As part of the IfCAR grant research project «The historicity of polychromy in Appenzell building culture», I worked with Anna Campani and Otilia Joos, two DFA students, to investigate the colourfulness of houses in the 19th century. The project was carried out from March to August 2024 and the results were presented at an IfCAR colloquium at the ZHdK on 17 December.
The reflective, empirical approach was based on pigments that came from the stocks of painters in the region. The stock of around 100 pigments was inventoried, transferred to lists and described. Colours were rubbed from around 50 pigments and systematically mixed with white. The mixed colours were transferred to papers and canvases and show the variety of historical colours of the 19th century.
Based on the experience in dealing with the historical colour pigments and the resulting colour tones, it was possible to define a palette of pigments that were most likely used.
A further result of the research was that there is no «right» paint colour, as colour can never be considered in isolation. Rather, it depends on the constellations of individual colour tones that result in a specific colour tone on a building and in an environment. These colour tones are historically determined, object-related, linked to the cultural context of the Appenzell region and relate to contemporary aspects such as fashion, peasant painting or the textile industry.
The research work carried out to date is summarised in a report. It also shows that the research results were documented during the process of working with mobile phone cameras. The results are now to be professionally documented with a view to publication:
- Documentation of the colour panels on canvas
- Colour constellations composed from colour samples on paper. The decision as to how these constellations are put together depends both on the typical structure of the wooden houses in Appenzell and on my way of reading the buildings and my visual experience.
Colour tones are created from the constellation of colour patterns. They are the essence of the research project. This approach is a novelty in dealing with historical paintwork. Previous recommendations for the preservation of historical monuments refer to so-called «correct» colour tones.
- I also want to document buildings with weathered paintwork in the Appenzell region before they disappear, either by being painted over or demolished. They are important references for confirming the theses as to which pigments were once used in the paint.
- The next need for documentation lies in the pictures of peasant painting, which also served as a reference in the project. These paintings are often not documented, even if they are kept in museums.
I see this photographic documentation as the conclusion of the IfCAR Grant research project «The historicity of polychromy in Appenzell building culture». The photographic documentation forms the basis for a future publication on the transformation of colour from the early 19th century to the present day.
Place and dates: The photographic documentation will be completed by August 2025.
Weblink: https:/https://www.diesalles.ch
Project partner / cooperations:
Hannes Thalmann, Photographer, Berg
Anna Campani, Student, DFA, Bachelor Fine Arts, ZHdK
Otilia Joos, Stundet, DFA, Bachelor Fine Arts, ZHdK
Museum Appenzell
Brauchtumsmuseum Urnäsch