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Paintings in the Laboratory: Scientific Examination for Art History and Conservation Dr UvA-DARE (Digital Academic Repository) Paintings in the laboratory: scientific examination for art history and conservation dr. Groen, C.M. Publication date 2011 Link to publication Citation for published version (APA): dr. Groen, C. M. (2011). Paintings in the laboratory: scientific examination for art history and conservation. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:29 Sep 2021 First published on the occasionof the exhibition 'Frani Hals', National Gallery of Art, \Washingtonoc, r October- 3r Decembert989; Royal Academy of Arts, London, t1 January- 8 April r99o; FransHalsmuseum, Haarlem, rr May - zzJuly ry9o. SelectionCommittee Srvr"louRSrrvn and CrrRrstopnnx.BnowN, with NonlreN Rosrx:rnel, Drr.r SNoBpand Anrrrun J. Wnrnloct< CatalogueCoordinator: MenvANNn SruvBus CatalogueAssistants: Arrcr I. Davrrs and MrcsaBr Hovrr Translators: Mrcnerr- Hovrn, Yvr.rrr RosnNsrnc and C.M.H. FlannrssoN Designer:Lours v,A.NorN Enor House Editor: Paur- va.NCerslrR Cover illustrations: (front) Frans Hals, Isabella Coymans(car.69) (back) Frans Hals, Malle Babbe, detail (cat.37) Frontispiece: Frans Hals, Tbe Merry Drink.er, derail(cat' 3o) @ tS8g Royal Academy of Arts, London, and Prestel-Verlag,Munich @ Max Beckmannby Cosmopress,Geneva @ of all other documents,see Photographic Acknowledgements Publishedby Prestel-Verlag,Munich in associationwith Mercatorfonds,Antwerp Prestel-Verlag, Mandlstrasse 25, o-8ooo Munich, Federal Republic of Germany Tel. (89) 38t7o9o Telefax (89) 38t7o935 Distributed in continenal Europe and Japan by Prestel-Verlag, Verlegerdienst Miinchen GmbH 6c Co KG, Gutenbergstrasser, o-8o3r Gilching, Federal Republic of Germany Tel. (8roy) zr ro Telefax (8ro5) yy zo Distributed in the usa and Canada by te Neues Publishing Company, Iy East 75th Street, New York, Nv roo2I, usA Tel. (zrz) z88oz55 Telefax (ztz) 57o2373 Distributed in the United Kingdom, Ireland and all other countries by Thames & Hudson Limited, 3o-34 Bloomsbury Street, London wcrr 3qn, England Tel. (r) 5365a88 Telefax (r) 636+7gg Typesetting and printing by Vanmelle, Ghent, Belgium Colour separation by Scan zooo, Bilbao, Spain Binding by Splichal, Turnhout, Belgium Softcover not available to the rade rsBN 3-Zgr3-roJ2-r Ka.nrN GnonN e. Ene FIENonrcs Frans Flals : conforms to the general tendency for canvas to super- sedewood as the dominant support in this period.s Like a Technical Examination Rembrandt, llals consistently used wood panel for small portraits throughout his career, though the pro- portion of his works on wood panel to those on canvas declines progressively.e A progression in picture size, associatedwith the material of the support, conforms to Netherlandish paintings of the period. Hals's three smallestworks are on copper panel, whilst at the size of the largest of these,lo r9.9 x t4.r cm, wood panel takes over as the most common support. The dimensions of most wood Over the period 1984 to 1988, ten paintings by Frans panelslie betweenthis size and around 4i x 3i cm, and Hals in the coliection of the Frans Halsmuseum in ih. ,rr. of canvas predominates once the format of a F{aarlem, including the five militia pieces, have been picture moves above c.5o x 5o cm.ll restored.l This has provided important information about FIals's working methods and materiais, and laid PANE L the foundations for a broader investigation into the artist's painting technique revealed in the works in this Seventeenth-century sources suggest that Hals would exhibidon. Untii embarking upon this most recen! re- have bought his panels ready-made from specialist search programme, reports on comprehensive technical craftsmen, members of the guilds of cabinet-makersand examinations of Hals paintings have been rare; in recent joiners. It would appear that he could have been limited decades, only three have been published'2 Taking ad- to what might have been standard size frames.12To vantageof an exhibitioninrg3T which brought together ascertain whether Hals's panel paintings conform to a number of works by Hals, the art critic M.M' van possible standard-size panels, height to width ratios of Dantzig attempted their visual analysis.3In the present forty upright rectangular panels were plotted on a research programme, additional analyticai and photo- graph.13Although no grouping of standard-sizepaneis graphic techniques have been used to substantiate our emerged, a general