Recent investigations using artificial intelligence have raised significant questions about the authenticity of two paintings attributed to Jan van Eyck, housed in the Philadelphia Museum of Art and the Royal Museums of Turin. These artworks, titled 'Saint Francis of Assisi Receiving the Stigmata', have long been celebrated as masterpieces from the 15th century, by one of the most esteemed figures in Western art. However, the scientific tests conducted by Art Recognition, a Swiss company, have found no evidence of Van Eyck's brushstrokes in either piece, suggesting that they may not be genuine works by the artist. The tests indicated a '91% negative' result for the Philadelphia painting and '86% negative' for the Turin version, leading to speculation about the integrity of the art historical record regarding these significant pieces.

The implications of these findings are profound, not only for the museums and their collections but also for the field of art history as a whole. Jan van Eyck is revered for his innovative techniques and realistic representations, and the potential misattribution of these works raises questions about the criteria used to authenticate Renaissance art. Art historians and curators now face the challenge of revisiting and reassessing the provenance of the paintings attributed to Van Eyck, which could have broader implications on the way we understand and value art from this era.

Leading Van Eyck scholars, including Till-Holger Borchert, have responded with caution to these findings, understanding the sensitivity surrounding the assessment of such fundamental works. The discourse around these paintings is likely to stimulate further research and scrutiny, not only of these specific pieces but also of other works attributed to the artist, as scholars seek to uphold the integrity of art history in the face of emerging technologies such as AI in the field of art analysis.