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AbstractVarious copper compounds which were used as pigments have been identified in a study of the layer structure of paintings. These pigments were either obtained from natural minerals or were synthesized. The results of attempts to synthesize copper-based pigments by following old recipes are also presented; the man-made pigments are compared with those found in paintings and with natural copper minerals of identical composition. The historical use of synthetic copper-based pigments is discussed. 相似文献
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《文物保护研究》2013,58(3):188-189
AbstractBlue and white Chinese porcelain specimens from Dehua and Zhangzhou kiln sites from the Ming dynasty (AD 1368–1644), and Jingdezhen kiln sites from the Yuan (AD 1280–1368) to Ming dynasties were collected. The chemical compositions of these valuable samples were determined using energy dispersive X-ray, fluorescence (EDXRF) spectrometry, a non-destructive method, and some Jingdezhen samples were analyzed by scanning electron microscopy and transmission electron microscopy. The EDXRF results were subjected to correspondence analysis. Differences in the composition of the specimen bodies were found for specimens from different production sites. The blue and white Jingdezhen imperial, porcelain from the Yuan to Ming dynasties can be divided into two periods based on differences in the chemical composztion and microstructure of the pigments. The reasons for these variations are discussed. 相似文献
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Ângela Santos 《文物保护研究》2013,58(4):221-239
ABSTRACTFor 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
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《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
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《文物保护研究》2013,58(3):131-141
AbstractNon-invasive and non-contact analyses were performed on a group of 28 ink drawings ascribed to the sixteenth-century Italian painter Luca Cambiaso and his followers. Drawings analysed in this investigation were selected from the collections of Musei di Strada Nuova in Genoa and of Museo del Prado in Madrid. Particle-induced X-ray emission (PIXE), carried out at the Centro de Micro-Análisis de Materiales of the Universidad Autónoma de Madrid and at the Università di Firenze, provided elemental data on the inks and papers. The drawings in Genoa were studied at the Università di Genova using infrared relectography (IRR) and optical microscopy. Elemental composition of the inks was determined by comparison with a set of certified thin standards. Elemental analysis indicates that all of the drawings were executed with iron gall ink, except for one case where a mixed carbon black and iron gall ink was used. The PIXE data showed variations in the elemental concentrations of the materials used in the various inks, indicating the use of different recipes in their production. In some cases, these differences may help corroborate stylistic judgements to confirm or deny Cambiaso's authorship and separate autograph drawings from those of his pupils or imitators. PIXE analysis was also used to distinguish the presence of retouches and later additions. In some drawings, the combined use of IRR and optical microscopy revealed the presence of a dry carbon-based underdrawing, following a working method that seems more consistent with a workshop procedure than with the drawing technique of the master himself. 相似文献
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AbstractA wide-ranging sample set consisting of dry pigments, dyed textiles, organic and aniline-based dyes, gouaches and watercolors, fluorescent inks, and natural history specimens was exposed to light in air (20.9% oxygen) and near-anoxic environments. After a light dosage of approximately 17.5 Mlux-hours under controlled temperature and humidity conditions, 113 of 125 samples (90% of the sample set) were shown to exhibit less color change in a low-oxygen environment compared with its behavior in air. Thirty-nine percent of this subset displayed color change in anoxia that was between two and four times lower than that observed in air, whereas 47% showed color change in anoxia reduced by a factor of four or more. In contrast, six samples exhibited greater color change in anoxia than in air – these samples included Prussian blue watercolor (three samples), Antwerp blue watercolor, Verdigris dry pigment, and Fluorescent Yellow Winsor & Newton Gouache. Although the results from this small sample subset may cause concern when considering the use of anoxia in the conservation of cultural heritage, particularly for colorant systems whose behavior in anoxia has not yet been identified, this study demonstrates the overwhelming benefits of anoxic light exposure for the vast majority of samples investigated here. 相似文献
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《文物保护研究》2013,58(1):22-26
AbstractVery small paint samples from Cosimo Tura's ‘The Annunciation with Saint Francis and Saint Louis of Toulouse’ were submitted to amino acid analysis in order to determine the nature of the binding media. The four panels appeared to have been painted with egg tempera, and showed extensive localized deterioration in the blue areas but not in the other coloured areas. Following the Picotag method, the samples were hydrolyzed in an acid vapor, derivatized with iso-thiocyanatobenzene, and analyzed using reversed phase high pressure liquid chromatography (HPLC). Amino acid analysis demonstrated that the red and brown areas were painted using egg yolk as the binding medium, while the blue areas were painted with animal-skin glue (distemper). Analysis of the green paint indicated a mixture of egg yolk and glue. The use of these techniques makes it possible to identify proteinaceous materials in art objects from samples in the microgram range. 相似文献
