The article considers the issues of examination and attribution of artworks. The central focus is on the results of studies of four West European paintings from the collection of Yekaterinburg Museum of Fine Arts. The paper describes the results of technical and technological examination of Still Life with Broken Game and Watermelon, which was attributed in the process of studying the brushwork to Pietro Navarra, a little-known early eighteenth-century Roman artist. As a result of the search for attribution, the painting Eleazar and Rebekah, previously attributed to an unknown Italian master, was revealed to have connections with the work of seventeenth-century Neapolitan artist Andrea Malinkoniko. The painting The Death of Camilla, long considered to be the work of Carlo Chignani, has been re-attributed as The Death of Dido possibly by the mid-seventeenth-century Lombard artist Carlo Francesco Nuvolone. The painting Singing Actors is dated to the end of the seventeenth century and is attributed to the Roman master known by the pseudonym Pseudo Carocelli.
Keywords: evaluation, attribution, Italian painting of the 17th century
Tactile Vision in Eighteenth-Century Korean Still-Life, or Ch’aekkŏri