Journal of the American Institute for Conservation

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Scientifically Investigating Picasso's Suspected Use

of Ripolin House Paints in Still Life, 1922 and The
Red Armchair, 1931

Kimberley Muir, Allison Langley, Anikó Bezur, Francesca Casadio, John

Delaney & Gwénaëlle Gautier

To cite this article: Kimberley Muir, Allison Langley, Anikó Bezur, Francesca Casadio, John
Delaney & Gwénaëlle Gautier (2013) Scientifically Investigating Picasso's Suspected Use of Ripolin
House Paints in Still Life, 1922 and The Red Armchair, 1931, Journal of the American Institute for
Conservation, 52:3, 156-172, DOI: 10.1179/1945233013Y.0000000012

To link to this article: https://doi.org/10.1179/1945233013Y.0000000012

Published online: 22 Oct 2013.

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 SCIENTIFICALLY INVESTIGATING PICASSO’S SUSPECTED USE
OF RIPOLIN HOUSE PAINTS IN STILL LIFE,  AND THE
RED ARMCHAIR, 
KIMBERLEY MUIR, ALLISON LANGLEY, ANIKÓ BEZUR, FRANCESCA CASADIO,
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JOHN DELANEY, AND GWÉNAËLLE GAUTIER


Conservation Department, The Art Institute of Chicago

Center for Conservation & Preservation, Yale University

National Gallery of Art

Independent conservation scientist

Ripolin – a popular French house paint – was used extensively by Pablo Picasso and some of his contemporaries. Its
presence in particular artworks, however, has been difficult to confirm scientifically due to the chemical similarities
between Ripolin and contemporary artist’s tube paints, and the lack of knowledge about Ripolin paint formu-
lations. This study compares data collected from a large reference set of historical samples of Ripolin and artist’s
tube paints with new analytical results from two Picasso paintings in the collection of the Art Institute of
Chicago suspected to contain Ripolin: Still Life () and The Red Armchair (). A variety of non-invasive
and micro-invasive analytical techniques, including x-ray fluorescence spectroscopy, Fourier transform infrared
spectroscopy, fiber-optics reflectance spectroscopy ( to  nm), Raman spectroscopy, optical and polarized
light microscopy, and scanning electron microscopy (SEM) with energy dispersive x-ray spectroscopy, were used
to analyze the paint samples. The results indicate that Still Life does not contain Ripolin, as it has pigments,
such as vermilion and lead white, and extenders, such as barium sulfate, not used in French Ripolin house
paints. On the other hand, The Red Armchair has paints matching closely with samples of Ripolin Blanc de
neige, used alone and mixed with artist’s tube colors.
KEYWORDS: Picasso, Ripolin, paint analysis, artist tube paints

work quickly and make changes without disturbing

. INTRODUCTION
Pablo Picasso (–) is renowned for pushing the
boundaries of conventional art making and innovative
experimentation with materials, including the use of
Ripolin, a well-known brand of French house paint
that was introduced in  and achieved widespread
popularity in France and internationally throughout
much of the th century. Picasso first introduced
Ripolin into his paintings in , as evidenced by
letters written to his dealer Daniel-Henry Kahnweiler
in June and July of that year where he mentions his
“Ripolin paintings” (Musée national d’art moderne
). His subsequent use of Ripolin was commented
on by contemporaries (Stein ; Cowling ;
McCully ) and cans of Ripolin are sometimes
visible in photographs of the artist’s studio (Butor
). Working with these ready-mixed enamel house
paints, the artist could achieve smooth, glossy surfaces
in a range of bright colors. From a practical standpoint,
the rapid drying of Ripolin paints allowed the artist to
earlier layers.
Picasso’s pioneering use of Ripolin has frequently
been cited in the literature and included in media
descriptions on gallery labels, but its scientific identifi-
cation in individual works has been challenging. This
is largely due to the chemical similarities between
Ripolin and artist’s tube paints, which are both oil-
based paints. Until recently, there has been a lack of
Ripolin reference samples for analytical study and com-
parison. As a result, the presence of Ripolin has typi-
cally been surmised from the visual characteristics of
the paint—fluid application, sometimes including
drips and pooling; smooth, flat brushstrokes; glossy
surfaces; and wrinkling and tiny holes caused by air
bubbles when applied in thick layers—or from docu-
mentation or anecdotal information, all of which have
their limitations. Additionally, Ripolin’s popularity
resulted in the term “ripolin” being used in a generic
sense to denote any enamel paint regardless of manu-
facturer (Valkhoff ). Thus, mentions of “R/

© American Institute for Conservation

of Historic and Artistic Works 
DOI: ./Y. Journal of the American Institute for Conservation , Vol.  No. , –
 SCIENTIFICALLY INVESTIGATING PICASSO’S SUSPECTED USE OF RIPOLIN HOUSE PAINTS
ripolin” may not always indicate use of the specific
brand.
Both visual assessment and scientific analysis can
also be further complicated if the artist modified his
materials. Receipts from the early s document Picas-
so’s purchases of Ripolin during this period, as well as
siccatif de Harlem, an oleoresinous painting medium.
Traditional siccatif de Harlem was based on a mixture
of copal-resin and oil, creating a painting medium that
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could impart increased body and gloss to tube paints
(Carlyle ; McCully ). In experiments mixing
modern artist’s tube paint with different oil/copal
mediums, thought to be similar to traditional siccatif de
Harlem, it has been demonstrated that one can effectively
achieve a visual aspect very close to genuine Ripolin
paints, including a smooth, glossy surface and character-
istic superficial wrinkling (Muir et al. ). Therefore,
from an analytical perspective, the complexity of the
paint medium and artist’s manipulations thereof make
the probing of the “Ripolin look” exceptionally challen-
ging, especially in light of the fact that both artist’s and
house paints were predominantly based on oleoresinous
media before  (Standeven ).
Recently, thorough analysis of an extensive collec-
tion of historical samples of Ripolin house paint has
been undertaken at the Art Institute of Chicago (AIC).
The collection includes  historic color charts, each
containing – swatches of actual paint, and 
cans of oil-based Ripolin house paint, all estimated to
date between  and , as well as artist’s tube
paints from leading manufacturers of the period
(Gautier ). To date, over , Ripolin paint
samples have been analyzed using x-ray fluorescence
(XRF) and Fourier transform infrared (FTIR) spectro-
scopies, complemented by Raman, Fourier-transform
Raman, and scanning electron microscopy with
energy dispersive x-ray spectroscopy (SEM-EDX)
when necessary. Furthermore, characterization with
various mass spectrometric techniques, thermogravi-
metric analysis, laser ablation-inductively coupled
plasma mass spectrometry and synchrotron radiation
XRF nanoprobe are also currently underway. The
detailed findings to date have been published elsewhere
(Gautier et al. ) but can be summarized as follows.
Ripolin was found to be a zinc white (ZnO)-based
oleoresinous paint, characterized by the consistent use
of a limited selection of pigments, and trace amounts
of extenders. For example, primary colors were found
to contain yellow chromates, Prussian or ultramarine
blue, and alizarin crimson (PR) or iron oxide red,
with limited red hues pigmented with toluidine red
(PR). White and light colored hues contained zinc
white, while black was composed of carbon black. Sec-
ondary hues, such as greens and violets, were consist-
ently found to be mixtures of primary colors. Certain
pigments commonly found in tube paints were
Journal of the American Institute for Conservation , Vol.  No. , –

