Beyond the Surface...Examination and Contextualization of Paintings by Paul Gauguin in the Courtauld...
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Examinaon and Contextualizaon of Painngs by Paul Gauguin in the Courtauld Gallery Introducon The Courtauld Gallery contains three of Paul Gauguin’s painted masterpieces, one from his experimental years in Briany, Haystacks, 1889, and two from his second and final trip to Tahi, Nevermore, 1897, and Te Rerioa (The Dream), 1897. This study reviewed technical and historical informaon from an inial 1983 examinaon of the three painngs, and presented new images and data from addional technical analysis. Referencing recent technical studies of Gauguin’s painngs in museum collecons, as well as scholarship from major exhibions, new images and data were used to place the three painngs within the context of Gauguin’s known arsc pracces. This poster will highlight some of the findings from the more comprehensive study. New Insights into Underdrawing Hidden Composion Revealed Paul Gauguin, Haystacks, 1889, oil on canvas, 115.5 x 96.0 cm. Ground Effects As has been seen from Gauguin’s sketchbooks and technical examinaon of his painngs, Gauguin’s painng preparaon oſten began with field sketches or photographs. Later, he frequently composed more detailed drawings, somemes using studio models, in order to construct a composion to transfer to canvas. Although Gauguin oſten transferred figures and large composions, he also executed some painngs in a more spontaneous manner without a rigid transfer process. Haystacks was most likely planned out to some degree, but Gauguin changed aspects of the composion as he worked. Infrared photographs indicate that another farm animal, plow, and figure were inially sketched in the underdrawing at top right, but not were not painted into the final composion. In X-radiographs, we can see that a different cowherd was inially painted, but then subsequently covered and replaced with the current main cowherd figure. The previous figure relates the painng more closely with the drawing Sketch with Two Cows, 1889 (Alberna, Vienna), thought to be a preparatory sketch for Haystacks (Pickvance, 1970). In contrast, technical imaging and microscopic examinaon suggest that both Te Rerioa and Nevermore composions were most likely fully planned before painng; very few alteraons were made in the painng process. Te Rerioa was inially drawn out in unbound charcoal, while Nevermore was first drawn with dilute blue paint. An exact transfer method could not be determined, but Gauguin is known to have used both grid systems and pouncing to scale up and transfer figures and composions in Tahi. 1 2 3 Cross-secon taken from Te Rerioa (top). SEM backscaer image of ground layer (boom). 1. Large white parcles are composed of barium sulfate. Minor stronum content suggests that the barium sulfate is naturally occuring rather than arficially synthesized. 2. Ground matrix composed of zinc white parcles, barium sulfate parcles and small amount of lead white, chalk, and aluminum (possibly from aluminum stearate addive). 3. Ground matrix also contains intermient silica (sand) particles. Previous technical evidence clearly dem- onstrated the existence of a painng under - neath Nevermore, but due to the composion and layer structure of the ground and paint, the underlying painng was undetectable us- ing ordinary X-radiography and infrared re- flectography. However, new images created using scanning mulspectral infrared reflec- tography (SMIRR) revealed components of a detailed landscape. Infrared reflectogram (1930 nm) shows traces of underlying landscape, traced in red. In the foreground, a rooster and ground foliage can be seen. In the middle ground, the outline of a horse is clearly visible underneath the Nevermore figure’s abdomen. In the background, a Tahian hut, similar to those seen in other Gauguin painngs, can be detected. (leſt) Paul Gauguin, Nevermore, 1897, oil on canvas, 88.7 x 139.1 cm. (below) Site for below cross-secon sample marked in green. In the final stages of the painng process of Te Rerioa, Gauguin reinforced contours of small details by incising the wet paint layer and exposing the white ground below. Gauguin specifically ulized a needle tool (like those used in ceramics and printmaking) to carve into the wet paint layers, emphasizing the dialogue between his artworks in other media. Starr Figura writes that by 1890, “carving had become more than a diversion and was a primary means for [Gauguin] to forge a new primive aesthec.” By carving lines into the paint layers of Te Rerioa, Gauguin perhaps