Petra Mandt, the Paintings of Kazimir Malevich in the Ludwig Collection

PETRA MANDT The Paintings of Kazimir Malevich in the Ludwig Collection from the Art-Technological Point of View

Petra Mandt is Deputy Head of Conservation at the Ludwig Museum in Cologne. Her article was ﬁrst published as, “Die Gemâlde Kasimir Malewitschs im Bestand der Sammlung Ludwig aus kunst-technologischer Sicht”, in Kasimir Malewitsch und der Suprematismus in der Sammlung Ludwig, Russische Avantgarde im Museum Ludwig, Cologne, 2011. It is an excellent demonstration of the contributions of scientiﬁc analysis to works of art. The photograph to the left shows Malevich retouching a painting in 1932.

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InCoRM Journal Vol. 3 Spring-Autumn UÊ2012 No. 1 Suprematist Composition, 1915 Oil on canvas, 66.5 x 57 cm.

No. 2 Supremus No. 38, 1916 Oil on canvas, 102.4 x 66.9 cm.

No. 3 Landscape,(Winter), 1909/ after 1927 No. 4 Landscape, c. 1932/33 Oil on canvas, 48.5 x 54 cm. Oil on canvas, 31 x 52 cm.

painting Suprematist Composition XVHGWREHORQJWRWKH1LNRODL *DOOHU\*PXU]\QVND &RORJQH DQGKDVEHHQSDUWRIWKH/XGZLJ .KDUG]KLHY FROOHFWLRQ15,QEHJDQDVHULHVRI &ROOHFWLRQVLQFH $QXQGRFXPHQWHGUHVWRUDWLRQWRRNSODFH SKRWRJUDSKV ZKLFK GRFXPHQWHG WKH FRQGLWLRQ RI WKH ZRUNV LQ EHWZHHQDQG177KHSDLQWLQJSupremus No. 38, once WKH.KDUG]KLHYFROOHFWLRQWKDWZHUHLQKLV0RVFRZDSDUWPHQW16 EHORQJHGWRWKH0XVHXPRI$UWLVWLF&XOWXUHLQ0RVFRZ18 and after 7KHSDLQWLQJVKDGEHHQUHPRYHGIURPWKHLUVWUHWFKHUVIRUODFNRI LWVIRUPDOGLVVROXWLRQLQZDVWUDQVIHUUHGWRWKH7UHWLDNRY VSDFHDQGSODFHGRQHRQWRSRIWKHRWKHU *DOOHU\19,QWKH5XVVLDQ6WDWHJDYHLWDVDQRI¿FLDOJLIWWR ,QWKHSuprematist Composition ZDVDFTXLUHGE\WKH WKH$PHULFDQLQGXVWULDOLVWDQGDUWFROOHFWRU$UPDQG+DPPHU20

InCoRM Journal Vol. 3 Spring-Autumn UÊ2012 $WWKHUHTXHVWRIWKHFROOHFWRULQWKHSDLQWLQJZDVVXEMHFWHG to a thorough restoration21DQGVROGLQYLDWKHDUWPDUNHW22 7KH WZR SDLQWLQJV Landscape (Winter) and Landscape EHORQJHGWR0DOHYLFK¶VVWXGHQW$QQD/HSRUVND\D 23 7KHVHZRUNVZHUHDFTXLUHGLQE\WKH/XGZLJ&ROOHFWLRQ IURPWKH*DOOHU\*PXU]\QVNDLQ&RORJQH

