Murillo's paintings revealed by spectroscopic techniques and dedicated laboratory-made micro X-ray diffraction

Durán, A.; Siguenza, M.B.; Franquelo, M. L.; Haro, M.C. Jiménez de; Justo, A.; Pérez-Rodríguez, J. L.

doi:10.1016/j.aca.2010.05.004

Cited by 28 publications

(25 citation statements)

References 31 publications

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“…; Duran et al . ). These techniques give precise information about the superficial composition of cultural heritage artefacts.…”

Section: Introductionmentioning

confidence: 97%

“…Complementary techniques can be used to determine elemental composition, crystalline phases and so on, and, in general, to identify the materials and pigments employed. Nowadays, non-destructive techniques such as micro-Raman spectrometry (Clark and Van der Weerd 2004;Jurado-López et al 2004), X-ray diffraction (XRD) (Svarcova et al 2010;Duran et al 2010a;Gianoncelli et al 2008) and X-ray fluorescence (XRF) (de Viguerie et al 2009) are applied to works of art (Franquelo et al 2009;Duran et al 2010c). These techniques give precise information about the superficial composition of cultural heritage artefacts.…”

Section: Introductionmentioning

confidence: 99%

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The Structure and Chemical Composition of Wall Paintings From Islamic and Christian Times in the Seville Alcazar

et al. 2015

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Wall paintings from the Islamic epoch (10th to 12th centuries) and the Christian monarchy (14th to 16th centuries) have been recovered in discarded materials and on walls after reconstruction works in the Seville Alcazar. These paintings have spent centuries underground or under a plaster coat. Portable X-ray fluorescence (XRF) and combined XRF/X-ray diffraction (XRD) were employed in situ, as well as scanning electron microscopy (SEM-EDX), grazing angle incidence XRD and micro-Raman spectroscopy, on cross-section samples to fully characterize the materials in the wall paintings. Using these methods, the fresco technique was demonstrated, and many kinds of pigments were identified in accordance with the various periods of the history of the Alcazar, thus assessing the authenticity of all the wall paintings studied here.

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“…; Duran et al . ). These techniques give precise information about the superficial composition of cultural heritage artefacts.…”

Section: Introductionmentioning

confidence: 97%

Section: Introductionmentioning

confidence: 99%

The Structure and Chemical Composition of Wall Paintings From Islamic and Christian Times in the Seville Alcazar

et al. 2015

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“…The pigments were identified in a 5th century Chinese lacquer painting screen (Tao Li et), in 16th century Chinese folding screens (Pessanha et al), on a folding screen of the Momoyama period (Pessanha et al), in Murillo's paintings (Duran et al) and in 17th century Indian miniatures by Ravindran et al Odlyha et al described the alteration of selected pigments in paintings. Marchettini et al studied the pigments palette of ‘Adorazione dei Magi’, a wooden panel painted by Bartolo di Fredi of the second half of the 14th century.…”

Section: Introductionmentioning

confidence: 99%

Raman spectroscopy of minerals and mineral pigments in archaeometry

Bersani

Lottici

2016

J Raman Spectroscopy

146

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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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“…Since then thanks to the development of the instrumental analytical techniques it was possible to confirm the presence of lead tin yellows in many other artworks. X-ray diffraction (XRD) or Raman spectroscopy can be used for this purpose [26][27][28]. Elemental analysis (such as scanning electron microscopy with energy dispersive analysis or X-ray fluorescence) could be used as a complementary technique [29], but the differentiation of each type by the presence of silica could be misleading because of the frequent combination with earth pigments that contain quartz [30].…”

Section: Introductionmentioning

confidence: 99%

An investigation of the lead tin yellows type I and II and their use in Bohemian panel paintings from the Gothic period

2015

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Background: Presented article summarizes the results of a broad-based survey on painting techniques used during the High and Late Gothic period in the Bohemian panel paintings located in the collections of the National Gallery in Prague. The work is focused on the specific use of yellow pigments -lead tin yellow type I and type II in the panel painting from the period around 1340-1550. In the scientific investigation supplementary microscopic and spectral analyses were made. A representative range of 57 micro-samples collected from the 36 panel paintings of the 21 Masters and their workshops was investigated by the methods of optical microscopy on polarizing microscope (OM). Molecular analysis of both types of yellow was performed using Raman micro-spectroscopy (RMS). The use of this technique was crucial for the nondestructive differentiation between each type of lead-tin yellow. Results: Thanks to the Raman spectroscopy it was possible for the first time to map the usage of lead tin yellow type I and II in such a broad range. Combination of the analytical techniques brought the knowledge about the morphology of the grains and variability of the use of the lead tin yellows in the Bohemian panel paintings. Conclusions: The contribution offers a systematic view on the outcomes and in a synoptic way consults the results of respective scientific methods. It clearly confirms both the temporally and locally specific use of both types of lead tin yellows. The presented facts are the results of interdisciplinary collaboration among the scientists and the art historian.

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Murillo's paintings revealed by spectroscopic techniques and dedicated laboratory-made micro X-ray diffraction

Cited by 28 publications

References 31 publications

The Structure and Chemical Composition of Wall Paintings From Islamic and Christian Times in the Seville Alcazar

The Structure and Chemical Composition of Wall Paintings From Islamic and Christian Times in the Seville Alcazar

Raman spectroscopy of minerals and mineral pigments in archaeometry

An investigation of the lead tin yellows type I and II and their use in Bohemian panel paintings from the Gothic period

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