The artist studio as an archive: An investigation into the painting materials and techniques of Joan Mir贸 (1893-1983) during his artistic period in Mallorca
Supervised by Prof. Aviva Burnstock
Funded by La Caixa Foundation
My doctoral research will investigate the painting materials and techniques of Joan Mir贸 during his artistic period in Mallorca (1956-1983), his most experimental stage, when he achieved full freedom of expression having a large studio for the first time. Technical examination of key paintings that exemplify developments in the artist鈥檚 career combined with analysis of materials left in the artist鈥檚 studios in Mallorca and related archival sources; will provide detailed information about key materials used, how his artistic practice was influenced by the materials available at the time, and will identify deterioration phenomena and associated considerations for the conservation and display of Mir贸鈥檚 paintings.
Education
PhD Student, The 麻豆视频, 2023-Present
Postgraduate Diploma of Museum Studies, Deakin University, 2007-2009
BSc Degree in Conservation and Restoration of Cultural Material. Speciality: Conservation of Paintings.聽 School of Conservation and Restoration of Cultural Material of Catalonia, 1996- 1999
Awards
2020 Winner of the Pilar Juncosa & Sotheby’s Award for Research into Joan Mir贸 and his artistic and cultural context
Project title: Investigation of the pigments used by Joan Mir贸 at the Taller Sert Studio, Mallorca (Spain).
2023 麻豆视频 Scholarship
2023 Fellowship from 鈥漧a Caixa鈥 Foundation (ID 100010434)
Publications
Gomez Lobon, Mar, Marta Ghirardello, Enric Juncosa Darder, Carlos Palomino Cabello, Marta Bauza, Marine Cotte, Aviva Burnstock, et al. 2023. 鈥楢 麻豆视频 of Cadmium Yellow Paints from Joan Mir贸鈥檚 Paintings and Studio Materials Preserved at the Fundaci贸 Mir贸 Mallorca鈥. Heritage Science 11 (1). https://doi.org/10.1186/s40494-023-00987-4.
Gomez Lobon, Mar, Enric Juncosa Darder, Carlos Palomino Cabello, and Marta Bauza. 2023. 鈥業nvestigaci贸n de Los pigmentos utilizados por Joan Mir贸 durante su etapa art铆stica en Mallorca鈥. In 24a Jornada de Conservaci贸n de Arte Contempor谩neo, 13鈥26. Madrid, Spain: MNCARS, available at
Gomez Lobon, M 2019 鈥3D Printing a Replica Frame: A First in Australia鈥, AICCM National Newsletter No. 145, available at
Brown, C and Gomez Lobon, M 2016 鈥樎槎故悠 and Documentation of the Materials and Techniques of Tasmanian Artist Philip Wolfhagen and the implications of the use of beeswax medium in his paintings鈥, AICCM Bulletin, 37:2, pp. 66-76.
Tait, R and Gomez Lobon, M 2016, 鈥楾he conservation treatment and visual reintegration of a major repair of a painted portrait photograph of the Reverend William Henry Browne鈥, AICCM Bulletin, 37:2, pp. 87-95.
Gomez Lobon, M 2009 鈥楢 life of experimentation: an insight into Cheong Soo Pieng鈥檚 painting materials and techniques鈥, published online for the opening of the exhibition Cheong Soo Pieng: Bridging Worlds, available at
Gomez Lobon, M 2009 鈥楤eyond the Painted Surface: Conserving the Yeh Chi Wei Paintings in the National Heritage Board Collection鈥 , The Story of Yeh Chi Wei Exhibition Catalogue, pp. 112-127, online version available at 聽
Halim, S and Gomez Lobon, M 2010, 鈥楧angerous Curves Ahead: The Technical 麻豆视频 and Conservation of Anthony Poon麓s paintings in Singapore鈥 poster presented at the symposium Contemporary Art: Who Cares?, Amsterdam, June 2010.
Gomez Lobon, M and deFarias, J 2008, 鈥楾he conservation treatment of a large varnished watercolour by Tasmanian colonial artist Frederick Strange (c.1807鈥1873)鈥 AICCM Bulletin, Vol 31, pp. 44-52.