In-situ technical study of modern paintings - Part 2: Imaging and spectroscopic analysis of zinc white in paintings from 1889 to 1940 by Alessandro Milesi (1856–1945)

Giorgi, L.; Nevin, Austin; Comelli, Daniela; Frizzi, T.; Alberti, R.; Zendri, Elisabetta; Piccolo, Matteo; Izzo, Francesca Caterina

doi:10.1016/j.saa.2019.04.084

Cited by 15 publications

(9 citation statements)

References 18 publications

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“…It is a pigment that has been widely used since ancient times both for making primers and for mixing in layers of painting [25], as well as calcium, a typical filler for primers and paints in the form of calcium carbonate (CaCO3) or two-water gypsum (CaSO4 x (H2O)2). The whitewash is made with a mixed pigment based on zinc (ZnO) and lead white [25,26]. Chromatic pigments are represented by a wide palette, including organic pigments that cannot be identified using this method.…”

Section: Elemental Analysis Of Pictorial Layers (Xrf)mentioning

confidence: 99%

Multidisciplinary Study of the Painting “Hiroshima I” (1958) by Werner Tübke (1929–2004)

Smolianskaia,

Andreev,

Sirro

et al. 2023

Preprint

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This article presents the results of technical and technological studies of the oil painting by the artist of German origin Werner Tübke “Hiroshima I" (1958). The creative heritage of the author has been little studied and represents scattered data on the technology of painting and artistic techniques. The aim of the work was to determine the artistic materials and painting technolo-gy described in his diaries, using the example of his only painting in Russia – “Hiroshima I". For this purpose, an integrated approach was used using non–invasive control methods - photo in the light of visible luminescence, infrared reflectography (IRR), radiography, portable X-ray fluorescence (XRF), as well as infrared-Fourier spectroscopy (FT-IR) and polarizing microsco-py using microprobes. As a result, the pigment composition of the painting layers was deter-mined, the painting technology was refined, and a previously unknown hidden portrait of Werner Tübke's father was revealed.

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Section: Elemental Analysis Of Pictorial Layers (Xrf)mentioning

confidence: 99%

Multidisciplinary Study of the Painting “Hiroshima I” (1958) by Werner Tübke (1929–2004)

Smolianskaia,

Andreev,

Sirro

et al. 2023

Preprint

View full text Add to dashboard Cite

show abstract

“…It may be lead white (2PbCO 3 •Pb(OH))-a pigment that has been widely used since ancient times both for making primers and for mixing different layers of painting [29]-as well as calcium, a typical filler for primers and paints, in the form of calcium carbonate (CaCO 3 ) or gypsum (CaSO 4 •(H 2 O) 2 ). The white was made with a mixed pigment containing zinc and lead [30,31] (Figure 7b); this was concluded based on the comparison of zinc and lead intensities with a primer.…”

Section: Elemental Analysis Of Pictorial Layers (Xrf)mentioning

confidence: 99%

In Situ Study of the Painting “Hiroshima I” (1958) by Werner Tübke (1929–2004)

Smolianskaia,

Andreev,

Sirro

et al. 2023

Heritage

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This article presents the results of technical studies of the oil painting by the artist of German origin Werner Tübke “Hiroshima I” (1958). The creative heritage of this author has not been studied enough and represents scattered data on the technology of painting and artistic techniques. The aim of this work was to determine the art materials and painting technology described in his diaries, using the example of his only painting represented in Russia: “Hiroshima I”. For this purpose, an in situ approach was implemented using some simple museum instrumentations—UV-induced visible luminescence, infrared reflectography (IRR), radiography, portable X-ray fluorescence (XRF), Fourier transform Infrared spectroscopy (FT-IR), and polarizing microscopy using microprobes. As a result, the pigment composition of the painting layers could be determined, the painting technology refined, and a previously unknown hidden portrait of Werner Tübke’s father revealed.

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“…Electron paramagnetic resonance (EPR) spectroscopy is one of a vast number of spectroscopic analytical techniques [1][2][3][4][5][6][7][8][9][10] used by art conservators, historians, and restorers to study paintings. EPR spectroscopy probes magnetic energy levels associated with unpaired electrons in matter, and is therefore useful for investigating paramagnetic, ferro/ferrimagnetic, and free radical containing pigments.…”

Section: Introductionmentioning

confidence: 99%

The Noninvasive Analysis of Paint Mixtures on Canvas Using an EPR MOUSE

et al. 2020

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Many artists create the variety of colors in their paintings by mixing a small number of primary pigments. Therefore, analytical techniques for studying paintings must be capable of determining the components of mixtures. Electron paramagnetic resonance (EPR) spectroscopy is one of many techniques that can achieve this, however it is invasive. With the recent introduction of the EPR mobile universal surface explorer (MOUSE), EPR is no longer invasive. The EPR MOUSE and a least squares regression algorithm were used to noninvasively identify pairwise mixtures of seven different paramagnetic pigments in paint on canvas. This capability will help art conservators, historians, and restorers to study paintings with EPR spectroscopy.

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In-situ technical study of modern paintings - Part 2: Imaging and spectroscopic analysis of zinc white in paintings from 1889 to 1940 by Alessandro Milesi (1856–1945)

Cited by 15 publications

References 18 publications

Multidisciplinary Study of the Painting “Hiroshima I” (1958) by Werner Tübke (1929–2004)

Multidisciplinary Study of the Painting “Hiroshima I” (1958) by Werner Tübke (1929–2004)

In Situ Study of the Painting “Hiroshima I” (1958) by Werner Tübke (1929–2004)

The Noninvasive Analysis of Paint Mixtures on Canvas Using an EPR MOUSE

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