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AbstractThe ageing of poly(vinyl acetate), PVAc, paints was assessed in works by Ângelo de Sousa and Joaquim Rodrigo. The materials and techniques of the artists were studied through interviews and by chemical analysis. They were both using PVAc in 1961, preparing their own paints by mixing commercial PVAc emulsions with selected colorants. It is shown that in most cases the emulsion employed was based on a PVAc homopolymer and that the paints are in good condition with no signs of deterioration. Finally, this study allowed a comparison to be made between paint samples aged naturally and those aged under artificial conditions. This means that these artificially aged samples may be used as reference materials for PVAc paintings. Both sets exhibit molecular infrared fingerprints that are undistinguishable from an unaged PVAc, suggesting little chemical degradation over 50 years of natural ageing. 相似文献
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《文物保护研究》2013,58(3):107-119
AbstractSamples 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
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Benjamin Bartl Martin Zapletal Štěpán Urbánek Monika Krejčí Slavíková Jiří Trejbal Zdeněk Hrdlička 《文物保护研究》2013,58(3):138-145
ABSTRACTMechanical properties of aged beeswax were studied by an indirect measurement, using hydrogenated beeswax as a model material. The adequacy of the model was evaluated by comparison of its chemical composition and thermal properties with those of samples of historical beeswax. It was found that the gradual decrease in content of unsaturated compounds in beeswax contributes significantly to changes of its mechanical properties. As a consequence, beeswax artefacts become increasingly prone to mechanical damage during natural ageing. Understanding the difference between mechanical properties of recent and historical beeswax is primarily important from the point of view of safe handling and storage of such artefacts. Besides, this knowledge could help conservation scientists, e. g. when preparing model samples for testing new conservation methods. 相似文献
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《文物保护研究》2013,58(3):195-208
AbstractPyrolysis–gas chromatography was applied to the characterization of synthetic organic pigments. On pyrolysis, azo pigments and phthalocyanine blue yield characteristic fragments. These pyrolysis products were identified, and the mechanism of decomposition was studied. In the case of paint samples, the main pyrolysis products derive from the medium, although the presence of additional peaks enables azo pigments and phthalocyanine blue to be characterized. Some examples of the analysis of artists' paints are given and the peaks are identified. The main limitation of this technique is that it is impossible to detect chemically and thermally stable pigments, or inorganic components. 相似文献
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Lapis Lazuli in an Enigmatic ‘Purple7rsquo; Pigment from a Thirteenth-Century BC Greek Wall Painting
《文物保护研究》2013,58(4):252-266
AbstractThis paper presents the first evidence of lapis lazuli or lazurite that was detected unexpectedly using micro-Raman spectroscopy during research to identify an enigmatic purple hue on the thirteenth-century BC Greek Bronze Age wall paintings from Gla. The lapis lazuli material was found as part of a mixture including a red iron oxide and an as yet unidentified purple staining material. Existing purple mixtures of that period are also discussed. The identification of lapis lazuli at Gla may prove to be the earliest known use of this pigment in buon fresco, in both Eastern and Western painting traditions. Furthermore, this precedes the next known use of the material as a pigment by 1800 years. The existence of this blue pigment is also discussed within the context of the blue pigment palette of the Bronze Age Aegean and eastern Mediterranean Bronze Age (3300–1100 BC), to show its use in relation to other blue materials and to demonstrate the technology and knowledge mastered by the artists who used this lazurite. 相似文献
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《文物保护研究》2013,58(2):116-121
AbstractThe use of Prussian blue in nineteenth-century Japan has been extensively researched, particularly in relation to the ‘blue revolution’ in ukiyo-e prints but its use by Chinese artists has not received the same degree of attention. A commodity traded by the East India Company, this pigment was used to ‘improve’ the colour of tea, but in or about 1825 the trade abruptly ceased. It now seems fairly clear that the cessation of the Prussian blue trade coincided with the setting up of a Prussian blue factory at the northern gate of Canton, and that knowledge of the industrial process was possibly acquired covertly from a London manufacturer. The pigment has been identified chemically among paint fragments collected during the dis-binding of an album of Chinese botanical watercolours sent from Canton to the Horticultural Society of London by tea inspector John Reeves between 1817 and 1830. This finding suggests that conservators should not exclude the possibility of finding Prussian blue on Chinese work dating from at least the early part of the nineteenth century. 相似文献
