New insights into Pablo Picasso’s La Miséreuse accroupie (Barcelona, 1902) using X-ray fluorescence imaging and reflectance spectroscopies combined with micro-analyses of samples

Abstract

The existence of underlying structures in an x-radiograph of La Miséreuse accroupie (1902), a Blue Period painting in the collection of the Art Gallery of Ontario (AGO), prompted a comprehensive technical study to unpack how Picasso actually made this iconic work of art. A methodology was used in which 2D macroscopic data were collected in situ using fiber optics reflectance spectroscopy and macro-X-ray fluorescence mapping. It confirmed that Picasso painted over an earlier composition. It also revealed, between the former composition and the finished work, an earlier version of the crouching woman painted by Picasso. The preliminary pigments distribution obtained from both hidden and visible compositions guided the sampling of micro-fragments to perform supplementary micro-analyses. Analyses at the microscale allowed the identification of the different pigments present in the complex stratigraphy of the painting. Scanning Electron Microscopy, Fourier Transform spectroscopies and 2D micro X-Ray Powder diffraction provided further insights into Picasso's early palette.

Reflectance Imaging Spectroscopy (RIS) for Operation Night Watch: Challenges and Achievements of Imaging Rembrandt’s Masterpiece in the Glass Chamber at the Rijksmuseum

“…Specifically, information about electronic transitions occurs mainly in the visible spectral range, and information about vibrational modes (combinations and overtones) in the short-wavelength infrared. During the last decades, research has shown that when RIS results are combined with other complementary non-invasive imaging techniques [ 5 , 6 , 7 ], a more complete understanding of the composition polychrome artworks such as manuscripts, wall paints [ 8 , 9 ] and, in particular, paintings [ 10 ] can be obtained. Furthermore, RIS has been proven to be useful in the study of Rembrandt’s paintings to help in the identification and mapping of pigments as well as to visualize changes in the painted composition [ 11 , 12 ] in spite of their often dark appearance.…”

Improved spectral imaging microscopy for cultural heritage through oblique illumination

“…al. (31) which was removed from the tacking edge of Pablo Picasso's 1902 painting entitled La Miséreuse accroupie, painted during his Blue Period. From this cross-section, spectral image stacks were collected, and two illumination angles were selected and collapsed into separate RGB images: Figure 2A and 2B show the sample illuminated at β = 0 o and 180 o , respectively.…”

“…SEM-EDS indicated that this layer was aluminum-rich, previously inspiring the hypothesis that this layer contained an organic lake pigment. (31) Consequently, a reference sample containing a 180:1:1 w/w mixture of lead white : ultramarine : carmine naccarat was created. This reference matched the spectral features observed in the historical sample.…”

A Multi-Analytical Study of the Palette of Impressionist and Post-Impressionist Puerto Rican Artists

“…Nevertheless, MA-XRF only provides elemental composition and the electronic transitions associated with RIS typically produce a broad and sometimes unspeci c molecular response which means that additional spectroscopic methods are sometimes needed for an unambiguous pigment identi cation. For this study we also employed Raman and FTIR as well as scanning electron microscopy coupled to energy dispersive X-ray spectrometry (SEM-EDX) [16,21]. In the case of organic colorants, chromatographic techniques, such as high pressure liquid chromatography (HPLC) coupled to diode array detector (DAD) and/or mass spectrometry (MS) applied to micro-samples were integrated into the analytical protocol [22].…”