Authentications & Attributions

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Man or Woman?

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Gender fluid ante litteram

A painting by the genius Leonardo da Vinci unexpectedly provides us with an interesting reflection on the notion of “gender identity“, never as much debated as in recent times. What distinguishes and separates being a woman from being a man? Where is the borderline?

We premise that the panel with the Head of Christ now in the Pinacoteca Ambrosiana in Milan is not unanimously accepted as by Leonardo’s hand, despite the undoubted quality of the painting, the presence of a textbook “sfumato” and the convincing comparison of scientific data (to which Art -Test contributed).

However, we are absolutely convinced of this attribution, enraptured by the power of this image and also a by what we are about to tell you.

We carried out the IR reflectography of this panel, to discover the preparatory drawing, and we realized with immense amazement that the preparatory drawing for this image of Christ, depicts a woman.

The face in reflectography has no beard; the hair is less thick, in line with what were the beauty canons of the time, even if in an official portrait a woman would probably have demanded her hair gathered. But Leonardo had already produced the Scapigliata.

The shoulders are small and round, like those considered desirable by the canons of beauty of the time.

But above all, the folds of her dress widen for the unmistakable presence of a female breast.

The multilayer images show how the artist had modified these characteristics with a few brush strokes to change the folds of the garment, and make them become vertical, to raise the shoulder line and to add beard and lengthen the hair.

A few touches, no changes to the very intense gaze, and a woman becomes a man. The symbols of the trinity are added and here is the head of a Christ. Who is born a woman, metaphorically.

A very strong message, a secret that had to remain so until the analyses literally brought it back to light.

Who if not Leonardo could dare so much?

PS. If you want to see more, reflectographic images have been published in Leonardo in France (SKIRA), and in “Leonardo Da Vinci and Gian Giacomo Caprotti Called Salai’ : The Enigma of a Painting”, by Maurizio Zecchini, ed. Marsilio

(Anna Pelagotti)
(Anna Pelagotti)
Caravaggesco_Empoli_vis del fotografo mano

An original without copies or Caravaggio’s zigzag

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Spunti diagnostici di riflessione sull'attribuzione

From how they all got on the bandwagon (“I discovered it!” “No, I discovered it first!“) there would seem to be no doubts that the painting at auction in Madrid is the real “Ecce Homo” made by Caravaggio as result of a competition between painters arranged by Monsignor Massimi, as documented in old biographies. About the painting that had been indicated so far as the Massimi’s painting, now in Genoa, many are quick to say that after all no one had ever believed in it, it is clearly not by “him”. Sic transeat gloria mundi.

As diagnosticians, it is of course super interesting for us to go and see why this attribution is so eagerly, and almost unanimously, supported. A fate that did not touch the many other “Caravaggio” that have been proclaimed (even by the same who are pronouncing now) and disowned over the years.

Much has been written about the difference between originals and copies by Caravaggio. As on the possibility that Caravaggio produced “doubles”.

And here we notice the first anomaly, perhaps only temporary. Of all the Caravaggio, or presumed such, that we have investigated, there were always copies. Generally very similar versions, on which to make comparisons on technique and materials used. Also of the “Ecce Homo” Genoese version. Actually we probably know only copies of some of Caravaggio’s inventions.

Mario Minniti – Malta

No other versions of this painting appear to have emerged. Although it is true that the canvas had been in Spain for almost four centuries, and it has the very same subject as a painting documented to have arrived in Madrid in 1659, it seems anomalous that no one has made copies. Among similar composition that come to mind, there is a painting in Malta, with a similar subject, by Mario Minniti.

There are several versions, one of which in Vienna, attributed to Minniti too, of another “Ecce Homo” with an analogous composition, considered by some to be Caravaggesque, but of which the three protagonists do not resemble those of the Madrid canvas.

We diagnosticians would have loved to have been able to make comparisons with a copy or a version.

But the most interesting contribution for us was the commentary by Rossella Vodret, who, together with others, edited two volumes full of observations on the Lombard painter’s technique for Silvana Editoriale.

