The results of studying the painting materials of Paul Gauguin’s painting “Scene from Tahitian Life,” painted in 1896, are presented. The choice of the canvas is determined by the degree of preservation, which gave it the appearance of a badly damaged exhibit item. The study makes it possible to identify the reasons for the poor state of painting of this canvas and to obtain information about the details of Paul Gauguin’s approach to the creation of paintings of the second Tahitian period (1896–1901). The method of polarization microscopy and energy-dispersive X-ray microanalysis are used to study the stratigraphy, and the pigment composition of the paint layers and primer of the painting. The composition of the cloudy film on the surface of the painting is studied using Fourier-transform infrared spectroscopy. It is established that the painting was painted on thick, coarse-grained linen canvas with plain weave; aluminum silicate (kaolin) with a small content of potassium and iron aluminosilicates with the addition of a small amount of chalk was used as the primer. Pigments such as artificial ultramarine, cobalt blue, cinnabar, chromium yellow, zinc white and barite, lithopone (which is a mixture of the latter two pigments), ocher, red lead, lead white, chalk are revealed in the paint layers. It is determined that oil served as a binder for the primer and paint layers, and a broken-down film of beeswax is present on the surface of the painting. Based on the results obtained, a method for restoring the painting “Scene from Tahitian Life” is developed, which will find practical application in the study and restoration of other works by Gauguin from the collection of the State Hermitage.

介绍了保罗·高更 (Paul Gauguin) 1896 年画作《大溪地生活场景》绘画材料的研究结果。画布的选择取决于保存的程度，这使得它看起来像是一件严重损坏的展品。这项研究使我们能够确定这幅画布绘画状况不佳的原因，并获得有关保罗·高更第二大溪地时期（1896-1901）绘画创作方法细节的信息。采用偏光显微镜和能量色散X射线显微分析的方法研究了地层学以及绘画的漆层和底漆的颜料成分。使用傅里叶变换红外光谱研究了画作表面的浑浊薄膜的成分。据证实，这幅画是在厚实的平纹粗纹亚麻画布上绘制的；使用含有少量钾和铁铝硅酸盐并添加少量白垩的硅酸铝（高岭土）作为底漆。漆层中显露出人造群青、钴蓝、朱砂、铬黄、锌白、重晶石、立德粉（后两种颜料的混合物）、赭石、红铅、铅白、白垩等颜料。据确定，油充当了底漆层和油漆层的粘合剂，并且油漆表面上存在蜂蜡的破碎膜。根据所获得的结果，开发了一种修复绘画《大溪地生活场景》的方法，该方法将在国家冬宫收藏的高更其他作品的研究和修复中得到实际应用。