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1.
Optical microscopy, cross-section and fragment Micro-FTIR spectroscopic techniques along with microchemical tests were used for the identification of pigments in two different samples of an icon. Representing the Last Judgement, and painted by the Greek master Ioannis from the village of Kapesovo in the year 1771, the kneeling desk icon under investigation is a noteworthy contribution to the study of materials in post-Byzantine visual arts. The main components found in the ground layer of both samples were gypsum, beeswax and a proteinaceous material. Cinnabar, Prussian blue and cerussite were identified on the paint layers. The binding medium on the paint layers was weddelite. The materials used in the painting and ground layers were characterized in order to clarify the painting technique. Proteinaceous materials have been identified as binders for the pigments, indicating a tempera painting technique.  相似文献   

2.
The painting “Madonna with Child”, attributed to Pietro Lorenzetti (14th century) and reworked around the middle of the 16th century, was studied by several techniques in order to characterize the materials used in the original and in the repainted areas. FORS, light microscopy, ESEM-EDX, ToF-SIMS and GC-MS were used. Red ochre and raw sienna earth were identified by FORS in the original parts of the painting. On the repainted parts of the panel, cinnabar, ultramarine blue and lead white were found. By means of GC-MS and ToF-SIMS measurements it was possible to identify the organic binding media used in the preparatory and painted layers.  相似文献   

3.
Giovanni Fattori (Livorno 1825–Firenze 1908) is the most representative artist of the Macchiaioli's current, an early group of Italian plein-air artists, whose work anticipates, in the xixth century, that of their younger contemporaries, the French Impressionists. The study, performed by a multidisciplinary team made up of scientists and conservators, presents the results of the scientific characterization carried out on a group of 10 paintings made by Fattori between 1854 and 1893 and shows the way he used complex mixtures of a large variety of traditional and synthetic pigments, ranging from lead white, found pure and also extended with calcium carbonate, natural barite and gypsum to zinc white, from red ochre to cinnabar and vermilion, from yellow ochre and Naples yellow to chrome yellow, cadmium yellow and zinc yellow, combined with many other ones reported in details. This paper highlights the evolution of his painting technique during a time of great technological and social innovations and puts forward some hypothesis on his awareness about manufactured pigments, i.e. tube paints recently introduced into the artists’ circles. The wide range of pigments and their different quality among the same synthetic products suggest that the artist used all the available materials, and that picking out the pigments he retained the early xixth century artists techniques, such as the use of mineral earths and Prussian blue, similarly to his contemporary Italian artists Federico Zandomeneghi and Telemaco Signorini, but he also experimented new and peculiar pigment mixtures in the making of “colored darks” and an innovative use of the grounds in the final composition, that are also distinctive features of the French Impressionists. This work is aimed at contributing to overcome the lack of a comprehensive overview on the widespread historical and scientific data collected up to now on the Italian paintings in the xixth century, which has been severely underestimated with respect to previous art movements.  相似文献   

4.
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   

5.
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   

6.
The Saadian tombs from the era of sultan Ahmed al-Mansour (1574–1603) are beautifully decorated and have always been a major attraction for visitors to Marrakesh. The central mausoleum, named the Hall of Twelve Columns, encloses the tombs of Ahmed al-Mansour and his family. The hall has a huge vaulted ceiling, carved cedar doors, opening windows with wooden marquetry screen (Mashrabiya), and grey Italian marble columns. This paper presents the first attempt to identify the organic materials used by the Moroccan artisans. A GC/MS analytical procedure was used for the characterization of lipids, waxes, resins, pitch, tar, proteinaceous and saccharide materials in the same paint micro-sample. The analytical study identified the organic materials used in the polychrome and gilded decorations of the walls, ceiling and dome of the hall. Data showed that the polychrome decorations were painted using animal glue as a binder, and highlighted the treatment of the wall surface with linseed oil and the retouching of the paintings based on a saccharide binder. The use of a proteinaceous-resinous-oil mixture, applied on a proteinaceous preparation layer, for the gilded decorations revealed a very similar technique to that used at the time in Europe for mural paintings.  相似文献   

