From 2009 to 2019, the famous work Ghent Altarpiece (Dutch: Lam Gods) by the brothers Hubert van Eyck (1370-1426) and Jan van Eyck (1390-1441) was in process of restoration and revealed the original intention. This was done by researchers and restorers from the Royal Institute for Cultural Heritage (KIK), Ghent University and University of Antwerp, mainly contributed by Hélène Dubois. The altarpiece/painting was created and revealed between somewhere in the few years before 1426 (death Hubert) and 1430/1432 (finishing by Jan). The work is of great value to the collection of European art and is considered a true masterpiece. It has mainly to do with the fact that until the late Middle Ages, and in early Renaissance, the realism and complexity that was shown in Lam Gods, was not shown before.
In 1650, the work was overpainted because of the condition and because of easthetical reasons. Unfortunately, we can say rigorous overpainting. According to the more recent research and restoration by the KIK, Ghent Univ. and Univ. Of Antwerp, the lamb, shown as a central figure, seemed to have a too human-like facial appearance that was assumably not appreciated in the 17th century’s fasion in art (and perhaps in general). The eyes were originally placed in front of the head, with human-like expression in the eyes themselves and the rest of the face. The choises made in 1650 dictated that the eyes had to be placed more towards the sides of the head, which is more realistic to how those animals actually look. The question remains whether the repainting was only done to make a more realistic representation of the animal, or because the original human-like representation was for some reason not appreciated. The recent assumption is that the second reason is morst probable, and therefore valid. Also, according to Hélène Dubois, the proposition that Jan van Eyck (or his brother) probably intended the human-like expression is valid, is because it is based on the fact that in other animals painted by Jan, the facial expressions are similar. Similarity is often seen as a criterium for assumption. Which is understandable until a certain degree, since interpretation, even on the highest level by renowned experts, can still be false in some cases. Assumably, in 1650 the lamb was seen as the thematic center of the piece, and therefore would grab attention, and therefore was a figure for adjustment (overpainting).
The original intention of the artist(s) is of course the one of the greatest value. When persons are impressed by a painting, and associate this impression with the artist(s), then it must be more true when the original intention is shown. Otherwise one can assume that the visitors of art are fooled until a certain extend. When a false representation is shown, despite of the question whether that representation is good or not, people are fooled. Of course, in some cases it might be so that an arrangement of a work is better than the original. But in that case it must be clear that it is an arrangement, and not the actual original in its full representation. Of course, one can doubt about the question whether the original representation is even possible to be shown because of several factors that changed it, such as: tiny edits in the work, damage to the work, environmental colors and light, and so on. For restorers and researches this all is obvious material to consider (in most cases) but unfortunately the business of art, and persons that appreciate art, are not always aware. Or even not interested.
An important point of representation of a piece of art or an artist is the fact that speculations, researches, opinions and comparisons are thrown into the world. This might affect the views of consumers of art on the topic. Perception is changed. And this can be also the goal for commercial reasons in some cases. Changing of perception creates interest; interest creates consumption. But in many cases in can be without commercial purpose and with sincere attribution to the world of art.
Some (art) historians have claimed that Hubert never lived. This can be a pure historical perception, or with the purpose to provoke, or with the purpose to add something controversal, or with commercial purpose, or with another purpose, or a combination (perhaps partly) of them all. Also, there are claims that the Lam Gods of Van Eyck is more related to Walt Disney than to for instance Van Gogh, because of the claim that multiple artists have worked on the painting under the “Van Eck” name or brand, like a small company (Walt Disney), instead of one artist making a work on his/her own (Van Gogh). Of course we also know that Rembrandt van Rijn (1606-1669) did not always paint on his own and that there were pupils creating along under his name. Even letting his pupils imitate his own works as an exercise. Also, we can see that Johann Sebastian Bach (1685-1750) his wife notated his compositions on partitures, while some users may think that Bach wrote it down himself. Artists of all kind had persons that helped with small practical things. Usually because of time limit. Speculations about the origin of who worked on a certain piece is necessary, but there can be traps to fall in, concerning reasoning. Too strong assumptions being made for example. And sometimes it is good just to accept that the truth is not known.
Eventually, the goal is to find out what is the truth and origin. Even though I just stated that sometimes acceptance of the unknown is good aswell. And if the truth is not to be found because of impossibility, then the most plausible options are to be considered. Evidently, this already happens in the professional world of experts. But is it done enough? One might not always be aware of these principles, or due to corruption it is not implemented. Therefore it is necessary to have a strong global culture of a scientific approach, where seeking for the truth and honesty is maintained. Even though the fact that there are times and situations where it can be very tough.
The example of the Lam Gods restoration shows clearly how the process of dealing with authenticy works.
Links
https://www.medievalmodern.ugent.be/restauratie-lam-gods-kranten-helene-dubois
https://www.kikirpa.be/nl/nieuws/de-turbulente-materiele-geschiedenis-van-het-lam-gods-opgehelderd-in-een-proefschrift-door-collega-helene-dubois
http://closertovaneyck.kikirpa.be/
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