notably absent, including vermilion, cadmium reds
and yellows, emerald green, and cobalt blues and
violets (see Gautier et al. () supplemental material
for complete list of pigments). Driers were found to be
composed of organo-metallic salts of cobalt, manga-
nese, zinc, and lead.
Scientifically proving the use of a specific paint brand
is extremely complex. However, preliminary studies of
other brands of French house paints such as Valentine,
Triton, and others used by Picasso for the paintings exe-
cuted in Antibes in  evidenced compositions
employing different whites such as titanium white and
lithopone, as well as significant presence of barium
sulfate extenders (Casadio and Gautier ). These
compositions are both specific and different enough to
allow an indication of Ripolin being put forward
when analysis of the paint components as described
here matches with well-characterized references of
Ripolin paint. Furthermore, several examples in the
forensic literature demonstrate that, by taking into
account multiple components of specific formulations
different brands of paints can be confidently discrimi-
nated (Hall and Tinklenberg ; Bell et al. ).
This paper presents new scientific information from
two paintings in the collection of the AIC: Still Life,
painted in , and The Red Armchair from .
Both works are from documented periods of Ripolin
use in Picasso’s oeuvre (McCully ) and display
some of the key visual characteristics of Ripolin
paints: glossy surfaces, leveled brushstrokes, softened
impasto, areas of wrinkling, and bubble holes are
visible on the paint surface. The paintings were ana-
lyzed with tailored analytical protocols aimed at scien-
tifically investigating the suspected presence of Ripolin.
As part of the methodology, two in situ techniques—
XRF and fiber-optics reflectance spectroscopy (FORS,
– nm)—were used for the preliminary non-
invasive investigation of The Red Armchair. These
data sets provided a unique opportunity to assess the
complementarity of these two approaches, highlighting
the advantages and limitations of XRF and FORS in
addressing the question of whether Ripolin can be
scientifically confirmed in specific works.
. STILL LIFE, 
Still Life,  (AIC, .) is one of a series of
abstract still life works that Picasso created in the
early s characterized by painted areas of flat, solid-
colored shapes juxtaposed with grids and parallel lines
of varying width (fig. ). Dated February , , this
painting is one of three works created between
January and March of that year depicting a guitar, a
bottle, and a wine glass.
The painting was executed on a very fine, plain
weave canvas. It is unlined and retains its original
  KIMBERLEY MUIR ET AL.
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FIG. . Pablo Picasso, Still Life, , oil on canvas, . ×

. cm, Ada Turnbull Hertle Endowment (AIC .) FIG. . Pablo Picasso, Still Life,  (AIC .), detail
©  Estate of Pablo Picasso / Artists Rights Society of the smooth surfaces of the red and black stripes.
(ARS), New York.

stretcher. The work was painted over an earlier, verti-

cally oriented, neo-classical still life. The first compo-
sition was blocked out with an intermediate
brush-applied white ground that has the characteristic
opacity of a lead white layer. The surface of the paint-
ing is composed of distinctly textured areas of paint:
crisp brush marks define the broad areas of color
around the perimeter of the composition; the white
expanse of paint in the middle was roughly spread on
with a palette knife; and the red, black, and green
stripes appear glossy and smooth, carefully applied to
the surface with a narrow brush at a late stage in the
painting. Based on visual examination, the majority of
Still Life was believed to be executed with artist’s oil FIG. . Pablo Picasso, Still Life,  (AIC .), detail
paints, with the possible use of house paints restricted of the fluid paint application of the green stripes with localized
to the red, green, and black stripes, which exhibited a areas of wrinkling noted by arrows.
Ripolin-like look. As mentioned above, receipts from
the early s document Picasso’s purchase of
Ripolin during this period (McCully ). The paint . THE RED ARMCHAIR, 
in the discrete passages suspected to contain Ripolin The Red Armchair (AIC, .), painted in ,
appears smooth and fluid. It seems to have settled is the first of a series of  portraits of Picasso’s mistress
while drying, conforming to the topography of the Marie Therese Walter (fig. ). The bright palette and
underlying paint. The red stripes show particularly thick glossy paint surface would become characteristic
well how the paint leveled before drying, in a way of the Marie Therese series. When exhibited in ,
that minimized the presence of visible brush Jardot identified the medium of the painting as “oil
marks (fig. ). The individual brushstrokes appear sof- and ripolin” (Jardot ). The painting was histori-
tened and rounded, with a slight pooling resulting cally labeled “oil and enamel” at the AIC, though it
in relatively clean, smooth edges. The green stripes had not been analyzed prior to this study.
left of center exhibit vertical ridges and wrinkles, The Red Armchair was painted on a three-ply
which can occur with relatively thick applications pressed wood panel, with no discernible ground layer,
of quick-drying house paint. The wrinkling although occasionally, at the edges, traces of a white
occurred in some areas but not in others, and may be material were observed directly on top of the wood,
related to localized differences in the underlying layers which might suggest the presence of locally applied
(fig. ). priming. There is evidence of underdrawing with a

Journal of the American Institute for Conservation , Vol.  No. , –
 SCIENTIFICALLY INVESTIGATING PICASSO’S SUSPECTED USE OF RIPOLIN HOUSE PAINTS
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FIG. . Pablo Picasso, The Red Armchair, , oil and
Ripolin on panel . × . cm, Gift of Mr. and Mrs.
Daniel Saidenberg (AIC .) ©  Estate of Pablo
Picasso / Artists Rights Society (ARS), New York.
fluid black material, which remains visible at the edges
of some of the painted forms, in the interstices of the
wood grain. The artist used a combination of thick
and thin applications of paint: the white face, and the
light purple and light yellow passages are thick, dense
areas that hide the wood support completely. The
darker purple, green, dark red, and brown areas are
much thinner and conform to the wood support, reveal-
ing the grain pattern. Overall the glossy, somewhat
leveled paint has the characteristic “Ripolin look.” For
example, in the light purple areas, the paint has been
applied with a brush but the ridges are not crisp,
having largely settled out before drying (fig. ). Simi-
larly, in the face, where the white paint is very thickly
applied, it has a glossy, textural appearance but the
impasto appears somewhat leveled-out (fig. ).
Additionally, the paint surface exhibits numerous tiny
holes resulting from air bubbles trapped in the paint
layer, which, among other causes, can be the result of
the incorporation of air into the paint during mixing
or application. In the case of The Red Armchair,
however, it was not clear whether this surface phenom-
enon was due to the type of paint or to the use of a
porous wood support.
Journal of the American Institute for Conservation , Vol.  No. , –

