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May 10 2022

Russian fakes, anyone?

Art Test art market, art world, Authentications & Attributions, Fake 0

Crypto currency, NFT and a (fake?) Kandinsky for sale on a Russian website “to help the soldiers of Donbass”

The Terricon Project, Art for Victory, selling art, is being advertised online apparently “to help those in need” because of the war, i.e.. Russians, trying to grasp the opportunity offered by cryptocurrency: “in Russia, as well as Russians living abroad, there is more than 30% of the world’s total cryptocurrency. Now many are faced with the problem of blocking accounts, the inability to send finances. (…). It is here that you can absolutely anonymously help the Russian people right now”.

However, although signed and dated to 1909, the Kandinsky artwork for sale is likely to be a fraud. It was actually already questioned in 2005 when it was published in an “alternative” catalogue raisonné that provoked a scandal and the sharp criticism of the Kandinsky Society.

This is not surprising as the Russian Avant-Garde authentication world is a disaster, where the forgers are abundant and there are more fakes than genuine pictures.

It was the fall of Communism to fuel the Avant-Garde black market. The subsequent crisis paved the way for a market flooded with forgeries.

In the mid of 1920ies, Malevich and other contemporary artists were attacked by Stalin, who defined their work as “bourgeois” and confiscated many artworks. Once Russia liberalized its economy in the 1990s, their fate was reversed and such paintings became status symbols among Moscow’s oligarchs, and prices skyrocketed.
Another consequence of the collapse of the Soviet Union, was that major state museums and conservation institutes—including the Tretyakov Gallery and the Grabar Restoration Center—went into the business of issuing certificates of authenticity.

In some cases it was a too tempting occasion. If it is hard to imitate a Rubens, it is apparently much easier to invent a Malevich or a Kandinsky worth tens of millions each, and even simpler to issue fraudulent certificates.

The painting on sale for the Terricon project is supplied with certificates issued by the Department of Expertise exactly by the Tretyakov Gallery. And, this is far to be a reliable proof.

An internal Tretyakov investigation established that among the 212 paintings that had been examined by the museum’s department of expertise, 96 were mistakenly certified as genuine. As a consequence in 2006 the Russian ministry of culture prohibited institutions under its control from being involved in the certification of artworks. Yet, although in 2016 the Department of Expertise was disbanded, such certificates still circulate and may deceive naive collectors.

The painting offered on the website also appeared in the monumental monograph, “Kandinsky in Russia”, written by Valery Turchin, an art historian and professor at Moscow State University, whose publication was supported financially by the Russian government.

However, if there is one artist of the Russian avant-garde whose heritage has been sheltered, this is Vasily Kandinsky. In fact, neither Sotheby’s nor Christie’s nor any other major dealer will accept an artwork unless the Kandinsky Society in Paris has accepted the work for its catalogue raisonné.

The society, which is based in the Pompidou Center, was established in 1979 by the artist’s widow to protect and promote Kandinsky’s legacy. The directors of the three museums that hold the major part of Kandinsky’s works in the West—the National Museum of Modern Art at the Pompidou Center, the Lenbachhaus in Munich, and the Guggenheim Museum—are also members. The society does not hand out certificates; it informs owners that it will—or will not—list their works in its ongoing multivolume catalogue raisonné.
However, in practise it is a monopoly on Kandinsky authentication, that has raised more than one eyebrows. And it risks to cause political clashes as in Moskow not everybody agrees that should be a Western institution to decide on a Russian artist.

But it is certainly not challenged by Turchin and his “Society of Admirers of the Art of Wassily Kandinsky”, established in 2004. The organization has no headquarters. Its official activities have been limited to the publication of Turchin’s monograph and the installation of a memorial plaque on the house where Kandinsky lived in Moscow.
In fact, Turchin even certified a fake painting by Kandinsky that was confiscated by Italian police in 2011.

According to the Terricon Project, Sotheby’s has estimated the canvas at €10m. However, a Sotheby’s spokesperson told The Art Newspaper that the auction house “does not confirm estimates for artworks without first inspecting them in person, and establishing their authenticity”.
For what we can see on the website, there are no bids for the NFTs, and we hope that the war will end soon and certainly before anyone pays 10millions for a fake.

May 9 2022

Kyoko Nakahara

Art Test Restoration 0

Kyoko, how did you become a restorer? What was your educational path?

