Saturday, May 10, 2014 - 
authenticity,Authenticity in Art Congress,Van Gogh Museum,Vincent van Gogh,Virginia Curry
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authenticity,Authenticity in Art Congress,Van Gogh Museum,Vincent van Gogh,Virginia Curry
No comments
A Report on the second day (and conclusion) of Authentication in Art at The Hague
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| Presentation on discovery of a new van Gogh painting |
The second session of the Authentication in Art Congress at The Hague presented a tour de force of scions defining the new intersections of
science, art history and the law.
Dr. Ella Hendricks (Senior Paintings Conservator, Van Gogh
Museum) and Muriel Geldof (Conservation Scientist, Cultural Heritage Agency of the Netherlands) in ‘Evaluating technical and analytical studies of Van Gogh’s paintings in support of attribution’ 'contemplated
the role of art-technological
studies in the process of attributing and authenticating paintings by Vincent
van Gogh in terms of consistency of the materials and techniques used, also
leading to improved connoisseurship by informing and therefore refining our
perception of the artist’s changing styles and techniques' (program).
In ‘Van Gogh and his oeuvre: the attribution process evaluated’ Dr. Tilborough (Senior Researcher, Van Gogh Museum) and Teio Meedendorp (Researcher, Van Gogh Museum) emphasized that both
transparency and access are key to their research. This philosophy of transparency in research recently
permitted Dr. van Tilborough and his team to discover and authenticate a new
van Gogh painting, “Sunset at Montmajour”. The team compared “Sunset” to van Gogh’s “The Rocks” from the Fine Arts Museum in Houston, and they were able to discern that the paintings were completed within two weeks of each other.
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| Dr. Ellen Landau discussed Pollock's "Mural" |
Many thanks to Dr. Ellen Landau (Professor emeritus of Art History, Case Western Reserve University) for her presentation, “Conservation as a Connoisseurship Tool:
Jackson Pollock’s 1943 Mural for Peggy Guggenheim, A Case Study” which
highlighted the joint analysis of Pollock’s 1943 painting “Mural” recently
undertaken by the Getty. The
analysis debunked many misconceptions concerning the manner in which Pollock
worked, and converted me thereby, to a deeper understanding and appreciation of
his art.
Professor Robyn Slogget (Director, Center for Cultural Materials
Conservation, University of
Melbourne) and her associate, paintings conservator Vanessa Kowalski, highlighted several case studies involving the forgery of aborigine
art and the pitfalls eventually overcome to develop a protocol of
examination and non-invasive analysis -- assisting in successfully prosecuting a case of forgery of aborigine art in
Melbourne.
PhD Student Elke Cwiertnia (Northumbria University,
Newcastle) in ‘Examining artworks attributed to Francis Bacon (1909-1992) to aid authentication’ presented the methodology of examination and preservation employed
by the Francis Bacon research project in their efforts to publish a catalogue raisonné of Bacon's work.
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| Panel chaired by Lawrence Shindell |
Following the panel discussion, the congress group traveled
for an exclusive view of the exhibition "Mondrian and Cubism, Paris 1912-1914” (in
partnership with MOMA) at an opening hosted by the Mayor of The Hague, Jozias van Aartsen, and presentation by Hans Janssen, curator at large for modern art.
Ms. Curry is a retired FBI agent, a licensed private investigator, and an art historian.
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