FIG. . Pablo Picasso, The Red Armchair,  (AIC
.), detail of the light purple band at upper right
showing the leveled-out brush marks.
FIG. . Pablo Picasso, The Red Armchair,  (AIC
.); detail of the face showing the thickly applied, some-
what glossy paint application where the impasto has leveled
to some extent.
. MATERIALS AND METHODS
In depth technical examinations were performed on
both paintings. For Still Life, strategic sampling of
areas exhibiting the look of both house paints and
tube paints was carried out. Cross sections and scrap-
ings were taken from the red, green, and black (both
shiny and matte) stripes which all had the “Ripolin
look.” A cross section from the yellow paint in the
upper right corner and a scraping from the central
white square, both of which had the characteristic
appearance of tube paints, were also taken. The paint
samples were analyzed using SEM-EDX, with limited
micro-Raman and micro-FTIR analysis. For The Red
Armchair, the two in situ techniques of XRF and
FORS (– nm) were used for preliminary
palette investigation. Then, three microscopic samples
  KIMBERLEY MUIR ET AL.
from different color areas (the pale purple stripe, the
yellow square at upper left, and the green dress) were
mounted as cross sections and examined using
reflected and ultraviolet light microscopy and
SEM-EDX. This was complemented by micro-FTIR
and micro-Raman analysis. Additional scrapings from
the black underdrawing material and the white paint
of the hand were taken and analyzed using micro-FTIR
spectroscopy. The results of analysis were compared
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with data from the AIC’s collection of Ripolin reference
paint samples, discussed above. A full description of the
experimental conditions used in this study is provided
in the Appendix.
. RESULTS
. STILL LIFE, 
The ground layer for Still Life was found with
SEM-EDX to have lead as a major component along
with trace amounts of silica, calcium, and iron; some
black particles were also observed that did not
contain phosphorous. Because the artist applied the
ground layer over an earlier composition, it is possible
that a calcium carbonate layer (identified by Raman)
below the lead-based ground layer might actually be
attributable to the earlier painting.
Pigments characterized with SEM-EDX, optical
microscopy, and micro-Raman spectroscopy in
samples of black (s, s), dark gray (s, second layer
from top), green (s, top layer), white (s), yellow (s,
top layer), and red paint (s, top layer) include iron
oxide containing red and yellow earth pigments
(SEM-EDX), vermilion (SEM-EDX, PLM), viridian
(SEM-EDX, Raman), lead white (SEM-EDX), and
carbon black (inferred from FTIR). The inorganic
paint matrix of the colored paint layers is primarily
composed of lead white in all of the samples analyzed
with variable inclusions of other white pigments and
fillers, such as calcium carbonate, barium sulfate,
quartz, and alumino-silicates, depending on the layer
(table ). FTIR analysis of gray, red, and black paint
layers indicated the medium to be a drying oil. Spectral
signatures of lead carboxylates, including lead oleate,
were also detected, likely a natural product of reaction
of the paint medium with the lead white pigment.
Occasionally, shoulders of variable intensity centered
around  cm− were observed in the FTIR spectra,
leading to the supposition of the presence of a natural
resin mixed into the paints.
. THE RED ARMCHAIR, 
FTIR analysis of a small sample of the black under-
drawing material resting in the interstices of the wood
grain detected calcium carbonate, with minor gypsum
content, and an organic medium composed of drying
Journal of the American Institute for Conservation , Vol.  No. , –
oil and a natural resin varnish. Because the sharp
peak at  cm−—characteristic of bone black—
was absent from the FTIR spectra, it can be inferred
that the black particles of the underdrawing material
are likely carbon black. It is also possible that the
chalk and gypsum compounds sampled with the under-
drawing medium may be related to the white material
occasionally observed over the support, as described
above.
Pigments characterized in the paint layers with XRF,
FORS, SEM-EDX, FTIR, and micro-Raman spec-
troscopy included cobalt violets (magnesium cobalt
arsenates and phosphates), cadmium yellow and red,
bone black, iron containing red and yellow earth pig-
ments, burnt umber, viridian, anhydrous chromium
oxide green, and likely a red lake (suspected by the
lack of detection of significant red coloring elements
during XRF analysis of the maroon portion of the arm-
chair, and confirmed with FORS) (table ). All of the
colored paints were found to be mixed with varying
proportions of a zinc-white-containing paint as evi-
denced by both XRF and FORS. A variety of fillers
were also identified, including barium sulfate, a
calcium-based white (most likely gypsum given that
calcium and sulfur were detected with XRF), quartz,
and clay, depending on the specific color analyzed.
The general class of the binder was determined
through FTIR analysis to correspond to a drying oil,
showing prominent signatures for metal carboxylates,
with two broad bands approximately centered at
– and  cm−.
. DISCUSSION
. COMPARISON OF TWO NON-INVASIVE APPROACHES: XRF
AND FORS
FORS was used to examine sites similar to those
investigated using XRF on The Red Armchair. The
FORS instrument has a spectral range of –
nm with .– nm resolution, and thus allows both
electronic transitions and vibrational features to be
measured. Eighty spectra were collected in total
across the surface of the painting. In each case, assign-
ment of pigments present was made by comparing the
measured spectra with those from spectral databases
(Delaney et al. ; CNR-IFAC ; National
Gallery of Art ). A summary of the assignments
are integrated in table , which describes the likely pig-
ments present based on the various analytical methods
used.
The method by which assignment of pigments is
made using FORS differs from other techniques such
as XRF in that the former is sensitive to the optical
cross section of the pigments and is limited in its pen-
etration of the paint layer. XRF, on the other hand, is
 SCIENTIFICALLY INVESTIGATING PICASSO’S SUSPECTED USE OF RIPOLIN HOUSE PAINTS 

TABLE . PABLO PICASSO, STILL LIFE,  (AIC .): DESCRIPTION OF SAMPLES AND INDICATIONS OF PAINTING
MATERIALS INFERRED FROM ANALYSIS
Paint/Layer Location of Sample/Layer Analyzed Painting Materials Analytical
Color (Sample no.; Cross Section no.) Technique(s)
White Yellow/ochre sample, bottom layer (S; Lead white SEM-EDX
ground layer x) Silica and/or alumino-silicates SEM-EDX
Calcium-based white SEM-EDX
Possible iron-containing pigment SEM-EDX
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Calcium carbonate (possibly from Raman

earlier composition)
Green Light green stripe on top of dark gray Viridian Raman, SEM-EDX
shape on left side of painting (S; ×) Lead white SEM-EDX
Calcium-based white SEM-EDX
Alumino-silicates SEM-EDX
Dark gray Second layer from top, under green stripe Lead white SEM-EDX
(S; ×) Iron-containing earth pigment SEM-EDX
Carbon black SEM-EDX
Top layer (S) Lead white FTIR
Metal (lead) carboxylates FTIR
Quartz FTIR
Drying oil FTIR
Red Top layer (S) Vermilion PLM
Barium sulfate FTIR
Drying oil FTIR
Metal carboxylates FTIR
Yellow/ Top layer (S; ×) Lead white SEM-EDX
ochre Iron-containing earth pigment SEM-EDX
Alumino-silicates SEM-EDX
Black Top black layer of black stripe (S) Carbon black FTIR (inferred)
(glossy) Quartz FTIR
Lead white FTIR
Drying oil FTIR
Natural resin FTIR
Black Lower black layer of black stripe (S) Carbon black FTIR (inferred)
(matte) Lead white FTIR
Quartz FTIR
Drying oil FTIR
Natural resin FTIR
White Central white field (S) Lead white FTIR

sensitive to elements present in both major and minor
amounts, and tends to provide information throughout
most if not all paint layers. Moreover, FORS provides
structure-related information, whereas XRF detects
the elemental composition. Thus, these methods are
often found to be complementary when used in prac-
tice. For example, the FORS spectra from the purple
backgrounds (fig. ) both show the presence of zinc
white as identified by the sharp transition edge at
 nm (Bacci et al. , ; Delaney et al. )
in agreement with the XRF results. In contrast,
neither FORS spectra of the purple sites show the
triplet hydroxyl bands at  nm associated with
gypsum, which was indicated in the XRF data by the
presence of both calcium and sulfur. The absence of
the gypsum bands in the FORS spectrum suggests that
the amount of gypsum present is likely small since the
gypsum hydroxyl bands have been readily observed in
other works (Delaney et al. ). Alternatively, this
could also mean that the gypsum is present in the under-
lying layer of white material described above (possibly a
localized application of priming). The primary pigment
associated with the purple color of the lower quadrant
matches well the reference spectrum of cobalt

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  KIMBERLEY MUIR ET AL.

