by Lesley Stevenson and Belinda Thomson
This article was presented at the IIC congress The Object in Context: Crossing Conservation Boundaries in Munich, 2006
Abstract
In preparation for a major exhibition at the National Gallery of Scotland in 2005, a thorough technical examination of Vision of the Sermon by Paul Gauguin was undertaken for the first time since the painting’s acquisition in 1925. An inter-disciplinary approach to the research was adopted in an attempt to assess how innovative were the materials and techniques employed by Gauguin in this iconic work. The importance of the unique customs and religious piety of Brittany in 1888 to the iconography of Vision is discussed, as well as the various ways in which the original appearance of the painting has altered over time. Changes have occurred through both the natural ageing of materials and as a result of human intervention, particularly an aqueous lining and reframing. Analysis suggests that the paint medium consists of several different drying oils, confounding years of speculation that it may contain wax. The discovery that the original surface coating contains beeswax and tallow has grave implications for the feasibility of future conservation treatments. Following Gauguin’s accusation of plagiarism by Emile Bernard, a tentative comparison is made between Vision and the latter’s Breton Women in the Meadow. This reveals that while compositional similarities exist, Vision is far more complex, both in conception and execution.
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STEVENSON,L. and THOMSON, B. Vision of the Sermon
Important copyright information
This article was presented at the IIC congress The Object in Context: Crossing Conservation Boundaries in Munich, 2006. The text was first published in the IIC 2006 congress preceedings. The permission to publish this article on the INCCA website has kindly been given by the IIC. This abstract may only be downloaded for personal use. It may not be redistributed. Permission for redistribution must be requested from IIC.