascinating reading for non-specialists, art historians, curators and scientists alike. General reader, curator, connoisseur, art-historian, psychologist, scientist and financier. Contents 20 Foreword 10 Acknowledgements 14 Preface 18 Acronyms 26 Introduction 28 Scientific tools of the art detective 33 What motivates fraud? Why do we care so much about authenticity? 36 References 36 Chapter One Establishing the First Link in the Art Chain: Attribution 40 The curator and gallery dealer 40 The connoisseur and the art historian 46 The Ely Zakhai case — connoisseurship’s role in unraveling a Gauguin forgery 46 Stylistic and Morellian analysis 47 The Rembrandt Research Project 50 Rembrandt’s Old Man With a Beard authenticated 51 References 52 Chapter Two Microscopy-Related Techniques 56 Optical microscopy 56 Stereomicroscope and raking light 57 Observation by optical microscopy of the craquelure at the surface of a painting 58 Craquelure and the Han van Meegeren forgery 60 Craquelure and The Virgin and Child with an Angel 63 More on craquelure 63 Cross section analysis 64 The case of the authenticated Rembrandt 66 Polarised light microscopy 67 Polarised light microscopy plays a crucial initial role in the authentication of a Manet painting 69 Scanning electron microscopy (SEM) 70 Portrait Group depicting Frederico da Montefletro (Forgery confirmed by SEM/EDX) 72 Raman spectroscopy and microscopy 74 Introduction 74 Principle of the method 74 Raman microscopy 75 Russian avant-garde forgeries 76 The Kandinsky and Popova cases (Analysis by micro-Raman spectroscopy) 77 The unexpectedly dramatic case of a Chagall painting (More tricks from the Russian market, Raman microscopy unravels a mystery) 78 Infrared spectroscopy (IR) and Fourier transform infrared micro-spectroscopy (micro-FTIR) 80 Principle of the method 80 Instruments 80 Fourier transform infrared microscopy 81 The Jackson Pollock case (revisited) 82 References 84 Chapter Three Scientific Techniques Reliant on Mass Spectrometry 90 Introduction 90 Principle of mass spectrometry 91 Pyrolysis gas chromatography mass spectrometry (Py-GC-MS) 91 High-performance liquid chromatography mass spectrometry (HPLC-MS) 92 Study by HPLC-MS of The Virgin and Child with an Angel 93 Laser desorption ionisation time-of-flight mass spectrometry (LD-TOF-MS) 93 The Trotter affair 94 The Jackson Pollock affair 95 Laser ablation inductively coupled plasma mass spectrometry (LA-ICP-MS) 96 Determination of the radioactive isotopes137Cs and 90Sr by LA-ICP-MS and the Elena Basner affair 96 Study of the provenance of pigments 99 Mahmoud Said’s Girl with Green Eyes 100 Multiple collector inductively coupled plasma mass spectrometry (MC-ICP-MS) 101 Authentication of paintings by lead isotopic ratio determination using MC-ICP-MS 101 Authentication of Vermeer’s Saint Praxedis 103 Accelerator mass spectrometry (AMS) 106 Radiocarbon dating 106 Advantages of AMS36 106 The bomb peak effect 108 The Fernand Léger forgery 108 References 109 Chapter Four Some X-ray-based Techniques 114 Introduction 114 X-ray fluorescence (XRF) 116 Vincent van Gogh’s Sunset at Montmajour 117 Proton induced X-ray emission (PIXE) 118 Electron probe microanalyser 119 X-ray radiography (XRR) 119 Portrait of a Woman 120 Image alleged to have been created by Antonello da Messina 125 X-ray fluorescence recorded using synchrotron radiation 127 Van Gogh’s previously unknown floral still life 128 X-ray computer tomography 130 X-ray diffraction 132 Principle 132 X-ray micro-diffraction using synchrotron radiation 133 References 134 Chapter Five Infrared Reflectography 138 Principle and recent developments 139 The Virgin and Child with an Angel 143 Portrait of Anna Zborowski 144 Salvator Mundi by Leonardo da Vinci 145 The Prado Mona Lisa 147 References 149 Chapter Six Digital Techniques in Art Authentication 152 Principles of weave analysis 152 Luminosity histograms and the artist’s hand 156 Multispectral imaging and the layer amplification method (LAM) 157 How does Cotte’s multispectral imaging work? 158 Lady with an Ermine 159 References 164 Chapter Seven Dendrochronolgy 166 The Beltracchi affair (revisited) 167 References 169 Chapter Eight The Beguiling Odalisque — Is the Courtroom the Proper Venuefor Authentication? 