TABLE . PABLO PICASSO, THE RED ARMCHAIR,  (AIC .): DESCRIPTION OF SAMPLES AND INDICATIONS OF
PAINTING MATERIALS INFERRED FROM ANALYSIS
Paint/Layer Color Location of Sample or Painting Materials Analytical Technique(s)
Analysis Spot/Layer
Analyzed (Sample no.;
Cross Section no.)
Black underdrawing Green bow above hair Calcium carbonate FTIR
material, possibly including Gypsum FTIR
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white material observed Drying oil FTIR

occasionally directly over Natural resin FTIR
wood panel support Carbon black FTIR (inferred)
Yellow Yellow paint of Zinc white SEM-EDX, FTIR, XRF
background (S; Cadmium yellow SEM-EDX, XRF, FORS
×) and hair Barium sulfate SEM-EDX, FTIR, XRF
Iron-containing earth pigment SEM-EDX
A little bone black SEM-EDX
Drying oil FTIR
Metal carboxylates FTIR
Dark purple Background color, Cobalt violet (cobalt arsenate) XRF, FORS
upper right quadrant Zinc white XRF, FORS
Calcium-based white XRF
Barium sulfate XRF
Iron-containing earth pigment SEM-EDX
Dark purple Background color, Zinc white XRF, FORS
lower right quadrant Cobalt violet:
cobalt arsenate XRF
cobalt phosphate XRF, FORS
Barium sulfate XRF
Calcium-based white XRF
Possibly an iron-containing XRF
pigment
Dark purple Dark purple stripe Zinc white XRF
Cobalt violet (cobalt arsenate) XRF
Calcium-based white XRF
Iron-containing earth pigment XRF
Light purple Light purple stripe Cobalt violet:
(S; ×) cobalt arsenate SEM-EDX, Raman
cobalt phosphate SEM-EDX, FTIR
cobalt phosphate SEM-EDX, Raman
octahydrate
Zinc white SEM-EDX, FTIR, XRF
Calcium-based white XRF
Iron-containing earth pigment XRF
Quartz and alumino-silicates SEM-EDX
Drying oil FTIR
Metal carboxylates FTIR
Mustard yellow Background, lower Zinc white XRF
left quadrant Iron-containing yellow earth XRF, FORS
pigments
Cadmium yellow XRF
Barium sulfate XRF
Drying oil FORS
Continued

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 SCIENTIFICALLY INVESTIGATING PICASSO’S SUSPECTED USE OF RIPOLIN HOUSE PAINTS 

Paint/Layer Color
White
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TABLE . CONTINUED
Location of Sample or Painting Materials Analytical Technique(s)
Analysis Spot/Layer
Analyzed (Sample no.;
Cross Section no.)
White of face and Zinc white FTIR, XRF, FORS
hands Calcium-based white (from XRF
priming)

Alumino-silicates (from XRF

priming)
Lead and cobalt carboxylates XRF, FTIR
Drying oil FTIR, FORS
Resin FTIR
Brown Arms, and Zinc white XRF
wedge-shaped form Burnt umber XRF
below proper left arm Calcium-based white XRF
Maroon Upper left corner of Zinc white XRF
armchair Cobalt violet (cobalt arsenate) XRF, FORS
Barium sulfate XRF
Calcium-based white XRF
Possibly an iron-containing XRF
earth pigment
Red lake FORS, also XRF
(inferred)
Red Thin stripes of Zinc white XRF
armchair Cadmium red XRF, FORS
Barium sulfate XRF
Iron-containing earth pigment XRF
Green Green of dress (S; Zinc white SEM-EDX, FTIR, XRF
×) Viridian SEM-EDX, Raman,
FTIR, XRF, FORS
A little chromium oxide green Raman
Cadmium yellow SEM-EDX, XRF
Calcium-based white SEM-EDX, XRF
Burnt umber SEM-EDX
An organic blue colorant SEM-EDX (inferred)
Traces of Prussian blue FTIR
Black Bottom part of Bone black XRF
armchair in lower Zinc white or zinc carboxylates XRF
right quadrant Calcium-based white XRF
A small amount of iron oxide XRF
pigment

phosphate (fig. A c, d). This is in agreement with the
XRF which finds cobalt, phosphorus, and traces of
arsenic that could suggest the presence of cobalt phos-
phate with a small amount of cobalt arsenate
(Co(AsO)) present (Corbeil et al. ; Casadio et
al. ). The FORS spectrum from the upper purple
quadrant best matches the FORS spectrum of the refer-
ence cobalt arsenate with some magnesium arsenate, in
agreement with the XRF results which indicated the
presence of cobalt arsenate (magnesium cannot be
detected when doing non-invasive analysis in non-
contact mode with a hand-held instrument as in this
case).
The FORS spectrum of the maroon of the armchair is
complex (fig. Bb). In the visible range of this spectrum
there is a strong broad transition edge at  nm and
weak absorption features at  and  nm similar
to a red dye. In the near infrared there are several

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  KIMBERLEY MUIR ET AL.
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FIG. . Example of FORS spectra from various sites within The Red Armchair. (A) Plot of FORS spectra obtained from the
dark purple color of the background, upper right quadrant (a), and the lower right quadrant (c). Reference spectra of cobalt
violet pigments: Co and Mg arsenate (b), and Co phosphate (d). Note the steep transition centered at  nm in the a) and
(c) spectra due to the presence of zinc oxide, which is absent from references (b) and (d). (B) FORS spectra from the mustard
yellow of the background, lower left quadrant (a), and maroon of the armchair (b), and the reference spectrum of cobalt
violet (Co phosphate) (dashed line).

