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1.
Telemaco Signorini (Florence 1835-1901), one of the most important Italian painters of the 19th century, was particularly famous among his colleagues for his way of depicting dark details and shadows by using primarily blue colors. The restoration of his painting Pascolo a Pietramala (c. 1889, Galleria di arte moderna, Palazzo Pitti, Florence) gave the authors the opportunity to study Signorini's blue palette using non-invasive fiber optics reflectance spectroscopy (FORS) in the ultraviolet (UV), visible (vis), and near infrared (NIR) regions (350-1700 nm). Furthermore, to help in the identification of the pigments used, a suitable spectroscopic database was created for Prussian blue, artificial ultramarine blue, Thénard blue (or cobalt blue), and cerulean blue modern blue pigments, in masstone and in mixtures with lead white as well as zinc white. The main pigments used by the artist in the aforesaid painting were found to be Prussian blue, artificial ultramarine blue, Thénard blue (or cobalt blue).  相似文献   

2.
The painting Proas Iluminadas (Illuminated Bows) by Benito Quinquela Martín is studied by Raman spectroscopy in order to analyse the technique and the pigments employed by the artist: ultramarine blue, carbon black, cadmium-sulphure based compounds for the hue of yellow, orange and red; also zinc white, barium yellow, massicot yellow and viridian were observed. The importance of using different excitation laser lines in the analysis of mixtures of pigments is highlighted. The Raman mapping analysis of cross section samples shows the way the artist composed the ground layer: a lead white stratum over a calcite one. It also allows distinguishing between a mixture of components and strata superposition, both presenting the same appearance under an optical microscope. This paper provides information about the materials and techniques used in a period of Argentine art not studied before from this point of view.  相似文献   

3.
This paper presents the first extensive investigation of the composition of both the organic and inorganic media used by Lorenzo Lotto, one of the outstanding artists of the Italian Renaissance in the early 16th century. By investigating four paintings from The State Hermitage Museum collection (Saint-Petersburg, Russia), new insights into the artist's painting techniques were obtained, which contribute to our understanding of the transition from egg tempera to oil painting techniques that took place in Italian paintings between the 15th to the mid 16th century. Inorganic materials were determined using SEM-EDX and PLM, revealing information on the artist's palette. Of particular note was the powdered colourless glass found in the priming layer of the Madonna delle Grazie, which was most likely used as dryer. Organic materials were analysed in individual paint layers using GC-MS, and revealed a mature use of drying oils as paint binders, skilfully mixed with other organic materials and inorganic driers, to obtain the desired aesthetical and technical qualities of the paint. The study revealed that Lotto used the tempera grassa technique through most of his creative life.  相似文献   

4.
Most of the historical paints are mainly constituted by inorganic pigments, either pure or mixed, spread on the surfaces using different binding agents. The knowledge of the exact amount of different constituents of the paint, as well as of the mixing and pictorial techniques, is crucial for a careful program of conservation of polychrome works. Moreover, since the availability of these pigments has been changing through the centuries, their identification and chemical characterisation is useful to acquire or deepen information about the artist and his/her work. This information can also be useful for authentication purposes through relative dating because the identification of one pigment respect to another one can be used as a terminus post quem or ante quem the artwork was realized. In this work, X-ray fluorescence data from historical pigments, both pure and mixed, will be presented, in order to obtain quantitative information on the samples and to extract calibration curves to the aim of evaluating the pigment concentration in unknown mixtures.  相似文献   

5.
Optical and SEM-EDS microscopy, X-ray powder diffraction and micro FT-IR spectroscopy investigations of the funerary klinai (couches) of Tomb 1 from Amphipolis and a stone sarcophagus from ancient Tragilos—two painted monuments made by Macedonian craftsmen of the Early Hellenistic period—identified the original materials and painting technique, as well as synthetic materials used as consolidants during past restoration treatments. The original organic binders and the superficial modern coatings have been identified by micro FT-IR spectroscopy applied directly to the sampled powders or tiny fragments and to their solvent—soluble fractions. The pigments identified on the couch of Amphipolis are: red and yellow ochre, cinnabar, Madder lake, paratacamite and antlerite, carbon black, calcium carbonate, kaolin and gypsum. The identification of egg and animal glue confirms the application of tempera and secco techniques. The detection of polymers such as polydimethylsiloxane, polyvinyl acetate and alkyd resins, is related to modern restoration products. The pigments attested on the paintings of the Tragilos' sarcophagus are: red and yellow ochre, Egyptian blue, malachite, carbon black, calcium carbonate and gypsum. The absence of organic binders combined with the constant presence of calcium carbonate in all the examined samples suggests the use of lime as the binding medium in the painted decoration of the sarcophagus. The presence of Paraloid B72 is related to recent conservation treatments.  相似文献   