Summary of Results of the Art- Technological Examination

Formats23 If one compares the entries in Kazimir Malevicz Catalogue Raisonné $QGUp 1DNRY WKHUH LV DQ HQRUPRXV YDULHW\ LQ WKH IRUPDWV ZLWK PHGLXP VL]HV SUHGRPLQDWLQJ 7KH WZR SDLQWLQJV IURP WKH 6XSUHPDWLVW SKDVH Suprematist Composition [ FP DQGSupremus No. 38 [FP ZHUHGRQHLQ DYHUWLFDOIRUPDW)RUWKHWZRODQGVFDSHVLandscape (Winter) [FP DQGLandscape [FP 0DOHYLFKVHOHFWHG WKHWUDGLWLRQDOKRUL]RQWDOIRUPDW 51 Supports $OWKRXJK0DOHYLFKXVHGERWKFDUGERDUGDQGZRRGSDQHOVPRVW No. 5 Photograph of the back of Supremus No. 38 with the RIKLVSLFWXUHVDUHRQOLQHQVXSSRUWV)URPWKHZRUNVZKLFKZHUH inscription by the artist before the restoration in 1975. The H[DPLQHGKHXVHGVLPSOHDQGURXJKFDQYDVHVZKLFKYDULHGLQ inscription reads: “1914 (sic) Moscow K Malevich Dynamic GHQVLW\ DQG ZHDYH VWUXFWXUH ,Q WKH Suprematist Composition Suprematism” WKHUH LV D WKUHDG GHQVLW\ RI SHU VTXDUH FHQWLPHWHU 7KH FDQYDVGHVSLWHLWVGHQVLW\LVZRYHQORRVHO\:LWKSupremus No. 38, a rougher weave was used with 12 threads per warp and 13 Composition 1R The edges of the canvas pulled round the WKUHDGVRIZHIW7KHVWUHQJWKVRIWKHWKUHDGVDUHLUUHJXODUDQG VWUHWFKHUFDQEHVHHQLQWKHKDQJLQJRIWKHSLFWXUHRQWKHZDOO VKRZNQRWWLQJRIWKH\DUQ 2QWKHSKRWRJUDSKIURPZKLFKVKRZVWKHSLFWXUHUHPRYHG !# 7KHWZRSLFWXUHVIURPKLVODWHU FUHDWLYH SKDVHDOVRVKRZHG IURPWKHVWUHWFKHUWKHRULJLQDOQDLOKROHVDUHFOHDUO\YLVLEOH GLIIHULQJ ZHDYH GHQVLWLHV D ¿QHU ZHDYH RI WKUHDGV SHU The edges of the canvas of Supremus No. 38ZHUHWDFNHG VTXDUHFPLQLandscape (Winter) and a rougher weave of 10 to the stretcher in wide distances thus resulting in a drooping of threads per warp and 12 threads per weft in the Landscape. WKHFDQYDV7KHWUDFHVOHIWE\WKHIROGVDQGWKHSUHYLRXVIDVWHQLQJ SRLQWV WR WKH VWUHWFKHU DUH FOHDUO\ YLVLEOH LQ WKH ;UD\V 7KH &KDUDFWHULVWLFIRUERWKFDQYDVHVLVDQLUUHJXODUVWUHQJWKRIWKH FDQYDVZDVIROGHGRYHURQWKHULJKWVLGHRIWKHVWUHWFKHU+HUH WKUHDGVZLWKEXOJHVDQGNQRWVLQWKHURXJKFDQYDV\DUQ WKHHGJHRIWKHFDQYDVZDVUHWDLQHG Stretcher and Tension In Landscape (Winter) the canvas was cut from a larger SLHFH RI FDQYDV 7KH GLVWDQFH EHWZHHQ WKH RULJLQDO QDLO KROHV 7KHRULJLQDOVWUHWFKHUVDUHQRORQJHUH[WDQW)RUSupremus No. GLIIHUHGLQDOOFRUQHUVUDQJLQJIURPWRFP(YHQZLWKWKH 38 WKH HDUOLHU SRVVLEO\ RULJLQDO VWUHWFKHU LV GRFXPHQWHG E\ D impressionistic Landscape WKH FDQYDV ZDV FXW IURP D ODUJHU SKRWRJUDSK IURP WKH \HDU LW ZDV SUREDEO\ PDGH RXW RI VKHHW$WWKHORZHUHGJHRIWKHSDLQWLQJOLQHVRIFUHDVLQJFDQEH pine re-enforced with dowels. The stretching of the canvases VHHQWRGD\ZKLFKJRXSWRDVPXFKDVFPLQWRWKHSLFWXUH RIERWK6XSUHPDWLVWZRUNVFRXOGEHUHFRQVWUXFWHGRQWKHEDVLVRI VXUIDFH7KHHGJHRIWKHFDQYDVLVSDUWLDOO\YLVLEOH2QWKHOHIW SKRWRJUDSKVIURPWKHSHULRGDQG;UD\V VLGHRIWKHSLFWXUHVXUIDFHDWDKHLJKWRIDSSUR[LPDWHO\FP 7KH KLVWRULF SKRWRJUDSK RI WKH H[KLELWLRQ RI WKH Last WKHUHLVDFLUFXODU¿QJHUSULQWE\0DOHYLFK7KLVFRXOGPHDQWKDW Futurist Exhibition of Paintings 0.10ZKLFKWRRNSODFHLQ the canvas was not nailed to the stretcher during the painting VKRZHGPRVWRIWKHZRUNVXQIUDPHG!" including the Suprematist SURFHVVEXWWKDWLWZDVDWWDFKHGVROHO\ZLWKWKXPEWDFNV!$

