“Until 1901, the painting (“Sunset at Montmajour”) was in the collection once owned by van Gogh’s brother, said Marije Vellekoop the head of collections, research and presentation for the museum.  His widow, Johanna van Gogh-Bonger, sold it to a Paris art dealer.  In 1908, the art dealer sold it to a Norwegian collector, Ms. Vellekoop said.  Shortly after that, she added, ‘it was declared a fake, or not an original,’ and the Norwegian collector banished it to his attic, where it stayed until he died in 1970.  The current owners purchased it thereafter.  

They took it to the Van Gogh Museum in 1991, Mr. Ruger said, but at that time, experts there said they did not think it was authentic.”   p C7 

Let us shift focus and assume that someone is moved by looking at an old painting in a museum in an unfamiliar city.  He does not break the spell with a glance at the label to find who the artist is or the date it was painted.  Assuming the viewer is sufficiently informed to make a judgment; he purposely ignores the information contained in the label to keep the innovative status of the work at bay.  The question of innovation then becomes an intellectual imposition; such knowledge may enhance or detract from the examination of the painting.  The initial experience is a matter of “taste” and the overlay of additional irrelevant information is the “after taste”.