At ArtCare Conservation, technical analysis plays a central role in understanding how a painting was made and how it has changed over time. Among the most effective tools available for this purpose is X-ray fluorescence (XRF), a non-invasive method used to identify the elemental composition of materials present on the surface of an artwork.
In practical terms, XRF allows us to detect the chemical signatures of pigments without the need for sampling. By directing X-rays at a surface and measuring the energy emitted in response, the instrument produces a spectrum unique to the elements present. These signatures can then be interpreted to identify likely pigment compositions and distinguish between original materials and later additions.
While the underlying physics is complex, its application in conservation is straightforward: it allows us to look beneath the surface of a painting without disturbing it. As with any analytical method, however, the value lies not in the data alone, but in its interpretation. Readings must be considered alongside visual examination, historical context, and an understanding of the artist’s known materials and working methods.
At ArtCare, XRF analysis is carried out using a portable spectrometer, allowing us to work both in the studio and on site. This flexibility is particularly important when examining large-scale works or paintings that cannot be moved.
One example of this approach can be seen in the analysis of Nature Morte Vivante (1956) by Salvador Dalí.
Painted during Dalí’s period of so-called “Nuclear Mysticism,” the work reflects a shift in his thinking toward the relationship between science, mathematics, and visual order. While the composition appears dynamic and unstable, it is in fact carefully structured, with elements arranged according to underlying proportional systems.
Through XRF analysis, it is possible to move beyond the visual complexity of the image and examine the material decisions that underpin it. A series of targeted analysis points across the surface allowed us to characterise the range of pigments present within the composition.
Across multiple readings, strong lead (Pb) signals were consistently detected, indicating the use of a lead-based white—either within the ground layer or integrated into the paint itself. In red passages, the presence of mercury (Hg) and sulfur (S) suggests a pigment such as vermilion, while chromium (Cr) detected within green areas is consistent with the use of viridian.
These findings align closely with known mid-20th-century painting materials. Despite the conceptual ambition of the work, Dalí’s palette in this instance appears grounded in well-established pigments rather than experimental materials.
This kind of analysis does not exist in isolation. When combined with close visual inspection and art-historical research, XRF contributes to a more complete understanding of both the artist’s technique and the condition of the work. It can also play an important role in identifying later interventions, informing treatment decisions, and supporting long-term preservation strategies.
As with all technical tools, XRF is most effective when used with restraint and clarity of purpose. It is not simply a means of generating data, but a way of asking more precise questions of the artwork—and, in turn, arriving at more informed and responsible decisions in its care.
