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1.
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   

2.
One of the problems in the field of cultural heritage is the degradation of artworks and especially paintings. They appear very sensitive to environmental conditions. In this work, Spanish broom canvas is proposed as a novel painting support. In order to assess the deterioration properties of this new type of canvas, three degradation processes (exposure to wet atmosphere, to acidic attack and to UV light) were simulated and investigated. The deterioration state of the samples was monitored with Infrared Spectroscopy (FT-IR) and Thermogravimetric Analysis (TGA). The structure of the canvas was also analyzed by Scanning Electron Microscopy (SEM). These techniques were successfully applied to study the occurrence significant changes of samples. The exposure to acidic and UV attack produced deep changes on the samples (only on the canvas surface in the case of UV light), while no significant effect was identified on the sample after the exposure to wet atmosphere. The results obtained from Spanish broom canvas are reported in comparison to flax canvas.  相似文献   

3.
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   

4.
During the past two decades, thanks to the rapid development of solid-state-based sensor technology, digital imaging emerged as one of the most attractive research areas for the noninvasive investigation of paintings and flat artworks. In particular, the commercial availability of high-performance digital cameras opened up new perspectives to transmitted imaging techniques, such as trans-illumination and trans-irradiation, which are based on the acquisition of the visible (Vis) and near infrared (NIR) radiation, respectively, transmitted through the object. Until recently, these techniques were indeed considered to be unsuitable for applications on artefacts, because of the risks of overheating and overexposure to the light of the object under analysis. Nowadays, with the new-generation digital cameras, transmitted imaging can be reconsidered as a possible tool for noninvasive diagnostics on paintings on canvas. These techniques have been proven to be effective for the examination of hidden details, such as underlying drawing, for a study of the pictorial style or the executive techniques, as well as for assessing the state of conservation of the supports. Both trans-illumination and trans-irradiation can be easily implemented by means of professional photographic digital cameras, and therefore offer a valuable alternative to the more expensive well-established methodologies, such as X-ray radiography. In some cases, they are found to be complementary to the conventional techniques in revealing details of the underlying paint layers. Potentials and limits of transmitted imaging techniques are discussed in this paper, starting from three case studies of oil-paintings on canvas that belong to the permanent collection of the Gallery of modern art at the Pitti Palace in Florence.  相似文献   

5.
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   

6.
Organic binding media found in paintings exhibit characteristic fluorescence properties that strictly correlate with their chemical composition and may vary as a function of the ageing time. The aim of this work was to investigate the capability of microspectrofluorometry to distinguish between different binders. Linseed oil and protein-based media, deposited as thin films on microscope glass slides both in the presence and in the absence of inorganic pigments, were examined before and after artificial photo-ageing. Cross-sections of some paint layers were also examined. The article points out that microspectrofluorometry coupled with deconvolution analysis can be a useful tool for distinguishing between oil- and protein-based media. The curve-fitting analysis furnished a fine characterization of each binder/pigment combination, and highlighted the small spectral differences between their fluorescence signals.  相似文献   

7.
The application of a new class of organogels as cleaning tools for painted surfaces is described. It combines some of the most attractive features of cleaning liquids and normal gels while diminishing the deleterious characteristics of both. Thus, the ‘latent’ gellant, polyethyleneimine (PEI), reacts with CO2 at room temperature in solutions of several organic liquids to produce an ammonium carbamate form (PEICO2). This charged species organizes itself into 3D polymer networks which immobilize the liquids as gels. The properties of the original solution (i.e. a free-flowing liquid) are re-established immediately after addition of a small amount of a weak acid which displaces the CO2 molecules and makes the PEI chains positively charged. The visual changes are substantiated by rheological analyses. Results from analytical tests to determine the utility of these gels as cleaning tools for painted surfaces of historical and artistic interest, have been obtained from contact angle and FTIR measurements as well as visual comparisons of the surfaces before and after application of the gels. The analyses indicate that the PEICO2-based organogels were very effective in removing different surface patinas from painted supports. A surface layer of dammar was completely removed from a test canvas with oil paint, an aged painting from the XIX century, and a XV century oil-on-wood panel attributed to Mariotto di Cristoforo. Finally, a surface acrylic polymeric resin (used in a restoration performed during the 1960s) was also successfully removed from Renaissance wall paintings decorating the Santa Maria della Scala Sacristy in Siena, Italy. The isothermally rheoreversible gel approach described in this work represents a new, highly versatile, and very efficient method for removing aged surface patinas from works of art.  相似文献   

8.
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   

9.
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   

10.
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   

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12.
吴孟婕 《文化交流》2014,(11):23-27
收获的季节。油画之花盛放西子湖畔 2014年9月20日上午,浙江美术馆,“第十二届全国美术作品展览一一油画作品展”开幕。在浙江美术馆宽敞的展厅里,参观的市民络绎不绝,其中不少人是从外地赶来的。从1200余件参评作品中遴选出的578件作品构思新颖、技法细腻、风格多样,值得一看再看。全国美术作品展览是我国美术界规格最高、规模最大的展览,每隔5年举办一次。它是新中国特有的文化现象,也是一代代艺者成长的深邃记忆。本届展览以“熔铸中国气派,塑造国家形象”为主题,分为中国画、油画、版画、雕塑等13个展区,其中油画展区花落杭州。展览将持续至10月12日。  相似文献   

