National Gallery Technical Bulletin Volume 24, 2003



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Man painting a Boat, 1883, Courtauld Collection

red lake; vermilion; red earth; red lake + vermilion

vermilion + chrome yellow

chrome yellow; zinc yellow; yellow ochre

viridian + chrome yellow; emerald green + chrome yellow; French ultramarine + chrome yellow

French ultramarine

not examined

lead white

bone black

sienna type earth

Horses in the Water: Study for ‘Bathers at Asnières’, 1883–4, Courtauld Gallery

red lake; vermilion; red earth; red lake + vermilion

red + yellow ochre

chrome yellow; yellow ochre

viridian + emerald green; viridian + emerald green + chrome yellow

French ultramarine

possibly cobalt violet

lead white (note 8)

carbon black (tr.); vermilion, French ultramarine + red lake or red earth

dark ochre/sienna type earth

A River Bank (The Seine at Asnières), c.1883 (NG 6559)

not examined

not examined

chrome yellow

viridian

cobalt blue; cobalt blue + a little French ultramarine

(pinkish-mauve) white, red lake + French ultramarine

lead white (note 9)

not examined

not examined

The Rainbow: Study for ‘Bathers at Asnières’, 1883–4 (NG 6555)

not examined

not examined

not examined

viridian

French ultramarine; cobalt blue, French ultramarine, white + viridian

(dark purple-brown) French ultramarine + brownish-red lake

lead white

not examined

not examined

Study for ‘Bathers at Asnières’, 1883–4 (NG 6561)

not examined

red lake + unidentified yellow

not examined

(yellow-green) viridian + chrome yellow + French ultramarine

French ultramarine

(dark purple) French ultramarine + red lake

not examined

not examined

not examined

The Angler, c.1884, Courtauld Gallery

red lake; vermilion; vermilion + red lake

vermilion + chrome yellow

chrome yellow; yellow ochre

viridian; emerald green; viridian or emerald green + chrome yellow

French ultramarine; cobalt blue

red lake + French ultramarine

lead white (note 8)

carbon black (trace); red lake + French ultramarine

not examined

Study for ‘La Grande Jatte’, c.1884–5 (NG 6556)

pinkish-red lake + white

not examined

(yellow-brown) chrome yellow + vermilion + tr. cadmium pigment

viridian + chrome yellow in varying proportions

French ultramarine + cobalt blue

not examined

not examined

not examined

red lake, yellow ochre + French ultramarine; (orange-brown) orange-brown earth + viridian

Study for ‘La Grande Jatte’, c.1884–5 (NG 6560)

red lake

not examined

organic yellow (not characterised) + tr. viridian + tr. vermilion

viridian; unidentified, intense yellow pigment + viridian

French ultramarine

not examined

lead white

not examined

not examined

The Morning Walk, 1885 (NG 6557)

not examined

(orange-brown) chrome yellow + tr. emerald green (note 4) and tr. vermilion

organic yellow (not characterised) + some emerald green

emerald green; (lime green) emerald green + chrome yellow

French ultramarine (possibly with a little cobalt blue)

(mauve) French ultramarine, red lake + white

lead white

not examined

not examined

The Seine seen from La Grande Jatte, 1888 (NG 6558)

red lake

(orange-brown) chrome yellow + vermilion

not examined

(lime green) chrome yellow + tr. emerald green; (green-blue): emerald green + white + a little cobalt blue

cobalt blue

not examined

lead white

not examined

not examined

Study for ‘Le Chahut’, c.1889, Courtauld Collection

red lake; vermilion; vermilion + red lake

vermilion + chrome yellow

chrome yellow; yellow ochre

viridian; emerald green; emerald green + chrome yellow

cobalt blue; cobalt blue, viridian + emerald green

not examined

lead white (chalk extender)

carbon black (note 10); cobalt blue + viridian

not examined

At Gravelines, 1890, Courtauld Collection

red lake; vermilion; vermilion + red lake

vermilion + chrome yellow

chrome yellow; yellow ochre

viridian + emerald green; emerald green and chrome yellow

cobalt blue + a little French ultramarine

not examined

lead white

not examined

not examined


Notes:


tr. = trace

1 Mixtures of vermilion and red lake are common in the works examined. It is not certain whether these represent colourmen’s mixtures or are a part of Seurat’s practice.

2 Lithopone could be present in these samples.

3 Starch, probably added by the manufacturer as an extender or to modify paint handling properties, was detected microscopically, by SEM and FTIR. It is found particularly in zinc yellow containing paint, which has discoloured in a number of cases.

4 Emerald green is copper acetoarsenite; vert Véronèse in the contemporary French colour lists (see note 6 below).

5 The organic yellow is associated with lead white as a substrate or extender.

6 Viridian is transparent (hydrated) chromium (III) oxide; vert émeraude in the contemporary French colour lists.

7 Manganese violet is one or other form of manganese phosphate pigment.

8 Lead white presumed to be the white pigment used; not analysed.

9 Sample contains some silica.

10 Black pigment is present in the surface design.
This volume of the Technical Bulletin is published with the generous support of the Samuel H. Kress Foundation and the American Friends of the National Gallery, London, Inc.
Series editor Ashok Roy
© National Gallery Company Limited 2003
All rights reserved. No part of this publication may be transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage and retrieval system, without the prior permission in writing of the publisher.
First published in Great Britain in 2003 by National Gallery Company Limited

St Vincent House, 30 Orange Street

London WC2H 7HH
www.nationalgallery.co.uk

British Library Cataloguing in Publication Data

A catalogue record for this journal is available from the British Library

ISBN 1 85709 997 4

ISSN 0140 7430

525043


Publisher Kate Bell

Project manager Jan Green

Editor Diana Davies

Designer Tim Harvey

Picture research Xenia Corcoran and Kim Klehmet

Production Jane Hyne and Penny Le Tissier



Printed in Italy by Conti Tipocolor


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