proportional relatio5rshipof r.zy : r observations.a was {ound. This agrees with the value found for other Our technical examination involved forty of the rwo Netherlandish vertical format panel paintings of the hundred and twenty-two paintings attributed to Hals period.la It is not remarkable that this standard pro- by Seymour Slive. During the course of it, we came to portion is found to be used for the uniform subject-mat- lffhile recognise a number of common characteristics' ter of half or three-quarter-length portraits which Hals some of these are in iine with the known Practice in painted on panel. other seventeenth-century Nerherlandish workshops, others 'would appear to be hallmarks of Hals's own Nearly ail of the wood panels examined, including the personal sryle. Mbst distinctive of these is the apparent larger pendanrs af. a Man holding a Skull and Portrait virtoosity iisplayed in his handling of paint.s O,tt t.- of a Woman (cat.z, 3) are made from a single plank. search not only confirmed this characteristic, but also Flowever, one reiatively small panel, the half-iength indicated that he applied such a technique to earlier portrait of Zffius (cat. r), shows the more complex stagesin the painting process, which are Iargeiy hidden construction of two verticai planks butt-joined (the from view. Bringing together these painrings on exhi- edges fastened end to end without any overlap) and bition provides a rare opportunity to revise and buiid elued. New technical information has revealedthat the upon the knowledge gained from this initiai iook at ianel was not cut down at a later date, as has been Hals's painting technique.6 previously suggested (see cat. r). Microscopic exami- nation and paint samplesshow that the ground and paint PAINTING SUPPORTS Iayers continue around the topr left and bottom edges of the panel and have been lightly smoothed away along Apart from three works on copper panel which survive the right edge (pl.vura).i5 This suggeststhat the panel from the first three decades of Hals's known career, was primed and painted in its current size. Furthermore, including Theodoras S'chrerLelius(cat. 5) and Sa'muel the reverse of thl panel r-erains its original bevelling on Arnpzing (cat.4o), roughly three quarters of his surviv- all four sides, which appears to have been standard ine attributed works are on canvasand the rest on'wood practice at ihe dme in order to facilitate framing (vIrIb). pa"nel.zThis preference for canvas as a painting support Thus a different explanation has to be found for the r09 PAINTINGS IN THE LABORATORY: Scientific Examination for Art History and Conservation 181 KARIN GROEN E. ELLA HENDRIKS z Radiographs of holding a Skull (car.z) and. Portrait of a V/oman (car.3) !igs._r, -Man The lead,whire content-of the grouad.layers clearly.reveals_theopposing curye of rhi wood grain of the two panels. They were cut from a back-to-back position from the same bent tree-trunk, which supporus tfieir atrribution as pendants. three*quarter-length depicrion of Zaffius in a reversed shaped board which is produced by the radial manner engraving of t63o by de Jan van Velde II, traditionaliy of sawing a pla-nk frornrhe tree (ai right angles to the thought to be a copy afrer this painting before it was annual rings).16 cropped (see cat. r). Another distinct variation from the norm is in rhe Those wood panels examined which rerain their original p.endantportraits o{ Cornelia Vooght and Nicolaesvan state show a thickness of around r cm, usually bevelled der Meer (cat.4z,4r). These are e;ceprionaily large for at the reverse along ail four edgesto a fevr mm rhickness. workson wood p"tr.i by H"ls. unifor'mb;;hi" ;#; F{owever, the radially cut panel o{ Portrait of a'Woman composition, they are made up of three-vertical planks (cat.7fi shows beveiling on three sides only, to thick- a of an.averagewidth of 33 cm, which are bur-joined and ness of 8 mm. The bevels along the rop and botrom glued.17Flowever, rhe construction of the rwo Danels edgestaper out towards the righr edge which is 6-8 rnm differs in rhe cut of the planks. Mosr of the thick without bevelling. 'were ilanks This is the thin side of a wedge- examined sawn radially from the tree, as was the PAINTINGS IN THE LABORATORY: Scientific Examination for Art History and Conservation 182 FRANS HALS: A TECHNICAL EXAMINATION usual practice in order to minimise the tendency to other types of wood. The small panel of Petrws Scrizte- warp.
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