首页 | 本学科首页   官方微博 | 高级检索  
相似文献
 共查询到20条相似文献，搜索用时 31 毫秒
1.
Very often traces of paint and pigment have been found on medieval sculpture. Presently, little is known about the effects of laser radiation on polychromy. It is important to protect and preserve these traces during any cleaning or restoration process. The absorption properties of polychrome materials are likely to be different from those of the underlying stone or substrate and as a result special care must be taken to avoid any damaging or discolouring phenomena associated with laser cleaning. Spectroscopic methods (XPS, AES, reflectance spectroscopy) together with optical microscopy, digital photography and X-ray diffraction analysis have been used in a series of experiments on simulated samples of common medieval pigments (vermilion, red and white lead and ochres in linseed oil) on limestone plates, in order to study the reaction of these materials to infrared laser radiation.  相似文献   

2.
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   

3.
During the restoration plan of the famous painting “Madonna col Bambino e S. Giovannino” by Sandro Botticelli, located in the Museo Civico of Piacenza (Italy), a study on painting materials was carried out. The pigments, the binders and the materials used for the application of ground and priming layers were studied using micro-Raman spectroscopy, gas chromatography coupled with mass spectrometry (GC/MS), optical and electronic microscopies. Gypsum and anhydrite were found in the ground layer, while carbon black and lead white were used in the priming layers. The precious pigments of the artist's palette and the binders used (egg and animal glue) were determined.  相似文献   

4.
The focus of this work is the wood polychrome model of the church of S. Maria della Consolazione in Todi, an artefact whose author and historical events are not completely known except a general reference to the construction period of the church (1508–1607 AD). In this study, original and additional materials were examined in order to provide a deeper understanding of the painting and assembly techniques, and a greater awareness of how well preserved the object is, as well as an analysis of previous preservation and conservation interventions. The samples from the painted surfaces were examined by means of micro-Raman spectroscopy, fourier transform infrared (FTIR) spectrometry and internal microstratigraphic analysis. Thin sections of the wood samples were examined under an optical transmission light microscope in order to identify the botanical species. The results shown in this paper suggest the possibility that the original painted layers are made of calcium carbonate white, red ochre and indigo and they were applied by protein binder without any ground layer. Some non-original pigments were found on the model surface like Prussian blue and chrome yellow. Concerning wood components, poplar was characterized both in the original and non-original parts of the model whereas pine species were detected only in the restoration elements.  相似文献   

5.
Analysis of historic mortars including Islamic, Gothic and later ones taken from palaces, convents and mansions in Palma de Mallorca has been carried out. Scanning electron microscopy (SEM) coupled to energy dispersive X-ray spectrometer (EDX), Fourier transform infrared spectroscopy (FTIR), and X-ray diffraction (XRD) techniques were used to characterise the morphology and analytical composition of the samples analysed. Generally, covering plaster mortars presented a low percentage of small size aggregate. The reported results show that mixed and lime mortars have been used, thus, the establishment of a relationship between the type of mortar employed and its age is not feasible. In the painted mortars, polychromy has also been studied. The most common pigments to be found are natural earths.  相似文献   

6.
The state of conservation of the frescoes at Qusayr Amra was investigated by integrated physico-chemical measurements, particularly optical and scanning electron microscopy, μ-infrared spectroscopy, mass spectrometry and X-ray powder diffraction.The frescoes appear darkened and severely damaged owing to the deterioration of surface treatments and to the widespread presence of different salts. These caused significant detachments of the painting layers.The materials used in the painting and preparation layers and in the wall plaster were characterized in order to clarify the painting technique. Different pigments have been identified on the pictorial layers: the original ones correspond to green earth, yellow and red ochre, realgar, bone black and lapis lazuli and others, such as titanium white and cobalt blue, ascribed to recent restoration works. Proteinaceous materials (egg or yolk) have been identified as binders for the pigments, indicating a tempera painting technique.Three different products, belonging to restoration interventions, have been also identified: the natural product shellac, ascribable to next-to-last restoration and scarcely removed during last restoration also because of its insolubility, the synthetic vinyl acetate and acrylic polymers. Particularly the latter one indicates an on-going degradation of the applied fixatives.The extensive deterioration of the surfaces is also due to the widespread presence of salts, such as chloride, nitrate and sulphate clearly identified by XRD measurements.The obtained results give a comprehensive overview on the employed painting technique and its state of preservation and on the causes of the painting deterioration. Therefore, they are a fundamental tool to develop durable and compatible materials and methodologies for a future conservation strategy of this site.  相似文献   