I have always enjoyed the world of art, especially painting and music, since childhood; my parents took me to painting courses for children; at home I admired the collections of international art catalogues and art encyclopedias, for hours and hours, browsing among the various artistic techniques.

The interest in conservation and restoration, however, came later, and is linked to moments related to the world of Italian restoration. I associate the first moment to reading the special article on “Gijutsu Shincho”, an art magazine well known in Japan, on the restoration carried out by the Opificio delle Pietre Dure (OPD) in Florence, in the 1980s, on Botticelli’s “Primavera”, belonging to the Uffizi Gallery. I was particularly struck by the story of the restorer, Paola Bracco, and of her joy when, returning from work, she discovered in her garden the same species of flowers painted in the artwork.

The second moment is associated with reading the interview with Leonardo Passeri, former chief restorer of the OPD, in the magazine “Brutus”, also well known, on the profession of restorer. He spoke of the importance of the union of science, the history of art and the technique of restoration.

Finally, a decisive moment was the visit to the exhibition, “Florence: Renaissance Art and Restoration”, in Kyoto in 1991, curated by Antonio Paolucci, then Superintendent for the Artistic and Historical Heritage of Florence and Pistoia, Giorgio Bonsanti, at that time Superintendent of ‘OPD and Annamaria Petrioli Tofani, former Director of the Uffizi. It was the first Restoration exhibition in Japan, I think, and it fascinated me immensely.

Who would have imagined that after some time, I would have met all of them in Florence and would have had the honor of their teaching in Conservation and Restoration trainings! I still owe to them deeply.

I decided to come to Florence to become a restorer of cultural heritage in 1992, and initially attended the Institute for Art and Restoration, ‘Palazzo Spinelli’, then the Higher Education School of the Ministry of Culture, Opificio delle Pietre, after passing its very competitive selection.

I had the honor of attending lessons by excellent restorers, art historians, scientists and photographer.

At the same time I also worked in the atelier of Leonardo Passeri, a master of art, as well as a restorer.

My educational path is long and continuous; after the OPD, I also got a degree at the University of Tuscia and participated in numerous national and international trainings.

Let’s talk now about your work. With Art-Test there have been many opportunities for collaboration, which one do you want to remember?

Thanks to Art-Test I was able to obtain the radiographic analysis for an oil painting on canvas of the XVII century, belonging to the Uffizi Gallery. The Xrays analyses were very important in taking a decisive direction in designing the overall restoration.

They allowed to investigate the state of conservation of the original layers, hidden by the ancient fillings, and repaintings.

The X-ray plates showed that underneath the massive fillings in many parts the original canvas was still present, however not so was the original color, which was almost lost.

After considering the outcome of the investigations and the observations carried out on the work, it was deemed appropriate to carry out a differentiated cleaning operation.

It was decided not to remove some not original parts, probabily dating back to the seventeenth century. The old canvas was not removed, as it did not compromise the stability of the work.

With a deep experience as a restorer, in some cases it is possible to ‘guess’ the technique of execution and/or the state of conservation. Very often, however, this is impossible without scientific diagnosis, as in the case just discussed. Allow me to compare it to the field of medicine; who would dare to ask the doctor if the tumor is benign or malignant without taking a biopsy?

In general, what are the most common problems encountered during a restoration in which diagnostics tests are most useful? And what are the advantages for a restorer to combinea restoration project with a targeted diagnostic campaign?

I would say that a preliminary scientific diagnosis campaign is always useful and desirable. As I said before, it helps to understand the technique of execution and the state of conservation of the work; which is important in order to plan an appropriate conservation and restoration intervention. If the conservative problems are major and difficult to deal with, a diagnostic campaign becomes indispensable.

The public institution such as the OPD with which I have collaborated for various conservation and restoration and research projects, always conduct a diagnostic campaign before carrying out any conservation and restoration work. While as a private restorer (even when working for public artworks) this is not always feasible for financial reasons. Personally, I always carry out at least the non-invasive photographic diagnosis, such as UV fluorescence, IR, IR false color, for both public and private works.

The most critical problem arises when more sophisticated and expensive diagnoses are required (Radiography, IR Reflectography, Tac, XRF, FT-IR, IR-Raman, FORS, Cross-section, etc.) especially when the need arises only during the restoration.

When the budget is limited, however, it is still possible to reduce the type of analysis to the most necessary ones and analyze only some significant areas of the work with the fewest detection points. Therefore, obviously, it is important to have a good knowledge of the characteristics of each diagnostic analysis and of the conservation status of the work in order to be able to select: the type of diagnosis aimed at your specific case, the number of detection points, the area (points) of for the sampling, etc.

