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https://www.google.com/url?sa=i&rct=j&q=&esrc=s&source=images&cd=&cad=rja&uact=8&ved=2ahUKEwjLpdC8r7ndAhUEzbwKHd_xCt4QjRx6BAgBEAU&url=http%3A%2F%2Fwatchesbysjx.com%2F2018%2F02%2Fgreat-artists-reproduced-in-miniature-enamel-by-jaeger-lecoultre.html&psig=AOvVaw1Pqzh0HzpiQySmPiPyd3qp&ust=1536975880270977

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a return of painting to a former, original, normal,  unimpaired condition.

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a return of painting to a former, original, normal,  unimpaired condition.

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distinguishing between original art and copy

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Original vs. Copies | The Caldwell Gallery

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Basic tips on determining if an artwork is an original or copy.

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A work of art that aims to produce an identical work to the original using original production methods and materials. No deceit is involved with the replicated object usually identified as such

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A work of art that aims to produce an identical work to the original using original production methods and materials. No deceit is involved with the replicated object usually identified as such

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copy had connotations with mass-production, whereas we felt replica was slightly more artisanal

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copy had connotations with mass-production, whereas we felt replica was slightly more artisanal

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Restoration is done on the original work to repair

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Copies can be done by anyone, in any size or material compared to the original/model work.

Copy requires to be recognized as a copy of another work, it needs to hold certain amount of elements that would be associated to its model.

Replica needs to hold most (if not every) aspect of the original work. It needs to be in material and production identical to its model.

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Copies and replicas

During the replication process in Turku Castle, I have been asked on daily bases "what is the difference between copy and replica?" to which I have come to the answer: copies can be done by anyone, in any size or material compared to the original/model work. The success of the copy, is it good or not, depends on various things but mainly - how close it appears to its model - the level of visual sameness it holds from the model. So copy requires to be recognized as a copy of another work, it needs to hold certain amount of elements that would be associated to its model, while replica... Replica needs to hold most (if not every) aspect of the original work. It needs to be in material and production identical to its model, however certain smaller changes, either in material or technique, are necessary to remain a difference from the original due to ethical standards and copyright laws. Usually a team of people work on replica-production, with variety of experts from art history, conservation, restoration and art production - artists, and the changes that need to be made are carefully planned so the replica remains a "replica" and not a high quality copy.
What are the main characteristics and differences in approach of creating an art copy in comparison to a creation of an art replica?
To answer this question, my dissertation will give detailed study regarding the replication process in comparison to the methods used in creating the copies of selected works:

Case study: Copy of work by John Opie, Portrait of Rev Edward Daniel Clarke, 1822; oil on canvas; 70 x 100 cm

Case study: Assembly-copy of work by Benjamin West, Portrait of General Thaddeus Kosciuszko, 1797; oil on canvas; 100 x 70 cm

What are the values of a copy or a replica in comparison to the original work or other copies of selected original?

Case study: Robert Wilhelm Ekman: St. Mary Magdalene in Penitence, copy after Pompeo Batoni

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Art copies & Replicas - Natasha Bulatovic Trygg

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Copies and replicas During the replication process in Turku Castle, I have been asked on daily bases "what is the difference between copy and replica?" to which I have come to the answer: copies can be done by anyone, in any size or material compared to the original/model work.

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an example of one of the many replicas of Marcel Duchamp's work.

Bicycle Wheel

Ella :)

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currently there are a kind of "digital painting"，which mark colors with different numbers on the support, and mark the pigmants in the same way, so customers are able to "paint" by themselves.  I wonder if this is a kind of 'forgery' (Suzie)

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Restoration is a kind of conservation activity.

Restoration involves treatments that enhance the interpretation of cultural heritage—e.g. inpainting losses in an oil painting so that the original appearance of the image is maintained.

Restoration may also involve the reassembly of displaced components, removal of extraneous matter or integrating new materials or components in order to stabilise and strengthen the original artefact.

--from AICCM

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Conservation is about preventing damage and loss to our cultural heritage.

Conservators aim to minimise change to collection material, to protect items from the adverse effects of climate and chemical deterioration, and to safeguard our heritage not only for here and now but for generations to come.

Conservation activities include preservation, restoration, examination, documentation, research, advice, treatment, preventive conservation, training and education.

The term preservation refers to the protection of cultural property by minimising chemical and physical deterioration. Improved storage conditions and environmental control plays a big part in this. The primary goal of preservation is to prolong the existence of cultural material.

Restoration involves treatments that enhance the interpretation of cultural heritage-e.g. inpainting losses in an oil painting so that the original appearance of the image is maintained. Restoration may also involve the reassembly of displaced components, removal of extraneous matter or integrating new materials or components in order to stabilise and strengthen the original artefact.

Conservators choose methods of minimal intervention, focusing on stabilisation and retaining original material.

Conservators use materials with good ageing characteristics and where possible, treatment methods that are reversible.

Conservators document the condition of an object through written reports and photographs, both before and after treatment, in order to retain records of what has been changed, for future owners and caretakers.

AICCM Conservators adhere to the Code of Ethics and Code of Practice

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Conservation is about preventing damage and loss to our cultural heritage.Conservators aim to minimise change to collection material, to protect items from the adverse effects of climate and chemical deterioration, and to safeguard our heritage not only for here and now but for generations to come.Conservation activities include preservation, restoration, examination, documentation, research, advice, treatment, preventive conservation, training and education.The term preservation refers to the protection of cultural property by minimising chemical and physical deterioration.

