Attached please find photos of the two sides with a red arrow showing the holes in the canvas which match those in the stretcher underneath photos no.
The spectroscopic analysis of the wood gave the following results: Many areas of the painting evidence a deep, extensive craquelure. The development of the same is also logical: Moreover, the fact that the position of these cracks corresponds to that of the inside corner of the current stretcher is further confirmation that the side strips are definitely original. When pressure is applied by a special instrument durometer on the paint layer, which is fairly hard as a result of the drying of the paint binder and the colours, it tends to crack rather than warp. All the above features are typical of an authentic craquelure which has formed naturally and begin to be noticeable about years after the date of execution of the painting.
These observations therefore attest to the fact that the signature is contemporary with the painting. Total analysis with Wood's light. They are clearly visible in photo no.
Carbon dating uncovers forged Cubist painting
The IR reflectographic analysis did not evidence any underlying preparatory drawing or other features beneath the painting. The analysis in infrared reflectography allows to study the painting in depth obtaining information about possible drawings below the painting surface.
Foto 11 - In this specific case the analysis did not found a preparatory drawing of the subject below, but it pointed out some parallel lines to external edges , which determine a perimetric rectangle. The attached photo, which shows the lower corner near the signature, points out very well this characteristic red arrows.
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Analysis of the pigments. An FT-IR spectroscopic test was then carried out on a number of areas of colour in order to establish the pigments used. In particular we studied a surface white, the white preparatory layer and the blue of the river water. The white used on the surface resulted as being made up of: The absence of titanium white , a pigment used only after , was also verified.
Dating a painting
The analysis also indicated the small contribution made by the paint binder peak at cm -1 pointing to its state of advanced desiccation. For these reasons it is possible to attest its compatibility with the spectroscopic dating of the wood of the stretcher. It is also positive that there are no signs of forgery in the painting or in the signature itself and that its apparent age coincides with the last years of life of the painter in question. Other requests may be sent, as always, directly to the Milan laboratory at the following address: Sella 4 — Milano Tel.
Ample descriptions for ascertaining the authenticity of paintings in. In he founded the "Museo d'Arte e Scienza", the only one of its kind in the world, in the centre of Milan where most of the objects illustrated in the handbooks are exhibited, together with its attached laboratory.
In he discovered and patented the application of IR spectroscopy to the age dating of wooden art objects. Volume 1 pages Determination of their authenticity through analysis of colours, binders, pigments and other organic substances. Matthaes Foundation from the opening of the painting school in Dresden in up to the Museum "Arte e Scienza" in Milan.
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Dating of paintings
Analyses of paintings on a scientific basis with methods and instruments of our laboratory Portrait "Anna Selbtritt", Optical examination of signs of wear to identify an authentic piece of silverware Shadows reveal the industrial or handcrafted manufacture of glass The dull sound of a porcelain item reveals hidden restoration work. P ainting on canvas 49 x 60cm "Sisley" signature The overall state of conservation of the painting is good with the exception of a visible L-shaped tear in the left-hand central area. Analysis of the Painting layer The study of the painted surface, thanks also to the use of a stereo microscope, showed up the following characteristics.
A recent copy of "Portrait of a Lady" F. A recent copy of "Giuditta I".
Example of certificate made by the scientific laboratory of the Museum on a XIX century painting. Abstract The ascertainment of the authenticity of this painting has been carried out with scientific tests on the material and through the study of techniques and signs of wear. The Museum's scientific laboratory Any attempt to determine the authenticity of a painting must begin with tests and analyses to establish whether the age of the painting and the materials and techniques used are compatible with the presumed date of execution.
Spectroscopic dating and characterization of wooden objects. Microscopic tests on paintings. Examination of underlying layers using infrared reflectography. Analyses of paint layers with a duroflexometer. In the past, when called on to appraise and attribute a painting, art experts examined only the surface under natural light. Test station room 8: T est station room 9: Test station room 9: The microscope distinguishes authentic patinas and encrustations from faked ones.
Optical examination of signs of wear to identify an authentic piece of silverware. Shadows reveal the industrial or handcrafted manufacture of glass. In under two weeks, the art world has been rocked by cases of forgery in which paintings with a potential value of millions were unmasked as worthless fakes. Scientists and conservators have developed a new method to diagnose painting canvases from the back, without disturbing a single fibre, to see if they can withstand the stress of handling and travel.
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It's kind of ugly, eel-like and not particularly meaty, but still probably food. So the shark strikes.