7.
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   

8.
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   

9.
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   

10.
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   

11.
The identification and localization of the proteinaceous binders are essential issues in studies of painting materials and techniques, for further proposing valid restoration and conservation treatments of the painted or polychrome works of art. The challenge for analytical chemists and conservation scientists is the availability of methods able to simultaneously identify and map the presence of the binders in the multilayered structure of a sample and the possibility to use a very low amount of sample from the studied art object (considering also the criteria of minimum sampling). These methods should be fast, reproducible in different artefacts and in case of mixture of protein-based binders with other non-proteinaceous constituents (oils, resins, waxes, gums etc.) and also economical (both in terms of materials and time consume). In this context, the present paper proposes an innovative protocol of investigation using two complementary techniques – Matrix-Assisted Laser Desorption/Ionisation – Time of Flight Mass Spectrometry (MALDI-TOF MS) and staining tests (one visible and one fluorescent stain) assisted by Optical Microscopy (OM) on cross-section of samples – for the simultaneous identification and mapping of protein – and oil-based binders in paint materials. The novelty is based on the use of MALDI-TOF MS on cross-sections of paints together with a fluorescent stain for protein identification and mapping (mainly used in the area of proteomics) complementing the use of a traditional visible stain for oil-based material identification. The protocol was successfully applied on several samples taken from a Czech medieval polychrome sculpture, entitled “The Mourning of Jesus Christ” (16th century) belonging to the Moravian Gallery (Brno).  相似文献   

12.
We analyze art pricing in a unique dataset on Madrid inventories between 1600 and 1750. We estimate a price index for the Spanish art market that is used for a general historical analysis of art during this period, showing a large increase in the real price of paintings during the XVII century. Then we examine the price differential between domestic and foreign paintings: At the beginning of the century domestic production was priced substantially below imported paintings, but the price gap was gradually reduced during the century. We argue that such a price convergence was not the fruit of variations in real exchange rate, relative supply or home bias, but was associated with increasing prices for the new domestic painters of the XVII century. Increasing remuneration for painting may have induced artistic innovations by domestic producers and created the conditions for the development of the Siglo de Oro of Spanish art.  相似文献   

13.
This article presents the first study of a painting, possibly the Forty Martyrs of Sebaste, which has been concealed for over 500 years, and which has, this century only, re-emerged through plaster removal in the church of SS. Peter and Paul in Famagusta, N. Cyprus. Though very badly damaged the painting, which has remained undocumented and unstudied in the history and art history of Cyprus, may offer vital clues concerning internationalism and cultural interaction in Cyprus in the 14th and 15th centuries. It also offers specialists a rare glimpse at Italian ecclesiastical wall painting from this rich period in western art history, and makes clear the intellectual loss that might be felt if some basic conservation processes are not begun soon. Lastly, in the light of the changing political situation in that island it invites scholarship in a range of disciplines to the church and to other historic landmarks within the old city walls.  相似文献   

14.
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15.
Transylvanian glass icons are very specific heritage items of Romanian folk art, produced from the middle of 18th century until now. The present research reports the results of a study on the organic components of the paint layers, analyzing the binding media of a series of glass icons belonging to three important icon making centers: Nicula, Olt County (?ara Oltului) and Brasov area (?cheii Bra?ovului). The analysis of the binding media has been done by means of gas chromatography coupled with mass spectrometry (GC/MS). The applied analytical procedure allowed the characterization of the proteinaceous, polysaccharide and lipid-resinous content of the binding media starting from a unique microsample. Results showed that a wide range of materials were used by the icons painters, mostly applied as mixtures of a proteinaceous material and a lipid one. The proteinaceous component proved to be mainly egg, though animal glue and casein were ascertained too, and proteins were often mixed; the lipid material was identified as linseed oil. In some of the icons pine resin and saccharide material were found. Data also highlighted that though the materials used in all the glass icons under study are similar, some particularities could be observed in the painting technique of the studied producing centers and icon painters.  相似文献   

