The emergence of Liu Kang’s new painting style (1950–1958): a multi-analytical approach for the study of the artist’s painting materials and technique

Liu Kang (1911–2004) was renowned Singapore artist trained in Shanghai and Paris, and known for his contributions to the Nanyang style—an art movement practised by migrant Chinese painters in Singapore between the late 1940s to the 1960s. The style depicts aspects of the tropical way of life, synthetising the artistic traditions of the School of Paris and Chinese ink painting with remarkable stylistic innovations. The aim of this study was to characterise Liu Kang’s painting materials and technique by way of ten paintings from a significant period in his oeuvre, 1950–1958, during which his Nanyang style emerged. The selected artworks are from the National Gallery Singapore. A broad range of analytical techniques was employed to study the painting supports and paint layers. The results indicate the prevailing use of commercially prepared linen canvases with double-layered oil-based ground. Single- and triple-layered structures of the ground, as well as semi-absorbent ground, were used sporadically. The identified group of pigments partially overlaps with those already known from Liu Kang’s earlier practice and also incorporates some noteworthy peculiarities like manganese, cerulean and phthalocyanine blues, phthalocyanine green, zinc yellow, and naphthol red AS-D. Some of these newly identified pigments made a distinctive appearance in the individual artworks, but ultimately Liu Kang was not convinced about increasing their role in his painting practice of the 1950s as presented in this research. This study highlights the significance of drawing and photography as integral elements of his artistic process. It also delves into the artist’s different painting approaches and discusses their evolution, which culminated in the stylistic innovation that became Liu Kang’s signature for decades to come. The obtained data may assist art historians and conservators in authenticity and attribution studies, evaluating the condition of artworks and designing conservation strategies. Moreover, this study contributes to the growing body of knowledge about twentieth-century artists’ materials, which are characterised by the complex mixtures of inorganic and organic compounds. It also provides information about the availability of art materials in Singapore in the 1950s.