InCoRM Journal Vol. 3 Spring-Autumn UÊ2012 Priming and Ground

7KH SLFWXUHV ZKLFK ZHUH H[DPLQHG DOO VKRZHG D EULJKW JURXQG%HVLGHVDFKDONOD\HU29 there was a mixture of oil DQGFKDONJURXQG307KHUHZDVHYLGHQFHDVZHOORI]LQFZKLWH DQGEDULXPVXOIDWH317KHFRORXURIWKHJURXQGZDVDOZD\V GHWHUPLQHGE\WKHPL[WXUHRIDGGLWLRQDOSLJPHQWVZKLFKDOVR LQIOXHQFHGWKHOXPLQRVLW\RIWKHJURXQG:LWKWKHSDLQWLQJV Suprematist Composition, Landscape (Winter), and the impressionistic Landscape, primed canvas was used and WKHQFXWGRZQWRWKHGHVLUHGVL]H:LWKWKHLPSUHVVLRQLVWLF No 6 Landscape (Winter) (No 4), detail. Landscape WKHUH DUH PDUNLQJV LQGLFDWLQJ WKH VL]H RI WKH The underdrawing in pencil is visible on the ground. FDQYDV7KHVHERUGHUOLQHVRQWKHOHIWDQGDWWKHWRSRIWKH SLFWXUHVXUIDFHKDYHVXUYLYHGSDUWLDOO\ 7KHJURXQGOD\HUVRIWKHSuprematist Composition and Landscape (Winter) KDYH D YHU\ VPRRWK VXUIDFH DQG WKH SULPLQJGLGQRWILOWHUWKURXJKWKHEDFNRIWKHFDQYDV2QH FDQ WKHUHIRUH DVVXPH WKDW D OD\HU RI JOXH ZDV SUHYLRXVO\ DSSOLHG WR WKH VXUIDFH RI WKH FDQYDV 7KLV LV SDUWLFXODUO\ WUXHRIWKHILQHEXWORRVHO\ZRYHQFDQYDVRIWKH6XSUHPDWLVW 52 ZRUN:LWKSupremus No. 38 the artist himself primed the FDQYDVDIWHULWZDVVWUHWFKHG7KHFUHDVHVWKDWZHUHFUHDWHG GXULQJWKHVWUHWFKLQJZHUHWKHUHIRUHUHPRYHG7KHHGJHVRI WKHFDQYDV ZKLFKZUDSSHGDURXQGWKHVWUHWFKHU ZHUHQRW SULPHG :LWKWKHLPSUHVVLRQLVWLFSDLQWLQJLandscape, the structure DQGZHDYHSDWWHUQPDUNHGWKHVXUIDFHRIWKHSLFWXUHEHFDXVH

WKHSULPLQJOD\HUFRYHUVRQO\WKHVXUIDFHRIWKHFDQYDVDQG No. 7 Suprematist Composition (No. 1), detail. WKHJDSVEHWZHHQWKHWKUHDGV The underdrawing around the yellow circle remains visible.

