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1.
《文物保护研究》2013,58(3):183-186
AbstractA yellowish copper vanadate mineral has been found in Swedish mural paintings from the fifteenth century. Small patches occur in malachite-green paint. Thirteen samples from five churches have been analyzed by optical and scanning electron microscopy with energy–dispersive X-ray spectrometry, transmission electron microscopy, X-ray powder diffraction, and polarized light microscopy. The substance is evidently the rather uncommon mineral volborthite, with the chemical formula Cu3V2O7(OH)2.2H2O. Very small quantities have also been noted for another mineral, presumably calcio-volborthite, CaCu(VO4)(OH), also named tangeite. The results show that the conservator should always be observant for pigments not earlier noticed or reported. There are some old mines in Central Europe, e.g. in Germany, which contain malachite as well as copper vanadate minerals, and this is probably the origin of the yellow patches in the paintings. 相似文献
2.
《文物保护研究》2013,58(4):231-254
AbstractAnalyses of pigments from palettes used by J.M.W. Turner (active c.1792–c.1850) by means of microscopy, microchemical analysis, thin-layer chromatography, energy-dispersive X-ray analysis, X-ray diffraction and Fourier transform infrared spectroscopy are given. The occurrence of pigments in Turner's dated oil paintings and watercolours is also given, arranged by five-year periods. These findings are discussed in the context of published analyses of pigments from the first half of the nineteenth century. Turner used cobalt blue, emerald green, viridian, orange vermilion, barium chromate, chrome yellow, chrome orange and chrome scarlet within a few years of their known dates of discovery. It has become clear that Turner was using, or at least experimenting with, practically all the pigments known to be available at that time. In a few cases, in the light of these results, ideas on the availability of pigments to English artists have been revised backwards to the first known date of manufacture. Turner also possessed and used a wide range of red and yellow organic pigments, but few organic greens. The dyestuff extracted from Rubia tinctorum L. madder on an aluminiumcontaining substrate can be distinguished from the same madder on different substrates by its strong pink fluorescence in both ultraviolet and green light. The other red organic pigments (a second madder, brasilwood and cochineal dyestuffs on a range of substrates containing aluminium, copper, iron, aluminium/copper and clays) show negligible fluorescence. The red organic pigments were used in oil medium as well as watercolour, the yellows only in watercolour medium. 相似文献
3.
《文物保护研究》2013,58(2):54-61
AbstractSamples of pigments from excavated wall paintings of Vergina’s second tomb were analyzed by the non-destructive methods of X-ray fluorescence, X-ray diffraction and mineralogical microscopic examinations. The results showed that one type of blue pigment was used, the well-known Egyptian blue. The red pigments, except one which is haematite, are cinnabar (HgS), and the grey pigments are carbon. None of the black pigments contained manganese compounds. 相似文献
4.
《文物保护研究》2013,58(3):134-142
AbstractNaturally occurring pigments used by Aborigines in rock paintings have been collected in Western Australia. They area red pigment (mainly hematite, Fe2O3)(from a red ochre mine worked until historic times by Aborigines, and a white pigment (huntite, Mg3Ca(CO3)4) which is still collected and used by Aborigines. Samples were also taken from rock paintings in which these pigments were used or were thought to have been used. The pigment samples were analysed to establish chemical, mineralogical, and physical properties. The paint samples were examined microscopically and with an electron probe to study their relationship with the rock surface and with other paint layers. The relationship between the pigments’ properties and their durability is discussed. 相似文献
5.
《文物保护研究》2013,58(3):206-214
AbstractThe article is a concise report on the art historical as well as technical aspects of thang-ka paintings. It also describes briefly the traditional methods and materials employed in the execution of these paintings. The artists’ materials described in the literature are compared with actual findings as a result of analysis of pigments, binding media and other materials involved in the execution of the thang-ka paintings. An outline of the causes of deterioration of thang-kas is also mentioned. Finally, an extensive account is given of the method of treatment carried out in the author's laboratory. 相似文献
6.
