ABSTRACT Known as the quintessential painter-photographer in his early career, Edward Steichen (1879–1973) combined artistically renowned compositions with excellence in technique and experimentation. He often created multiple versions of a print in order to test out the subject matter, using different combinations of color and effect. Two prints of a moonlit scene by Steichen in the collection of the Art Institute of Chicago demonstrate his experimental attitude. Though they appear to have been printed from the same negative, each displays unique characteristics, color palettes, orientations, and titles. To understand the individual elemental and material variations within these prints, and to compare known processes to those described by the artist in correspondence from the time, x-ray fluorescence and Fourier transform infrared spectroscopy were performed. Elemental analysis detected platinum, chromium, iron, and lead, with FTIR spectroscopy clearly identifying the characteristic signal for Prussian blue. One of the works also showed clear signs of an applied varnish, which was traditionally applied to paintings. This article proposes a timeline for the creation and alteration of the works, whose understanding has been significantly expanded due to the combination of material analysis and art historical research into these objects.

中文翻译：

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月光还是午夜？研究爱德华·史提琴（Edward Steichen）月出版画的阶段

摘要爱德华·斯蒂琴（Edward Steichen，1879–1973年）是早期职业生涯中的典型画家，他将艺术上享有盛誉的构图与精湛的技术和实验相结合。他经常使用颜色和效果的不同组合来创建印刷品的多个版本，以便测试主题。Steichen在芝加哥艺术学院收藏中的两幅月光场景照片展示了他的实验态度。尽管它们似乎是用相同的底片印刷的，但每个都显示出独特的特征，调色板，方向和标题。为了了解这些版画中各个元素和材料的变化，并将已知的过程与艺术家从那时起对应描述的过程进行比较，进行了X射线荧光和傅里叶变换红外光谱。元素分析检测到铂，铬，铁和铅，并通过FTIR光谱清楚地识别出普鲁士蓝的特征信号。其中一件作品还显示出明显的应用清漆迹象，传统上将其应用于绘画。本文提出了创作和变更作品的时间表，由于将材料分析和艺术史研究相结合，这些作品的理解得到了极大的扩展。