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Abstract
Six early portraits from 1895 to 1900/1 by Pablo Picasso were comprehensively examined using complementary non-destructive techniques provided by the MOLAB Transnational Access Service as part of the European Cultural Heritage Advanced Research Infrastructures (CHARISMA) project. The paintings were selected by the Museu Picasso, Barcelona, as representative of Picasso's formative years. This paper presents a compendium of the results from the extensive analysis campaign, which involved meticulous inspection of the stratigraphy of each portrait and elucidation of the palette used by the artist in his early career. Subsurface imaging (X-ray radiography and infrared reflectography) was used to guide analytical data interpretation. Prussian blue, cobalt blue, ivory black, lead white, natural earths, vermilion, chromium-based pigments, and different fillers were identified in the paintings. With this simple palette, Picasso was able to play with the colors to create different shades and tones. Careful inspection of the brushstrokes and material distribution highlighted important details, providing a better understanding of the creative process behind the portraits studied and young Picasso's modus operandi. Furthermore, all the portraits were found to have been painted over earlier compositions.
Acknowledgments
The authors would like to thank the following specialist participants of the analysis campaign: Federica Presciutti, Aldo Romani, Bruno Brunetti, David Buti, Francesca Gabrieli and Chiara Grazia of the University of Perugia (Center SMAArt); Mattia Patti of the CNR-INO; Anna Vélez and Sonia Berrocal of the Fundació Museu Picasso (Preventive Conservation and Restoration department), and Àngels Miquel Vilanova, Héctor Bagán Navarro, Eva Marín Aznar of the University of Barcelona.
MOLAB's equipment and expertise were made available through the transnational access service offered with support of the European Community through the 7th framework programe (CHARISMA project n. 228330).
Supplemental Data
Supplemental data (two appendices including figures) for this article can be accessed at 10.1080/01971360.2016.1235438.
ORCiD
CLARIMMA SESSA http://orcid.org/0000-0003-1530-0113
Résumé - Six portraits peints par Pablo Picasso au début de sa carrière, entre 1895 et 1900/1, ont fait l’objet d’un examen exhaustif à l’aide de techniques complémentaires et non-destructives offertes par MOLAB Transnational Access Service (service d’accès transnational à un laboratoire d’analyses mobile), un contribuant au projet CHARISMA de la Commission européenne (Cultural Heritage Advanced Research Infrastructures – infrastructures de recherche avancée sur le patrimoine culturel). Ces peintures, représentatives des années de formation de Picasso, ont été sélectionnées par le musée Picasso de Barcelone. Cet article présente un recueil des résultats obtenus lors de cette intensive campagne d’analyses qui impliquait à la fois l’étude méticuleuse de la stratigraphie de chacun des portraits et l’identification de la palette employée par l’artiste au début de sa carrière. L’imagerie des couches sous-jacentes (par radiographie aux rayons X et réflectographie infrarouge) a permis de guider l’interprétation des données d’analyses. Dans les peintures, on a identifié la présence de bleu de Prusse, de bleu de cobalt, de noir d’ivoire, de blanc de plomb, de terres naturelles, de vermillon, de pigments à base de chrome ainsi que de diverses matières de charge. Avec cette palette limitée, Picasso a pu jouer avec les couleurs pour créer différentes teintes et nuances. Un examen attentif des coups de pinceau et de la distribution de la matière picturale a révélé d’importants détails qui permettent de comprendre le processus de création de chacun des portraits étudiés et le modus operandi du jeune Picasso. En outre, on a découvert que toutes les œuvres ont été peintes par-dessus des compositions plus anciennes.
Resumo - Seis retratos precoces de 1895 a 1900/1, de Pablo Picasso, foram exaustivamente examinados usando-se técnicas não destrutivas complementares, proporcionadas pelo serviço de acesso transnacional MOLAB, como parte de um projeto de infraestruturas de pesquisa avançada do patrimônio cultural europeu (CARISMA). As pinturas foram selecionadas pelo Museu Picasso, de Barcelona, como representativas dos anos formadores de Picasso. Neste trabalho se apresenta um compêndio dos resultados da ampla campanha de análise que envolveu uma meticulosa inspeção da estratigrafia de cada retrato e a elucidação da paleta utilizada pelo artista no início de sua carreira. Foram utilizadas imagens das camadas internas (radiografia de raios X e reflectografia infravermelha) como guia para a interpretação analítica de dados. Nas pinturas, foram identificados azul da Prússia, negro de marfim, branco de chumbo, terras naturais, vermelhão, pigmentos à base de cromo e diferentes materiais de recheio. Com esta paleta compacta, Picasso era capaz de brincar com as cores para criar diferente matizes e tons. A inspeção cuidadosa das pinceladas e distribuição do material realçou os detalhes importantes, proporcionando a compreensão do processo criativo dos retratos estudados e o modus operandi do jovem Picasso. Por outro lado, descobriu-se que todas as pinturas foram pintadas sobre composições anteriores.
