Altered Blue and Red Paints

Altered Blue and Red paints Investigations of Old Man in Warnemünde and The Drowned Boy by Edvard Munch (1863 – 1944) Jin Strand Ferrer MA DISSERTATION Project-based Master’s Degree in Conservation Department of Archaeology, Conservation and History UNIVERSITY OF OSLO Spring 2019 ICopyright Jin Strand Ferrer 2019 Altered Blue and Red paints: Investigations of Old Man in Warnemünde and The Drowned Boy by Edvard Munch (1863–1944) Jin Strand Ferrer <a href="/goto?url=http://www.duo.uio.no" target="_blank">http://www.duo.uio.no </a>Print: Reprosentralen, University of Oslo II Table of contents <ul style="display: flex;"><li style="flex:1"><a href="#11_0">1</a></li><li style="flex:1"><a href="#11_0">Introduction......................................................................................................................5 </a></li></ul><ul style="display: flex;"><li style="flex:1"><a href="#11_1">1.1 </a></li><li style="flex:1"><a href="#11_1">Backgroun</a><a href="#11_1">d</a><a href="#11_1">.</a><a href="#11_1">.........................................................................................................................5 </a></li></ul><a href="#12_0">1.1.1 Edvard</a><a href="#12_0"> </a><a href="#12_0">Munch and Warnemünde (1907</a><a href="#12_0">–</a><a href="#12_0">1908</a><a href="#12_0">)</a><a href="#12_0">.</a><a href="#12_0">...............................................................6 </a><ul style="display: flex;"><li style="flex:1"><a href="#16_0">1.2 </a></li><li style="flex:1"><a href="#16_0">Objectives and research question</a><a href="#16_0">s</a><a href="#16_0">.</a><a href="#16_0">..................................................................................10 </a></li></ul><a href="#17_0">1.2.1 Dissertation</a><a href="#17_0"> </a><a href="#17_0">structure ......................................................................................................11 </a><ul style="display: flex;"><li style="flex:1"><a href="#19_0">2</a></li><li style="flex:1"><a href="#19_0">Paint manufacture: cobalt blue, synthetic ultramarine, and red lake paints ..........13 </a></li></ul><ul style="display: flex;"><li style="flex:1"><a href="#20_0">2.1 </a></li><li style="flex:1"><a href="#20_0">Paint manufactur</a><a href="#20_0">e</a><a href="#20_0">.</a><a href="#20_0">............................................................................................................14 </a></li></ul><a href="#20_1">Additives and extender</a><a href="#20_1">s</a><a href="#20_1">.</a><a href="#20_1">...................................................................................................14 </a><a href="#26_0">Binding media: drying oils................................................................................................20 </a><a href="#30_0">Blue paints..........................................................................................................................24 </a> <a href="#20_1">2.2 </a><a href="#26_0">2.3 </a><a href="#30_0">2.4 </a><a href="#30_1">2.4.1 Cobalt</a><a href="#30_1"> </a><a href="#30_1">blue ......................................................................................................................24 </a><a href="#0_0">2.4.2 Synthetic</a><a href="#0_0"> </a><a href="#0_0">ultramarine blue ..............................................................................................25 </a><ul style="display: flex;"><li style="flex:1"><a href="#0_1">2.5 </a></li><li style="flex:1"><a href="#0_1">Red lake paints...................................................................................................................26 </a></li></ul><a href="#0_2">2.5.1 Carmine</a><a href="#0_2"> </a><a href="#0_2">(cochineal lake or kermes)................................................................................28 </a><a href="#0_3">2.5.2 Madder</a><a href="#0_3"> </a><a href="#0_3">lakes ...................................................................................................................28 </a><a href="#0_4">2.5.3 Alizarin............................................................................................................................29 </a><a href="#0_5">2.5.4 Redwood</a><a href="#0_5"> </a><a href="#0_5">.........................................................................................................................29 </a><a href="#0_6">2.5.5 </a><a href="#0_6">Kopp’s purpurin </a><a href="#0_6">..............................................................................................................30 </a><a href="#0_7">2.5.6 Garancine</a><a href="#0_7"> </a><a href="#0_7">........................................................................................................................30 </a><a href="#0_8">2.5.7 Substrates</a><a href="#0_8"> </a><a href="#0_8">........................................................................................................................30 </a><ul style="display: flex;"><li style="flex:1"><a href="#0_9">3</a></li><li style="flex:1"><a href="#0_9">The reference collection at the Munch Museum: Edvard Mun</a><a href="#0_9">ch’s paintings </a></li></ul><a href="#0_9">materials from Ekely .............................................................................................................33 </a><a href="#0_10">3.1 Selected</a><a href="#0_10"> </a><a href="#0_10">case-studies: review and discussion...................................................................35 </a><a href="#0_11">3.1.1 Case</a><a href="#0_11"> </a><a href="#0_11">studies concerning blue paints................................................................................35 </a><a href="#0_10">3.1.2 Case</a><a href="#0_10"> </a><a href="#0_10">studies concerning red lake paint</a><a href="#0_10">s</a><a href="#0_10">.</a><a href="#0_10">.........................................................................37 </a><ul style="display: flex;"><li style="flex:1"><a href="#0_9">4</a></li><li style="flex:1"><a href="#0_9">Instrumental methods....................................................................................................40 </a></li></ul><ul style="display: flex;"><li style="flex:1"><a href="#0_12">4.1 </a></li><li style="flex:1"><a href="#0_12">Non-invasive analyses: paintings......................................................................................40 </a></li></ul><a href="#0_13">4.1.1 Visual</a><a href="#0_13"> </a><a href="#0_13">investigation and microscopy ..............................................................................40 </a><a href="#0_9">4.1.2 Portable</a><a href="#0_9"> </a><a href="#0_9">X-ray Fluorescence Spectroscopy (pXRF) .......................................................42 </a><ul style="display: flex;"><li style="flex:1"><a href="#0_14">4.2 </a></li><li style="flex:1"><a href="#0_14">Invasive analyses: samples, apparatus and protoco</a><a href="#0_14">l</a><a href="#0_14">.</a><a href="#0_14">.....................................................42 </a></li></ul><a href="#0_15">4.2.1 Samples</a><a href="#0_15"> </a><a href="#0_15">...........................................................................................................................42 </a><a href="#0_16">4.2.2 Optical</a><a href="#0_16"> </a><a href="#0_16">Microscopy (OM)...............................................................................................46 </a><a href="#0_17">4.2.3 Scanning</a><a href="#0_17"> </a><a href="#0_17">Electron Microscopy and Energy dispersive X-ray Spectroscopy (SEM-EDX) </a> <a href="#0_17">46 </a> <a href="#0_18">4.2.4 Fourier</a><a href="#0_18"> </a><a href="#0_18">Transform Infrared Spectroscopy (FTIR)...........................................................47 </a><a href="#0_19">4.2.5 Pyrolysis-Gas</a><a href="#0_19"> </a><a href="#0_19">Chromatography with Mass Spectrometry (Py-GC/MS).........................48 </a><ul style="display: flex;"><li style="flex:1"><a href="#0_9">4.3 </a></li><li style="flex:1"><a href="#0_9">Analytical methods: blue and red paint tubes ................................................................49 </a></li></ul><a href="#0_9">5</a><a href="#0_9">6</a> <a href="#0_9">Paint tubes, Old Man in Warnemünde and The Drowned Boy: analytical results .53 </a><ul style="display: flex;"><li style="flex:1"><a href="#0_9">5.1 </a></li><li style="flex:1"><a href="#0_9">A </a><a href="#0_9">summary of results on a selection of Munch’s paint tubes </a><a href="#0_9">........................................55 </a></li></ul><a href="#0_6">5.1.1 Cobalt</a><a href="#0_6"> </a><a href="#0_6">blue and ultramarine blue paints..........................................................................55 </a><a href="#0_20">5.1.2 Red</a><a href="#0_20"> </a><a href="#0_20">lake paint</a><a href="#0_20">s</a><a href="#0_20">.