Underdrawings and Preparatory Sketches

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No. 9 Suprematism No. 38, graphite on paper. SODQHV ZHUH LQGLFDWHG E\ 0DOHYLFK LQ WKH SUHSDUDWRU\ Khardzhiev-Chaga Cultural Centre Foundation, GUDZLQJLQWKHJUDGXDOO\OLJKWHUVKDGHVRIJUH\,QWKHODUJH Stedelijk Museum, Amsterdam UHFWDQJXODUIRUPLQWKHXSSHUOHIWFRUQHUZHUHDGLQ&\ULOOLF WKHLQVWUXFWLRQ³JROXERL´ PLGGOHEOXH 34 $SUHSDUDWRU\GUDZLQJIRUWKHLandscape (Winter)1R sKRZVLQWHUORFNLQJVHPLFLUFOHVDVUHFHGLQJKLOOVZKLFK SURYLGH SHUVSHFWLYH 7KH WUHH WUXQNV SURYLGH D NLQG RI YHUWLFDOLW\ZKRVHURXQGHGFURZQVUHIOHFWWKHVHPLFLUFOHVRI 53 WKHKLOOV,QWKHFHQWUHRIWKHSLFWXUHWKHZDONLQJILJXUHRID PDQLVVHHQLQIURQWRIDKRXVH 7KHXQGHUGUDZLQJRIWKHSDLQWLQJLVPXFKPRUHGHWDLOHG 2I VSHFLDO QRWH LV WKH PLGGOH JURXQG LW LV DUUDQJHG LQ SHUVSHFWLYH IURP OHIW WR ULJKW ZKHUH WKHUH DUH VNHWFK\ RXWOLQHVRIKRXVHVVRPHRIZKLFKVKRZPHUHO\WKHIURQW 2QWKHIDUULJKWLVDKRXVHZKRVHIHQFHLVLQWKHGHVLJQRID No. 10 Detail of X-ray reﬂectogram of Supremus No. JULGZKLFKFXWVDFURVVLW1H[WWRLWRQHFDQVHHWKHVNHWFK\ 38 (No. 2). The underdrawing, in comparison to the outlines of two trees whose triangular forms remind us of separate preparatory drawing of this area, shows a signiﬁcant reduction in the smaller geometric forms. SLQH WUHHV7KH ILJXUH RI WKH ZDONLQJ PDQ LV DOVR YLVLEOH LQWKHXQGHUGUDZLQJ7KHUHFHGLQJKLOOVDUHLQGLFDWHGZLWK TXLFNWKLQOLQHV7DNHQWRJHWKHUWKHXQGHUGUDZLQJDSSHDUV PRUHVNHWFK\WKDQWKHSUHSDUDWRU\GUDZLQJ

