Three ways of looking at a work

To authenticate is to cross-check evidence of different kinds: the connoisseur's eye (style, execution), material analysis (pigments, supports, patinas) and documentary research (archives, catalogues, provenance). The ten-day module teaches how to conduct and compare them.
It rests on a teaching collection of authentic works, copies and fakes, and on access to partner laboratories.
This page details the three pillars and the drawing up of a report.
Authentication of works in figures
Source: OIMAP Academy.
The connoisseur's eye
The first pillar is visual examination: composition, brushwork, drawing, treatment of details, comparison with reference works. Trainees practise before authentic works and fakes, with methods to make their judgement explicit and open to discussion.
They also learn the limits of the eye: confirmation bias, the influence of a famous expert's opinion, visual fatigue.



Scientific analysis
Infrared imaging, X-rays, spectrometry, carbon-14 dating, dendrochronology, pigment analysis: the module presents what each technique contributes and what it cannot. It teaches how to put a question to a laboratory and how to read an analysis report.
Trainees spend three days in a laboratory to observe the protocols.
Archives and provenance
Documentary research traces the history of the work: catalogues raisonnés, old sales, exhibitions, correspondence, inventories. It places the work in time and detects missing links.
A workshop is devoted to the critical reading of a catalogue raisonné and to forged documents.
The expert report
The report sets out the question asked, the methods used, the results, their limits and the conclusion. It distinguishes what is established, probable, possible or excluded. It is written to be understood by a judge, a buyer or an insurer.
Trainees write a full report on a case, which is discussed in a seminar.
The three pillars
| Pillar | Contribution | Limit |
|---|---|---|
| Style | Consistency with known work | Subjective |
| Science | Dating, materials | Does not name the author |
| Archives | History of the work | Documents can be forged |
Milestones
- Style
Collection.
- Science
Laboratories.
- Archives
Workshop.
- Report
Seminar.
Expressing degrees of certainty



Team or individual expertise

In a team
Several specialists- Cross-checked views
- Fewer errors
- Coordination
For major works.

Individual
One expert- Speed
- Reduced cost
- Possible bias
For simple cases.
Conducting an authentication
- Frame
Question.
- Examine
Style.
- Analyse
Science.
- Search
Archives.
- Conclude
Report.
Good practice
An expert

« The most useful thing was learning to say "I don't know" rigorously, and to explain why. »
Vocabulary of authentication
- Dendrochronology
- Dating by tree rings.
- Spectrometry
- Analysis by radiation.
- Catalogue raisonné
- Critical inventory of an artist's work.
- Confirmation bias
- Tendency to retain what supports one's opinion.
Fakes and reasoned doubt
The module studies famous cases of fakes and the expert errors that allowed them. It teaches how to stay open to doubt, to express degrees of certainty and to recognise one's limits.
Experts learn to refuse a commission when the work exceeds their competence or their independence is in question.
To go further
The Academy's reception service answers practical questions Monday to Friday, in French, English and Spanish, and can direct each visitor to the programme, scholarship or free resource that fits their situation. A guidance counsellor also offers a thirty-minute individual meeting, by appointment, to build a realistic training pathway.
Trainees' feedback is valuable: each session gives rise to a questionnaire, and the most useful suggestions are examined each quarter by the teaching committee. Do not hesitate to write to report a difficulty, propose a subject or tell us what the training has changed in your practice.
Frequently asked questions
Does the module include laboratories?
Yes, three days.
Is a prior diploma needed?
Yes.
Can it be followed in English?
Yes.
Where to see conservation?
See Conservation.
Useful documents
Contacts

See conservation
Image credits (16)
- Jar with Design in Underglaze Iron (1800s–1900s) — Cleveland Museum of Art, CC0 1.0
- Annunciation to the Shepherds: Leaf from a Book of Hours (1 of 6 Excised Leaves), Henri d'Orquevaulx (c. 1420–30) — Cleveland Museum of Art, CC0 1.0
- Salver, Carlo Bugatti (c. 1907) — Cleveland Museum of Art, CC0 1.0
- Portrait of a Man, Gustave Caillebotte (1880) — Cleveland Museum of Art, CC0 1.0
- Presentation Bowl (1900) — Cleveland Museum of Art, CC0 1.0
- Turtleback Reading Lamp, Tiffany Glass & Decorating Company (c. 1895–1902) — Cleveland Museum of Art, CC0 1.0
- Portfolio I, Plate 34: The Blanket Weaver-Navaho, Edward S. Curtis (1904) — Cleveland Museum of Art, CC0 1.0
- The Four Seasons, Kano Tan’yū (1668) — Cleveland Museum of Art, CC0 1.0
- Centerpiece, Eugène Rousseau (c. 1880) — Cleveland Museum of Art, CC0 1.0
- Jar with Stamped Decoration (1400s) — Cleveland Museum of Art, CC0 1.0
- Miniature Teapot, Mikhail Evlampievich Perkhin (1886–96) — Cleveland Museum of Art, CC0 1.0
- Eighteen Views of Rome: The Piazza Farnese (recto), Lievin Cruyl (1664) — Cleveland Museum of Art, CC0 1.0
- Fragment of a belt (hizam) (1800s) — Cleveland Museum of Art, CC0 1.0
- Self-Portrait with Five Muses, Henry Church (c. 1880) — Cleveland Museum of Art, CC0 1.0
- Panel (c. 1780–1840) — Cleveland Museum of Art, CC0 1.0
- Edge of the Woods Near L'Hermitage, Pontoise, Camille Pissarro (1879) — Cleveland Museum of Art, CC0 1.0
Cleveland Museum of Art · CC0 1.0
Experts and curatorsAuthentication, conservation and ethics: the Expert-Curator Diploma and continuing training for collection professionals.›
Conservation and documentationConserving, documenting and inventorying: good practice to protect collections and their history.›
Ethics of experts and curatorsIndependence, conflicts of interest, confidentiality, respect for communities: the code of conduct taught to all trainees.›