Scientific analysis of La Vie

The study of the three samples taken from the perimeter of the painting has proven the existence of a clear delimitation between the pigments used in La Vie and those in Last Moments. The three cross-sections also highlight differences in the structure of strata. The composition of the layer in section CS 1 (the lower edge), for instance, is slightly different from that of the sample taken from section CS 2 (the left-hand edge) (see p. 57).

pages 52-53

 

STUDY OF THE SAMPLES TAKEN FROM BARCELONA ROOFTOPS

a               detail of the visible image

b et c        binocular magnifying glass photographs of the sample

d               optical microscope photograph of the cross-section

 

SAMPLE 1

The interphase between the first visible layer (6) and the lower red layer (5) reveals a marked separation, from which we infer that the red layer was completely dry before the following layer was applied.

The red layer (5) is deposited on an orangey-brown substratum and the two have a similar shape. The next interphase is blue and the separation is vague.

The thin white layer that appears as an imprimatura is an interesting feature, different from the commercial preparation of the canvas, which leads us to think that Picasso applied another layer before he began the painting in order to minimise absorption. A cream-coloured layer surrounds the couple.

 

6  Bluish grey layer

5  Red layer

4  Blue layer

3  Ochre layer

2  White layer

1  White primer

 

SAMPLE 2

The fragment consists of a superimposition of numerous highly coloured layers. The interphase between the seventh and the eighth layers is relatively marked, which is an indication that they are coeval and that the seventh layer was beginning to dry when he applied the eighth and last layer. In contrast, the interphase between the sixth and seventh layers is quite marked, from which we can deduce that the layer of dark blue (6) was completely dry when the paler colour was applied. Rather than a change in pictorial structure the latter has been interpreted as one of the phases in the execution of Barcelona Rooftops, unlike the orange layer that clearly belongs to a previous stage.

 

8  Grey layer

7  Pale blue layer

6  Dark blue layer

5  Orange layer

4  Yellow layers

3  Green layer

2  White layer

1  White primer

0  Preparation of the canvas

 

pages 52 and 53

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Summary