6.
The work is focused on identification of lead tin yellow types I and II, Naples yellow, and also on discrimination of a less common, distinct yellow pigment, the ternary Pb-Sb-Sn oxide.The knowledge about all those Pb-based yellows was in fact forgotten after introduction of modern synthetic yellows in 19th century. As late as in the last decade of the 20th century, the existence of Pb-Sb-Sn yellow and its production have been rediscovered, and only then it has been identified in colour layer of artworks.Pb-Sb-Sn yellow has recently been identified in colour layer of 17th century Italian paintings by Sandalinas and Ruiz-Moreno [C. Sandalinas, S. Ruiz-Moreno, Lead tin-antimony yellow, historical manufacture, molecular characterization and identification in seventeenth-century Italian paintings, Stud. Conserv. 49 (2003) 41–52], and here we report the finding of this pigment in Mid-European painting of the 18th and 19th centuries. Lead tin yellows, lead antimony yellow (Naples yellow), and lead antimony tin yellow were synthesized in laboratory following historical recipes, their colour was analyzed, and their structure was confirmed to provide a basis for their routine identification in microsamples of artworks by X-ray microdiffraction. Unequivocal identification of Pb-based yellows could help in authentication of traditional European paintings, because their use was temporally and also geographically specific. Combination of elemental microanalysis (X-ray fluorescence electron microanalysis) and X-ray powder microdiffraction were found very efficient in the microanalysis of colour layers of artworks with Pb-based yellows and their unequivocal identification.  相似文献   

7.
一家子全“玩”陶艺 虽然生活在太湖边的小县城浙江长兴雉城，但青年陶艺家钱樟法却常有上海、杭州、南京及国外喜欢陶艺、紫砂人士的拜访，一些国际性赛事和会议也常邀请他参加。就在去年5月，他应邀向在日本举行的2008年日本美浓国际陶艺展寄去了作品《溪水源源》；接着又收到9月在西安举行的第43届国际陶艺协会大会的参会邀请。这是联合国教科文组织在中国首次举行的大会，钱樟法的作品通过筛选将参加“精品”展……  相似文献   

8.
This articles reports new discoveries relating to ground glass and silica in European easel paintings from the 15th to the 17th centuries that were created by various German, Italian and Netherlandish artists. The earliest known additions of these extenders date to the early 1430s. Glass powder of varying fineness, prepared from vessel or window cullet, is often found in red lake glazes as well as in other colours or preparatory layers of paintings. SEM/EDX analyses of the glass particles reveal a variety of chemical compositions (soda ash, wood ash, wood ash-lime, wood ash-lead, mixed alkali), which are discussed with respect to the provenance of the paintings. Historical sources on painting techniques mention glass additions most frequently to accelerate drying of oil paints, but also occasionally to facilitate grinding of pigments. Another possible function of powdered glass and silica, especially in oil-bound red lake glazes, is that of a transparent filler, as will be here discussed based on paint trials.  相似文献   

9.
Forty-six Streptomyces strains were isolated from paintings and stone surfaces from Tell Basta and Tanis tombs (80 km south-east Cairo, Egypt). Eight of these strains were selected to determine their sensitivity against 13 antibiotics. In general, high levels of resistance could be observed. Gentamycin, spiramycin and doxycycline were the most effective antibiotics against the majority of strains under study. Due to the observed antibiotic resistances, gamma irradiation was studied as a possible alternative to inhibit microbial growth. Isolated bacteria were exposed to different doses of gamma irradiation (5, 10, 15, 20 and 25 kGy). The growth of all Streptomyces isolates except S. canarius was completely inhibited at 25 kGy. The applied doses of gamma irradiation did not cause any observable alterations or colour changes to pigments and binding media (arabic gum, animal glue and egg-yolk) used in the paintings.  相似文献   

10.
董连元是颇有成果的草根连环画家,在农村文化礼堂建设中,为弘扬中华礼仪、传承道德文明,他常有作品推出,使我十分钦企。日前,浙江省文史馆馆员、书画家方志恩让我结识了董连元。年过花甲的董连元才情满溢,几十年“很接地气”地在方寸天地中追寻着自己心中的“中国梦”。  相似文献   