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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
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《文物保护研究》2013,58(3):274-282
AbstractA study of the composition and phase distribution of the corrosion layers on three ferrous objects, excavated at K2 (Bambandyanalo), an archaeological site in South Africa, was conducted. The objective of the study was to obtain information that can contribute to conservation procedures to be performed on the iron artefacts from this site. Examination of cross sections by means of energy-dispersive X-ray spectroscopy coupled to a scanning electron microscope (SEM–EDX), X-ray powder diffraction (XRD), and micro-Raman spectroscopy revealed the same corrosion composition and structure for all the objects under study, namely an internal layer adjacent to the metal surface with ghost inclusions and an external layer containing quartz grains. The study also revealed that the presence of magnetite (Fe3O4), maghemite (γFe2O3), and lepidocrocite (γ-FeOOH) within the internal layer is the only difference between the chemical compositions of iron corrosion products within the two layers. The results also made it possible to retrace the corrosion history during burial and long-term storage. 相似文献
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《文物保护研究》2013,58(3):176-188
AbstractIn the late 1800s, pictorialist photographers favored a diversity of photographic techniques, including the gum dichromate process. Sometimes superimposed over other photographic images such as platinum and silver prints, the gum dichromate process utilizes a light-sensitive mixture of gum arabic, pigment, and a potassium dichromate solution hand-applied onto a sheet of paper and exposed to light while in direct contact with a negative. The definitive identification of this process has proven to be a challenge due to many variations and intermingling of techniques used by photographers of this period. This research began with a search through the historic literature, followed by the creation of test samples based on historic recipes, and the X-ray fluorescence analysis of these tests. The identification of pigments and the presence of chromium have been associated with the gum dichromate or other dichromated colloid processes in the past. Research results reveal that the presence of chromium may have more complex sources, requiring a more discriminating approach and a modified protocol for the identification of gum dichromate photographs. 相似文献
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Maryam Niknejad 《文物保护研究》2019,64(1):1-9
Lead white is widely used as a white pigment in the history of Persian painting. This paper focuses on three Persian treatises dated between the twelfth and the sixteenth century, which explained different manufacturing methods of lead white or sefidāb-i-sorb. Experimental reconstruction of each recipe to access the comprehensive meaning of the text and analytical studies with X-ray powder diffraction on products of recipes revealed white compounds other than the previously known products of hydrocerussite (Pb(OH)2?·?PbCO3) and cerussite (PbCO3) in samples. Chlorine-containing raw materials mentioned in these recipes lead to the chemical products of laurionite (Pb(OH)Cl), blixite (Pb8O5(OH)2Cl4), and phosgenite (Pb2Cl2(CO)3) in the final products. These data lead to the hypothesis of the discrepancy of the lead white pigment between Iran and Europe and a marked probability of other compounds in historic Persian lead white samples. 相似文献
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《文物保护研究》2013,58(2):84-86
AbstractEgyptian blue has been identified positively in a Roman mediaeval fresco of the lower church of San Clemente. The date around the middle of the ninth century A.D. of the mural painting extends by five centuries the previously known period of use of this famous pigment. 相似文献
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《文物保护研究》2013,58(1):15-32
AbstractAn investigation for light exposure on pigments in low-oxygen environments (in the range 0–5% oxygen) was conducted using a purpose-built automated microfadometer for a large sample set including multiple samples of traditional watercolour pigments from nineteenth-century and twentieth-century sources, selected for concerns over their stability in anoxia. The pigments were prepared for usage in watercolour painting: ground and mixed in gum Arabic and applied to historically accurate gelatine glue-sized cotton and linen-based papers. Anoxia benefited many colorants and no colorant fared worse in anoxia than in air, with the exception of Prussian blue and Prussian green (which contains Prussian blue). A Prussian blue sampled from the studio materials of J.M.W. Turner (1775 ? 1851) was microfaded in different environments (normal air (20.9% oxygen) 0, 1, 2, 3.5, or 5% oxygen in nitrogen) and the subsequent dark behaviour was measured. The behaviour of the sample (in normal air, anoxia, and 5% oxygen in nitrogen) proved to be consistent with the 55 separately sourced Prussian blue samples. When exposed to light in 5% oxygen in nitrogen, Prussian blue demonstrated the same light stability as in air (at approximately 21°C and 1 atmosphere). Storage in 5% oxygen is proposed for ‘anoxic’ display of paper-based artworks that might contain Prussian blue, to protect this material while reducing light-induced damage to other components of a watercolour, including organic colorants and the paper support. 相似文献