Artisanal experiences in Arpi: Colours and raw materials of Apulian red figure production

Giannossa, Lorena Carla; Muntoni, Italo M.; Forleo, Tiziana; Patete, Salvatore; Pouzadoux, Claude; Laviano, Rocco; Mangone, Annarosa

doi:10.1016/j.jasrep.2022.103618

Cited by 1 publication

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“…The results of the Raman investigations of the analysed samples are reported in Table 2 . In all samples, in addition to the pigment/colourant responsible for the colour, a peak at about 1085 cm −1 , characteristic of calcite, was highlighted [ 7 ]. Raman peaks assignable to gypsum and/or anhydrite [ 27 ] were, instead, highlighted only on the samples from the Ipogeo Scocchera B and rarely seen on a few samples of the Ipogeo del Cerbero, indicating a good state of conservation of the paintings.…”

Section: Resultsmentioning

confidence: 99%

“…Investigating the manufacturing characteristics of Hellenistic items from Apulia is an extensive research project that we have been carrying out for years [ 1 , 2 , 3 , 4 , 5 , 6 , 7 ]. This paper focuses on the identification of raw materials (pigments/colorants/binders) and the verification of the painting techniques of wall painting from Hellenistic tombs in the Daunian area (northern Apulia), paying close attention to how different classes of finds relate to one another from a technological–productive perspective [ 8 ].…”

Section: Introductionmentioning

confidence: 99%

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Pigments and Techniques of Hellenistic Apulian Tomb Painting

Mangone¹,

Colombi

Eramo

et al. 2023

Molecules

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The wall paintings of five Hellenistic tombs in Apulia were analysed using a multi-technique approach to discern the painting techniques used and contextualise them within the phenomenon of Hellenistic tomb painting in Southern Italy. In particular, the question was asked whether technical knowledge played a role in the reception of Hellenistic artistic models and whether this knowledge was present locally. Raman and IR spectroscopies were used to identify pigments, colourants, and binders; light and electron microscopy were used to determine the structural characteristics of the paint layers and recognise the manufacturing technique. Analyses identified a fresco application for the Tomba dei Cavalieri (Arpi) and a dry application for the Canosian hypogea. The palette—typical for Hellenistic tomb painting in Southern Italy, Etruria and Macedonia—was composed of lime (white), charcoal (black), hematite (red), goethite (yellow), and Egyptian blue (blue). In the Tomba della Nike (Arpi), meanwhile, two particularly refined preparatory layers were observed. The palette was enriched with precious cinnabar and madder lake. The colouring components of the root were mixed with clay and K-alum applied on an additional layer of lime. The use of madder lake and a pink background link the painting to the polychrome Daunian pottery, and the contribution of a local workshop to the decoration of this tomb thus seems plausible.

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Section: Resultsmentioning

confidence: 99%