</a><a href="#0_20">...............................................................................................................55 </a><a href="#0_9">5.1.3 Binding</a><a href="#0_9"> </a><a href="#0_9">medi</a><a href="#0_9">a</a><a href="#0_9">.</a><a href="#0_9">................................................................................................................56 </a><a href="#0_9">5.2 </a><a href="#0_9">5.3 </a> <a href="#0_9">A summary of results on the painting Old Man in Warnemünde (1907</a><a href="#0_9">)</a><a href="#0_9">.</a><a href="#0_9">....................57 </a><a href="#0_9">Summary of results from </a><a href="#0_9">The Drowned Boy </a><a href="#0_9">(1907</a><a href="#0_9">–</a><a href="#0_9">.......................................................64 </a> <a href="#0_21">1908).................................................................................................................................................64 </a><a href="#0_9">Discussion........................................................................................................................68 </a><a href="#0_22">6.1 </a><a href="#0_23">6.2 </a> <a href="#0_22">Munch’s paint tube</a><a href="#0_22">s</a><a href="#0_22">..........................................................................................................68 </a><a href="#0_23">Issues concerning blue paints ...........................................................................................69 </a>III <a href="#0_24">6.2.1 Colour</a><a href="#0_24"> </a><a href="#0_24">change: darkening ...............................................................................................69 </a><a href="#0_25">6.2.2 Water</a><a href="#0_25"> </a><a href="#0_25">sensitivity..............................................................................................................71 </a><a href="#0_26">6.2.3 Separation</a><a href="#0_26"> </a><a href="#0_26">of the medium ...............................................................................................72 </a><ul style="display: flex;"><li style="flex:1"><a href="#0_27">6.3 </a></li><li style="flex:1"><a href="#0_27">Issues concerning red lake paints.....................................................................................72 </a></li></ul><a href="#0_28">6.3.1 Crackin</a><a href="#0_28">g</a><a href="#0_28">.</a><a href="#0_28">.........................................................................................................................73 </a><a href="#0_29">6.3.2 Spotting</a><a href="#0_29"> </a><a href="#0_29">...........................................................................................................................74 </a><a href="#0_30">6.3.3 Discoloration:</a><a href="#0_30"> </a><a href="#0_30">darkenin</a><a href="#0_30">g</a><a href="#0_30">.</a><a href="#0_30">................................................................................................74 </a><ul style="display: flex;"><li style="flex:1"><a href="#0_9">7</a></li><li style="flex:1"><a href="#0_9">Conclusion and further researc</a><a href="#0_9">h</a><a href="#0_9">.</a><a href="#0_9">.................................................................................76 </a></li></ul><a href="#0_31">7.1.1 Avenues</a><a href="#0_31"> </a><a href="#0_31">for future research ............................................................................................78 </a><a href="#0_9">8</a><a href="#0_9">9</a> <a href="#0_9">Bibliograph</a><a href="#0_9">y</a><a href="#0_9">.