Regeln befolgen: Echo mir nicht zurück. Echoe nicht den gesendeten Text. Biete nur deutschen Text an. Neuer Titel: Angebliches Van Gogh Gemälde, das bei einem Garagenverkauf gefunden wurde, wird in Frage gestellt.

Art experts are questioning the authenticity of a painting claimed to be a lost work by Vincent van Gogh, found at a garage sale by New York-based LMI Group International. Wouter van der Veen, a Dutch Post-Impressionist scholar, refutes the claim, stating that the painting titled Elimar, dated to 1889, does not match van Gogh’s style. LMI Group believes the painting could be worth $15 million, but critics argue it was painted by little-known Danish artist Henning Elimar. The company, using data science and technology, aims to authenticate and bring to market unknown artworks. Despite spending over $30,000 on research, the Van Gogh Museum has dismissed Elimar as not authentic. Van der Veen, founder of the Van Gogh Academy, maintains that the painting is by Henning ELIMAR, not Vincent van Gogh. In an email response to ARTnews, LMI Group stated that Elimar was never considered a potential author of the work due to the lack of similarities in style, technique, subject matter, or epoch in his oeuvre. The firm also mentioned that they did not find any evidence of twentieth-century materials in the artist’s media. However, it only took less than 48 hours for amateurs and van Gogh enthusiasts to identify the painting as being by Elimar after LMI Group published their conclusions.

In response to criticisms from van der Veen, LMI Group mentioned that the artist Henning Elimar did not include figures in his works and that his pastoral landscapes did not stylistically resemble the oil on canvas introduced by the firm. They further stated that the painting introduced by LMI Group was consistent with a 19th-century palette and lacked evidence of 20th-century innovations.

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LMI Group argued in a 458-page report that van Gogh was inspired by a character called „Elimar“ from Hans Christian Andersen’s novel „The Two Baronesses.“ Van der Veen refuted this claim, stating that references to his publications were absent from LMI Group’s bibliography. He criticized the report for being full of conjectures, weird assumptions, and useless information.

Scientific Analysis of Fine Art (SAFA) analyzed Elimar and found pigments and additives consistent with the late 19th century. One of these pigments, PR50, was patented in 1905, but SAFA suggested that earlier forms of the dye may have existed. Steven Saverwyns from the Royal Institute of Cultural Heritage stated that further research was needed to definitively identify PR50 in a pre-1905 painting.

Bendor Grosvenor, a British art historian, questioned the media attention surrounding LMI Group’s report, suggesting that the painting may be a copy by Henning Elimar of a work by Michael Peter Ancher. LMI Group’s report claimed that the painting was based on a work by Michael Ancher but attributed the copying to van Gogh. Grosvenor mentioned that van Gogh had a history of producing „translations“ of other artists‘ works during his time in Saint-Rémy.

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