AbstractUsing written accounts of observed methods and materials of Tibetan paintings as well as examination of numerous examples, the techniques of Tibetan paintings, especially paintings on cloth, are discussed. Brief mention is made of the regional styles of Tibetan painting, since the techniques used in the production of these paintings apparently vary throughout Tibet and China. Various types of supports are mentioned and analyses of the types of cloths are given. The preparation and materials used in the ground, pigments and preliminary drawings and prints are discussed. The iconometrics of Tibetan painting are mentioned, since the total conception of the object is dependent upon them. 相似文献
7.
Copper trihydroxychloride [Cu2Cl(OH)3] exists with four polymorphs: atacamite, paratacamite, clinoatacamite, and botallackite. They have all been used as green pigments, usually under the name atacamite. For many years, atacamite was regarded as a pigment mainly used in ancient South America, China, and Egypt. However, the last decades have shown that atacamite has been found in European medieval paintings, and quite often in Sweden. This paper gives a brief overview of the history of atacamite and its polymorphs. Green pigments from medieval murals in 56 Swedish churches were analyzed. The results show that atacamite and malachite are common, while green earth is less frequent and green vivianite rare. In particular, atacamite often occurs in medieval wall paintings on the island of Gotland in the Baltic Sea. The atacamite minerals are rare in Europe and are not found in the Swedish bedrock. Their occurrence in Swedish murals and their origin is discussed. Atacamite may be synthesized by various methods and is in fact often observed on corroded outdoor bronze statues in marine surroundings. 相似文献
8.
《文物保护研究》2013,58(3):226-244
AbstractThis study describes the examination and analysis of four mixed media paintings from the 1960s and 1970s by Canadian artist Jack Chambers (1931–1978). The documentary evidence about his materials and methods is summarized and compared with the results of analysis of multilayer paint samples. The combination of Fourier transform infrared spectroscopy (FTIR) and gas chromatography-mass spectrometry (GC-MS) allowed the components of the paint media to be characterized: ortho-phthalate alkyd resins, iso-phthalate alkyd resins, drying oils, dammar, Pinaceae resin, and turpentine were identified in varying proportions. Many pigments and fillers were identified by FTIR and Raman and are enumerated. The effect that Chambers’ complex technique has had on the aging and degradation of the paintings is discussed. The severe cracking of the paint layers in one of the four paintings may be the result of a high proportion of dammar and turpentine diluent mixed with the alkyd paint and may also be related to the type of alkyd resin medium. Different history and environmental conditions may also be factors. 相似文献
9.
SummaryA Roman wall painting of the first century AD, recently discovered in Rome, has been studied extensively, in situ, by non-destructive X-ray fluorescence (XRF) analysis. The coloured pigments, the medium and the plaster were all examined. The presence of potassium and calcium in all coloured layers demonstrates that the painting technique is of a type very similar to that used in Pompeian wall paintings, and described in the 1950s by Selim Augusti. In this type of wall painting, the pigments were dissolved in a lime/soap/water solution, the function of the soap being to mitigate the negative effects of lime on alkali-sensitive mineral-based colours. 相似文献
10.