contributes to his desired primive aesthec (Childs, Foster, and Figura, 1993). Carving a Primive Aesthec This infrared detail of Haystacks shows underdrawing of a farm animal, plow, and another figure. These were painted out in the final composion. (leſt) Detail of Haystacks X-radiograph showing the penmento of a different cowherd figure (circled). (right) This cross-secon from Nevermore shows a complex paint layering system, possibly indicang composional revisions in the underlying painng. The first priming layer (2) is composed of chalk in a protein glue. The second priming layer (1) is composed of zinc white, barium sulfate, and scaered silica parcles bound in drying oil; this was most likely a cheap, commercial oil paint sent from France. 1 2 References Childs, E., Foster, H. and Figura, S. (2014). Gauguin: Metamorphoses. New York: Museum of Modern Art, 23. Christensen, C. (1993). The Painng Materials and Techniques of Paul Gauguin. Conservaon Research, Monograph Series II, Studies in the History of Art, 41(1), 71. Hale, C. (1983). A Study of Paul Gauguin’s Correspondence Relang to His Painng Materials and Techniques, with Specific Reference to His Works in the Courtauld Collecon. Unpublished dissertaon. London: Cour tauld Instute of Art, 50-52. Jirat-Wasiutynski, V. and Newton, Jr., H. T. (2000). Technique and Meaning in the Painngs of Paul Gauguin. Cambridge: Cambridge University Press, 65. Pickvance, R. (1970). sThe Drawings of Paul Gauguin. London: Hamlyn Publishing, 26. Thompson, B. (1993). Gauguin By Himself. Cambridge: Book Producon Consultants, 252-254. Beyond the Surface Morgan Wylder | Courtauld Instute of Art | [email protected] Paul Gauguin is recognized for the mae surfaces and bright colors he produced, parally through his choice of grounds. Historical research and technical analysis of sev - eral of Gauguin’s painngs have shown that, like many of his Impressionist predecessors and Neo- and Post-Impressionist contemporaries, Gauguin preferred to paint on white, ab- sorbent grounds to preserve bright paint colors, to shorten drying me of the paint layers (allowing for rapid paint ap- plicaon), and to achieve a mae finish across the painng surface. Research suggests that he began priming his own canvases fairly consistently from around 1887; his prim- Media anaylsis was carried out at the Rijksdienst coor her Cultureel Erfgood by Klaas Jan van den Berg and Henk van Keulen. Non-invasive visible (VIS) to near infrared (NIR) scans were carried out by Claudia Daffara at MOLAB as part of the EU-ARTECH project funded by the 6th Framework Programme. Many thanks to those who generously donated their me and experse in support of this project. Special thanks to: Professor Aviva Burnstock, Courtauld Instute of Art, London; Elisabeth Reissner, Courtauld Instute of Art, London; Karen Serres, Courtauld Instute of Art, London; Charloe Hale, Metropolitan Museum of Art, New York; Klaas Jan van den Berg, Rijksdienst coor her Cultureel Erfgood, Amsterdam; Henk van Keulen, Rijksdienst coor her Cultureel Erfgood, Amsterdam; Carol Christensen, Naonal Gallery of Art, Washington, D.C.; and Mike Dobby, Bruker Corporaon. Paul Gauguin, Te Rerioa, 1897, oil on canvas, 157.8 x 122.5 cm. (top) Site for above cross-secon sample shown in blue. Micrographs of Te Rerioa showing Gauguin’s incision into the paint layer using a small needle tool. (boom) ing recipe, recorded in 1886, was generally composed of chalk and animal glue (Christensen, 1993) (Jirat-Wasiutynski and New- ton, 2000). Technical analysis from the present study confirmed that Haystacks, 1889, is indeed painted on a thin, arst-applied, chalk-glue ground. Painted several years later in Tahi, a composion under - neath Nevermore was also inially painted on an arst-applied chalk-glue ground. However, perhaps short on painng supplies, Gauguin re-used the canvas to paint the Nevermore composion. This study found that the second priming was composed of zinc white greatly extended with barium sulfate in drying oil; this was most likely a cheap, commercial decorators’ paint, like the ones he requested from Daniel de Monfreid in 1897 and Ambrose Vol- lard in 1902 from Paris (Hale, 1983). Te Rerioa was primed using the same zinc white paint. Gauguin’s use of oil-bound zinc white paint as a ground is somewhat surprising, considering it would not have been as absorbent as a chalk-glue ground. Perhaps Gauguin required an oil-based ground to properly adhere to the painng below Nevermore, and simultaneously used the same paint to prime the canvas for Te Rerioa, which he painted imme- diately aſterwards (Thompson, 1993).