You have been working in this field for many years, what changes have you noticed, for example in terms of customers, prices and clients?

I work mainly for public institutions. For this category of clients, I have not seen a drastic change in the lasts twenty years. I probably belong to the “transient” generation. In general, I have always had to participate in a tender with several competitors to receive an assignment; the difficulty of winning was always there. In recent years, the difficulty has become greater as the opportunities to participate in a tender, in my opinion, have decreased, probably due to a ‘circularity’ of candidates in a metropolitan city like Florence where there are countless restorers.

I also work for private collectors; I am pleased when some of them return after so many years having appriciated the work performed.

(Emanuela Massa)

May 9 2022

What happens to revolutionaries?

Art Test Authentications & Attributions, Exhibitions, Publications, Restoration 0

Scientific analyzes reveal how David composed the famous painting "The Death of Marat" and how he hid it during his exile in Brussels

In these times of war, the Royal Museum of Fine Arts in Brussels dedicates an exhibition to David‘s canvas which stages the murder of Jean Paul Marat in 1793, painted just a few months after the crime. It is a political work, commissioned by the revolutionary command, as a tribute to the martyrs of the French Revolution.

With this image David intended to contribute to the sanctification of an activist who is represented here as if he were a Christ – inspired by the compositions of Michelangelo, Raphael, Caravaggio -, who, to keep faith with his ideals, chooses to sacrifice his own life. In reality it did not happen quite like that.

Marat was murdered by a young woman, Charlotte Corday, at his home while he was immersed in a bathtub.

Jean Paul Marat, son of a former Sardinian friar by the surname Mara, then Frenchized in Marat, was in fact suffering from a dermatological disease that forced him, in an attempt to alleviate the symptoms, to stay immersed in almond milk for most of his days. After a rather unsuccessful career as a doctor and scientist, he became very popular as a politician and journalist. From the columns of “The friend of the people” he urged his contemporaries with extremely violent tones, not to stop after the first phase of the revolution, but to continue to get rid, with bloody methods, not only of the exponents of the monarchy, but also of more moderate revolutionaries.

Exasperated by the ensuing massacres, Charlotte believed she could put an end to this by taking Marat’s life. She paid for this by being guillotined, and she didn’t even succeed in the intent: the phase of Terror, with mass purges and tens of thousands of deaths, actually intensified, until Robespierre’s dismissal.

The “Death of Marat” is the only painting linked to David’s revolutionary propaganda that remains. His counterpart, the “Death of Lepeletier“, was destroyed, it is believed, during the coup of 1794 and the “Death of Bara” was never completed.

The “Death of Marat” came to us only because David managed to hide it. But how? To understand how this happened, diagnostic tests were used.

Although there are libraries full of books that analyze this painting from a stylistic and political point of view, it was rightly, and finally, considered appropriate to study the work also with an in-depth diagnostic campaign, through the FACE TO FACE project, which included physico-chemical analyzes and digital imaging.

In this way it was possible to understand what the author thought, how he adapted and arranged the elements of the composition;one can follow his thoughts while he drew and painted and even after, while he wanted to hide the painting during his exile in Brussels. Here, in fact, he had found asylum and for this reason he bequeathed to this city what is undoubtedly one of his most famous artworks.

The diagnostic study was then also repeated on a series of versions and replicas both by the atelier and by other copyists, starting with the Louvre replica, to understand if there had been preparatory paintings and in general what were the relationships between the various artworks.

Infrared reflectography was undoubtedly among the most revealing investigations. Here we see how Marat’s face is a combination of David’s drawing of his friend on his deathbed (now at the Louvre) and his death mask. The face with respect to the drawing has been rotated 100 degrees, and this has led to changes in the shadows. The volume of the turban has also been increased to make it plausible that the head was resting on something, and the facial dysmorphism from which Marat suffered, was removed, while this it is evident in the preparatory drawing visible in IR.

Another interesting detail that emerges from the reflectography and the X-ray is that Marat probably initially held a crumpled piece of paper in his right hand and not a pen, which was instead provided in his left hand (although we do not know that he was left-handed). These changes are explained with the intention of giving more strength to the political message.

In the following years, however, the political scenario changes and David had to quickly retire into exile.

