Lizun Damian, Kurkiewicz Teresa, Szczupak Bogusław, Rogóż Jarosław
Heritage Conservation Centre, National Heritage Board, 32 Jurong Port Rd, Singapore 619104, Singapore.
Department of Painting Technology and Techniques, Institute for Conservation, Restoration and Study of Cultural Heritage, Nicolaus Copernicus University, ul. Sienkiewicza 30/32, 87-100 Toruń, Poland.
Materials (Basel). 2022 Oct 25;15(21):7481. doi: 10.3390/ma15217481.
Liu Kang (1911-2004) was a Chinese artist who settled in Singapore in 1945 and eventually became a leading modern artist in Singapore. He received academic training in Shanghai (1926-1928) and Paris (1929-1932). Liu Kang's frequent visits to China from the 1970s to the 1990s contributed to a special artistic subject-the Huangshan and Guilin mountains. This subject matter triggered an uncommon painting approach for his oeuvre. In this context, this study elucidates the artist's choice of materials and methods for the execution of 11 paintings, dating between 1977 and 1996, depicting Huangshan and Guilin landscapes. The paintings belong to the collection of the National Gallery Singapore. They were investigated with a combination of non- and micro-invasive techniques, supplemented by a wealth of documentary sources and art history research. The obtained results highlight the predominant use of hardboards resembling Masonite Presdwood without the application of an intermediate ground layer. Commercially prepared cotton and linen painting supports were used less frequently, and their structure and ground composition were variable. This study revealed the use of a conventional colour base for the execution of the paintings-a consistent colour scheme favouring ultramarine, yellow and red iron-containing earths, viridian and titanium white. Less commonly used pigments include Prussian blue, cobalt blue, phthalocyanine blue, phthalocyanine green, naphthol red AS-D, umber, Cr-containing yellow(s), cadmium yellow or its variant(s), Hansa yellow G, lithopone and/or barium white and zinc white and bone black. The documentary sources indirectly pointed to the use of Royal Talens, Rowney and Winsor & Newton, brands of oil paints. Moreover, technical and archival findings indicated the artist's tendency to recycle rejected compositions, thereby strongly suggesting that the paintings were executed in the studio. Although this study focuses on the Singapore artist and his series of paintings relating to China, it contributes to existing international studies of modern artists' materials.
刘抗（1911 - 2004）是一位中国艺术家，他于1945年定居新加坡，最终成为新加坡一位杰出的现代艺术家。他曾在上海（1926 - 1928年）和巴黎（1929 - 1932年）接受学术训练。从20世纪70年代到90年代，刘抗频繁访问中国，这促成了一个特殊的艺术主题——黄山和桂林山水。这个主题为他的作品引发了一种不同寻常的绘画方法。在此背景下，本研究阐明了这位艺术家在创作11幅创作于1977年至1996年间、描绘黄山和桂林风景的画作时所选用的材料和方法。这些画作属于新加坡国家美术馆的藏品。研究结合了非侵入性和微侵入性技术对它们进行调查，并辅以丰富的文献资料和艺术史研究。所得结果表明，主要使用的是类似美森耐预压木板的硬纸板，且未使用中间底层。商业制备的棉布和亚麻布绘画支撑物使用频率较低，其结构和底层成分各不相同。本研究揭示了这些画作采用了传统的色彩基础——一种一致的配色方案，偏爱群青、含铁黄和红土、翠绿和钛白。较少使用的颜料包括普鲁士蓝、钴蓝、酞菁蓝、酞菁绿、萘酚红AS - D、棕土、含铬黄、镉黄或其变体、汉沙黄G、立德粉和/或钡白与锌白以及骨黑。文献资料间接表明使用了皇家泰伦斯、朗尼和温莎&牛顿等品牌的油画颜料。此外，技术和档案研究结果表明这位艺术家有重复利用被否决构图的倾向，从而有力地表明这些画作是在工作室完成的。尽管本研究聚焦于这位新加坡艺术家及其与中国相关的系列画作，但它为现有的关于现代艺术家材料的国际研究做出了贡献。
