How to Tell the Real Thing

Ask a museum curator how she spots a fake, and she will rarely mention chemistry first. She will talk about the eye — an instinct built over decades of looking, until a painting feels wrong before anyone can say why. Only later does the laboratory confirm the suspicion: paint invented after the artist died, a canvas that is too new, a signature traced rather than written.

This is the strange thing about expertise in authenticity. The most reliable clue is rarely a single fact but a pattern that a practised eye recognises and a careful mind cannot always explain in words. Ask an expert to justify a judgment on the spot, and the answer often sounds like a guess: something about the surface, the weight of the frame, the way the paint has aged. Doubters call this vague. Collectors call it priceless.

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