Various types of digital and physical three-dimensional facsimile technologies (e.g., high-definition digital modelling and 3D printing) have entered the art world and have become increasingly important for research and presentation purposes. Yet, studies that go beyond the technical aspects of (3D) facsimile techniques, such as their significance for the conservation/restoration field and museum display, are scarce, especially in the case of easel paintings. Furthermore, studies that analyse the perception of these methods and, consequently, their impact on the authenticity of the original painting, do not exist to our knowledge. The aim of this research is twofold: firstly, it evaluates a viewer’s perception of various facsimiles; secondly, on the basis of this analysis, it aims to gain a better understanding and provide an overview of the applicability of (3D) facsimiles of artworks for presentation purposes and potential users (technical art historians, conservators, curators, material scientists and museum visitors). This research was executed by combining a literature review with quantitative and qualitative analyses of the data acquired through a) a questionnaire of 17 closed and open-ended questions and (b) an on-site session at the Mauritshuis museum (The Hague, The Netherlands). Based on analysis of the data collected through these activities, this paper attempts to provide an indication of the current attitude towards (3D) facsimile methods as well as to present some criteria of using these methods in a museum environment.