Zeitschrift für Kunsttechnologie und Konservierung, 2019
The Jewish Russian artist Marc Chagall (1887–1985) was a prolific artist in various media who wor... more The Jewish Russian artist Marc Chagall (1887–1985) was a prolific artist in various media who worked in Russia, France, Israel and the United States. Much has been published about his life and the interpretation of his art works, but very little indeed on his painting materials and techniques. To help fill this gap, nine paintings by Marc Chagall in the care of the Stedelijk Museum Amsterdam (SMA) were studied in-depth over the past five years. The paintings date from 1912 to 1947, spanning 35 of Chagall’s active years. The focus of the project was not only to examine the materials and working methods employed, but also to improve our understanding of the con- dition issues encountered on these paintings in order to iden- tify appropriate conservation and treatment methods. Each painting underwent full technical examination with standard photographic methods (see table 6). This was com- plemented by hand-held XRF measurements and the analysis of a limited number of samples for each painting using FTIR, GCMS, Raman, optical microscopy, SEM-EDX, XRD, HPLC and fibre analysis (see tables 2-5). The number of paintings and active years studied allowed for a significant amount of information to be collected and for patterns to emerge. This has clarified not only the materials that he used and the ways in which he employed them, but also the condition of the paintings. Although Chagall was reti- cent to discuss his working methods or to allow himself to be filmed while painting, meetings with his granddaughter Meret Meyer, and with Paul Versteeg, an artist who worked inten- sively with Chagall, provided a helpful context to our findings. As part of this research it was also possible to clarify the visual effect of the wax-resin linings on these paintings. Although we were not able to clarify all of the condition problems encoun- tered on these paintings, we hope that our findings will form a useful basis for further research into Chagall’s materials and techniques.
ABSTRACT The analytical aspects of the investigation of 'Flower Still Life' by Vi... more ABSTRACT The analytical aspects of the investigation of 'Flower Still Life' by Vincent van Gogh and its underlying composition, showing two wrestlers by scanning macro-X-ray Fluorescence Analysis (MA-XRF) was reported. In MA-XRF the painting is excited by an X-ray millibeam to emit X-ray fluorescence radiation. Through the energy of the recorded fluorescence radiation the elements present in the analyzed spot can be identified. The painting was mounted on a motor stage behind the normal experimental table and moved continuously through the beam for scanning. The beam size was defined by a set of slits placed at the end of the experimental table. MA-XRF scans were performed with a step size of 1 mm and a dwell time of 3.6 s. The sample was cross-sectioned and examined using high-resolution microscopic methods. The correction of absorption effects in the Zn-maps allowed to remove otherwise misleading artifacts from hidden layers, so that a more realistic impression of the hidden portrait is gained.
ABSTRACT The present study focuses on material aspects of the painting Zwei Jünglinge und zwei Mä... more ABSTRACT The present study focuses on material aspects of the painting Zwei Jünglinge und zwei Mädchen (c.1917) by Otto Mueller (1874–1930) from the collection of the Stedelijk Museum in Amsterdam.1 Research was performed in the context of the recent conservation treatment of this painting. Friable, porous paint layers gave rise to investigation of the paint composition. The study coincided with a strong international interest for Mueller’s contemporaries and German Expressionism, which was reflected in the reconstruction of the ‘Sonderbund Ausstellung 1912’ in Cologne and the interdisciplinary research project Keiner hat diese Farben wie Ich – Studien zur Maltechnik Ernst Ludwig Kirchners.2 These projects provided a framework for the present research. In particular the binding medium of Mueller’s matte paint was studied through Thermally-assisted Hydrolysis Methylation (THM) – Gas Chromatography Mass Spectrometry (GCMS) and Matrix Assisted Laser Desorption Ionisation (MALDI) – Time of Flight (TOF) – Mass Spectrometry (MS). Initial results were further explored by paint reconstructions. The findings led to the insight that some materials identified through analyses are not likely to have been part of the original paint composition, but are probably present as a result of conservation treatment.
