Painting Light: The hidden techniques of the Impressionists








Palazzo Strozzi Florence – Italy

Painting Light: The hidden techniques of the Impressionists
Exhibition > 28 September 2008







An exhibition of major works by Impressionist and Post-Impressionist masters reveals the secrets behind some of the world’s best-loved paintings. Painting Light: The hidden techniques of the Impressionistsis staged at the Palazzo Strozzi in Florence until 28 September 2008.



Pierre-Auguste Renoir (1841-1919)


Jean Renoir sewing – 1900
Oil on canvas; 55,4 x 46,5 cm
Wallraf-Richartz-Museum & Fondation Corboud, Cologne



The exhibition comprises over sixty works including masterpieces by Manet, Monet, Renoir, Van Gogh, Gauguin, Caillebotte and Signac which will be shown alongside such evocative objects as one of Monet’s palettes as well as technological images of the pictures themselves. This juxtaposition of art and extensive research produces a fascinating insight that will take visitors by surprise. The majority of paintings come from the Wallraf-Richartz-Museum & Fondation Corboud which has the most comprehensive collection of Impressionist and Post-Impressionist painting in Germany. Other major works have been loaned by German, French and Swiss museums as well as the Tate in London and private collectors.

How did the Impressionist artists create their works which at first shocked the art world and later became some of the most popular paintings ever created? What techniques and materials did they use to give life to their hugely influential contribution to the evolution of modern art? Much information hidden beneath the visible surfaces of paintings has been revealed through extensive technological study of the paintings undertaken by a team of expert restorers, scientists and art historians.


Paul Cézanne (1839-1906)


Landscape at Aix-en-Provence – 1879 ca
Oil on canvas; 46,2 x 55,3 cm
Wallraf-Richartz-Museum & Fondation Corboud, Cologne


Claude Monet (1840-1926)


The Seine at Asnièrs – 1873
Oil on canvas; 54,2×72,5 cm
Wallraf-Richartz-Museum & Fondation Corboud, Cologne


Maximilien Luce (1858-1941)


Saint-Tropez 1892
Oil on cardboard; 26 x 39,8 cm
Wallraf-Richartz-Museum & Fondation Corboud, Cologne



The exhibition explores many aspects of Impressionism and poses a series of questions beginning with ‘What is an impression?’ The physical elements of light, colour and sensory perception are highlighted while projections of changing light imitating different times of day demonstrate the influence of light on paintings. The materials and implements the Impressionists used are explored through a recreation of a 19th century art supplies shop displaying brushes, canvases, palettes and paints, as well as a wooden paintbox.

This shows the immense influence of such technical progress as recently discovered colour tones or the invention of oil paint in tubes that made it so much easier for the Impressionists to create their legendary plein air or open air paintings.

The technological detective work has in many cases been able to pinpoint where a painting was originally created. For example the question ‘Inside or out?’ has been answered by the discovery of countless grains of sand in The Sea at Saint-Palais by Armand Guillaumin and by the bud of a poplar tree embedded in a landscape entitled Laundry Drying on the Bank of the Seine by Gustave Caillebotte. In addition, this section includes a re-creation of both a studio and an open air situation with original props.

The goal of many Impressionists was to spontaneously capture a moment on canvas but how quick were they really? The section ‘Spontaneous or strategic?’ presents research that answers this question. Invisible underdrawings, first drafts and other meticulous preparations show how, behind the façade of spontaneity, artists such as Gauguin, Van Gogh or Caillebotte frequently worked very methodically. An infra-red reflectogram of Van Gogh’s Bridge at Clichy, 1887, reveals a detailed pencil underdrawing and the guidelines of the perspective frame.


Vincent van Gogh (1853-1890)


Bridge at Clichy – 1887
Oil on canvas; 55 x 46,3 cm
Wallraf-Richartz-Museum & Fondation Corboud, Cologne


Paul Signac (1863-1935)


The Harbour of Concarneau – 1933
Oil on canvas; 53 x 73,5 cm
Wallraf-Richartz-Museum & Fondation Corboud, Cologne



‘When was a painting finished?’ Among the initial criticisms aimed at Impressionist pictures was their apparent lack of finish. The sketchy style, frequent lack of signature or varnish went against the usual rules and presented a problem for critics, collectors, dealers and even the artists themselves. The frame became a new sign of the completion of a painting for many artists who believed that its form and colouring should harmonise and enhance the work. Camille Pissarro, for example, was a great proponent of the stark white frame which has been reconstructed for Orchard at Pontoise at Sunset. Sadly Impressionist paintings still in their original frames are extremely rare.

The final question addressed is ‘How do we see the pictures today?’ All pictures change over time both through natural aging and later interventions such as overpainting or restoration. The technological studies undertaken demonstrate how changes of canvas, ground or colour layer influence the whole appearance of a painting. Farm at Bazincourt by Pissarro shows how pictures were added to and supposedly ‘improved’ by brushstrokes by others – additions that were not unusual in Impressionist works. Similarly forgeries created during the lifetime of the artists, a clear sign of their growing public recognition, can be unmasked by technological study. It can also give evidence for the attribution of a hitherto unacknowledged painting to a prominent artist, for example the exhibition presents for discussion the possible attribution of a portrait of a young woman to Edouard Manet.





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~ by Stampfli & Turci on August 8, 2008.

One Response to “Painting Light: The hidden techniques of the Impressionists”

  1. […] Painting Light: The hidden techniques of the Impressionists […]

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