New Scientific Analysis STILL Points to Van Gogh

Recent scientific analysis carried out on eight samples extracted from the edge of the painting continues to point to the hand of Vincent van Gogh.

XRF (elements present) and XRD (compounds present) show significant traces of ZnO, CaCO3, and BaSO4. ZnO, or zinc white, was used as the ground paint for the entire canvas (which was also determined by PLM). Evidence of Pb₃(OH)₂(CO₃)₂ Lead White also exists; in fact, the resulting analysis carried out here reveals major similarities.

Patch of Grass, painted by Vincent in early summer 1887, is a recycled canvas of Head of a woman with a cap from his Nuenen period. Researchers undertook extensive analysis of the underlying composition and discovered several elements using a portable XRF unit, which confirmed the presence of Sb, Hg, and Pb, along with carbon, iron, and manganese. 

Brushstroke comparison and measurement continue AS-THE-SAME with this painting, and as Van Gogh: Raking light, UV, IR, X-ray, elements, and compounds present, pigments, signature, canvas weave—all the same as Van Gogh. Yet the VGM continues to deny the expansion of Vincent’s oeuvre while devoting it’s time to artists OTHER than their namesake.

In Paris, Vincent had spent many days painting with his friend Arnold Koning. Vincent, being a mentor to the young Koning, would advise him, just as he had Anton Kerssemakers in Eindhoven. Vincent and his young friend often painted the same scenes around Montmartre: the Jardin du Luxembourg and, The Blute-fin Mill in Montmartre, to name a couple; they even shared Theo’s apartment with him for a time. When Vincent left for Arles in February 1888, Koning moved in with Theo permanently, at least until he left Paris altogether in late May. 

This painting definitely has Arnold Koning-like qualities, yet it is signed ‘Vincent’ TWICE.