In situ Raman spectroscopy at the Voroneţ Monastery (16th century, Romania): New results for green and blue pigments

Buzgar, Nicolae; Buzatu, Andrei; Apopei, Andrei Ionuț; Cotiugă, Vasile

doi:10.1016/j.vibspec.2014.03.008

Cited by 33 publications

(37 citation statements)

References 17 publications

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“…Aerinite was also identified in the southwest of France (Daniel et al) in paintings of the vault of the old abbey home of Moissac (12th century, Tarn‐et‐Garonne), and in those of the church Saint Nicolas of Nogaro (end 11th century, Gers). Aerinite was also reported in the Voronet Monastery (Romania) by Buzgar et al An accurate microcharacterization of aerinite pigment is reported by Peréz‐Aranteguia et al…”

Section: Introductionmentioning

confidence: 72%

“…Švarcová et al attempted to differentiate copper pigments in paint layers of works of art by Raman spectroscopy in spite of the large fluorescence. Buzgar et al reported a series of copper compounds (pigments) in the wall paintings of the Voronet Monastery in Romania (16th century), including atacamite, posnjakite and conichalcite [CaCu(AsO 4 )(OH)].…”

Section: Introductionmentioning

confidence: 99%

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Raman spectroscopy of minerals and mineral pigments in archaeometry

Bersani

Lottici

2016

J Raman Spectroscopy

147

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Minerals, as raw structural materials or pigments, play a fundamental role in archaeometry, for the understanding of nature, structure and status of an artefact or object of interest for cultural heritage. A detailed knowledge of the mineral phases is crucial to solve archaeological problems: Raman spectroscopy is a powerful investigation technique and has been applied extensively in the last 30 years on mineral identification and on pigment degradation. Here we report an updated review, covering the last decade, of the applications of Raman techniques to issues in which raw minerals, including mineral pigments, are involved. Particular attention is devoted to cases where the Raman analysis of minerals is deeper than a simple identification of the phases present in an archaeological or artistic object. Copyright © 2016 John Wiley & Sons, Ltd.

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Section: Introductionmentioning

confidence: 72%

Section: Introductionmentioning

confidence: 99%

Raman spectroscopy of minerals and mineral pigments in archaeometry

Bersani

Lottici

2016

J Raman Spectroscopy

147

View full text Add to dashboard Cite

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“…It is also widely found in works of art from various cultures, from the Egyptians to 19 th century artists . A list of findings is reported in literature, as well as of its Raman identification …”

Section: Resultsmentioning

confidence: 99%

“…It is common knowledge for the (amateur) artist that green paint can be obtained by mixing the primary colours yellow and blue (subtractive synthesis). This was known to artists and artisans since millennia, as we can now observe in many examples from antiquity to modern times . Moreover, a huge variety of green compounds suitable for the use as pigments is available and is now identified in cultural heritage objects, in contrast to the supposedly restricted variety of green pigments existing according to traditional sources (mainly malachite and verdigris) …”

Section: Introductionmentioning

confidence: 98%

Raman spectroscopy of green minerals and reaction products with an application in Cultural Heritage research

Coccato

Bersani

Coudray

et al. 2016

J Raman Spectroscopy

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Raman spectroscopy is a powerful technique for the characterization of materials and is of valuable use in archaeometrical research in general. Green compounds of natural or synthetic origin are found in many research areas, ranging from mineralogy, to pigment identification, to corrosion studies. However, a detailed and comprehensive database of spectra and references is still missing in the literature. This paper provides both, a literature review and downloadable Raman spectra of reference products, to the researcher dealing with green materials in cultural heritage. Moreover, it tackles nomenclature issues. The collected spectra are discussed in relation to the preliminary/commercial identification of the material itself and to the published data. Practical aspects regarding the laser wavelength selection are also discussed with regards to the comparison to published reference spectra. The range of studied green materials is wide and encompasses Cu containing compounds (natural and synthetic, more or less known as pigments or degradation products, including polymorphs of the same formula), Fe based (green earths and synthetic organic pigments), modern Cr and Co green pigments. This approach is illustrated by analysing a cross section of a green zone of the Early Netherlandish panel painting ‘Ghent Altarpiece’ by the Van Eyck brothers. Copyright © 2016 John Wiley & Sons, Ltd.

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“…This was an excellent opportunity to examine the artworks in order to establish an in situ diagnostic analysis of the wall paintings (in terms of colorants and preparation layer) and to support the conservators in the framework of the ongoing restoration. Of course, in consideration of the preciosity of the paintings, the application of noninvasive and nondestructive methodologies was required; among them, Raman spectroscopy was recently assessed as particularly suitable tool for the diagnosis of art objects, especially for paintings, plasters and mortars [2][3][4][5]. The method allows in fact the quick, nondestructive and contactless characterization and identification of inorganic and organic materials, widely employed in art and archaeometry.…”

Section: Introductionmentioning

confidence: 99%

Nondestructive Raman investigation on wall paintings at Sala Vaccarini in Catania (Sicily)

Barone¹,

Bersani²,

Coccato³

et al. 2017

inArt 2016

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In this work, the results of a Raman campaign for studying seventeenth-century Sicilian frescoes, by using two portable Raman systems, equipped with different excitation sources (785 and 1064 nm), are proposed. The measurements were performed with the aim to provide an in situ diagnostic analysis of the wall paintings (in terms of colorants and preparation layer) and to support the conservators in the framework of the ongoing restoration. The combined use of the two Raman spectrometers has given a complete overview on the artist palette and on the state of preservation of frescoes, also informing us about the technique employed by the painter. Natural pigments as hematite, vermillion, goethite, lead red, lead white and carbon-based black pigments have been identified. Additionally, the application of a transitional RomanesqueRenaissance frescoes method has been noticed by the systematic combined presence of calcite and gypsum in the substrate. Finally, the analyses have highlighted the presence of degradation products, mainly related to alteration of lead-based pigments.

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In situ Raman spectroscopy at the Voroneţ Monastery (16th century, Romania): New results for green and blue pigments

Cited by 33 publications

References 17 publications

Raman spectroscopy of minerals and mineral pigments in archaeometry

Raman spectroscopy of minerals and mineral pigments in archaeometry

Raman spectroscopy of green minerals and reaction products with an application in Cultural Heritage research

Nondestructive Raman investigation on wall paintings at Sala Vaccarini in Catania (Sicily)

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