{"id":2732,"date":"2012-03-26T21:03:11","date_gmt":"2012-03-26T21:03:11","guid":{"rendered":"https:\/\/www.lalouver.com\/journal\/index.php\/2012\/03\/26\/dissecting-a-painting\/"},"modified":"2025-09-05T00:18:57","modified_gmt":"2025-09-05T00:18:57","slug":"dissecting-a-painting","status":"publish","type":"post","link":"https:\/\/www.lalouver.com\/journal\/dissecting-a-painting","title":{"rendered":"Dissecting a Painting"},"content":{"rendered":"\n<figure data-wp-context=\"{&quot;imageId&quot;:&quot;69d2d384007cc&quot;}\" data-wp-interactive=\"core\/image\" data-wp-key=\"69d2d384007cc\" class=\"wp-block-image size-full tmblr-full wp-lightbox-container\"><img loading=\"lazy\" decoding=\"async\" width=\"500\" height=\"502\" data-wp-class--hide=\"state.isContentHidden\" data-wp-class--show=\"state.isContentVisible\" data-wp-init=\"callbacks.setButtonStyles\" data-wp-on--click=\"actions.showLightbox\" data-wp-on--load=\"callbacks.setButtonStyles\" data-wp-on-window--resize=\"callbacks.setButtonStyles\" src=\"https:\/\/www.lalouver.com\/journal\/wp-content\/uploads\/2012\/03\/image-1.jpeg\" alt=\"\" class=\"wp-image-4987\" srcset=\"https:\/\/www.lalouver.com\/journal\/wp-content\/uploads\/2012\/03\/image-1.jpeg 500w, https:\/\/www.lalouver.com\/journal\/wp-content\/uploads\/2012\/03\/image-1-300x300.jpeg 300w, https:\/\/www.lalouver.com\/journal\/wp-content\/uploads\/2012\/03\/image-1-150x150.jpeg 150w\" sizes=\"auto, (max-width: 500px) 100vw, 500px\" \/><button\n\t\t\tclass=\"lightbox-trigger\"\n\t\t\ttype=\"button\"\n\t\t\taria-haspopup=\"dialog\"\n\t\t\taria-label=\"Enlarge\"\n\t\t\tdata-wp-init=\"callbacks.initTriggerButton\"\n\t\t\tdata-wp-on--click=\"actions.showLightbox\"\n\t\t\tdata-wp-style--right=\"state.imageButtonRight\"\n\t\t\tdata-wp-style--top=\"state.imageButtonTop\"\n\t\t>\n\t\t\t<svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"12\" height=\"12\" fill=\"none\" viewBox=\"0 0 12 12\">\n\t\t\t\t<path fill=\"#fff\" d=\"M2 0a2 2 0 0 0-2 2v2h1.5V2a.5.5 0 0 1 .5-.5h2V0H2Zm2 10.5H2a.5.5 0 0 1-.5-.5V8H0v2a2 2 0 0 0 2 2h2v-1.5ZM8 12v-1.5h2a.5.5 0 0 0 .5-.5V8H12v2a2 2 0 0 1-2 2H8Zm2-12a2 2 0 0 1 2 2v2h-1.5V2a.5.5 0 0 0-.5-.5H8V0h2Z\" \/>\n\t\t\t<\/svg>\n\t\t<\/button><\/figure>\n\n\n\n<p>Alan Phenix with the <a href=\"http:\/\/www.getty.edu\/conservation\/\" target=\"_blank\">Getty Conservation Institute<\/a> has recently commenced a study of <a href=\"http:\/\/www.lalouver.com\/html\/hammersley_bio_40s.html\" target=\"_blank\">Frederick Hammsersley<\/a>\u2019s notebooks for technical information relating to his painting process and materials. Aided by these notebooks, where Hammersley logged meticulous notes for each painting, Phenix examined the work&nbsp;<em>Cool de sac<\/em>, #29 1977, uncovering some very interesting revelations into Hammersley\u2019s scrupulous methodology:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p>This entry describes the process of the painting of the piece, with lots of detail about the paints used, etc. It\u2019s interesting that, for the later coats, he\u2019s adding to the tube paints more medium (additional oils including stand oil) and varnish (dammar), perhaps to modify the handling properties so as to aid manipulation by palette knife. He first signs the work at the end of \u201877, but re-signs it in Jan '78 after a further treatment of the pink. The painting is provisionally finished and framed by March '78, but he returns to it in April to get the colour of the gray just right, as the note indicates. The lovely soft sheen that the painting has now is partly due to the presence of wax in the varnish, which serves as a matting agent. &nbsp;I thought this was a particularly nice example of the kind of information that\u2019s in the notebooks; and it\u2019s an especially nice work of Frederick\u2019s.