A preliminary study of Liu Kang’s palette and the discovery and interpretation of hidden paint layers

Lizun, Damian

doi:10.1186/s40494-020-0363-x

Cited by 11 publications

(13 citation statements)

References 5 publications

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“…NIR imaging also did not aid in visualising the underlying composition, probably due to the thickness of the current paint layer. Nevertheless, the discovery of different paint scheme is not a unique occurrence in Liu Kang's artworks and is consistent with his earlier practice of reusing former paintings in Paris and Shanghai (Lizun, 2020;Lizun et al, 2021a;2021b;2021c). (Liu, 1993).…”

Section: Non-invasive Examination Of Climbing the Hillsupporting

confidence: 78%

“…and Shanghai (1932)(1933)(1934)(1935)(1936)(1937) artistic phases (Lizun et al, 2021b). Moreover, some references were made to the earlier research about Liu Kang's painting practice (Lizun, 2020;Lizun et al, 2021a;Lizun et al, 2021c). An additional insightful search of the Liu family archives provided unexpected evidence, which combined with the analytical techniques, assisted in determining the provenance and dating of Climbing the hill.…”

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confidence: 99%

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From Paris and Shanghai to Singapore: A Multidisciplinary Study in Evaluating the Provenance and Dating of Two of Liu Kang’s Paintings

Lizun

2021

J. Conserv. Sci

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This paper focuses on the dating and provenance of two paintings, Climbing the hill and View from St. John’s Fort by the prominent Singaporean artist Liu Kang (1911–2004). Climbing the hill, from the National Gallery Singapore collection, was believed to have been created in 1937, based on the date painted by the artist. However, a non-invasive examination unveiled evidence of an underlying paint scheme and a mysterious date, 1948 or 1949. These findings prompted a comprehensive technical study of the artwork in conjunction with comparative analyses of View from St. John’s Fort (1948), from the Liu family collection. The latter artwork is considered to be depicting the same subject matter. The investigation was carried out with UVF, NIR, IRFC, XRR, digital microscopy, PLM and SEM-EDS to elucidate the materials and technique of both artworks and find characteristic patterns that could indicate a relationship between both paintings and assist in correctly dating Climbing the hill. The technical analyses were supplemented with the historical information derived from the Liu family archives. The results showed that Climbing the hill was created in 1948 or 1949 on top of an earlier composition painted in Shanghai between 1933 and 1937. As for the companion View from St. John’s Fort from 1948, the artist reused an earlier painting created in France in 1931. The analytical methods suggested that Liu Kang used almost identical pigment mixtures for creating new artworks. However, their painting technique demonstrates some differences. Overall, this study contributes to the understanding of Liu Kang’s painting materials and his working practice.

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Section: Non-invasive Examination Of Climbing the Hillsupporting

confidence: 78%

mentioning

confidence: 99%

From Paris and Shanghai to Singapore: A Multidisciplinary Study in Evaluating the Provenance and Dating of Two of Liu Kang’s Paintings

Lizun

2021

J. Conserv. Sci

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“…Larger painting supports (number 12 and 20), were used sparingly. Financial constraints could also have had an impact on the artist's choice of materials [14]. Therefore, it is worth noting that 11 paintings were created over rejected compositions and four on the reverse side of earlier paintings.…”

Section: Auxiliary Supports and Canvas Formatsmentioning

confidence: 99%

“…The evidence collected from 15 paintings created in Paris confirmed that artist did not mind reusing his earlier compositions or utilising their reverse sides if he was short of painting supports. These paintings were created without the application of an intermediate ground layer [14]. Hence, it could be possible that Liu Kang had seen a few, rare, examples of such an approach among Impressionist and Neo-impressionist painters [16], whose works influenced his own [13].…”

Section: Characteristics Of the Groundsmentioning

confidence: 99%

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Technical examination of Liu Kang’s Paris and Shanghai painting supports (1929–1937)

2021

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This article presents an overview of Liu Kang’s (1911–2004) canvas painting supports from his early artistic phases, Paris (1929–1932) and Shanghai (1932–1937). The research was conducted on 55 artworks from the collections of the National Gallery Singapore and Liu family. The technical examination of the paintings was supplemented with archival photographs of the artist at work to elucidate his practice of preparation of painting supports. The analyses conducted with light microscopy, SEM–EDS, and FTIR allowed us to characterise the structure of the canvases and identify the natural fibres and formulation of the grounds. In addition, references to contemporary colourmen catalogues, in relation to certain materials, were made. The obtained results suggest that, in both locations, Liu Kang employed commercially prepared canvases purchased by the roll or by the metre, together with bare strainers or stretchers of standard sizes. In Paris, the artist commonly used linen canvases, while in Shanghai he preferred cotton canvases, with linen used sporadically. The identified grounds from the Paris and Shanghai canvases are white and single-layered, but their formulations vary significantly between the two locations. Hence, grounds composed predominantly of lead white with extenders and drying oil as a binder are considered as exclusive to the Paris phase. However, semi-absorbent or absorbent grounds based on chalk are typical for Shanghai phase. This research contributes to the knowledge of Liu Kang’s painting materials and working practices during the pre-war period in Paris and Shanghai.

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Paints analysis and conservation treatment of painted sculpture: Jean Dubuffet, Guard Dog II

Han¹,

Lee²,

Kim³

et al. 2021

SN Appl. Sci.

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Guard Dog II (1969–1970) by Jean Dubuffet is an artwork that shows the characteristics of the artist's l'hourloupe period (1962–1974). This study revealed the materials and manufacturing techniques used by the artist at the time through material analysis of Guard Dog II, and suggested an appropriate conservation treatment method for the work through a cleaning test. Dust, stains, discoloration, cracks, etc. were observed on the surface of the artwork and stains were particularly severe and discoloration required conservation treatment. Prior to treatment, multiple analytical approaches such as Fourier transform infrared spectroscopy, Raman spectroscopy and gas chromatography/mass spectrometer were applied to identify the materials of the paint layers and confirm the state of the conservation of the artworks. As a result, it was confirmed that polyurethane paint was used in the artwork, and the pigment used for each color was also identified. For the stable conservation treatment of the artwork, the chromaticity, glossiness and workability of the cleaning materials were evaluated, and it was found that isopropyl alcohol and nonionic surfactant were suitable for cleaning. The conservation treatment was performed based on results from the cleaning test, and the artwork was restored cleanly. Since most of the existing research on cleaning methods has been focused on painting, this study contributes to the conservation of sculptures by suggesting cleaning methods suitable for three-dimensional colored objects. Article highlights The materials and production techniques used in Jean Dubuffet, Guard Dog II were confirmed. As cleaning materials for deteriorated artworks, isopropyl alcohol and non-ionic surfactants are effective. Hydrogels are not suitable for this work due to the type and characteristics of the gels.

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A preliminary study of Liu Kang’s palette and the discovery and interpretation of hidden paint layers

Cited by 11 publications

References 5 publications

From Paris and Shanghai to Singapore: A Multidisciplinary Study in Evaluating the Provenance and Dating of Two of Liu Kang’s Paintings

From Paris and Shanghai to Singapore: A Multidisciplinary Study in Evaluating the Provenance and Dating of Two of Liu Kang’s Paintings

Technical examination of Liu Kang’s Paris and Shanghai painting supports (1929–1937)

Paints analysis and conservation treatment of painted sculpture: Jean Dubuffet, Guard Dog II

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