Scientifically Investigating Picasso's Suspected Use of Ripolin House Paints in Still Life, 1922 and The Red Armchair, 1931

Abstract

Ripolin – a popular French house paint – was used extensively by Pablo Picasso and some of his contemporaries. Its presence in particular artworks, however, has been difficult to confirm scientifically due to the chemical similarities between Ripolin and contemporary artist’s tube paints, and the lack of knowledge about Ripolin paint formulations. This study compares data collected from a large reference set of historical samples of Ripolin and artist’s tube paints with new analytical results from two Picasso paintings in the collection of the Art Institute of Chicago suspected to contain Ripolin: Still Life (1922) and The Red Armchair (1931). A variety of non-invasive and micro-invasive analytical techniques, including x-ray fluorescence spectroscopy, Fourier transform infrared spectroscopy, fiber-optics reflectance spectroscopy (350 to 2500 nm), Raman spectroscopy, optical and polarized light microscopy, and scanning electron microscopy (SEM) with energy dispersive x-ray spectroscopy, were used to analyze the paint samples. The results indicate that Still Life does not contain Ripolin, as it has pigments, such as vermilion and lead white, and extenders, such as barium sulfate, not used in French Ripolin house paints. On the other hand, The Red Armchair has paints matching closely with samples of Ripolin Blanc de neige, used alone and mixed with artist’s tube colors.

Résumé – La peinture de bâtiment de marque Ripolin, qui était populaire en France, a été fréquemment utilisée par Pablo Picasso et certains de ses contemporains. Sa présence dans des œuvres particulières est cependant difficile à confirmer scientifiquement en raison des similitudes chimiques entre la peinture Ripolin et celle en tube utilisée par des artistes contemporains, ainsi que du manque de connaissance au sujet des formulations de la peinture Ripolin. Cette étude compare les données recueillies à partir d'un ensemble de référence constitué d’échantillons historiques de peinture Ripolin et de peinture en tube pour artistes, avec en plus de nouveaux résultats d'analyse de deux tableaux de Picasso des collections du Art Institute of Chicago soupçonnés de contenir de la peinture Ripolin: Nature morte (1922) et Le fauteuil rouge (1931). Une variété de techniques d'analyse non invasives et micro-invasives, comprenant la spectroscopie de fluorescence X (XRF), la spectroscopie infrarouge à transformée de Fourier, la spectroscopie de réflectance avec fibre optique (350–2500 nm), la spectroscopie Raman, la microscopie optique avec et sans lumière polarisée et la microscopie électronique à balayage (MEB) avec spectroscopie de rayons X à dispersion d'énergie, ont été utilisées pour analyser les échantillons de peinture. Les résultats indiquent que Nature morte ne contient pas de peinture Ripolin, car des pigments, tel que le vermillon et du blanc de plomb, et des diluants, tel que le sulfate de baryum, ont été identifiés, alors qu'ils n'ont pas été utilisés par la maison française Ripolin. Par contre Le fauteuil rouge a des peintures utilisées seules et en mélange avec des peinture en tube, correspondant étroitement aux échantillons de peinture blanc de neige de marque Ripolin.

Resumen – Ripolin – una pintura francesa para casas, de uso popular – fue utilizada ampliamente por Pablo Picasso y algunos de sus contemporáneos. Sin embargo, su presencia en obras de arte específicas ha sido difícil de comprobar científicamente debido a las similitudes químicas entre el Ripolin y las pinturas en tubo para artistas, de la misma época y la falta de conocimiento sobre las formulas de la pintura Ripolin. Este estudio compara los datos obtenidos de un grupo grande de pinturas históricas para referencia de muestras de pintura Ripolin y de pinturas en tubo para artistas y nuevos resultados analíticos obtenidos de dos obras de Picasso que son parte de la colección del Art Institute (Instituto de Arte) de Chicago, que se sospechaba podían contener Ripolin: Naturaleza muerta (1922) y El sillón rojo (1931). Se utilizaron para hacer los análisis una variedad de técnicas no invasivas y micro-invasivas que incluyeron: fluorescencia de rayos X (XRF), espectroscopía infrarroja por transformada de Fourier, espectroscopía de reflectancia por medio de sonda de fibra óptica (en el rango de 350 a 400 nm), espectroscopía Raman, microscopía óptica y de luz polarizada, microscopía electrónica de barrido (SEM), con espectroscopía de Rayos x de dispersión de energía. Los resultados indican que la Naturaleza muerta no contiene Ripolin, ya que contiene pigmentos tales como bermellón y blanco de plomo, y aditivos utilizados como carga extendedora, tales como sulfato de bario, que no son utilizados en las pinturas Ripolin para casas. Por otro lado, El sillón rojo contiene pinturas que coinciden en forma muy cercana con las muestras del Ripolin Blanc de neige utilizado solo y mezclado con las pinturas en tubo para artistas.