Birgit Anne van Driel Sharon R. van der Meer Klaas Jan van den Berg Joris Dik 《文物保护研究》2013,58(5):261-272
ABSTRACTTwentieth century paints often contain titanium dioxide and zinc oxide based white pigments that can range from photostable to highly photocatalytic. Photocatalytic pigments can cause the degradation of paint upon UV exposure, whereas photostable pigments may be benign or can protect paintings from degradation. Hence, knowing whether or not a pigment is photocatalytic is of high importance for risk assessment and the subsequent decision making process concerning storage and exposure conditions of objects. Here we present a proof of principle, focused on titanium white paints, for an easy-to-use and low-tech application of a commercial photocatalytic activity indicator ink (PAII) on embedded paint samples or cross sections. This test determines, qualitatively, if a photocatalytic pigment is present in a white paint sample. The PAII paint sample staining application shows an obvious color change, within five minutes of UV irradiation, for paint samples containing photocatalytic pigments. A microscope with a camera and a UV source are the only necessary equipment for the application of this method. A quantitative image processing protocol is also proposed as an extension of the staining method by applying open source software analysis to measure the color change using photographs. The test was evaluated on reference paints with well-characterized pigments and applied on samples from modern paintings by Piet Mondriaan, Robert Ryman, and Lucebert, indicating the presence of harmful photocatalytic pigments in these cases. The novel application of a commercial ink on paint samples offers a simple test, not just for assessment of photocatalytic activity of titanium white pigments, but which may in future be applied for the detection of photoactive forms of zinc white and other potentially harmful semiconductor pigments in art objects. 相似文献
11.
Les préparations colorées des tableaux de l'Ecole Française des dix-septième et dix-huitième siècles
《文物保护研究》2013,58(4):239-258
AbstractStudy by X-ray microanalysis of 155 coloured grounds from French paintings of the seventeenth and eighteenth centuries allowed us to establish the nature of their constituents. The colour was introduced by three varieties of pigment, brown earths, ochres and iron oxides which were used in combination with calcium carbonate, lead white and minium. This confirms the recipes mentioned in the old treatises. The presence of barium sulphate, unexpected in this period, is connected with the nature of the coloured pigments and the place of execution of the works. 相似文献
12.
《文物保护研究》2013,58(3):204-215
AbstractThree paintings from a group of thirty-two attributed to Jackson Pollock (1912–1956) were examined at the Harvard Art Museums. Paint samples were examined using Raman spectroscopy, scanning electron microscopy–energy dispersive X-ray spectrometry (SEM-EDX), laser desorption ionization time-of-flight mass spectroscopy (LDI-MS), Fourier transform infrared spectroscopy (FTIR), pyrolysis–gas chromatography–mass spectrometry (py-GCMS) and carbon-14 (C-14) dating. Carbon-14 dating detected no 'bomb' carbon from atmospheric atomic testing. All three paintings contained pigments and media available only after Pollock's death, including PR 254, PY151, and an emulsion copolymer of n-butyl methacrylate and iso-butyl methacrylate. 相似文献
13.
14.
《文物保护研究》2013,58(2):76-91
AbstractThe study focuses on the range of pigments and media that the Italian artist Lucio Fontana (1899–1968) employed for selected works dating between 1949 and 1968. Samples were taken from ten groups of works, all on canvas support, as well as from painting equipment that survived in the artist's former two studios. Techniques of analysis used were pyrolysis-gas chromatography–mass spectrometry for media identification, and laser desorption ionization time-of-flight mass spectrometry and Raman microspectroscopy for pigment identification. Fontana's reputation as a daring and experimental artist, best known for his group of slashed paintings called tagli, is seen to correspond with certain unusual material choices he made. The study also points to several links that exist between seemingly unrelated cycles. These links are, among others, based on experiences with in part novel media such as oil, alkyd, polyvinyl acetate, acrylic, acrylic–vinyl, and mixtures of them. With regard to pigments, the selection of samples showed that they were mostly of a synthetic organic nature. 相似文献
15.
《文物保护研究》2013,58(1):158-160
AbstractConservation and technical issues pertaining to the investigation of six mediaeval Spanish ceramic lustre fragments are reported. Assessment of methods and materials to replicate the lustre glazes indicates that the spray application of nacreous (pearlescent) pigments in combination with conventional inorganic pigments and transparent colorants in an acrylic lacquer gives good results. The salient optical features oflustre glazes and nacreous pigments are discussed. Scanning electron microscopy in conjunction with electron diffraction studies are employed to characterize the glaze and ceramic body composition of the fragments. Transmission electron microscopy indicates that a uniform dispersion of copper crystallites, c. 2-4nm in diameter, is responsible for the lustre effect in one sherd. 相似文献
16.
