Painting Materials Research Articles

Evaluation of hemp (Cannabis sativa L.) as an industrial crop: a review.

Rising human population has increased the utilization of available resources for food, clothes, medicine, and living space, thus menacing natural environment and mounting the gap between available resources, and the skills to meet human desires is necessary. Humans are satisfying their desires by depleting available natural resources. Therefore, multifunctional plants can contribute towards the livelihoods of people, to execute their life requirements without degrading natural resources. Thus, research on multipurpose industrial crops should be of high interest among scientists. Hemp, or industrial hemp, is gaining research interest because of its fastest growth and utilization in commercial products including textile, paper, medicine, food, animal feed, paint, biofuel, biodegradable plastic, and construction material. High biomass production and ability to grow under versatile conditions make hemp, a good candidate species for remediation of polluted soils also. Present review highlights the morphology, adaptability, nutritional constituents, textile use, and medicinal significance of industrial hemp. Moreover, its usage in environmental conservation, building material, and biofuel production has also been discussed.

Decontamination of Bacillus Spores with Formaldehyde Vapor under Varied Environmental Conditions.

This study investigated formaldehyde decontamination efficacy against dried Bacillus spores on porous and non-porous test surfaces, under various environmental conditions. This knowledge will help responders determine effective formaldehyde exposure parameters to decontaminate affected spaces following a biological agent release. Prescribed masses of paraformaldehyde or formalin were sublimated or evaporated, respectively, to generate formaldehyde vapor within a bench-scale test chamber. Adsorbent cartridges were used to measure formaldehyde vapor concentrations in the chamber at pre-determined times. A validated method was used to extract the cartridges and analyze for formaldehyde via liquid chromatography. Spores of Bacillus globigii, Bacillus thuringiensis, and Bacillus anthracis were inoculated and dried onto porous bare pine wood and non-porous painted concrete material coupons. A series of tests was conducted where temperature, relative humidity, and formaldehyde concentration were varied, to determine treatment efficacy outside of conditions where this decontaminant is well-characterized (laboratory temperature and humidity and 12 mg/L theoretical formaldehyde vapor concentration) to predict decontamination efficacy in applications that may arise following a biological incident. Low temperature trials (approximately 10°C) resulted in decreased formaldehyde air concentrations throughout the 48-hour time-course when compared with formaldehyde concentrations collected in the ambient temperature trials (approximately 22°C). Generally, decontamination efficacy on wood was lower for all three spore types compared with painted concrete. Also, higher recoveries resulted from painted concrete compared to wood, consistent with historical data on these materials. The highest decontamination efficacies were observed on the spores subjected to the longest exposures (48 hours) on both materials, with efficacies that gradually decreased with shorter exposures. Adsorption or absorption of the formaldehyde vapor may have been a factor, especially during the low temperature trials, resulting in less available formaldehyde in the air when measured. Environmental conditions affect formaldehyde concentrations in the air and thereby affect decontamination efficacy. Efficacy is also impacted by the material with which the contaminants are in contact.

Optimization of titanium dioxide wetting in alkyd paint and varnish materials in the presence of surfactants

This paper reports the results of studying the influence of surfactants (SAS) on the wetting of titanium dioxide in alkyd paint and varnish materials (PVM), based on pentaphthalic (PPh) and alkyd-urethane (AU) film-forming substances. Edge wetting angle (θ°) and adhesion work (Wa) were used as the criteria for assessing the wettability of titanium dioxide. Three additives were used as SAS: the original product AS-1, obtained from waste of oil refining (with low cost), and industrial additives: "Telaz" and polyethylene polyamine (PEPA). All the studied additives in PPh and AU PVM improve the wetting of titanium dioxide. At the 30 % content of AS film-forming substance in the composition, the maximum decrease in θ° for AS-1 is 4.5°, for PEPA and Telaz it is 4°. For pentaphthalic composition under similar conditions, a decrease in edge wetting angle for AS-1 is 10 °, for Telaz 8.6°, and for PEPA 5.9°. According to the relative change in edge wetting angle for both systems, the maximum decrease in θ° is about 10 %. The introduction of SAS into the composition of AU ambiguously affects the adhesion work, for PPh, the introduction of SAS causes a decrease in adhesion work (Wa). AS-1 is the SAS that minimally reduces adhesion work. The compositions of the PVM by the method of probabilistic-deterministic planning, which ensures maximum wetting of titanium dioxide with film-forming solutions, were analyzed. The equations for calculating the edge angle of wetting of titanium dioxide depending on the content of solvent and the SAS in the PVM were derived. The effectiveness of the AS-1 product as a wetting additive for alkyd paints and varnishes was proven. The wetting ability of the original SAS – AS-1 is close to industrial additives PEPA and Telaz.

