Additional file 1 of Exploring the private universe of Henri Matisse in The Red Studio
Creators: name: Haddad, Abed
name: Pastorelli, Gianluca
name: Ortiz Miranda, Annette S.
name: Ludvigsen, Loa
name: Centeno, Silvia A.
name: Duvernois, Isabelle
name: Hoover, Caroline
name: Duffy, Michael
name: Aviram, Anny
name: Zycherman, Lynda
Publisher: name: figshare
Year: 2022
Subjects: subject: Neuroscience
subject: 39999 Chemical Sciences not elsewhere classified
subject: FOS: Chemical sciences
subject: Ecology
subject: FOS: Biological sciences
subject: Marine Biology

description: Additional file 1: Fig. S1. A detail (a) from The Red Studio shows the presence of a gray-colored layer beneath the blue wall; drips from (b) pink and (c) blue paint over some objects in the composition indicate that this gray layer was laid in first. Fig. S2. A µ-FTIR spectrum that shows the presence of a natural resin varnish in a sample taken from The Red Studio. Fig. S3. A detail (a) from The Red Studio that shows the depiction of Upright Nude with Arched Back and elemental distribution maps (b) for vermilion (Hg), iron-based earth pigments (Fe), and viridian (Cr) that show Matisse overpainting the originally orange-hued sculpture with a yellow ochre paint. Fig. S4. (a) X-radiograph and (b) infrared reflectogram acquired of Young Sailor II. Fig. S5. A Raman spectrum that shows the presence of ultramarine in a blue sample taken from Young Sailor II. Fig. S6. Elemental distribution maps from a section of Young Sailor II: (a) combined chrome (Cr, yellow), manganese (Mn, violet), and iron (Fe, orange); (b) cobalt (Co, blue); and (c) phosphorus (P, yellow); the green ellipse indicates the location of an artifact in the calculated map. The presence of manganese, phosphorous, and cobalt in the sweater’s stripes strongly suggests that a mixture of manganese violet (manganese phosphate) and cobalt blue was used by Matisse, however, this does not preclude the additional presence of a cobalt (II) phosphate violet pigment. Fig. S7. Detail of the sitter’s face in (a) Young Sailor II and (b) combined mercury (HgLα: 9.980 KeV, green) and bromine (BrKα: 11.902 KeV, pink) distribution maps for the same area. Fig. S8. An X-radiograph of Bathers. The curved striations in the ground preparation show that the painting was not commercially primed, but rather primed with a palette knife. Fig. S9. FORS spectra acquired from Bathers that show the range of pigments identified by the technique. Fig. S10. A UVF image of Bathers that shows the occurrence of tin-treated cochineal lake marked by intense pink fluorescence. Fig. S11. FORS spectra acquired from Nude with White Scarf that show some pigments identified by the technique. Fig. S12. UVF imaging indicated the presence of an organic lake pigment in the top-right quadrant of the picture due to pink fluorescence. Fig. S13. A Raman spectrum that confirms the presence of a madder lake pigment in a red sample taken from Nude with White Scarf. Fig. S14. Raman spectra that show the presence viridian, ultramarine, and orpiment in Le Luxe II. Fig. S15. FORS spectra acquired from Le Luxe II that show some pigments identified by the technique. Fig. S16. (a) Infrared reflectogram and (b) UVF image acquired of Cyclamen.