The discovery was made by three Van Gogh Museum experts—Teio Meedendorp, Louis van Tilborgh, and Saskia van Oudheusden—who shared their findings in the latest edition of Burlington Magazine. These works were initially accepted as genuine in the 1970 catalogue raisonné compiled by Jacob-Baart de la Faille, but new investigations have cast doubt on their authenticity.

One of the fakes, Interior of a Restaurant, was thought to be a second version of Van Gogh’s Interior of the Grand Bouillon-Restaurant le Chalet, Paris (1887). However, upon closer inspection, experts noted the brushwork deviated from Van Gogh’s signature style, and the colors used—such as Manganese blue—weren’t consistent with the pigments available to the artist during the 1880s.

Further discrepancies emerged in the floral motifs.

The first painting depicted autumn begonias, while the questioned piece showed yellow sunflowers, which would have been out of season by late autumn, when the original was believed to be made.

The second case centers around Head of a Peasant Woman with Dark Cap, which came from the estate of part-time art dealer Gerbrand Visser. Despite its authentication in 2008, a reevaluation in 2019—spurred by the submission of a similar painting—showed it to be a forgery, created between 1902 and 1909. This period corresponds with when the original painting changed ownership and became part of a private collection.

Christie’s, which sold the painting for $993,250 in 2011, issued a statement in response to the discovery: “We take every measure to ensure the authentication of all works consigned for sale, including seeking expertise from the most eminent experts around the world. The work was authenticated in 2011, having been confirmed as a Van Gogh. As a matter of practice, we cannot comment any further on individual consignments.”

The final painting, Wood Gatherers in the Snow (1884), had been accepted as genuine for decades. Originally sold in 1957 by the Earl of Inchcape Kenneth Mackay, the watercolor was recently debunked in 2020. Specialists concluded that the forger worked from a photograph first published in 1904. The forgery missed several key details, including a long vertical stick used by Brabant peasants, which should have been present in the composition.

The revelations cast fresh scrutiny on previously authenticated works and highlight the challenges of confirming the authenticity of historical artworks.

The post Van Gogh Specialists Expose Three Forgeries in Private Collections appeared first on Magzoid Magazine.

The controversy began when a man from New South Wales took legal action against the museum after being denied entry to the “Ladies Lounge” exhibition, citing violating the state’s Anti-Discrimination Act. The exhibition, curated by Kirsha Kaechele, featured prominent artworks, including pieces purportedly by Picasso.

The curator, Kirsha Kaechele, initially gained attention for moving these supposed Picassos, which had been on display for more than three years, to a women’s restroom following the court ruling that allowed entry to all genders. However, in a surprising turn, Kaechele revealed in a recent blog post on the museum’s website that the paintings, including a copy of “Luncheon on the Grass, After Manet,” were not authentic Picasso works but were painted by herself.

In her blog post, Kaechele explained her challenges in sourcing genuine Picasso paintings for the exhibition, particularly ones that fit the monochrome theme she envisioned. “I knew of Picasso paintings I could borrow from friends, but none matched the required monochrome and were prohibitively expensive to insure,” Kaechele wrote. She confessed to creating the paintings with the help of her manicurist’s niece, skilled in pen and ink, to achieve the desired effect.

Responses to Kaechele’s revelation varied widely, with some applauding her creativity and audacity, while others criticised the deception as misleading and unprofessional. Art expert Christopher Heathcote denounced the forgery as childish and detrimental to the museum’s reputation, labelling it as attention-seeking rather than a genuine art statement.

The admission of forgery prompted a broader reevaluation of other items displayed in the Ladies’ Lounge. Kaechele disclosed that additional pieces, such as a purported “mink rug” and “precious” jewellery, were also not authentic—a rug made of low-grade polyester and jewellery crafted from plastic.

Expressing regret for the deception, Kaechele concluded her post by apologising to the Picasso Administration, acknowledging the displayed artwork’s misrepresentation.

Business Insider contacted Tasmania’s Museum of Old and New Art for comment, but responses regarding the incident have not yet been provided.