Some authors had argued that, in an attempt to protect his works from destruction, David hid the painting by painting it white. However, upon analyzing the surface under the microscope, it was seen that this was not the case, in fact there are no residues of white paint anywhere, while it was discovered the presence of fibers on the entire surface of the painting, from which another hypothesis arises: that David, to hide it, fixed the canvas on the inner edges of the frame (as confirmed by the presence of many holes on the four sides of the canvas), then cut the excess of the canvas that reached the back and then mounted a new canvas on the frame. In this way the painting remained for a long time hidden behind a white canvas, which appeared ready to be used, in Antonie Gros’ studio.

The truth about the hiding of the canvas has therefore emerged. The judgment on Marat and on the revolutions will always be questionable.

The exhibition is open from 28 April – 7 August 2022.

(Anna Pelagotti)

April 13 2022

Let’s meet in Florence!

Art Test Uncategorized 0

The 8th Edition 2022 of the Florence Art and Restoration Fair (on site and online) and the 3rd Edition of the International Conference Florence Heri-Tech (on site) will be held simultaneously from 16 to 18 May 2022: a national and international event, dedicated to the whole world of conservation and cultural heritage.

During the three days of the Florence Art and Restoration Exhibition, visitors will have free access, upon registration, and attend the rich calendar of events (on site and online).

Within the events at the Salone there will also be a conference in which the first reflections on the ongoing restoration and the first investigations of the painted Cross by the Master of San Lucchese will be presented.

The winners of the Friends of Florence Prize will also be revealed, for a restoration project of a Florentine work.

And certainly much more!

We will be there and we are waiting for you. In the next newsletter we will tell you more!

April 13 2022

Rediscover beauty

Art Test Uncategorized 0

On March 26, after a careful restoration, the Annunciation by Giovanni Balducci returned to its place in the Church of Santo Jacopo and Filippo in Scarperia.

It is back to shine and enchant again, thanks to an accurate restoration that made use of the analyses byArt-Test, this large painting on wood of the late sixteenth century, which had become almost illegible with the passage of time.

It is an Annunciation, attributed by the scholar Bruno Santi to a pupil of Naldini: Giovanni Balducci known as Cosci, an author perhaps little known today, but certainly appreciated at his time. He was indeed entrusted with some of the frescoes in the large cloister of Santa Maria Novella in Florence and some artworks in Rome in San Giovanni in Laterano and San Giovanni dei Fiorentini. After that he moved to Naples called by Cardinal Alfonso Gesualdo, where he ended his career and his life.

The Annunciation is set in the bedroom of the Virgin, where a monumental four-poster bed acts as background, with an unusual deep green curtain, and majestic architectural elements, which recall a Florentine stately home, with decorations in pietra serena, and a marble floor, painted by rigorously applying the rules of geometric perspective.

Also noteworthy are the Mannerist iridescences of the garments, which also re-emerged thanks to the restoration, and the detail of the basket with the sumptuous embroidery works.

During the restorations, last July, Art-Test to analyze this painting brought its instruments in that wonderful corner of Tuscany that is Mugello. The restoration site was set up by the restorer Stefano Garosi at the Compagnia di San Piero a Sieve, where several works had to be investigated. Between them, there was this large table, placed upside down, of which one could only partially sense the beauty.

Garosi showed us the conservation history of the work, the restorations of the past, the damage of a careless cleaning that had irreparably damaged the pictorial film and all the restoration phases already carried out to secure the work, remove the old repainting and consolidate the color.

Everyone should have the opportunity to discuss the characteristics of a painting by taking advantage of the great experience of those involved in its restoration. Each work reveals a very interesting story.

The reflectographic diagnostic campaign entrusted to Art–Test was intended to investigate whether there was an underlying compositional system, if there were pentimenti, and ultimately, the genesis of the work.

Dettaglio della riflettografia InfraRossa eseguita sull'opera Detail of the Infra-Red reflectography performed on the work

At the inauguration, in front of a large audience, we explained that reflectography is a bit like the time machine, which takes us back in time and allows us to see what only the artist, and those living at his time could see.

We told how in this painting it was clear that the painter had a great mastery of drawing, which was done with a brush and using carbonaceous material. Some “pentimenti” are visible, related to the organization of spaces. In fact, the figure of the Virgin appears to be shifted slightly to the right today compared to the first thought, and her right shoulder, for the viewer, has been resized in the execution phase. Likewise also the left shoulder of the Angel Gabriel. In the foreground on the right, while the basket was perhaps painted in a last moment when the finished base can be glimpsed underneath. Perhaps it was added for a wish of the client.