From Paris and Shanghai to Singapore: A Multidisciplinary Study in Evaluating the Provenance and Dating of Two of Liu Kang’s Paintings

This paper focuses on the dating and provenance of two paintings, Climbing the hill and View from St. John’s Fort by the prominent Singaporean artist Liu Kang (1911–2004). Climbing the hill, from the National Gallery Singapore collection, was believed to have been created in 1937, based on the date painted by the artist. However, a non-invasive examination unveiled evidence of an underlying paint scheme and a mysterious date, 1948 or 1949. These findings prompted a comprehensive technical study of the artwork in conjunction with comparative analyses of View from St. John’s Fort (1948), from the Liu family collection. The latter artwork is considered to be depicting the same subject matter. The investigation was carried out with UVF, NIR, IRFC, XRR, digital microscopy, PLM and SEM-EDS to elucidate the materials and technique of both artworks and find characteristic patterns that could indicate a relationship between both paintings and assist in correctly dating Climbing the hill. The technical analyses were supplemented with the historical information derived from the Liu family archives. The results showed that Climbing the hill was created in 1948 or 1949 on top of an earlier composition painted in Shanghai between 1933 and 1937. As for the companion View from St. John’s Fort from 1948, the artist reused an earlier painting created in France in 1931. The analytical methods suggested that Liu Kang used almost identical pigment mixtures for creating new artworks. However, their painting technique demonstrates some differences. Overall, this study contributes to the understanding of Liu Kang’s painting materials and his working practice.

The Capability to Make Ice from Sunlight Utilizing a New Absorption Unit of Nano-Coated Ammonia/Calcium Chloride

In southern Jordan, the ice machine was designed, produced, operated, and fully examined at Mutah University, a unique Nano-coated ammonium/calcium chloride absorption sun unit. Analytical and experimental assessments on the use of ammonia/calcium chloride absorption unit ice produced. The new study has decreased energy emission by the Nano ice-making company while enhancing Nano's ice machine's nuclear power compared to standard solar chiller absorption that is not used in the current research. Our case was the world's first research to examine the effect of a nanoparticle combination of paint on an absorption cooling system used to make ice by the sunlight. The result of the test was quite encouraging. The combination of paint and nanofluid particle materials has boosted the accessibility to sun-based cooling processes and their capability to make ice of absorption. In addition, 0.6 was found to be a pretty good COP for the ammonia/calcium chloride solar system of absorption.

Performance improvement of pyramid solar distillers using a novel combination of absorber surface coated with CuO nano black paint, reflective mirrors, and PCM with pin fins

The present study aims to achieve the highest cumulative yield of pyramid solar distillers. To achieve this, a new combination of several effective modifications was made to the design of the pyramid distillers. This novel combination of the effective modifications includes: coated the absorber surface with CuO nano black paint, reflective mirrors, and phase change material with pin fins. To illustrate the influences of this novel combination on a cumulative yield of pyramid distillers. Two pyramid distillers were designed and tested under the same weather conditions, namely; modified pyramid solar distiller (MPSD) with a novel combination of effective modifications and conventional pyramid solar distiller (CPSD) (reference case). The experimental, energy, and exergy analysis are also studied in this work. The experimental results presented that the utilization of this novel combination of effective modifications represents a very effective option to achieve the highest performance. The cumulative yield achieved by CPSD varying between 4085 and 4171 mL/m2/day, while the utilization of this novel combination of effective modifications was improving the cumulative yield to 9885–10015 mL/m2/day with 140.1–142% improvement compared to CPSD. Also, the daily thermal and exergy efficiencies of MPSD were improved by a rate varying between 138.1-140.1% and 243.6–252.9%, respectively compared to CPSD.

Materials In Paintings (MIP): An interdisciplinary dataset for perception, art history, and computer vision.

