Evolution of Liu Kang’s Palette and Painting Practice for the Execution of Female Nude Paintings
The Analytical Investigation of a Genre
Bibliographic Data
| ID | 13126149 |
|---|---|
| Authors | Damian Lizun (0000-0001-8340-0701, National Heritage Board, corresponding author), Teresa Kurkiewicz (0000-0002-4570-4226, Nicolaus Copernicus University), Mateusz Mądry (0000-0003-2449-5063, AGH University of Krakow), Bogusław Szczupak (0000-0002-2098-1577, Wrocław University of Science and Technology), Jarosław Rogóż (Nicolaus Copernicus University) |
| Year | 2022 |
| Volume | 5 |
| Issue | 2 |
| Pages | 896-935 |
| Publication date | 2022-04-20 |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Heritage (JOURNAL) |
| Journal identifiers | ISSN: 2571-9408 • E-ISSN: 2571-9408 |
| Publisher | MDPI AG (PUBLISHER • IT) |
| DOI | 10.3390/heritage5020050 |
| OpenAlex | W4224217479 |
| Language | EN |
| Citations received | 4 |
| References cited | 21 |
The comprehensive technical investigation of female nude paintings by the Singapore pioneer artist Liu Kang (1911–2004) provided the evidence for a discussion of the evolution of his palette of colours and his working process for expression in this genre, particularly the execution of female bodies. As the artist’s free expression in classical nude paintings was limited by the censorship imposed by the Singapore government, the investigated artworks span two periods, 1927–1954 (early career) and 1992–1999 (the “golden years”, during which censorship policies were relaxed). Hence, eight paintings from the Liu family and National Gallery Singapore were selected for non- and micro-invasive analyses of the paint layers. The obtained results were supplemented with archival sources to elucidate certain aspects of Liu Kang’s working practice. The investigation revealed the importance of drawing and sketching studies in the development of artistic ideas. The analytical techniques, such as polarised light microscopy (PLM), field emission scanning electron microscope with energy dispersive spectroscopy (FE-SEM-EDS) and attenuated total reflectance–Fourier transform infrared spectroscopy (ATR-FTIR), enabled us to observe a transition from the yellow iron-based tonal ranges of skin colours to complex pigment mixtures composed of additions of cobalt blue, ultramarine, Prussian blue, Cr-containing yellow(s) and green(s), cadmium yellow, orange and/or red and organic reds, revealing the artist’s more liberal use of colours and his experimentation with their contrasting and complementary juxtaposes. In terms of painting technique, the artist’s comparatively laborious paint application using small brushes quickly gave way to a more effortless manipulation of the paint using bigger brushes and the incorporation of palette knives. Moreover, visible light (VIS), near-infrared (NIR) and X-ray radiography (XRR) imaging techniques led to the discovery of a hidden composition in one investigated artwork, which bears resemblance to the nude painting known only from an archival photograph. Additionally, for the first time, the archival search provided photographic evidence that Liu Kang used oil paint tubes from Royal Talens and Rowney in the 1990s. Overall, this in-depth investigation contributes to the understanding of Liu Kang’s approach to the female nude painting and may assist conservators and art historians in studies of twentieth-century commercial paints
Art · Art history · Censorship · Painting · Palette (painting · Prussian blue · Visual arts · Chemistry · Conservation Techniques and Studies · Cultural Heritage Materials Analysis · Microbial Metabolism and Applications · Philosophy
A Characterisation of the Protrusions on Liu Kang’s Boat scene (1974) from the National Gallery Singapore
Hidden Narratives
Overview of Materials and Techniques of Paintings by Liu Kang Made between 1927 and 1999 from the National Gallery Singapore and Liu Family Collections
In search of the uncontroversial nude
| Citations per year | 1.33 |
|---|---|
| Citation span | 2023 - 2026 (4) |
| Highly cited | No |