Painting Materials and Technique for the Expression of Chinese Inheritance in Liu Kang’s Huangshan and Guilin Landscapes (1977–1996)

Liu Kang (1911–2004) was a Chinese artist who settled in Singapore in 1945 and eventually became a leading modern artist in Singapore. He received academic training in Shanghai (1926–1928) and Paris (1929–1932). Liu Kang’s frequent visits to China from the 1970s to the 1990s contributed to a special artistic subject—the Huangshan and Guilin mountains. This subject matter triggered an uncommon painting approach for his oeuvre. In this context, this study elucidates the artist’s choice of materials and methods for the execution of 11 paintings, dating between 1977 and 1996, depicting Huangshan and Guilin landscapes. The paintings belong to the collection of the National Gallery Singapore. They were investigated with a combination of non- and micro-invasive techniques, supplemented by a wealth of documentary sources and art history research. The obtained results highlight the predominant use of hardboards resembling Masonite® Presdwood® without the application of an intermediate ground layer. Commercially prepared cotton and linen painting supports were used less frequently, and their structure and ground composition were variable. This study revealed the use of a conventional colour base for the execution of the paintings—a consistent colour scheme favouring ultramarine, yellow and red iron-containing earths, viridian and titanium white. Less commonly used pigments include Prussian blue, cobalt blue, phthalocyanine blue, phthalocyanine green, naphthol red AS-D, umber, Cr-containing yellow(s), cadmium yellow or its variant(s), Hansa yellow G, lithopone and/or barium white and zinc white and bone black. The documentary sources indirectly pointed to the use of Royal Talens, Rowney and Winsor & Newton, brands of oil paints. Moreover, technical and archival findings indicated the artist’s tendency to recycle rejected compositions, thereby strongly suggesting that the paintings were executed in the studio. Although this study focuses on the Singapore artist and his series of paintings relating to China, it contributes to existing international studies of modern artists’ materials