172 Challenges to authentication 172 Connoisseurs diverge — an inferior painting? 174 Worth forging? 174 Archival references and provenance? 175 Scientific experts vie for the truth 176 Is the courtroom the proper venue for authentication? 179 References 182 Chapter Nine Three Portraits, Two Women — Can Science Decide? 184 The first painting: The Louvre Mona Lisa 185 Multispectral imaging and X-ray fluorescence shed light on sfumato 186 X-ray fluorescence 188 The second painting: The Isleworth Mona Lisa 189 Multispectral imaging 191 Dating of the canvas by accelerator mass spectroscopy (AMS) 192 Geometric analysis and the Vitruvian Man 193 Computer image processing 194 La Bella Principessa 194 Multispectral imaging 197 C14 dating using AMS 197 Authentic or copy? Can science decide? 198 References 201 Chapter Ten Psychology of the Viewer 204 Beyond aesthetics 207 Belief and the human mind 208 References 214 Chapter Eleven Psychology of the Forger 216 The psychology of the forger 216 Racked by turmoil 217 The art establishment: The ultimate target? 221 Entirely devoid of creativity? 224 References 225 Chapter Twelve Reflections on the Turbulent World of Authentication 228 References 238 Picture Credits 242 Glossary 246 Index 278 "Over the last few decades there has been a disconcerting increase in the number of forged paintings. In retaliation, there has been a rise in the use, efficiency and ability of scientific techniques to detect these forgeries. The scientist has waged war on the forger. The Scientist and the Forger describes the cutting-edge and traditional weapons in this battle, showing how they have been applied to the most notorious cases. The book also provides fresh insights into the psychology of both the viewer and the forger, shedding light on why the discovery that a work of art is a forgery makes us view it so differently and providing a gripping analysis of the myriad motivations behind the most egregious incursions into deception. The book concludes by discussing the pressing problems faced by the art world today, stressing the importance of using appropriate tools for a valid verdict on authenticity. Written in an approachable and amenable style, the book will make fascinating reading for non-specialists, art historians, curators and scientists alike."-- Provided by publisher "Over the last few decades there has been a scandalous increase in the number of forged paintings. In retaliation, there has been a rise in the use, efficiency and ability of scientific techniques to detect these forgeries, The scientist has waged war on the forger. The Scientist and the Forger describes the cutting-edge and tradition weapons in this battle showing how they have been applied to the most notorious cases. The book also provides fresh insights into the psychology of both the viewer and the forger shedding light on why the discovery that a work of art is a forgery makes is view it so differently and providing a gripping analysis of the myriad motivations behind the most egregious incursions into deeeption. The book concludes by discussing the pressing problems faced by the art world today, stressing the importance of using appropriate tools for a valid verdict on authenticity, Written in an approachable and amenable style, the book will making fascinating reading for non-specialists, art historians, curators and scientists alike." -- Back cover Establishing The First Link In The Art Chain : Attribution -- Microscopy-related Techniques -- Scientific Techniques Reliant On Mass Spectrometry -- Some X-ray-based Techniques -- Infrared Reflectography -- Digital Techniques In Art Authentication -- Dandrochronolgy -- The Beguiling Odalisque : Is The Courtroom The Proper Venue For Authentication? -- Three Portraits, Two Women : Can Science Decide? -- Psychology Of The Viewer -- Psychology Of The Forger -- Reflections On The Turbulent World Of Authentication. Jehane Ragai. Includes Bibliographical References And Index.