Resumen - Seis retratos tempranos de 1895 a 1900/1 de Pablo Picasso fueron exhaustivamente examinados usando técnicas no destructivas complementarias proporcionadas por el Servicio de acceso transnacional MOLAB como parte del proyecto Infraestructuras de investigación avanzada del patrimonio cultural europeo (CARISMA). Las pinturas fueron seleccionadas por el Museu Picasso, Barcelona, como representativas de los años formativos de Picasso. En este trabajo se presenta un compendio de los resultados de la amplia campaña de análisis que involucró a una meticulosa inspección de la estratigrafía de cada retrato y la elucidación de la paleta utilizada por el artista al comienzo de su carrera. Se utilizaron imágenes de las capas internas (radiografía de rayos X y Reflectografía infrarroja) como guía para la interpretación de datos analítica. Se identificaron en las pinturas azul de Prusia, azul cobalto, negro de marfil, blanco de plomo, tierras naturales, bermellón, pigmentos a base de cromo y diferentes materiales de relleno. Con esta sencilla paleta, Picasso era capaz de jugar con los colores para crear diferentes matices y tonos. La inspección cuidadosa del pinceladas y distribución del material realzo los detalles importantes, proporcionando comprensión del proceso creativo de los retratos estudiados y el modus operandi del joven Picasso. Por otra parte, se encontró que todas las pinturas fueron pintadas sobre composiciones anteriores.
Notes
1 Suzy Delbourgo presented at the ICOM Committee for Conservation, which was held in Ottawa in 1981, the preliminary results of a large project about the investigation of paintings by Pablo Picasso undertaken by the Laboratoire de Recherché des Musées de France C2RMF). The paintings were examined between 1979 and 1982. Based on the Rapport d'activité 1995 edited by the C2RMF (p.78) the results should have been summarized in a publication in 1996. Unfortunately we were not able to access the documentation on the project.
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Notes on contributors
Clarimma Sessa
Clarimma Sessa earned a degree in Science and Technologies for Conservation and Restoration of Cultural Heritage at the University of Perugia, Italy in 2008. She holds a Master's degree in Advanced Chemistry and received her PhD in Chemistry from the University of Barcelona, Spain in 2014. Her scientific interests are mainly focused on the evaluation and application of non-invasive analytical techniques for the study of artwork. Address: Analytical Chemistry Department, University of Barcelona, Martí i Franques, 11, Barcelona, ES-08028, Spain.
Reyes Jiménez de Garnica
Reyes Jiménez De Garnica is the head of the Department of Preventive Conservation and Restoration of the Museu Picasso, Barcelona since 2002. She is in charge of the technical management and material conservation of the collection of the Museu Picasso, Barcelona. Address: Conservació Preventiva i Restauracio, Fundació Museu Picasso,c/Montcada, 15–23, Barcelona, ES-08003, Spain. Email: [email protected].
Francesca Rosi
Francesca Rosi is a CNR Researcher at the Institute of Science and Molecular Technologies of Perugia. Her research interests include the application and development of non-invasive and portable spectroscopic techniques for studying materials of interest in the field of cultural heritage. Address: CNR-ISTM, Via Elce di sotto, 8, Perugia IT-06123, Italy. Email: [email protected].
Raffaella Fontana
Raffaella Fontana is a CNR Researcher at the National Institute of Optics in Florence. Her research activity mainly concerns the development and application of optical instruments for the non-invasive diagnostics of artworks (imaging analysis in the UV-VIS-NIR, 3D survey, tomography). Address: CNR-INO, Largo E. Fermi 6, Firenze IT-50125, Italy. Email: [email protected]
Jose Francisco Garcia
Jose Francisco Garcia obtained his Ph.D. in analytical chemistry in 1989 at the University of Barcelona. At present, he is a full professor in the Analytical Chemistry Department at the University of Barcelona. Since 1982, he has been working in radio analytical chemistry; since 1997, he is involved in analytical chemistry applied to cultural heritage. His main research interest is the development and application of specific analytical techniques to the study of artworks. Address: Analytical Chemistry Department, University of Barcelona, Spain, Marti I Franques, 11, Barcelona, ES-08028, Spain. Email: [email protected].