Expanding the Singaporean discourse: Exploring artist materials from the 1950s to 1970s

Abstract

Understanding the conditions of Singapore’s vast cultural record is crucial in building knowledge on the artistic practices of mid-twentieth century artists. These narratives are familiarly anchored by historical junctures of Western colonisation, Japanese occupation, the country’s independence and more broadly, post-war. This paper expands on the discourse through material data generated from a technical examination of two Singaporean artists, Georgette Chen (1906–1993) and Cheong Soo Pieng (1917–1983), and their techniques and material availability of the 1950s–1970s. Primary data from archival exhibition catalogues and recent art historical literature indicate that the Chinese diaspora community played a vital role in developing a modern art scene, including the sale of artist supplies through Chinese bookshops. Findings on canvas support and its preparation from a broad technical study of 67 Cheong Soo Pieng and Georgette Chen paintings are discussed. The presence of canvas stamps by Japanese canvas manufacturer, Holbein, was found on 50% of paintings produced in the 1960s. Additionally, trends in cotton and bast fibres are observed through the decades. Through the production of new empirical data located in a relevant knowledge eco-system, future technical art research in Singapore and the broader context of Southeast Asia are considered and examined.

Keywords:

• Cheong Soo Pieng
• Georgette Chen
• Nanyang artists
• Holbein
• Singapore
• Southeast Asia
• Technical art history
• Canvas support

Subject classification codes:

• ABC
• AFC

Acknowledgements

This research forms part of an ongoing PhD research and has been supported by the Melbourne Research Scholarship from the University of Melbourne. The author is indebted to Singaporean art collectors who have provided access to their private collections for study; Koh Seow Chuan for his generosity in the provision of technical equipment and infrastructural support making in-situ examinations possible; YH Conservation, Helutrans for providing a space for the study. The author gratefully acknowledges Prof. Robyn Sloggett and Dr. Nicole Tse for their pioneering research in the materials and techniques of Singaporean artists and also gives thanks to the journal editors and reviewers for their comments.

Additional information

Notes on contributors

Diana Tay

Diana Tay is a PhD candidate (2018–2021) with the University of Melbourne. Diana’s research focuses on building a material understanding of Singaporean paintings through technical analysis to deliver data-driven insights for conservation decisions. Since 2009, she has practiced as a paintings conservator in the Heritage Conservation Centre, National Heritage Board Singapore. Diana obtained her Masters of Cultural Materials Conservation in 2014 and specialises in the conservation of Southeast Asian paintings. She is a founding member of the Asia Pacific regional group of the International Network for the Conservation of Contemporary Art.