Exhibiting a painting by the Renaissance master Raphael has generally been reserved for the world’s most famous art venues, such as the Louvre in Paris, the Metropolitan Museum of Art in New York and the Vatican Museums.
Art
AI says a painting was made by the master Raphael. Art experts disagree. – The Washington Post
But this week, a gallery in the northern English city of Bradford put on display what it says artificial intelligence has identified as a work by the Italian Renaissance painter often mentioned alongside Michelangelo and Leonardo da Vinci. Researchers hope their experimental use of AI will put to rest a decades-long debate about the origins of the painting, known as the de Brécy Tondo, allowing it acceptance alongside Raphael works hanging in cities better known for their art halls.
The two-month exhibition in the Cartwright Hall Art Gallery shows how AI models could upend the small world of professional art attribution, traditionally the province of experts who can devote their entire career to the study of a single artist or period.
Researchers at the Universities of Nottingham and Bradford said in January that an AI-powered facial recognition model showed a 97 percent similarity between the Virgin Mary depicted in the disputed de Brécy Tondo painting and Raphael’s confirmed Sistine Madonna, as well as an 86 percent similarity between the child and the altarpiece’s Jesus. Some experts on the artist disagree.
Hassan Ugail, a professor of visual computing at the University of Bradford who developed the model, said the case shows it’s time for art connoisseurs to modernize their tool kit.
“It has been quite a learning curve to understand the art world and how little they use scientific evidence,” Ugail said. The model researchers used zeroes in on “dimensions the human eye can’t see,” he said.
Art attribution can carry enormous financial stakes, said Richard Polsky, who runs an authentication firm focused on 20th century American artists.
“Say there’s a very small number of genuine works out in the museums. You add another one to the market and can put a tremendous price on it because it’s been in private hands for all these centuries,” Polsky said. “It doesn’t take much for someone with money to say, ‘I want that for my new museum and I’ll pay $100 million.’”
Some artists have a definitive catalogue of attributed works. Others don’t, meaning scholars and the art market must reach consensus on potential new pieces that could fetch millions and change viewers’ understanding of an artist.
Advocates of using AI in the process say it will make the attribution process fairer.
“The reliance on the judgment of a single human expert can be risky due to the potential for human error, subjectivity or biases,” said Carina Popovici, the chief executive of AI authentication firm Art Recognition, who was not involved in the de Brécy Tondo study. She said her group’s algorithm accurately sniffs out paintings made by forger Wolfgang Beltracchi, who admitted in 2012 to faking works by roughly 50 artists.
But in the case of the de Brécy Tondo, experts on Raphael and Renaissance art say they’re skeptical of the AI model’s results.
A private collector bought the painting in 1981, noticing its similarity to the Sistine Madonna, and transferred it to a trust in 1995 for experts to study. Proponents call it a Raphael original. Others say it’s a copy made anytime between the artist’s lifetime and the 19th century.
Rudolf Hiller von Gaertringen, an art historian at the University of Leipzig who co-wrote a compendium of Raphael’s work, said he does not think the painter would have produced a copy of figures depicted in the Sistine Madonna at the height of his career in the 1510s, preferring to vary his subjects.
Patricia Emison, an Italian Renaissance expert at the University of New Hampshire, agreed.
“To repaint the Madonna and child motif that one sees in the [Sistine Madonna] altarpiece is beneath his artistic dignity,” Emison said. “He’s not just looking for the extra buck.”
Polsky and Emison both said they are unsure if an AI model could detect nuances experts see when they look at a work of art.
“If you’re deeply immersed in an artist’s work, you’ve read everything about them. You’ve been to all the museums all over the world to see originals, you’ve been to gallery exhibitions, maybe you’ve owned a few or bought and sold them,” Polsky said. “I don’t think that sort of thing can be taught.”
Despite skepticism from traditional art experts, AI is fast becoming a fixture of the art world.
In addition to distinguishing fake and real artwork, AI-driven models are generating new art and controversy. A group of artists sued several AI companies this year, saying they violated copyright law when using online art as training fodder.
Unlike the lawsuit, a definitive decision on the de Brécy Tondo’s provenance may be hard to reach.
“Attribution is delicate. It’s not something that one practices with absolute certainty,” Emison said.
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Art
Calvin Lucyshyn: Vancouver Island Art Dealer Faces Fraud Charges After Police Seize Millions in Artwork
In a case that has sent shockwaves through the Vancouver Island art community, a local art dealer has been charged with one count of fraud over $5,000. Calvin Lucyshyn, the former operator of the now-closed Winchester Galleries in Oak Bay, faces the charge after police seized hundreds of artworks, valued in the tens of millions of dollars, from various storage sites in the Greater Victoria area.
Alleged Fraud Scheme
Police allege that Lucyshyn had been taking valuable art from members of the public under the guise of appraising or consigning the pieces for sale, only to cut off all communication with the owners. This investigation began in April 2022, when police received a complaint from an individual who had provided four paintings to Lucyshyn, including three works by renowned British Columbia artist Emily Carr, and had not received any updates on their sale.
