ABSTRACT

Although Gino Severini is recognised as a leading exponent of European avant-garde movements through the first half of the twentieth century, his work as a mural painter is little known. This article reports the technical study of Severini’s wall paintings for the Swiss church of Saint Nicolas de Myre in Semsales (1924–1926), in the framework of a research project coordinated by the University of Applied Sciences and Arts of Southern Switzerland and financed by the Swiss National Science Foundation. Taking an interdisciplinary approach, the project investigates the wall paintings made by the artist in five churches in Switzerland and dating between 1924 and 1947, with the aim of clarifying the artist's mural painting techniques. Following research in the parish archives and in those of the Severini family, the project proceeded in the different churches with in situ examination (diffuse and raking visible light, UV radiation, digital microscopy) supported by non-invasive scientific investigation (technical photography and spectroscopic point analyses) and laboratory invasive analyses on micro-samples. Lastly, the data from all the various sources are collected and interrelated. The artist’s first commission, in 1924 at Semsales, became the longest and most complex, given the artist’s relative lack of mural experience, the extent of surfaces, and variety of techniques adopted. The investigation reveals a long process in which Severini mastered a secco procedures using organic binders, on plasters that had already been applied, flanked by works in the tradition of a fresco painting, enriched with a modern palette of colours. Underlying all this work was a long process of planning, in which the artist associated the differing techniques with variations in style, in an extremely personal language between cubism and classicism.

摘要

尽管 Gino Severini 被公认为二十世纪上半叶欧洲前卫运动的主要代表，但他作为壁画画家的作品却鲜为人知。本文报道了在瑞士南部应用科学与艺术大学协调并由瑞士南部艺术大学协调并资助的研究项目框架内，塞韦里尼为塞姆萨莱斯的圣尼古拉斯德迈尔教堂（1924-1926 年）绘制的壁画的技术研究瑞士国家科学基金会。该项目采用跨学科的方法，考察艺术家于1924年至1947年间在瑞士五座教堂创作的壁画，旨在阐明艺术家的壁画技法。在对教区档案和 Severini 家族的档案进行研究之后，由非侵入性科学研究（技术摄影和光谱点分析）和微样品实验室侵入性分析支持的原位检查（漫射和倾斜可见光、紫外线辐射、数字显微镜）。最后，收集所有不同来源的数据并相互关联。这位艺术家于 1924 年在 Semsales 的第一个委托成为最长和最复杂的委托，因为艺术家相对缺乏壁画经验、表面的范围以及所采用的技术的多样性。调查揭示了一个漫长的过程，在这个过程中，Severini 掌握了使用有机粘合剂的 secco程序，在已经应用的石膏上，两侧是壁画传统的作品绘画，丰富了现代色彩。所有这些作品的背后是一个漫长的计划过程，在这个过程中，艺术家以一种介于立体主义和古典主义之间的极其个人化的语言，将不同的技术与风格的变化联系起来。