The artist studio as an archive: An investigation into the painting materials and techniques of Joan Miró (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 Miró 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’s career combined with analysis of materials left in the artist’s 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 Miró’s paintings.
Education
PhD Student, The Courtauld, 2023-Present
Postgraduate Diploma of Museum Studies, Deakin University, 2007-2009
BSc Degree in Conservation and Restoration of Cultural Material. Speciality: Conservation of Paintings. 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 Miró and his artistic and cultural context
Project title: Investigation of the pigments used by Joan Miró at the Taller Sert Studio, Mallorca (Spain).
2023 Courtauld Scholarship
2023 Fellowship from ”la Caixa” Foundation (ID 100010434)
Publications
Gomez Lobon, Mar, Marta Ghirardello, Enric Juncosa Darder, Carlos Palomino Cabello, Marta Bauza, Marine Cotte, Aviva Burnstock, et al. 2023. ‘A Study of Cadmium Yellow Paints from Joan Miró’s Paintings and Studio Materials Preserved at the Fundació Miró Mallorca’. 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. ‘Investigación de Los pigmentos utilizados por Joan Miró durante su etapa artística en Mallorca’. In 24a Jornada de Conservación de Arte Contemporáneo, 13–26. Madrid, Spain: MNCARS, available at https://www.museoreinasofia.es/publicaciones/conservacion-arte-contemporaneo-24a-jornada
Gomez Lobon, M 2019 ‘3D Printing a Replica Frame: A First in Australia’, AICCM National Newsletter No. 145, available at https://www.aiccm.org.au/national-news/3d-printing-replica-frame-first-australia
Brown, C and Gomez Lobon, M 2016 ‘Study and Documentation of the Materials and Techniques of Tasmanian Artist Philip Wolfhagen and the implications of the use of beeswax medium in his paintings’, AICCM Bulletin, 37:2, pp. 66-76.
Tait, R and Gomez Lobon, M 2016, ‘The conservation treatment and visual reintegration of a major repair of a painted portrait photograph of the Reverend William Henry Browne’, AICCM Bulletin, 37:2, pp. 87-95.
Gomez Lobon, M 2009 ‘A life of experimentation: an insight into Cheong Soo Pieng’s painting materials and techniques’, published online for the opening of the exhibition Cheong Soo Pieng: Bridging Worlds, available at
https://roots.sg/learn/resources/publications/Heritage%20Conservation%20Centre/The%20Life%20of%20Experimentation-%20An%20insight%20into%20Cheong%20Soo%20Pieng%20painting%20materials%20and%20techniques
Gomez Lobon, M 2009 ‘Beyond the Painted Surface: Conserving the Yeh Chi Wei Paintings in the National Heritage Board Collection’ , The Story of Yeh Chi Wei Exhibition Catalogue, pp. 112-127, online version available at https://www.nhb.gov.sg/~/media/nhb/files/institutions/outreach/programmes/yeh%20chi%20wei_mar%20gomez%20lobon.pdf?la=en
Halim, S and Gomez Lobon, M 2010, ‘Dangerous Curves Ahead: The Technical Study and Conservation of Anthony Poon´s paintings in Singapore’ poster presented at the symposium Contemporary Art: Who Cares?, Amsterdam, June 2010.
Gomez Lobon, M and deFarias, J 2008, ‘The conservation treatment of a large varnished watercolour by Tasmanian colonial artist Frederick Strange (c.1807–1873)’ AICCM Bulletin, Vol 31, pp. 44-52.