# Authentication of a Painting by [PERSON] Using Modern Multi-Analytical Methods
## 1 Introduction  
It is known that paintings based on talent, creativity, and craftsmanship, have become in time cultural heritage goods, true historical testmonies. These, in addition to the heritage elements highlighted at the elaboration (author/workshop, the artistic technique, the technology of the artwork, and materials) and later (age, the historical patina, value, owner/custodian, transfer, and itinerary) [1, 2], take over certain heritage functions, over time, which make them invaluable and undeniable. These patrimonial functions are aesthetic-artistic, historical-documentary, technical-scientific, socio-economic/urban, and spiritual [3, 4].  
Authentication of a painting does not only mean dating and establishing the author, workshop, or school, but much more: determining the route from conception to collection/museum (historical contexts) and structural-functional evolution (modification of the physical, aesthetic, and conceptual state). To these are added a series of attributes related to the area where the artwork was created, the area of use,of belonging (owner/custodian/gallery/museum), itineraries, and heritage value (share of stock or catalog), etc. [5; 6; 7; 8; 9; 10; 11].  
In the complex activity of authenticating an unknown painting, the historian or art critic, the so-called traditional expert, is helpless today without collaboration with technical-scientific experts from related fields (chemistry, physics, biology, geology, archeology, anthropology, forensic science, etc.) [1; 5].  
In addition to the aesthetic-artistic expertise, in authentication it is mandatory to determine the archaeometric characteristics or to evaluate the chemometric ones, with archaeometric value, used for dating or author establishment. Initially, the conservation status expertise will be carried out by analyzing the evolutionary effects of physical state deterioration of the structural-functional elements and of degradation of the chemical nature of the component materials. These allow the establishment of the two very important groups of attributes: the patrimonial elements or characteristics and patrimonial functions, which often coexist in determining the authenticity [1; 11; 12; 13].  
At present we are also witnessing an atypical phenomenon. Some public or private collections retain fake artworks or archaeological pieces, part of them without acknowledging this, for several subjective reasons. Moreover, fakes wear the defining features of a particular style, which reproduces the faithful characteristics of a \"genuine original\", easily succeeding in convincing buyers, art dealers, or collectors [14; 15; 16].  
Often, the owner of an unknown or uncertain painting, even if it is signed and dated, he or she will want a sure attestation of the date and the author. In Romania there are many examples of attributions made by art historians specialized on a certain artist or type of artifact. Among them, the historian [PERSON], who performed the aesthetic-artistic expertise, and, in conjunction with the plastic and graphoscopic analysis, a large series of paintings by some Romanian or European authors, is much discussed. Some critics support her as an established expert, while others say she is controversial and has been superficial in some authentications [15; 16].  
In this paper, two important aspects were pursued: establishing the authenticity of a painting by the Romanian painter [PERSON] by determining some archaeometric and chemometric characteristics, with archaeometric value, implying a modern system of multi-analytical techniques, together with the validation of the author's signature and the previous evaluation expertise performed by [PERSON], both with the same purpose of dating and establishing the author.