Makeup of Pigments and Palette

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InCoRM Journal Vol. 3 Spring-Autumn UÊ2012 Conclusion RIPLFURVFRSLFPLFURDQGSK\VLRFKHPLFDOPHWKRGVPLFUR ;UD\ÀXRUHVFHQFH+RULED;*7DQG,5VSHFWURVFRS\ 7KHFRPSDULVRQRIWKHIRXUZRUNVE\.D]LPLU0DOHYLFKWZRIURP 1LFROHW3&DQG7KHUPR1H[XV)7,5 KLV6XSUHPDWLVWSKDVHDQGWZRRIODWHUZRUNVVKRZVWKHUDQJHRIWKH >@ Kasimir Malewitsch und der Suprematismus in der PDWHULDOVHPSOR\HGE\KLP+HXVHGFDQYDVHVZLWKGLIIHULQJGHQVLW\ Sammlung Ludwig Russische Avantgarde im Museum FKDQJHGWKHVL]HDQGIRUPDWXVHGFKDONSULPLQJJURXQGVDVZHOODV Ludwig &RORJQH :LHQDQG 9HUODJ Kazimir RLOPDGHIURPYDULRXVFRPSRQHQWV+LV6XSUHPDWLVWZRUNVUHYHDOHG Malevich and Suprematism in the Ludwig Collection). SHQFLOXQGHUGUDZLQJVDQGKHFRPELQHGWKHVHLQLandscape (Winter) 3URMHNWUHLKH5XVVLVFKH$YDQWJDUGH 5XVVLDQ$YDQW*DUGH ZLWKEUXVKXQGHUGUDZLQJV)RUKLVSuprematist Composition and 3URMHFW6HULHV )HEUXDU\)HEUXDU\ Supremus No. 38 KHXVHGFDUGERDUGJXLGHVWRKHOSKLPDFKLHYH >@ 3HWUD 0DQGW ³Landscape (Winter GDWHG RU DIWHU FOHDUFRQWRXUVRIWKHJHRPHWULFIRUPVDPHWKRGKHJHQHUDOO\XVHG ´OHFWXUHDWWKHLQWHUQDWLRQDOV\PSRVLXP³0DOHYLFK XQGHUWKH0LFURVFRSH´RQ-XQHLQWKH0XVHXP $VDZKROHKLVSDLQWLQJZDVTXLFNDQGVXUHDVZHFDQVHHLQWKH /XGZLJ&RORJQH3XEOLFDWLRQLQSUHSDUDWLRQ VXFFLQFWEUXVKVWURNHV7KHSUHSDUDWRU\GUDZLQJLQZKLFKWKHLGHD >@ 0LOGD9LFWXULQD$OOD /LNDQRYD ³$ 6WXG\ RI7HFKQLTXH IRUWKHSLFWXUHLV¿UVWGHYHORSHGSOD\VDQLPSRUWDQWUROH'XULQJWKH 7HQ 3DLQWLQJV E\ 0DOHYLFK LQ WKH7UHWLDNRY *DOOHU\´ LQ HYROXWLRQIURPWKHSUHSDUDWRU\GUDZLQJWRWKHXQGHUGUDZLQJWKH Kazimir Malevich ([KLELWLRQ &DWDORJXH RI WKH 1DWLRQDO FRPSRVLWLRQLVIXUWKHUGHYHORSHGHLWKHUE\UHGXFLQJRUE\DGGLQJ *DOOHU\ RI $UW :DVKLQJWRQ ' & $UPDQG +DPPHU HOHPHQWV7KHVHDUHFKDQJHVWKDWRFFXUGXULQJWKHSDLQWLQJSURFHVV 0XVHXP/RV$QJHOHV0HWURSROLWDQ0XVHXP1HZ@ $SSOLHG 5HVHDUFK 0HWKRGV ,QFLGHQW DQG 5DNLQJ /LJKW PDWWHDQGVKLQ\DQGLQWKHYDULDWLRQRIWKHSDLQWDSSOLFDWLRQLWVHOI $QDO\VLVXQGHUWKH0LFURVFRSH89DQG;5D\ 7KHWKXVFUHDWHGVXUIDFHVWUXFWXUHVEHFRPHDQLQWHJUDOSDUWRIWKH 56 >@ $QQ+RQLJVZDOG³.D]LPLU0DOHYLFK¶V3DLQWLQJV6XUIDFH SDLQWLQJVE\.D]LPLU0DOHYLFK DQG ,QWHQGHG $SSHDUDQFH´ LQ Conservation Research Translated from the German by 1996/97; Studies in the History of Art1DWLRQDO*DOOHU\ Robert E. Hiedemann