Exploring Liu Kang’s Paris Practice (1929–1932): Insight into Painting Materials and Technique

Abstract

This paper presents the results of an extensive study of 14 paintings by the pioneering Singapore artist Liu Kang (1911–2004). The paintings are from the National Gallery Singapore and Liu family collections. The aim of the study is to elucidate the painting technique and materials from the artist’s early oeuvre, Paris, spanning the period from 1929 to 1932. The artworks were studied with a wide array of non- and micro-invasive analytical techniques, supplemented with the historical information derived from the Liu family archives and contemporary colourmen catalogues. The results showed that the artist was able to create compositions with a limited colour palette and had a preferential use of commercially available ultramarine, viridian, chrome yellow, iron oxides, organic reds, lead white, and bone black bound in oil that was highlighted. This study identified other minor pigments that appeared as hue modifications or were used sporadically, such as cobalt blue, Prussian blue, emerald green, cadmium yellow, cobalt yellow, and zinc white. With regard to the painting technique, the artist explored different styles and demonstrated a continuous development of his brushwork and was undoubtedly influenced by Modernists’ artworks. This comprehensive technical study of Liu Kang’s paintings from the Paris phase may assist art historians and conservators in the evaluation of the artist’s early career and aid conservation diagnostics and treatment of his artworks. Furthermore, the identified painting materials can be compared with those used by other artists active in Paris during the same period.

Painting Materials and Technique for the Expression of Chinese Inheritance in Liu Kang’s Huangshan and Guilin Landscapes (1977–1996)

“…A close look at his container with tools revealed that the artist intended to execute the painting only with palette knives ( Figure 6 a). Although the broad underpaint of the composition appears to be typical for the artist’s initial approach to painting [ 6 , 13 ], further execution of the Huangshan and Guilin landscapes stands out from his earlier genres and artistic phases mainly due to the use of a limited palette of colours and a consistent shift towards rich texture as a way of artistic expression.…”

“…The adopted research strategy relied on the methods used by the authors in the previous investigation campaigns of Liu Kang’s paintings [ 6 , 13 , 16 ]. Such an approach ensured the consistency of the acquired data and their interpretation.…”

“…That is why I have tried to reveal the robust spirit, profound contents and refined taste of her culture in my paintings” [ 12 ]. Hence, the adopted painting style and technique for depicting the mountainous Chinese landscapes radically differ from those seen in his early artistic phases associated with practices in Paris [ 13 ] and Shanghai [ 14 ], post-war Singapore [ 15 ], Nanyang style artworks [ 6 ] as well as his special theme of Nudes [ 16 ]. The ethereal style [ 1 ] of the investigated paintings conveys a unique atmosphere of the mountainous landscapes, characterised by the rough structure of the majestic rocks and heavy clouds, which contrasted with delicate vegetation and moisture that obliterates the shapes of the mountains.…”

Colour Analysis: An Introduction to the Power of Studying Pigments and Dyes in Archaeological and Historical Objects

“…Building this foundation of knowledge is the first step towards more focused studies, such as the ones reported by Lizun et al [8] and Martins et al [9]. Lizun et al take on the complex task of exploring the painting technique and materials adopted by Singapore artist Liu Kang during his period in Paris (1929)(1930)(1931)(1932), by analysing 14 paintings with a wide array of non-and micro-invasive analytical techniques [8]. The detailed technical examination is coupled with historical information derived from archives and contemporary catalogues.…”

Observations on Selected Aspects of Liu Kang’s Painting Practice

“…Moreover, the artist's painting practice was also impacted by financial difficulties or the lack of art materials. Therefore, to continue with his artistic development, he was forced to paint over earlier compositions (Lizun, 2021a;Lizun et al, 2021b;Lizun et al, 2021c;Lizun et al, 2021d).…”