Article: Distinguishing Morrisseau Paintings and the Imitations (2009)

Title: Characterizing Elegance of Curves Computationally for Distinguishing Morrisseau Paintings and the Imitations
Author: Lei Yao, Jia Li and James Z. Wang
Reference: Proceedings of the IEEE International Conference on Image Processing (ICIP), Special Session on Cultural Heritage, 4 pages, 2009.
Link: http://stanford.edu/... (PDF, 1.1 Mb)

Abstract:

Computerized analysis of paintings has recently gained interest. The rapid technological advancements and the expanding interdisciplinary collaboration present us a promising prospect of computer-assisted authentication. We focus on the characterization of curve elegance. Specifically, we propose measures of curve steadiness and neighborhood coherence from brushstrokes. The technique has been applied to the paintings of renowned aboriginal Canadian artist Norval Morrisseau. Through computerized analysis of his authentic works and the imitations, it is revealed that the curves in his authentic paintings exhibit his commanding painting skills. The smooth and steady flow of the curves show less hesitancy of the artist than the authors of counterfeit works. The tangent angles tend to be more consistent along curves in the authentic paintings than in the imitations.

Article: Authentication (1998)

Title: Authentication: Science & art at odds?
Authors: Duane R. Chartier and Fred G. Notehelfer
Reference: Scientific Detection of Fakery in Art. Proceedings of SPIE (SPIE - The International Society for Optical Engineering). 29-30 January 1998, San Jose, California. Volume P 3315, 74-86, 1998
Link: http://www.conservartassoc.com/spie.html (html)

Abstract:

Contrary to popular belief, there is a very great difference between the detection of forgery versus the authentication of works of art. Science is generally very good at producing evidence of falsification but often is equally poor at proving authenticity. The primary reason for these gross differences is that connoisseurship and art history are more strongly involved in the process of authentication than are scientific testing and analysis. There is also a pronounced lack of substantive interaction between art conservation professionals, scientists and art historians.

The case of a recently discovered painting by John Constable will be used to illustrate the difficulties and opportunities of a balanced and systematic approach to the process of authentication. There is much more than science involved in such endeavors and this would not surprise anyone who has attempted to introduce works of art through non-traditional channels.
Great problems arise when the curatorial community is asked to consider works that do not so easily "fit" into a neat art historical period or stylistic pigeonhole. Connoisseurs often will only accept the best works of an artist and discount the inevitable products of the artist's evolution -- less accomplished works. Scientific principles and technical evidence can and must be used in order to elevate the practice of authentication.

Article: Towards a new vision of restoration (2009)

Title: Towards a new vision of restoration in the context of global change
Author: Frank Hassard
Journal: Journal of the Institute of Conservation
Publisher: Routledge
Year: 2009
Volume: 32
Issue: 2
Pages: 149-163
DOI: 10.1080/19455220903059842
Download: http://www.informaworld.com/... (pdf, 1 Mb)


Abstract:

There is currently much discussion in the UK around skills and other workforce development issues within the cultural heritage sector. This coincides with wider debate within the international heritage community around the meaning and purpose of heritage preservation in the context of globalisation. Issues around representation, access, ownership and diversity, inclusivity and human rights are today associated with concepts of authenticity, values and democracy in a global setting and embodied today, for example, by the United Nations in the concept of intangible heritage—which refers to aspects of 'living' heritage.
This paper brings to light, through an assessment of key international heritage charters, declarations and political conventions, how changes in attitudes towards the past have lead to the formal re-constitution of the heritage field in recent times. Attention is drawn to the United Nations Educational, Scientific and Cultural Organization's (UNESCO's) guidelines for safeguarding intangible heritage, our current understanding of authenticity, and the influence this has on the practice of restoration. The paper is intended to inform current discussion on skills and other workforce development issues in and beyond the UK.