Preliminary research and challenges
For months, conservator Dr. Rika Pause worked on an in-depth examination of the painting by Mark Rothko, in collaboration with the Cultural Heritage Agency. They analysed the pigments used and the way Rothko executed the work. Using various research techniques that do not impact the surface of the paint, and a minute sample the size of a sugar granule, the composition of the paint was analysed with great precision. Examining the sample under the microscope revealed how the painter built up the layers of paint, while chemical analysis showed what pigments he used. Three pigments were eventually chosen for the repair, matching the original colours as closely as possible: cadmium red, ultramarine and umber.
Pause: “Rothko made his own paint using animal glue and various pigments. Our research showed that he used very little binding agent in Grey, Orange on Maroon, No. 8. This creates a matt, powdery finish that can brush off at the slightest touch. Since he did not work on traditional grounded canvases, the paint was applied directly to the canvas, and the surface is thus extremely fragile. I therefore had to develop a special paint for the conservation, with the same matt finish, and fully reversible. That meant I had to work with extreme care and could only touch the surface with the point of a very small brush.”
