Abstract

Prior to an exhibition, one gouache (The Oise at Auvers 1890) and two drawings (Thatched Roofs 1884 and A Corner of the Garden of St Paul’s Hospital at St Rémy 1889) by Vincent van Gogh in the Tate collection were available for technical examination for the first time. Obvious colour changes in the papers and loss of colour in the inks and in pink/red pigments where display mounts have protected the edges prompted materials analysis, microfading and an investigation of their history. The decisions made for their display are discussed in the context of Tate’s lighting policy, currently being reviewed to cover all types of material in a growing collection of modern materials, and changing attitudes to the display or not of preserved colour beneath earlier mounts and frames. The materials van Gogh used were very typical of his known choices at the dates of making. The use of two formulations with geranium lakes based on Eosin Y, both sensitive to light, were identified in a gouache by this artist for the first time.

摘要

在展览之前，一幅水粉画（ 1890 年奥维尔的瓦兹）和两幅素描（ 1884 年的茅草屋顶和圣雷米圣保罗医院花园的一角1889 年）由泰特美术馆收藏的文森特·梵高 (Vincent van Gogh) 的作品首次可供技术检验。纸张明显的颜色变化以及墨水和粉红色/红色颜料的颜色损失（显示器支架保护了边缘）促使材料分析、微褪色和对其历史的调查。为他们的展示所做的决定是在泰特的照明政策的背景下讨论的，目前正在审查以涵盖越来越多的现代材料收藏中的所有类型的材料，并改变对显示或不保留早期支架和框架下的颜色的态度。梵高使用的材料是他在制作时已知选择的非常典型的材料。使用两种基于曙红 Y 的天竺葵色淀配方，均对光敏感，