Identification of pigments used on late 17th century Albanian icons by total reflection X-ray fluorescence and Raman microscopy

Civici, Nikolla; Demko, Ornela; Clark, Robin J. H.

doi:10.1016/j.culher.2005.01.002

Cited by 40 publications

(29 citation statements)

References 8 publications

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“…Thus, elemental analysis of green pigments from 17th‐century Albanian icons by total reflection X‐ray fluorescence identified them as copper based, but could not distinguish between malachite and verdigris (Civici et al . ), while FT–IR would be successful in distinguishing between them via the presence of the characteristic bands of carbonyl group stretching at 1727 cm –1 for verdigris, and of carbonate groups at 1434 and 873 cm –1 for malachite (Franquelo et al . ).…”

Section: Resultsmentioning

confidence: 99%

Identification of Green Pigment Used in Persian Wall Paintings (ad1501-1736) Using PLM, FT-IR, SEM/EDX and GC-MS Techniques

Samanian¹

2014

Archaeometry

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The technique of oil painting was introduced to Iran via a cultural exchange with Europe in the Safavid period (ad 1501–1736). Since the first attempt at scientific conservation of wall paintings in Iran in the 1960s, the nature of green pigment used in Persian wall paintings has not been clear, although work on contemporary miniature paintings has identified malachite and verdigris. PLM, FT–IR, SEM/EDX, GC–MS and the study of contemporary historical treatises of the Safavid period were the main tools used in the present study to identify the green pigments in Persian (oil‐based) wall paintings. Eight samples taken from the two famous Safavid buildings, Chehel Sotoon Palace and the Sukias House in Isfahan, were analysed. Here, the identification of copper‐based pigment and of verdigris in oil as oleate amends the existing knowledge of the green pigment used in these paintings. It also suggests that oleate was introduced to Persian artists via the European influence on Persian painting as a result of cultural exchange in the Safavid period, when the technique of Persian painting changed from tempera to oil painting. However, as verdigris in oil and resin can appear as oleate over time, it is unknown whether the Persian artists did this deliberately or accidentally.

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Section: Resultsmentioning

confidence: 99%

Identification of Green Pigment Used in Persian Wall Paintings (ad1501-1736) Using PLM, FT-IR, SEM/EDX and GC-MS Techniques

Samanian¹

2014

Archaeometry

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“…Powdered metals such as gold, silver and tin mixed with other colour pigments to make them intentionally lighter or to achieve a metallic shine have been widely used by different cultures throughout history (Damiani et al . 2003; Civici et al . 2005, Van Loon et al .…”

Section: Resultsmentioning

confidence: 99%

Analysis of Nasrid Polychrome Carpentry at the Hall of the Mexuar Palace, Alhambra Complex (Granada, Spain), Combining Microscopic, Chromatographic and Spectroscopic Methods*†

et al. 2009

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The pigments, binders and execution techniques used by the Nasrids to polychrome carpentry in the Hall of the Mexuar Palace at the Alhambra (Granada, Spain) were studied using optical microscopy, scanning electron microscopy with EDX analysis, selective staining techniques and gas chromatography -mass spectrometry. This pioneering investigation presents the first results of a research project devoted to filling gaps in the knowledge of Nasrid art, traditionally approached by stylistic studies. Moreover, it is essential for the polychromy conservation of the studied artworks, and will help to clarify historical and painting uncertainties in the Alhambra monument. The palette consists of a limited range of colours: white (lead-base pigment), red (cinnabar and red lead), blue (lapis lazuli), black (carbon-based) and false gold (golden tin). Tempera grassa was the painting technique identified. Two types of grounds were used: (i) gypsum in calligraphy decoration for the false gold technique, and (ii) synthetic minium in geometric drawings in carpentry. Organic insulating layers of linseed oil were used between paint strata. Artists applied synthetic minium to protect the wood ( Juglans regia and conifer) against attack by xylophages. To lighten the surface darkened by this ground layer, powdered tin was added to achieve a metallic lustre.

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“…Studies in the field of archaeology, technical art history and conservation, report analytical data about the identification of provenance/origin, composition and manufacturing techniques of gold objects (coins, sculptures, paintings) and its alloys used for decorating surfaces 2, 4, 12, 18, 20–99…”

Section: Analytical Aspectsmentioning

confidence: 99%

“…A wide range of imaging and spectroscopy‐based techniques is nowadays available for analysis of gilded art objects (Table 2): from optical microscopy (OM, PLM), infrared reflectography, thermography, to scanning/transmission/environmental electron microscopy (SEM/TEM/E‐SEM), confocal microscopy coupled with laser profilometry, atomic force microscopy (AFM), FTIR and Raman microscopy (micro‐FTIR, micro‐Raman), X‐ray spectrometry (WDXRF/EDXRF/TXRF, XPS), ion beam analyses (PIXE/PIGE, RBS, SR), etc 1–2, 5, 12, 18, 20–34, 38, 41–42, 49–99…”

Section: Introductionmentioning

confidence: 99%

Ancient ‘gilded’ art objects from European cultural heritage: a review on different scales of characterization

Sandu

Sá

Pereira

2011

Surface & Interface Analysis

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This paper is a review on the studies performed through imaging and spectroscopy-based analytical methods on ancient 'gilded' art-objects (9th-19th centuries) from the European cultural heritage.The review takes into consideration the gilded surfaces in polychrome art objects (easel and mural paintings, polychrome wooden objects, gilt leather and parchment), thus meaning the materials and techniques of application of gold or its imitations (silver, copper leaves, other metal alloys) from technical, analytical and conservation points of view.The characterization of artistic gilded objects is important for establishing the compositional, structural, morphological and physical-chemical parameters useful for monitoring the conservation state, behavior and evolution in time of their aging/degradation/deterioration processes, the restoration treatments (cleaning, consolidation, retouching, varnishing) influence on the conservation state of the original materials and also for a rationale choice of methods and materials of intervention, compatible with the original ones.The analytical approach has, as main requirement, to be noninvasive and non-or microdestructive, therefore, sampling is to be avoided or reduced to a minimum. A wide range of imaging and spectroscopy-based techniques is nowadays available from optical microscopy, UV fluorescence photography, IR reflectography, X-radiography, thermography, to scanning/transmission/environmental electron microscopy (SEM/TEM, E-SEM), atomic force microscopy (AFM), FTIR and Raman microscopy (micro-FTIR, micro-Raman), X-ray spectrometry (WDXRF/EDXRF/TXRF, XPS), Ion Beam Analyses (PIXE/PIGE, RBS, SR), etc. The most reliable and complete information can be obtained from an integrated, complementary and interdisciplinary approach, but microscopy still remains one of the most used and efficient tools in the characterization of gilding materials and their application techniques.

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Identification of pigments used on late 17th century Albanian icons by total reflection X-ray fluorescence and Raman microscopy

Cited by 40 publications

References 8 publications

Identification of Green Pigment Used in Persian Wall Paintings (ad1501-1736) Using PLM, FT-IR, SEM/EDX and GC-MS Techniques

Identification of Green Pigment Used in Persian Wall Paintings (ad1501-1736) Using PLM, FT-IR, SEM/EDX and GC-MS Techniques

Analysis of Nasrid Polychrome Carpentry at the Hall of the Mexuar Palace, Alhambra Complex (Granada, Spain), Combining Microscopic, Chromatographic and Spectroscopic Methods*†

Ancient ‘gilded’ art objects from European cultural heritage: a review on different scales of characterization

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