JAIC special issues on modern paints

Posted on Mon, 01/06/2014 - 13:51
The collective contributions represent the most comprehensive exploration to date of the use of oil-based enamel paints by modern avant-garde artists, with a special focus on the historic house paints manufactured by the French company Ripolin. The articles explore topics relating to the use of non-artists’ enamel paints in the first half of the 20th century, including: intended and unintended meanings of artists’ material choices; techniques of paint application; issues of preservation; the materials and technology of paint production; and the challenging and multifaceted scientific characterization of non-artists’ paints. Following a comprehensive review of the paint technology and chemistry of oil-based house pants from 1900 to 1960, the first issue is devoted entirely to new and extensive studies of the oeuvre of Pablo Picasso, while the second issue explores the works of many other pivotal artists of the 20th century, including Francis Picabia, Vasily Kandinsky, Sidney Nolan, Giacomo Balla, László Moholy-Nagy and David Alfaro Siqueiros.
The interdisciplinary investigations highlight the wide range of applications and experimental use of these materials by artists, creating interesting challenges for the researcher but also providing fertile ground for further characterization and better understanding of works produced with enamel paints. The authors and editors hope that these two publications will constitute the foundation for further, in-depth study of artists’ uses of oil-based enamels.
Both issues are available online:
Contributions:
- Introduction to Part Two of JAIC's From Can to Canvas Special Issue
- Lifting the Lids Off Ripolin: A Collection of Paint from Sidney Nolan’s Studio
Paula Dredge, Michael R. Schilling, Gwénaëlle Gautier, Joy Mazurek, Tom Learner, and Richard Wuhrer
- Short Communication: The Painting Materials in a Work of the Futurist Artist Giacomo Balla
Antonio Rava, Thierry Radelet, Annamaria Giovagnoli, Tommaso Poli, Oscar Chiantore, and Anna Piccirillo
- ’Transparency and Light, Structure and Substance’: Enamel Paints in László Moholy-Nagy’s Z VII (1926)
Joyce Tsai, Jay Krueger, and Christopher Maines
- The Use of Ripolin by Picabia in The Fig Leaf (1922)
Annette King, Joyce H. Townsend, Bronwyn Ormsby, and Gwénaëlle Gautier
- An Investigation into Kandinsky's Use of Ripolin in his Paintings after 1930
Gillian McMillan, Francesca Casadio, Inge Fiedler, and Veronique Sorano-Stedman
- David A. Siqueiros: His Modification of Oil and Cellulose Nitrate-based Paint and his Advocacy for Innovation, 1931-1949
Chris McGlinchey, Anny Aviram, Sandra Zetina, Elsa Arroyo, José Luis Ruvalcaba Sil, and Manuel Eduardo Espinosa Pesqueira

Volume 52 August 2013, 52:3
Contributions:
- Introduction to Part One of JAIC’s From Can to Canvas Special Issue
- Oil-Based House Paints from 1900 to 1960: An Examination of their History and Development, with Particular Reference to Ripolin Enamels
Harriet A. L. Standeven
- “Picasso in the Metropolitan Museum of Art”: An Investigation of Materials and Techniques
Julie Arslanoglu, Silvia A. Centeno, Shawn Digney-Peer, and Isabelle Duvernois
- Scientifically Investigating Picasso’s Suspected Use of Ripolin House Paints in Still Life, 1922 and The Red Armchair, 1931
Kimberley Muir, Allison Langley, Anikó Bezur, Francesca Casadio, John Delaney, and Gwénaëlle Gautier
- “Mixed Media”: An Example of Pablo Picasso’s Combination of Non-Artist’s Paints with Tube Colors from the Menil Collection
Ellen Hanspach-Bernal and Anikó Bezur
- Scientific Investigation of an Important Corpus of Picasso Paintings in Antibes: New Insights into Technique, Condition, and Chronological Sequence
Francesca Casadio, Costanza Miliani, Francesca Rosi, Aldo Romani, Chiara Anselmi, Bruno Brunetti, Antonio Sgamellotti, Jean-Louis Andral, and Gwénaëlle Gautier