absorption features that match up with those of the
upper and lower purple FORS spectra suggesting the
presence of cobalt violet pigments (cobalt phosphates
and magnesium cobalt arsenates). These results are
consistent with the XRF with the exception of the red
dye. In the case of the mustard yellow background on
the left side of the painting the FORS spectrum has
the characteristic shape of an iron oxide pigment such
as a yellow earth pigment, in agreement with the XRF
result which shows iron is the major element (Delaney
et al. ). In summary, the FORS data add valuable
information to complement the XRF assignment or in
some cases, such as the organic pigments, offers a
more complete picture of the pigments present.
. PICASSO’S PAINTS
Analysis of Still Life detected pigments such as lead
white, vermilion, and viridian, and extenders like
barium sulfate, quartz, and calcium compounds.
These pigments have not been found in contemporary
Ripolin paints, but are common in early th century
artist’s tube paints and are known pigments on Picas-
so’s palette (Delbourgo ). As a case in point, the
analysis of paint from the light green, red, and black
stripes at center left, areas which all exhibited the
“Ripolin look,” is discussed here in detail. In the
Ripolin samples analyzed, green hues have consistently
been found to be composed of mixtures of Prussian blue
and yellow chromate pigments (lead chromates and sul-
fochromates or zinc potassium chromate), mixed with
zinc white for lighter hues, without the presence of
extenders (Gautier et al. ). Although viridian has
been documented in the Ripolin palette, it has been
found to occur only in minor amounts in the paler tur-
quoise hues. Furthermore, the large, heterogeneous par-
ticles of viridian seen in the sample from Still Life are
inconsistent with Ripolin paints, which have been
found to exhibit finer, more homogeneous particles
(figs. a, b). This green layer also contains lead
white and calcium compounds, with no trace of zinc
white, arguing against the possibility that the green
stripes were executed with Ripolin paint, despite their
surface appearance.
The paint from the red stripe included significant
amounts of barium sulfate and was pigmented with ver-
milion. Vermilion has not been detected as a com-
ponent of Ripolin paints for indoor or exterior use on
paint charts dating between  and ; rather,
its use is limited to only a handful of swatches of
Ripolin enamel paint for cars (Ripolin Carrosserie
line: swatches of Vermillon Fixe, Vermillon Carmine
and Rouge Automobile), which in any case do not
present such high levels of barium sulfate as those
detected in Still Life. In general, vermilion was not
used in house paint manufacture due to its lack of
reliability in retaining its red color. Analysis of early
th century artist’s tube paints has identified a tube
of “Vermillon Francais” (Unis France brand oil color)
that comprises a mixture of vermilion, barium sulfate,
and a drying oil. This suggests that the red lines on
the surface of the painting were not achieved with

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 SCIENTIFICALLY INVESTIGATING PICASSO’S SUSPECTED USE OF RIPOLIN HOUSE PAINTS 
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FIG. . Visible light micrographs of cross sections of: (a) a sample of the light green stripe in Picasso’s Still Life (×), and (b) a
Ripolin swatch of Bleu turquoise clair  illustrating the very fine particles of viridian pigment typically present in Ripolin paints.

Ripolin paint. Instead, the composition of the paint
points to the more likely use of artist’s tube paints, poss-
ibly manipulated by the artist to produce a more glossy,
enamel-like finish. Micro-FTIR analysis of the red layer
did not identify characteristic bands for copal resins
(such as, for example, the small peak centered around
, cm−) or other organic additives, probably
because additions of this medium are often at levels
below the limit of detection of this technique.
Samples of both matte and glossy black stripes were
analyzed with SEM-EDX and FTIR, revealing that both
black paints are based on drying oils and contain
quartz, lead white, and likely also carbon black.
However, the more glossy layers showed less lead
white, more quartz, and a higher proportion of a
natural resin additive. The higher resin and lower lead
white content may contribute to the higher gloss and
deeper black color of some of these stripes. Examin-
ation of FTIR and XRF spectra of black swatches on
 Ripolin paint brochures of the period indicates
that neither lead white pigment nor quartz was part
of the composition, but rather carbon black was used.
French manufacturers of bulk paints (non-artist’s
paints) largely abandoned using lead white, substituting
it with zinc white, in their formulations in the th
century, though artist’s tube paints with lead white
were still sold in the th century. Specifically, docu-
mentation dating back to  confirms legislative
deliberations against the use of lead white in certain
applications in France (Anon ). This seems to be
empirically confirmed by recent analyses of French
house paints of other brands relevant to Picasso’s prac-
tice, which revealed compositions based on zinc and
titanium oxides, as well as lithopone, but not lead
white (Casadio and Gautier ). It is therefore unli-
kely that the black stripes represent the use of Ripolin
paint.
In summary, because the white and colored pigments
do not conform to known compositions of Ripolin
paints, analysis of Still Life indicates that the painting
does not contain Ripolin, but rather that the smooth,
glossy look of certain areas may have been achieved
through the manipulation of artist’s paint in localized
applications.
In The Red Armchair analysis of the white paint in
the hand and face with XRF revealed the presence of
major zinc with minor amounts of calcium, aluminum,
silicon, lead, and cobalt. However, further analysis
with FORS detected only zinc white in the superficial
layers of paint. This finding was also corroborated by
the micro-FTIR analysis of a superficial scraping of
the white paint, which did not highlight calcium com-
pounds and alumino-silicates in the upper layers, but
only zinc white without extenders in oil-based
medium characterized by prominent, broad features
for metal carboxylates: these characteristics offered an

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  KIMBERLEY MUIR ET AL.
excellent match to data acquired on Ripolin Blanc de
neige paints (fig. ). On the other hand, information
on the palette gathered by a combination of non-
invasive and micro-invasive techniques confirmed the
presence of zinc white throughout the painting, but
also highlighted color pigments not found in Ripolin
(table ). For example, XRF and FORS analysis of
various shades of purple in the background of the paint-
ing enabled the correlation of visible color differences
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with differences in both the relative amount of zinc
white (and other extenders such as calcium sulfate or
barium sulfate) with respect to colorants, and charac-
terized the cobalt violets—cobalt arsenate or cobalt
phosphate—and other pigments present. Specifically,
XRF analysis of the left dark purple stripe suggested
that it contained more calcium sulfate (possibly
present as gypsum, i.e. calcium sulfate dihydrate) than
the top right corner. Paint in the latter location, on
the other hand, contained barium sulfate, which was
absent from the left purple stripe. These differences
suggest that Picasso prepared separate paint mixtures
for these areas. Furthermore, differences in the relative
intensity of cobalt and arsenic peaks in the XRF spectra
suggest that Picasso mixed different ratios of the two
tube paints containing cobalt phosphate and cobalt
arsenate with a zinc white paint. SEM-EDX combined
with Raman analysis of a cross section of purple paint
excised from the top right edge of the painting
(fig. ) revealed that the light purple paint contains
two different types of cobalt violet pigment dispersed
FIG. . FTIR spectra of (a) a reference sample of a historic
paint swatch of Ripolin Blanc de neige ; and samples from
Picasso’s The Red Armchair: (b) white paint from the hand;
(c) light purple stripe (the main peak for cobalt violet—mag-
nesium cobalt arsenate MgCo(AsO)—at  cm− is
labeled) (d) paint from a light green stripe (peaks attributed
to hydrated CrO green, viridian, are evident, but only the
one centered at  cm− is marked).
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throughout the layer: magnesium cobalt arsenate and
a mixture of cobalt phosphate and cobalt phosphate
octahydrate in a matrix of zinc white, with isolated
occurrences of alumino-silicates (possibly clays) as
filler material. The distribution of both phosphate and
arsenate cobalt violet pigments is easily visualized
through elemental maps (fig. ). These pigments
were available separately in the form of Violet de
cobalt (cobalt phosphate) and Violet de cobalt clair
(cobalt arsenate) from Lefranc and other artist’s suppli-
ers at the time of the painting’s creation. Thus, the
co-occurrence of both types of cobalt violet suggests
that Picasso mixed two different tubes of violet paint
together with one or more other sources of paint that
provided zinc white. The calcium-based white and
barium sulfate may have been present in very low
amounts in either the violet tube paints or the zinc
white paints. Receipts in the Picasso Archives (Picasso
) indicate that he purchased supplies from
Lefranc. Neither cobalt arsenates nor phosphates have
been detected in Ripolin; instead, combinations of
ultramarine blue and synthetic organic red pigments
(mostly alizarin, PR) were used to achieve violet
hues in all samples analyzed (Gautier et al. ).
The FTIR spectrum of the purple paint from the
upper right provided excellent correlation with
spectra from the white paint in the hands of the sitter
and with Ripolin reference samples of Blanc de neige
(the peak at  cm− being related to the cobalt
pigment magnesium cobalt arsenate: MgCo(AsO))
(fig. ). Close observation of the visible and UV-light
autofluorescence micrographs from this paint layer
reveals inhomogeneous mixing of the purple pigments
with the white pigment matrix, with streaks of more
saturated purple color corresponding to areas where
the greenish-yellow autofluorescence of zinc white is
weaker (fig. ). All these elements converge to corro-
borate the hypothesis that the purple paint in the back-
ground might have been obtained with a mixture of
Ripolin Blanc de neige and two shades of violet tube
paints. Mixing together of the more dense paint from
a tube into the fluid enamel paint could in fact lead to
some of the phenomena described here.
Elemental analysis and subsequent Raman spec-
troscopy of the green paint layers indicate a mixture
of chromium oxide-based greens in a zinc white inor-
ganic matrix with some cadmium yellow and a little
Prussian blue and burnt umber. Specifically, Raman
spectra obtained from a large green particle showed a
strong peak at  cm−, a frequency matching well
with reference data on viridian (CrO•HO), while
the spectrum of small, darker green particles matched
well with reference data for chromium oxide green
(CrO) with a strong peak at  cm− (Bell et al.
). FORS mostly detected viridian in the green,
likely indicating that this is the major component and
 SCIENTIFICALLY INVESTIGATING PICASSO’S SUSPECTED USE OF RIPOLIN HOUSE PAINTS 
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FIG. . (a) Micrographs of a cross section of purple paint excised from the top right edge of The Red Armchair (×) under
visible light illumination highlighting two different shades of purple pigment: reddish-purple and darker bluish-purple. Outlines
have been provided to guide the eye to where streaks of more saturated purple color are evident upon direct microscopic obser-
vation. (b) Elemental maps, backscattered electron, and darkfield illumination images of a portion of the light purple layer of the
cross section displayed in (a) and outlined in gray, showing the distribution of the cobalt phosphate and arsenate violet pigments.

