Six Sunflowers in a Vase

Vincent van Gogh, 1888
Factum Arte, 2017
98 x 69 cm

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Six Sunflowers in a Vase was painted by Vincent van Gogh in Arles in 1888 as part of a second series of four sunflower paintings. Although three of this series survive and are amongst the best-loved paintings in the world, Six Sunflowers, which belonged to a Japanese collector, was destroyed following a fire during the American bombing of Ashiya in 1945. A black & white collector’s image existed and a colour photo recently resurfaced; although its quality is not ideal, it nevertheless made evident the striking colours of the original painting. This reconstruction was innovative because, as will become evident from the following summary of the process, it was carried out using only data from other van Gogh paintings.

Factum Arte's restorers painted various versions of Van Gogh's work to understand his technique

Reconstructing the surface

Van Gogh’s paintings have an extraordinary surface texture, with thick brushstrokes visible even to the naked eye. For the reconstruction, a digital modelling specialist carefully followed a painstaking process of 3D ‘cut-and-paste’ in order to re-create the distinctive character of the surface.

 

 

 

Detail of the 3D reconstruction of the surface

The first step in the digital reconstruction involved physically producing a life-size print of the low-quality image using white acrylic putty as a hard modelling paste and soft modelling paste. This captured the general shape and position of van Gogh’s brushstrokes, although not their morphology. This version of the painting was recorded using Factum’s custom-built Lucida 3D scanner. The Lucida is a laser scanner capable of recording the surface of a low-relief object up to a resolution of 100 microns. In the next stage of the process, van Gogh painting belonging to the same series, Sunflowers (1888), was recorded by the National Gallery in London using their own Lucida scanner; the data was sent to Factum.

Different versions of Van Gogh's sunflowers

 

After data processing, the two files were imported into the 3D modelling software ZBrush. The 3D recording of the acrylic version was used as the framework for the reconstruction. Our digital modeller cut out brushstrokes from the 3D file of Sunflowers (1888) and matched them to similar-shaped brushstrokes visible in the acrylic version of Six Sunflowers. Each brushstroke was re-touched as little as possible; in fact, most brushstrokes slid into place with only very slight warping or distortion required. The resulting 3D file was a re-creation of Six Sunflowers in a Vase formed by incorporating brushstrokes made by van Gogh himself.

Reconstructing the colour

In order to reconstruct the colour, we followed a similar process to that used for the 3D surface. Sunflowers (1888) at the National Gallery was also recorded using panoramic photography, a method of obtaining high-resolution colour by taking multiple images that are then stitched together using specialised software such as PTGui. However, each painting in the 1888 Sunflower series represents a different time of day and has a different tonal range. It was not possible, therefore, to simply lift brushstrokes from Sunflowers (1888) and map them onto the re-creation of Six Sunflowers. In order to solve this problem, research was carried out into van Gogh’s palette; high-resolution images of various Sunflower paintings were studied; and physical colour samples – paper strips that are painted alongside an original object and that show true colour – were taken of van Gogh’s paintings at various museums around the world.Taking the surviving colour image of the work as the main reference, a chromatic range for the re-creation was set.

Then, one of Factum’s photographers began the meticulous reconstruction work of matching brushstrokes found in the high-resolution image of the National Gallery, adjusting it to match the desired chromatic range, and pasting over the low-quality colour image. The final colour re-creation, like the surface reconstruction, was made almost entirely from van Gogh’s brushstrokes.

Bringing colour and 3D together

The re-created texture was 3D printed using OCE’s elevated printing technology and a silicon mould taken from this print. The mould was cast in gesso. The cast was transferred onto a linen canvas to provide a textured surface for colour printing. The colour was printed using Factum’s modified flatbed printers, which allow an exact registration of print and textured canvas.The painting was retouched by hand in specific areas and varnished. Two versions were created, one with a matte varnish, the second with a slightly glossier sheen.

The final reconstruction