Technical examination of Liu Kang’s Paris and Shanghai painting supports (1929–1937)

Heritage Science

Teresa Kurkiewicz¹  Bogusław Szczupak²  Damian Lizun³ 

[1] Department of Painting Technology and Techniques, Institute for Conservation, Restoration and Study of Cultural Heritage, Nicolaus Copernicus University, ul. Sienkiewicza 30/32, 87-100, Toruń, Poland;Department of Telecommunications and Teleinformatics, Wrocław University of Science and Technology, Wybrzeże Stanisława Wyspiańskiego 27, 50-370, Wrocław, Poland;Heritage Conservation Centre, National Heritage Board, 32 Jurong Port Road, 619104, Singapore, Republic of Singapore;

关键词: Liu Kang;    Painting supports;    Commercially prepared canvas;    Metal soaps;    SEM–EDS;    FTIR;   

DOI  :  10.1186/s40494-021-00492-6

来源: Springer

【 摘 要 】

This article presents an overview of Liu Kang’s (1911–2004) canvas painting supports from his early artistic phases, Paris (1929–1932) and Shanghai (1932–1937). The research was conducted on 55 artworks from the collections of the National Gallery Singapore and Liu family. The technical examination of the paintings was supplemented with archival photographs of the artist at work to elucidate his practice of preparation of painting supports. The analyses conducted with light microscopy, SEM–EDS, and FTIR allowed us to characterise the structure of the canvases and identify the natural fibres and formulation of the grounds. In addition, references to contemporary colourmen catalogues, in relation to certain materials, were made. The obtained results suggest that, in both locations, Liu Kang employed commercially prepared canvases purchased by the roll or by the metre, together with bare strainers or stretchers of standard sizes. In Paris, the artist commonly used linen canvases, while in Shanghai he preferred cotton canvases, with linen used sporadically. The identified grounds from the Paris and Shanghai canvases are white and single-layered, but their formulations vary significantly between the two locations. Hence, grounds composed predominantly of lead white with extenders and drying oil as a binder are considered as exclusive to the Paris phase. However, semi-absorbent or absorbent grounds based on chalk are typical for Shanghai phase. This research contributes to the knowledge of Liu Kang’s painting materials and working practices during the pre-war period in Paris and Shanghai.

【 授权许可】

CC BY