Johan Christian Dahl. Technical Art Examination.

Last year I did the multispectral imaging documentation of 52 J.C Dahl paintings at the KODE museum in Bergen, Norway. Dahl was a romantic Norwegian painter, recognized as the father of Norwegian landscape painting.

multispectral imaging

Multispectral imaging documentation of 52 J. C. Dahl’s paintings for the KODE museum in Bergen, Norway.

As usual, I post here my research on published technical art examination material on this artist, which is actually really sparse.

[1] L.E. Plahter, U Plahter  “J. C. Dahls malerier – en teknisk undersokelse” J.C. Dahl’s paintings – a technical study “Johan Christian Dahl 1788-1857. Jubileumsutstilling Oslo: Nasjonalgalleriet (1988) 59-77. The only source of technical information on Dahl, and, unfortunately, just in Norwegian.

[2] J. Leighton, A. Reeve, A. Burnstock “A ‘Winter Landscape’ by Caspar David Friedrich” National Gallery Technical Bulletin Volume 13, 1989. This paper incidentally provides information also on Dahl since he worked with Friedrich after 1818 when he was in Germany.

The documentation I produced in 2011 has not been published yet but the museum granted me the permission to use some images of J.C. Dahl paintings for an educational presentation regarding multispectral imaging.

pigments checker v2 vsPigments Checker is for photographers, conservators and scientists interested in technical documentation of paintingss. It has 54 swatches of historical pigments designed for infrared photography, ultraviolet photography and other technical photographic methods for art examination. Check it out!

Pigments Checker is a collection of 54 swatches of his­tor­i­cal pig­ments that have been applied using gum ara­bic as a binder on a cel­lu­lose and cot­ton water­color paper, acids and lignin free. This paper is not treated with opti­cal bright­en­ers, it’s slightly UV flu­o­res­cent, and it reflects IR. Two cross-hair lines, 0,2 mm (ver­ti­cal) and 0.4 mm (hor­i­zon­tal) are printed on each swatch of paper before the appli­ca­tion of paint, in order to have a means to eval­u­ate the pig­ments’ trans­parency in the IR and IRR imag­ing. Among all the pig­ments and their vari­eties ever used in art these pig­ments col­lec­tion select the most used ones from antiquity to early 1950’.


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