Previous research has shown that Artificial Intelligence is capable of distinguishing between authentic paintings by a given artist and human-made forgeries with remarkable accuracy, provided sufficient training. However, with the limited amount of existing known forgeries, augmentation methods for forgery detection are highly desirable. In this work, we examine the potential of incorporating synthetic artworks into training datasets to enhance the performance of forgery detection. Our investigation focuses on paintings by Vincent van Gogh, for which we release the first dataset specialized for forgery detection. To reinforce our results, we conduct the same analyses on the artists Amedeo Modigliani and Raphael. We train a classifier to distinguish original artworks from forgeries. For this, we use human-made forgeries and imitations in the style of well-known artists and augment our training sets with images in a similar style generated by Stable Diffusion and StyleGAN. We find that the additional synthetic forgeries consistently improve the detection of human-made forgeries. In addition, we find that, in line with previous research, the inclusion of synthetic forgeries in the training also enables the detection of AI-generated forgeries, especially if created using a similar generator.

No one wants to be reminded of a failed relationship by having the ex's portrait hanging around. After Amedeo Modigliani and his lover, Beatrice Hastings, broke up, the Italian artist is thought to have obliterated her memory by painting another woman's likeness over his portrait of her. So he might not be too happy to learn that science has now brought back that "lost" portrait, using artificial intelligence, an X-ray and 3D-printing to re-create the painting, with full colour and textured brushstrokes. Portrait of a Girl, a 1917 masterpiece, is owned by the Tate, which was taken aback in 2018 to discover an earlier portrait beneath the picture. X-rays revealed the ghostly outlines of a full-length figure, prompting the then curator, Nancy Ireson, to suggest that it was a portrait of Hastings, and that Modigliani "might have painted her out" after their intense two-year relationship ended in 1916.