THE USE OF RIPOLIN BY PICABIA IN THE FIG LEAF (1922)

Abstract

From both anecdotes and the appearance of many works, Francis Picabia—like Pablo Picasso—is believed to have used Ripolin house paint. La Feuille de Vigne (The Fig Leaf) (1922 Tate), variously described as painted in enamel, oil, and Ripolin, has many visual characteristics associated with household paint: large areas of unmodulated color, minimal evidence of brushstrokes, and a glossy surface. An earlier work, Les Yeux Chauds (Hot Eyes) of 1921, was already known to exist beneath the surface. A study of documentary sources on Picabia was combined with an exploration of this earlier image through extensive technical examination, which identified paint characteristics, including the presence of Ripolin paints in both, and accounted for strikingly obvious localized wrinkling in areas of The Fig Leaf. The color range of Les Yeux Chauds was found to consist of bold complementary colors, not black and white as previously assumed. The evolution of the two images is explored, and both Picabia's techniques and his use of specific materials are discussed; the materials in both paintings correspond closely to referenced Ripolin samples. Examination revealed a playful relationship between the two images painted by Picabia, and has contributed new evidence about the lost image of Les Yeux Chauds.

RÉSUMÉ

À partir d'anecdotes et d'après l'aspect de plusieurs de ses œuvres, on pense que Francis Picabia, tout comme Pablo Picasso, aurait utilisé la peinture de bâtiments de marque Ripolin. L'oeuvre La Feuille de Vigne (1922, la Tate), tantôt décrite comme étant peinte avec de la peinture-émail, tantôt de la peinture à l'huile ou encore de marque Ripolin, possède plusieurs caractéristiques visuelles associées à la peinture de bâtiment, soit de vastes zones de couleur en aplat, peu de traces de coups de pinceau, et une surface brillante. On connaissait déjà la présence d'une œuvre sous-jacente, Les Yeux Chauds (1921). Une étude des sources documentaires sur Picabia, combinée à l'étude de l'image sous-jacente par un examen technique approfondi, a permis de caractériser les peintures, confirmant ainsi la présence de peintures de marque Ripolin dans chacune des deux oeuvres, et expliquant la présence particulière de zones de plissement de la couche picturale sur La feuille de Vigne. Dans Les Yeux Chauds, la palette est composée d'une variété de couleurs complémentaires audacieuses et non de noirs et de blancs comme on le présumait. Dans cet article, on examine l'évolution des deux images et on discute des techniques de Picabia ainsi que des matériaux particuliers qu'il a employés; les matériaux des deux couches correspondent étroitement aux échantillons de référence de marque Ripolin. L'examen a permis de révéler un rapport espiègle entre les deux images peintes par Picabia et de nouvelles informations sur l'image perdue Les Yeux Chauds.

RESUMEN

A partir de las anécdotas y de la apariencia de muchas de sus obras, se cree que Francis Picabia—al igual que Pablo Picasso—utilizó pintura de casas Ripolin. La Feuille de Vigne (La Hoja de Parra) (1922 Tate), indistintamente descrita como pintada en esmalte, óleo, y Ripolin, tiene muchas características visuales asociadas con la pintura de casa: grandes áreas de color sin modulación, evidencia mínima de brochazos y superficie brillante. Ya se sabía que debajo de la superficie existía un trabajo conocido, Les Yeux Chauds (Ojos Calientes) de 1921. Se combinó un estudio de fuentes documentales sobre Picabia con una exploración de esta imagen temprana a través de un extenso examen técnico, el cual identificó las características de la pintura, incluyendo la presencia de pintura Ripolin en ambas, y dio cuenta de las muy obvias arrugas localizadas en las áreas de La Hoja de Parra. Se encontró que el rango de colores de Les Yeux Chauds consiste en colores vivos complementarios, y no blanco y negro como se asumió previamente. Se explora la evolución de las dos imágenes, y se discuten las técnicas de Picabia y su uso de materiales específicos; los materiales en ambas pinturas corresponden estrechamente a muestras de referencia de Ripolin. El examen reveló una relación juguetona entre las dos imágenes pintadas por Picabia, y ha aportado nueva evidencia acerca de la imagen perdida de Les Yeux Chauds.

RESUMO

Por vários relatos e pela aparência de várias obras, Francis Picabia – à semelhança de Pablo Picasso – também utilizou tinta para casa da marca RIPOLIN. La Feuille de Vigne (The Fig Leaf) (1922, Tate) que é diversamente descrita como tendo sido pintada em esmalte, óleo e RIPOLIN, tem diversas características visuais associadas à tinta para casa: grandes áreas de cor uniforme, evidência mínima de pinceladas e uma superfície brilhante. Num trabalho anterior, Les Yeux Chauds (Hot Eyes) de 1921, já se sabia da sua existência sob a sua superfície. Um estudo com base em fontes documentais acerca de Picabia foi combinado com a exploração desta imagem anterior através de um exame técnico extensivo que identificou as características de pintura incluindo a presença de tintas RIPOLIN em ambas as obras que foi responsável por zonas de rugas localizadas na obra The Fig Leaf. A gama de cores na obra Les Yeux Chauds verificou-se consistir em fortes cores complementares e não em preto e branco como se assumiu, inicialmente. A evolução das duas imagens é explorada e ambas as técnicas de Picabia e a utilização de materiais específicos é discutida; os materiais de ambas pinturas correspondem de forma muito próxima a amostras referenciadas de tinta RIPOLIN. O exame revelou uma relação lúdica entre as duas imagens pintadas por Picabia e contribuiu para novas evidências acerca da imagem de Les Yeux Chauds.

Keywords:

• Picabia
• Ripolin
• House paint
• Paint analysis
• The Fig Leaf

Notes

1. Rrose Sélavy; Preface to an exhibition of Picabia's paintings, Hotel Drouot, salle no. 10 Vente le Lundi 8 Mars 1926 à 2 h précises. Exposition le Dimanche 7 Mars 1926, de 2 à 6 heures. Found in the Album of Olga Picabia, Comite Picabia, Paris.

2. Picabia, F. 1920, writing in Z No. 2, March 1920, p. 7. Published in Paris.

3. Information in the Tate Gallery Archive Picabia files.

Additional information

Notes on contributors

Annette King

Annette King is a paintings conservator for Tate Modern, and has a particular interest in modern and contemporary paintings. Her recent research has centered on painting techniques of the first half of the twentieth century. Address: Conservation Department, Tate Britain, Millbank, London, SW1P 4RG, UK. Email: [email protected]

Joyce H. Townsend

Joyce H. Townsend is a senior conservation scientist at Tate. She has researched the techniques and materials of many British painters in oil, often from the 19th century, and is now spending more time on technical and lightfastness studies of works on paper. Address: As for King. Email: [email protected]

Bronwyn Ormsby

Bronwyn Ormsby is a senior conservation scientist at Tate, responsible for the analysis of modern and contemporary art materials, and conservation treatment research. Her recent publications have focused on the cleaning of acrylic paintings. Address: As for King. Email: [email protected]

Gwénaëlle Gautier

Gwénaëlle Gautier holds a PhD from the University of Pisa (Italy), 2006. She was a research fellow at The Art Institute of Chicago (USA), 2006–2007, then assistant conservation scientist 2007–2009 and associate conservation scientist 2009–2011. Email: [email protected]