7.
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   

8.
The source of the previously unassigned weak band at 2340 cm−1 that is occasionally observed in the infrared spectrum of natural lapis lazuli pigment is here attributed conclusively to CO2 trapped in the β-cage of lazurite. In addition, the geo-sourcing potential of this infrared feature for lapis lazuli is tested and found to be more ambiguous than previously suggested. The CO2 absorption band is in fact observed in lapis lazuli samples from numerous disparate geographic locales including Afghanistan, Canada, Myanmar, Siberia, Tajikistan, and the Ural Mountains, as well as mineral hauyne samples from Germany and Italy. The spectral feature was absent from lapis lazuli samples from California, Chile, Colorado, and New York. Furthermore, poor quality lapis lazuli samples, regardless of locale, highly processed natural pigment samples, and all samples of synthetic ultramarine blue, green, and violet pigments were devoid of encapsulated CO2.  相似文献   

9.
This paper deals with the impact of soluble salts on the deterioration of wall paintings in the region of Wadi El Natrun in Egypt, including the identification of the building materials and pigments used. For this purpose we used XRD analysis which proved that the green pigment in the Church of the Virgin, Wadi El Natrun is a mix of malachite and hydrocerussite, and the black pigment is graphite. The results proved that the building materials (stones, mortar, and plaster) in Wadi El Natrun are affected by ground water as they have the same soluble salts at different concentrations. The Wadi El Natrun lakes are the native source of natron salt, which has been used in mummification techniques. Soda lakes represent the major types of naturally occurring highly alkaline environments. The factors leading to the formation of the alkaline saline deposits may be divided into climatic, geological, and topographical. Climatic and topographical factors control the amount of water entering the system as rainfall or surface runoff and the amount leaving by evaporation. Geochemical factors determine which ions enter the system. Solutions of carbon dioxide result in the formation of a weak carbonic acid, which dissolutes the mineral components of the surrounding rocks and archaeological buildings, leading to their ion release.  相似文献   

10.
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   

11.
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   

12.
  相似文献   

13.
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   

14.
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   

15.
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   

16.
The artist Jordi Teixidor is one of the leading exponents of twentieth century Spanish abstract art. In recent years, he has used a synthetic polymer as a support for his art work, namely polypropylene. The behaviour of this material in combination with layers of oil paint has not been studied until now. One of the objectives of this study was to chemically characterise the material present in Jordi Teixidor's work, using FT-IR spectroscopy, in order to be able to examine the behaviour of this set of materials after undergoing cycles of accelerated aging. After subjecting the samples to temperature and relative humidity cycles and ultraviolet radiation, their physico-mechanical behaviour was determined via tensile and bend tests, with the results being processed further by means of spectroscopic techniques and colour measurements. It was found that the possible migration of the additives present in the PP support and the gradual degradation of the materials could affect the adherence between the paint layers in the future.  相似文献   

