The women old masters the textbooks left out

The decision lands at a delicate moment for an industry already under pressure to change.

Stand close to the surface and the myth falls away. What remains is the evidence of decisions — a scraped-back passage, a colour laid over another, the physical record of a mind at work.

Conservators and art historians continue to argue over attribution, technique and intent, and every new imaging tool reopens questions everyone assumed were settled.

That uncertainty is part of the pull. A great painting refuses to be finished with; it keeps looking back, and keeps changing depending on who is doing the looking.

Which is why we keep returning to the same canvases, and why each generation is convinced it is seeing them clearly for the first time.