This study comprises six chapters; chapter one deals with the study of the raw materials which were employed for making the oil painting layers through ages. Starting with the painting supports which include the natural and artificial panels; and their relation to the location in which the painting existed, followed by the canvas supports by all their forms; particularly whether the linen support was the most involved one beside other fibres which were rarely used.in addition to the other paper and metal surfaces. Furthermore, the painting layers, the preparing layers and their general composition will be explained as well.
Chapter two discusses the worldwide forgers and the most famous painters whose their paintings were forged.as this section dealt with the most known worldwide forgers who were unnoticed and what were the direct and indirect motivates to push them to do that.as this resulted in many forged paintings which were exhibited for years as being original.
Beside that, the study of the most favoured painters whose their paintings were preferred to be forged, then the approaches which were proposed to be involved for each forger.starting with the selection of the original painter to whose the painting was attributed, then the preparation process, and finally its sale for art collectors and galleries. in addition to the behaviour to persuade the public with the authenticity of the fake artworks.
Subsequently, Chapter three discusses the study of the involved methods for forgery. firstly selecting the art theme , then the raw materials and their application. in addition to the frequent deceptions which being used by the forgers and the evolution of the forgery concept through ages. As forgery started from an imitation of the outer contour of the painting, then the behaviour of art, and the general outline of the painting. as authenticity of the artworks depended basically upon the experts’ opinions; particularly the debate has occurred when Han Van Megreen admitted that his paintings were forged; although he could persuade others that they were accurately original and how he challenged the experts and could deceive them.
Additionally, the technology came to be employed for the examination for the artworks to prove its authenticity at the same time the forgers tried hardly to involve the same advanced technology in performing the forgery process. Consequently, the forgery process became more accurate and not easy to be detected.
Chapter four includes the innovative scientific means to detect the forged oil paintings in the worldwide which related to the forgers’ mistakes whether direct or indirect. The proposed methods to identify the forged paintings and explaining the application of each method will be involved; e.g. the involved materials and the work conditions ....etc.
Chapter five which being the most significant one as included three sections.the first dealt with a field study which aimed to search for the existing forged oil paintings close to hand.based upon, one recorded court case was found for one of the foreigners and his wife who persuade one of the Egyptian painters for making forged paintings and finally the matter being announced. secondly, a simulation study which focused upon a comparison between two old paintings; one of them was original dated back to the painter Husni EL Banany in 1936 and another was forged which possibly imitated the original one without a clear signature. a scientific methodology to prove the authenticity of this painting was achieved which included the examination and analysis methods, the artistic study and the followed techniques to ultimately reach what was called ” forgery/fake detection”
Chapter six the applied study. the comparative study showed many deterioration aspects from which the painting suffered. so the intervention with the restoration should be made.in additon to the investigation being made to elucidate more about the methods of Hassan EL-Banany to identify the new facts which distinguish his artworks and make it more difficult to be imitated. The treatment started with the documentation of the existing deterioration aspects and then the basic steps of restoration; e.g. the cleaning, primary consolidation, lining for strengthening the original support, binding cracks, and completion for the missing parts and for the painting layers. finally to apply varnish layers; particularly a kind of a matt one.
periodical maintenance will be considered in the museum where the painting was displayed to assure the enduring protection for the painting .