11.
Paintings are in essence about visual features of varying significance from which differences in their market prices originate. Studies normally investigate derivative sources of painting price determinants, which is reasonably understandable because the appreciation of an image is quite subjective. This paper provides an operational solution to the quantification of paintings based on a new concept termed as “visual autocorrelation” of prices (VAP). Considering the current empirical framework of spatial and temporal autocorrelation of prices, and using data on the paintings of two abstract expressionist artists, empirical results support the coherence of the VAP concept.  相似文献   

12.
The application of total reflection X-ray fluorescence (TXRF) to the analysis of inorganic pigments used in five Albanian icons painted by Onufri Qiprioti, in the period from the end of 16th to the beginning of 17th century is presented. After removing the protective varnish with a solvent, a dry cotton-wool bud (Q-tip) was rubbed over the painted surface to collect the micro-samples. Samples, covering the main colors and their hues, were collected of each icon. A part of the small amount of the sample was transferred to a glass carrier and analyzed by TXRF. Main types of inorganic pigments used for different colors could be identified. The results indicate a palette which included white lead, calcium white, gold, orpiment, yellow and red ochre, vermilion, red lead; a cooper based green pigment (malachite or verdigris) and smalt.  相似文献   

13.
The effects of a Q-switched Nd:YAG laser irradiation on a group of supports, painted with six different inorganic pigments, was investigated. The pigments were chosen from among the most utilized on painted historical surfaces: red ochre, yellow ochre, chromium green, ultramarine azure, white chalk and carbon black, and they were distempered with two binders – linseed oil and gypsum – on primed wood panels. The pigments were characterized by means of X-ray diffraction and Fourier transform infrared spectroscopy. Chromatic characteristics, chemical composition and surface morphology of the painted layers were investigated before and after the laser irradiation. Three different fluences were used to detect the correlation between laser parameters and changes in painting layer characteristics.  相似文献   

14.
In the present article an attempt is made to elucidate the organic colorants commonly encountered in the Russian avant-garde painting palette by a combined art historical, documentary and physicochemical investigation, and to examine the influence of environmental factors on the chromatic profile originally sought by the artist. The overall approach based on written sources is confirmed by measurements on relevant paintings. The documentary research deals with the influences of Orthodox iconography, folkloric art, and occidental modernist tendencies on the Russian avant-garde palette, and studies the effects of contradictory historical processes in the chromatic profile of individual paintings. In the experimental section a series of colorants are investigated concerning the effects of accelerated ageing on experimental painting tables, prepared as watercolor and gouache layers on paper ground. The resulting samples are subjected to colorimetric and spectroscopic measurements, and analogous analytical procedures are applied on samples taken from selected paintings. A systematic comparative study of all data permits evaluation of the materials used in terms of their stability towards extrinsic factors, and proposal of degradation routes in order to assist museum curators and conservators in every concrete case related to the broad spectrum of pigments examined.  相似文献   

15.
著名画家李克昌是当今画坛杰出的艺术家。我最初拜读李克昌的油画、国画和内画，就被其涉足之广和造诣之高而震惊，被其驾驭反差跨度如此大的画种之超凡功力所折服，真可谓：“内（内画）外（油画和国画）兼功得心，三管齐下应手。”而今年9月，在久负盛名的北京艺术殿堂荣宝斋举办他的美术作品展上，我又欣赏到他的雕塑和书法，原来不仅是“三管齐下”，简直是“五子登科”，（其实他还有美学研究），更为其成就之大而倾倒。  相似文献   

16.
Zinc oxide nanoparticles were prepared and used for surface treatment of oil paintings painted on paper supports. The prepared coating mixture containing 2% of ZnO nanoparticles showed excellent transparency. The effect of coating on protecting the paper support and paintings against microbial attack by Trichoderma reesei and Aspergillus niger, dirt accumulation, and UV aging was studied. Coatings containing ZnO nanoparticles enhanced the durability of linseed oil-based paintings toward UV aging regarding the change in color. Coatings containing ZnO nanoparticles improved resistance to microbial attack when subjected to inoculums containing T. reesei or A. niger fungi. In addition, coatings containing ZnO nanoparticles reduced accumulation of dirt on oil paintings when left in open air for 6 months; cleaning of paintings was quite easy compared to the non-coated paintings or those coated with the varnish without ZnO nanoparticles.  相似文献   