We quote from an interview on the subject: “Then there are further observations relating to the executive technique, made visible thanks to an HD photo that was sent to me. I am referring to a series of specific executive features of Caravaggio, such as the full-bodied zig-zag white lead sketches that the artist uses mainly starting from 1605 and which are found in various works, such as the San Girolamo Borghese, the San Girolamo di Montserrat, the Flagellation of Capodimonte. They are very particular sketches through which the painter fixes the points in which to position the highlights on the dark preparation of the canvas. It is a feature that, up to now, I have not found in other painters. In the “Ecce Homo” there are zigzag sketches on the chest, shoulder and arm of Christ, all in full light. The incisions are also typical, although we now know that all the artists of the period made the incisions, but these are perfectly compatible with those found on Caravaggio’s autographed paintings “.

We would like to give some news: we have not found them on many Caravaggio that we have investigated, but the famous zigzags traces can also be found in the “San Giovannino” in Empoli, which we studied (unfortunately the allocated budget did not allow a complete diagnostic campaign). We talked about it in the essay we wrote on the occasion of the presentation of the restoration intervention, and in the video that you can see (in Italian) on our YouTube channel.

We look forward to learning more. Hoping that it doesn’t disappear into thin air.

(Anna Pelagotti)
(Anna Pelagotti)
tombaroli-3

You always have to be a step ahead of the tomb rider

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Sono aperte le iscrizioni alla Scuola di Archeologia Giudiziaria

Unfortunately, the world of archaeological heritage is increasingly subjugated by criminal practices. The mind immediately goes to the infamous “grave robbers” who have plundered and still plunder our soil and our seas in search of antiquities.

But this practice has also been documented, for example, to the detriment of the Medici tombs.

The portraits of the Medici family, especially those of women, display their splendid jewels, with which they were often buried. As early as 1857, the director of the State Archives and Grand Ducal Antiques Dealer, Luigi Passerini Orsini de’Rilli, in charge of the Reconnaissance of the bodies of the Grand Dukes, found that many of these had been desecrated and deprived of the precious objects they contained.

How to defend yourself?

Archaeology, and art in general, need more and more competent professionals.

The fight against criminal activities in this sector passes through the institutions set up by the States, with the help of professional, who operate in the judicial and extra-judicial sphere, with adequate and complete academic preparation.

In this context  that the Centre for Criminological Studies – Cultural Heritage Area – Judicial Archaeology Department in collaboration with the Archeomafie International Observatory, is programming a BIENNALE SCHOOL OF HIGHER EDUCATION on  “JUDICIAL ARCHEOLOGY AND CRIME AGAINST CULTURAL HERITAGE“, where Art-Test’s experts will teach.

The school is aimed at graduates in archaeology, history of art, architecture, conservation of cultural heritage, restoration and other disciplines in the legal and humanistic sectors.

For those interested here is the link: https://bit.ly/3mWTV6x

 

(Emanuela Massa)

(Emanuela Massa)

copertina modigliani

Modigliani under Investigation

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Life, death, his fortune, the inheritance he left, the history of the “Archives”, fakes, foundations, exhibitions.

Already in January we discussed the innovative exposition that the Museum of Lille created for Amedeo Modigliani. An exhibition with an investigative approach. But, given the pandemic we are in, it was not possible to open it, and also the related Symposium did not take place.

But the scrutiny of the Labronian painter and his work, does not stop. “L’affare Modigliani” published by Chiarelettere is a book rich of information, all supported by references to sources. It tackles all the hot topics, including fakes and the role of foundations. Three hundred pages where the story is organized into “crime scenes“. where each topic is treated with scientific rigor.

Our favourite chapter is of course the one where Modigliani’s technique is illustrated through material analysis. Of course, we would have liked it to be even more detailed but we realize that a substantial appendix would have been necessary.

If you haven’t read it yet, waiting for the French exhibition, Art-Test recommends it.

(Emanuela Massa)
(Emanuela Massa)
copertina RETRO

What’s behind it?

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A year has passed, we have 12 months behind us in which our life and our work have changed.

Looking back to understand the present is part of our work, as is the careful study of the “back” of a painting.

Very often the “verso”, “back” of a work makes the “front”, the “recto” more understandable. We know that artists from the 15th century began to sign their works on the front, but in recent times many chose to put their signature on the back, also indicating a date.

