Displaying items by tag: Authenticated

A drawing of hell previously attributed to a workshop assistant of Hieronymus Bosch has now been recognized as an authentic work by the master himself according to the experts conducting the Bosch Research and Conservation Project (BRCP) examining the artist's works worldwide.

The drawing has been hidden away in a private collection and will go on public display for the very first time as part of the major exhibition of works by Hieronymus Bosch at the Noordbrabants Museum in Den Bosch opening on February 13, 2016. Art historian and co-ordinator of the BRCP, Matthijs Ilsink, calls the drawing "an extraordinary find."

After five years of examination, the Bosch Research and Conservation Project (BRCP) has determined that two masterpieces attributed to the Dutch artist Hieronymus Bosch were unlikely to have been painted by the master himself.

The results of the research indicate that Bosch's Christ Carrying the Cross (ca. 1515-16) and the world famous The Seven Deadly Sins (ca. 1500)— which hangs in Madrid's Prado Museum—were probably produced in the studio of the artist, but not painted by Bosch himself, the Dutch news agency ANP reports.

An untitled and undated artwork described as a “painting by Jean-Michel Basquiat that has been authenticated as original,” is up for sale next month in Nashville, Tenn.—and could bring upwards of $2 million.

It is being sold by Aberdeen, Miss.-based Stevens Auction Company, which has been in the business for 31 years.The auctioneer said it can trace the artwork’s ownership back decades.

Forgotten for two decades, a dusty old canvas hidden in a corner of a small Dutch museum has been revealed as a painting by American artist James Whistler.

"Thanks to chemical analysis and an examination of its origins, we have concluded that we have an authentic Whistler," museum curator Jan Rudolph de Lorm told AFP.

An oil painting thought to have been created by French Impressionist Claude Monet has been proven to be genuine through scientific testing.

"A Haystack in the Evening Sun" had not previously been authenticated because the work is largely unknown and the artist's signature is covered by paint.

However researchers at the University of Jyvaskyla in Finland uncovered the signature using a hyperspectral camera.

A self-portrait by Van Dyck that was dismissed a decade ago as a copy is now hanging in the Minneapolis Institute of Arts, Minnesota, as an original work. The painting, which has been authenticated by experts, was quietly put on display in February, having been lent by a US collector based on the West Coast.

An unpublished paper on the self-portrait, prepared for the owner, dates the work to around 1629 and states that the attribution is accepted by four key experts: Susan Barnes, a co-author of the 2004 Van Dyck catalogue raisonné, Christopher Brown, the former director of the Ashmolean Museum in Oxford, David Jaffé, a former senior curator at the National Gallery in London, and Malcolm Rogers, the outgoing director of the Museum of Fine Arts, Boston.

The Restoration Service of the Museums of France (RSMF) has authenticated a rare self-portrait by the Spanish master Francisco de Goya owned by the Musée Bonnat in the small town of Bayonne, in Southwest France, "Le Figaro" reports.

The authentication of "Self-Portrait with Spectacles" (circa 1800) is sensational news for the already well-reputed museum, but not so much for the neighboring Musée Goya, in the southeastern town of Castres, which holds a version of that same painting, thought to be the real deal and now deemed a mere copy.

Sopranos actor Federico Castelluccio now owns a painting that has been authenticated as a work by Italian baroque painter Giovanni Francesco Barbieri.

The painter, more commonly known as Guercino, a nickname he earned for his pronounced squint, was a master of chiaroscuro, or the treatment of light and shade, a talent which inspired comparisons to Caravaggio.

Mars and Venus was well-known to Nicolas Poussin scholars. But for more than a century, the oil on canvas was considered either a fake or a poor attempt by the French painter’s studio to imitate the style of the classicist master. It barely left the Louvre’s stock room.

Now new research led by Pierre Rosenberg, the director of the Louvre from 1994 to 2001, proves that Mars and Venus is indeed the real thing­–a discovery which makes it the 40^th Poussin in the institution’s collection. The Figaro reports that under the piece’s darkened varnish, the conservation team in charge of a recent analysis discovered that the top of the canvas had been cut off, and the removed strips used to enlarge the piece horizontally.

After 15 years in storage, a Dutch painting long slighted in the academic literature dramatically returned to public display on Monday at this city's Joslyn Art Museum as an authenticated work of Rembrandt van Rijn (1606-1669). The "Portrait of Dirck van Os" (c.1658) was recently confirmed as a work of the master by the world's foremost authority on Rembrandt, Amsterdam University professor Ernst van de Wetering, following conservation efforts to remove extensive repainting and layers of discolored varnish that previously obscured the picture's original paint surface. The culmination of a decades-long campaign by the Joslyn's staff to interest outside specialists in the painting's attribution, the unveiling marks a proud moment for one of America's outstanding regional museums. "People here sensed the underlying quality," says the Joslyn's executive director, Jack Becker, "but you need the scholarly community to rehabilitate a picture like this."