<\/p>\n<\/blockquote>\n\n\n\n<figure data-wp-context=\"{&quot;imageId&quot;:&quot;69d2d38401a78&quot;}\" data-wp-interactive=\"core\/image\" data-wp-key=\"69d2d38401a78\" class=\"wp-block-image size-full tmblr-full wp-lightbox-container\"><img loading=\"lazy\" decoding=\"async\" width=\"500\" height=\"580\" data-wp-class--hide=\"state.isContentHidden\" data-wp-class--show=\"state.isContentVisible\" data-wp-init=\"callbacks.setButtonStyles\" data-wp-on--click=\"actions.showLightbox\" data-wp-on--load=\"callbacks.setButtonStyles\" data-wp-on-window--resize=\"callbacks.setButtonStyles\" src=\"https:\/\/www.lalouver.com\/journal\/wp-content\/uploads\/2012\/03\/image-2.jpeg\" alt=\"\" class=\"wp-image-4988\" srcset=\"https:\/\/www.lalouver.com\/journal\/wp-content\/uploads\/2012\/03\/image-2.jpeg 500w, https:\/\/www.lalouver.com\/journal\/wp-content\/uploads\/2012\/03\/image-2-259x300.jpeg 259w\" sizes=\"auto, (max-width: 500px) 100vw, 500px\" \/><button\n\t\t\tclass=\"lightbox-trigger\"\n\t\t\ttype=\"button\"\n\t\t\taria-haspopup=\"dialog\"\n\t\t\taria-label=\"Enlarge\"\n\t\t\tdata-wp-init=\"callbacks.initTriggerButton\"\n\t\t\tdata-wp-on--click=\"actions.showLightbox\"\n\t\t\tdata-wp-style--right=\"state.imageButtonRight\"\n\t\t\tdata-wp-style--top=\"state.imageButtonTop\"\n\t\t>\n\t\t\t<svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"12\" height=\"12\" fill=\"none\" viewBox=\"0 0 12 12\">\n\t\t\t\t<path fill=\"#fff\" d=\"M2 0a2 2 0 0 0-2 2v2h1.5V2a.5.5 0 0 1 .5-.5h2V0H2Zm2 10.5H2a.5.5 0 0 1-.5-.5V8H0v2a2 2 0 0 0 2 2h2v-1.5ZM8 12v-1.5h2a.5.5 0 0 0 .5-.5V8H12v2a2 2 0 0 1-2 2H8Zm2-12a2 2 0 0 1 2 2v2h-1.5V2a.5.5 0 0 0-.5-.5H8V0h2Z\" \/>\n\t\t\t<\/svg>\n\t\t<\/button><\/figure>\n\n\n\n<p>Check out&nbsp;<a href=\"http:\/\/www.lalouver.com\/html\/now.html\" target=\"_blank\">\u201cFrederick Hammersey\"&nbsp;22 March - 12 May 2012 at L.A. Louver<\/a> - opening this Thursday 5-8pm!<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Alan Phenix with the Getty Conservation Institute has recently commenced a study of Frederick Hammsersley\u2019s notebooks for technical information relating to his painting process and materials. Aided by these notebooks, where Hammersley logged meticulous notes for each painting, Phenix examined the work&nbsp;Cool de sac, #29 1977, uncovering some very interesting revelations into Hammersley\u2019s scrupulous methodology: [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":4987,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[670,1637,49,910,1411],"class_list":["post-2732","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-uncategorized","tag-alan-phenix","tag-cool-de-sac","tag-getty","tag-getty-conservation-institute","tag-hammersley"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.3 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\r\n<title>Dissecting a Painting - L.A. 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Aided by these notebooks, where Hammersley logged meticulous notes for each painting, Phenix examined the work&nbsp;Cool de sac, #29 1977, uncovering some very interesting revelations into Hammersley\u2019s scrupulous methodology: [&hellip;]\" \/>\r\n<meta property=\"og:url\" content=\"https:\/\/www.lalouver.com\/journal\/dissecting-a-painting\" \/>\r\n<meta property=\"og:site_name\" content=\"L.A. Louver - Journal\" \/>\r\n<meta property=\"article:published_time\" content=\"2012-03-26T21:03:11+00:00\" \/>\r\n<meta property=\"article:modified_time\" content=\"2025-09-05T00:18:57+00:00\" \/>\r\n<meta property=\"og:image\" content=\"https:\/\/www.lalouver.com\/journal\/wp-content\/uploads\/2012\/03\/image-1.jpeg\" \/>\r\n\t<meta property=\"og:image:width\" content=\"500\" \/>\r\n\t<meta property=\"og:image:height\" content=\"502\" \/>\r\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\r\n<meta name=\"author\" content=\"L.A. 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