The Characterization of the Materials Used by Gino Severini in his 20th C Wall Paintings at Semsales in Switzerland

Abstract

The modern decoration of the Saint Nicolas de Myre Church at Semsales (1924–1926), is the first by renowned Italian artist Gino Severini in Switzerland. Following archival research and visual examination, the materials and the techniques used by Severini for the wall paintings of this church were examined through a multi-technique analytical approach that included both non-invasive and invasive investigations. Archival research revealed lists of some of the materials purchased for the church and notes of the artists. In situ investigations included imaging methods and point analyses (X-ray fluorescence and reflection FT-IR spectroscopy). Based on non-invasive results, a limited number of representative samples were collected for laboratory invasive analyses (SEM-EDS, FTIR-FPA imaging, μ-Raman and GC-MS) to characterize the stratigraphy and the composition of the paintings. Results were coherent with artist’s notes and revealed protein-based binders, i.e. animal glue and casein, exclusively on the Trinity mural (in the apse) confirming the use of a secco technique. All the other wall paintings analyzed at Semsales are painted without the use of organic binders. These findings, integrated with archival researches and the visual examination by conservators, provided significant insights into the materials and techniques used by Gino Severini in his first Swiss murals.

Traditional and modern pigments in Gino Severini's Swiss murals

“…On each wall painting, several sets of images at different spectral range were taken using a Nikon D800 digital camera with the built‐in UV/IR block filter removed and different types of illuminators and filters 10 . Each set consists of the following types of photographic recordings: Visible‐reflected (Vis) Raking light (Rak) Infrared‐reflected (IRr) Ultraviolet‐reflected (UVr) Ultraviolet‐induced visible luminescence (UVL) Visible‐induced infrared luminescence (VIL) …”

“…XRF findings suggest the use of a cadmium lithopone variety composed of a mixture of cadmium sulfide (CdS) and barium sulfate (BaSO 4 ) and sometimes also zinc sulfide (ZnS) 17 and μRaman investigation confirmed barium sulfate (BaSO 4 ) on a micro-sample coming from the Saint Nicolas mural (yellow floral decoration of the Saint's shoe) in Semsales. 10 On a few of the orange areas located in the Trinity mural of the Semsales apse, cadmium was detected in combination with mercury (Hg), suggesting a mixture of cadmium yellow (CdS) and vermilion (HgS) or the possible use of a pigment such as cadmium/mercury sulfide (CdS-HgS). Further analyses are ongoing to clarify the nature of this color reported in the literature to be unavailable before 1955.…”

“…This phenomenon suggested the presence of a red lake, 12 which was identified as alizarin by μRaman analysis on a micro-sample from a pink flower on the crozier of Saint Nicolas in Semsales. 10 Considering the time of use, first half of 20 th century, it is probably synthetic alizarin and not the natural one. In fact, Raman investigation detected only pure alizarin and no other components, and this is typical of the synthetic one.…”

“…20 This finding most likely corresponds to the purchased "laque de Garance" listed in the invoices of painting materials for Semsales decoration. 10 Indeed, in the early 20 th century the term "laque de Garance" was used to indicate both natural and synthetic red lakes. 21 The same alizarin dye was identified in a micro-sample of the purple rainbow stripe depicted in the lunette mural of the Sion church (Figure 5).…”

“…Here, in addition to bone black, Severini used a black ironcontaining pigment to reshape and retouch some colored dots on the black background. 9,10 The inverted band at ca. 1040 cm À1 visible in the FT-IR spectrum recorded on a black retouching (Figure 11, point IR26) is due to a silicate component (band labeled with Si) of possible clay minerals.…”