Abstract:
An oil painting by Claude Monet, Port-Goulphar, Belle-Ile 1887 (collection of the Art Gallery of New
South Wales), was examined to determine both the identity of the pigments used by the artist in this painting
and his technique of mixing colors and laying paint on the canvas. The extremely complex construction of the
painting was revealed by optical microscopy, scanning electron microscopy (SEM), energy dispersive X-ray
analysis (EDS), and X-ray mapping (XRM) analysis of cross sections of paint flakes excised from damaged
regions of Port-Goulphar, Belle-Ile. Nine different pigments were found on the painting. Many of the identified
colors were modern pigments that became available only late in the 19th century as a result of scientific
advances in pigment chemistry. Although similar colors were available in a natural mineral form, they lacked
the vivid color of their manufactured counterparts. The use of these new synthetic metallic oxide colors by
Monet accounts for the brilliance of his paintings. In addition, a separation between successive paint layers was
observed in some areas of paint chip cross sections, indicating that oil-based paint was applied to paint that had
dried, and consequently, Port-Goulphar, Belle-Ile was painted over a long period of time. This observation is
contrary to the general perception of Monet’s technique of painting freely and quickly.
