Exploring a Hidden Painting Below the Surface of René Magritte’s Le Portrait
Exploring a Hidden Painting Below the Surface of René Magritte’s Le Portrait
复制标题
探索雷内·马格里特《肖像》表面下隐藏的绘画
作者：
G. Van der Snickt;A. Martins;J. Delaney;K. Janssens;J. Zeibel;Michael H. Duffy;C. McGlinchey;B. van Driel;J. Dik
采用两种最先进的非侵入性可视化方法来研究比利时艺术家ren<s:1> Magritte于1935年创作的《Le portrait》。x射线摄影是一种常用的无损检查绘画的方法，它揭示了一种潜在的形象成分的存在，这是马格利特早期题为《迷人的幻影》（1927年）的画作的一部分，这幅画最初描绘了两个全身裸体的女性形象，面部特征夸张。一方面，采用了宏观x射线荧光分析（MA-XRF），这种方法能够提供许多艺术家颜料中存在的关键化学元素分布的信息。x射线穿透上层颜料的能力使女性人物面部特征的成像成为可能，并提供了马格利特对表面和隐藏成分的调色板的信息。另一方面，透射模式下的可见光和近红外高光谱成像光谱仪也被使用，特别是在桌布区域，以便透过上面的表现，揭示下面的图案层。MA-XRF提供了最终绘画和先前绘画中颜料分布的基本信息，而传输模式提供了与准备草图相关的信息，并揭示了两种构图中使用的颜料之间的差异。这些结果很好地说明了两种成像方法相互补充的方式，既可以提供关于油漆成分/颜料的性质和存在的不同类型的信息，也可以很容易地穿透不同类型的复漆。
Two state-of-the-art methods for non-invasive visualization of subsurface (or overpainted) pictorial layers present in painted works of art are employed to study Le portrait, painted by Belgian artist René Magritte in 1935. X-ray radiography, a commonly used method for the nondestructive inspection of paintings, had revealed the presence of an underlying figurative composition, part of an earlier Magritte painting entitled La pose enchantée (1927) which originally depicted two full length nude female figures with exaggerated facial features. On the one hand, macroscopic X-ray fluorescence analysis (MA-XRF), a method capable of providing information on the distribution of the key chemical elements present in many artists’ pigments, was employed. The ability of the X-rays to penetrate the upper layer of paint enabled the imaging of the facial features of the female figure and provided information on Magritte’s palette for both surface and hidden composition. On the other hand, visible and near infrared hyperspectral imaging spectroscopies in transmission mode were also used, especially in the area of the table cloth in order to look through the upper representation and reveal the pictorial layer(s) below. MA-XRF provided elemental information on the pigment distributions in both the final painting and the prior whereas the transmission mode provided information related to preparatory sketches as well as revealing differences between the paints used in both compositions. These results illustrate very well the manner in which the two imaging methods complement each other, both in the sense of providing different types of information on the nature and presence of paint components/pigments and in the sense of being optimally suited to easily penetrate through different types of overpaint.