ICOM-CC 17th Triennial Conference Preprints, Melbourne, 15–19 September 2014, ed. J. Bridgland, art. 1001, 9 pp. Paris: International Council of Museums. , 2014
The combination of materials, technique, scale and intended mounting method of Richard Serra's mo... more The combination of materials, technique, scale and intended mounting method of Richard Serra's monumental 'Installation Drawings' - executed in paintstick on canvas mostly from the mid-1970s onwards - means that conservators responsible for their care are likely to encounter particular challenges when it comes to treating, mounting and storing them. The monochrome, thickly applied paint layer on these drawings has had time to form a thin skin but remains pliable, slightly tacky and prone to deformations that can disrupt the matt, subtly textured aesthetic. Various options and considerations for storage, treatment, and (de-)installation based on three recent case studies are described.
Technical examination of Vincent Van Gogh’s Ravine revealed the existence of a second painting be... more Technical examination of Vincent Van Gogh’s Ravine revealed the existence of a second painting below the paint surface. The underlying composition, a view of a mountain meadow in summer, was most likely painted in June 1889, early during Van Gogh’s stay at the asylum at Saint-Rémy in Provence. The canvas was re-used four months later in October 1889 as a support for an autumnal view of a ravine close to the asylum. Van Gogh’s letters help to reconstruct the circumstances under which one picture was sacrificed for another, while the identification of a drawn copy of the lost painting, combined with the technical examination of Ravine make it possible to form an impression of the original appearance of the lower painting.
AIC PAINTINGS SPECIALTY GROUP POSTPRINTS (American Institute of Conservation), 2009
This article consists of a summary of the conference paper presented, supplemented by technical n... more This article consists of a summary of the conference paper presented, supplemented by technical notes. Technical examination of Vincent Van Gogh’s Ravine revealed the existence of a second painting below the paint surface. The underlying composition, a view of a mountain meadow in summer, was most likely painted in June 1889, early during Van Gogh’s stay at the asylum at Saint-Rémy in Provence. The canvas was re-used four months later in October 1889 as a support for an autumnal view of a ravine close to the asylum. Van Gogh’s letters help to reconstruct the circumstances under which one picture was sacrificed for another, while the identification of a drawn copy of the lost painting, combined with the technical examination of Ravine make it possible to form an impression of the original appearance of the lower painting.
Zeitschrift für Kunsttechnologie und Konservierung, 2019
The Jewish Russian artist Marc Chagall (1887–1985) was a prolific artist in various media who wor... more The Jewish Russian artist Marc Chagall (1887–1985) was a prolific artist in various media who worked in Russia, France, Israel and the United States. Much has been published about his life and the interpretation of his art works, but very little indeed on his painting materials and techniques. To help fill this gap, nine paintings by Marc Chagall in the care of the Stedelijk Museum Amsterdam (SMA) were studied in-depth over the past five years. The paintings date from 1912 to 1947, spanning 35 of Chagall’s active years. The focus of the project was not only to examine the materials and working methods employed, but also to improve our understanding of the con- dition issues encountered on these paintings in order to iden- tify appropriate conservation and treatment methods. Each painting underwent full technical examination with standard photographic methods (see table 6). This was com- plemented by hand-held XRF measurements and the analysis of a limited number of samples for each painting using FTIR, GCMS, Raman, optical microscopy, SEM-EDX, XRD, HPLC and fibre analysis (see tables 2-5). The number of paintings and active years studied allowed for a significant amount of information to be collected and for patterns to emerge. This has clarified not only the materials that he used and the ways in which he employed them, but also the condition of the paintings. Although Chagall was reti- cent to discuss his working methods or to allow himself to be filmed while painting, meetings with his granddaughter Meret Meyer, and with Paul Versteeg, an artist who worked inten- sively with Chagall, provided a helpful context to our findings. As part of this research it was also possible to clarify the visual effect of the wax-resin linings on these paintings. Although we were not able to clarify all of the condition problems encoun- tered on these paintings, we hope that our findings will form a useful basis for further research into Chagall’s materials and techniques.