17.
The Sos Furrighesos necropolis (Anela) is considered to be one of the most important funerary monuments in Sardinia. The hypogeum consists of various graves, called Domus de Janas, which are decorated with Neolithic mural paintings and sculptures. This work was undertaken in order to clarify which techniques were used in the past, through the identification of pigments and binding media. The samples, scraped off from the paint surface, were studied by using various analytical techniques in order to characterise both the pigments and the binding media. The main problems concerning the characterisation were due to the small sizes (1–5 mg) of the samples and their complex nature. As regards pigments, X-ray diffraction and scanning electron microscopy-energy dispersive X-ray spectrometry analyses were performed on the samples. These techniques are well suited to the characterisation of inorganic pigments and have led to the identification of the red pigment as haematite. In order to characterise the organic binders, the samples were analysed by a procedure based on a gas chromatography–mass spectrometry technique, which allows proteinaceous and lipidic media determination in the same sample. In most of the samples, the presence of egg was suggested.  相似文献   

18.
The paper presents our results concerning a complex investigation by reflectance spectroscopy (RS) and Electron Paramagnetic Resonance (EPR) of the defects induced by gamma irradiation in 22 different historical pigments. Gamma irradiation is used to destroy microflora and insects which are involved in biodeterioration processes of art works such as paintings. At the same time, it can induce defects i.e. color centers which are likely to modify the original painting colors by altering the embedded pigments. Accordingly, RS was used to quantify, by means of CIELAB color space, the contribution of irradiation defects to the pigments color changes, while EPR spectroscopy, in view of paramagnetic properties of color centers, was used to confirm their presence after irradiation. Our investigations showed that, excepting marble dust whose color alteration was still observable after 3 months, color changes induced by irradiation in all other pigments disappeared after about 30–40 days. In addition, RS as well as EPR measurements suggest that color changes are related to irradiation color centers, this finding being confirmed by the coincidence, within experimental uncertainties, of the half-life time color changes as obtained by these methods.  相似文献   

19.
The pictorial cycle “Teodelinda's Tales” at Monza Cathedral, painted by Zavattari and his sons in 1444–1446, has been investigated by optical and SEM-EDS microscopy and microFT-IR spectroscopy. Paint layers, gildings and other metallic decorations have been analysed to elucidate the execution technique, the state of conservation and the possible retouchings in consequence of deterioration processes. Organic binders, coatings and adhesives have been also identified especially by microFT-IR spectroscopy applied directly to the sampled powders or fragments and to their solvent–soluble fractions. The obtained data offer a correct and satisfactory knowledge of the original organic and inorganic materials and those used in the subsequent retouches and restorations, their state of conservation and the painting techniques (fresco, mezzo fresco and secco).The physico-chemical investigations allowed to identify the nature and sometimes the provenance of the employed materials (i.e. ultramarine blue pigments) and some decay markers, particularly useful in understanding and describing the cycle realised by the authors and the modifications suffered along the centuries, and also to propose an integrated methodology for the scientific study of the mural paintings.  相似文献   

20.
An archaeological excavation has been carried out at Pisa (Italy), unearthing an ancient metallurgical workshop. Since archaeological burnt materials provide important records of direction and intensity of the Earth's magnetic field in the past and they can be used to better improve geomagnetic secular variation curves (SVCs), an archaeomagnetic study has been performed. This small copper-alloy furnace presents a circular concave shape covered with a thin layer of mortar, with some traces of heated clay surrounding the feature that confirms the high temperature reached inside it. Archaeological context dating points to the last firing of the furnace between the last quarter of the 13th century and the first quarter of 14th century AD, when then the metallurgical workshop was transformed in a warehouse. Archaeomagnetic sampling has been performed using the modified Thellier method, by collecting several, large and independently oriented aliquots of heated clay, forming the bottom part of the circular wall of the structure. Laboratory treatments have been conducted at the IGG-CNR ARCHEO_LAB (Pisa, Italy) and at St. Maur Palaeomagnetic laboratory (Paris, France). Analytical measurements of the thermo-remanent magnetization index acquired from the samples have been performed using a large cell induction magnetometer for large samples, and the characteristic remanent magnetization (ChRM) has been successfully isolated after an alternate field demagnetization cleaning procedure for each sample. The final mean archaeomagnetic direction has been calculated at sampling site (D = 6.9°; I = 52.8°; N = 9; k = 305; α95 = 2.6°) following the Fisher Statistics, and it exhibits a perfect agreement with some coeval already published directions obtained from Mt. Arso lava flows, these latter being an important anchor point in the preliminary Italian secular variation curve. Comparison with the preliminary Italian SVC, the French SVC and the SCHA.DIF.3K archaeomagnetic regional model have permitted to define an archaeomagnetic absolute age confirming the conventional archaeological age, underlining the importance of this result into the Italian archaeomagnetic data set.  相似文献   

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