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. 2024 Nov 12;16(22):3146.
doi: 10.3390/polym16223146.

Unveiling the Composition of La Pajarita PVAc-Based Paints in Joan Miró's Studio and in Three Artworks from the 1970s

Mar Gomez Lobon  1 , Enric Juncosa Darder  2 , Carlos Palomino Cabello  3 , Marta Bauza  3 , Francesca Caterina Izzo  4
Affiliations

Unveiling the Composition of La Pajarita PVAc-Based Paints in Joan Miró's Studio and in Three Artworks from the 1970s

Mar Gomez Lobon et al. Polymers (Basel). .

Abstract

In this study, we present the first characterisation of the polyvinyl acetate (PVAc) paints of commercial Spanish brand La Pajarita preserved in the studios of Joan Miró (1893-1983) in Mallorca, Spain. Investigation of several black and white paint samples using complementary analytical techniques (XRD, SEM-EDX, FTIR, and Py-GC-MS) allowed for the identification of pigments and binding media in studio materials, as well as in three artworks dating from the 1970s. Through comparative analysis, it was possible to find significant similarities between the composition of La Pajarita paints conserved in cans in the artist's studio with black and white painted layers from three artworks by Miró. Miró's use of La Pajarita paints is extensively documented in studio notes, photographs, and videos, and these paints are known to have been used by other significant Spanish artists. However, their composition has remained largely undiscovered until now. This research contributes to the knowledge of PVAc paints, providing evidence of their use by Joan Miró. The analytical results serve as a valuable reference for comparing and identifying these synthetic paints in other artworks, as well as aiding in attribution or dating studies. Furthermore, the study demonstrates the significance of materials found in artists' studios as a fundamental resource for identifying the materials present in artworks.

Keywords: 20th century artworks; Fundació Miró Mallorca; Joan Miró; La Pajarita; PVAc; Py–GC–MS; artist materials; artist studio; latex paints; vinyl paints.

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Conflict of interest statement

The authors declare no conflicts of interest.

Figures

Figure 1
Figure 1
Studio materials sampled. (a) Can of La Pajarita black paint (sample N1b). (b) Mixing stick covered with white paint (sample B3). (c) Bottle of La Pajarita white paste (sample B6).
Figure 2
Figure 2
Artworks by Joan Miró sampled, with location of samples. (a) Untitled (FPJM-00106), 1973, acrylic and charcoal on canvas, 216 × 173.8 cm (sample N4). (b) Untitled (FPJM-00108), 1973, acrylic and charcoal on canvas, 174 × 293 cm (sample N5). (c) Untitled (FPJM-00135), 1977, oil and acrylic on plywood, 122 × 89 cm (sample B4).
Figure 3
Figure 3
Pyrograms of samples N1b (black), B4 (dark grey), N4 (light blue), B6 (light green), B3 (red) and N5 (grey) by means of Py–GC–MS analysis. For peak identification, refer to peak numbers of Table 2.
Figure 4
Figure 4
Pyrograms of sample B6 (liquid paint) by means of Py–GC–MS analysis. For peak identification, refer to peak numbers of Table 3.
Figure 5
Figure 5
EDX and SEM images of (up) black samples and (below) white samples. Scale bar 2 μm.
Figure 6
Figure 6
XRD patterns of (a) black samples and (b) white samples.
Figure 7
Figure 7
FTIR of (a) black samples and (b) white samples.
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