التفاصيل البيبلوغرافية
| العنوان: |
EARLY MONDRIAN (1912-1914) PAINTING TECHNIQUE AND MATERIALS. |
| المؤلفون: |
VAN DER WERF, Inez Dorothé, DE GROOT, Suzan, GROSS, Markus, HÜRLIMANN, Cathja, SMULDERS, Saskia, STECKLING, Friederike, VAN DEN BERG, Klaas Jan |
| المصدر: |
International Journal of Conservation Science; 2022 Special Issue, Vol. 13, p1509-1520, 12p |
| مصطلحات موضوعية: |
X-ray emission spectroscopy, PAINTING techniques, PAINT materials, PYROLYSIS gas chromatography, ENERGY dispersive X-ray spectroscopy, BINDING mediums (Paint) |
| الشركة/الكيان: |
FONDATION Beyeler |
| People: |
MONDRIAN, Piet, 1872-1944 |
| مستخلص: |
One of the most intriguing periods of activity of Dutch painter Piet Mondrian (1872-1944) regards the transition between the early figurative works and the well-known neoplastic paintings. Three paintings from the collection of the Fondation Beyeler in Basel Switzerland made in this period were studied. In Eucalyptus (1912) and Composition No. XVI ('Arbres') (1912/13) the tree motif is still visible; Composition No. VI ('Blue Façade') (1914) refers to the side wall of a house, showing the traces of an adjoining building that had been demolished. For this paper, both the results of the in-depth examination by the conservators and the analyses of the heritage scientists were brought together. The goal was to compare the materials and techniques of these three early paintings and find trends of Mondrian's working process. All paintings were examined in detail, with the aid of stereomicroscopy, Xrays and technical imaging. Analyses of the canvas, pigments and binders were performed with non-invasive X-ray fluorescence (XRF) and Raman spectroscopy, and micro-invasive analysis of cross sections and loose material using optical microscopy, Raman and Fourier Transform Infrared (FTIR) spectroscopy, Scanning electron microscopy - energy dispersive x-ray fluorescence spectroscopy (SEM-EDX and Pyrolysis Gas chromatography mass spectrometry (PY-GC-MS). The three works have been executed on linen canvas with commercial grounds of different compositions. The pigments of all paint layers could be identified, as well as linseed oil, used as binding medium in all paints and grounds. Special attention was paid to the technique of the black lines and underdrawings. [ABSTRACT FROM AUTHOR] |
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