Gustav Klimt’s masterpiece “The Three Ages” is truly a ‘jewel painting’. Thanks to an agreement between the National Gallery of Modern and Contemporary Art of Rome (Gnam) and the National Gallery of Umbria (Gnu), analyzes conducted on the work by the National Research Council (Cnr) and the Smaart Center of Excellence ( Scientific Methodologies applied to Archeology and Art) of the University of Perugia, confirmed the widespread presence of metallic foils and powders with iridescent tones with which the artist created iridescent effects on the surface. The elementary Xrf maps highlight the use of gold, platinum and silver both in the backgrounds and as ornaments of the female figures.
The team of researchers from the Institutes of Chemical Sciences and Technologies “G.Natta” (Cnr-Scitec) and of Cultural Heritage Sciences (Cnr-Ispc) of the Cnr and of the Smaart Center of Excellence of the University of Perugia involved have carried out delicate analyzes for a scientific study on some cognitive aspects of the materials and technique used for the creation of this masterpiece.
The operations were coordinated by the Diagnostics and Restoration Office of the National Gallery of Umbria. The researchers carried out investigations with hyperspectral imaging techniques in the visible and near infrared (Vis-Nir) and scanning X-ray fluorescence (Ma-Xrf) aimed at identifying and mapping the pigments and metals present on the canvas, with particular focus on the precious golden and silver backgrounds.
To date, in fact, there are few works in the literature that report information regarding the type of metals, precious or otherwise, that Klimt used in his golden age. The preliminary results confirmed the widespread presence of metallic foils and powders with iridescent tones with which the artist created iridescent effects on the surface. The elementary Xrf maps highlight the use of gold, platinum and silver both in the backgrounds and as ornaments of the female figures. Furthermore, the color of the young woman’s hair sees the combined use of iron oxide and gold to obtain warmer shades of color.
The extensive use of precious metals demonstrates how the canvas can truly be considered a ‘jewel’, in which Klimt tried to obtain that brilliance which still today makes the work one of the artist’s most appreciated masterpieces. Starting from 26 October Klimt’s work will be back on display at the National Gallery of Umbria on the occasion of the ‘Golden Age’ exhibition. The golden masterpieces of the National Gallery of Umbria meet Contemporary Art’, until January 19th.
– “The collaboration agreement signed with Gnu for the valorisation and promotion of Klimt’s masterpiece by Gnam amazes, once again, the public and scholars. The scientific investigations conducted with the Cnr, in fact, have revealed interesting details on the preciousness of the painting , which open up various lines of research. It demonstrates how important it is to focus attention on the great masterpieces, which continue to amaze, and how working in a team with prestigious public institutions, intertwining the paths of scientific, historical and artistic research, leads to important results. Thus the loan of ‘Le Tre eta’ to the Gnu has written another fascinating chapter in its history”, states Cristina Mazzantini, director of the National Gallery of Modern and Contemporary Art in Rome.
“The collaboration between Gnam and Gnu – declares Costantino D’Orazio, director of the National Gallery of Umbria – is an important opportunity for several reasons: it confirms the need to promote research activities on the heritage preserved in our museums and indicates a virtuous method of collaboration between institutions, called to share the results of their investigations with the public. After a great summer success, we are happy to be able to offer visitors to the ‘Golden Age’ exhibition the extraordinary results. emerged from these analyses”.
“The union of cutting-edge technologies and the highest level of expertise made available by the institutions involved in the study of Gustav Klimt’s masterpiece constitutes a unique opportunity for knowledge of the work’s materials and executive technique. A concrete example of synergy between human sciences and hard sciences which was able to reveal new aspects of how the painting was created, especially in the part of the peculiar metallic backgrounds”, comments Laura Cartechini, head of the Perugia branch of the Giulio Natta Institute of Chemical Sciences and Technologies ‘ (Scitec) of the National Research Council.