how to approach authentication p.2
To attribute a painting to a master we have a few very obvious categories which tell us directly who should be the painter.
There are usually inscriptions, signatures and seal prints by the painter on the painting itself.
This could could also include any form of letters, inscriptions on the mounting or the box by the painter.
Than there could be any form of external attribution as letters of reference, inscriptions on the painting, the mounting or the box. With modern paintings we also might see photographs of the painter with the artwork.
Less obvious and more complex, but also more important are the quality of the technical skills, calligraphic brushwork, colouration, and the composition. These categories could form a combined impression of the overall quality.
Always it should be included a thorough look to the used materials of the painting and its condition. The topic and its historical relevance should be considered.
There exists finally a very difficult to grasp level of individual expression of an artist.
To achieve an understanding whether or not a proper level of quality, a signature, a seal imprint is also matching the individual hand of a painter, his individual technical skill set, we need references to compare to. This means other accessible paintings, which are doubtless established works by this same master.
These references need to fit in style and topic to be useful as material for a comparison.
It is extremely important to point out, that often the frame of references is not only very limited but simply not existent.