Portable X‐ray fluorescence device reveals the artistic palette of Carlo Bononi, Baroque artist from Ferrara

Abstract

The principal aim of the in situ X-ray fluorescence (XRF) analysis on the canvas "The Coronation of the Virgin" was to characterise the colour palette of Carlo Bononi (Ferrara, 1580-1632), a lesser-known artist of the early Baroque period in Ferrara. More than 100 points were collected by means of an XRF spectrometer, but the presence of many overlapping painted layers left some doubts about the preparation and the background layers. The scanning electron microscopy with energy dispersive spectrometer analysis on two samples resolved some of these doubts. The results obtained indicate the use of typical 17th century pigments, such as lead white, vermilion, azurite and a copperbased green. For yellow pigments, the artist used the yellow ochre in some cases, while in others he used lead-tin yellow. We also individuated at least three different shades of umber. Almost all the pigments have been identified and they are the first step in establishing the technical apparatus necessary to understand the modus operandi of the Ferrarese artist. Vermilion, minium, earths, red lacquer Skin Pb, Fe, (Hg and Sn), Cu and Ca, Mn, K, Ti Lead white and earths, red lacquer Note: The elements are presented in decreasing order of cps (counts per second). The measurements were taken at 50 kV, 700 μA, 60 s, in air, except for blue points which were taken at 30 kV, 1300 μA, 120 s, in an He flux. T A B L E 2 Ratio of L lines of lead for some hues, showing different attenuation of superposed layers Colour Points Pb L β /L α Red 1, 2, 3, 4, 28, 34, 43, 68, 69, 84 0.63-0.79 Skin hues 22,

Pigments—Lead-based whites, reds, yellows and oranges and their alteration phases

“…For example, there already exist several papers that lack type characterisation (for various reasons) and whose dating falls within/outside the indicated chronological range. These latter studies reported the presence of lead-tin yellow pigments on artworks dated from the 6 th (Hedegaard et al 2019) to the 16 th (Spring 2007;Espejo Arias et al 2008;Križnar et al 2009;Amadori et al 2013;Franquelo et al 2015;Aurélie et al 2016;Martin-Ramos et al 2017;Doménech-Carbó et al 2019;Impallaria et al 2020), 17 th (Križnar et al 2019;Uhlir et al 2019;Delaney et al 2020) and 18 th (Cortea et al 2020) centuries. Indeed, more extensive and detailed studies are required, in order to draw an indisputable chronological picture of the use of these pigments.…”

Scanning macro x‐ray fluorescence spectroscopy maps for matching 17th century paintings color areas to different earth pigments uses and for investigating attribution issues

“…11 When investigating pigments in historical paintings, the analysis might reasonably be limited to MA-XRF as key pigments used until the end of the 19th century are mainly inorganic. 12 Consequently, a particular MA-XRF elemental map is probably showing the distribution of the pigment(s) associated with it. 13 This was utilized for example, to assist a conservation treatment of a 15th century panel painting 14 ; to solve ambiguities of a painting by the Italian Renaissance Master Raphael.…”

“…When investigating pigments in historical paintings, the analysis might reasonably be limited to MA‐XRF as key pigments used until the end of the 19th century are mainly inorganic 12 . Consequently, a particular MA‐XRF elemental map is probably showing the distribution of the pigment(s) associated with it 13 .…”