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I have personally purchased prints and posters from The Louvre and Van Gough Museums, but when I see them for sale online I feel a little compromised.

Food for thought

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Art Prints | Print on Demand | Framed and Canvas Wall Art

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Superb museum-quality painting reproductions from the National Gallery. With print on demand, you take home bespoke art prints tailored to your taste! Discover and transform our range of framed and canvas wall art, mini prints, posters and more, into a masterpiece of your own. Shop Now.

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This online article provides a very basic summary of what we have already learned in the lectures and tutorials, however it provides a rather nice visual of Infrared Reflectography.

It also provides hot-links elaborating on the various scientific processes, however they head directly to Wikipedia, so like this article, use as a foundation for further learning.

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Detecting art forgeries via cutting edge science.

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This article defines a forgery as "a new work created wholesale from scratch in fraudulent imitation of something else or the style of another artist". I thought this example was relevant as the reading stated that even the greatest experts often make mistakes!! - Natasha

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In September, southern France-based art historian Eric Forcada was serving as a guest curator to a small, state-owned museum in the region. As he was hanging one of the museum's paintings on a wall after a $365,000 renovation project, he noticed something strange. The signature on the work, which was attributed to a local modern artist named Étienne Terrus, wasn't quite right. Later, when he gently brushed his white glove over the signature, it wiped off to reveal a different signature underneath.

Forcada told the museum staff that he suspected the artwork was a fake. After convening with other art historians, the experts confirmed the work was not, in fact, a Terrus original. Upon closer inspection, they found that not only was this one painting faked, but more than half of the museum's collection wasn't made by Terrus.

Most of the works at the Museé Terrus, which opened in Elne in 1994 dedicated to Terrus, were acquired after 2013. For several years, at least 10 to 15 inauthentic pieces hung on the museum's walls at a time, with the rest of the fakes and forgeries in storage. (Related: " Biggest Fake Native American Art Conspiracy Revealed ")

On Friday, the museum reopened after its renovation, showcasing 60 authenticated works on its walls. But authorities say it could take years to link the case to the person behind it-art criminals notoriously prey on the works of lesser known artists.

Spotting Fakes and Forgeries

Fakes and forgeries are two different things, says Noah Charney, an author, professor, and founder of the Association for Research into Crimes Against Art.

"A fake is a pre-existing work of art that has been altered in some way to fraudulently increase its value," says Charney. "A forgery is a new work created wholesale from scratch in fraudulent imitation of something else or the style of another artist."

Police found that of the 142 works at the Museé Terrus 82 were not real Terruses. Over the course of two decades, the museum had spent more than $190,000 on paintings, drawings, and watercolors falsely credited to Terrus, obtained through fundraising campaigns and private collectors.

The museum, which doesn't have a trained curator or a team solely dedicated to acquisitions, relied on its founder to acquire works by the artist. To draw more tourists to the area, the town of Elne began investing more in the museum to restore the paintings, install better lighting, and regulate the building's temperature to better preserve the works.

When Forcada was looking at other works in the collection he suspected were faked or forged, he noticed more than poorly covered signatures. Some of the works featured landmarks, like castles, that were built in the 1950s- by that time, Terrus had been dead for decades. (Related: " Artful Software Spots Faked Masterpieces ")

Other canvases were from the correct era but painted by other artists. Police believe the works, which might be part of a larger art scam, were created by Terrus' contemporaries like Pierre Brune, Balbino Giner, and Augustin Hanicotte.

Much of Étienne Terrus' life is lost to history. The artist was born in Roussillon, France, in 1857 and died in 1922. A contemporary of Henri Matisse and André Derain, Terrus moved to Paris to pursue his art when he was a teenager but later moved back to Elne and produced much of his work there. Terrus is best known for his landscapes featuring southern France, and he is credited as being one of the precursors of Fauvism, a colorful style of modern art. (Related: these photographs look like paintings)

To the untrained eye, faked or forged art can be difficult to spot. But correctly attributed works should have provenance documentation, and that documentation should be certified. If that fails, other details like a misspelled, shaky signature or materials from a different period can be telltale signs of a fake or forgery. (Related: " Why We Lie: The Science Behind Our Deceptive Ways ")

"The bigger problem with museums is not purchases that tend to come under scrutiny, but the acceptance of works on loan that may be problematic," Charney says. "Most museums around the world rely on loan objects and ... museums might not question works offered on loan if they look good because they rely on such loans to fill their walls."

All things considered, art forgery is widespread in the mainstream art world. The FBI Art Crime Team has recovered more than 14,850 works totaling more than $165 million since its inception in 2004. Some statistics have said that up to 20 percent of the paintings in major museums are fake, but Charney says this number is false.

"I would imagine that at least 95 percent of everything that is displayed in museums is exactly what the museums think it is, meaning it is not misattributed, and it is neither a fake nor forgery," Charney says. "It may be safe to say that some 20 percent of a museum's entire holdings are problematic in terms of authenticity, which means they were actually inadvertently misattributed, or perhaps, in very rare cases, a proactive fake or forgery."

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How More Than Half the Art in This French Museum Was Forged

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In September, southern France-based art historian Eric Forcada was serving as a guest curator to a small, state-owned museum in the region. As he was hanging one of the museum's paintings on a wall after a $365,000 renovation project, he noticed something strange.