Short Communication: THE PAINTING MATERIALS IN A WORK OF THE FUTURIST ARTIST GIACOMO BALLA

Abstract

The 1915 Giacomo Balla painting Grido dimostrazione in piazza del Quirinale has been studied in detail to investigate the artist's materials. Radiographic analysis revealed the presence of a previous work underneath and thus the existence of a complex stratification of paint layers that make the data interpretation both complex and interesting. Pigments and binders have been identified in an attempt to find correlations with the composition of common commercial paint products available in the first decades of the 20th century. A representative stratigraphy from a complex area of the painting revealed important information about the technical execution of the painting executed on top of the original. This study is intended to increase the knowledge of the painting materials used by Balla and other Futurist artists.

RÉSUMÉ

La peinture de Giacomo Balla Grido dimostrazione in piazza del Quirinale, datée de 1915, a été étudiée en profondeur afin de documenter les matériaux et la technique picturale de l'artiste. L'analyse radiographique révèle la présente d'une autre oeuvre sous la peinture et donc l'existence de couches stratigraphiques complexes, ce qui rend l'interprétation des données difficile, mais intéressante. Les pigments et les liants ont été identifiés dans le but de trouver des corrélations avec la composition des peintures commerciales les plus communes disponibles au cours des premières décennies du XXe siècle. Une stratigraphie représentative, provenant d'une zone complexe du tableau, révèle des informations importantes sur la technique picturale de la peinture exécutée au- dessus de l'œuvre originale. Cette étude vise à améliorer notre connaissance des matériaux employés par Balla et d'autres artistes futuristes.

RESUMEN

La pintura de Giacomo Balla de 1915 Grido dimostrazione in piazza del Quirinale fue estudiada en detalle para investigar los materiales usados por el artista. Un análisis radiográfico reveló la presencia de trabajo previo bajo la pintura y por lo tanto la existencia de una estratificación compleja de capas de pintura que hace la interpretación de los datos a la vez compleja e interesante. Pigmentos y aglutinantes han sido identificados, en un intento por encontrar correlaciones con la composición de productos pictóricos comerciales comúnmente disponibles en las primeras décadas del Siglo XX. Una estratigrafía representativa de un área compleja de la pintura, reveló información importante relativa a la ejecución técnica de la pintura realizada sobre el original. Este estudio pretende incrementar el conocimiento de los materiales pictóricos usados por Balla y otros artistas futuristas.

RESUMO

A pintura Grido dimostrazione in piazza del Quirinale, de Giacomo Balla, 1915, tem sido profundamente estudada para pesquisar os materiais usados pelo artista. Exames radiográficos revelaram a presença de um trabalho anterior sob a pintura e, assim, a existência de uma estratificação complicada de camadas de tinta que tornam a interpretação dos dados tanto complexa quando interessante. Pigmentos e aglutinantes são identificados na tentativa de encontrar correlação com as composições de produtos de tintas comerciais disponíveis nas primeiras décadas do século XX. Uma significativa estratigrafia em área de complexidade da pintura revelou informação importante sobre a execução técnica da pintura sobre o original. Esse estudo pretende ampliar o conhecimento dos materiais de pintura utilizados por Balla e outros artistas Futuristas.

Keywords:

• Giacomo Balla
• radiographic analysis
• Futurist artists
• commercial paints

Additional information

Notes on contributors

Antonio Rava

Antonio Rava is architect and restorer from Istituto Centrale del Restauro in Rome and has 30 years' experience in the field. He teaches courses on Contemporary Art Conservation at Centro Conservazione e Restauro “La Venaria Reale” (To). His work is mainly focused on the conservation problems of modern and contemporary art, with direct work with the artists and galleries, and is currently organizing a master on this topic with Opificio delle Pietre Dure in Florence. Recently the Italian Ministry of Foreign Affairs charged him with the conservation of ancient frescoes of Tang period in China, Xi'an Museum, with the aim of strengthening the local restorer's skills. Address: Società Rava & C. s.r.l. Via dei Mille 33-35 – 10123 Torino, Italy. Email: [email protected]

Thierry Radelet

Thierry Radelet is Cultural Heritage diagnostic technician. He was born in Belgium and trained as restorer in Venice and Florence. In 2001 he opened a private diagnostic laboratory specializing in multispectral techniques. Since 2003, he has been a professor of “Multispectral analyses” at Università di Torino. He served as head of the IMAGING Laboratory at Centro Conservazione e Restauro “La Venaria Reale” (To) from 2005 to 2011. Address: Laboratorio Di Restauro e Analisi Persano e Radelet, Via Modena 58 -10153- Torino, Italy. Email: [email protected]

Annamaria Giovagnoli

Annamaria Giovagnoli works as conservation scientist at Istituto Superiore per la Conservazione e il Restauro. She carries out studies and projects, particularly restoration and conservation of historic buildings, monuments, museums, exhibitions, etc. She teaches “Environment Chemistry for cultural heritage” at ISCR School. Since 2008, she has been the Director of Centro Conservazione e Restauro “La Venaria Reale” (CCR) Foundation's Scientific Laboratories. This involves organizational and social skills to coordinate, support, and advise researchers employed in the diagnostic laboratories. She is author of 150 scientific papers published and presented at national and international congresses. Address: Centro Conservazione e Restauro “La Venaria Reale”, Piazza della Repubblica, 10078, Venaria Reale (Italy). Email: [email protected]

Tommaso Poli

Tommaso Poli received a PhD in Chemical Sciences from Università degli Studi di Torino, Italy. He had a fellowship for several years at Istituto per la Conservazione e Valorizzazione dei Beni Culturali, Sezione Milano “G. Bozza” (ICVBC) of Italian National Research Council (CNR). He currently works as research technician in the Department of IPM Chemistry of Università degli Studi di Torino. His research is focused on new materials and methodologies for conservation of the Cultural Heritage. Address: Department of Chemistry, University of Torino, Via P. Giuria, 7 – 10125 Torino, Italy. Email: [email protected]

Oscar Chiantore

Oscar Chiantore is full professor of Polymer Chemistry at the University of Torino, Italy. His scientific activity is focused on the investigation of stability and degradation mechanisms of natural and synthetic polymers, with particular attention to the analysis and characterization of organic materials in works of art. The conservation problems in modern and contemporary art, studies on modern artists paints and on plastic materials in art works are among the topics currently investigated in his laboratory. Address: As for Poli. Email: [email protected]

Anna Piccirillo

Anna Piccirillo held a PhD in chemical science from the University of Turin, Italy in 2004. She conducted research on ancient binding media and on separative science for the characterization of binding media mixture. She worked for several years at the scientific laboratory of Regione Autonoma Valle d'Aosta, Italy, as researcher. Her studies were focused on the material characterization for the restoration and conservation of Cultural Heritage. Now she has a fellowship with University of Turin, Italy for new methodology for surface investigations. Address: As for Poli. Email: [email protected]