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1.
The Winsor & NewtonTM (W&N) nineteenth century archive database includes digitised images of hand-written instructions and workshop notes for the manufacture of their artists’ materials. For the first time, all 183 production records for yellow lead chromate pigments were studied and evaluated. They revealed that W&N produced essentially three pigment types: lemon/pale based on mixed crystals of lead chromate and lead sulphate [Pb(Cr,S)O4]; middle on pure monoclinic lead chromate [PbCrO4]; and deep that contains the latter admixed with basic lead chromate [Pb2CrO5]; accounting for 53, 22, and 21% of the production, respectively. Production records for primrose (4%) were also included since the formulation results in mixed crystals with a high percentage of lead sulphate, which, according to the literature, leaves it more prone to degradation. Each pigment type is characterised by only one or two main synthetic pathways; process variations reveal a systematic and thorough search for a high-quality durable product. A comparison of the chemical composition of pigment reconstructions with early W&N oil paint tubes showed that their records entitled ‘pale’ and ‘lemon’ correlated with the pigment in their tube labelled chrome yellow and, ‘middle’ and ‘deep’ with the label chrome deep. Lemon and middle pigment formulations were made into oil paints to assess their relative photo-stability. The degradation process was followed by colorimetry and was studied by synchrotron radiation-based techniques. Based on the X-ray absorption spectroscopy data, the possibility for creating a stability index for chrome yellows is discussed.  相似文献   

2.
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3.
《文物保护研究》2013,58(4):231-254
Abstract

Analyses 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   

4.
ABSTRACT

For centuries, the only painting materials used in stained-glass production were grisaille and yellow (silver) stain. At the end of the fifteenth century, stained-glass painters began to use a new material, sanguine. This paint is mainly produced with iron oxide particles, usually haematite, and allowed to obtain a colour that can vary from yellowish to brownish-red due to the nature and particle size of the iron oxide. A translucent sanguine was mostly applied as flesh and hair colour, with an opaque sanguine used for drapery, architectural motifs, and heraldry. The main goal of this study is to investigate the relationship between historic sources on the preparation and use of sanguine from the fifteenth to the nineteenth centuries and the evolution evidenced in the recipes regarding the production method. Representative recipes from several centuries (sixteenth to nineteenth centuries) were selected and reproduced for this study. These reconstructions were thoroughly characterized using X-ray powder diffraction, optical microscopy (OM), and fibre optic reflectance spectroscopy (FORS). The OM and FORS data were correlated with historic sanguine paints applied on historic stained-glass. The similarities and differences between historic and reconstructed paints are presented. The study of reconstructed sanguine’s adhesion to glass using cross-cut testing was also performed, revealing that the adhesion is strongly influenced, not only by the binder, but also by the composition and morphology of the sanguine paint.  相似文献   

5.
This work presents the results of the investigation carried out on a group of terracotta sculptures (modelli) (sixteenth to eighteenth century) belonging to the extraordinary collection of Palazzo Venezia in Rome. The study, the diagnostic analysis, and the conservation work, were possible thanks to the grant supplied by the Getty Foundation of Los Angeles and by the bank Intesa San Paolo. The terracotta modelli had a practical function as they were of great use as sketches to the creation of the final masterpieces or as models for restoration. As a consequence, the terracotta models allow reconstructing the creative process of artists and restorers, fundamental to outlining the ancient workshop production. X-ray fluorescence spectroscopy, micro-stratigraphic investigation, Fourier transform infrared spectroscopy, and micro-Raman spectroscopy were chosen as useful techniques to study the morphology and composition of the surface-painted layers. Usually the surfaces were painted in order to simulate the materials of the sculpture for which the model was created, for example lead white was used to obtain a white surface simulating marble. But, often the models were re-painted to make them more attractive for the antique trade. So, several pigments have been found on the surfaces such as zinc white, Prussian blue, chrome yellow, and mono-azo pigment. In some cases, the characterization of the surface paintings was particularly important to the final decision about removing or leaving the surface paint in place.  相似文献   

