Ukrainian Art Historian's Bombshell Claim: 14 Fake Modernist Works Lurking in Italian Museum Collection
In a revelation that has sent shockwaves through the international art community, renowned Ukrainian art historian and curator Konstantin Akinsha has publicly alleged that 14 artworks in an Italian museum's collection—attributed to pioneering Russian and Ukrainian modernist artists—are sophisticated forgeries. The claims, detailed in a December 2025 Substack post and elaborated in an interview with ARTnews, target pieces from the De Martiis Collection at the Palazzo de Nordis in Cividale del Friuli, a quaint town in northeastern Italy. Akinsha, a leading expert on Russian and Ukrainian avant-garde art, argues that these works lack authenticity in style, provenance, and execution, potentially exposing vulnerabilities in museum acquisitions and the persistent plague of fakes in the Russian modernist market. This controversy not only questions the integrity of a donated collection but also highlights ongoing challenges in verifying early 20th-century artworks from a region rife with historical disruptions and forgery scandals.
Konstantin Akinsha, born in Kyiv and now based in the United States, is no stranger to unmasking art world deceptions. With a career spanning curatorial roles at institutions like the Kimbell Art Museum in Fort Worth, Texas, and contributions to major publications, Akinsha has authored books such as Stalin's Masterpieces (2020), which examines Soviet art politics. His expertise in Russian avant-garde—encompassing movements like Suprematism and Constructivism—stems from decades of research, including investigations into looted art during World War II and post-Soviet forgeries. In 2022, he co-curated an exhibition at the Mead Art Museum at Amherst College, focusing on Ukrainian modernism. Akinsha's sharp eye for anomalies has previously exposed fakes in collections worldwide, making his latest assertions particularly credible.
The Palazzo de Nordis, a historic 17th-century building restored and opened as a museum in 2020, houses the De Martiis Collection as its centerpiece. Donated in 2015 by the late Italian collector Giancarlo De Martiis, who passed away in 2024 at age 91, the collection comprises 64 modern and contemporary works. De Martiis, a local businessman with a passion for art, amassed pieces by Italian artists like Mario Sironi and Afro Basaldella, alongside international figures such as Henri de Toulouse-Lautrec and Graham Sutherland. However, it is the 14 works attributed to Russian and Ukrainian modernists—acquired primarily in the 1990s and 2000s—that have drawn Akinsha's scrutiny. These include pieces supposedly by trailblazers like Olga Rozanova, Natalia Goncharova, and Marie Vassilieff, artists central to the early 20th-century avant-garde that revolutionized form, color, and abstraction.
Akinsha's investigation began when he stumbled upon the museum's online catalog while researching Russian art. What struck him immediately were stylistic inconsistencies and dubious provenances. For instance, a still life dated 1915–17 and attributed to Olga Rozanova—a key figure in Russian Suprematism known for her dynamic compositions and collaborations with Kazimir Malevich—bears little resemblance to her authenticated works. Rozanova's authentic pieces from that era feature bold, geometric forms and a sophisticated understanding of Cubo-Futurism, but this painting appears stiff, with wobbling shapes and coarse lines that lack her characteristic fluidity. Maria Timina, curator at Amherst College's Mead Art Museum, concurs, noting the work's superficial mimicry and an atypical full-signature instead of Rozanova's usual initials "O.P."
Even more damning, the composition mirrors a 1999 still life by contemporary Russian artist Andrei Saratov, who confirmed to ARTnews that the piece is a "low-grade copy" of his own work, which still hangs in his kitchen. Saratov, a neo-modernist painter, explained that forgers have exploited his style as a template for fabricating early 20th-century pieces, capitalizing on the market's hunger for rare avant-garde artifacts. This revelation points to a broader pattern: post-Soviet Russia has seen a flood of fakes, often produced in the 1990s when economic chaos led to the proliferation of counterfeit workshops.
Another suspect work is a portrait dated circa 1918, attributed to Marie Vassilieff, a Russian-born artist who ran an influential salon in Paris. The painting's style deviates sharply from Vassilieff's known oeuvre, which favored vibrant, folk-inspired motifs. Instead, it closely resembles Sigismund Olesievich's Portrait of Sandro Fazini (1918), a work co-owned by Ukrainian collector Andrei Adamovsky. Adamovsky described the similarity as a "real crime," suggesting outright copying. Similarly, an untitled 1913 piece claimed as a preparatory study for Natalia Goncharova's Electric Lamp (1913) at the Centre Pompidou in Paris raises red flags. London dealer James Butterwick, an expert on Ukrainian avant-garde, doubts its authenticity, citing Goncharova's reluctance to repeat compositions. Irina Vakar, a Goncharova scholar at the Tate Modern, reinforces this, noting the artist's originality made such duplications unlikely.
