DIAGNOSTIC INVESTIGATION OF A PAINTING SHOWING A MARITIME SCENE, firmato "J.M.W.Turner R.A."

The following scientific analyses have been carried out: - Ultraviolet fluorescence; - Complete infrared reflectological examination; - Radiographic examination on two areas.

FOTOGRAPHIC EXAMINATION OF ULTRAVIOLET FLUORESCENCE The examination revealed a very inhomogeneous fluorescence. The tone of the fluorescence of the protective layer is a green-yellowish colour, which would exclude the presence of a significant amount of oil in the paint, the fluorescence of which, if aged, is commonly an intense yellow In the lower portion, this superficial layer, probably mainly resinous has the effect of a sponge layering effect which seems to follow an underlying non-uniform paint layering but also with gaps and incoherencies. The resulting impression is of a layer applied on the top to fix a film, the coherence and adhesion of which are already compromised. the greenish fluorescence ceases with the landscape. Almost the entire sky area has a generally grey-blue fluorescence. This would lead one to think that this area has suffered an energic cleaning which all but totally removed the original paint. Infact, the colouration of the fluorescence in this area seems to be connected to a particularly thin layer of paint made from the same preparation. Especially in the darker areas next to the temple and in the sky to the right, this seems to be qualitatively similar to elements such as calcium carbonate. It is no coincidence that the “activation time?” of the fluorescence were surprisingly slow, as is the case with frescoes. It is therefore possible that this area has also suffered a substantial reconstruction, with filling and new layers of paint. One cannot note ample retouches. Some modest retouches are noticeable in the area of the temple on the left and between the pilons of the aqueduct on the right. The white marking discovered under fluorescence in the central area can be related to the conservation attempts of the painting and more precisely to the burning of the film of paint which occurred during the covering

REFLECTOGRAPHICAL INFRARED EXAMINATION.The reflectological mapping has supplied much information. In the lower portion, the reading of the layer underneath the paint confirms the presence of ample gaps, visible as white and light grey patches. In the upper part, the sky seems more animated and also stylistically far more consonant with Turner. The flat painting of the sky could therefore reveal, after cleaning, a sample, even if only partial, of a different style of painting. The reading of the central landscape is particularly interesting. An ample sketch of the temple and of the nearby house appears underneath the paint layer which shows notable variations. Above all in the centre above the rapid curved lines which sketch the group of trees, numerous windows are visible on various levels. These were not executed in the painting, but were covered by trees. Such variations exclude that the painting is a copy.

RADIOGRAPHIC EXAMINATION The two radiographic samples carried out on the area of the signature and in the bottom-centre allowed the visualisation of a precise mapping of the discrepancy with the underlying canvas. The signature is not readable under x-ray as it does not have a ?radiopacity?, similar to that of the preparatory layer. At the same time superimposed scratches or sketches which would reveal traces of forgery are not in evidence. This is obviously not sufficient to confirm it’s authenticity.

CONCLUSIONS The painting is in a mediocre state of conservation and in a bad state of legibility. The examinations carried out confirm that it is an original (perhaps also a replica, but not a copy) and verify that the more incongruous stylistic elements are those most tampered with. It must be underlined that the preparatory image, as shown by the reflectology, maintains a notable homogeneousness, this far from guarantees that the original can be fully recovered , but shows how the present legibility detracts from a correct evaluation of the state of conservation and of the qualitative level of the painting.

Diagnostica Artistica per PUNTO LINEA SUPERFICIE Soc. Coop. a r.l.