The study of the pigment composition of the painting IKAivazovsky on the basis of the reference collection Feodosia art gallery IKAivazovsky (FKGA) passed two phases (1997-1998, 1998-2000.), And to date has not yet finished. For assistance in conducting research are grateful to the staff galleries - above all the Director TS Trubnyakovoy and chief curator IM Pogrebetskoy. The second stage substantially complement the overall picture, since the samples were taken at this time is not on display, and in the process of restoration, which provided the necessary representativeness of samples (both in scope of image elements, and colors). Background led us to present the results of studies on this intermediate stage - the more so since the publication of the pigment composition of paint layers of paintings IKAivazovsky based on the physico-chemical investigations, we do not know.
In those years, a total study of the structure of paintings and fifty works belonging to different periods of the artist's work (the earliest painting dates from 1839, the most recent - 1900 m, the year of his death).
From selected mikroprob paintings produced microsections who had undergone a comprehensive physical and chemical research.
From the white pigments in painting IKAivazovsky is dominated white lead, are present in almost all the works of the artist. Not found a single case of use in the original paint layers of any other white.
In the group of blue pigment cobalt blue predominates, but around mid-1840 to mid 1850's. there is also an intensive use of ultramarine.
Among the yellow color in a quantitative sense prevail ocher and close to them brown earth colors. However, their use in painting the nineteenth century. is more general than the individual characteristics. Therefore, for the problems of particular importance is the examination of the active application IKAivazovsky yellow cadmium (which, like cobalt blue, is found, since 1839, throughout the career of the artist). However, in the mentioned above period (mid 1840 - mid 1850's.) Yellow cadmium in some cases accompanied by the use of lead crown. This anomaly is the synchronous application of the two groups of colors suggests the presence in the work IKAivazovsky of a relatively long "pilot" period.
List of green paint found in the film opens in 1839 the factory mixture is paint (a mixture of cobalt blue and the Neapolitan yellow). Then, apparently, for 20 years, IK Aivazovsky gets green shades by mixing mostly blue and yellow colors. In 1858, simultaneously with the beginning of the industrial production of emerald green (hydrated chromium oxide), it always gets in the palette IKAivazovsky.
In mid-1870. With a difference of one year, recorded the beginning of IKAivazovsky copper-arsenic green (or green Scheele shveynfurtskoy green) and green cobalt, the latter immediately becomes the favorite green paint IKAivazovsky.
In the group of red pigments in all periods of creativity IKAivazovsky prevails cinnabar (often mixed with cadmium yellow or whitewash). Less commonly used natural kraplak (light and dark), also mainly in mixtures.
Violet purple pigments are cobalt, which appeared in the palette IKAivazovsky in 1859 (ie, when the pigment became known).
In some scenes visually (by the presence of the typical "floating" cracelures) recorded use of asphalt, but, apparently, in most cases the skillful use of this paint could prevent its destructive effects.
The study of painting IKAivazovsky identified colors, not previously known from literary sources (in particular, the fundamental book by NS Barsamov and AN Luzhetskaya): yellow crowns, copper-arsenic green, cobalt green, cobalt violet . Also found that yellow cadmium served in an artist's palette is much more important role than previously thought.
At the same time, some pigments, confidently attributed IKAivazovsky, were not detected, it is - lead-zinc white, Naples yellow (as a self-paint), indigo and Prussian blue. Without denying the fundamental possibility of having these colors in the entire volume of the picturesque heritage of the artist, yet we can say that they are not typical for his creativity.
In conclusion, I. Aivazovsky, apparently, be subjected to each newly emerging relatively short time, but extensive testing, and favorite colors always remained in his palette. Inherent in the artist experimenting in the field of painting techniques was extremely rational, subordinates achieve maximum artistic effect and durability of painting.
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By topic (in addition, it is interesting).
Investigation of soil mikroprob paintings by Aivazovsky.
http://www.hermitagemuseum.org/html_...1_15_0_14.html
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Very much useful in the book: avt.Barsamov NS
IK Aivazovsky. On the skill of the artist /NS Barsamov. - Moscow: Art, 1967. - 111 pp.: Ill., Портр.
02.08.2008, 18:47
Palette IK Aivazovsky. On the basis of the reference collection of paintings
Линейный вид
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