17.
A heavily corroded Egyptian bronze figurine of the god Osiris was examined and shown to have been originally gilt with gold leaf and inlaid with blue glass. Detailed formal comparison between this Osiris figure and the known corpus of bronze and stone sculpture leads to the inference that the statuette dates to the time between the Third Intermediate Period and the fourth century BC, with a greater probability of originating from the Third Intermediate Period through to the 26th Dynasty, or even possibly as late as the fourth century on the basis of stylistic similarities. An extensive corrosion crust of atacamite and chalconatronite completely obscures inlaid glass decoration, found during the investigation, together with remnants of a gilded surface. Analysis of the glass by electron microprobe showed a composition consistent with early Egyptian blue glass with high sodium oxide and low potassium oxide content. The solid cast bronze is a leaded tin bronze, and the gold is a gold foil applied to the bronze surface, originally alternating in decoration with the blue glass. The chalconatronite and atacamite patina appear to be closely associated in the development of the unusual but extensive chalconatronite crust that now covers part of the surface, as a natural corrosion process in this case, not derived from subsequent conservation treatment. The loss of the light blue corrosion crust was prevented by consolidation with Paraloid B72, as examination over several months showed no sign of continued chemical instability.  相似文献   

18.
The oil painting “La Medusa” executed by Caravaggio at the end of the XVI century on a wooden shield, was investigated by integrated physical–chemical and analytical methodologies in order to obtain scientific data capable of elucidating the state of conservation and the painting technique. Optical (OM) and electronic (SEM-EDS) microscopy, micro-FT-IR spectroscopy, gas chromatography–mass spectrometry (GC–MS) and pyrolysis GC–MS were applied on two microfragments and some organic samples obtained by solvent extraction using the swab cleaning technique. The obtained results indicated that Caravaggio probably reused an old shield as a previous gypsum preparation layer has been detected under the original painting layers. He used white lead, natural earths, verdigris and lead–tin yellow type I mixed with drying oils to paint. The considerable amount of amorphous particles of copper chlorides found in the green pigment verdigris suggests that it could have been produced according to the ancient recipe of verde salsum described by Theophilus. Mordant gilding has been identified on the upper part of the shield that can be related to an abandoned experiment to give the painting a mirror-like reflecting effect. Three different varnishes layers have been detected above the painted surface. The original and restoration varnishes have been identified and they contain a mixture of drying oil, mastic and turpentine and some beeswax. Cleaning tests, performed with different organic solvents, suggest the use of isopropyl alcohol as cleaning agent because it is less efficient in comparison to others solvents; thus it ensures a careful and controlled removal of the varnishes.  相似文献   

19.
This study examines the materials of a contemporary pictorial artwork, belonging to the Macedonian Museum of Contemporary Art in Thessaloniki (Greece), and needing conservation. The combined use of micro-FTIR and micro-Raman spectroscopy allowed the identification of almost all painting materials. Moreover, the stability of a series of synthetic pigments towards accelerated ageing is investigated in applications using the contemporary binding medium styrene-acrylic copolymer. The pigments in question are: Hansa yellow PY3 and PY74, quinacridone PV19 and PR122, naphthol AS PR112, phthalocyanine green PG7 and blue PB15, dioxazine PV37, van Dyck brown PBk11, ivory black PBk9, and titanium dioxide PW6. The organic pigments were applied alone or mixed with titanium dioxide, in rutile form or as a mixture of rutile/anatase. The experimental swatches were subjected to ageing tests, and subsequently studied as to colour changes by means of colorimetric measurements, and as to the molecular structure differentiations by infrared spectroscopy in reflectance mode. The ageing tests included exposure to high temperature and humidity (90 °C, 60% RH) and to ultraviolet radiation (350 nm, 30 °C and 50% RH, with a substantial temperature increase at 90 °C for 3 days). The greater colour difference is caused by high temperature and humidity, whereas paint layers containing TiO2, and especially the mixture of the forms rutile/anatase, prove very susceptible to ultraviolet radiation, demonstrating a significant colour difference and extended molecular changes.  相似文献   

20.
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   

设为首页 | 免责声明 | 关于勤云 | 加入收藏

Copyright©北京勤云科技发展有限公司  京ICP备09084417号