ABSTRACT The analytical aspects of the investigation of 'Flower Still Life' by Vi... more ABSTRACT The analytical aspects of the investigation of 'Flower Still Life' by Vincent van Gogh and its underlying composition, showing two wrestlers by scanning macro-X-ray Fluorescence Analysis (MA-XRF) was reported. In MA-XRF the painting is excited by an X-ray millibeam to emit X-ray fluorescence radiation. Through the energy of the recorded fluorescence radiation the elements present in the analyzed spot can be identified. The painting was mounted on a motor stage behind the normal experimental table and moved continuously through the beam for scanning. The beam size was defined by a set of slits placed at the end of the experimental table. MA-XRF scans were performed with a step size of 1 mm and a dwell time of 3.6 s. The sample was cross-sectioned and examined using high-resolution microscopic methods. The correction of absorption effects in the Zn-maps allowed to remove otherwise misleading artifacts from hidden layers, so that a more realistic impression of the hidden portrait is gained.
ABSTRACT The present study focuses on material aspects of the painting Zwei Jünglinge und zwei Mä... more ABSTRACT The present study focuses on material aspects of the painting Zwei Jünglinge und zwei Mädchen (c.1917) by Otto Mueller (1874–1930) from the collection of the Stedelijk Museum in Amsterdam.1 Research was performed in the context of the recent conservation treatment of this painting. Friable, porous paint layers gave rise to investigation of the paint composition. The study coincided with a strong international interest for Mueller’s contemporaries and German Expressionism, which was reflected in the reconstruction of the ‘Sonderbund Ausstellung 1912’ in Cologne and the interdisciplinary research project Keiner hat diese Farben wie Ich – Studien zur Maltechnik Ernst Ludwig Kirchners.2 These projects provided a framework for the present research. In particular the binding medium of Mueller’s matte paint was studied through Thermally-assisted Hydrolysis Methylation (THM) – Gas Chromatography Mass Spectrometry (GCMS) and Matrix Assisted Laser Desorption Ionisation (MALDI) – Time of Flight (TOF) – Mass Spectrometry (MS). Initial results were further explored by paint reconstructions. The findings led to the insight that some materials identified through analyses are not likely to have been part of the original paint composition, but are probably present as a result of conservation treatment.
ICOM-CC 17th Triennial Conference Preprints, Melbourne, 15–19 September 2014, ed. J. Bridgland, art. 1001, 9 pp. Paris: International Council of Museums. , 2014
The combination of materials, technique, scale and intended mounting method of Richard Serra's mo... more The combination of materials, technique, scale and intended mounting method of Richard Serra's monumental 'Installation Drawings' - executed in paintstick on canvas mostly from the mid-1970s onwards - means that conservators responsible for their care are likely to encounter particular challenges when it comes to treating, mounting and storing them. The monochrome, thickly applied paint layer on these drawings has had time to form a thin skin but remains pliable, slightly tacky and prone to deformations that can disrupt the matt, subtly textured aesthetic. Various options and considerations for storage, treatment, and (de-)installation based on three recent case studies are described.
Technical examination of Vincent Van Gogh’s Ravine revealed the existence of a second painting be... more Technical examination of Vincent Van Gogh’s Ravine revealed the existence of a second painting below the paint surface. The underlying composition, a view of a mountain meadow in summer, was most likely painted in June 1889, early during Van Gogh’s stay at the asylum at Saint-Rémy in Provence. The canvas was re-used four months later in October 1889 as a support for an autumnal view of a ravine close to the asylum. Van Gogh’s letters help to reconstruct the circumstances under which one picture was sacrificed for another, while the identification of a drawn copy of the lost painting, combined with the technical examination of Ravine make it possible to form an impression of the original appearance of the lower painting.
