Gildings from Andalusia: Materials used in different types of artworks along centuries

Pérez-Rodríguez, J. L.; Robador, M.D.; Albardonedo, Antonio; Durán, A.

doi:10.1016/j.culher.2017.11.009

Cited by 17 publications

(8 citation statements)

References 27 publications

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“…In both latter cases, the presence of Fe together with traces of S, K, Ca, Ti, and Zn suggests the application of an internal red‐bole layer composed of ferruginous aluminum silicate. This is an unctuous clay, able to be polished, which was a gilding technique known since Egyptian times and widely used in the Baroque period . This result confirms the assumption previously made by the expert restorer visual examination of Au layers on a red bole.…”

Section: Results and Discusionsupporting

confidence: 84%

“…This gilding technique is cheaper than that made with Au or Ag leaves widely used in the Baroque Age. It was very common for repaints and restore gildings in the 19th and in the early 20th centuries, avoiding the use of those precious metals . Although in these recent centuries, purpurin was widely used; the application in this case cannot be confirmed due to the absence of zinc and the small amount of copper found in the points analyzed.…”

Section: Results and Discusionmentioning

confidence: 99%

“…One of the greatest exponent of artworks from the catholic religious context are altarpieces, which are composed of sculptures, relieves, panel paintings, and etc. These masterpieces are unique elements of the world's cultural heritage not only because of their morphology and artistic value but also to their social, economic, and cultural implications . The characterization of pigments, methods, and techniques used by craftsmen are critical in finding solutions to problems of restoration, conservation, dating, and authentication…”

Section: Introductionmentioning

confidence: 99%

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Spectroscopic analysis of polychromic sculptures belonging to the cultural heritage of Extremadura (Spain)

2019

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Several spectroscopic techniques have been applied in order to characterize the polychrome pigments used in some religious sculptures, from the 13th to the 18th centuries, belonging to the cultural heritage of Extremadura (west of Spain). First, two energy‐dispersive X‐ray fluorescence portable devices were used. The measurements were carried out in situ, where the artworks were been restored. In addition to these nondestructive analyses, various samples with a millimeter size were taken from some of the sculptures and embedded in polyester resins. The stratigraphy of these fragments was observed through an optical microscope. Finally, they were analyzed using a scanning electron microscope in a low‐vacuum mode with two different detectors. Results show a wide range not only in pigments but also in the methods used in their realizations. Moreover, the variety of pigments found allows distinguishability from different restorations carried out along centuries.

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Section: Results and Discusionsupporting

confidence: 84%

Section: Results and Discusionmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

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Spectroscopic analysis of polychromic sculptures belonging to the cultural heritage of Extremadura (Spain)

2019

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“…Before the water and oil/mordant gilding techniques became popular in European works of art, a variant of water gilding called ground gilding was the main gilding type prior to the mid 13th century [2,5]. In this technique, metal leaf is applied onto a polished ground by means of thin adhesives such as diluted animal glue or egg glair [5,11], and can be slightly burnished [9]. Figure 1 presents schematic illustrations for the basic stratigraphy of these three types of gilding techniques, which contain (from bottom to top) grounding, bole (or mordant; or thin adhesive) and metal leaf.…”

Section: Gilding Techniques and Stratigraphymentioning

confidence: 99%

Does substrate colour affect the visual appearance of gilded medieval sculptures? Part I: Colorimetry and interferometric microscopy of gilded models

Hauldenschild

Rösner

et al. 2020

Preprint

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In history of medieval gilding, a common view has been circulated for centuries that the substrate colour can influence the visual appearance of a gilded surface. In order to fully understand the correlation between the gilding substrate and the colour appearance of the gold leaf laid above, in this paper (Part I) analytical techniques such as colorimetry and interferometric microscopy are implemented on models made from modern gold leaves. This study demonstrates that the substrate colour is not perceptible for gold leaf of at least 100 nm thickness, however the surface burnishing can greatly alter the visual appearance of a gold surface, and the quality of the burnishing is dependent on the substrate materials. Additionally, surface roughness and texture of the substrate can play supplementary roles, which can be visually observed through digital microscopy and quantified through interferometric microscopy. The findings in this paper will form the basis for the study of gold leaf samples taken from medieval European gilded sculptures in Part II.

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“…Before the water and oil gilding techniques became popular in European works of art, a variant of water gilding called ground gilding was the main gilding type prior to the mid 13 th century [2,5]. In this technique, metal leaf is applied onto a polished ground by means of thin adhesives such as diluted animal glue or egg glair [5,11], and can be slightly burnished [9]. Fig.…”

Section: Gilding Techniques and Stratigraphymentioning

confidence: 99%

Does substrate colour affect the visual appearance of gilded medieval sculptures? Part I: Colorimetry and interferometric microscopy of gilded models

Hauldenschild

Rösner

et al. 2020

Preprint

View full text Add to dashboard Cite

In the history of medieval gilding, a common view has been circulated for centuries that the substrate colour can influence the visual appearance of a gilded surface. In order to fully understand the correlation between the gilding substrate and the colour appearance of the gold leaf laid above, in this paper (Part I) analytical techniques such as colorimetry and interferometric microscopy are implemented on models made from modern gold leaves. This study demonstrates that the substrate colour is not perceptible for gold leaf of at least 100 nm thickness, however the surface burnishing can greatly alter the visual appearance of a gold surface, and the quality of the burnishing is dependent on the substrate materials. Additionally, surface roughness and texture of the substrate can play supplementary roles, which can be visually observed through digital microscopy and quantified through interferometric microscopy. The findings in this paper will form the basis for the study of gold leaf samples taken from medieval European gilded sculptures in Part II.

show abstract

Gildings from Andalusia: Materials used in different types of artworks along centuries

Cited by 17 publications

References 27 publications

Spectroscopic analysis of polychromic sculptures belonging to the cultural heritage of Extremadura (Spain)

Spectroscopic analysis of polychromic sculptures belonging to the cultural heritage of Extremadura (Spain)

Does substrate colour affect the visual appearance of gilded medieval sculptures? Part I: Colorimetry and interferometric microscopy of gilded models

Does substrate colour affect the visual appearance of gilded medieval sculptures? Part I: Colorimetry and interferometric microscopy of gilded models

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