What did AI analysis reveal about the Saint Francis paintings attributed to Jan van Eyck?

AI analysis found both the Philadelphia and Turin versions of "Saint Francis of Assisi Receiving the Stigmata" to be "91% negative" and "86% negative" respectively, indicating no detected brushstrokes by Jan van Eyck.

Could the Saint Francis paintings be studio works by Jan van Eyck?

Yes, the negative AI findings support theories that the "Saint Francis" paintings were produced in Jan van Eyck's workshop rather than being solely painted by him.

How did AI assess the authenticity of The Arnolfini Portrait by Van Eyck?

An AI analysis of Jan van Eyck's "The Arnolfini Portrait" concluded it was "89% likely to be authentic."

Home / Arts and Entertainment / AI Casts Doubt on Renowned Van Eyck Paintings

AI Casts Doubt on Renowned Van Eyck Paintings

7 Feb

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Summary

AI analysis found both Saint Francis paintings negative for Van Eyck's brushstrokes.
Leading scholars suggest the works may be from Van Eyck's studio, not his hand.
Authenticity tests on Van Eyck's Arnolfini Portrait showed a high likelihood of being genuine.

AI Casts Doubt on Renowned Van Eyck Paintings

Scientific analysis using artificial intelligence has cast significant doubt on the authenticity of two famous paintings, "Saint Francis of Assisi Receiving the Stigmata," housed in Philadelphia and Turin. Art Recognition's tests found no brushstrokes attributable to the 15th-century Flemish master Jan van Eyck, labeling the Philadelphia painting "91% negative" and the Turin version "86% negative."

These findings align with scholarly suggestions that the artworks may be studio productions rather than direct creations of Van Eyck. In contrast, a separate analysis of Van Eyck's "The Arnolfini Portrait" in London indicated an 89% likelihood of authenticity, highlighting the unique nature of the "Saint Francis" results.

Experts note that restoration work could influence AI analysis, but the consistent negative results for both paintings are striking. This situation prompts further investigation into the possibility of a lost original by Van Eyck, with these two pieces being workshop interpretations.