main contributor to the perceived color, with only for Still Life, while viridian has been detected in Ripolin
minor amounts of the anhydrous form of chromium paint swatches, it is present in very small quantities and
oxide present overall in the paint. As already discussed very fine particle size, unlike the high concentration and

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  KIMBERLEY MUIR ET AL.
large, rounded particles observed in the green sample
from The Red Armchair (fig. ). The cadmium
yellow also detected in small amounts in this layer has
not been found as a component of Ripolin paints.
Micro-FTIR analysis of the green paint revealed an oil-
based medium with zinc white and prominent spectral
features for metal carboxylates that provide a very
good spectral match with Ripolin Blanc de neige, in
addition to spectral markers for viridian, suggesting
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that in this case too it is possible that one or two
artist’s tube paints were mixed with white Ripolin.
The mustard area on the lower left side of the paint-
ing contains zinc white, iron containing yellow earth
pigments, cadmium yellow, and barium sulfate. The
co-occurrence of the latter two may indicate the pres-
ence of a cadmium lithopone yellow. A lead-based sic-
cative may also be present. Ripolin samples of similar
hue contain chrome yellow in addition to iron oxide
and iron hydroxide, thus it is unlikely that the color
of this area originates from Ripolin. The relative inten-
sity of cadmium and barium peaks in the spectrum of
the mustard area is identical to that observed for the
yellow paint analyzed in the top left quadrant of the
painting. It is, therefore, possible that Picasso used the
same cadmium yellow paint in both areas but mixed
FIG. . Micrographs of a cross section of green paint excised from the bottom edge of The Red Armchair (×) under:
(a) visible light illumination showing large particles of viridian, and (b) UV illumination, displaying the greenish-yellow autofl-
uorescence typical of zinc white.
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it with yellow earth pigments and a zinc white paint
to produce the mustard color.
In summary, the data described above indicated that
The Red Armchair may be an example of Picasso’s
practice of mixing artist’s tube colors with Ripolin
white paint, in different proportions, resulting in the
painting’s variable surface texture, effectively achieving
visual qualities intermediate between the two paints.
This is supported by the detection of pigments such as
cobalt violet and cadmium yellow, commonly used in
early th century tube paints and known pigments
on Picasso’s palette, which have not been detected in
Ripolin (Gautier et al. ). The white paint, on
the other hand, provided a good spectroscopic
match with reference spectra of Ripolin Blanc de
neige and its signatures were visible in many of the
paint layers.
This technique of mixing Ripolin with tube paints is
also mentioned in written documents. Cowling (,
) reports the recollections from a conversation
Penrose had with Picasso in :
“Explaining that nothing was a better basis than
Ripolin Mat, which he used mixed with ordinary
oil colour. [It] dried fast and became very hard.
 SCIENTIFICALLY INVESTIGATING PICASSO’S SUSPECTED USE OF RIPOLIN HOUSE PAINTS
He produced pictures thickly painted in  to
prove his point: they were as fresh as ever and
no signs of a crack. He said that this had given
new possibilities to painting; the limits of oil
paint from tubes had been reached. This gave
new possibilities in speed and texture.”
. CONCLUSIONS
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This study combined technical examination, scientific
analysis, and documentary evidence to investigate
Picasso’s use of Ripolin in two paintings in the collec-
tion of the AIC. The findings are based largely on exten-
sive new knowledge of the pigment composition of
Ripolin and preliminary studies of other French house
paints indicating that the composition of Ripolin
appears to be a consistent and key distinguishing
feature of these paints. In Still Life, Picasso appears to
have modified artist’s tube paints to achieve the
glossy, enamel-like paint surface typically associated
with Ripolin paints. The Red Armchair, on the other
hand, is an example of the artist mixing Ripolin and
artist’s tube paints together. This painting has long
been labeled as “oil and ripolin,” a designation that
dates back to the artist’s gallery, which may have had
first-hand information from Picasso himself (McCully
). Thus, the research shows that visual assessment
is an important first step in the study of suspected
“Ripolin paintings” to identify promising cases, but
must be supported by rigorous scientific analysis,
ideally in conjunction with documentary sources and
reference materials from the period.
From a methodological perspective, this study high-
lights the high complementarity of XRF and FORS to
screen for areas of zinc-rich paint, i.e. potentially prom-
ising Ripolin investigation sites. FORS has the advan-
tage of a generally shorter penetration depth,
providing results that are typically restricted to the
uppermost paint layers, which is desirable for paintings
with multiple layers of paint or complex reworkings,
whereas XRF analysis typically probes the totality of
the paint layers, making it sometimes difficult to
discern exactly the layer from which emissions for
zinc or other metals are detected. On the other hand,
the presence of specific pigments or extenders can go
undetected with FORS, especially if present at low
level. Of particular relevance here is the fact that
barium sulfate is totally reflective and is not detected
with FORS, while it is easily identified with XRF
(except when present in only trace amounts, where
the overlap of the K lines for Ti and L lines for Ba
can sometimes render the precise identification ambigu-
ous). If detected at high concentration, barium sulfate
can, in most cases, discount the presence of Ripolin.
Thus, this study proves that both techniques can be a
Journal of the American Institute for Conservation , Vol.  No. , –