In this paper, we capture and explore the painterly depictions of materials to enable the study of depiction and perception of materials through the artists’ eye. We annotated a dataset of 19k paintings with 200k+ bounding boxes from which polygon segments were automatically extracted. Each bounding box was assigned a coarse material label (e.g., fabric) and half was also assigned a fine-grained label (e.g., velvety, silky). The dataset in its entirety is available for browsing and downloading at materialsinpaintings.tudelft.nl. We demonstrate the cross-disciplinary utility of our dataset by presenting novel findings across human perception, art history and, computer vision. Our experiments include a demonstration of how painters create convincing depictions using a stylized approach. We further provide an analysis of the spatial and probabilistic distributions of materials depicted in paintings, in which we for example show that strong patterns exists for material presence and location. Furthermore, we demonstrate how paintings could be used to build more robust computer vision classifiers by learning a more perceptually relevant feature representation. Additionally, we demonstrate that training classifiers on paintings could be used to uncover hidden perceptual cues by visualizing the features used by the classifiers. We conclude that our dataset of painterly material depictions is a rich source for gaining insights into the depiction and perception of materials across multiple disciplines and hope that the release of this dataset will drive multidisciplinary research.

\u201cEcce Homo\u201d by Antonello da Messina, from non-invasive investigations to data fusion and dissemination

Scientific investigations of artworks are crucial in terms of preservation since they provide a measurable evaluation of the materials and the state of conservation. This is the case of Antonello da Messina’s painting “Ecce Homo”: its delicate state of conservation, with the need for constant monitoring, required a broad and in-depth diagnostic campaign to support the restorers. The project was carried out entirely in situ using non-invasive cutting-edge techniques and proposes a multimodal and data-centric approach, integrating 3D and 2D methodologies. The surface irregularities and the support were analysed with a structured-light 3D scanner and X-ray tomography. The painting materials were investigated with X-ray fluorescence scanning (MA-XRF) and reflectance hyperspectral imaging (HSI). Primarily, the data were jointly used for a scientific scope and provided new knowledge of the painting in terms of materials and painting techniques. In addition, two web-based interactive platforms were developed: one to provide restorers and experts with a new perspective of the hidden geometries of the painting, and the other targeted at the general public for dissemination purposes. The results of the Ecce Homo scientific analysis were exhibited, using a touch-screen interface, and developed for different user levels, from adults to kids.

Three Birds with One Stone: Preventive Protection of Paper Materials by ZnO-PHMB and UV-531 Composite Systems

As the most frequently used archival materials for painting and recording, paper lays the groundwork for the development of prosperous human civilization. However, its susceptibility to three primary factors including external ultraviolet light, increased acidity, and biological pathogens in long-term storage shortens the longevity of paper. Therefore, the protection of paper-based cultural relics is extremely urgent. Inspired by the three adverse factors affecting the protection of cultural relics, we herein propose to combine the ultraviolet absorber 2-hydroxy-4-(octyloxy)benzophenone (UV-531) and alkaline zinc oxide (ZnO) nanoparticles innovatively into the antibacterial agent polyhexamethylene biguanidine hydrochloride (PHMB) to realize the strategy of three birds with one stone for relics protection. This study illustrates that the tensile strength and the folding endurance of different test papers are guaranteed by coating them with the composite reagents, and molds including Mucor, Trichoderma, and Aspergillus niger are effectually sterilized. In addition, a hand-painted Chinese ink-wash painting with beautiful flowers is chosen as the object for simulating cultural relics protection, and negligible color fading is observed in aging experiments. From the perspective of effectiveness, simplicity, and economy, this strategy sheds light on preservative protection of paper-based relics in long-term storage.

MA-XRF for the Characterisation of the Painting Materials and Technique of the Entombment of Christ by Rogier van der Weyden

At present, macro X-ray fluorescence (MA-XRF) is one of the most essential analytical methods exploited by heritage science. By providing spatial distribution elemental maps, not only does it allow for material characterisation but also to understand, or at least to have a likely idea of, the production techniques of an analysed object. INFN-CHNet, the Cultural Heritage Network of the Italian National Institute of Nuclear Physics, designed and developed a MA-XRF scanner aiming to be a lightweight, easy to transport piece of equipment for use in in situ measurements. In this study, the INFN-CHNet MA-XRF scanner was employed for the analysis of a painting by the Flemish artist Rogier van der Weyden. The painting belongs to the collection of the Uffizi gallery in Florence and was analysed during conservation treatments at the Opificio delle Pietre Dure, one of the main conservation centres in Italy. The research aims were to characterise the materials employed by the artist and to possibly understand his painting technique. Although MA-XRF alone cannot provide a comprehensive characterisation, it nonetheless proved to be an invaluable tool for providing an initial overview or hypothesis of the painting materials and techniques used.

