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1.
The effects of a Q-switched Nd:YAG laser irradiation on a group of supports, painted with six different inorganic pigments, was investigated. The pigments were chosen from among the most utilized on painted historical surfaces: red ochre, yellow ochre, chromium green, ultramarine azure, white chalk and carbon black, and they were distempered with two binders – linseed oil and gypsum – on primed wood panels. The pigments were characterized by means of X-ray diffraction and Fourier transform infrared spectroscopy. Chromatic characteristics, chemical composition and surface morphology of the painted layers were investigated before and after the laser irradiation. Three different fluences were used to detect the correlation between laser parameters and changes in painting layer characteristics.  相似文献   

2.
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   

3.
The pigments, organic materials and techniques used on a post-Byzantine icon of St Nicholas were determined by means of several micro-analytical techniques. The icon painter covered the leather support with silver leaf about 3 μm thick to create a smooth working surface. Animal glue was used to secure the leaf to the leather, and FTIR spectroscopy has identified another layer, 30–60 μm thick, of the same material applied as a primer above the silver. Above that, a layer of lead white covering the entire surface creates a white substratum serving the same purpose as the gesso on a wood panel. The colour palette, determined by means of scanning electron microscopy and FTIR spectroscopy, is very simple. Only seven colours were identified: lead white, caput mortuum, red and yellow ochre, cinnabar, carbon black and smalt. As far as we know, this is the first time that smalt has been found on a Byzantine icon. Since smalt was chemically synthesised only after 1500 AD, it may be concluded that this icon was painted after the end of the 15th century. Beeswax was used as a protective varnish.  相似文献   

4.
Telemaco Signorini (Florence 1835-1901), one of the most important Italian painters of the 19th century, was particularly famous among his colleagues for his way of depicting dark details and shadows by using primarily blue colors. The restoration of his painting Pascolo a Pietramala (c. 1889, Galleria di arte moderna, Palazzo Pitti, Florence) gave the authors the opportunity to study Signorini's blue palette using non-invasive fiber optics reflectance spectroscopy (FORS) in the ultraviolet (UV), visible (vis), and near infrared (NIR) regions (350-1700 nm). Furthermore, to help in the identification of the pigments used, a suitable spectroscopic database was created for Prussian blue, artificial ultramarine blue, Thénard blue (or cobalt blue), and cerulean blue modern blue pigments, in masstone and in mixtures with lead white as well as zinc white. The main pigments used by the artist in the aforesaid painting were found to be Prussian blue, artificial ultramarine blue, Thénard blue (or cobalt blue).  相似文献   

5.
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   

6.
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   

7.
The painting “Madonna with Child”, attributed to Pietro Lorenzetti (14th century) and reworked around the middle of the 16th century, was studied by several techniques in order to characterize the materials used in the original and in the repainted areas. FORS, light microscopy, ESEM-EDX, ToF-SIMS and GC-MS were used. Red ochre and raw sienna earth were identified by FORS in the original parts of the painting. On the repainted parts of the panel, cinnabar, ultramarine blue and lead white were found. By means of GC-MS and ToF-SIMS measurements it was possible to identify the organic binding media used in the preparatory and painted layers.  相似文献   

8.
The painting Proas Iluminadas (Illuminated Bows) by Benito Quinquela Martín is studied by Raman spectroscopy in order to analyse the technique and the pigments employed by the artist: ultramarine blue, carbon black, cadmium-sulphure based compounds for the hue of yellow, orange and red; also zinc white, barium yellow, massicot yellow and viridian were observed. The importance of using different excitation laser lines in the analysis of mixtures of pigments is highlighted. The Raman mapping analysis of cross section samples shows the way the artist composed the ground layer: a lead white stratum over a calcite one. It also allows distinguishing between a mixture of components and strata superposition, both presenting the same appearance under an optical microscope. This paper provides information about the materials and techniques used in a period of Argentine art not studied before from this point of view.  相似文献   