valuable first step of an analytical protocol aimed at
effectively probing the “Ripolin look”; however, ulti-
mately the coupling of FORS to XRF will provide a
far more powerful non-invasive pre-screening tool
than each individual technique, always to be followed
by targeted, micro-invasive analysis.
In conclusion, it should be noted, however, that the
unambiguous identification of any specific brand of
paint, including oil-based Ripolin, continues to pose
significant challenges, especially when it is used in mix-
tures with other paints. Similar challenges can arise if
tube paints are adulterated with solvents, extra
medium, or driers, in order to alter their handling and
visual properties. Further study is required of the com-
position of other brands of early th century French
house paints, although preliminary results indicate sig-
nificant compositional differences among the limited
number of samples from other manufacturers studied
to date. Ongoing research at the AIC includes the sys-
tematic study of the organic components of Ripolin
using gas chromatography and pyrolysis methods
coupled with mass spectroscopy detection. Future
research will also include the analysis of other house
paint brands as samples become available.
ACKNOWLEDGMENTS
At the Art Institute of Chicago (AIC), the authors wish to
thank Frank Zuccari, Stephanie D’Alessandro, Douglas
Druick, Inge Fielder, Jack Brown and the staff of the
Ryerson & Burnham Libraries. Marilyn McCully, Michael
Raeburn, and Laure Nectoux and colleagues from the PPG
group (Moreuil, France, current owners of Ripolin) are also
thanked. The A.W. Mellon Foundation, the Barker Welfare
Foundation, the Grainger Foundation, and the Community
Associates of the Art Institute of Chicago support scientific
research and instrumentation at the AIC and are gratefully
acknowledged. The Stockman Family Foundation supports
Ripolin research at AIC. SEM-EDX work was performed at
the EPIC facility of NUANCE Center at Northwestern Uni-
versity. NUANCE Center is supported by NSF-NSEC,
NSF-MRSEC, Keck Foundation, the State of Illinois, and
Northwestern University.
APPENDIX
. EXPERIMENTAL TECHNIQUES
Micro-FTIR spectroscopy—A tensor  FTIR spectropho-
tometer (Bruker Optics, Billerica, MA, USA) with mid-IR
glowbar source and DTGS detector was used, coupled to
Hyperion  Automated FTIR microscope with liquid
nitrogen-cooled mid-band and broad-band MCT detectors
(covering the range ,– and ,– cm−,
respectively). Samples were analyzed in transmission
through the microscope after compression in a diamond
microcompression cell, at a resolution of  cm−.
Micro-Raman spectroscopy—A Jobin Yvon Horiba
Labram  confocal Raman microscope (HORIBA Jobin
  KIMBERLEY MUIR ET AL.
Yvon, Edison, NJ, USA) was used, equipped with Andor
multichannel Peltier-cooled open electrode charge-coupled
device detector (Andor DV-OE;  × ), BXFM
open microscope frame (Olympus), offering high flexibility
for analysis of large samples, holographic notch filter, and
two dispersive gratings ( and  grooves/mm). The
excitation line of an air-cooled frequency doubled Nd:Yag
solid state laser (λ =  nm), He–Ne laser (λ = . nm),
and a solid state diode laser (λ = . nm) were focused
through a × objective onto the samples and Raman scatter-
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ing was back collected through the same microscope objec-
tive. Power at the samples was kept very low (on average
 µW) by a series of neutral density filters in order to
avoid any thermal damage.
X-ray fluorescence spectroscopy—A TRACeR III-V energy
dispersive x-ray fluorescence analyzer (Bruker Elemental,
Kennewick, WA, USA) was used, equipped with Peltier-
cooled advanced high-resolution silver-free SiPIN detector
with a -μm Be window and resolution of approximately
 eV for the full-width-at-half-maximum of the Mn Kα
line. The system has titanium and aluminum changeable
filters, and is equipped with a rhodium (Rh) transmission
target with maximum voltage of  kV and tunable beam
current of – µA.
Scanning electron microscopy-energy dispersive x-ray
spectroscopy—A variable-pressure SEM (S-N) (Hitachi,
San Francisco, CA, USA) equipped with EDS and a Robinson
BSE detector was used at The Electron Probe Instrumentation
Center (EPIC), part of the Northwestern University Atomic
and Nanoscale Characterization (NUANCE) Center at North-
western University.
Fiber-optics reflectance spectroscopy—A fiber-optic spectro-
radiometer, FS (ASD Inc., Boulder, CO, USA) was used to
obtain FORS spectra at various sites in the painting. The spec-
trometer operates from  to , nm with a spectral
sampling of . nm from  to , nm and  nm from
, to , nm. The spectral resolution at  nm is  nm
and at , and , nm is  nm. The light source of a
leaf probe head (ASD Inc.) was used at a distance of  cm to
illuminate the painting (, lux) and the fiber was placed
roughly  cm from the object, giving an approximate -mm
spot size at the painting. Typically  spectra are averaged
and total acquisition time is shorter than  seconds per point.
Cross section preparation and optical microscopy—Micro-
scopic paint samples were mounted in a polyester resin and
polished on silicon carbide grit papers and cloths. The sec-
tions were examined with a Zeiss Axioplan Research Micro-
scope equipped with reflected light/UV fluorescence and
documented with a Zeiss AxioCam MRc digital camera.
Polarized light microscopy—Pigment samples were
removed with a scalpel and mounted with Aroclor 
mounting medium (refractive index .). The pigments
were analyzed using a Zeiss Universal Research Microscope
using transmitted light in bright field and crossed polarization
with a magnification range of  to ,×.
NOTES
. Although alkyd-based Ripolin paint was produced before
 (it is listed in pricelists dating from at least )
(Casadio and Gautier ), it was not widely available
Journal of the American Institute for Conservation , Vol.  No. , –
and used until after  and it is not the focus of this
study. In addition, this research has focused on French
Ripolin, which may differ from Ripolin formulations pro-
duced in other countries.
. Further discussion of the earlier composition underneath
Picasso’s Still Life, is beyond the scope of this paper, but
is included in a comprehensive technical report on file in
the Conservation Department, the Art Institute of Chicago.
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AUTHOR BIOGRAPHIES
KIMBERLEY MUIR is assistant research conservator at the Art Institute of Chicago, where she has worked since . She received a
Master of Art Conservation and a Ph.D. in art history from Queen’s University, Kingston, Canada. Address: The Art Institute of
Chicago, Conservation Department,  S. Michigan Ave., Chicago, IL, , USA. Email: kmuir@artic.edu

ALLISON LANGLEY is associate conservator of paintings at the Art Institute of Chicago, where she has worked since  carrying
out treatment and research on a number of Modern and Contemporary paintings. Previously she held the William Leisher Fel-
lowship in Painting Conservation at the National Gallery of Art, Washington, D.C. She received a Diploma in the Conservation
of Easel Paintings from the Courtauld Institute of Art, London, and BFA in Studio Art from the University of Texas at Austin.
Address: As for Muir. Email: alangley@artic.edu