13.
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   

14.
Albert Namatjira (1902–1959), Emily Kame Kngwarreye (c1910–1996) and Rover (Julama) Thomas (c1926–1998) are three of Australia’s best-known Indigenous artists. Each is known for one style of painting—Namatjira for watercolor on paper, Kngwarreye for acrylic (synthetic polymer) on canvas and Thomas for natural earth pigments on canvas. We estimate a sample selectivity model using data from the Australian Art Sales Digest to study the determinants of sales and the hammer price of artworks offered at auction from these artists. The results show that pre-sale information on the artwork and auction effects are significant and that the three artists studied are very different from each other. Thus, data should not be pooled when estimating these models.  相似文献   

15.
凡是看过雪峰集团董事长童四鹤艺术收藏品的人,都会感到惊讶。这位有着“优雅儒商”称号的企业家,以收藏大量绘画精品和稀世工艺品而令人赞叹。中国美术家协会原主席靳尚谊几次慕名前来参观,赞扬“这是私人收藏的一个典范”。中国美术家协会原副主席肖峰参观后,激动地挥笔写下了四个大字：“稀世珍宝”!  相似文献   

16.
The European project Friendly-Heating (FH): comfortable to people and compatible with conservation of artworks preserved in churches addressed the problems caused by the continuous or intermittent heating of historic churches, which disturbs the microclimatic conditions to which the building and the artworks preserved inside have acclimatised. As thermal comfort and the preservation of artworks often conflict with each other, a balance between the two needs is necessary. The proposed heating strategy is to provide a small amount of heat directly to people in the pew area while leaving the conditions in the church, as a whole, undisturbed. This novel heating system is based on some low-temperature radiant emitters mounted in a pew to provide a desirable distribution of heat to the feet, legs and hands of people occupying it. Due to little heat dispersion, this novel system not only significantly reduces the risk of mechanical stress in wooden artworks and panel or canvas paintings, fresco soiling and cyclic dissolution-recrystallization of soluble salts in the masonry, but is energy-efficient. The detailed environmental monitoring was conducted in the church of Santa Maria Maddalena in Rocca Pietore, Italy over a 3-year period to verify the performance of the novel heating system in comparison to the warm-air system that was active earlier in the church. The methodology and results of this comprehensive and multidisciplinary study were included in three draft standards of the European Committee for Standardisation intended for use in the study and control of environments of cultural heritage objects.  相似文献   

17.
著名油画家顾盼的代表作《1975·5·3》,是一幅前后经历29年,最终于2006年才完成油画作品,其问有这样一段情结。1977年,当时任浙江省美术家协会秘书长的朱琦负责选送浙江美术作品参加全国美展。若干年中,省里没有重大题材的优秀作品可选送晋京,他就找到当年在《工农兵画报》社负责领袖形象修改、加工的顾盼,在那个“政治氛围”极浓的年代里,自然考虑到当时最热门的话题一一毛主席批“四人帮”。  相似文献   

18.
The ASTM D6819-02e3 standard for testing the accelerated ageing of paper, published in 2002, recommends using closed glass vials in order to keep the degradation products in contact with the paper and thus permitting a better simulation of the natural ageing conditions inside closed books. In the present study, the actual conditions and their stability inside closed vessels have been evaluated. The necessity of assuring a very high sealing performance (tightness) of the systems in order to avoid leakage of water vapour is the main drawback of this ageing method. Systematic studies presented in this publication tried to monitor this tightness and have provided data that helped to answer the question of what circumstances could lead to achieving its improvement. Both gravimetric monitoring of water content in vials and “in situ” IR measurements of the aged paper humidity have been applied for this purpose. As a result, better sealing materials (gaskets and caps) than those recommended by the ASTM standard, have been found. Additionally, application of a dynamometric spanner for closing the vials is recommended, as this is a guarantee of reasonably high and recurring tightness of the systems used in tests. Nevertheless, the systematic, linear with time, loss of moisture for all used vials was observed. A 9% loss of the initial moisture content in samples of the aged paper was observed for the tested conditions (14 days at 90 °C). Therefore, it seems that including some kind of gravimetric control for ageing tests performed in closed vessels is of essential importance.Kinetic studies of accelerated ageing in both closed and open systems, as monitored by DP and breaking length measurements, unexpectedly show that no statistically meaningful difference of degradation rates can be observed. On the other hand, the pH and whiteness index values reveal a meaningful difference between the rates of ageing in these systems, thus confirming the basic assumption of the ASTM test concerning the interaction of paper degradation products with the paper itself.  相似文献   

19.
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   

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