New Van Gogh painting discovery sparks debate

Experts question authenticity of a mysterious painting attributed to Van Gogh, unveiled by an art research firm.

Two visitors photograph Vincent van Gogh's "The Starry Night" (original title: "De sterrennacht") at the Museum of Modern Art (MoMA) in New York City on November 19, 2023. Photo by Mairo Cinquetti/Nur/Getty Images

By Novanka Laras and Sarah Oktaviany

In 1889, Vincent van Gogh voluntarily admitted himself to a psychiatric asylum in southern France, a period marked by both inner turmoil and extraordinary artistic output. Over the course of a year, he created approximately 150 paintings, including iconic masterpieces such as Irises, Almond Blossom, and The Starry Night. More than a century later, a team of art historians, scientists, and conservators believes they have unearthed a new addition to this celebrated collection. A previously unknown Van Gogh painting, titled Elimar, is now at the center of debate in the art world.

The discovery of Elimar has captivated experts and enthusiasts alike, not least because of its unlikely journey from a Minnesota garage sale to potentially being a $15 million masterpiece. Purchased for under $50 by an antiques collector, the painting depicts a pensive fisherman repairing a net on a desolate beach. His round hat, white chin-beard, and contemplative gaze are rendered in thick, expressive brushstrokes. In the lower right corner, the name "Elimar" is scrawled.

The painting first caught the attention of LMI Group International, a New York-based art research firm, in 2019. Founded by art lawyer Lawrence Shindell, LMI specializes in using scientific data and historical research to authenticate works of art. They acquired the painting from the anonymous collector and have since invested over $30,000 in its investigation. Leading this effort is Maxwell Anderson, a former curator at the Metropolitan Museum of Art, who joined LMI in 2022. Anderson has stated that Elimar exhibits characteristics strongly aligned with Van Gogh's known works, sparking significant interest.

“From the moment I saw it, I was struck by its potential,” Anderson said. Despite lacking the vibrant hues typically associated with Van Gogh’s works, Elimar showcases the confident brushstrokes and emotional depth characteristic of the artist.

The painting’s muted palette aligns with Van Gogh’s so-called "translations," a series of modified copies he created during his asylum stay. These translations were inspired by old master paintings and served as an exercise in artistic reinterpretation. In an 1890 letter to his brother Theo, Van Gogh described the process as "not copying pure and simple but translating into another language, the one of colors."

For Elimar, LMI researchers identified Danish painter Michael Ancher’s Portrait of Niels Gaihede as the probable inspiration. Painted in the late 19th century, Ancher’s depiction of a fisherman bears striking similarities to the figure in Elimar. The discovery of this connection bolsters LMI’s argument that Van Gogh could have encountered Ancher’s work and used it as a reference.

However, not everyone is convinced. Richard Polsky, an independent art authenticator, emphasized the challenges of proving such claims. “It’s a wonderful story, but they need irrefutable evidence,” he stated. This evidence would ideally include validation from the Van Gogh Museum in Amsterdam, widely regarded as the authority on the artist’s works.

The Van Gogh Museum has declined to comment directly on Elimar. However, the institution has noted that the majority of authentication requests it receives—nearly 500 annually—fail to meet their rigorous standards. Their process now prioritizes works that have garnered substantial support from art professionals, significantly narrowing the pool of potential Van Gogh discoveries.

One of the most significant hurdles facing Elimar was the presence of a pigment called PR50, a compound linked to the popular red pigment geranium lake. PR50 was previously thought to have been patented in 1905, more than a decade after Van Gogh’s death. To resolve this discrepancy, LMI enlisted patent lawyer Ben Appleton, who uncovered an earlier 1883 patent for PR50 from a Parisian chemical manufacturer. This finding aligns with Van Gogh’s timeline and provides a crucial piece of evidence in favor of Elimar’s authenticity.

Further scientific analysis by Jennifer Mass, president of Scientific Analysis of Fine Art, revealed that the painting’s canvas and other pigments were consistent with materials available during Van Gogh’s lifetime. Mass also uncovered a red hair embedded in the paint, which DNA testing confirmed belonged to someone with red or reddish-brown hair—a detail that adds an intriguing, albeit inconclusive, layer to the painting’s story.

Beyond the technical evidence, Elimar’s lack of Van Gogh’s signature has raised eyebrows. While the artist is known to have left many works unsigned, the presence of "Elimar" in the corner is unusual. LMI argues that the signature matches brushstrokes found in Van Gogh’s 1885 painting Still Life with Bible, lending credibility to the theory that "Elimar" was an intentional pseudonym.

Despite these efforts, the painting’s fate remains uncertain. Gaining widespread acceptance as a Van Gogh will require endorsements from prominent scholars and institutions, a task complicated by the art world’s increasingly cautious approach to attributions. Fearing lawsuits from disgruntled owners, many experts now avoid making definitive rulings on authenticity.

Still, Anderson remains optimistic. Private viewings of Elimar are scheduled for later this year, targeting major Van Gogh scholars and dealers. If authenticated, the painting could fetch upwards of $15 million at auction.

The discovery of Elimar highlights the enduring fascination with Van Gogh and the lengths to which experts will go to uncover the truth. It also underscores the complexities of authentication in an era where science and art history must work hand in hand. For now, Elimar exists in a liminal space, a painting both celebrated for its potential and scrutinized for its mysteries.

Whether or not Elimar joins the ranks of Van Gogh’s masterpieces, its story serves as a testament to the allure of artistic discovery. In the words of Anderson, “Art has the power to surprise us, even after more than a century. That’s what keeps us looking.”

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