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PRESERVATION of Imodern EASEL PAINTING Two of David Alfaro Siqueiros' So-Called Pyroxyline Painîings

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PRESERVATION of Imodern EASEL PAINTING Two of David Alfaro Siqueiros' So-Called Pyroxyline Painîings PRESERVATION OF iMODERN EASEL PAINTING A Multidisciplinary Study for the Preservation of Two of David Alfaro Siqueiros' So-Called Pyroxyline Painîings: Mine Drillers and Portrait of a Dead Girl and Live Girl A thesis submitted to the Department of Art in conformity with the requirernents for the degree of Master in Art Conservation Queen's Universis Kingston, Ontario, Canada September, 1998 Copyright Q Maria Celina Contreras Maya National Library Bibliothèque nationale du Canada Acquisitions and Acquisitions et Bbliographic Services services bibliographiques 395 Wellington Street 395, rue Wellington Ottawa ON K1A ON4 Ottawa ON KIA ON4 canada Canada The author has granted a non- L'auteur a accordé une licence non exclusive licence allowing the exclusive permettant à la - National Library of Canada to Bibliothèque nationale du Canada de reproduce, loan, districbute or sell reproduire, prêter' distri%uer ou copies of this thesis in microform, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/nlm, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts f?om it Ni ta thèse ni des extraits substantiels may be printed or otherwise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. Canada ABSTRACT David Alfâro Siqueiros was a leftwing Mexica. artist who combined politics and artistic activities. His revolutionary painting shook traditional stnictures of art, and his new techniques marked the beginning of a new era of technical innovation in painting. Although Siqueiros' versatile pyroxyline technique is one of his best known technical innovations, littie research has been done to define its aesthetic characteristics and the visual effects of degradation problems. Information obtained only fiom the appearance and condition of a painting can be deceiwig in the identification of a painting medium. Consequently, curators often debate about the type of media Siqueiros used in some of his morks. This is the case with Siqueiros' easel paintings Mine Drillers and Porîrait of a Dead Girl and Live Girl, in which polarised light microscopy and Fourier transform infrared spectroscopy were successfully used to identify the medium that the artist used. Results indicate that the controversiai appearance of both paintings is the outcome of Siqueiros' technical innovations with traditional oil media. In both paintings Siqueiros' intent has been aitered; however, a philosophical analysis states that degradation does not always jeopardize the artist's intent nor does successful consentation treatments preserve it at al1 times. The choice of the most adequate conservation approach will depend on the point of view of conservators or curaton as well as the influence of taste, museurn policies and the opinion of the public. To my family and Orner ACKNOWLEDGEMENTS The author of this paper would like to thank: The School of Graduate Shidies, Queen's University, Ontario, Canada and the Fondo Nacional para la Cdtura y las Artes, Colonia Xoco, Mexico City for the hancial support for this thesis. The Soumaya Museum, Colonia San Angel Thph, Mexico City for the samples of Siqueiros' paintings. Dr Barbara Keyser and Dr. Alison Murray, Art Conservation Program, Department of Art at Queen's University for their supe~sion,advice and interest dong the project. And also Dr. Cathleen Hoeniger, Art History Program, Department of Art, Queen's University for her advice in philosophical issues. Kate Helwig, Canadian Conservation Institute, Ottawa, Ontario, Canada for the identification analysis of the painting media. The Staff at Flameluz Incoporado, Colonia del Camen Coyoacin, Mexico City for being the communication Iink between this author and Mexican institutions. The Staff at the Art Conservation Program, the Wnting Center, the StaufTer Interlibrary Loan Office, the Art Library and the Technology Learning Unit, Queen's University. iii TABLE OF CONTENTS CHAPTER fAGE 1. INTRODUCTION i 2. LITERATURE REVIEW 4 3. ART AND PoLmcs 8 4. TECHNICAL INNOVATIONS 14 Pyroxyline Technique What is Pyroxyline? Consentation and Siqueiros' Legacy 5. MSTORY AND EXAMINATION ECORDS Mine Drillers Description of Materials and Constmction Condition Report Portrait of Dead Girl and Live Girl Description of Materials and Construction Condition Report 6. ANALYTICAL TECHNIQUES Experimentai Results Discussion and Conclusions 7. SIQUEIROS' INTENT Ruhemann, Brandi, and Gombrich and Siqueiros Several Definitions for Siqueiros' Intent Artists' Motives Biographical Motives Aims vs. Outcornes Expression in Media Artists' Intention Expression In Reference to the Artwork The Artwork's Aesthetic Expression Beyond Siqueiros' Intent 8. CONCLUSIONS BIBLIOGRAPHY VITA LIST OF FIGURES AND ILLUSTRATIONS FIGURES 1. Monomer of cellulose nitrate. 