But in addition to the signature, true or fake, on the back we can find stamps, labels, codes: each of these elements is an important fact in the reconstruction of the work’s past.

Codes referable to the cataloguing in a collection or to lot number in an auction. Stamps imposed by protection offices or customs and labels of various kinds. But even this kind of data can be forged. The first doubts may arise during a careful condition report, but specific diagnostic analyses can be targeted to understand if they are original elements. For example, a colour label, created with a dot matrix printer, cannot be produced for an exhibition in 1975 !

Perhaps not everyone knows that the court case of one of the most famous contemporary counterfeiters: Wolfgang Beltracchi (born Wolfgang Fisher), began with a label on the back of a painting bearing the words “Collection Flechtheim“, when it was known that Flectheim was indeed an important collector, but never put labels.

In short, looking at the back is as important as studying the front. Knowing a “verse” well, helps us to better understand the “front”. In the same way we must look at this past year with attention to understand well  our present and thus try to imagine our future.

(Emanuela Massa)

(Emanuela Massa)

piattino montanari 2

Precious colours of the empire

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The recent discovery of a very rare Chinese porcelain reminds us of another remarkable discovery for Eastern art and technique in which we were involved.

A few days ago, thanks to a search started in 2014, a RU bowl belonging to the Song dynasty was identified within the collection of the Dresden museum. A similar specimen was auctioned, and sold, in 2017, to the record price of 37.7 million dollars.

For the exclusive use of the imperial court, the colour of these porcelain is a particular blue shade made possible by the presence of agate. Poetically it is described as “blue of the sky in a clearing of the clouds after the rain”.

The subject of the discovery made by working together with S.T.Art-Test and the scholar Riccardo Montanari,  on an object of oriental origin too, was also colour, and its trade and use in the East.

The original aim of the research was to demonstrate how non-invasive investigations could be alternatives to micro-destructive ones and diriment in the authentication of oriental porcelain. Thus, favouring non-invasive diagnostics, the study featured a polychrome enameled Mukozuke porcelain, also very rare, produced in the Kan’ei period.

In particular, the analyses investigated blue and yellow pigments. The yellow surprisingly turned out to be Naples Yellow, a novelty for Japanese production. A somewhat destabilizing discovery.

But this data was crossed with historical sources, and it was possible to understand how the Jesuits imported, in their mission to Japan, the Renaissance technique of majolica decoration and therefore the use of this yellow pigment.

Only later, did the Japanese potters transfer this know-how to their Chinese colleagues.

Another step in the endless journey of research. Here is the article for those wishing to read more

(Emanuela Massa)
(Emanuela Massa)
Leonardo_da_Vinci_or_Boltraffio_(attrib)_Salvator_Mundi_circa_1500

Leonardo and the magic world of auctions

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The renewed controversy over the attribution of Leonardo’s Salvator Mundi calls for a reflection on how it has become all-important not so much to choose which painting to buy but which attribution.

We have seen several times how the purchase of some artworks was later refused because of a disputed attribution. Indeed, the painting does not change, but the attribution does, and it makes all the difference.

A typical path is that of the so-called dormant attributions, or works initially proposed in generalist auctions, which after a few years acquire credit , with new more prestigious attributions, and become among the objects of most interest of important circuits. The carousel often does not end there. Because the prestigious attributions are then challenged and questioned. And again the economic value changes.

Logically, one would think that the more important the proposed name is, the more thorough the testing, and, therefore, more certain and definitive the attribution.

Moreover, since the auction is governed by a sales contract, one could imagine that among the documents available to the buyer there must be also the results of a standardized scientific diagnostic campaign – not limited at mere photographic snapshots or involving the use of other not appropriate instrumentation, but following a specific protocol.

But in reality these cases are still rare.

In the magical world of auctions, unlike in other fields, the buyer is not allowed, for example, to appoint own consultants to check the documents exhibited or perform new tests.

Take the Salvator Mundi: it was initially a “Boltraffio” at a lesser auction, then it was later proposed as a “Leonardo” with great fanfare. And only today the controversy focuses on the effectiveness of the analyses used and questions whether all  possibilities have been examined.

We wonder, for example, if the recently discovered Salvator Mundi, owned by the Museum of San Domenico Maggiore in Naples, has already been studied with a correct scientific perspective or if it will also be taken for a merrygoround.

