Technique and condition
The paint layers are also bound in an acrylic emulsion, with the noticeable addition of numerous granular inclusions in much of the top layer of paint, in which they appear well dispersed and well adhered. Analysis of these inclusions suggested a silica-based product, bound in an acrylic emulsion medium. The palette is rather limited to opaque, creamy colours, apart from the occasional use of brighter colours, for example the narrow pink band along the top edge, beneath which is a thin layer of deep red and small areas of a deep blue along the right hand edge.
The paint is generally opaque and exhibits a reasonable gloss. It has been applied in a very loose manner, probably by a mixture of brush, palette knife and trowel. Very high impasto is achieved in several areas (often up to about 20 cm in height), but these thick areas exhibit very high flexibility and therefore present little risk of cracking. These areas appear to consist of several thin layers as opposed to fewer thick layers, resulting in a soundly constructed painting. Each layer was probably applied over the preceding one after a minimum amount of time. The presence of many large burst air bubbles over all of the painting's surface is indicative of aggressive mixing of the colours prior to application. The painting is not varnished.
The painting is framed with four narrow wooden battens nailed to the edges of the painting with round headed nails. To enable the attachment of these wooden battens to the left and bottom edges, the paint has been scraped right back to the canvas. However, thick layers of paint continue right to the edge of the excess canvas attached to the rear of the stretcher.