This incident adds to a series of controversies in the Australian art scene this year. Earlier reports highlighted attempts by Australia’s wealthiest woman, Gina Rinehart, to have an unflattering portrait by Indigenous artist Vincent Namatjira removed from the national gallery. This garnered global attention and sparked discussions on artistic freedom and censorship.

The revelation of fake Pablo Picasso paintings at the Australian Museum underscores ongoing debates about authenticity and transparency in the art world. It raises questions about curators’ and institutions’ responsibilities in presenting and preserving cultural heritage.

As the story unfolds, it serves as a cautionary tale about the complexities of curatorial practices, the value of authenticity in art, and the repercussions of artistic misrepresentation in public exhibitions.

The post Australian Museum Admits Fake Pablo Picasso Paintings Amid Gender Dispute and Legal Battle appeared first on Magzoid Magazine.

The exhibition, curated by then-director Aaron De Groft, featured artworks purportedly created by Basquiat in 1982 during his time in Los Angeles. The museum claimed these works had been left in storage and were major rediscoveries. Doubts regarding their authenticity arose after an investigation by The New York Times pointed out inconsistencies, such as the presence of FedEx typeface in one of the paintings, which hadn’t been used until 1994.

In 2022, the FBI seized the 25 paintings, triggering a global media frenzy. Michael Barzman, an auctioneer involved in the case, initially denied any involvement in the production of the works during interviews with federal agents. However, in 2023, Barzman pleaded guilty to lying to the FBI and admitted to creating a false provenance for the paintings to support the storage unit narrative. De Groft and the co-owners of the artworks contested Barzman’s claims.

Prosecutors in Los Angeles sought the sentence that Barzman ultimately received, considering his difficult life circumstances involving substance abuse and financial difficulties. The auctioneer’s sentence comprises three years of probation, 500 hours of community service, and a $500 fine. Barzman’s lawyer emphasized that his client is committed to staying out of legal trouble.

As investigations into the counterfeit Basquiats continue, the legal complexity persists. Recently, the Orlando Museum of Art filed a lawsuit against De Groft, who was fired following the FBI raid in 2022. The museum alleges that De Groft attempted to profit from the Basquiat exhibition and was involved in similar actions with works by Titian and Jackson Pollock not included in the show. De Groft has denied any wrongdoing.

The legal repercussions stemming from the faked Basquiats scandal underscore the art world’s vigilance in safeguarding authenticity and provenance. The case serves as a reminder of the importance of due diligence and transparency in the realm of art authentication and exhibition.

The post Forgery Scandal: Auctioneer Sentenced in Basquiat Fake Paintings Case appeared first on Magzoid Magazine.

One of the artworks depicts a rat playing a broken marching drum with the words “God save the king” and wearing a hat adorned with the colors of the Union Jack. The rat’s tail is ensnared in a trap with a copy of The Sun, a British tabloid newspaper owned by Rupert Murdoch. The piece was first spotted on Wednesday and had already been partially painted over by Thursday, according to the BBC.

The appearance of these artworks coincided with the opening of an official exhibition of Banksy’s work in Glasgow. However, Glasgow City Council has confirmed that the street artworks are not authentic. A council spokesperson advised people seeking genuine Banksy works to visit the exhibition at GoMA (Gallery of Modern Art) in Glasgow.

Titled “Cut and Run,” the exhibition marks Banksy’s first official show in 14 years and is on display in Glasgow until August 28. It offers visitors a glimpse into the artist’s practice and thinking, showcasing artworks, artifacts, and personal items, including his iconic toilet artwork. Richard Whiddington, writing for Artnet News, described the exhibition as an opportunity to delve into the mind of one of the world’s most famous street artists.

The incident serves as a reminder of the challenges associated with authenticating Banksy’s works. In a recent case, a British couple paid nearly $250,000 to have an official Banksy artwork removed from their property. They were informed by the town council that they would be responsible for maintaining the artwork at an annual cost of approximately $49,000 in order to protect it as a tourist attraction.

As the debate surrounding the authenticity of the Glasgow Street artworks continues, it is evident that the allure and impact of Banksy’s work remain powerful. While these particular pieces may not bear his signature, they have sparked discussions about the elusive artist and the ongoing fascination with his subversive and thought-provoking creations.

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