Researchers deconstruct gauguin's creative process

1. Researchers deconstruct
Gauguin's creative process
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2. Contd..
Researchers have found how famed French artist Paul Gauguin
formed, layered and re-used imagery to make 19 unique
graphic works. Gauguin is well known for his colourful
paintings of Tahitian life -including the one that sold recently
for nearly $300 million -but he also was a highly experimental
printmaker, researchers said. Little is known, however, about
the techniques and materials Gauguin used to create his
unusual and complex graphic works.
Now, a team of scientists and art conservators from
Northwestern University and the Art Institute of Chicago has
used a simple light bulb, an SLR camera and computational
power to uncover new details of Gauguin's printmaking
process.
The results establish Gauguin's use of materials and process in
a chronological order, solving the puzzle of how `Nativity' was
made.
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3. Contd..
Gauguin created the print using a layering of
images created on paper by drawings, transfer of
images and two different inks. The `Nativity'
findings overturn an earlier the oryas to how
Gauguin might have produced the print. The
printmaking process the research team had
identified produced a print very similar to
Gauguin's original.
“To measure the 3D surface of the prints, we
used some very accessible techniques that can
be used by art conservators and historians
around the world to analyse artworks,“ said
computer scientist Oliver S Cossairt, who
developed the software to analyse the imaging
data.
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4. Contd..
The surface structure of `Nativity' showed solid evidence that the white
lines, in which there is an absence of ink, are on a flat surface.
This indicates that those lines were not produced using a relief process
but rather a transfer process, where Gauguin drew on an inked surface,
removing ink, and those empty lines were transferred to his print. The
findings also show that Gauguin would have placed his paper on an
inked surface and then drawn on the back of the paper, causing ink to
be transferred to the paper where pressure from the artist's pencil was
applied.
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