Dettaglio del cestino in riflettografia InfraRossa

Detail of the basket in InfraRed reflectography

To illustrate the artistic language was prof. Marco Pinelli who, in a few minutes, gave a clear and comprehensive picture of the stylistic references of the work, Tuscan Mannerism and the work of Andrea del Sarto.

The restorer Stefano Garosi illustrated the phases of the restoration and explained how images provided by Art-Test were useful to him, as details were visible that were not accessible to the naked eye.

The Mugello area is rich in art and is not new to restorations which include diagnostic investigations, there is a great attention to the area also due to the officers of the superintendency, in this case Dr. Jennifer Celani, and an always generous support by the Fondazione Cassa di Risparmio di Firenze.

It is a synergistic work that gives excellent results. At a time when we repeat like a mantra that “beauty will save the world” we should ask ourselves if the world will be able to save beauty.

We are confident of this, as long as there are those who will care and will protect art from the natural corruption of time and often from human neglect.

(Emanuela Massa)

February 18 2022

Pollock undercover

Art Test Authentications & Attributions, Exhibitions 0

An X-ray brings out a figure from "chaos"

Jackson Pollock is widely known as one of the greatest exponents of “action painting”. Indeed, after a brief initial period in which he made art on traditional canvases, on easel, he soon arrived to dripping, i.e. to this way of expression that involves painting with “action”, where the color is literally poured with more or less violence on canvas lying on the floor. According to him, painting had to require the movement of the whole body, an involvement, therefore, not only mental but also physical.

As was the custom of other artists, especially for abstract works, Pollock left many of his paintings “Untitled”. Where Untitled was followed by a letter and the year of execution. Sometimes it was friends, art critics, gallery owners, who gave the title to his works. This is also the case with the 1947 painting “Full Fathom Five“. To give the title of the painting was the neighbor, Ralph Manheim.

However, it seems that Pollock hated that his work was thought to be the result of chaos. Contrary to what appears at first sight and to what his contemporary art critics like e.g. Bruno Alfieri wrote in “A Little Discourse on Jackson Pollok’s Paintings” (in “Modern Art, Venice, 8 June 1950):

“Chaos / absolute lack of armony / complete lack of structural organization / total absence of tecniquem, however rudimentary / once again, chaos”.

Forty years later the diagnostic tests confirmed that his action was not at all dictated by chaos.

In fact, when, in 1999, a symposium entitled Jackson Pollock New Approaches (available online) was organized, the opportunity was taken to reassess his works also through the study of his particular technique, through radiographic investigations.

The “Full Fathom Five” painting, technically, is not only paint on canvas but includes nails, matches, coins, buttons, cigarettes, tube caps of paint among the various layers. The visual aspect is given by the overlapping of paint but, to the touch, the texture returns surfaces that are different from just paint. The overall image, created by the cobweb of colors, has a vaguely anthropomorphic shape. But the most curious thing is that the X-ray study reveals how all “chaos” is nothing more than the “hiding place” of a standing figure with his arm raised!

Perhaps someone had already glimpsed it. We have already written how the title of this painting was not indicated by Pollock but by a friend of his, specifically a translator, who probably refers to Shakespeare’s “The Tempest“, and in particular to the song that Ariel sings to Ferdinand describing the father, whom the young man believes drowned

“Full fathom five thy father lies / Of his bones are coral made / Those are pearls that were his eyes di lui”

“No Chaos, Damn It”, concludes James Coddington in one of the chapters of the publication of the conference proceedings. As described by the scientists of the aforementioned symposium, an anthropomorphic structure is visible in the X-ray image because the materials used by Pollock are particularly radiopaque or in any case the thicknesses are greater in certain areas.

The “Full Fathom Five” study is certainly not isolated. In recent years Pollock has been the subject of many diagnostic analyses, especially with non-invasive punctual investigations.

After all, the contemporary art sector passes more and more often under the magnifying glass of the scientist. Although sometimes the interpretations of the results are not entirely convincing. For example, for Pollock, when 24 alleged unpublished works by the artist were found in 2006, these were analysed and declared attributable to Pollock even though some of the materials present were not yet patented upon Pollock’s death. This opinion was justified with the artist’s experimental nature and therefore with the possibility that he had “tested” them before they were released on the market.