Implementation of sustainable materials in an existing residential building and comparison

Construction and construction related industries are chiefly responsible for depletion of natural resources and environmental problems, hence it is necessary to solve these issues using sustainable materials and techniques. In the study, a few alternative sustainable materials have been selected and have been implemented in an existing residential building. The effectiveness of sustainable materials in reducing the embodied energy and carbon footprint is enumerated in the selected conventional building constructed in 2014 and re-estimated as per the current SR Book of rates. The materials like building blocks, flooring material, paints, doors and windows and conventional slabs are replaced by their alternatives chosen through a detailed literature survey. To quantify usefulness of green materials in terms of cost and positive environmental impacts like reduced embodied energy and carbon footprint, a similar green residential building is proposed and to conduct comparative study for green versus conventional with all respective aspects. Materials used are brick prepared using mine waste, SHGC glass, filler slab, Bamboo doors and windows and low VOC paint materials. Overall construction cost is also 15.2% lesser than conventional as per the abstract between re-estimated conventional building and the sustainable green building. The overall carbon foot print and the embodied energy of sustainable green building is 39.3% lesser than the conventional one.

PEMBENTUKAN KREATIVITAS MELALUI PEMBELAJARAN SBdP KELAS IV PADA MATERI MELUKIS DI SD MUHAMMADIYAH CONDONGCATUR

The objectives of this study were (1) to describe the formation of creativity through Cultural Arts and Crafts learning in Class IV on Painting Materials at Muhammadiyah Condongcatur Elementary School, (2) To find out the supporting and inhibiting factors for the formation of creativity through Cultural Arts and Crafts learning in Class IV on painting materials at Muhammadiyah Condongcatur Elementary School. This research method used a type of qualitative research. Data collection techniques used observation, interviews and document review. The sampling used random sampling and 7 students were the research subjects. The validity of the data used triangulation of sources and techniques. Data analysis used the stages of data reduction, data presentation and drawing conclusions. The results of this study indicated that the process of forming students' creativity in painting was going well. The painting teacher at the school had an art education background so that the assessment in the students' paintings was adjusted to the assessment criteria in painting, including theme suitability, coloring, neatness and creativity. In the process of forming creativity, it was known that students had an imagination tailored to their interests so that the students’ creative ideas emerged from students' interest in one thing they like. Then, in the process of making a painting, a work analysis was carried out from various examples of painting produced by the teacher or samples from the internet as a reference for students to develop their ideas which could then produce original work. The teacher allowed students to find reference sources for work in order to make it easier for students to work and develop creativity. The most influential supporting factors in the formation of Cultural Arts and Crafts learning creativity in painting materials were environmental factors and interest and motivation factors. Then, for the inhibiting factor in the formation of creativity was evaluation when the students were working. This was considered ineffective and made some students less confident about their work.

Chinese ink coated melamine foam with Joule heating and photothermal effect for strain sensor and seawater desalination

Chinese ink is a common painting material with intrinsic color of black, excellent water-dispersion stability, and proper fluidity. Herein, a conductive melamine foam (CMF) composite with various features was fabricated through a dip-coating method to assemble Chinese ink carbon nanoparticles (ICN) on the foam. The CMF combines the advantages of strain sensing, Joule heating and photothermal performance. The resistance of CMF changes rapidly upon compression or tension, so CMF is employed to monitor physiological activities. Moreover, CMF exhibits excellent Joule heating property, which is applied to sensitively detect the fingers bending action. In addition, CMF shows good photothermal performance under near-infrared light (NIR) and simulated sunlight, which is capable to carry out desalination with high evaporation rate and efficiency. This study provides a new strategy to construct a multifunctional light-absorbing and conductive device with very cheap raw materials, which shows great potentials in smart sensor and desalination.

Applying Hyperspectral Reflectance Imaging to Investigate the Palettes and the Techniques of Painters.

