Contribution a l'etude des preparations blanches des tableaux italiens sur bois

Martin, Élisabeth; Sonoda, Naoko; Duval, Alain

doi:10.1179/sic.1992.37.2.82

Cited by 15 publications

(11 citation statements)

References 4 publications

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“…The clear analytical distinction between anhydrite in the lower coarse gesso and gypsum in the upper fine gesso in samples from the altarpieces of Zumaya, La Piedad, and La Santísima Trinidad shows that the grounds for the applied tin‐relief brocades of Guipúzcoa agree with previous research, because works by Gomez et al reported the prevelance of anhydrite in the coarse layer ( yeso grueso ) and gypsum in the finer layer ( yeso fino ) 23, 24. The calcium sulfate grounds can consist of a single 57–190 µm layer of anhydrite, up to four layers of coarse anhydrite at the bottom and up to four layers of finer gypsum on the top, or one layer of coarse gesso (varying from 60 to 250 µm in thickness) and one layer of fine gesso (varying from 10 to 76 µm thickness).…”

Section: Discussionsupporting

confidence: 88%

Characterization of calcium sulfate grounds and fillings of applied tin‐relief brocades by Raman spectroscopy, Fourier transform infrared spectroscopy, and scanning electron microscopy

Rodríguez

Eremin

Khandekar

et al. 2010

J Raman Spectroscopy

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Applied tin-relief brocade (commonly called applied brocade) refers to a decorative painting technique using tin leaf applied over a supporting relief mass (filling) which is glued to the artwork to simulate gold and silver textile brocades. This originated in Germany ca 1415-1430 and spread across Europe from the mid-15th century to the mid-16th century. This study focuses on six early 16th century altarpieces in the Basque country in the present province of Guipúzcoa, Spain. Cross sections of the ground and applied brocade were initially examined with optical microscopy and staining tests for proteins and lipids to assess the layering structure and materials present. Further examination with Raman spectroscopy, Fourier transform infrared spectroscopy (FTIR) and scanning electron microscopy with energy dispersive X-ray spectroscopy identified the inorganic and organic components of the various layers. Raman spectroscopic mapping was used to image the location of phases in selected cross sections. Five altarpieces from Spain had calcium sulfate grounds, whereas one thought to come from Flanders had a calcium carbonate ground. Raman and FTIR spectra showed that the thick, coarse lower ground layer (yeso grueso) is anhydrous calcium sulfate (anhydrite) whereas the fine, thin upper ground layer (yeso fino) is calcium sulfate dihydrate (gypsum). The filling masses consisted of different mixtures of inorganic (chiefly gypsum or anhydrite but occasionally with other pigments or additives) and organic (protein and/or oil or beeswax) materials. Comparison of the documented historical techniques with the materials found provides insight into local variations of the technique.

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Section: Discussionsupporting

confidence: 88%

Characterization of calcium sulfate grounds and fillings of applied tin‐relief brocades by Raman spectroscopy, Fourier transform infrared spectroscopy, and scanning electron microscopy

Rodríguez

Eremin

Khandekar

et al. 2010

J Raman Spectroscopy

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“…Similar morphologies are commonly ascribed to the application of the ‘grosso‐sottile’ technique (Martin et al . ; Gómez et al . ; Rodríguez et al .…”

Section: Resultsmentioning

confidence: 99%

“…This phase has not been identified before in grounds of Greek icons; nevertheless, bassanite along with gypsum reportedly exists in the ground of an 18th century Lebanese icon (Lahlil and Martin ), while hemihydrate calcium sulphate has been detected by Martin et al . () in two 14th century panel paintings. The presence of hemihydrate suggests raw materials that were fired at a low temperature and were incompletely rehydrated upon setting.…”

Section: Resultsmentioning

confidence: 99%

“…The ‘grosso‐sottile’ technique has been verified to exist in several paintings created in the Tuscan and Urbino regions during the 15th century (Martin et al . ; Pinna et al . ), while it has also been identified in 16th century Spanish panel paintings and tin‐relief, brocade decorated altarpieces (Gómez et al .…”

Section: Introductionmentioning

confidence: 95%

“…Nevertheless, the heating of raw gypsum at a relatively low temperature facilitates grinding, and allows for the production of a much finer powder, which may be reconverted to gypsum by soaking in water (Gettens and Mrose ; Martin et al . ).…”

Section: Introductionmentioning

confidence: 97%

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On The Grounds Of Post‐Byzantine Greek Icons

et al. 2015

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The grounds of 51 post-Byzantine icons (Eastern Orthodox panel paintings) were studied by means of analytical techniques. The artefacts cover the period from the mid-15th to the mid-19th century and originate mainly from western (Epirus and the Ionian Islands) and southern Greece (Crete). The findings are examined in the light of technical recipes from related areas and eras, while special insights are gained from the exploration of a gypsum processing recipe by Dionysius of Fourna. A spectrum of ground fabrication practices that is richer than that reported so far or can be deduced from surviving Greek recipes is documented; three instances of 'grosso-sottile' type grounds and a case of 'inverse grossosottile' ground are among the reported novel, for post-Byzantine icons, findings. Moreover, a case of an early icon restoration intervention is documented.

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Non-invasive X-ray investigations of medieval sculptures: New insights on “applied tin-relief brocade” technique

Martinetto

Blanc

Bordet

et al. 2021

Journal of Cultural Heritage

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Two polychrome sculptures from the late Middle Age were investigated by means of non-invasive techniques with the aim of characterizing sophisticated relief decoration named "applied brocade". Here, we have used portable instrumentation solely in order to perform X-ray powder diffraction and fluorescence measurements at the surface of the sculptures. The results show a reliable localisation and identification of the different materials making up an applied brocade: a filler material, a tin-based foil and a gilding, even in the case of a largely overpainted sculpture. More particularly, a direct identification of the organic material used for the filler as natural beeswax is proposed. Differences between the two investigated artworks have also been identified: (i) in the structure of the calcium sulphate preparation layers (one or double layer of gesso) (ii) in the presence or absence of a priming paint layer under decors (iii) in the choice of the material used to make the gilding: pure gold or probable zwischgold. The characterization of the degradation of this type of decorations was also assessed, namely romarchite (SnO) and cassiterite (SnO 2 ) were identified and their relative proportion estimated..

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Contribution a l'etude des preparations blanches des tableaux italiens sur bois

Cited by 15 publications

References 4 publications

Characterization of calcium sulfate grounds and fillings of applied tin‐relief brocades by Raman spectroscopy, Fourier transform infrared spectroscopy, and scanning electron microscopy

Characterization of calcium sulfate grounds and fillings of applied tin‐relief brocades by Raman spectroscopy, Fourier transform infrared spectroscopy, and scanning electron microscopy

On The Grounds Of Post‐Byzantine Greek Icons

Non-invasive X-ray investigations of medieval sculptures: New insights on “applied tin-relief brocade” technique

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