ANIKÓ BEZUR is director of Scientific Research at the Center for Conservation & Preservation, Yale University. Between  and
 she was an Andrew W. Mellon research scientist for the Museum of Fine Arts, Houston, and the Menil Collection. She has a
Ph.D. in Materials Science and Engineering from the University of Arizona. Prior to her current position, she worked at the Art
Institute of Chicago as an associate conservation scientist and served as a lecturer and assistant professor of conservation science
in the Art Conservation Department at Buffalo State College. Address: Center for Conservation & Preservation, Yale University,
PO Box , West Haven, CT –, USA. Email: aniko.bezur@yale.edu

FRANCESCA CASADIO is an Andrew W. Mellon senior conservation scientist at the Art Institute of Chicago where in  she estab-
lished and directs the conservation science laboratory. She also founded and co-directs the Northwestern University/ Art Institute
of Chicago Center for Scientific Studies in the Arts (NU-ACCESS). She received her Ph.D. and M.S. degrees in Chemistry from the
University of Milan, Italy. Address: As for Muir. Email: fcasadio@artic.edu

JOHN DELANEY is the senior imaging scientist at the National Gallery of Art, where his research focuses on the development of in
situ imaging methods for art conservation and understanding of the optical properties of varnishes. He is also a Research Pro-
fessor, School of Engineering and Applied Science, at the George Washington University. He received his Ph.D. from The Rock-
efeller University and completed post-doctoral studies at the University of Arizona and The Johns Hopkins University School of
Medicine. Address: B South Club Drive, Landover, MD . Email: J-Delaney@nga.gov

GWÉNAËLLE GAUTIER holds a Ph.D. in Chemical Sciences from the University of Pisa (Italy, ). She was post-graduate fellow in
the Chemical Science for the Safeguard of the Cultural Heritage Group, at the University of Pisa (). From  to , she
worked at the Art Institute of Chicago in various positions culminating with the role of Andrew W. Mellon associate conserva-
tion scientist. Email: gwenclaire@gmail.com

Journal of the American Institute for Conservation , Vol.  No. , –
  KIMBERLEY MUIR ET AL.

Résumé – La peinture de bâtiment de marque Ripolin, qui était populaire en France, a été fréquemment utilisée par
Pablo Picasso et certains de ses contemporains. Sa présence dans des œuvres particulières est cependant difficile à
confirmer scientifiquement en raison des similitudes chimiques entre la peinture Ripolin et celle en tube utilisée par
des artistes contemporains, ainsi que du manque de connaissance au sujet des formulations de la peinture Ripolin.
Cette étude compare les données recueillies à partir d’un ensemble de référence constitué d’échantillons historiques
de peinture Ripolin et de peinture en tube pour artistes, avec en plus de nouveaux résultats d’analyse de deux
tableaux de Picasso des collections du Art Institute of Chicago soupçonnés de contenir de la peinture Ripolin:
Nature morte () et Le fauteuil rouge (). Une variété de techniques d’analyse non invasives et micro-inva-
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sives, comprenant la spectroscopie de fluorescence X (XRF), la spectroscopie infrarouge à transformée de Fourier, la

spectroscopie de réflectance avec fibre optique (– nm), la spectroscopie Raman, la microscopie optique
avec et sans lumière polarisée et la microscopie électronique à balayage (MEB) avec spectroscopie de rayons X à
dispersion d’énergie, ont été utilisées pour analyser les échantillons de peinture. Les résultats indiquent que
Nature morte ne contient pas de peinture Ripolin, car des pigments, tel que le vermillon et du blanc de plomb, et
des diluants, tel que le sulfate de baryum, ont été identifiés, alors qu’ils n’ont pas été utilisés par la maison française
Ripolin. Par contre Le fauteuil rouge a des peintures utilisées seules et en mélange avec des peinture en tube, corre-
spondant étroitement aux échantillons de peinture blanc de neige de marque Ripolin.

Resumen – Ripolin – una pintura francesa para casas, de uso popular – fue utilizada ampliamente por Pablo Picasso
y algunos de sus contemporáneos. Sin embargo, su presencia en obras de arte específicas ha sido difícil de compro-
bar científicamente debido a las similitudes químicas entre el Ripolin y las pinturas en tubo para artistas, de la misma
época y la falta de conocimiento sobre las formulas de la pintura Ripolin. Este estudio compara los datos obtenidos
de un grupo grande de pinturas históricas para referencia de muestras de pintura Ripolin y de pinturas en tubo para
artistas y nuevos resultados analíticos obtenidos de dos obras de Picasso que son parte de la colección del Art Insti-
tute (Instituto de Arte) de Chicago, que se sospechaba podían contener Ripolin: Naturaleza muerta () y El
sillón rojo (). Se utilizaron para hacer los análisis una variedad de técnicas no invasivas y micro-invasivas
que incluyeron: fluorescencia de rayos X (XRF), espectroscopía infrarroja por transformada de Fourier, espectros-
copía de reflectancia por medio de sonda de fibra óptica (en el rango de  a  nm), espectroscopía Raman,
microscopía óptica y de luz polarizada, microscopía electrónica de barrido (SEM), con espectroscopía de Rayos
x de dispersión de energía. Los resultados indican que la Naturaleza muerta no contiene Ripolin, ya que contiene
pigmentos tales como bermellón y blanco de plomo, y aditivos utilizados como carga extendedora, tales como
sulfato de bario, que no son utilizados en las pinturas Ripolin para casas. Por otro lado, El sillón rojo contiene pin-
turas que coinciden en forma muy cercana con las muestras del Ripolin Blanc de neige utilizado solo y mezclado con
las pinturas en tubo para artistas.

Resumo – Ripolin – uma tinta popular francesa para pintura de casas – foi amplamente utilizada por Pablo Picasso e
alguns de seus contemporâneos. Sua presença em obras de arte específicas, no entanto, tem sido difícil de ser confi-
rmada cientificamente devido às semelhanças químicas entre o Ripolin e os tubos de tinta dos artistas contempor-
âneos, e pela falta de conhecimento sobre as formulações das tintas Ripolin. Este estudo compara os dados
recolhidos a partir de um grande conjunto de referência de amostras históricas de Ripolin e de tubos de tintas de
artistas com novos resultados analíticos de duas pinturas de Picasso na coleção do Instituto de Arte de Chicago
(Art Institute of Chicago), suspeitas de conterem Ripolin: Still Life () e The Red Armchair (). Uma var-
iedade de técnicas analíticas não invasivas e micro-invasivas, incluindo espectroscopia de fluorescência de raios
X (FRX), espectroscopia de infravermelho com transformada de Fourier, espectroscopia de reflectância de fibra
óptica (– nm), espectroscopia de Raman, microscopia de luz polarizada e ótica e microscopia eletrônica
de varredura (SEM) com espectroscopia por energia dispersiva de raios X, foram usadas para analisar as amostras
de tinta. Os resultados indicam que Still Life não contém Ripolin, uma vez que tem pigmentos, tais como vermelhão
e branco de chumbo, e extensores, tais como, sulfato de bário, não utilizados nas tintas francesas Ripolin

Journal of the American Institute for Conservation , Vol.  No. , –