Search

Abstract:AbstractThis essay takes Pollock’s painting Pasiphaë as a comparative for Mural. Both paintings were begun in 1943 and were significantly larger in scale than the artist’s previous works. Using technical analysis to study Pasiphaë, Duvernois, Arslanoglu, and Centeno explore the similarities and differences between Pollock’s painting materials and techniques in Pasiphaë and Mural, ultimately drawing two conclusions: that the canvases for these paintings were cut from the same roll, and that Pollock began painting both canvases not with dark outlines but rather with fluid brush applications of lighter pigments.

Graphical Abstract:

The nature of ground preparations is of critical interest to those engaging in the study of historical painting techniques, as certain materials can be identified with specific regions and school of painting. This is the case of a particular ash-based, calcite-rich material obtained as a byproduct of lye production, recently identified for the first time in ground preparations by means of chemical analysis, and which is considered specific to Baroque artists of Spanish school. Because of limitations in the size of the samples that can be removed from works of art, and because of the intrinsic variability of ash composition, chemical analysis alone may not be representative of the whole ash-containing layer, thus limiting the identification of this material. By comparing the morphology, texture and composition of calcite pseudomorphs in laboratory ash to the ground preparations in three Baroque paintings, we provide additional, unequivocal tools to identify calcite particles from ashes in paint cross sections. The results demonstrate that the chemical composition of the ash can vary, but that the morphology and size of the calcite pseudomorph crystals abundantly present in the recycled ash applied to the canvas supports are consistent and extremely characteristic. The unique polygonal shapes and skeletal morphology of the pseudomorphs and their abundance make them ideal markers to recognize ash in paintings’ ground layers, even when very limited amounts of sample are available. The study shows also that the practice of using recycled ash in the preparation of ground layers occurred outside Spain, by artists with direct or indirect Spanish lineage.

A folio fragment attributed to the Fatimid period in Egypt was found to bear tufts of white crystals associated with the orange-brown and yellow paints. Raman spectroscopy identified a mixture of arsenic sulfide-based pigments in the orange-brown and yellow areas, along with vermilion in the outlines of the figures. X-ray microdiffraction, Raman spectroscopy, and energy-dispersive X-ray spectrometry identified the white crystals as hörnesite [Mg3(AsO4)2·8H2O]. Synthesis of this compound at ambient temperature and elevated relative humidity over a period of 3 years, on paper painted with arsenic sulfide pigments and treated with magnesium carbonate, suggests the possibility that a magnesium-based deacidification treatment may have contributed to the formation of this phase on the folio fragment. This work highlights the potential damage that may be sustained by arsenic sulfide-based media through exposure to deacidifying suspensions such as the ones often used in the past to treat works of art on paper and historic documents.

Vincent van Gogh’s still lifes Irisesand Roseswere investigated to shed light onto the degree to which the paintings had changed, both individually and in relation to each other since they were painted, particularly in regard to the fading of the red lakes. Non-invasive techniques, including macroscopic X-ray fluorescence mapping, reflectance imaging spectroscopy, and X-radiography, were combined with microanalytical techniques in a select number of samples. The in-depth microchemical analysis was necessary to overcome the complications that arise when evaluating by non-invasive methods alone the compositions of passages with complex layering and mixing of paints. The results obtained by these two approaches were complemented by color measurements performed on paint cross-sections and on protected edges, and with historical information provided by the artist’s own descriptions, early reviews and reproductions, and the data was used to carry out digital color simulations that provided, to a certain extent, a visualization of how the paintings may have originally appeared.Graphical abstractIrises, 1890, Vincent van Gogh. The Metropolitan Museum of Art #58.187. Zn (upper right), Pb (bottom left), and Br (bottom right) distribution maps acquired by XRF imaging.