Scientists have explained the changes to Dalí's painting The Temptation of St Anthony
Scientists have found out that the unusual changes in Salvador Dali's painting "The Temptation of St Anthony" are related to the materials used by the artist himself. The degradation began shortly after the work was created. This is important because it helps us understand how technique affects the preservation of art.
It's about a process that has long been considered a mystery.
Details
The study revealed that certain areas of the painting had become more transparent, uneven and covered with micro-cracks over time.
For a long time it was unclear whether this was an artistic technique or damage.
A comparison of old photographs with modern images showed that the changes appeared already in the first decades after the painting was created.
The analysis revealed that a key role was played by a special material, amber, which Dalí used as a binder in the paint.
This component, which the artist called "sublime", proved to be unstable in combination with other layers of paint.
Additionally, external factors - particularly exposure to salts during transport - may have affected the condition of the painting.
Why it matters
The discovery helps to better understand how artistic techniques affect the longevity of works of art.
The scientists note:
- even authorial experimentation can accelerate the ageing of works
- the compatibility of materials in painting is important
- such research helps to preserve works of art
At the same time, experts emphasise that the state of the painting is now stable and there is no threat to it.
Background
The painting "The Temptation of St Anthony" was painted in 1946 and is kept in the Royal Museums of Fine Arts of Belgium.
Dalí experimented with materials and techniques in an attempt to achieve unusual visual effects.
Source
The study is based on a comprehensive analysis of the painting, including spectroscopy, X-ray techniques and archival photographs. The work is published in the journal Heritage (2026).
A comparison of the 1947 photograph, a contemporary photograph and an ultraviolet image of the painting shows a marked increase in transparency in certain areas. These changes affect elements made in the final stages of the painting.
The affected areas have an uneven surface: the transparency is unevenly distributed and the texture has become coarser. Under ultraviolet light they glow with a characteristic bluish-white hue, in contrast to neighbouring areas with a more purplish glow.
This contrast indicates changes in the binder used in these parts of the painting.
Image source: 1947 photo from the Emile Langa Collection, Archives of Modern Art of Belgium; additional images from the European Centre for Archaeometry, University of Liège.