Resumo – Ripolin – uma tinta popular francesa para pintura de casas – foi amplamente utilizada por Pablo Picasso e alguns de seus contemporâneos. Sua presença em obras de arte específicas, no entanto, tem sido difícil de ser confirmada cientificamente devido às semelhanças químicas entre o Ripolin e os tubos de tinta dos artistas contemporâneos, e pela falta de conhecimento sobre as formulações das tintas Ripolin. Este estudo compara os dados recolhidos a partir de um grande conjunto de referência de amostras históricas de Ripolin e de tubos de tintas de artistas com novos resultados analíticos de duas pinturas de Picasso na coleção do Instituto de Arte de Chicago (Art Institute of Chicago), suspeitas de conterem Ripolin: Still Life (1922) e The Red Armchair (1931). Uma variedade de técnicas analíticas não invasivas e micro-invasivas, incluindo espectroscopia de fluorescência de raios X (FRX), espectroscopia de infravermelho com transformada de Fourier, espectroscopia de reflectância de fibra óptica (350–2500 nm), espectroscopia de Raman, microscopia de luz polarizada e ótica e microscopia eletrônica de varredura (SEM) com espectroscopia por energia dispersiva de raios X, foram usadas para analisar as amostras de tinta. Os resultados indicam que Still Life não contém Ripolin, uma vez que tem pigmentos, tais como vermelhão e branco de chumbo, e extensores, tais como, sulfato de bário, não utilizados nas tintas francesas Ripolin

Keywords:

• Picasso
• Ripolin
• paint analysis
• artist tube paints

Acknowledgments

At the Art Institute of Chicago (AIC), the authors wish to thank Frank Zuccari, Stephanie D'Alessandro, Douglas Druick, Inge Fielder, Jack Brown and the staff of the Ryerson & Burnham Libraries. Marilyn McCully, Michael Raeburn, and Laure Nectoux and colleagues from the PPG group (Moreuil, France, current owners of Ripolin) are also thanked. The A.W. Mellon Foundation, the Barker Welfare Foundation, the Grainger Foundation, and the Community Associates of the Art Institute of Chicago support scientific research and instrumentation at the AIC and are gratefully acknowledged. The Stockman Family Foundation supports Ripolin research at AIC. SEM-EDX work was performed at the EPIC facility of NUANCE Center at Northwestern University. NUANCE Center is supported by NSF-NSEC, NSF-MRSEC, Keck Foundation, the State of Illinois, and Northwestern University.

Notes

1. Although alkyd-based Ripolin paint was produced before 1950 (it is listed in pricelists dating from at least 1936) (Casadio and Gautier 2011), it was not widely available and used until after 1950 and it is not the focus of this study. In addition, this research has focused on French Ripolin, which may differ from Ripolin formulations produced in other countries.

2. Further discussion of the earlier composition underneath Picasso's Still Life, is beyond the scope of this paper, but is included in a comprehensive technical report on file in the Conservation Department, the Art Institute of Chicago.

Additional information

Notes on contributors

Kimberley Muir

Kimberley Muir is assistant research conservator at the Art Institute of Chicago, where she has worked since 2005. She received a Master of Art Conservation and a Ph.D. in art history from Queen's University, Kingston, Canada. Address: The Art Institute of Chicago, Conservation Department, 111 S. Michigan Ave., Chicago, IL, 60603, USA. Email: [email protected]

Allison Langley

Allison Langley is associate conservator of paintings at the Art Institute of Chicago, where she has worked since 2002 carrying out treatment and research on a number of Modern and Contemporary paintings. Previously she held the William Leisher Fellowship in Painting Conservation at the National Gallery of Art, Washington, D.C. She received a Diploma in the Conservation of Easel Paintings from the Courtauld Institute of Art, London, and BFA in Studio Art from the University of Texas at Austin. Address: As for Muir. Email: [email protected]

Anikó Bezur

Anikó Bezur is director of Scientific Research at the Center for Conservation & Preservation, Yale University. Between 2005 and 2008 she was an Andrew W. Mellon research scientist for the Museum of Fine Arts, Houston, and the Menil Collection. She has a Ph.D. in Materials Science and Engineering from the University of Arizona. Prior to her current position, she worked at the Art Institute of Chicago as an associate conservation scientist and served as a lecturer and assistant professor of conservation science in the Art Conservation Department at Buffalo State College. Address: Center for Conservation & Preservation, Yale University, PO Box 27393, West Haven, CT 06516–7393, USA. Email: [email protected]

Francesca Casadio

Francesca Casadio is an Andrew W. Mellon senior conservation scientist at the Art Institute of Chicago where in 2003 she established and directs the conservation science laboratory. She also founded and co-directs the Northwestern University/ Art Institute of Chicago Center for Scientific Studies in the Arts (NU-ACCESS). She received her Ph.D. and M.S. degrees in Chemistry from the University of Milan, Italy. Address: As for Muir. Email: [email protected]

John Delaney

John Delaney is the senior imaging scientist at the National Gallery of Art, where his research focuses on the development of in situ imaging methods for art conservation and understanding of the optical properties of varnishes. He is also a Research Professor, School of Engineering and Applied Science, at the George Washington University. He received his Ph.D. from The Rockefeller University and completed post-doctoral studies at the University of Arizona and The Johns Hopkins University School of Medicine. Address: 2000B South Club Drive, Landover, MD 20785. Email: [email protected]

Gwénaëlle Gautier

Gwénaëlle Gautier holds a Ph.D. in Chemical Sciences from the University of Pisa (Italy, 2006). She was post-graduate fellow in the Chemical Science for the Safeguard of the Cultural Heritage Group, at the University of Pisa (2006). From 2006 to 2011, she worked at the Art Institute of Chicago in various positions culminating with the role of Andrew W. Mellon associate conservation scientist. Email: [email protected]