Transcript of Beyond the Surface...Examination and Contextualization of Paintings by Paul Gauguin in the Courtauld...
Examination and Contextualization of Paintings by Paul Gauguin in the Courtauld Gallery
Introduction
The Courtauld Gallery contains three of Paul Gauguin’s painted masterpieces, one from his experimental years in Brittany, Haystacks, 1889, and two from his second and final trip to Tahiti, Nevermore, 1897, and Te Rerioa (The Dream), 1897. This study reviewed technical and historical information from an initial 1983 examination of the three paintings, and presented new images and data from additional technical analysis. Referencing recent technical studies of Gauguin’s paintings in museum collections, as well as scholarship from major exhibitions, new images and data were used to place the three paintings within the context of Gauguin’s known artistic practices. This poster will highlight some of the findings from the more comprehensive study.
New Insights into Underdrawing
Hidden Composition Revealed
Paul Gauguin, Haystacks, 1889, oil on canvas, 115.5 x 96.0 cm.
Ground Effects
As has been seen from Gauguin’s sketchbooks and technical examination of his paintings, Gauguin’s painting preparation often began with field sketches or photographs. Later, he frequently composed more detailed drawings, sometimes using studio models, in order to construct a composition to transfer to canvas. Although Gauguin often transferred figures and large compositions, he also executed some paintings in
a more spontaneous manner without a rigid transfer process. Haystacks was most likely planned out to some degree, but Gauguin changed aspects of the composition as he worked. Infrared photographs indicate that another farm animal, plow, and figure were initially sketched in the underdrawing at top right, but not were not painted into the final composition. In X-radiographs, we can see that a different cowherd was initially painted, but then subsequently covered and replaced with the current main cowherd figure. The previous figure relates the painting more closely with the drawing Sketch with Two Cows, 1889 (Albertina, Vienna), thought to be a preparatory sketch for Haystacks (Pickvance, 1970). In contrast, technical imaging and microscopic examination suggest that both Te Rerioa and Nevermore compositions were most likely fully planned before painting; very few alterations were made in the painting process. Te Rerioa was initially drawn out in unbound charcoal, while Nevermore was first drawn with dilute blue paint. An exact transfer method could not be determined, but Gauguin is known to have used both grid systems and pouncing to scale up and transfer figures and compositions in Tahiti.
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Cross-section taken from Te Rerioa (top).SEM backscatter image of ground layer (bottom).
1. Large white particles are composed of barium sulfate. Minor strontium content suggests that the barium sulfate is naturally occuring rather than artificially synthesized.2. Ground matrix composed of zinc white particles, barium sulfate particles and small amount of lead white, chalk, and aluminum (possibly from aluminum stearate additive).3. Ground matrix also contains intermittent silica (sand) particles.
Previous technical evidence clearly dem-onstrated the existence of a painting under-neath Nevermore, but due to the composition and layer structure of the ground and paint, the underlying painting was undetectable us-ing ordinary X-radiography and infrared re-flectography. However, new images created using scanning multispectral infrared reflec-tography (SMIRR) revealed components of a detailed landscape.
Infrared reflectogram (1930 nm) shows traces of underlying landscape, traced in red. In the foreground, a rooster and ground foliage can be seen. In the middle ground, the outline of a horse is clearly visible underneath the Nevermore figure’s abdomen. In the background, a Tahitian hut, similar to those seen in other Gauguin paintings, can be detected. (left)
Paul Gauguin, Nevermore, 1897, oil on canvas, 88.7 x 139.1 cm. (below) Site for below cross-section sample marked in green.
In the final stages of the painting process of Te Rerioa, Gauguin reinforced contours of small details by incising the wet paint layer and exposing the white ground below. Gauguin specifically utilized a needle tool (like those used in ceramics and printmaking) to carve into the wet paint layers, emphasizing the dialogue between his artworks in other media. Starr Figura writes that by 1890, “carving had become more than a diversion and was a primary means for [Gauguin] to forge a new primitive aesthetic.” By carving lines into the paint layers of Te Rerioa, Gauguin perhaps contributes to his desired primitive aesthetic (Childs, Foster, and Figura, 1993).
