The Photograph and the Connoisseur

Connoisseurship is done through extensive research and comparing individual pieces with one known to be from the attributed artist’s oeuvre. This is a difficult and often expensive task, because the connoisseur has to compare artworks by viewing one for which he takes extensive notes and then traveling, often internationally, to view the other. In this scenario the connoisseur conducts the comparison with nothing but a few notes and his memory. This is hardly a perfect system. When connoisseurs were relatively new they may have had access to a sketch or print copy of one or both works, but these were only as good as the copier was skilled and presented the copier’s interpretation of the work. The connoisseur had quite the task to complete. In the 1820’s his task seemed to become easier with the advent of modern photography.

Photography allowed connoisseurs to view and compare works together, under the same conditions, without the difficulties of travel, the deficiencies of memories, and the interference of a copier’s interpretation. This meant that the connoisseur could compare brushstrokes and make a more accurate comparison. However, this was not the case. Connoisseurs believed that they were making accurate comparisons, and thus their dedications were beyond doubt, but they soon realized they were still dependent upon the interpretation of the photograph and the quality of the image. The lighting, angle, and distance of the photograph can affect what the connoisseur sees and does not see. Photography is a deceptive aid. While it is more practical than travelling great distances to see two works separately, and more accurate then a drawn or printed copy, photography is still just a copy.

While photography does not provide accurate copies for traditional connoisseur methods, these copies are useful for non-traditional comparison methods. An example of a non-traditional method is discussed in the article “Fractal expressionism.” Through the use of photography the abstract paintings of Jackson Pollock were analyzed. A computer grid was placed over a scanned photograph to analyze the dispersal pattern of paint in Pollock’s works. Through this method a pattern was discovered that could not have been proven without the use of photography. This pattern can now be used to determine the authenticity of paintings attributed to Jackson Pollock.


A primary task of the connoisseur is to judge the authenticity of an
As photographic technology has developed the role of photography in connoisseurship has expanded. Since the birth of modern photography art has been studied through photographs. While the majority of people experience artworks solely through photographs, professional connoisseurs recognize the limitations of a photo and prefer to see the artwork in person and then use a photograph in addition to notes to aid their memories. In this fashion, photography will continue to be used by connoisseurs. It will also be used in conjunction with science to find new tools for authenticating artwork. The photograph is welcome to stay, but only as an advisory tool. It will not be used as the primary source for comparison.