Reflectance Spectroscopy (RS) and Fiber Optics Reflectance Spectroscopy (FORS) are well-established techniques for the investigation of works of art with particular attention to paintings. Most modern museums put at the disposal of their research groups portable equipment that, together with the intrinsic non-invasiveness of RS and FORS, makes possible the in situ collection of reflectance spectra from the surface of artefacts. The comparison, performed by experts in pigments and painting materials, of the experimental data with databases of reference spectra drives the characterization of the palettes and of the techniques used by the artists. However, this approach requires specific skills and it is time consuming especially if the number of the spectra to be investigated becomes large as is the case of Hyperspectral Reflectance Imaging (HRI) datasets. The HRI experimental setups are multi-dimensional cameras that associate the spectral information, given by the reflectance spectra, with the spatial localization of the spectra over the painted surface. The resulting datasets are 3D-cubes (called hypercubes or data-cubes) where the first two dimensions locate the spectrum over the painting and the third is the spectrum itself (i.e., the reflectance of that point of the painted surface versus the wavelength in the operative range of the detector). The capability of the detector to simultaneously collect a great number of spectra (typically much more than 10,000 for each hypercube) makes the HRI datasets large reservoirs of information and justifies the need for the development of robust and, possibly, automated protocols to analyze the data. After the description of the procedure designed for the data acquisition, we present an analysis method that systematically exploits the potential of the hypercubes. Based on Spectral Angle Mapper (SAM) and on the manipulation of the collected spectra, the algorithm handles and analyzes thousands of spectra while at the same time it supportsthe user to unveil the features of the samples under investigation. The power of the approach is illustrated by applying it to Quarto Stato, the iconic masterpiece by Giuseppe Pellizza da Volpedo, held in the Museo del Novecento in Milan (Italy).

Reflective Paint Consisting of Mesoporous Silica Aerogel and Titania Nanoparticles for Thermal Management

Thermal insulation paint material is an energy-critical coating component for thermal management in energy-efficient buildings, vehicles, electronics, and data centers. Long-standing pursuits for the paint coating materials are high thermal insulation and light reflectance, mechanical durability, and wear resistance. Here we describe an aqueous-based hierarchical coating nanocomposite composed of mesoporous silica aerogel and titania nanoparticle pigment paint which exhibits a low thermal conductivity of 0.029 W/m K, a high visible reflectance of 90%, and a mechanical Young’s modulus of ∼4.86 MPa with a high abrasion resistance. The hierarchical and hydrophobic nanocomposite coatings show robust thermal cycling and thermal resistance, resulting in an equivalent cooling power of 928 W/m2. The design and manufacturing principle reported here could extend to a variety of insulation coating materials to achieve energy efficiency and sustainability.

Unveiling the original layers and color palette of 18th century overpainted Transylvanian icons by combined X‐ray radiography, hyperspectral imaging, and spectroscopic spot analysis

This paper presents the results of an in‐depth diagnostic investigation carried out on four Transylvanian icons originally painted at the beginning of the 18th century and entirely repainted later, in 1911. The icons, originating from a wooden church in Alba County (Romania), were investigated by an array of non‐invasive and micro‐invasive techniques that included: multi‐ and hyperspectral imaging, digital radiography, X‐ray fluorescence, and Fourier transform infrared spectroscopy. Combined imaging techniques allowed extraction of information from the original pictorial layer and highlighted the original inscriptions. Spectroscopic analysis carried on micro‐samples identified many traditional pigments used in Byzantine iconography such as: lead white, red lead, orpiment, red ochre, yellow ochre, and umber. The presence of zinc white, Prussian blue, and some chromium‐based pigments in the upper paint layers was directly associated with the repainting. Information on the used painting technique was also obtained, as well as a series of informative technical details that shed light on the complex history of the icons, while offering at the same time new knowledge on the materials and painting techniques used in Transylvanian workshops, between the 18th and 20th century. Overall results allowed characterization and discrimination of the original painting materials and those present in the repainting, and helped conservators with the restoration of the objects.

Study of deformation properties of alkali activated concretes using active aggregates

Results of study of deformation properties of fine-grain concrete are shown using slag alkali activated cement and active aggregate. It had been shown that expansion deformations of specimens, supplying process of alkaline corrosion of aggregate in concrete, directly combined with component composition and conditions of hardening of material. It was shown that using alkaline component in the state of dry salt shrinkage deformations are varying in the shorter ranges comparing to concrete with the soluble glass. Introduction of active mineral admixture leads to the decreasing of deformations comparing to the compositions without admixture. Different conditions of hardening of the specimens are also influence well on the development of shrinkage deformations. It is shown that drying of specimens with active process of alkaline corrosion of concrete makes it possible to stop development of expansion deformations in concrete. Hydrophobization of the dried specimens make it possible to store linear characteristics of specimens. Hydrophobization of without drying leads to the intensification of structure formation processes and higher rates of development of deformations. Traditional method of protection of concrete constructions (covering by painting materials) is not able to prevent, but also possible to activate development of destructive processes of alkaline corrosion of concrete.

