Scientific examination of Titian´s paintings in the KHM

Within the general program of cataloguing the paintings of the KHM in accordance with the latest international standards of research it is our project to subject approximately thirty works by Titian in the KHM to chemical and technological examination. Study of the paintings by means of x-ray, infrared (IR), infrared reflectography (IRR) and ultraviolet technology may well produce new insights into painting supports, types of underpaint - whether related to the final painting or of a different nature, of underdrawings, as well as later repainting. Chemical analysis of samples taken from the paintings by the preparation of cross-sections provides evidence of the structure of paint layers, choice of pigments and binders. Titian was chosen as the subject of our study for a number of reasons: In the first place, the KHM possesses the largest collection of paintings by Titian after the Prado in Madrid. Furthermore, there was hardly another artist to have displayed such freedom in the use and reuse of canvases, the employment of underpaint, underdrawing, pigments and binders, and the handling of the brush. As a result, Titian produced a revolutionary and creative mode of painting which was to influence artists for centuries to come. Thanks to the findings of scientific examination of individual works executed in other museums, a number of misconceptions about Titian`s work have already been corrected. Nonetheless, the general neglect of the material substance of the paintings continues to give rise to erroneous interpretations and even incorrect attributions. Titian`s late works, for example, are characterised by very open brushwork and a previously unseen handling of pigment. These qualities have made it difficult to establish whether these are an expression of the painter`s mature style, or whether the paintings were simply left unfinished. It will be necessary to compare the results of our investigations with those of other museums. Only on the basis of such a vast collection of data the proper art historical research and critical evaluation of each work can garantuee to be fruitful. A catalogue based on the results of the scientific and technological study of our paintings will provide an emminently useful research tool for art historians, restorers and scientists in the field. The ultimate goals of the project are to create in cooperation with other institutions a catalogue of the material consistency of all or near to all paintings by Titian, a project similar to the famous "Corpus of Rembrandt Paintings". Many institutions have already expressed their interest in collaboration. Most prominent among these partners is the Prado, which houses the biggest and most important collection of paintings by the master.

During the last three years, approx. 30 paintings by Titian have been investigated through an interdisciplinary pilot project at the Kunsthistorisches Museum in Vienna between the Painting Dept., the Paintings Conservation Studio and the Conservation Science Dept. The research provided is founded upon the most recent academic literature and scientific findings. These examinations included microscopic examination, X-ray and infra-red imaging as well as cross-section analysis (pigment and binding media identification). Through X-ray examination it has been possible to track the genesis of numerous works, revealing previous, underlying compositions - in some cases revealing prominent paintings by the artist, known from other collections. The fact that the same pictorial idea was used simultaneously in several paintings permitted not only new insights regarding working methods and organization of his workshop, but in some cases to retrace the compositions chronology. Further and complementary information could be gathered through infra-red reflectography. With this technique it is possible to gain insights in the underdrawing and to follow the pentimenti (changes made by the artist during the painterly process). Paint layer sampling (cross section analysis) and microscopic observations allowed findings on layer composition, execution of underlying compositions and painting technique. In summary these various studies have provided important information about picture genesis and iconography, as well as dating, condition, format changes and conservation history. In the third year was begun to set the gained insights together in a concluding interdisciplinary catalogue. The many new forms of information having surfaced from our investigations gave further impulse to the international Titian research, but lastly requiring a bigger timeframe for evaluation. On this purpose a follow-on project (FWF Project Nr. P19032) was submitted during the last year, which is running since November 2006 and should include the completion of catalogue.