Uncovered: Manganese Blue From Extinct Pigment Discovered in Jackson Pollock's Artwork Masterpiece
In a groundbreaking discovery, a team of researchers has identified manganese blue in the pigment of Jackson Pollock's iconic painting, "Number 1A," created in 1948. The findings, published in the prestigious journal Proceedings of the National Academy of Sciences (PNAS), could provide context for the painting within the artist's oeuvre and trends in the manufacture and use of certain colorants over time.
The striking blue hue in "Number 1A," which is nearly nine feet wide and splattered with paint that evokes an expansive celestial atmosphere, has long been a subject of interest. The painting, a mainstay at the Museum of Modern Art (MoMA) in New York, is now shedding light on the artist's practice and the role of specific colorants in his work.
Using Raman spectroscopy, the researchers were able to identify the synthetic paint, a popular choice in the 20th century but phased out in the 1990s due to environmental concerns related to its manufacture. The PNAS paper describes the finding in terms of excited-state exchange interactions and ligand field effects, highlighting the ability of molecular inorganic pigments to create multiple visible absorption features.
Abed Haddad, a conservation scientist at MoMA, stated that the discovery could help develop effective strategies for display, considering the sensitivity of pigments to environmental factors. Edward Solomon, a chemist from Stanford, discussed the origin of the striking color in "Number 1A." However, the manufacturer of the manganese blue pigment used in the masterpiece remains unspecified in the available search results.
The discovery in "Number 1A" also offers insights into the development of the artist's practice. The painting's size and the use of manganese blue, a pigment not commonly used in Pollock's later works, suggest that the artist was experimenting with new techniques and materials.
The paper's authors, from Stanford University, City College of New York, and MoMA's conservation department, also mention the role of lattice electrostatics in fine-tuning the color of the pigment. The finding in "Number 1A" could be critical for understanding the trends in the use of certain colorants over time, aiding conservation efforts due to insights into the artist's practice and the use of certain colorants over time.
The discovery in "Number 1A" further underscores the importance of scientific analysis in understanding and preserving art. As conservation scientists continue to uncover the secrets hidden within these works, we gain a deeper appreciation for the artists themselves and the historical context in which they worked.
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