Normal light
Technical imaging showcases that Franz Marc treated every layer of The Little Mountain Goats with precision. Thin, translucent paint colors and geometric forms are applied faithfully to a firmly sketched design. The pristine condition of the painting is also a testament to Marc’s meticulous technique.
Franz Marc, German, 1880–1916; The Little Mountain Goats, 1913–14; oil on canvas; 23 7/8 x 16 inches; Saint Louis Art Museum, Bequest of Morton D. May 912:1983
Normal light, back of painting
The original canvas and stretcher remain in excellent condition. An inscription is written on the canvas that partially reads in German “small picture of goats” and is not in the artist’s handwriting.
Raking light
Franz Marc applied the paint layers so thin that the weave of the canvas shows clearly in raking light.
Specular light
Seen with specular light, the thin washes of oil paint appear naturally matte or glossy in different areas.
Ultraviolet-induced fluorescent (UVF)
The pristine condition of The Little Mountain Goats is clear under ultraviolet (UV) radiation, which often reveals added paint and materials from historic conservation work. The UV image also highlights the bright glow of zinc white.
Infrared
Franz Marc’s bold sketch appears in the completed painting, but the infrared image reveals subtle edits, such as in the body of the central goat.
X-radiograph
The X-radiograph shows canvas, a wooden stretcher, and metal tacks. While Franz Marc subtly changed his geometric forms in the paint layers, he stayed very true to his underlying sketch.
Additional Objects
View all objects in the technical imaging suite to reveal hidden details and examine underlying material layers.
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Glossary
Back (Verso)
The back of a painting provides a wealth of information about its structure. Changes made to the canvas, such as visible repairs, reveal past damage or vulnerabilities. Markings, labels, and inscriptions often tell new stories of the painting’s past, including original titles, previous owners, and exhibition histories.
Raking Light
Raking light, directed from a side angle, casts surface textures into strong relief. This technique highlights details such as thick brushstrokes, canvas weave, or cracks in the paint layers.
Specular Light
Light cast directly onto the painting’s surface at a 90-degree angle highlights glossy or matte qualities. This technique helps determine if a varnish is present and quickly exposes variations of sheen in different paints.
Infrared Reflectography
Infrared reflectography (IRR) uses a specially adapted camera to detect infrared energy. When an image of a painting is captured using infrared light, some pigments appear transparent, which enables the viewer to see through overlying layers of paint. This technique often reveals hidden details, such as preparatory drawings by the artist or parts of the composition the artist painted over.
Ultraviolet Radiation
Ultraviolet (UV) light sources cause certain materials to absorb and re-emit colorful light, known as fluorescence. The fluorescence of some materials can identify certain pigments, such as zinc white, which produces a vibrant glow. Conservators can also detect previous treatments, which may appear dark purple.
X-radiography
X-radiography uses an X-ray source and sensitive film to produce an image of the painting’s composite layers. Materials transparent to X-rays appear dark in the images, while X-ray–absorbing materials like lead white and metal hardware appear white. Artist’s changes and, in some exciting instances, completely different, earlier compositions may be unveiled.