{"id":12692,"date":"2015-05-29T09:38:38","date_gmt":"2015-05-29T14:38:38","guid":{"rendered":"http:\/\/www.conservators-converse.org\/?p=12692"},"modified":"2015-05-29T09:38:38","modified_gmt":"2015-05-29T14:38:38","slug":"43rd-annual-meeting-joint-painting-specialty-group-and-research-and-technical-studies-session-may-14-franz-klines-paintings-black-and-white-by-corina-rogge-za","status":"publish","type":"post","link":"https:\/\/resources.culturalheritage.org\/conservators-converse\/2015\/05\/29\/43rd-annual-meeting-joint-painting-specialty-group-and-research-and-technical-studies-session-may-14-franz-klines-paintings-black-and-white-by-corina-rogge-za\/","title":{"rendered":"43rd Annual Meeting \u2013 Joint Painting Specialty Group and Research and Technical Studies Session, May 14, \u201cFranz Kline\u2019s Paintings: Black and White?\u201c by Zahira Veliz Bomford, Corina Rogge, and Maite Leal"},"content":{"rendered":"

Three works by Franz Kline in the collection of the Museum of Fine Arts, Houston were discussed with regard to their condition and construction: Wotan<\/em> (1950), Orange and Black Wall<\/em> (1959), and Corinthian II<\/em> (1961). While the first two paintings exhibit alarming craquelure and flaking, the latter is in good condition. Rogge details the Museum\u2019s investigation into the circumstances which lead to such differing states of preservation, presenting a clear, thoughtful look at Kline\u2019s working methods and legacy.
\nPrior to this study, it was suspected that condition issues stemmed at least in part from the presence of zinc white, which Kline is known to have used; however, the causes of instability were not quite so \u201cblack and white.\u201d The three aforementioned paintings were examined using a range of analytical methods, and an array of inherent vices were identified, including underbound paint, zinc\/lead soaps, interaction with the gelatin sizing in the canvas, the thickness of paint layers, and the use of poor quality canvas. Kline also seems to have\u00a0modified commercial paints.
\nIt was found that Kline\u2019s methods of layering paint and use of various materials was crucial to each painting\u2019s relative (in)stability. It was suggested additionally that Woton<\/em>\u2019s integrity was compromised due at least in part to transportation. In the presentation, an animated map charted the painting\u2019s transit, making the point of how excessively well traveled the work has been during its somewhat brief lifetime.
\nWhile treatment options for the paintings discussed were and are limited by inherent vice, the work undertaken to specify the various forces at play was remarkable: this talk above all highlighted the incredible ability we have today to begin to unravel the complexity of intertwined degradation mechanisms.<\/p>\n","protected":false},"excerpt":{"rendered":"

Three works by Franz Kline in the collection of the Museum of Fine Arts, Houston were discussed with regard to their condition and construction: Wotan (1950), Orange and Black Wall (1959), and Corinthian II (1961). While the first two paintings exhibit alarming craquelure and flaking, the latter is in good condition. Rogge details the Museum\u2019s … Continue reading “43rd Annual Meeting \u2013 Joint Painting Specialty Group and Research and Technical Studies Session, May 14, \u201cFranz Kline\u2019s Paintings: Black and White?\u201c by Zahira Veliz Bomford, Corina Rogge, and Maite Leal”<\/span><\/a><\/p>\n","protected":false},"author":9,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_exactmetrics_skip_tracking":false,"footnotes":""},"categories":[2,34,38,16],"tags":[75],"class_list":["post-12692","post","type-post","status-publish","format-standard","hentry","category-annual-meeting","category-paintings","category-research-materials-techniques","category-specialty-sessions","tag-aics-43rd-annual-meeting"],"_links":{"self":[{"href":"https:\/\/resources.culturalheritage.org\/conservators-converse\/wp-json\/wp\/v2\/posts\/12692","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/resources.culturalheritage.org\/conservators-converse\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/resources.culturalheritage.org\/conservators-converse\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/resources.culturalheritage.org\/conservators-converse\/wp-json\/wp\/v2\/users\/9"}],"replies":[{"embeddable":true,"href":"https:\/\/resources.culturalheritage.org\/conservators-converse\/wp-json\/wp\/v2\/comments?post=12692"}],"version-history":[{"count":0,"href":"https:\/\/resources.culturalheritage.org\/conservators-converse\/wp-json\/wp\/v2\/posts\/12692\/revisions"}],"wp:attachment":[{"href":"https:\/\/resources.culturalheritage.org\/conservators-converse\/wp-json\/wp\/v2\/media?parent=12692"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/resources.culturalheritage.org\/conservators-converse\/wp-json\/wp\/v2\/categories?post=12692"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/resources.culturalheritage.org\/conservators-converse\/wp-json\/wp\/v2\/tags?post=12692"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}