Art forgery is the creation and sale of works of art which are falsely credited to other, usually more famous artists. Art forgery can be extremely lucrative, but modern dating and analysis techniques have made the identification of forged artwork much simpler.
A City on a Rock, long attributed to Goya, is now thought to have been painted by 19th-century artist Eugenio Lucas Velázquez. Elements of the painting appear to have been copied from autographed works by Goya, and the painting is therefore classified as a pastiche. Compare to Goya's May tree.
Sign at the Taxila Museum, Pakistan, 1981
Forged self-portrait of Albrecht Dürer
Strand von Ste. Adresse, 1863, by Johan Barthold Jongkind.
Authenticity in art is manifest in the different ways that a work of art, or an artistic performance, can be considered authentic. The initial distinction is between nominal authenticity and expressive authenticity. In the first sense, nominal authenticity is the correct identification of the author of a work of art; of how closely an actor or an actress interprets a role in a stageplay as written by the playwright; of how well a musician's performance of an artistic composition corresponds to the composer's intention; and how closely an objet d’art conforms to the artistic traditions of its genre. In the second sense, expressive authenticity is how much the work of art possesses inherent authority of and about its subject, and how much of the artist's intent is in the work of art.
Authenticity of provenance: The Yellow Dragon jar from the Jiajing period (1521–1567) of the Ming dynasty (1368–1644); a practical item in the 16th-century, and an objet d’art in the 21st century.
The art of forgery: The Supper at Emmaus (1937), by Han van Meegeren, a Dutch master forger who deceived the Nazi leader H. Göring that the painting was a genuine Vermeer painting.
The authenticity of experience of a work of art is ephemeral; thus, beholding the statue of the Hindu goddess Tara (Sri Lanka, 8th c.) in a secular setting (a museum) is unlike the aesthetic experience of beholding the statue-as-goddess in the original setting (a temple).