</a><a href="#0_9">..................................................................................................................80 </a><a href="#0_9">Appendix.........................................................................................................................87 </a>IV List of figures and tables <a href="#12_1">Figure 1 Edvard Munch </a><a href="#12_1">Self-portrait at 53 Am Strom in Warnemünde </a><a href="#12_1">(1907). Gelatin </a><a href="#12_1">silver contact print. (© Munch Museum) ..............................................................................6 </a><a href="#14_0">Figure 2 Edvard Munch </a><a href="#14_0">Old Man in Warnemünde </a><a href="#14_0">(1907). Oil on canvas 110 x 85 cm. </a><a href="#14_0">(MM.491/Woll M 755). Photo credits: Munch Museum/Ove Kvavik, 2015.......................8 </a><a href="#15_0">Figure 3 Edvard Munch, </a><a href="#15_0">The Drowned Boy </a><a href="#15_0">(1907</a><a href="#15_0">–</a><a href="#15_0">1908). Oil on canvas. 85, 5 cm x 130,5 </a><a href="#15_0">cm. (MM.559/Woll M 759). Photo credits: Munch Museum/Sidsel de Jong, 1998............9 </a><a href="#22_0">Table 1 Commonly used additives in ready-made paints, including their purpose, their </a><a href="#22_0">chemical composition and effects on ageing. .......................................................................16 </a><a href="#0_4">Table 2 Summary of typical combinations of red lakes and associated aging phenomena. </a><a href="#0_4">..................................................................................................................................................27 </a><a href="#0_9">Table 3 Summary of deterioration phenomena in blue paints related to specific case </a><a href="#0_9">studies that address paintings by Mérodack-Jeaneau, Appel et al. ..................................36 </a><a href="#0_19">Table 4 List of relevant types of organic red lake pigments and paints based on </a><a href="#0_19">deterioration phenomena in case studie</a><a href="#0_19">s</a><a href="#0_19">.</a><a href="#0_19">............................................................................38 </a><a href="#0_6">Table 5 Summary of non-invasive analysis performed on </a><a href="#0_6">Old Man in Warnemünde </a><a href="#0_6">and </a><a href="#0_6">The Drowned Boy</a><a href="#0_6">....................................................................................................................41 </a><a href="file://///oslofelles.oslo.kommune.no/home-is/mum/mum70645/Masteroppgave/Jin%2020.6.2019.docx%23_Toc12117486" target="_blank">Figure 4 </a><a href="file://///oslofelles.oslo.kommune.no/home-is/mum/mum70645/Masteroppgave/Jin%2020.6.2019.docx%23_Toc12117486" target="_blank">Old Man in Warnemünde</a><a href="file://///oslofelles.oslo.kommune.no/home-is/mum/mum70645/Masteroppgave/Jin%2020.6.2019.docx%23_Toc12117486" target="_blank">. Areas of sampling are marked and numbered in </a><a href="file://///oslofelles.oslo.kommune.no/home-is/mum/mum70645/Masteroppgave/Jin%2020.6.2019.docx%23_Toc12117486" target="_blank">yellow. Sample 1 A+B (S 1 A/B, MM.M. 491) were from the blue paint. The blue paint </a><a href="file://///oslofelles.oslo.kommune.no/home-is/mum/mum70645/Masteroppgave/Jin%2020.6.2019.docx%23_Toc12117486" target="_blank">samples were taken from the same paint stroke, hence A and B. Sample 2 (S 2, </a><a href="file://///oslofelles.oslo.kommune.no/home-is/mum/mum70645/Masteroppgave/Jin%2020.6.2019.docx%23_Toc12117486" target="_blank">MM.M.491) was taken from the red paint in the foreground ..........</a><a href="file://///oslofelles.oslo.kommune.no/home-is/mum/mum70645/Masteroppgave/Jin%2020.6.2019.docx%23_Toc12117486" target="_blank">Feil! Bokmerke er ikke </a>definert. <a href="file://///oslofelles.oslo.kommune.no/home-is/mum/mum70645/Masteroppgave/Jin%2020.6.2019.docx%23_Toc12117487" target="_blank">Figure 5 </a><a href="file://///oslofelles.oslo.kommune.no/home-is/mum/mum70645/Masteroppgave/Jin%2020.6.2019.docx%23_Toc12117487" target="_blank">The Drowned Boy</a><a href="file://///oslofelles.oslo.kommune.no/home-is/mum/mum70645/Masteroppgave/Jin%2020.6.2019.docx%23_Toc12117487" target="_blank">. Areas of sampling are marked and numbered in yellow. </a><a href="file://///oslofelles.oslo.kommune.no/home-is/mum/mum70645/Masteroppgave/Jin%2020.6.2019.docx%23_Toc12117487" target="_blank">Sample 1-3 (MM.M.559) were taken from blue paints......