Micro‐Raman spectroscopy and optical microscopy under visible and ultraviolet light were applied to characterize the pigments, state of conservation, and painting techniques used in the 17th century panel painting ‘Servilius Appius’, attributed to Isaac van den Blocke. This Golden Age work of art is located at the Gdańsk History Museum. Briefly, individual layers of six samples from different parts of the aforementioned painting were analyzed. A rich palette of white, yellow, red, blue, and black pigments was identified using micro‐Raman spectroscopy. Optical microscopy was also employed to observe and analyze these layers. The obtained results were compared with the art history knowledge of the painting. Consequently, these studies enabled precise characterization of the type of lead tin yellow, the admixture of pigments used in the painting layers, and the type of ground layers, as well as the determination of the pictorial technique used in the process of creating this work of art. Copyright © 2014 John Wiley & Sons, Ltd.

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Issues of the technology and the painting technique of Gerard de Lairesse based on the treatise on the painting "Het Groot Schilderboek"Treatise Het Groot Schilderboek ("The Great Book on Painting") of Gerard de Lairesse (1640-1711) belongs to important works which apart from theoretical issues include relevant information concerning painting technique. In the 17th and 18th century theoretical papers on the painting enjoyed great interest in the whole of

The technique of blue and purple painting layers were analyzed on the example of selected panel paintings of the mid‐16th to the end of the 18th century from the Gdańsk painting workshops. Paintings are the property of the church and the museums of Gdańsk and Pelplin (Poland). Searching studies of the selected painting layers and of the samples were performed to characterize the pigments present in the individual blue and purple painting layers and the pictorial techniques. Samples were obtained from painting and ground layers. The blue pigments identified in Gdańsks' paintings of the 16th and 17th century were natural azurite, smalt, and natural ultramarine, and of the 18th century, the only one blue pigment was organic indigo. Purple layers were obtained by adding organic red, lead red, vermilion, and iron oxide red. © 2016 Wiley Periodicals, Inc. Col Res Appl, 41, 270–275, 2016