RI$UW:DVKLQJWRQ'&SS >@ 89,5DQG;5D\$QDO\VHVZHUHFDUULHGRXWDVZHOODV ;5D\ÀXRUHVFHQWVSHFWURVFRS\5)6 Footnotes >@ Kazimir Malevich in the State Russian Museum([KLELWLRQ &DWDORJXH6WDWH5XVVLDQ0XVHXP6W3HWHUVEXUJ3DODFH >@ 7KH H[DPLQDWLRQ ZDV PDGH SRVVLEOH ZLWK WKH ¿QDQFLDO (GLWLRQV VXSSRUWRI,UHQH/XGZLJ,WHQFRPSDVVHGWKHH[DPLQDWLRQ >@ 6YHWODQD 5LPVND\D.RUVDNRYD ³&RQFHUQLQJ WKH RIWKHSDLQWLQJLQLQFLGHQWDQGUDNLQJOLJKWXQGHUDVWHUHR 7HFKQRORJLFDO5HVHDUFKRI0DOHYLFK¶V3DLQWLQJV´LQKazimir microscope as well as with different scanning methods Malevich in the State Russian Museum,ELGSS,Q XOWUDYLROHW >89@ LQIUDUHG >,5@ ;UD\ ,Q DGGLWLRQ WKHFDWDORJXHWKHEDFNVRIWKHSDLQWLQJVDUHUHSURGXFHGDV VDPSOHVRIJURXQGVDQGSDLQWZHUHWDNHQIRUWKHSXUSRVHRI ZHOODVDVHOHFWLRQRILQIUDUHGDQG;UD\LPDJHV DQDO\VLQJ WKH SLJPHQWV ¿OOHUV DQG ELQGLQJ PDWHULDOV7KH >@ $PRQJWKHHDUOLHVWDUWKLVWRULFDOVWXGLHVDERXWWKLVWRSLFLV LQIUDUHG H[DPLQDWLRQ ZDV XQGHUWDNHQ ZLWK DQ 2VLULV$ &KDUORWWH'RXJODV³0DOHYLFK¶V3DLQWLQJV±6RPH3UREOHPV FDPHUD 2SXV,QVWU/WG ZKLFKZDVSURYLGHGWRXVE\WKH RI&KURQRORJ\´LQUSSR3DUW 5HVWRUDWLRQ&HQWUHRI'VVHOGRUIWKHVWDWHFDSLWDOof North- >@ 8QIRUWXQDWHO\ WKH UHVHDUFK PHWKRGV DUH QRW H[SOLFLWO\ 5KLQH:HVWSKDOLD:HZRXOGOLNHWRWKDQNDWWKLVWLPHWKH PHQWLRQHG2QHFDQGHGXFHIURPWKHFDWDORJXHFKDSWHUWKDW 'LUHFWRU'U&:H\HUDQG0U,+ROXEHF0$IRUWKHLU ¿EUHDQDO\VHVZHUHFDUULHGRXWLQRUGHUWRGHWHUPLQHWKH WHFKQLFDO DVVLVWDQFH 7KH GLJLWDO ;UD\ H[DPLQDWLRQ ZDV SDLQWLQJVXSSRUWVDVZHOODVSLJPHQWDQGELQGLQJYHKLFOH FRQGXFWHGE\WKH&RORJQH,QVWLWXWHRI&RQVHUYDWLRQ6FLHQFHV DQDO\VHV &,&6 WKH WHFKQLFDO H[DPLQDWLRQ ZDV FRQGXFWHG E\ >@ $QGUpL 1DNRY ³3URFpGpV VW\OH HW UpDOLVDWLRQ GX 3URIHVVRU+3RUWVWHIIHQDQGDFDGHPLFDOO\FHUWL¿HGUHVWRUHU µSURIHVVLRQDOLVPH¶ GH OD SUDWLTXH SLFWXUDOH GH 0DOHZLF]´ $.UXSD7KHDQDO\VLVRISLJPHQWDQGELQGLQJPDWHULDOVZDV in Kazimir Malevicz. Le peintre absolu ³0HWKRG 6W\OH FRQGXFWHGE\WKH0LFURDQDO\WLFDO/DERUDWRU\RI'U(UKDUG DQG5HDOLVDWLRQRIµ3URIHVVLRQDOLVP¶LQ0DOHYLFK¶V3LFWRULDO -lJHUV DQG 3URI 'U (OLVDEHWK -lJHUV LQ %RUQKHLP 7KH 3UDFWLFH´LQKazimir Malevich, the Absolute Painter 3DULV LGHQWL¿FDWLRQRIWKHPDWHULDOVZDVFRQGXFWHGZLWKWKHKHOS (GLWLRQ7KDOLD9RO&KDSWHUSS

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InCoRM Journal Vol. 3 Spring-Autumn UÊ2012