</a><a href="file://///oslofelles.oslo.kommune.no/home-is/mum/mum70645/Masteroppgave/Jin%2020.6.2019.docx%23_Toc12117487" target="_blank">.</a><a href="file://///oslofelles.oslo.kommune.no/home-is/mum/mum70645/Masteroppgave/Jin%2020.6.2019.docx%23_Toc12117487" target="_blank">Feil! Bokmerke er ikke definert. </a><a href="#0_9">Table 6 Summary of invasive analysis performed on </a><a href="#0_9">Old Man in Warnemünde</a><a href="#0_9">, </a><a href="#0_9">The </a><a href="#0_9">Drowned Boy </a><a href="#0_9">and Munch’s paint tubes. </a><a href="#0_9">..............................................................................45 </a><a href="#0_32">Figure 6 Analysed blue paints from five of Munch’s tubes. All of them are labelled as oil </a><a href="#0_32">paints. From top left, Lusk & Holtz, Winsor & Newton, Mussini Schmincke, Winsor & </a><a href="#0_32">Newton and Lefranc. .............................................................................................................52 </a><a href="#0_33">Figure 7 Analysed red paints from five of Munch’s paint tubes, from the left, Lefranc, </a><a href="#0_33">Lusk & Holtz, two from Ambor and Mussini Schmincke..................................................52 </a><a href="#0_9">Table 7 List of samples and summary of results from a selection of Munch’s paint tubes </a><a href="#0_9">from the collection..................................................................................................................54 </a><a href="#0_9">Table 8 List of samples and summary of results from analysis from </a><a href="#0_9">Old Man in </a><a href="#0_9">Warnemünd</a><a href="#0_9">e</a><a href="#0_9">...........................................................................................................................58 </a><a href="#0_8">Figure 8 </a><a href="#0_8">Old Man in Warnemünde</a><a href="#0_8">. Outlined areas marking the location of detail images </a><a href="#0_8">taken with HIROX RD-2000. Fig. 9, altered blue paint, in the background and Fig. 10, </a><a href="#0_8">red paint outlining the cobblestones in the foreground. These areas were also the areas </a><a href="#0_8">of the pXRF measurements...................................................................................................59 </a><a href="#0_34">Figure 9 Detail image ultramarine blue paint in Old Man in Warnemünde. It shows the </a><a href="#0_34">darkening as seen on the surface. The darkened area looks slightly glossier than the </a><a href="#0_34">bright blue area. Photo credits: Emilien Leonhardt, 2017 HIROX RD-2000..................60 </a><a href="file://///oslofelles.oslo.kommune.no/home-is/mum/mum70645/Masteroppgave/Jin%2020.6.2019.docx%23_Toc12117495" target="_blank">Figure 10 Detail of the thickly applied red lake paint (</a><a href="file://///oslofelles.oslo.kommune.no/home-is/mum/mum70645/Masteroppgave/Jin%2020.6.2019.docx%23_Toc12117495" target="_blank">Old Man in Warnemünde</a><a href="file://///oslofelles.oslo.kommune.no/home-is/mum/mum70645/Masteroppgave/Jin%2020.6.2019.docx%23_Toc12117495" target="_blank">). </a><a href="file://///oslofelles.oslo.kommune.no/home-is/mum/mum70645/Masteroppgave/Jin%2020.6.2019.docx%23_Toc12117495" target="_blank">Typical features are the deep cracks and the uneven darkening. Photo credits: Emilien </a><a href="file://///oslofelles.oslo.kommune.no/home-is/mum/mum70645/Masteroppgave/Jin%2020.6.2019.docx%23_Toc12117495" target="_blank">Leonhardt, 2017 HIROX RH-2000. .....................................................................................60 </a><a href="#0_35">Figure 11 a) and b). Micro-FTIR spectra a) S 1 B (MM.M.491), ultramarine blue and </a><a href="#0_35">oil. Spectra b) of S 2 (MM.M.491) alizarin</a><a href="#0_35">.</a><a href="#0_35">.</a><a href="#0_35">........................................................................63 </a><a href="#0_36">Table 9 List of samples and summary of results of analyses of </a><a href="#0_36">The Drowned Bo</a><a href="#0_36">y</a><a href="#0_36">..........64 </a>

Altered Blue and Red Paints

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