Creation of a medieval master was not supposed to be printing individuality. Eventually, when the works were often not valued in themselves, but in connection with the name of their creator, the master began to put the picture his name, a monogram, symbol. However, when the signature, standing in the picture, was not only a sign of status, but also a guarantee of quality, a factor that determines the price of the product, there was a falsification of signatures, their forgery.
The challenge to the signature pattern does not always indicate that the picture is really written this master. It is known that from the workshops Cranach, Titian, Rubens and other painters out works to which the master had barely touched a brush. Nevertheless, these paintings were considered their works, were supplied with their signature. At the same time acknowledge the signature on the painting a fake does not mean unoriginality of the work. Often, the original paintings were supplied with a false signature of the master for the greater credibility, often the master signed his painting for many years after its creation, when the handwriting and signature character could change, but the picture is very old animal. There are cases when, wishing to hide the true value of the work, the owner put her signature little-known painter, etc., etc. Given all this, for many experts of the last century diverted signing a modest role in the attribution of the paintings. Nevertheless (or precisely because of this) the signature must always be the object of study examines the work.
A very large, and in many cases is crucial in determining the authenticity of the signature of its study under a binocular microscope with different magnification and different lighting. The nature of letter writing, their relation to the basic layer of colorful, brush stroke, mikrokrakelyur in place of a signature and other details specific to the site of the work, should be subject to the most careful observation and comparison. In many cases, the appropriate conduct of macro-and microphotography of the signature or of its individual parts .........
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.... Well-known, though not decisive, as is sometimes believed, the value is the location of the signature: if it is under the varnish, or affixed on top of it, that is, how closely linked it with the original painting.
Painted under a layer of old varnish signatures and inscriptions can sometimes be detected by infrared rays. It must, however, to stress once again that the identification of the old signature, even under the account or under the other signature is not necessarily indicative of its authenticity. Intentional slight brushing false signature - a well-known method counterfeiters, calculated that the signature will be "accidentally" found during the washing of painting and confirm the "authenticity" paintings.
An important point in the process of studying the paint layer is to determine its safety. What is it explorer - with the author's paintings or her likeness recreated hand restorer, which plots painting survived intact, and which are rewritten? Needless to say, how important it is to get the correct answer to such questions in the course of, for example, the attribution of the painting.
Determination of safety of the paint layer would be best to start with his views in light of the visible luminescence, excited by ultraviolet radiation. If the picture in the light of luminescence emitted uniform milky-blue light, in which the image appears as a disguised transparent cigarette paper, one can conclude that the painting is well preserved. Some dark spots on the background luminescence lacquer surface may indicate worn or partial loss of lacquer on the small retouch on stony ground and breaking the paint layer. Lots of paint layer subjected to restoration records and toning lacquer surface, clearly visible in the light of luminescence by visual inspection pictures and photos in the form of dark spots showing the location and size of records. We can distinguish toning and under a layer of varnish: if the latter is not very thick and not too decomposed, such toning look much paler than that made by polish ....
http://www.art-con.ru/node/288
12.11.2008, 08:02
Investigation of the technological features of the picture
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