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Papers by Jay Krueger

Research paper thumbnail of Modern Artists' Materials Given by Edward and Zora Sweet Pinney to the National Gallery of Art

Research paper thumbnail of Issues in Contemporary Oil Paint

Research paper thumbnail of The Use of Wet Peening in the Conservation of Outdoor Bronze Sculpture

Studies in Conservation, 1979

In preparation for peening an outdoor bronze sculpture, glass beads (the abrasive) are loaded int... more In preparation for peening an outdoor bronze sculpture, glass beads (the abrasive) are loaded into a metallic hopper. This vessel, after being filled with beads, operates by accepting compressed air (the propellant medium) through a single entrance pipe and dispensing (at a variable rate) the abrasive laden medium through another single pipe. The compressor and hopper are connected with flexible air hoses. Abrasive is propelled toward the sculpture through a similar hose. The forced air flow is commonly provided by a portable gasolinepowered air compressor. This unit draws air from its surroundings and, after pressurizing, the air is released at an adjustable rate and pressure. The hopper, with the exception of the inlet and outlet, is a closed container during operation.

Research paper thumbnail of “Transparency and Light, Structure and Substance”: Enamel Paints in László Moholy-Nagy's Z VII (1926)

Z VII (1926), a painting by Hungarian-born artist László Moholy-Nagy in the collection of the Nat... more Z VII (1926), a painting by Hungarian-born artist László Moholy-Nagy in the collection of the National Gallery of Art, Washington, D.C., is striking for its richly varied surface, a quality unusual for his paintings from the period. Recent conservation treatment exposed a range of carefully calibrated and deliberate juxtapositions of smooth glossy and subtly textured matte paints on its surface. Subsequent scientific analysis conducted at the Gallery indicates that enamel paints were used discretely in several areas of the painting. This study addresses the use of these new materials in the artist's repainting of Z VII.

Research paper thumbnail of Multiple Pigment Selection for Inpainting Using Visible Reflectance Spectrophotometry

When inpainting, selecting appropriate pigments that achieve an invariant color match can be a ch... more When inpainting, selecting appropriate pigments that achieve an invariant color match can be a challenge for conservators, as changes in illumination and observer can result in metamerism. A simplified instrumental-based color-matching system, consisting of a portable, small-aperture spectrophotometer and spreadsheet software, was developed to aid in pigment selection. By using the single-constant simplification of the Kubelka-Munk turbid media theory and restricting the spectral analysis to 420nm and above, it was possible to develop a pigment database without the usual requirement of analytical weighing and homogeneous dispersion. Multiple-linear regression, common to most spreadsheet software packages, was used to select a set of pigments most closely matching the spectral properties of the original work of art. The methodology was tested in the conservation treatment of Barnett Newman's 'Dionysius' and Sanford Robinson Gifford's 'Siout, Egypt'. The princi...

Research paper thumbnail of Near-Infrared Luminescence of Cadmium Pigments: In Situ Identification and Mapping in Paintings

Applied Spectroscopy, Aug 1, 2011

Research paper thumbnail of Standoff chemical imaging finds evidence for Jackson Pollock's selective use of alkyd and oil binding media in a famous ‘drip’ painting

Anal. Methods, 2016

Near-infrared diffuse reflectance imaging spectroscopy (NIR-RIS, 1000 to 2500 nm) was used to map... more Near-infrared diffuse reflectance imaging spectroscopy (NIR-RIS, 1000 to 2500 nm) was used to map the use of alkyd and oil paints in Jackson Pollock's Number 1, 1950 (Lavender Mist), one of his most important ‘drip’ or ‘poured’ paintings.

Research paper thumbnail of Andy Warhol’s Early Paint Mediums

Research paper thumbnail of Joyce Tsai, Jay Krueger, and Christopher Maines, , “‘Transparency and Light, Structure and Substance’: Enamel Paints in László Moholy-Nagy’s Z VII (1926),” Journal of the American Institute of Conservation. 52:4 (2013): 236-245.

