Later nineteenth century pigments: Evidence for additions and substitutions

Townsend, Joyce H.; Carlyle, Leslie; Khandekar, Narayan; Woodcock, Sally

doi:10.1080/01410096.1995.9995096

Cited by 29 publications

(14 citation statements)

References 9 publications

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“…It seems very likely, that the manufacturer changed the composition of the colour in order to create an alternative to the traditional "Chrome green" based on more durable pigments. Similar examples have been reported by Townsend et al [26]. In general durability seems to have been an important matter to Danish colour merchants in the end of the nineteenth century.…”

Section: Tube Colourssupporting

confidence: 62%

“…The spectra were assigned by comparison of the spectra to those in the literature [8,9]. The peaks in b arising from the organic dyes has not been assigned The cases of the "Green lake light" and the "Red oxide" are just a few examples of the complexity that relates to artists' colours from the 19th century [26]. A clear correlation between trade name and contents is not always seen, and consequently artists have often not had a sound knowledge of the colours they used.…”

Section: Tube Coloursmentioning

confidence: 99%

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The artists’ materials of P. S. Krøyer: An analytical study of the artist’s paintings and tube colours by Raman, SEM–EDS and HPLC

Christiansen¹,

Baadsgaard²,

Sanyova

et al. 2017

Herit Sci

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An analytical study of two paintings by P. S. Krøyer and the tube colours found in his painting cabinet has been carried out in order to investigate the artists' materials used by Krøyer in the latter part of his oeuvre. The study has given a valuable knowledge about Krøyer's choice of materials and their composition that may be helpful in e.g. preservation issues. The pigments and dyes were analysed by micro-Raman spectroscopy (MRS), scanning electron microscopyenergy dispersive X-ray spectroscopy (SEM-EDS), and high-performance liquid chromatography with diode-array detection (HPLC-DAD). The technical analyses were supplemented with archival studies of Danish nineteenth century paint shops. The results show that Krøyer used commercially available artists' materials typical for that period in time. Being a wealthy artist, he seems to have favoured expensive pigments such as cobalt blue, viridian and cadmium yellow. Based on the analyses, the main development in Krøyer's palette is the substitution of lead white with zinc white that appears to have taken place after 1886. The results also show that the contents of the tube colours in some cases differ from what was expected based on the trade names. This is particularly observed for the tube colours named "Oxide rouge" of which only one contains the expected hematite pigment, while all the remaining contain cadmium sulfide and natural organic red lakes. A rare tube colour named "Laque verte clair" was characterised to be mixture of Prussian blue and synthetic Indian yellow. The study therefore also illustrates that it was not always obvious to the artists what they bought from their colour merchant. It hence relates to existing international studies of nineteen century artists' materials, which highlight the complexity of tube colours from this particular period in time.

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Section: Tube Colourssupporting

confidence: 62%

Section: Tube Coloursmentioning

confidence: 99%

The artists’ materials of P. S. Krøyer: An analytical study of the artist’s paintings and tube colours by Raman, SEM–EDS and HPLC

Christiansen¹,

Baadsgaard²,

Sanyova

et al. 2017

Herit Sci

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show abstract

“…Calcium carbonate is likely present in the paint formulation as an extender, which is commonly found in the analysis of modern paints. [35,36] Despite the general difficulty of identifying Naples yellow through Raman analysis [37] and the fluorescence because of the organic medium, the Raman spectrum shown in Fig. 4(a) suggests the presence of lead-antimonate yellow through its characteristic Pb-O modes at 519, 652 and 810 cm À1 [38,39] (it is noted that the bands visible at 71, 143, 294, 335, 45 are not included in the measurement range with the handheld instrument).…”

Section: 'La Passeggiata' By Massimo Campiglimentioning

confidence: 99%

Multi‐analytical non‐invasive study of modern yellow paints from postwar Italian paintings from the International Gallery of Modern Art Cà Pesaro, Venice

et al. 2015

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dWe present a multi-analytical non-invasive approach for the characterisation of yellow paints used in three paintings from the International Gallery of Modern Art Cà Pesaro, Venice. The paintings selected for this study were executed in oil-based media between 1940 and 1960, they are unvarnished and have large monochromatic yellow areas. We focus on the identification of yellow pigments with a combined approach based on non-invasive portable X-ray Fluorescence spectrometry, complemented with VIS reflectance, remote-Fourier Transform Infrared and Raman spectroscopies. Different yellow pigments including Chrome yellow Naples Yellow and Cadmium-based yellow were identified. Their identification is of fundamental importance because several modern inorganic yellow pigments (in particular chrome and cadmium-based pigments) are known to exhibit peculiar degradation patterns, leading to noteworthy aesthetic changes in paint such as darkening and fading. This work highlights the suitability of non-destructive techniques for the characterisation of modern paints and the utility of an integrated approach to obtain useful information for preventive conservation. Results demonstrate the need to complement elemental data acquired using portable X-ray Fluorescence with suitable complementary molecular spectroscopic techniques.

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“…Furthermore, other companies traded this pigment with the same name although with a different composition, i.e. Naples yellow from Winsor & Newton was produced in several versions, containing cadmium yellow or yellow and red lakes mixed with white zinc or lead white [24,28,29].…”

Section: Yellow and Brown Pigmentsmentioning

confidence: 99%

“…On the marine deep blue of Libecciata and Maremma Toscana, the Prussian blue was adsorbed onto alumina particles, clearly indicating a different blue pigment in comparison to the pure Prussian blue of extrafine quality. Both the products were listed on several catalogues and available in Florence; particularly, the alumina-supported one was labeled as bleu minéral by Lefranc and Cie and Leitch's blue for watercolor painting by Robertson, while it was sold pure or mixed with white pigments by Winsor & Newton [11,29].…”

Section: Blue Pigmentsmentioning

confidence: 99%

The palette of the Macchia Italian artist Giovanni Fattori in the second half of the xixth century

Favaro

Bianchin

Vigato

et al. 2010

Journal of Cultural Heritage

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Later nineteenth century pigments: Evidence for additions and substitutions

Abstract: Documentary research into English artists'

Cited by 29 publications

References 9 publications

The artists’ materials of P. S. Krøyer: An analytical study of the artist’s paintings and tube colours by Raman, SEM–EDS and HPLC

The artists’ materials of P. S. Krøyer: An analytical study of the artist’s paintings and tube colours by Raman, SEM–EDS and HPLC

Multi‐analytical non‐invasive study of modern yellow paints from postwar Italian paintings from the International Gallery of Modern Art Cà Pesaro, Venice

The palette of the Macchia Italian artist Giovanni Fattori in the second half of the xixth century

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