The materials and techniques of twentieth‐century reverse‐painted glass panels: An investigation of William Nicholson's Knoblock commission

Abstract

Abstract This article focuses on the historical context, present condition, technique and materials of the reverse glass paintings by William Nicholson that were commissioned in 1913 by Edward Knoblock for his apartment in the Palais Royale, Paris, France. There are few detailed technical studies of twentieth‐century reverse glass painting, despite the technique appearing in the work of major artists such as Picasso, Pollock and Duchamp. The most notable exponents of the technique are Kandinsky, Klee and other members of Der Blaue Reiter (Lee Ward 1978). In the case of the reverse‐painted panels by Nicholson, it was essential to carry out an investigation of the materials and techniques employed in the execution of the panels to inform future conservation decisions and to evaluate different methods of redisplay. Both the priming and binding media were analysed to establish their character. Pigments used by Nicholson were also identified. This information, in turn, made a significant contribution to the exceedingly sparse technical information about Nicholson's work. A replica panel was made to gain an empirical understanding of Nicholson's working technique and material choice. It was also important to establish the chronology of the panels’ locations while they were still in Knoblock's possession. This helped to account for the stark differences in condition of separate panel sets and confirmed a link to a similar, now privately owned, panel set that had been thought to be by Nicholson. This study also contributes to our understanding of the methods used to create reverse glass paintings, and provides essential information from which to make treatment decisions.