

Sfumato
2014 – ongoing
polyester resin, manganese dioxide, black aluminum case packer
162 x 130 cm.; 63 3/4 x 51 1/8 in.
Photo: Gréaudstudio
In 2010, CNRS researchers Philippe Walter and Laurence de Viguerie opened an investigation. So far, no one has ever managed to penetrate the chemical mystery involved in the effect used by Leonardo da Vinci to give such a realistic and hazy appearance to the faces he applied himself to paint. Being invaluable pieces, it is indeed impossible to take even the slightest sample from the Master’s canvases. With the support of the European Synchroton in Grenoble, the two scientists eventually found a way to bring to light the technique implemented by Leonardo da Vinci to achieve the effect which he himself named "Sfumato": a painting "without lines or borders, in the manner of smoke". Taking advantage of the latest advancements in X-ray fluorescence spectrometry, they analysed one by one the 6 masterpieces from the Louvre’s collection. By studying the faces in detail, they brought out a series of extremely thin layers of glazing: a subtle combination of oil, resin, manganese oxide and an occasional hint of copper. Some areas revealed almost as many as 30 microlayers, each one being hardly 1, 2 or 3 microns thick, with an overall thickness of half a hair at most... It is through this inframince and this almost imperceptible stack that Leonardo da Vinci created the psychological dimension behind the figures who haunted his paintings. Such characters being in turns enigmatic, tragic, contemplative, smiling or rather on the verge of displaying either expression. The history of the Sfumato formula also shows that Leonardo da Vinci could spend several years painting one piece, each film of resin requiring a number of days up to a few months to dry. This may be where the evanescence displayed by his subjects originated from. Indeed, the latter, despite being frozen in time, look endlessly lascivious and hesitant. After the results of the research were published, Loris Gréaud could not resist. He seized the highly sought-after formula to produce a series of abstract paintings. Whereas resins have changed, allowing quicker catalyses, manganese oxide remains the same, still creating the same intensity. Loris Gréaud’s paintings are thus adorned with mysterious scrolls which vary if one gets closer to the piece and has one’s reflection mirrored in it. For the point is no longer to catch a faltering look and freeze it in time but to briefly reveal the image of a lingering watcher. One recalls Giorgio Vasari marvelling at Leonardo da Vincy’s ability to achieve the very darkest tones. What better experiment for an artist who has chosen black as his flag?