Beauty Revealed: Technical Analysis and Treatment of Zand and Qajar Oil Paintings

ABSTRACT

The interiors of Zand and Qajar palaces were often decorated with idealized portraits meant to convey wealth and internationality through depiction of European goods, jewelry, and other social signifiers. Five figurative oil paintings dating from the late 1700s to early 1800s were analyzed non-destructively using x-radiography, infrared reflectography, and macro-area x-ray fluorescence spectroscopy. Selective microscopic sampling enabled pigment and binder identification using Raman and Fourier transform infrared spectroscopy and scanning electron microscopy coupled with energy dispersive x-ray spectroscopy. All paintings are oil on cotton canvas and utilize a limited palette that includes Prussian blue, orpiment, and vermillion. Four paintings contain copper alloy leaf used to simulate gold jewelry and textiles. Artisanship expertise varies and European influences, including perspective and shading, are unevenly incorporated; workshop involvement is suggested by differing qualities of rendering within a given work. One painting, Dancing Girl (1192 AH/1778 CE) by Muhammad Baqir, was fully treated to remove thick layers of discolored shellac varnish and overpaint that distorted the appearance of the work. This study provides insights into the painting materials and techniques of the late Zand and early Qajar period, and practical methodologies for their treatment and continued preservation.

RÉSUMÉ

Les intérieurs des palais Zand et Qajar étaient souvent décorés de portraits idéalisés destinés à transmettre la richesse et l'internationalité par la représentation de biens, de bijoux et d'autres signifiants sociaux européens. Cinq peintures à l'huile figuratives datant de la fin du XVIIIe siècle au début du XIXe siècle ont été analysées de manière non destructive par radiographie, réflectographie infrarouge et spectroscopie de fluorescence de rayons X sur une macro-zone. Un échantillonnage microscopique sélectif a permis l'identification des pigments et des liants par spectroscopie Raman et spectroscopie infrarouge à transformée de Fourier ainsi que par microscopie électronique à balayage couplée à la spectroscopie de rayons X à dispersion d'énergie. Toutes les peintures sont réalisées à l'huile sur toile de coton et utilisent une palette limitée comprenant du bleu de Prusse, de l'orpiment et du vermillon. Quatre tableaux contiennent des feuilles d'alliage de cuivre utilisées pour simuler des bijoux et des textiles en or. Le savoir-faire artisanal varie et les influences européennes, notamment la perspective et l'ombrage, sont incorporées de manière inégale ; l'implication d'un atelier est suggérée par les différentes qualités de rendu dans une œuvre donnée. Une peinture, La Danseuse (« Dancing Girl » 1192 AH/1778 CE) de Muhammad Baqir, a été entièrement traitée pour éliminer d'épaisses couches de vernis à la gomme-laque décolorées et les surpeints qui dénaturaient l'apparence de l'œuvre. Cette étude donne un aperçu des matériaux et des techniques de peinture de la fin de la période Zand et du début de la période Qajar, ainsi que des méthodologies pratiques pour leur traitement de conservation-restauration et leur préservation durable. Traduit par Anne-Stéphanie Etienne.

RESUMO

Os interiores dos palácios Zand e Qajar eram frequentemente decorados com retratos idealizados destinados a transmitir riqueza e internacionalização através da representação de bens europeus, jóias e outras representações sociais. Cinco pinturas figurativas, a óleo, datadas do final de 1700 princípio de 1800, foram analisadas de forma não destrutiva usando radiografia-x, reflectografia infravermelha e espectroscopia de fluorescência de raios-x de macro área. Amostragem microscópica selectiva permitiu a identificação de pigmentos e ligantes usando espectroscopia de infravermelho transformada de Raman e Fourier e microscopia electrónica de varrimento acoplada a espectografia de raios-x dispersiva de energia. Todas as pinturas são a óleo sobre tela de algodão e utilizam uma paleta limitada que inclui azul, orpiment e vermelhão. Quatro pinturas contêm folha de liga de cobre usada para simular jóias e têxteis dourados. A maestria artesanal varia e as influências europeias, incluindo perspectiva e sombreamento, são incorporadas de forma desigual; a participação de oficina é sugerida por diferentes qualidades de interpretação dentro de um dado trabalho. Uma pintura, Dancing Girl (1192 AH/1778 CE) de Muhammad Baqir, foi totalmente tratada para remover camadas espessas de verniz de goma-laca descolorida e de repinte que distorceram a aparência do trabalho. Este estudo fornece conhecimentos sobre os materiais e técnicas de pintura do período final Zand e início do Qajar, e metodologias práticas para seu tratamento e preservação continuada. Traduzido por Teresa Lança.