Further investigation by the Saanich Police Department revealed that this was not an isolated incident. Detectives found other alleged victims who had similar experiences with Winchester Galleries, leading police to execute search warrants at three separate storage locations across Greater Victoria.
Massive Seizure of Artworks
In what has become one of the largest art fraud investigations in recent Canadian history, authorities seized approximately 1,100 pieces of art, including more than 600 pieces from a storage site in Saanich, over 300 in Langford, and more than 100 in Oak Bay. Some of the more valuable pieces, according to police, were estimated to be worth $85,000 each.
Lucyshyn was arrested on April 21, 2022, but was later released from custody. In May 2024, a fraud charge was formally laid against him.
Artwork Returned, but Some Remain Unclaimed
In a statement released on Monday, the Saanich Police Department confirmed that 1,050 of the seized artworks have been returned to their rightful owners. However, several pieces remain unclaimed, and police continue their efforts to track down the owners of these works.
Court Proceedings Ongoing
The criminal charge against Lucyshyn has not yet been tested in court, and he has publicly stated his intention to defend himself against any pending allegations. His next court appearance is scheduled for September 10, 2024.
Impact on the Local Art Community
The news of Lucyshyn’s alleged fraud has deeply affected Vancouver Island’s art community, particularly collectors, galleries, and artists who may have been impacted by the gallery’s operations. With high-value pieces from artists like Emily Carr involved, the case underscores the vulnerabilities that can exist in art transactions.
For many art collectors, the investigation has raised concerns about the potential for fraud in the art world, particularly when it comes to dealing with private galleries and dealers. The seizure of such a vast collection of artworks has also led to questions about the management and oversight of valuable art pieces, as well as the importance of transparency and trust in the industry.
As the case continues to unfold in court, it will likely serve as a cautionary tale for collectors and galleries alike, highlighting the need for due diligence in the sale and appraisal of high-value artworks.
While much of the seized artwork has been returned, the full scale of the alleged fraud is still being unraveled. Lucyshyn’s upcoming court appearances will be closely watched, not only by the legal community but also by the wider art world, as it navigates the fallout from one of Canada’s most significant art fraud cases in recent memory.
Art collectors and individuals who believe they may have been affected by this case are encouraged to contact the Saanich Police Department to inquire about any unclaimed pieces. Additionally, the case serves as a reminder for anyone involved in high-value art transactions to work with reputable dealers and to keep thorough documentation of all transactions.
As with any investment, whether in art or other ventures, it is crucial to be cautious and informed. Art fraud can devastate personal collections and finances, but by taking steps to verify authenticity, provenance, and the reputation of dealers, collectors can help safeguard their valuable pieces.
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Ukrainian sells art in Essex while stuck in a warzone BBC.com
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The Courtauld Gallery at Somerset House has reopened its doors to the public after a fire swept through the historic building in central London. While the gallery has resumed operations, the rest of the iconic site remains closed “until further notice.”
On Saturday, approximately 125 firefighters were called to the scene to battle the blaze, which sent smoke billowing across the city. Fortunately, the fire occurred in a part of the building not housing valuable artworks, and no injuries were reported. Authorities are still investigating the cause of the fire.
Despite the disruption, art lovers queued outside the gallery before it reopened at 10:00 BST on Sunday. One visitor expressed his relief, saying, “I was sad to see the fire, but I’m relieved the art is safe.”
The Clark family, visiting London from Washington state, USA, had a unique perspective on the incident. While sightseeing on the London Eye, they watched as firefighters tackled the flames. Paul Clark, accompanied by his wife Jiorgia and their four children, shared their concern for the safety of the artwork inside Somerset House. “It was sad to see,” Mr. Clark told the BBC. As a fan of Vincent Van Gogh, he was particularly relieved to learn that the painter’s famous Self-Portrait with Bandaged Ear had not been affected by the fire.
Blaze in the West Wing
The fire broke out around midday on Saturday in the west wing of Somerset House, a section of the building primarily used for offices and storage. Jonathan Reekie, director of Somerset House Trust, assured the public that “no valuable artefacts or artworks” were located in that part of the building. By Sunday, fire engines were still stationed outside as investigations into the fire’s origin continued.
About Somerset House
Located on the Strand in central London, Somerset House is a prominent arts venue with a rich history dating back to the Georgian era. Built on the site of a former Tudor palace, the complex is known for its iconic courtyard and is home to the Courtauld Gallery. The gallery houses a prestigious collection from the Samuel Courtauld Trust, showcasing masterpieces from the Middle Ages to the 20th century. Among the notable works are pieces by impressionist legends such as Edouard Manet, Claude Monet, Paul Cézanne, and Vincent Van Gogh.
Somerset House regularly hosts cultural exhibitions and public events, including its popular winter ice skating sessions in the courtyard. However, for now, the venue remains partially closed as authorities ensure the safety of the site following the fire.
Art lovers and the Somerset House community can take solace in knowing that the invaluable collection remains unharmed, and the Courtauld Gallery continues to welcome visitors, offering a reprieve amid the disruption.
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