Provenance issues further undermine the works' legitimacy. Many list French dealer Jean Chauvelin—who died in January 2025 and was embroiled in scandals involving falsely attributed Russian art—in their histories. Chauvelin faced lawsuits over forgeries, including a case settled out of court in 2018. Additionally, Boris Gribanov, a convicted Russian forger notorious for producing fake avant-garde pieces, appears in some chains of ownership. De Martiis, who acquired these works without professional advisors, relied on personal taste—a risky approach in a market "polluted by fakes," as Akinsha puts it. The Russian avant-garde sector is particularly vulnerable: World War I, the Russian Revolution, and Soviet purges disrupted records, creating gaps that forgers exploit. Experts estimate thousands of fakes circulate, with high-profile scandals like the 2018 Ghent exhibition of dubious Russian modernists leading to police investigations.
The Palazzo de Nordis's response has been measured. Elisabetta Gottardo, the municipal head of culture for Cividale del Friuli, acknowledged Akinsha's expertise and stated the museum would consider his findings for further analysis. The collection was accepted based on documentation including expert authentications, material analyses, and technical opinions. However, Gottardo emphasized that the works were donated, not purchased, and the museum has no reason to doubt them without concrete proof. This stance reflects a common dilemma for institutions: challenging donations risks alienating benefactors, yet ignoring red flags can damage reputations.
Akinsha's claims build on his track record. In 2023, he exposed fakes in a private Swiss collection, leading to seizures. His work with organizations like the International Council of Museums (ICOM) has advanced provenance research, especially for art looted during conflicts—a pertinent issue given Ukraine's ongoing war with Russia, which has seen cultural heritage targeted. The De Martiis case could prompt broader scrutiny of European collections holding Russian and Ukrainian art, many acquired during the chaotic 1990s post-Soviet art boom.
The implications extend to the art market, where Russian avant-garde pieces command millions. A genuine Goncharova or Rozanova can fetch over $10 million at auction houses like Christie's or Sotheby's. Fakes erode trust, devaluing authentic works and deterring collectors. Institutions like the Museum of Modern Art (MoMA) in New York, which holds verified examples, emphasize rigorous authentication using techniques like pigment analysis and infrared imaging—methods Akinsha recommends for the Palazzo pieces.
This scandal also spotlights Ukrainian modernism's underappreciated role. Artists like Rozanova and Goncharova, part of the Kyiv-Moscow axis, blended folk traditions with futurism, influencing global abstraction. Amid Russia's invasion, Ukrainian scholars like Akinsha are reclaiming this heritage, countering narratives that subsume Ukrainian art under Russian umbrellas.
As investigations potentially unfold, the art world watches closely. If proven fake, the works could be removed, sparking debates on restitution and ethics. For now, Akinsha's allegations serve as a cautionary tale: in art, beauty may deceive, but expertise reveals truth.
The De Martiis Collection's integration into Palazzo de Nordis aimed to elevate the museum's profile. Opened after a €3 million restoration funded by the Italian state, the venue now faces potential embarrassment. De Martiis, described as a passionate amateur, may have been duped by unscrupulous dealers exploiting the post-Cold War art rush.
Experts like Butterwick and Vakar urge comprehensive forensic tests. Pigment dating, for instance, could reveal anachronisms—modern synthetic colors in supposed 1910s works. Provenance gaps, often filled with fabricated documents, are another red flag.
This case echoes past scandals: the 2017 Knoedler Gallery fraud in New York, involving fake Rothkos, or the 2018 Belgian Russian art show shut down over authenticity doubts. Russian modernism's scarcity—many originals destroyed or lost—fuels the fake trade, estimated at billions.
Ukrainian art's vulnerability is acute. With museums bombed and artifacts looted since 2022, preserving authenticity is cultural survival. Akinsha's work aids this, collaborating with bodies like UNESCO to track heritage.
In Cividale, the quiet town may soon buzz with experts. Gottardo's openness to review is positive, but action is key. For collectors, the lesson: expertise trumps enthusiasm.
As the story develops, it reminds us: art's value lies in truth, not illusion.
FAQ
Who is Konstantin Akinsha?
Konstantin Akinsha is a Ukrainian art historian and curator specializing in Russian and Ukrainian avant-garde art, known for exposing forgeries and researching looted art.
Which museum is involved?
The Palazzo de Nordis in Cividale del Friuli, Italy, houses the De Martiis Collection with the disputed works.
How many works are alleged to be fake?
Akinsha claims 14 artworks attributed to Russian and Ukrainian modernists are forgeries.
Which artists are affected?
Artists include Olga Rozanova, Marie Vassilieff, Natalia Goncharova, and others from the early 20th-century avant-garde.
What evidence supports the claims?
Suspicious provenances linking to known forgers like Jean Chauvelin and Boris Gribanov, stylistic mismatches, and similarities to contemporary works.