Carving a Primitive Aesthetic
This infrared detail of Haystacks shows underdrawing of a farm animal, plow, and another figure. These were painted out in the final composition. (left)
Detail of Haystacks X-radiograph showing the pentimento of a different cowherd figure (circled). (right)
This cross-section from Nevermore shows a complex paint layering system, possibly indicating compositional revisions in the underlying painting. The first priming layer (2) is composed of chalk in a protein glue. The second priming layer (1) is composed of zinc white, barium sulfate, and scattered silica particles bound in drying oil; this was most likely a cheap, commercial oil paint sent from France.
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References
Childs, E., Foster, H. and Figura, S. (2014). Gauguin: Metamorphoses. New York: Museum of Modern Art, 23.Christensen, C. (1993). The Painting Materials and Techniques of Paul Gauguin. Conservation Research, Monograph Series II, Studies in the History of Art, 41(1), 71.Hale, C. (1983). A Study of Paul Gauguin’s Correspondence Relating to His Painting Materials and Techniques, with Specific Reference to His Works in the Courtauld Collection. Unpublished dissertation. London: Cour tauld Institute of Art, 50-52. Jirat-Wasiutynski, V. and Newton, Jr., H. T. (2000). Technique and Meaning in the Paintings of Paul Gauguin. Cambridge: Cambridge University Press, 65.Pickvance, R. (1970). sThe Drawings of Paul Gauguin. London: Hamlyn Publishing, 26. Thompson, B. (1993). Gauguin By Himself. Cambridge: Book Production Consultants, 252-254.
Beyond the Surface
Morgan Wylder | Courtauld Institute of Art | [email protected]
Paul Gauguin is recognized for the matte surfaces and bright colors he produced, partially through his choice of grounds. Historical research and technical analysis of sev-eral of Gauguin’s paintings have shown that, like many of his Impressionist predecessors and Neo- and Post-Impressionist contemporaries, Gauguin preferred to paint on white, ab-sorbent grounds to preserve bright paint colors, to shorten drying time of the paint layers (allowing for rapid paint ap-plication), and to achieve a matte finish across the painting surface. Research suggests that he began priming his own canvases fairly consistently from around 1887; his prim-
Media anaylsis was carried out at the Rijksdienst coor her Cultureel Erfgood by Klaas Jan van den Berg and Henk van Keulen. Non-invasive visible (VIS) to near infrared (NIR) scans were carried out by Claudia Daffara at MOLAB as part of the EU-ARTECH project funded by the 6th Framework Programme. Many thanks to those who generously donated their time and expertise in support of this project. Special thanks to: Professor Aviva Burnstock, Courtauld Institute of Art, London; Elisabeth Reissner, Courtauld Institute of Art, London; Karen Serres, Courtauld Institute of Art, London; Charlotte Hale, Metropolitan Museum of Art, New York; Klaas Jan van den Berg, Rijksdienst coor her Cultureel Erfgood, Amsterdam; Henk van Keulen, Rijksdienst coor her Cultureel Erfgood, Amsterdam; Carol Christensen, National Gallery of Art, Washington, D.C.; and Mike Dobby, Bruker Corporation.
Paul Gauguin, Te Rerioa, 1897, oil on canvas, 157.8 x 122.5 cm. (top) Site for above cross-section sample shown in blue.
Micrographs of Te Rerioa showing Gauguin’s incision into the paint layer using a small needle tool. (bottom)
ing recipe, recorded in 1886, was generally composed of chalk and animal glue (Christensen, 1993) (Jirat-Wasiutynski and New-ton, 2000). Technical analysis from the present study confirmed that Haystacks, 1889, is indeed painted on a thin, artist-applied, chalk-glue ground. Painted several years later in Tahiti, a composition under-neath Nevermore was also initially painted on an artist-applied chalk-glue ground. However, perhaps short on painting supplies, Gauguin re-used the canvas to paint the Nevermore composition. This study found that the second priming was composed of zinc white greatly extended with barium sulfate in drying oil; this was most likely a cheap, commercial decorators’ paint, like the ones he requested from Daniel de Monfreid in 1897 and Ambrose Vol-lard in 1902 from Paris (Hale, 1983). Te Rerioa was primed using the same zinc white paint. Gauguin’s use of oil-bound zinc white paint as a ground is somewhat surprising, considering it would not have been as absorbent as a chalk-glue ground. Perhaps Gauguin required an oil-based ground to properly adhere to the painting below Nevermore, and simultaneously used the same paint to prime the canvas for Te Rerioa, which he painted imme-diately afterwards (Thompson, 1993).
