In an era dominated by digital deception—ranging from deepfakes to identity fraud—it's easy to assume that forgery is a modern problem. However, recent revelations, such as the uncovering of an elaborate but low-tech forgery operation in Rome and allegations that a renowned Baroque painting at London’s National Gallery is a reproduction rather than an original, prove that art forgery has a rich and storied past.
On February 19, Italy’s Carabinieri Command for the Protection of Cultural Heritage dismantled a secret forgery operation in northern Rome, seizing over 70 counterfeit artworks falsely attributed to renowned artists such as Pissarro, Picasso, Rembrandt, and Dora Maar. The forger, still at large, allegedly sold these works through online platforms, complete with fake authenticity certificates.
This discovery coincided with the release of a new book, NG6461: The Fake National Gallery Rubens, by historian Euphrosyne Doxiadis. The book claims that Samson and Delilah, a painting attributed to Peter Paul Rubens and acquired by The National Gallery in 1980 for £2.5 million, is actually a much later imitation. This assertion aligns with a 2021 AI analysis, which estimated a 91% probability that the work is not by Rubens. Despite this, The National Gallery firmly stands by its attribution.
These cases highlight the ongoing debate over artistic authenticity. Can a forgery ever be considered a masterpiece? As technology advances, so do the methods for analyzing artwork. To navigate this complex landscape, here are five crucial rules for identifying a forged masterpiece.
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