Suzie Baker OPA – Board Member – Past President
Ferdinand Hodler, The Disappointed Souls, 1892, 120x299cm, Guggenheim Museum, New York – Public Domain, Wikimedia Commons
Names and offending images have been omitted to protect the not-so-innocent.
Oh, the cheaters we’ve seen over the years…this painting by Ferdinand Hodler illustrates so well the feeling we on the OPA Board have every time we have to address a fresh incident of cheating.
From the outset, let’s be clear: this article is not intended as a sensational exposé. Rather, it is an acknowledgment that Oil Painters of America, like any organization committed to excellence, occasionally encounters rule violations—and that we take seriously our responsibility to address them.
Across more than three decades as an organization and hundreds of exhibitions and online shows, OPA has found that such incidents are rare, but persistent—perhaps a handful a year. Addressing them thoughtfully and consistently allows us to maintain the integrity, fairness, and high standards that our members and exhibiting artists expect.
Sometimes Rule Violations Are Unintentional
We recognize that not all rule violations are intentional. Mistakes are made. OPA’s submission rules are detailed, and artists sometimes assume they understand them without reviewing the prospectus upon entering.
We strongly encourage all artists entering OPA exhibitions to carefully review our submission rules:
Questions are always welcome. Our knowledgeable staff regularly assists artists who want clarification before entering. For example, members often ask whether paintings created in non-instructional portrait or figure groups qualify as original concept and design and are eligible for entry. (They are!) Reaching out beforehand allows artists to enter with confidence and peace of mind.
When Rules Must Be Clarified
As technology evolves, so must our policies. Occasionally, new situations require clearer language or additional guidance.
Most of us have encountered product warnings that seem obvious—until we remember that they exist because someone, somewhere, tried something ill-advised. On irons: “Do not iron clothes while wearing them” On strollers: “Remove child before folding” On sun shields: “Do not drive with sun shield in place.”
In much the same way, OPA periodically updates or clarifies its rules to address misunderstandings, questionable practices, and most recently, clarifications regarding the use of artificial intelligence (AI).
While these updates can feel tedious, they serve an important purpose: protecting artists who work honestly and ensuring a level playing field for everyone. OPA’s mission remains unchanged—to uphold excellence in representational oil painting
The OPA Rules & Bylaws
This recently clarified section of the OPA Rules and Bylaws now reads:
“Only original paintings are acceptable for entry into OPA Exhibitions. They must be created by hand solely by the artist submitting the painting and be original in concept and design. Grounds for disqualification of a painting include the following:
A. Use of Artificial Intelligence to generate a design or create the facsimile of a painting.
B. Copying from photos or images that were not created by the artist, including stock images, historic photos, or of any reference to which the artist does not hold total copyright. Purchased reference material that transfers copyright to the artist is unacceptable.
C. Use of digital, photo, or other mechanical transference to the substrate of an image. The artist must draw and/or paint the image on the substrate themselves.
D. Entry of a painting created in a paid instructional setting such as a workshop or art class.
E. Entry of an image of a painting that does not represent the artist’s final and completed artwork.”
Find the full prospectus for the Thirty-fifth Annual National Juried Exhibition of Traditional Oils here.
Interested in a deeper dive into the OPA Mission, Policies, and Bylaws? Pour yourself a warm drink, get comfy, and find them here.
Sometimes Cheaters are Intentional
Here is a list of the most common infractions we have encountered over the years. (If any of these elicit a strong reaction, know that the Board and staff share it.)
1. Printed Images Presented as Paintings
On rare occasions, photographic or digital images are printed on canvas and enhanced with paint. These works are typically identified during installation by museum or gallery staff or by a Board member prior to an opening and are removed from the exhibition.
2. Digitally Created Work Submitted as Oil Painting
With the growth of digital tools and AI, this issue has become more common. OPA addresses this through juror education, detection software, and a secondary review of accepted works.
While some organizations are looking to require each submission to include a “work-in-progress” image to accompany each entry, we have decided this is too burdensome to institute for the vast number of honorable entrants. Instead, moving forward, when artists enter their images, they are required to check a box affirming their compliance with our rules, and their willingness to provide us with process photos or other evidence of authorship if it is requested.
3. Copies of Other Artists’ Work
Master copies and close study of influential artists have long been an important part of artistic training. Recreating a painting for educational purposes can be invaluable in developing skills and visual understanding.
However, work submitted to OPA exhibitions must be the original concept and design of the submitting artist. Inspiration differs fundamentally from replication. From time to time, OPA encounters paintings that closely mirror an existing work by another artist. This may include work that is substantially similar, paintings that appear to be reversed versions of known works, or replicates another work too closely to be considered original.
4. Use of Copyrighted Reference Material
OPA has encountered works based on identifiable copyrighted characters or images. As our rules state, references must be wholly owned by the artist; purchased or licensed materials are not acceptable.
How Cheaters Are Typically Discovered
● Tip-offs (anonymous or otherwise)
The number one way cheaters are caught? Other artists. Creating an excellent oil painting takes effort, and when artists see someone trying to cut corners, they speak up.
● Direct observation
Every painting is viewed by a juror (or five) and a judge. Physical paintings get shipped to shows and are handled by museum or gallery staff. Attending Board members are often the first to peruse a show. Every link in that chain is an opportunity to check the authenticity of a piece.
● Detection Software
Entries are subject to AI detection software. If an entry is questionable, or is due for an award, it will be given extra scrutiny.
● Communication Between Organizations
OPA communicates with the leaders of other arts organizations. It’s really a small world in that regard. If applicable, when someone gets caught by one group, the others are quietly notified in the interest of our shared standards. A note here: to date, it is not our practice to publicly name names. We hope to keep it that way.
The Consequences
When a concern is substantiated, OPA follows a formal review process. If a piece is found questionable, the artist is notified and given the opportunity to provide clarification or documentation.
These situations are handled with discretion and care. Consequences may include removal from exhibitions, revocation of awards, and changes in membership status, in accordance with OPA policies.
Recent bylaw updates (listed below) now allow for stronger responses in cases involving knowing and flagrant violations, ensuring fairness for the broader membership.
“II. An artist who submits an entry in contravention of these requirements is subject to disqualification from exhibiting in any OPA exhibition for two years.
III. The Board of Directors shall have the authority, by a vote of no less than two-thirds (2/3) of the Board, to terminate the membership of any individual whose actions, submissions, or representations are found to be in flagrant or willful violation of these rules or whose conduct is deemed contrary to the aims and integrity of Oil Painters of America. Grounds for such action include, but are not limited to:
A. Submission of artwork that is misrepresented as an original oil painting, including works partially or wholly generated by artificial intelligence or digital manipulation.
B. Repeated or deliberate violations of OPA’s exhibition rules or ethical standards.
C. Conduct that undermines the reputation or mission of the organization.
Prior to removal, the member shall be notified in writing of the alleged violation and given a 30-day window of opportunity to respond. The Board’s decision shall be final. Such expulsion will result in forfeiture of membership dues, competition entry fees, any award related to the misrepresentation and revocation of any OPA and OPAM Signature designations. If applicable, the painting will be mailed back at the artist’s expense.”
Upholding Our Standards—Together
Oil Painters of America exists to champion excellence in representational oil painting. We believe artists are best served when the standards are clear, consistently applied, and fairly enforced.
If something in an exhibition gives pause, we welcome thoughtful communication. Occasionally, what appears questionable is simply the result of extraordinary skill and dedication. Other times, it brings an important issue to our attention.
We are better together.
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