6.
《文物保护研究》2013,58(3):177-188
Abstract

The examination of the original polychromy of a fourth century B.C. classical Greek marble basin revealed a number of unusual pigments. In addition to natural cinnabar, and Egyptian blue, analysis has shown the presence of wild madder (Rubia peregrina) as the colorant in a purple pigment. This is one of the very few instances in which the use of madder as a colorant in classical painting has been established analytically. The white pigment was found to be neutral lead carbonate (cerussite). The use of this carbonate in painting is extremely rare. The yellow pigment was identified as misy (jarosite). The use of jarosites, iron sulphates, as pigments in painting has not been reported previously.  相似文献   

7.
《文物保护研究》2013,58(1):99-103
Abstract

In 1442 the Aragonese King Alfonso settled his court in Naples, which remained a part of Spain until the eighteenth century. Here he assembled an extensive library, including the work of many contemporary illuminators and miniature painters. A large part of this library is now housed in Valencia, where it was transferred in the sixteenth century. These works are a potential source of information regarding style, pigments and artists' techniques. Exceptionally complete records of bills, receipts and correspondence of the royal court exist, including the payments made to illuminators, allowing reasonably secure stylistic attributions to be made. Analyses of 98 pigment samples from 11 different books attributed to Rabicano and his followers have been undertaken and the results compared. The pigments were studied by X-ray fluorescence elemental analyses in the SEM, polarizing microscopy, X-ray diffraction and FTIR microscopy and microchemistry.  相似文献   

8.
In the nineteenth century, imported wallpapers covered interior walls of Persian palaces and mansions, of which Vasiq-Ansari House in Isfahan, Iran, exhibits very highly elaborated examples. In this study, micro-Raman spectroscopy, scanning electron microscopy, energy dispersive X-ray spectroscopy, ultraviolet–visible spectroscopy, and light microscopy were used to identify pigments and other materials used in the wallpapers of Vasiq-Ansari House. Results indicated that chrome yellow, artificial ultramarine blue, brass metallic leaf, an organic red dyestuff (probably cochineal), and a copper-based green were used as colourants in the wallpapers. Different shades of brown were achieved by mixing various combinations of red lead, carbon black, and calcium carbonate. The white calcium carbonate was also used as a ground layer, applied to a paper support composed of bast and softwood fibres. Based on knowledge of the materials used, these wallpapers are most probably manufactured from the mid- to late-nineteenth century.  相似文献   

9.
ABSTRACT

During the nineteenth century, chemists became increasingly engaged in the conservation treatment of polychrome surfaces. While collaborations between chemists and museum workers in charge of easel painting collections were mostly oriented towards the improvement of conservation practices, the involvement of chemists in the nascent field of archaeology was oriented towards material characterization, such as pigment analysis of polychrome surfaces. Since this type of analysis is destructive and damages the artwork, it could, therefore, be assumed that chemists were in these cases less concerned with the conservation of objects with an archaeological and historical provenance. On the contrary, my new reading of nineteenth-century English primary sources reporting pigment analysis shows that chemists also had ethical concerns about the physical integrity of archaeological objects and their conservation. This is apparent in the process in which paint samples were taken from the artworks for their subsequent analysis.  相似文献   

10.
Summary

A 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   

11.
The Shosoin treasures, which include the belongings of Emperor Shomu (CE 701–756) and Empress Komyo (CE 701–760), have an honorable origin and have been continuously handed down for generations since the eighth century in the Todaiji temple in Nara, Japan. Some of the beautiful artifacts found among the treasures display the bachiru carving technique, in which a delicate pattern is produced by carving dyed ivory or antler using additional painting. To elucidate the colorants used for dyeing and painting in the bachiru technique, non-invasive scientific analyses using fiber optic reflectance spectrometry in the visible region, X-ray fluorescence spectroscopy, and X-ray diffraction were performed for eight treasures: a go game board, two go pieces, a nyoi (ritual nail pole), a kugo harp, a bird-shaped accessory, a kaburaya arrow, and a ritual ruler. Second derivatization of the reflectance spectra led to characterization of the dyes in the treasures as sappanwood, lac, madder, gromwell, and indigo. Lac and atacamite were respectively identified in the red and green areas of the painting by reflectance spectrometry and X-ray diffractometry. These results indicated the use of a variety of colorants for the bachiru carving technique in the eighth century.  相似文献   