《文物保护研究》2013,58(4):249-264
AbstractThe triterpenoid resins dammar and mastic are frequently used as varnishes for paintings. Unfortunately, these varnishes degrade in the course of time. A large number of aged yellowed varnishes taken from paintings from several museum collections were analyzed by gas chromatography/mass spectrometry (GCMS) to identify oxidized triterpenoids, which are formed during natural aging processes. Discrimination between the different types of aged varnishes was achieved by direct temperature-resolved mass spectrometry (DTMS). GCMS further showed that the triterpenoid fraction strongly decreases during aging. It is likely that a higher molecular weight fraction is being formed. 相似文献
17.
《文物保护研究》2013,58(4):161-169
AbstractA very moderate, non-destructive radioactivation of oil paintings, induced by thermal neutron bombardment, such that approximately only one in 1012 of the atoms comprising any painting is transformed into a radioactive species, has been found to produce temporary radioactivity sufficient to expose photographic film placed in direct contact with the paintings.The resulting autoradiographs resemble conventional X-radiographs in that they reveal structural details in depth of both the painting and its support. Since the radioactivities arising from the different elements within a painting decay in different manners and at different rates, a series of significantly distinct auto radiographs can be obtained of any painting by making exposures through appropriate filters and at varying times following the original activation. Analysis of such a series of autoradiographs permits the identification of a number of the pigments used in a painting, together with information about the manner in which they were originally laid down by the artist and their distribution throughout the body of the painting.Preliminary investigations have shown that the stability of oil paintings is unaffected by the activation procedure. The inherently necessary radiation dose absorbed by a painting as a result of activation sufficient for autoradiography is of the order of 50 rads. Paintings subjected to absorbed doses one hundred times as great as the dose necessary for autoradiography exhibit no changes in color, hardness, flexibility and solubility three years after their original activation. 相似文献
18.
This wall paintings technology study in Xialu Temple was carried out by in situ investigations and laboratory analysis. The techniques used to analyze pigments, ground/white preparations, and binding media were: optical microscopy carried out with visible reflected light and ultraviolet light; polarized light microscopy; micro-Raman spectroscopy; micro-Fourier transform infrared spectroscopy; and scanning electron microscopy. The characterization of pigments, including the discovery of two rare organic pigments, improves knowledge about traditional Tibetan paintings. The analysis of the binding media and different types of ground/white preparations (asbestos, kaolin, and illite) allowed us to identify different stratigraphic compositions. Our findings indicate that the study areas were painted during at least four different time periods. 相似文献
19.
AbstractThe varnishes of 166 paintings were examined, before and after re-forming, by means of mixtures of cyclohexane, toluene and acetone having systematically increasing solvent power. The examination proves that re-forming facilitates the solubility of aged traditional natural resin varnishes. 54% of the varnishes were removed, after re-forming, with toluene and even ‘milder’ solvents. 相似文献
20.
ABSTRACT This article presents historical and scientific analysis, as well as the conservation treatment of a newly rediscovered Roman wall painting fragment, now in the collection of the Harvard Art Museums. Although the piece has not previously been published, it was among a group of fragments removed from a Roman villa near Boscotrecase in southern Italy, an area that has been key to the study of Roman wall painting and other decoration. Technical imaging confirms the use of painting techniques consistent with other high-quality paintings in the area. Materials analysis revealed a palette consistent with published findings of Roman wall paintings, including abundant use of Egyptian blue and green earth. Of interest was the use of Egyptian blue as an optical brightener in select white passages. Despite the high quality of the painting, no cinnabar was present, and all red passages were achieved using hematite. Multiple different white minerals were identified including calcite, aragonite, and gypsum. The widespread presence of gypsum is unusual and may point to alteration. 相似文献