Research paper thumbnail of Modern Artists' Materials Given by Edward and Zora Sweet Pinney to the National Gallery of Art

Research paper thumbnail of Issues in Contemporary Oil Paint

Research paper thumbnail of The Use of Wet Peening in the Conservation of Outdoor Bronze Sculpture

Studies in Conservation, 1979

In preparation for peening an outdoor bronze sculpture, glass beads (the abrasive) are loaded int... more In preparation for peening an outdoor bronze sculpture, glass beads (the abrasive) are loaded into a metallic hopper. This vessel, after being filled with beads, operates by accepting compressed air (the propellant medium) through a single entrance pipe and dispensing (at a variable rate) the abrasive laden medium through another single pipe. The compressor and hopper are connected with flexible air hoses. Abrasive is propelled toward the sculpture through a similar hose. The forced air flow is commonly provided by a portable gasolinepowered air compressor. This unit draws air from its surroundings and, after pressurizing, the air is released at an adjustable rate and pressure. The hopper, with the exception of the inlet and outlet, is a closed container during operation.

Research paper thumbnail of “Transparency and Light, Structure and Substance”: Enamel Paints in László Moholy-Nagy's Z VII (1926)

Z VII (1926), a painting by Hungarian-born artist László Moholy-Nagy in the collection of the Nat... more Z VII (1926), a painting by Hungarian-born artist László Moholy-Nagy in the collection of the National Gallery of Art, Washington, D.C., is striking for its richly varied surface, a quality unusual for his paintings from the period. Recent conservation treatment exposed a range of carefully calibrated and deliberate juxtapositions of smooth glossy and subtly textured matte paints on its surface. Subsequent scientific analysis conducted at the Gallery indicates that enamel paints were used discretely in several areas of the painting. This study addresses the use of these new materials in the artist's repainting of Z VII.

Research paper thumbnail of Multiple Pigment Selection for Inpainting Using Visible Reflectance Spectrophotometry

When inpainting, selecting appropriate pigments that achieve an invariant color match can be a ch... more When inpainting, selecting appropriate pigments that achieve an invariant color match can be a challenge for conservators, as changes in illumination and observer can result in metamerism. A simplified instrumental-based color-matching system, consisting of a portable, small-aperture spectrophotometer and spreadsheet software, was developed to aid in pigment selection. By using the single-constant simplification of the Kubelka-Munk turbid media theory and restricting the spectral analysis to 420nm and above, it was possible to develop a pigment database without the usual requirement of analytical weighing and homogeneous dispersion. Multiple-linear regression, common to most spreadsheet software packages, was used to select a set of pigments most closely matching the spectral properties of the original work of art. The methodology was tested in the conservation treatment of Barnett Newman's 'Dionysius' and Sanford Robinson Gifford's 'Siout, Egypt'. The princi...

Research paper thumbnail of Near-Infrared Luminescence of Cadmium Pigments: In Situ Identification and Mapping in Paintings

Applied Spectroscopy, Aug 1, 2011

Research paper thumbnail of Standoff chemical imaging finds evidence for Jackson Pollock's selective use of alkyd and oil binding media in a famous ‘drip’ painting

Anal. Methods, 2016

Near-infrared diffuse reflectance imaging spectroscopy (NIR-RIS, 1000 to 2500 nm) was used to map... more Near-infrared diffuse reflectance imaging spectroscopy (NIR-RIS, 1000 to 2500 nm) was used to map the use of alkyd and oil paints in Jackson Pollock's Number 1, 1950 (Lavender Mist), one of his most important ‘drip’ or ‘poured’ paintings.

Research paper thumbnail of Andy Warhol’s Early Paint Mediums

Research paper thumbnail of Joyce Tsai, Jay Krueger, and Christopher Maines, , “‘Transparency and Light, Structure and Substance’: Enamel Paints in László Moholy-Nagy’s Z VII (1926),” Journal of the American Institute of Conservation. 52:4 (2013): 236-245.

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