12.
《文物保护研究》2013,58(2):54-61
Abstract

Samples 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   

13.
Optical radiation is capable of altering the spectral reflectance of layers of colorants. Light damage is of particular importance in respect to unique historical objects in exhibitions. The major parameter governing this process is the spectral irradiance applied to the surface. As this may vary significantly for different light sources, an experimental investigation of the damage potential of the numerous illuminants available is a cumbersome task. In this work a numerical algorithm for the prediction of modifications of the spectral reflectance of colorants subject to a given arbitrary spectral irradiance over a given time is presented. It uses the temporal evolution of the spectral reflectance of the dye or pigment at issue when irradiated by a set of narrowband light sources as input data. The predicted reflectance spectra and the resulting color changes are compared to those measured for samples irradiated with common polychromatic light sources. The concept described in this work aims at the implementation of a standardized procedure and database for the prediction of radiative damage for a comprehensive range of pigments and dyes.  相似文献   

14.
The article discusses the various types of texts produced by the Czech immigrant community in the United States in the nineteenth century. An interesting example is the periodical Hospodá?. The author lists some bibliographies and directories that researchers can consult in order to locate such material, but much of it remains either unknown, difficult to access, or both. Buildings can also be considered texts. He urges librarians, archivists, and scholars of sources to work more with these materials.  相似文献   

15.
Pigments on a figurative wall painting in Poudeh village, central Iran, were analysed by micro X-ray fluorescence spectrometry, micro Raman spectroscopy, scanning electron microscopy coupled with energy dispersive X-ray spectrometry, micro Fourier transform infrared spectroscopy, X-ray diffractometry, and polarised light microscopy. Red lead, ultramarine blue, chrome yellow, brass powder, white huntite, and lammerite (Cu3(AsO4)2) were identified as red, blue, yellow, golden, white, and green pigments, respectively, while gypsum and barite were used as extender. In addition, glushinskite (MgC2O4·2H2O) was identified as a deterioration product of white huntite. Moreover, several analytical studies suggested that lammerite was a degradation product of emerald green (Cu(CH3COO)2·3Cu(AsO2)2) originally used as green pigment in the painting. The formation of lammerite is suggested to be due to the migration of arsenic throughout the paint layer. Based on the pigments identified, the wall painting is dated from the mid-nineteenth century to the mid-twentieth century.  相似文献   

16.
《文物保护研究》2013,58(2):76-91
Abstract

The 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   

17.
《文物保护研究》2013,58(3):107-119
Abstract

Samples of pigments from excavated wall-paintings at the great civilization center of the Greek Bronze Age, Thera, have been analysed by the non-destructive methods of X-ray fluorescence, X-ray diffraction and mineralogical microscopic examination. The results showed that three types of blue pigment were used, namely the well-known Egyptian blue, glaucophane, which is a sodium magnesium (or iron) aluminium hydroxide silicate which occurs as a natural mineral on Santorini, and a mixture of Egyptian blue and glaucophane. Black pigments were rather puzzling in that some of them are carbon as expected, and some are manganese compounds. The rest of the pigments are very similar to those previously examined from Mycenae and Knossos.  相似文献   

18.
ABSTRACT

Twentieth 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   

19.
Nine ancient Egyptian sarcophagi of the twenty-fifth to twenty-sixth dynasty, one Ptolemaic Hawk Mummy, and one Amarna fresco were examined in the collections of the San Diego Museum of Man. Binding media, pigments, wood identification, deterioration and alteration products were identified. The pigment palette represents the basic suite of ancient Egyptian pigments: charcoal black, red ochre, yellow ochre, Egyptian blue, green earth, calcite, and gypsum. In the case of the Hawk mummy, oxammite was identified as a degradation product, together with magnesium phosphate, the first identification of oxammite in ancient artefacts. In a child’s coffin, realgar and orpiment were additionally identified. The binding media for practically all of the coffins studied was confirmed as gum Arabic with only one example of gum tragacanth found from a wall plaque from Amarna. Wood identification showed that Ficus sycomorus had been used, rather than the assumed cedar of Lebanon for coffin manufacture. One unidentified species of shrubby wood was also found. Some of the coffins had been restored, with one having a completely repainted face, in rutile, and the child’s coffin has an attached foot-box with modern screws. Possible indications of ancient reuse were found during the study.  相似文献   

20.
《文物保护研究》2013,58(3):134-142
Abstract

Naturally 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   

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