{"title":"Three works on paper by Vincent Van Gogh: technical study, display considerations and a conjectural colour reconstruction","authors":"J. Townsend, Rosie Freemantle","doi":"10.1080/19455224.2022.2161097","DOIUrl":null,"url":null,"abstract":"Abstract Prior to an exhibition, one gouache (The Oise at Auvers 1890) and two drawings (Thatched Roofs 1884 and A Corner of the Garden of St Paul’s Hospital at St Rémy 1889) by Vincent van Gogh in the Tate collection were available for technical examination for the first time. Obvious colour changes in the papers and loss of colour in the inks and in pink/red pigments where display mounts have protected the edges prompted materials analysis, microfading and an investigation of their history. The decisions made for their display are discussed in the context of Tate’s lighting policy, currently being reviewed to cover all types of material in a growing collection of modern materials, and changing attitudes to the display or not of preserved colour beneath earlier mounts and frames. The materials van Gogh used were very typical of his known choices at the dates of making. The use of two formulations with geranium lakes based on Eosin Y, both sensitive to light, were identified in a gouache by this artist for the first time.","PeriodicalId":43004,"journal":{"name":"Journal of the Institute of Conservation","volume":"46 1","pages":"3 - 22"},"PeriodicalIF":0.5000,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Journal of the Institute of Conservation","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1080/19455224.2022.2161097","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"HUMANITIES, MULTIDISCIPLINARY","Score":null,"Total":0}
引用次数: 0
Abstract
Abstract Prior to an exhibition, one gouache (The Oise at Auvers 1890) and two drawings (Thatched Roofs 1884 and A Corner of the Garden of St Paul’s Hospital at St Rémy 1889) by Vincent van Gogh in the Tate collection were available for technical examination for the first time. Obvious colour changes in the papers and loss of colour in the inks and in pink/red pigments where display mounts have protected the edges prompted materials analysis, microfading and an investigation of their history. The decisions made for their display are discussed in the context of Tate’s lighting policy, currently being reviewed to cover all types of material in a growing collection of modern materials, and changing attitudes to the display or not of preserved colour beneath earlier mounts and frames. The materials van Gogh used were very typical of his known choices at the dates of making. The use of two formulations with geranium lakes based on Eosin Y, both sensitive to light, were identified in a gouache by this artist for the first time.
期刊介绍：
The Journal of the Institute of Conservation is the peer reviewed publication of the Institute of Conservation (Icon). As such, its aims reflect those of Icon, to advance knowledge and education in conservation and achieve the long term preservation and conservation of moveable and immoveable cultural heritage. The Journal provides a collective identity for conservators; it promotes and supports both the profession and professionalism. With international contributions on all aspects of conservation, it is an invaluable resource for the heritage sector. The specific aims of the Journal are to: 1. promote research, knowledge and understanding of cultural heritage conservation through its history, practice and theory 2. provide an international forum to enable and disseminate advances in research, knowledge and understanding relating to conservation and heritage 3. champion and support professional standards of heritage conservation in the UK and internationally 4. provide a permanent record of issues relating to conservation and heritage 5. be financially and operationally sustainable. To achieve these aims, the Journal invites contributions from all those involved in the conservation of cultural heritage and related activities. Areas of interest include understanding cultural heritage materials and their degradation; subject reviews and histories of cultural heritage materials and conservation treatments; new, innovative or improved approaches to conservation and collections care theory, practice, communication, management and training; case studies demonstrating new, innovative or improved approaches; and conservation in its wider context. Submitters are encouraged to demonstrate how their work is of practical application to conservation. To maintain professional standards and promote academic rigour, submissions of articles and shorter notices are subject to an anonymous peer review process.
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