2. Color photograph of Mine Mers(1996), the Soumaya Museum, Mexico City. 3. Weave design in canvas of Mine Drillers. 4. Color photograph of Portrait of Dead Girl and LNe Girl (1996), the Soumaya Museum, Mexico City. 5. Black and White photograph of Portrait of Dead Girl and Live Girl (1 968). 6. Black and White photograph of Portrait of Dead Girl and Live Girl (1998). 7.Cross-section no. 1A fiom Mine Drillers. 8. Cross-section no.2A fiom Mine Drillers. 9. Cross-section no. 1B fiom Portrail of Dead Girl and LNe Girl. 10. Cross-section no.2B fiom Porîrait of Dead Girl and Live Girl. 1 1. FTIR Spectnim fiom sample no. 1A fiom Mine Drillers. 12. FT?R Spectnim fiom sarnple no.2B fiom Portrait of Dead Girl and Live Girl. 13. X-Ray Radiographs of Mine Drillers. 1 4. X-Ray Radiographs of Portrait of Deud Girl and Live Girl. David Alfaro Siqueiros was a Iefiwing Mexican artist who combined an active political life with his artistic creativity. The strength and passion of his life survive in his artistic Iegacy. Throughout his life he devoted himself to search for change. His ideals and his faith in modemity have not been realised in Mexican politicai and social Iife; however, his revolutionary art shook traditionai structures and new painting techniques were born. Mexico and North Amenca were irrevocably influenced. His discovenes and his expenmentation with industrial materials and modern techniques, especially on pyroxylines, rnarked the beginning of a new era. Siqueiros' pyroxyline technique was versatile: any appearance that the artist desired could be achieved. Matte or glossy finishes could be obtained with the use of pyroxyline medium; paint layers could be translucent or opaque; flat or highly textured surfaces could result from its application. Although Siqueiros' pyroxyline technique has not yet been thoroughly researched, it has been pointed out that this seemingly promising material is unstable and easily subject to decay. Siqueiros' use of pyroxyline and his search on new materials have emphasised his importance in the transition fiom oil to acrylics. His name is intemationally known for his technical innovations. Although research on Siqueiros7 pyroxylines is not extensive, historicai and Iimited chernical information can be found in the iiterature; however, Siqueiros' oi1 painting technique has been completely overlooked, probably because curators, conservators and the artist himself did not consider oil to be a technical contribution. As a result of this unbaimced interest in both painting techniques, when Siqueiros' paintings do not have the appearance expected for traditional oil painting technique, controversies take place with regard to the identifiing of the paint media. Sophinicated anaiyticai techniques used for the identification of painting media are not always available in mialler rnuseums. To dissipatz doubts on the medium that the artist used, curators identie the media based on histoncal information and the Iimited knowledge of behaviour and signs of decay expected for pyroxyline media. This is the case with Siqueiros' easel paintings Mine Drillers and Portrait of a Deod Girl and Live Girl. Curators have described the paintings to be oil and pyroxyline on different occasions. Both paintings have gone through several conservation treatments. Conservators carried out treatments to prevent the paintings from dangerous structural decay and treatments were designed in accordance to the type of medium that it was believed at the tirne. The uncertainty of the painting media of Mine Drillers and Portrait of Dead Girl and Live GirI and the causes of their degradation were successblIy overcome with the use of polarised light microscopy and Fourier transform infrared spectroscopy. Contrary to expectations, the results indicate that the causes of degradation are related to the artist's technique rather than the chemical composition of the painting media. The findings also explain the reason why oil was mistaken for pyroxyline technique. Although hidden aspects of Siqueiros' oil painting technique were discovered and the myth of his pyroxylines was partially unveiled, fûrther research to define Siqueiros' intent was necessary to redise the possible conservation approaches that cm be followed to preserve both paintings. The term "hst's intent" has a broad range of definitions; however, hiaoricd and biographicd idormation, the paintings' materials and techniques are possible sources to define Siqueiros' intent. Conservators, art historians, philosophers have dissimilar opinions
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