RESUMEN

Los interiores de los palacios de Zand y Qajar a menudo estaban decorados con retratos idealizados destinados a transmitir la riqueza y el carácter internacional a través de la representación de productos, joyas y otros símbolos sociales europeos. Cinco pinturas figurativas al óleo que datan de finales de 1700 a principios de 1800 se analizaron con técnicas no destructivas utilizando radiografía de rayos X, reflectografía infrarroja y espectroscopia de fluorescencia de rayos X de macro-área. El muestreo microscópico selectivo permitió la identificación de pigmentos y aglutinantes utilizando espectroscopía infrarroja Raman y Fourier transformada, así como microscopía electrónica de barrido con espectroscopía de rayos X de energía dispersiva. Todas las pinturas son al óleo sobre lienzo de algodón y utilizan una paleta limitada que incluye azul de Prusia, oropimente y bermellón. Cuatro pinturas contienen hojas de aleación de cobre utilizadas para simular joyas y textiles de oro. La experiencia artesanal varía y las influencias europeas, incluida la perspectiva y el sombreado, se incorporan de manera desigual; la participación de un taller se sugiere por las diferentes calidades de interpretación dentro de una determinada obra. Una pintura, Niña danzante (1192 AH/1778 CE) de Muhammad Baqir, se trató por completo para eliminar las capas gruesas de barniz de goma laca envejecido y un repinte que distorsionaba la apariencia de la obra. Este estudio proporciona información sobre los materiales y técnicas de pintura del período Zand tardío y Qajar temprano, y metodologías prácticas para su tratamiento y preservación continua. Traducción: David Cohen; revisión: Soledad Tancoff, Irene Delaveris y Amparo Rueda.

KEYWORDS:

• Qajar
• Zand
• Iran
• painting
• treatment
• x-ray fluorescence spectroscopy
• infrared spectroscopy
• Raman spectroscopy

Acknowledgements

The authors thank Aimée Froom, Curator of Arts of the Islamic World at the MFAH, for supporting the project and sharing her expertise; Mr. Hossein Afshar, for permitting analysis of his four paintings on loan to the MFAH; Nick Barbi, the President of nSynergies for loan of the Bruker M6 unit; Mathew Golden and James Craven for technical imaging and x-radiography; Rice University Shared Equipment Authority for providing access to the Renishaw Raman spectrophotometer; Drs. Doug Natelson and Pavlo Zolotavin of Rice University for the use of the laser power meter, and the Andrew W. Mellon Foundation for supporting conservation science at the MFAH and the Menil Collection.

Disclosure statement

No potential conflict of interest was reported by the author(s).

Notes

1 The catalog of the exhibition is available (Froom 2019).

2 When possible Persian terms are being introduced out of respect for the culture of the paintings’ creators. As we know of no Farsi-English dictionaries with transcription and translation that provide the culturally appropriate names of the pigments, these are absent.

Additional information

Notes on contributors

Melissa Gardner

Melissa Gardner is currently the Paintings Conservator at the Saint Louis Art Museum and a Professional Associate of the American Institute for Conservation (AIC). Previously she served as the Associate Conservator of Paintings at the Museum of Fine Arts, Houston (MFAH) where she worked for ten years in various roles. She is a graduate of the Conservation Center, IFA NYU primarily specializing in Old Master easel paintings. During her time at NYU Melissa completed internships in Samothrace, Greece, the Los Angeles County Museum of Art, and the Galleria degli Uffizi. Immediately prior to joining the MFAH, she completed a year-long internship at the National Gallery of Art in Washington, DC. Melissa works closely with several museum departments and enjoys the atmosphere of a large institution. She maintains a strong interest in Conservation Science and technical art history. Address: Saint Louis Art Museum, 1 Fine Arts Dr., St. Louis, MO 63110, USA. Email: [email protected].

Corina E. Rogge

Corina (Cory) Rogge is the Andrew W. Mellon Research Scientist at the Museum of Fine Arts, Houston and the Menil Collection. She earned a BA in chemistry from Bryn Mawr College, a PhD in Chemistry from Yale University and held postdoctoral positions at the University of Wisconsin–Madison and the University of Texas Health Sciences Center (Houston). Before joining the Museum of Fine Arts, Houston, she held positions as the Wiess Instructor of Chemistry at Rice, and the Andrew W. Mellon Assistant Professor in Conservation Science in the Department of Art Conservation at State University of New York Buffalo State College. Much of her research focusses on twentieth century artists, paints and pigments. She is the Vice President and Fellow of the American Institute for Conservation (AIC) and an Associate Editor for the Journal of the American Institute for Conservation. Email: [email protected].