Evolution of Liu Kang's Palette and Painting Practice for the Execution of Female Nude Paintings: The Analytical Investigation of a Genre
Evolution of Liu Kang's Palette and Painting Practice for the Execution of Female Nude Paintings: The Analytical Investigation of a Genre
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DOI：
10.3390/heritage5020050
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发表时间：
2022-06-01
期刊：
影响因子：
1.7
通讯作者：
Rogoz, Jaroslaw
中科院分区：
文献类型：
--
作者：
Lizun, Damian;Kurkiewicz, Teresa;Rogoz, Jaroslaw
新加坡先锋艺术家刘康（1911-2004）对女性裸体画的全面技术研究，为讨论他的调色板的演变以及他在这一流派中的表现过程，特别是对女性身体的表现提供了证据。由于艺术家在古典裸体画中的自由表达受到新加坡政府的审查制度的限制，因此调查的作品跨越两个时期，1927-1954年（职业生涯早期）和1992-1999年（审查政策放松的“黄金岁月”）。因此，刘氏家族和新加坡国家美术馆的八幅画作被选中对油漆层进行非侵入性和微创分析。所获得的结果辅以档案来源，以阐明刘康工作实践的某些方面。调查揭示了绘画和素描研究在艺术思想发展中的重要性。偏光显微镜 (PLM)、场发射扫描电子显微镜能量色散光谱 (FE-SEM-EDS) 和衰减全反射傅立叶变换红外光谱 (ATR-FTIR) 等分析技术使我们能够观察到从铁黄肤色色调范围到添加钴蓝、群青、普鲁士蓝、含铬黄和绿、镉的复杂颜料混合物的转变。黄色、橙色和/或红色以及有机红色，揭示了艺术家对颜色更自由的使用以及他对对比和互补并置的实验。在绘画技巧方面，艺术家使用小刷子进行相对费力的绘画很快就被使用更大的刷子和调色刀的更轻松的操作所取代。此外，可见光 (VIS)、近红外 (NIR) 和 X 射线射线照相 (XRR) 成像技术在一件被调查的艺术品中发现了隐藏的构图，该构图与仅从档案照片中得知的裸体画有相似之处。此外，档案检索首次提供了刘康在 20 世纪 90 年代使用 Royal Talens 和 Rowney 油画管的照片证据。总体而言，这项深入的调查有助于理解刘康对女性裸体绘画的处理方法，并可能有助于保护者和艺术史学家对二十世纪商业绘画的研究。
The comprehensive technical investigation of female nude paintings by the Singapore pioneer artist Liu Kang (1911-2004) provided the evidence for a discussion of the evolution of his palette of colours and his working process for expression in this genre, particularly the execution of female bodies. As the artist's free expression in classical nude paintings was limited by the censorship imposed by the Singapore government, the investigated artworks span two periods, 1927-1954 (early career) and 1992-1999 (the "golden years", during which censorship policies were relaxed). Hence, eight paintings from the Liu family and National Gallery Singapore were selected for non- and micro-invasive analyses of the paint layers. The obtained results were supplemented with archival sources to elucidate certain aspects of Liu Kang's working practice. The investigation revealed the importance of drawing and sketching studies in the development of artistic ideas. The analytical techniques, such as polarised light microscopy (PLM), field emission scanning electron microscope with energy dispersive spectroscopy (FE-SEM-EDS) and attenuated total reflectance-Fourier transform infrared spectroscopy (ATR-FTIR), enabled us to observe a transition from the yellow iron-based tonal ranges of skin colours to complex pigment mixtures composed of additions of cobalt blue, ultramarine, Prussian blue, Cr-containing yellow(s) and green(s), cadmium yellow, orange and/or red and organic reds, revealing the artist's more liberal use of colours and his experimentation with their contrasting and complementary juxtaposes. In terms of painting technique, the artist's comparatively laborious paint application using small brushes quickly gave way to a more effortless manipulation of the paint using bigger brushes and the incorporation of palette knives. Moreover, visible light (VIS), near-infrared (NIR) and X-ray radiography (XRR) imaging techniques led to the discovery of a hidden composition in one investigated artwork, which bears resemblance to the nude painting known only from an archival photograph. Additionally, for the first time, the archival search provided photographic evidence that Liu Kang used oil paint tubes from Royal Talens and Rowney in the 1990s. Overall, this in-depth investigation contributes to the understanding of Liu Kang's approach to the female nude painting and may assist conservators and art historians in studies of twentieth-century commercial paints.