An integrated diagnostic approach to Max Ernst's painting materials in his Attirement of the Bride

Abstract The Attirement of the Bride, painted by Max Ernst in 1940, is permanently on display in the Peggy Guggenheim Collection (PGC) in Venice. Within the framework of a larger study of materials and techniques of works by Ernst at the PGC, researchers carried out a series of non-invasive analyses. A combined approach based on Vis-NIR multispectral imaging, Raman Spectroscopy, X-Ray Fluorescence (XRF), and External Reflection Fourier Transform Infrared Spectroscopy (ER-FTIR), was conducted insitu in the museum galleries. In addition, two micro-samples were analysed with SEM-EDS and μ-Raman. This approach produced vital information on the preparatory drawing, the pentimenti, the pigments, the extenders and the alteration products present in the painting. The results showed also the presence of a white preparatory layer, under the pictorial one and above the canvas, composed by lithopone (a mixture of zinc sulphide and barium sulphate), basic lead carbonate and calcium carbonate. The latter compound is probably present also as an extender. The palette included both traditional and new synthetic, commercial pigments, used as primary colours or in mixtures. Moreover, in several areas of the painting, zinc oxalates have been identified as alteration products and more rarely, zinc metal soaps, which could also be present as additives in the paint tube. These analyses revealed the masterful and innovative painting technique of this pioneer of Surrealism.