We know that during the loan for the “Leonardo in Rome” exhibition in 2019, it underwent a restoration and was proposed with an uncertain attribution Girolamo Alibrandi or the beloved Caprotti. But what about a serious diagnostic campaign?

Of course it is not (yet) proposed as a work by Leonardo but nevertheless a complete diagnostic campaign could help to better clarify the genesis of the copies of this subject by the Leonardesque circle. And to record how it is scientifically possible to distinguish an Alibrandi from a Leonardo. And stop the carousel.

(Emanuela Massa)

(Emanuela Massa)

90WZ42MYJ9

Did scientific evidence make all the difference?

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Portrait of a Young Man Holding a Roundel, by Sandro Botticelli, was last offered at auction at Christie’s London in December 1982 with the title Portrait of Giovanni de Pierfrancesco de’ Medici and it was sold to the New York real estate magnate Sheldon Solow for a then-record £810,0000 ($1.1 million in today’s currency).

Some eminent scholars at that time including the consultant in the Old Master department at Christie’s, held reservations about the attribution to Botticelli, and preferred to credit his less renowned colleague Francesco Botticini as actual painter.

As we read in The Art Newspaper Mr. Solow, the then buyer, to be reassured about the authorship of the painting asked an art historian go to the saleroom and report back to him. The scholar told Solow that he indeed did not know whether it was a Botticelli or a Botticini, but that it in his opinion it was the epitome of a great Renaissance portrait. Solow bought the picture the following day.

This time the painting had a thorough scientific examination dossier, including XRays, IR reflectography, XRFluorescence and more. The name Botticini never came back and Botticelli sold at at almost 9x price time compared to 1982.

May diagnostics take the credits for this?

(Anna Pelagotti)

 

vangogh

An Xrays can change your life!

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Much of what we know about Van Gogh comes from his correspondence, especially with his brother Theo, collected and published posthumously by Johanna van Gogh-Bonger, his brother’s widow. In one of the letters, dated January 22, 1886, composed while studying in Antwerp at the Academy, Vincent also writes “… this week I painted a big thing with two nude torsos … two wrestlers”, an exercise probably.

This annotation changed the life of the painting “Vase of Flowers”, later “Still life with meadow flowers and roses”, which experts claimed could not be by Van Gogh, despite the signature, because it was too big and too .. crowded. The signature was also in an unusual position, in the upper right corner. The painting hung for decades in a Dutch museum with an incorrect attribution before the X-ray revealed that it was hiding a completely different subject underneath: a boxing match, and, thanks to the letter, only in 2003, it was recognized. autograph to Van Gogh.

Do you want to have fun combining x-rays and paintings? This couple and others are in our game:

Let’s Play! – Art-Test • Art & Technology (art-test.com)

(Anna Pelagotti)

 

modigliani

Modigliani for all

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Never have paintings raised more doubts on authenticity than those attributable to Amedeo Modigliani.

Even when they are signed, with flawless provenance, doubt lingers.

For years, a painting hwas accepted as authentic only if accompanied by the expertise of very few “connoisseurs”, very often without any scientific dossier or, if existing, only self-referential.

The opinions pronounced by these “names”, even with a faint voice, could, and did, decree the fortune or oblivion of a painting.

Modigliani’s paintings have for years been the subject of studies, sometimes even pseudo-mathematical, on the proportions of the faces or the precise distance of the eyes. But the parameters to establish an authentic Modigliani are still unclear or in any case considered the prerogative of very few. Creating a monopoly that is everything but transparent and scientific.

However,, perhaps also thanks to the many scandals, the situation is changing. Soon there will be a new database to study, new reference elements!

For the first time, the investigations on a substantial number of Modigliani will be presented in an exhibition, and they will be shared. 

Thanks to a powerful diagnostic campaign carried out by C2RMF on 27 paintings, including two copies, and three sculptures, all from public collections, the secrets of Modi’ will be disclosed.

We will be able to dive into diagnostics during the exhibition that will open next February (hopefully), and to listen carefully to what will be discussed during the Symposium on March 17-18.

Starting with Antonia (in the image a collage of the investigations).

 

 

 

(Emanuela Massa)

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