The issue of the authentication of works of art, whether ancient or contemporary, continues to be controversial. To get to the truth, whenever possible, it is necessary to rely on who like Art–Test, with its technology and methodology of scientific analysis, offers an approach followed internationally and designed step by step, sustainable for any type of collector. Sometimes we will only arrive at a small truth, but better a small truth than a big lie, said Leonardo.

(Emanuela Massa)

January 20 2022

Who is the big artist?

Art Test calendar 0

8 December

Frida Kahlo and Diego Rivera remarried in a simple civil ceremony on 8 December 1940, after a first marriage in 1929, a divorce in 1939, and lots of troubles and troubled times meanwhile. The Mexican Revolution Civil War, and an infinite series of health issues for Frida marked their life and artistic production.

Both Mexicans and painters, both with a well recognizable style, both involved in the world of politics and members of the Mexican Communist Party, they met when Rivera was already a well known artist, and Frida had just started.

Diego Rivera’s impact on Mexican art is tremendous. Rivera remained a central force in the development of national art in Mexico throughout his life. Perhaps one of his greatest legacies, is his impact on America’s conception of public art.

But Frida felt not inferior: “of course he [Rivera] does well for a little boy, but it is I who am the big artist” – Frida Kahlo in interview with the Detroit News, 2 February 1933.

However, Kahlo’s reputation as an artist, drawing her main inspiration from Mexican folk culture, developed late in her life but it grew enormously posthumously.

One of Frida Kahlo’s final self-portraits, Diego y yo (1949), sold recently at auction for $31m ($34.9m with fees), setting a big new record price for Kahlo (her previous stood at $8m) and for any Latin American artist

Frida Kahlo died in 1954, and in the following year, Rivera married his third wife, Emma Hurtado.

November 10 2021

Let’s be Van Eyck

Art Test Uncategorized 0

How many times have we talked about how diagnostics helps to understand the process of making a work of art? About how it is essential to discriminate an original work from a fake. About how it is necessary to understand the autography of an artefact through the layers not visible to our eye. How it is a fun time machine that takes us back to the very moment in which the artist created the artwork. Is like if we sat next to him and watched him. But what happens if we are the artist? Indeed, what happens if we could recreate a work by a given artist in the same way that he himself did it?

For example, we can reproduce a work by following step by step all what we know about Van Eyck and his art.

Do you want to try? You could try to search for Jan Bustin, or other artists that shared their experience.

Some things can only be understood by doing!

November 9 2021

When do you need an InfraRed reflectography?

Art Test Art-Test News, Instruments 0

The emotion one feels when analysing a painting with infrared reflectography and discovering the preparatory drawing is terrific

Each time it is a unique experience, discovering a secret kept under the layers of painting, a moment that the artist never thought would be revealed.

This is not needed only when the painting … is not finished! Only in this case it is possible to see perfectly with the naked eye which tools were used, how the painting is built, if e.g. a means of carrying over from a composition previously made elsewhere was used or not.

This is the case of the painting here illustrated and of the painting on the cover, attributed to Garofalo.

The MET of New York a few years ago, proposed an entire exhibition on the unfinished artworks (UNFINISHED). Undoubtedly an interesting path that allows you to understand so much about the modus operandi of each artist.

But when the painting is completed we just have to rely on technology and infrared radiation.

Depending on the type of instrument and in particular the sensor used, there will be a different ability to penetrate inside the pictorial layers and to read any underlying preparatory drawing.

In the past, special cameras and films were used. Currently the best performing sensors are the InGaAs sensors, which are indeed generally mounted on the most advanced instruments. An intermediate way is represented by CCD or CMOS sensors, normally used by digital cameras, even scientific ones.

Infrared reflectography analysis also allows you to identify any underlying paint compositions, reuse of the support and retouching.

Depending on the budget and the result you are looking for, we will be able to suggest which technique is the most suitable for you!

Art–Test has the most varied and most advanced instrumentation. Our quadruple resolution InGaAs scanner achieves unprecedented results. To learn more, read here.

If there is something to discover under your painting, we will find it!

September 27 2021

!!!SOLVED!!

Art Test art world, artetestiamo, Uncategorized 0

It wasn’t that difficult to solve the quiz we proposed for last summer.

Many of you answered, but the fastest was Giorgio Foresti, together with Guerrino Lovato.

Art-Test will give them the opportunity to have a reflectography performed with our IntraVedo scanner with InGaAs sensor, still the best technology in this type of analysis.

For those who haven’t guessed yet, here are the paintings: