AN INVESTIGATION INTO KANDINSKY'S USE OF RIPOLIN IN HIS PAINTINGS AFTER 1930

Abstract

Vasily Kandinsky worked in a variety of media throughout his long career, and it appears from technical examinations and from his writings that he experimented with and manipulated his materials and techniques. This article describes the scientific investigation of five paintings dated after 1930, four of which were recorded by the artist as containing “huile + rip” (“rip” being thought to refer to the renowned brand of oleoresinous enamel paint Ripolin or perhaps to another similar enamel type paint mixed with other media). Following a thorough non-invasive investigation of the paintings with XRF, selected paint samples were analyzed with FTIR spectroscopy, optical and polarized light microscopy, and SEM with energy dispersive x-ray spectroscopy. The results were compared to an extensive database of reference enamels and artist tube paints from the same era along with actual paints left by the artist in his studio. This study draws attention to the artist's complex use of mixed media, which if the artist's statements are accurate, may well have included mixtures of oleoresinous enamel paints and fine artist's tube paints, occasionally supplemented with dry pigments, used together with artists’ oils on the same painting.

RÉSUMÉ

Vasily Kandinsky a travaillé avec une variété de médias tout au long de sa longue carrière et il ressort, des examens techniques et de ses écrits, qu'il a manipulé et expérimenté avec divers matériaux et techniques. Cet article discute de l'étude scientifique de cinq peintures datant d'après 1930; quatre d'entre elles ont été décrites par l'artiste comme contenant “huile+rip” (“rip” qu'on croit faire référence à la célèbre marque de peinture-émail oléorésineuse Ripolin ou peut-être à une autre peinture de type émail similaire mélangée avec d'autres médias). Suite à un examen non-invasif complet des peintures avec la spectroscopie de fluorescence X, des échantillons particuliers de peinture ont été analysés par spectroscopie FTIR, par microscopie optique avec et sans lumière polarisée, et par spectrométrie de rayons X à l'aide de microscope électronique à balayage Les résultats ont été comparés à une vaste base de données de référence de peinture-émail et de peinture en tubes de la même époque, ainsi qu'avec des peintures laissées par l'artiste dans son atelier. Cette étude met l'attention sur l'utilisation complexe par l'artiste de médias mixtes. Si on se base sur les écrits de l'artiste, ceci pourrait bien inclure sur le même tableau des mélanges de peinture-émail oléorésineuses et de peintures pour artiste en tubes, parfois complétés par des pigments secs, et utilisés conjointement avec les peintures à l'huile.

RESUMEN

Vasily Kandinsky trabajó con una variedad de medios a través de su larga carrera, y después de hacer una revisión de sus escritos y de exámenes técnicos, parece que él manipuló y experimentó con sus materiales y con sus técnicas. Este artículo describe la investigación científica de cinco de sus pinturas con fecha posterior a 1930, cuatro de las cuales tienen anotaciones del artista donde dice que contienen “huile+rip” (“rip” se cree que es una referencia a la renombrada marca de pintura de esmalte oleoresinosa Ripolin o tal vez otro tipo de pintura de esmalte similar mezclada con otro medio). Luego de hacer una investigación exhaustiva no invasiva de las pinturas con fluorescencia de rayos X (XRF), algunas muestras seleccionadas de pintura fueron analizadas con espectroscopia infrarroja de transformada de Fourier (FTIR), con microscopía óptica y de luz polarizada, y con microscopía electrónica de barrido (SEM) usando espectroscopia de rayos x de energía dispersiva. Los resultados fueron comparados con una extensa base de datos de referencia de esmaltes y tubos de pintura de artista de la misma época, así como con pinturas utilizadas por el propio artista encontradas en su estudio. Este estudio resalta el complejo uso de la técnica mixta, la cual, si las anotaciones del artista son certeras, muy bien pudiera haber incluido mezclas de pinturas de esmalte oleoresinosas y pinturas en tubo para artistas, ocasionalmente suplementadas con pigmentos secos, usados junto con pinturas al óleo para artistas en el mismo cuadro.

RESUMO

Vasily Kandinsky trabalhou com uma variedade de mídias ao longo da sua longa carreira e, a partir dos exames técnicos e seus escritos, parece que manipulou e fez experiências com seus materiais e técnicas. Esse artigo descreve a pesquisa científica realizada em cinco pinturas posteriores a 1930, quatro delas registradas pelo artista como contendo “huile+rip” (“rip” que se pensa referir à renomada marca de tinta esmalte oleoresinosa Ripolin ou talvez a outro tipo de tinta esmalte misturada com outro meio). Após um exame não invasivo completo das pinturas usando XRF, amostras de tintas selecionadas foram analisadas com espectroscopia de FTIR, microscópio ótico e com luz polarizada; e SEM com espectroscopia de raios X por dispersão em energia. Os resultados foram comparados com uma extensa base de dados de esmaltes de referência e tintas artísticas de bisnaga da mesma época juntamente com as próprias tintas deixadas pelo artista em seu estúdio. Esse estudo chama atenção para o uso complexo de mídias mistas pelo artista, e sendo as declarações dele precisas, pode ter incluído misturas de tintas esmaltes oleoresinosas e tintas em bisnaga de boa qualidade, algumas vezes acrescidas de pigmentos secos, usados em conjunto com tintas a óleo na mesma pintura.

Keywords:

• Kandinsky
• Ripolin
• Paint analysis
• Oleoresinous paint
• Enamels

Acknowledgments

Carol Stringari and Vivian Endicott-Barnett at the Guggenheim are thanked for their encouragement and helpful suggestions during the course of this project. Brigitte Léal, Alfred Pacquement, Sylvie Lepigeon, Jacques Hourriere, Géraldine-Guillaume-Chavannes, and Ingrid Novion at the Pompidou are also gratefully acknowledged. At the Art Institute of Chicago, Kimberley Muir, Frank Zuccari, Jann Trujillo, and Jack Brown are thanked. Benoit Dagron and Laure Necteaux (PPG) are also acknowledged for their contributions to this research. The Andrew W. Mellon Foundation, The Barker Welfare Foundation, The Stockman Family Foundation, Mrs. Eloise Martin, and The Grainger Foundation are thanked for support of the Ripolin project and of scientific research at the Art Institute of Chicago. SEM/EDX analysis was made possible thanks to the EPIC facility of NUANCE Center at Northwestern University. NUANCE is supported by NSF-NSEC, NSF-MR-SEC, Keck Foundation, the State of Illinois, and Northwestern University.

Additional information

Notes on contributors

Gillian Mcmillan

Gillian McMillan is the Associate Chief Conservator for the Collection at the Solomon R. Guggenheim Museum in New York City where she has worked since 1984. Before coming to the Guggenheim, Gillian was Paintings Restorer at The Art Gallery of New South Wales in Sydney, Australia. She graduated with a Diploma in the Conservation of Easel Paintings from Gateshead Technical College, England in 1979 and was Andrew W. Mellon Intern at the Intermuseum Conservation Association, Oberlin, Ohio. Address: Solomon R. Guggenheim Museum, Conservation Department, 1071 Fifth Avenue, New York, NY 10128, Email: [email protected]

Francesca Casadio

Francesca Casadio joined the Art Institute of Chicago in July 2003 as its first A.W. Mellon senior conservation scientist to establish and direct a state of the art conservation science laboratory. Casadio has also founded and co-directs the Northwestern University/ Art Institute of Chicago Center for Scientific Studies in the Arts (NU-ACCESS). Francesca Casadio received her PhD and MS degrees in Chemistry from the University of Milan, Italy. Address: As for McMillan. Email: [email protected]

Inge Fiedler

Inge Fiedler is an associate research microscopist in the conservation department at the Art Institute of Chicago. She began her apprenticeship training in painting conservation and microanalytical techniques as applied to conservation in the conservation department in 1973. Her training was supplemented with specialized courses in optical microscopy and instrumental analysis including FTIR and SEM/EDS. She received her MFA degree in studio art, with a concentration in photography in 1976, and a BFA degree in studio art in 1972 both from the School of the Art Institute of Chicago. Address: As for McMillan. Email: [email protected]

Veronique Sorano-Stedman

Veronique Sorano-Stedman is the head of the Conservation department at the MNAM, Centre Georges Pompidou since 2010. She studied at the école du Louvre, has a “Maîtrise de Sciences et Techniques pour la Conservation des Biens Culturels” from the University of Paris 1 and has received further advanced training at the Istituto Centrale del Restauro in Rome. After passing a competitive selection exam with IFROA (Institut Français de Restauration des Œuvres d'Art), she has worked in private practice for several decades on ancient and modern paintings. Address: Centre Pompidou, 75 191 Paris cedex 04, France. Email: [email protected]