Detecting of forgery of an Aivazovsky's Oil Painting | ||
| مجلة الإتحاد العام للآثاريين العرب | ||
| Article 19, Volume 10, Issue 1, 2009, Pages 122-150 PDF (480.24 K) | ||
| Document Type: المقالة الأصلية | ||
| DOI: 10.21608/jguaa.2000.2693 | ||
| Author | ||
| Moustafa Attia* | ||
| Faculty of Archaeology Director of Verifying of Authenticity(Egypt) | ||
| Abstract | ||
| Historical and antique oil paintings have been plagued with the threat of forgeries for a long time. The nature of art lends itself to forgery as a skilled and determined forger can mimic the techniques and styles of an artist to a level where even an expert can be duped. This research includes the examination and analysis of an oil painting signed with the name of the Russian painter Ivan Aivazovsky to detect if it is original or just a professionally forged replica of the painting. The researcher used the following techniques: visual inspection; comparing the painting style and brush strokes of the painting to other paintings carried out by the same painter; and studying the signature on this painting compared to the ones on other paintings for Ivan Aivazovsky. Anachronismtechnique was also used to detect forgery of the painting, and this technique involved employing both XRD and EDAX. Fourier transform infrared (FTIR) was used to identify the binder of the ground layer and the varnish layer. The paint layer was examined using a microscope and the images were recorded on both blackand-white and color films. Microscopic examination was used in studying the different forms of decay found on the painting to detect if they were deliberately made for forgery purpose. The cohesion of the paint layer and the impact of ethyl alcohol on it, were also studied. The results of the study proved that the painting was not painted by the famous Russian painter Ivan Aivazovsky and that the signature is forged by a professional, skillful forger. The forger’s attempt to give the painting an antique look was extreme and illogical; this was the first indication that the paintingis forged. He also made the mistake of using pigments which were manufactured and used more than 30 years after the death of the Russian painter. The date of the painting under study was found tobe in the period from 1950 to 1960, which is more than 50 years after the original painter’s death. KEYWORDS: Detecting; forgery; Aivazovsky; an oil painting; examination and analysis; the signature; titanium white “rutile” | ||
| References | ||
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