Photographing the Project

In this post, we continue to unwrap the ways in which we’re documenting our project by looking at how it’s being photographed. Nowadays, and especially in our digital age when we all have cameras we take photography for granted. But photography of art, and in this case paintings, is a highly specialised skill – as many of us have probably discovered when we’ve tried and failed to take decent shots of paintings on visits to museums and exhibitions. We’re therefore very fortunate indeed in being able to count on Glasgow Museums photographer Maureen Kinnear as one of the Stirling Maxwell Research Network team working with us on the project. Maureen is an extremely modest person who is happier hiding behind her camera but for this blog post we’re not only able to provide a photographic glimpse of her at work (courtesy of her colleague Jim Dunn) but Rosie Thorp also persuaded her to give us a short interview about her work on our project, which we share below. We’ll continue exploring the photographic documentation of our project and its special significance within research on Stirling Maxwell and Spanish art in another post.

Hilary Macartney

Untitled
Maureen Kinnear photographing the Lady in a Fur Wrap © CSG CIC Glasgow Museums Collection.

Interview with Maureen Kinnear, Glasgow Museums Photographer

R: How long have you worked as a photographer for Glasgow Museums?

I’ve worked in the photography department of Glasgow Museums for over 30 years. I initially worked at Kelvingrove Art Gallery and Museum before moving to the Burrell Collection, and I’m now based at Glasgow Museum Resource Centre. I spent five years working as a black and white printer before becoming a photographer.

R: How did you get involved in the Unwrapping an Icon project?

I got involved in this project because I work closely with the painting conservator. My role is to record the paintings before, during and after treatment.

Fig. 2 Spanish Project_Tech exam_2017-06-15_091-lo (1)
Photographs of paintings are constant visual references in both Art History and Technical Art History. Maureen captures this as she shows Mark Richter with reference photographs of the paintings in the project to hand as he examines PC6 Attributed to Jorge de la Rúa, Don John of Austria with a stereomicroscope at GMRC, June 2017. © CSG CIC Glasgow Museums Collection.

 

R: What did recording these paintings involve?

My brief is to provide a full record, including photographing the painting in normal and raking light, as well as under ultraviolet light and infrared.
The raking light image can give information on the paint application technique and also the method. It can show any damage, lifting paint or paint layer deformation.
Ultraviolet light shows the surface coating, the consistency of the varnish layer and the presence of retouching – so revealing information on the past treatment and nature of the varnish layer.
The infrared photography I do reveals light under-drawing and areas of damage but does not reveal as much as infrared reflectography would show (see also Mark’s interview to see how infrared reflectography was used in this project).

Fig. 4 Spanish Project_Tech exam_2017-06-15_071-lo (1)
Maureen records the collaboration of colleagues from Historic Environment Scotland in our Research Network during technical examination of the paintings at GMRC in June 2017. In the foreground, Damiana Magris and Ailsa Murray carry out infrared reflectography on PC137 Sánchez Coello, Anne of Austria. Behind, Sarah Hamilton measures X-ray fluorescence on PC6 Attrib. to Jorge de la Rúa, Don John of Austria. © CSG CIC Glasgow Museums Collection.

 

R: What other involvement have you had in the project?

For this project I’ve also recorded the subjects of the paintings to show close-up detail of the costumes. I’ve recorded the reverse of all the paintings too, with details of labels and inscriptions and have documented the technical and scientific examination that was carried out on all of them. I’ve also recorded events throughout the project, including the trip to the Vet School to use the x-ray machine.

Fig. 3 Spanish Project_Vet School_x-ray_2017-06-08_02-lo (1)
Research projects aren’t all glamour. Maureen’s photograph shows Glasgow Museums Paintings Conservator Suzanne Ross supervising unloading of the paintings by the logistics team in the service bay at the University of Glasgow’s School of Veterinary Medicine, prior to X-ray, June 2017. © CSG CIC Glasgow Museums Collection.
Fig. 1 Spanish Project_Tech exam_2017-06-15_087-lo (1)
Hilary Macartney and Pippa Stephenson are pictured here by Maureen as they prepare for the Media Call to launch the ‘Unwrapping an Icon’ Research Network at Glasgow Museums Resource Centre in June 2017, while Mark Richter examines PC17 El Greco, Portrait of a Man with an ultraviolet torch. © CSG CIC Glasgow Museums Collection.

 

R: What camera did you use?

The majority of the photography is done on a Hasselblad H3D II-39MS – H Series camera, which a lot of museums use, as it produces large file sizes allowing greater detail to be seen and suitable for reproduction in high-quality publications.

PC.6_01_2017-06-26_Cond_Detail
Maureen’s high-resolution photograph of a detail of PC6 Attrib. to Jorge de la Rúa, Don John of Austria allows us to appreciate the quality and particular characteristics of the painter’s style and technique, as well as the fascinating detail of the sitter’s costume. It also records the many tiny paint losses that are typical of paintings of this age. © CSG CIC Glasgow Museums Collection.

 

R: Do you always use a tripod for paintings or are there times when handheld is better?

When we’re photographing paintings in the studio, a tripod is always used. When I’m photographing people I use a Nikon D800 with and without a tripod, depending on the situation.

R: Are there special lenses you tend to use, for example, for the details in paintings?

For the Hasselblad the lens I use is the HC Macro4/120mm. This has exceptionally high performance making it a very versatile lens not only for close-up work but general applications too. For the Nikon, the lens is Nikon 24-120mm f4 G AF-S ED VR – so, for example, this is the equipment I used to photograph Damiana and Ailsa from Historic Environment Scotland carrying out the infrared reflectography and the photographs at the Vet School.

PC.29_01_2017-06-30_Cond_Frame
Here, Maureen’s photograph documents the curious wooden frame encasing the miniature painting PC29 of a Knight in Armour, currently attributed to the Circle of El Greco. It was probably made for Sir John Stirling Maxwell around the turn of the 19th and 20th century. © CSG CIC Glasgow Museums Collection.

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