Preliminary investigation of the painting technique of Thalia Flora-Karavia (1871–1960): The ‘Paris’ case study

Abstract

The present paper delves into the artistic evolution of Thalia Flora-Karavia, a prominent Greek painter (1871–1960) studied for the first time, with a focus on her masterpiece 'Paris'. The unconventional choice of cardboard as a substrate material underscores Flora-Karavia's adaptability and innovative spirit. The absence of preparatory underdrawings aligns her technique with impressionist tendencies, emphasizing spontaneity.

Analysis of the palette within 'Paris' reveals a careful selection of colors, predominantly grey tones, with key pigments such as Prussian blue, phthalocyanines, and lithopone. These choices, highlighted through advanced analytical methods (portable X-Ray Fluorescence spectrometry, portable Raman spectroscopy, technical photography and Hyper Spectral Imaging), shed light on Flora-Karavia's deliberate and skilful manipulation of materials.

It is particularly surprising that she continues to use pigments that had largely been replaced by newer options - ones that were less harmful, more efficient, and more stable. Notably, she omits titanium white from her palette, despite its widespread adoption by painters as a basic white pigment after its development in 1918. The absence of cadmium red and yellow also reveals her clear preference for certain pigments.

The present study provides valuable information in the field of technical art history, shedding light on the materials and methods used in her work. This provides a deeper understanding of Flora-Karavia's artistic identity as depicted in her painting 'Paris'. Her adeptness at marrying innovative techniques with traditional elements shapes a distinctive oeuvre that invites further scholarly inquiry into her contextual influences and contributions to the understudied artistic landscape of Greece in the 20^th century.