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The authenticity of art has always commanded the attention of experts, dealers, collectors and the art-minded public. This book of essays, edited by a lawyer specializing in art law and authenticity, proposes to make the question of authenticity more easily understood.

Art --- Law and art. --- Art and law --- Expertising of art objects --- Art forgeries --- Forgery of works of art --- Counterfeits and counterfeiting --- Forgery of antiquities --- Forgeries. --- Expertising. --- Collectors and collecting --- Law and legislation --- Provenance --- Reproduction --- Expertising of art

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Forgeries present a daunting problem to art historians, museums, galleries and curators who face challenges in determining the authenticity of paintings. Recent progress in science has led to the development of new methods for investigating works of art, and can provide new insights into the materials found in paintings. The rise in the value of paintings together with the knowledge and skills of forgers highlights the need to develop reliable scientific procedures to identify fakes. Given the complexity of materials in paintings and the convergence of various disciplines, a methodological approach for nvestigations of paintings is based on art historical, curatorial, aesthetic, technical and scientific evaluation. In this book sophisticated digital and analytical techniques are reviewed for the identification of materials (pigments, binders, varnishes, adhesives) and the physical characteristics of paintings such as brushstrokes, craquelure and canvas weaves. This book presents an updated overview of both non-invasive and micro-invasive techniques that enable the material characterization of paintings. The materials constituting a painting are reviewed, as are ways that changes in materials over time can provide insights into chronology and physical history. State-of the art digital metods including multi and hyper-spectral imaging and computational approaches to data treatment will be presented. Analytical techniques developed and optimized to characterize binders, varnishes, and pigments are reviewed, focusing on materials which can provide information on ageing or provenance. Case studies of applications of synchrotron-based methods and the analysis of paintings are given, as are chapters devoted to legal aspects related to authenticity. Chapter 1 is available open access under a Creative Commons Attribution 4.0 International License via link.springer.com.

Art --- Art and science. --- Analytical chemistry. --- Forgeries. --- Analysis, Chemical --- Analytic chemistry --- Chemical analysis --- Chemistry, Analytic --- Chemistry --- Science and art --- Science --- Art forgeries --- Forgery of works of art --- Counterfeits and counterfeiting --- Forgery of antiquities --- Reproduction --- Cultural property. --- Materials --- Forensic sciences. --- Materials science. --- Cultural Heritage. --- Characterization and Analytical Technique. --- Forensic Science. --- Materials Science. --- Analysis. --- Material science --- Physical sciences --- Criminalistics --- Forensic science --- Criminal investigation --- Cultural heritage --- Cultural patrimony --- Cultural resources --- Heritage property --- National heritage --- National patrimony --- National treasure --- Patrimony, Cultural --- Treasure, National --- Property --- World Heritage areas

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This book explores the untold history of women, art, and crime. It has long been widely accepted that women have not played an active role in the art crime world, or if they have, it has been the part of the victim or peacemaker. Women, Art, and Crime overturns this understanding, as it investigates the female criminals who have destroyed, vandalised, stolen, and forged art, as well as those who have conned clients and committed white-collar crimes in their professional occupations in museums, libraries, and galleries. Whether prompted by a desire for revenge, for money, the instinct to protect a loved one, or simply as an act of quality control, this book delves into the various motivations and circumstances of women art criminals from a wide range of countries, including the UK, the USA, New Zealand, Romania, Germany, and France. Through a consideration of how we have come to perceive art crime and the gendered language associated with its documentation, this pioneering study questions why women have been left out of the discourse to date and how, by looking specifically at women, we can gain a more complete picture of art crime history.

Culture --- Art. --- Culture. --- Gender. --- Crime --- Criminal sociology --- Criminology --- Sociology of crime --- Sociology --- Cultural sociology --- Sociology of culture --- Civilization --- Popular culture --- Art, Occidental --- Art, Visual --- Art, Western (Western countries) --- Arts, Fine --- Arts, Visual --- Fine arts --- Iconography --- Occidental art --- Visual arts --- Western art (Western countries) --- Arts --- Aesthetics --- Cultural studies --- Study and teaching. --- Sociological aspects. --- Sociological aspects --- Social aspects --- Female offenders. --- Art thefts --- Art --- History. --- Mutilation, defacement, etc. --- Forgeries. --- Art forgeries --- Forgery of works of art --- Counterfeits and counterfeiting --- Forgery of antiquities --- Defacement of art --- Mutilation of art --- Malicious mischief --- Mutilation --- Vandalism --- Art robberies --- Art stealing --- Plunder of the arts --- Theft --- Delinquent women --- Offenders, Female --- Women --- Women criminals --- Women offenders --- Criminals --- Reproduction --- Defacement --- Thefts --- Motion pictures. --- Arts. --- Crime—Sociological aspects. --- Sociology. --- Audio-Visual Culture. --- Crime and Society. --- Gender Studies. --- Social theory --- Social sciences --- Arts, Occidental --- Arts, Western --- Humanities --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Mass media --- Performing arts --- History and criticism --- Arts, Primitive --- Art thefts. --- Women criminals. --- Art thieves. --- Thieves, Art --- Thieves