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Original Research Papers

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

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Pages 246-257 | Published online: 02 Jan 2014

References

  • Camfield, W. 1979. Francis Picabia: His art, life and times. Princeton: Princeton University Press.
  • Casadio, F., and G. Gautier. 2012. Picasso at work: making the case for a scientific evaluation of the materials of the Antibes cycle. In Picasso express, ed. F. Casadio. Antibes: Musée Picasso. 135–50.
  • Gautier, G. 2012. Ripolin product lines. In Picasso express, ed. F. Casadio Antibes: Musée Picasso. 128–9.
  • Gautier, G., A. Bezúr, K. Muir, F. Casadio and I. Fiedler. 2009a. Chemical fingerprinting of ready-mixed house paints of relevance to artistic production in the first half of the twentieth century. I. Inorganic and organic pigments. Applied Spectroscopy 63: 597–603.
  • Gautier, G., A. Bezur, K. Muir, F. Casadio and I. Fiedler. 2009b. Supplementary Material for: Chemical fingerprinting of ready-mixed house paints of relevance to artistic production in the first half of the twentieth century. I. Inorganic and organic pigments. Applied Spectroscopy 63: 2.
  • Muir, K., G. Gautier, A. Vila and F. Fiedler. 2011. Interdisciplinary investigation of early house paints: Picasso, Picabia, and their “Ripolin” paintings. In ICOM Committee for Conservation preprints (CD-ROM), ed. J. Bridgeland 16th Triennial Meeting, Lisbon: Critério – Artes Gráficas, Lda. 10 pp.
  • Pierre, A. 2002. Francis Picabia: La peinture sans aura. Paris: Gallimard.
  • Raeburn, M. 2012. Brand Ripolin. In Picasso express, ed. Casadio F. Antibes: Musée Picasso. 123–7.
  • Sanouillet, M. 1964. Picabia. Paris: Editions du Temps.

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