Study of resistance of thermomodified wood to the influence of natural conditions

It is established that thermal modification provides a decrease in the hydrophobicity of wood. Additional wood surface treatment reduces water absorption factor of 2 and modified sample at a temperature of 220°C – 3 times. Geometric and dimensional stability is improved by 2 times. The effect of heat treatment on the water absorption of wood is slightly smaller - for samples modified at 190 and 220°C for more than 10 hours – 20 %. Additionally, a 20 % deterioration in water absorption can be achieved by applying oil-wax or azure. With increasing temperature modification improves color stability to UV-rays. If the wood after termomodyfikuvannya 160°C color difference ΔE 2 times larger, 190 and 220°C – does not change. Protection after applying azure to the surface is slightly better compared to oil-wax. Thermal modification and finishing paint and varnish materials increases resistance to surface weathering. Therefore, such treatment is appropriate for the protection and aesthetic appeal of wood products.

Characterisation of materials and techniques in first archaeological findings of Nasca wall paintings

The pre-Colombian wall paintings in Peru were already known from north and central coast sites, but little information exists on the southern coast corresponding to the Nasca region. The recent excavations on Cahuachi site provided fragments of plaster with paint layers found near Great Pyramid, corresponding to phases III and IV of the construction of the site, and dating back to the Early Intermediate Period (from 200 BC to 350 AD). A series of fragments from three locations from these two respective periods were transferred directly from the excavation to the laboratory and analyzed. A panel of observation and analysis methods was applied in order to describe the stratigraphy and materials used for these paintings, with special attention to the paint layer. The stratigraphy was observed by optical and electron microscopies and X-ray fluorescence, Raman and infrared spectroscopies were employed for elemental and molecular characterization of the plaster and paintings. The obtained results show the large presence in painting layers of iron oxides and copper based pigments, as well as calcium sulfate, siliceous clay materials and graphite. Although most of these pigments could be provided by local deposits, the detection of graphite is probably linked to the use of charcoal. The variety of painting materials between phases III and IV are related to the palette of colours and pigments. The colours for phase III seem limited to the red and yellow ochre pigments, and unidentified black and gypsum white. During phase IV, additional pigments were identified such as: paratacamite, malachite and chrysocolla for greens, hematite for purple, charcoal and siliceous white, which replaced gypsum white. The paintings were sometimes applied in several layers and occasionally separated by a white coating layer. The painting materials and techniques identified on Cahuachi site, and especially the differences between the phases observed, constitute a new insight into the knowledge of wall painting tradition in Southern Peru.

Exploring Liu Kang’s Paris Practice (1929–1932): Insight into Painting Materials and Technique

This paper presents the results of an extensive study of 14 paintings by the pioneering Singapore artist Liu Kang (1911–2004). The paintings are from the National Gallery Singapore and Liu family collections. The aim of the study is to elucidate the painting technique and materials from the artist’s early oeuvre, Paris, spanning the period from 1929 to 1932. The artworks were studied with a wide array of non- and micro-invasive analytical techniques, supplemented with the historical information derived from the Liu family archives and contemporary colourmen catalogues. The results showed that the artist was able to create compositions with a limited colour palette and had a preferential use of commercially available ultramarine, viridian, chrome yellow, iron oxides, organic reds, lead white, and bone black bound in oil that was highlighted. This study identified other minor pigments that appeared as hue modifications or were used sporadically, such as cobalt blue, Prussian blue, emerald green, cadmium yellow, cobalt yellow, and zinc white. With regard to the painting technique, the artist explored different styles and demonstrated a continuous development of his brushwork and was undoubtedly influenced by Modernists’ artworks. This comprehensive technical study of Liu Kang’s paintings from the Paris phase may assist art historians and conservators in the evaluation of the artist’s early career and aid conservation diagnostics and treatment of his artworks. Furthermore, the identified painting materials can be compared with those used by other artists active in Paris during the same period.