15 research outputs found
Bridging the gap between the Munch Room display and the conservation narrative: A decision-making model
A non-invasive screening study of varnishes applied to three paintings by Edvard Munch using portable diffuse reflectance infrared Fourier transform spectroscopy (DRIFTS)
Evaluation of novel cleaning systems on mock-ups of unvarnished oil paint and chalk-glue ground within the Munch Aula Paintings Project
Intra-Operative Measurement of the Superior Vena Caval Flow Pattern in Patients with Intracardial Shunts
Pulmonary Vein Flow Pattern in Mitral Incompetence, Combined Mitral Stenosis/Incompetence and After Prosthetic Valve Replacement
Designing paint mock-ups for a study of novel surface cleaning techniques for Munch's unvarnished aula paintings
Investigation of Materials used by Edvard Munch
The pigments and paint binders used by Edvard Munch have been investigated in several studies. Munch used a mixture of media in his works of art. The two versions of The Scream studied here were found to include oil paints and oil paints thickened with beeswax and also oil crayons containing beeswax and Japan wax, as well as casein pastels, a paraffin wax crayon and at least one gum-bound paint. His sketches on canvas make use of oil paints and tempera paints including egg and casein, as well as casein pastels in at least one instance. His oil paintings on canvas seem to have been executed using a more conventional technique, with most having one or a few paint layers bound with linseed oil on a ground formed from lead white in oil on top of a ground made of chalk in glue. Munch's palette is not extensive, though he was reasonably willing to introduce new materials, such as his use of a petroleum-based wax crayon in 1893, oil pastel - possibly as early as 1893 and certainly by 1910, and his use of cadmium red by 1927-1929. The identification of materials has informed conservators who are planning and carrying out conservation treatment