The Life of a Painting as Traced by Technical Analysis: Original Materials and Posthumous Alterations in Édouard Manet’s <i>Woman in Striped Dress</i>

Among the holdings of the Solomon R. Guggenheim Foundation, New York, is a large-scale portrait by Édouard Manet that remained apparently unfinished upon the artist’s death, in April 1883. This work, now known as <i>Woman in Striped Dress</i>, belongs to Manet’s late artistic production...

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Autores principales:	Federica Pozzi, Silvia A. Centeno, Federico Caro, Gillian McMillan, Lena Stringari, Vivien Greene
Formato:	article
Lenguaje:	EN
Publicado:	MDPI AG 2021
Materias:	Manet painting portrait woman 19th century pigments Engineering (General). Civil engineering (General) TA1-2040
Acceso en línea:	https://doaj.org/article/ca2909ab3809469da0d90d71eaed4a2d
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spelling	oai:doaj.org-article:ca2909ab3809469da0d90d71eaed4a2d2021-11-25T17:16:09ZThe Life of a Painting as Traced by Technical Analysis: Original Materials and Posthumous Alterations in Édouard Manet’s <i>Woman in Striped Dress</i>10.3390/coatings111113342079-6412https://doaj.org/article/ca2909ab3809469da0d90d71eaed4a2d2021-10-01T00:00:00Zhttps://www.mdpi.com/2079-6412/11/11/1334https://doaj.org/toc/2079-6412Among the holdings of the Solomon R. Guggenheim Foundation, New York, is a large-scale portrait by Édouard Manet that remained apparently unfinished upon the artist’s death, in April 1883. This work, now known as <i>Woman in Striped Dress</i>, belongs to Manet’s late artistic production and dates from around 1877 to 1880. A collaborative endeavor entailing archival research and scientific analysis revealed that the composition had suffered dramatic alterations prior to its arrival at the museum in 1965 as an extended loan, likely carried out to “finish” the picture in order that it would be marketable and to increase its sale value. Among the main changes explored in this technical study are the reductions in the canvas size and subsequent varnishing campaigns. Furthermore, along with a detailed characterization of the original materials present in the ground and paint layers, this research contributed to the identification of posthumous retouchings, possibly executed concurrently with trimming the canvas along both sides and at the top edge. The investigation was instrumental in devising an appropriate treatment to remove the discolored varnish and select areas of retouching, which obscured significant details of the composition and Manet’s delicate brushwork.Federica PozziSilvia A. CentenoFederico CaroGillian McMillanLena StringariVivien GreeneMDPI AGarticleManetpaintingportraitwoman19th centurypigmentsEngineering (General). Civil engineering (General)TA1-2040ENCoatings, Vol 11, Iss 1334, p 1334 (2021)
institution	DOAJ
collection	DOAJ
language	EN
topic	Manet painting portrait woman 19th century pigments Engineering (General). Civil engineering (General) TA1-2040
spellingShingle	Manet painting portrait woman 19th century pigments Engineering (General). Civil engineering (General) TA1-2040 Federica Pozzi Silvia A. Centeno Federico Caro Gillian McMillan Lena Stringari Vivien Greene The Life of a Painting as Traced by Technical Analysis: Original Materials and Posthumous Alterations in Édouard Manet’s <i>Woman in Striped Dress</i>
description	Among the holdings of the Solomon R. Guggenheim Foundation, New York, is a large-scale portrait by Édouard Manet that remained apparently unfinished upon the artist’s death, in April 1883. This work, now known as <i>Woman in Striped Dress</i>, belongs to Manet’s late artistic production and dates from around 1877 to 1880. A collaborative endeavor entailing archival research and scientific analysis revealed that the composition had suffered dramatic alterations prior to its arrival at the museum in 1965 as an extended loan, likely carried out to “finish” the picture in order that it would be marketable and to increase its sale value. Among the main changes explored in this technical study are the reductions in the canvas size and subsequent varnishing campaigns. Furthermore, along with a detailed characterization of the original materials present in the ground and paint layers, this research contributed to the identification of posthumous retouchings, possibly executed concurrently with trimming the canvas along both sides and at the top edge. The investigation was instrumental in devising an appropriate treatment to remove the discolored varnish and select areas of retouching, which obscured significant details of the composition and Manet’s delicate brushwork.
format	article
author	Federica Pozzi Silvia A. Centeno Federico Caro Gillian McMillan Lena Stringari Vivien Greene
author_facet	Federica Pozzi Silvia A. Centeno Federico Caro Gillian McMillan Lena Stringari Vivien Greene
author_sort	Federica Pozzi
title	The Life of a Painting as Traced by Technical Analysis: Original Materials and Posthumous Alterations in Édouard Manet’s <i>Woman in Striped Dress</i>
title_short	The Life of a Painting as Traced by Technical Analysis: Original Materials and Posthumous Alterations in Édouard Manet’s <i>Woman in Striped Dress</i>
title_full	The Life of a Painting as Traced by Technical Analysis: Original Materials and Posthumous Alterations in Édouard Manet’s <i>Woman in Striped Dress</i>
title_fullStr	The Life of a Painting as Traced by Technical Analysis: Original Materials and Posthumous Alterations in Édouard Manet’s <i>Woman in Striped Dress</i>
title_full_unstemmed	The Life of a Painting as Traced by Technical Analysis: Original Materials and Posthumous Alterations in Édouard Manet’s <i>Woman in Striped Dress</i>
title_sort	life of a painting as traced by technical analysis: original materials and posthumous alterations in édouard manet’s <i>woman in striped dress</i>
publisher	MDPI AG
publishDate	2021
url	https://doaj.org/article/ca2909ab3809469da0d90d71eaed4a2d
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The Life of a Painting as Traced by Technical Analysis: Original Materials and Posthumous Alterations in Édouard Manet’s <i>Woman in Striped Dress</i>

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