Abstract
Effective care of large-scale museum collections requires planning that includes the conservation treatment of specific groups of art works, such as appropriate cleaning strategies. Optical coherence tomography (OCT) has been successfully applied as a non-invasive method for the stratigraphic visualisation of the uppermost transparent and semi-transparent layers in paintings, such as varnishes. Several OCT case study examples have further demonstrated the capabilities of the non-contact interferometric technique to measure the thickness of the various varnish layers, to help monitor cleaning and associated optical changes, and to detect past restorations. OCT was applied for the detection of varnishes to 13 paintings by Edvard Munch (1863–1944) owned by the Norwegian National Museum of Art. The paintings have a controversial and complex varnish history and are displayed as a group according to their acquisition legacy. A prototype high-resolution portable SdOCT instrument was used in combination with complementary imaging techniques. Questions concerning thickness, stratigraphy and the identification/location of the artist’s original varnish layers and/or pigmented glazes were addressed. Findings confirmed the complexity of the historical layers present and provided new evidence for Munch’s use of transparent and semi-transparent layers as part of an occasional, localised varnishing and/or glazing technique.
Highlights
The overall goal of this study was to gain a better insight into the non-original varnish coatings and Munch’s own intended surface finishes from the specific period, 1880–1900
In line with the collection’s long and complex conservation history, this study explores the diagnostic capabilities of optical coherence tomography (OCT) as a promising non-invasive detection method to investigate this phenomenon [12]
The application of Optical coherence tomography (OCT) on 13 paintings belonging to the National Museum of Art (NaM) has been proven as a valuable non-invasive methodology to clarify hidden complexities and diversities between original
Summary
Plus (2021) 136:899 and mid-career masterpieces (1881–1920) Their international renommé and significance, in terms of national cultural identity, are coupled with their distinct display history as a specific group, exhibited in a dedicated space known as the ‘Munch Room’ [1, 2]. Munch’s paint surfaces are typically associated with a matt and unvarnished finish, yet there are several recent references from works dated between 1880–1900, inferring his employment of varnish resins as part of an occasional, localised saturation/gloss effect [4,5,6,7,8,9]. The overall goal of this study was to gain a better insight into the non-original varnish coatings and Munch’s own intended surface finishes from the specific period, 1880–1900
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