how to approach authentication p.10
The painting easily by style and subject could be only a work of a Kanou painter and dated around 1600. All what is left to do is to check the best masters of this time and the individual brush will show up again. The number to check on is by the quality limited to a very few possible names.
In the collection of the Metropolitain Museum already we find the deep scoops again in a painting of Hotei:
In the collection of the Metropolitain Museum already we find the deep scoops again in a painting of Hotei:
Now a name attached, it is easy to check other paintings of Kanou Takanobu to confirm the attribution. So we could use a unique feature in the brushwork to attribute this fine set to its master.
This is an example I would call a rather sure case, but it works also with painters with a less peculiar way to start a brush stroke.
Authenticating a painter by his individual brushwork is done in the same way. We compare certain parts in the composition with an appropriate reference having the same object in the composition. How a painter draws an a ear cup or a collar bone for instance might be an example of a feature useful for such a comparision.
In case the result is not convincing enough one should double check on different features and use other references.
This is an example I would call a rather sure case, but it works also with painters with a less peculiar way to start a brush stroke.
Authenticating a painter by his individual brushwork is done in the same way. We compare certain parts in the composition with an appropriate reference having the same object in the composition. How a painter draws an a ear cup or a collar bone for instance might be an example of a feature useful for such a comparision.
In case the result is not convincing enough one should double check on different features and use other references.