16.
Historical plasters on light thin vaults, usually made by mats of reeds nailed to an upper wooden framework, were used in several historical and monumental Italian buildings and churches built between the 16th and the 19th century and almost all of the historical Italian theatres built between the 18th and the 19th century to cover the theatre-hall and to improve its acoustic properties. The non-destructive inspection of these structures is very important, but traditional inspection techniques are usually limited in resolution, which may be a problem for detection of defects at a very early stage. The paper presents the development and application of a high-resolution inspection technique based on a hybrid ultrasonic method, where a contact emitter probe and a non-contact air-coupled receiver probe are used. Results show the effectiveness of the method on laboratory samples and propose an inspection procedure for in-field application.  相似文献   

17.
This paper deals with the scientific survey of Remo Brindisi's painting “Ragazzo seduto” (Seated boy), made at the end of the 1950s, that is a symbolic figure of both his personal artistic solitude and the crisis of values determined by the economic boom in the post-war period. In a period of great changes and economic regrowth, the need to find a new style that could be the most authentic and personal as possible pressed the artist to experiment innovative products, including non-conventional support. Photographic and analytical techniques demonstrated the use of innovative products as an experimentation tendency, that pressed the artist to use non-conventional support, industrially treated with plasticized PVC and primed with acrylate polymers and to paint with traditional and industrial pigments mixed with an oil-modified alkyd resin. In the span of a few years, an unexpected and extended degradation on the whole surface of the painting took place, with the consequent formation of lifting and detachment of the paint film. The detected alteration is mainly due to the fast ageing of the employed polymeric materials, actually responsible of the impermanence of many contemporary works of arts. Clarifying the unknown aspects of the Remo Brindisi's stylistic choices together with the deterioration processes of the employed painting materials, this paper highlights the general problems related to the conservation of contemporary art, a neglected area of research in Italy, where more efforts are committed to the enormous and more ancient cultural heritage.  相似文献   

18.
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   

19.
Stained glass windows belong to the most precious pieces of art in many European countries. Examples of heavily endangered paint on glass are reported in the literature and mainly related to condensation effects and air pollution, as stained glass windows preferably remain in their original architectural surrounding. Several surface coatings and paint treatments have been proposed to consolidate and protect degraded paint. Very often, the selection of the materials is based more on practical aspects than on scientific research. This study concerns the comparison of some traditional, modern and newly developed consolidants for the preservation of historic glass paintings. Experiments have been carried out with model painted glass samples simulating weathering phenomena of originals. Traditional materials like Paraloid B72, modern ones like SZA (proposed by the Fraunhofer-Institut für Silicatforschung, ISC), and three new consolidants prepared by the sol–gel method and based on different hybrid organic–inorganic alkyl-alkoxysilane systems have been considered. The adhesion, penetration, stability, hydrophobicity, mechanical and chemical resistance are properties and requirements tested to prove their effectiveness and range of use. The three new materials developed in this study for the consolidation of paint on glass have the potential to offer alternatives to existing materials. Nevertheless, further research is necessary before their application in restoration workshops can be recommended. A strategic approach is requested to avoid risks for these valuable historical originals and to contribute to the long-term preservation of the paint on stained glass windows in their original sites.  相似文献   

20.
The present study is probably the first attempt to record the organic colouring materials found in Byzantine and post-Byzantine icons, made in the Mount Athos area and in the adjacent area of Chalkidiki. Fifteen icons, dated from the 14th to the 19th century were tested by Optical Microscopy (OM), employed to reveal the existing pigment layers and High Performance Liquid Chromatography (HPLC) combined with spectrophotometric UV-Vis detection, used for dyestuff identification. OM showed that organic dyes had been applied either as exclusive colouring materials or in combination with inorganic pigments. HPLC results showed that reddish cochineal and a “soluble” redwood appear to be the most common organic dyes of the icons tested. The limited use of madder, found only in one icon, suggests that the widespread plants of the Rubiaceae family were probably not frequently used by the iconographers during the historical period investigated. Similarly, an indigoid dye source was found in one sample. The results show that mixtures of organic dyes were used in Byzantine and post-Byzantine icons.  相似文献   

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