AIC PAINTINGS SPECIALTY GROUP POSTPRINTS (American Institute of Conservation), 2009
This article consists of a summary of the conference paper presented, supplemented by technical n... more This article consists of a summary of the conference paper presented, supplemented by technical notes. Technical examination of Vincent Van Gogh’s Ravine revealed the existence of a second painting below the paint surface. The underlying composition, a view of a mountain meadow in summer, was most likely painted in June 1889, early during Van Gogh’s stay at the asylum at Saint-Rémy in Provence. The canvas was re-used four months later in October 1889 as a support for an autumnal view of a ravine close to the asylum. Van Gogh’s letters help to reconstruct the circumstances under which one picture was sacrificed for another, while the identification of a drawn copy of the lost painting, combined with the technical examination of Ravine make it possible to form an impression of the original appearance of the lower painting.
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Papers by Meta Chavannes
Each painting underwent full technical examination with standard photographic methods (see table 6). This was com- plemented by hand-held XRF measurements and the analysis of a limited number of samples for each painting using FTIR, GCMS, Raman, optical microscopy, SEM-EDX, XRD, HPLC and fibre analysis (see tables 2-5).
The number of paintings and active years studied allowed for a significant amount of information to be collected and for patterns to emerge. This has clarified not only the materials that he used and the ways in which he employed them, but also the condition of the paintings. Although Chagall was reti- cent to discuss his working methods or to allow himself to be filmed while painting, meetings with his granddaughter Meret Meyer, and with Paul Versteeg, an artist who worked inten- sively with Chagall, provided a helpful context to our findings. As part of this research it was also possible to clarify the visual effect of the wax-resin linings on these paintings. Although we were not able to clarify all of the condition problems encoun- tered on these paintings, we hope that our findings will form a useful basis for further research into Chagall’s materials and techniques.
Conference Presentations by Meta Chavannes
Technical examination of Vincent Van Gogh’s Ravine revealed the existence of a second painting below the paint surface. The underlying composition, a view of a mountain meadow in summer, was most likely painted in June 1889, early during Van Gogh’s stay at the asylum at Saint-Rémy in Provence. The canvas was re-used four months later in October 1889 as a support for an autumnal view of a ravine close to the asylum. Van Gogh’s letters help to reconstruct the circumstances under which one picture was sacrificed for another, while the identification of a drawn copy of the lost painting, combined with the technical examination of Ravine make it possible to form an impression of the original appearance of the lower painting.
Each painting underwent full technical examination with standard photographic methods (see table 6). This was com- plemented by hand-held XRF measurements and the analysis of a limited number of samples for each painting using FTIR, GCMS, Raman, optical microscopy, SEM-EDX, XRD, HPLC and fibre analysis (see tables 2-5).
The number of paintings and active years studied allowed for a significant amount of information to be collected and for patterns to emerge. This has clarified not only the materials that he used and the ways in which he employed them, but also the condition of the paintings. Although Chagall was reti- cent to discuss his working methods or to allow himself to be filmed while painting, meetings with his granddaughter Meret Meyer, and with Paul Versteeg, an artist who worked inten- sively with Chagall, provided a helpful context to our findings. As part of this research it was also possible to clarify the visual effect of the wax-resin linings on these paintings. Although we were not able to clarify all of the condition problems encoun- tered on these paintings, we hope that our findings will form a useful basis for further research into Chagall’s materials and techniques.
Technical examination of Vincent Van Gogh’s Ravine revealed the existence of a second painting below the paint surface. The underlying composition, a view of a mountain meadow in summer, was most likely painted in June 1889, early during Van Gogh’s stay at the asylum at Saint-Rémy in Provence. The canvas was re-used four months later in October 1889 as a support for an autumnal view of a ravine close to the asylum. Van Gogh’s letters help to reconstruct the circumstances under which one picture was sacrificed for another, while the identification of a drawn copy of the lost painting, combined with the technical examination of Ravine make it possible to form an impression of the original appearance of the lower painting.