9.
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   

10.
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11.
Interactions of lead-based pigments with a number of inorganic salts, one of the most dangerous degradation agents of wall paintings, were studied under laboratory conditions. The results were used to interpret colour changes observed in 11th century frescoes from the church of Saint George in Kostoľany pod Tríbečom, the oldest preserved wall paintings in Slovakia. Interactions of selected pigments (lead white, massicot, red lead) with different salt solutions were performed within long-term laboratory experiments. We used a selection of naturally occurring salts (Na2SO4, MgSO4, CaSO4, NaCl, NaNO3, Ca(NO3)2, Na2CO3, K2CO3 and urea) and, additionally, a range of synthetic salts that are often applied to the wall paintings during their cleaning and conservation (NaHCO3, KHCO3, (NH4)2CO3, NH4HCO3). The reaction products were identified by X-ray powder diffraction. Red lead (Pb3O4) has a tendency to darken in all salt solutions containing dissolved atmospheric CO2 due to disproportionation to plattnerite (PbO2) and cerussite (PbCO3). Massicot (PbO) in a wet state reacts with atmospheric CO2 to form hydrocerussite and finally cerussite. Lead white (PbCO3 and Pb2CO3(OH)2) reacts with sulphates, carbonates and chlorides to form their respective salts in high yield and, sometimes, without any apparent colour change. Samples taken from the dark brown parts of the wall paintings in Saint George's church were analysed using laboratory X-ray powder microdiffraction. The presence of hydrocerussite, cerussite, plattnerite and lead magnesium carbonate was revealed. According to the results of laboratory experiments, the original lead-based pigment of the now darkened parts was red lead.  相似文献   

12.
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   

13.
The sculptural polychromy in the Zhongshan Grottoes, sited in northwest China, has been investigated in terms of chemical composition of employed materials and pigments, state of conservation and painting technique. Raman analysis, Fourier-transform infrared analysis, analysis through energy-dispersive X-ray spectrometry coupled to scanning electron microscopy and pyrolysis coupled to gas chromatography and mass spectrometry were applied. Six analyzed samples showed silicates and kaolin as main components of the ground layers. Also lead white has been found in these layers. Minium, red-earth and mercury sulfide are the red pigments detected in the polychromy. A mixed use of malachite and atacamite has been detected in three green samples. Optical characteristics of atacamite and malachite found in the samples indicate a synthetic origin. The presence of a synthetic organic pigment such as phthalocyanine chlorinated pigment was also revealed. Ultramarine blue pigment, obtained by purification of lapis lazuli, has been detected in the blue sample. As for the binders used, fatty materials and siccative oil were found.  相似文献   

14.
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   

15.
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   

16.
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17.
The pictorial cycle “Teodelinda's Tales” at Monza Cathedral, painted by Zavattari and his sons in 1444–1446, has been investigated by optical and SEM-EDS microscopy and microFT-IR spectroscopy. Paint layers, gildings and other metallic decorations have been analysed to elucidate the execution technique, the state of conservation and the possible retouchings in consequence of deterioration processes. Organic binders, coatings and adhesives have been also identified especially by microFT-IR spectroscopy applied directly to the sampled powders or fragments and to their solvent–soluble fractions. The obtained data offer a correct and satisfactory knowledge of the original organic and inorganic materials and those used in the subsequent retouches and restorations, their state of conservation and the painting techniques (fresco, mezzo fresco and secco).The physico-chemical investigations allowed to identify the nature and sometimes the provenance of the employed materials (i.e. ultramarine blue pigments) and some decay markers, particularly useful in understanding and describing the cycle realised by the authors and the modifications suffered along the centuries, and also to propose an integrated methodology for the scientific study of the mural paintings.  相似文献   

18.
The use of coloured pastes for inlaying marble and limestone wall panels is one of the ornamental techniques that were widely used during the Mamluk period in Egypt (1250–1516 AD). Red and black pastes from Qijmas El-Eshaqe mosque (1482 AD) in Cairo were studied to identify their main components. The study of the samples involved the identification of the pigments, additive materials and organic binding media. The study was performed using various analytical methods such as polarising microscopy (PLM), scanning electron microscopy equipped with energy dispersive X-ray analyser (SEM-EDX), inductively-coupled plasma (ICP-AES), X-ray diffraction (XRD) and Fourier-transform infrared spectroscopy (FTIR). These complementary analytical techniques provide precise identification of inorganic and organic substances used in the pastes. The results indicated that the red pigment is mainly obtained from red ochre containing hematite, whereas amorphous carbon (bone black and charcoal) was used to obtain the black colour. Both samples contain calcium sulphate, which was used to give some hardness to the pastes. Beeswax was used as an organic medium in both pastes. The study provides the information required for the conservation of the coloured paste ornaments.  相似文献   

19.
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   

20.
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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