Study of two large‐dimension Murillo's paintings by means of macro X‐ray fluorescence imaging, point X‐ray fluorescence analysis, and stratigraphic studies

Križnar, Anabelle; Ager, F.J.; Caliri, Claudia; Romano, Francesco; Respaldiza, M.Á.; Gómez‐Morón, María Auxiliadora; Núñez, L.; Magdaleno, Rocío

doi:10.1002/xrs.2990

Cited by 16 publications

(13 citation statements)

References 9 publications

(14 reference statements)

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“…MA‐XRF analysis was performed by using in situ the mobile LANDIS‐X scanner, developed at the LANDIS laboratory of the ISPC‐CNR and the INFN‐LNS in Catania (Italy). [ 10–12 ] LANDIS‐X scanner operates the analysis of large painted areas through continuous scanning of the surface with a micrometric‐sized X‐ray beam. The measuring head of the scanner is based on a low‐power rhodium‐anode X‐ray tube (50 kV maximum voltage and a 0.6 mA maximum current) and two 50‐mm 2 SDD detectors, with a spectral energy resolution of 160 eV at 5.9 keV.…”

Section: Methodsmentioning

confidence: 99%

Below the surface of the coffin lid of Neskhonsuennekhy in the Museo Egizio collection

et al. 2020

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The multidisciplinary and multi‐technical study of the coffin lid of Neskhonsuennekhy (Turin, Museo Egizio, inventory number S.05245) datable to the 26th dynasty (664–525 BC) was launched in 2015 at the Centro Conservazione e Restauro La Venaria Reale during the conservation activities required by the Museo Egizio, as part of wider research on the so‐called red coffins. Widespread abrasions and gaps in the pictorial stratigraphy strongly impeded the reading of the decoration, and a reddish and locally blackened material was covering many areas. Integrating multispectral imaging (UV fluorescence, VIL, IR reflectography), MA‐XRF, radiography, and analyses on micro‐samplings (OM, SEM‐EDX, FT‐IR) allowed deepening the state of preservation, detecting previous intervention, and characterizing the blackened surface, necessary to define the cleaning intervention objectives. In particular, the IR reflectography allowed recovering the readability of the beautiful drawings and the ancient hieroglyphs hidden beneath the reddish blackened surface. Based on the analytical data and compatibility with the pigments known in ancient Egypt, it was possible to return to the public the original lost decoration with a descriptive and virtual reconstruction. The new LANDIS‐X scanning station equipped with a real‐time macro XRF was fundamental for studying pigments, glazes, and mixtures besides the presence of lead impurities in the copper source used to make the Egyptian blue pigment, encouraging the research on the sources of mineral supply. Finally, this study allowed understanding the technique of execution of the find, from the assembly of the wooden elements to the reddish finish, noticing analogies with the other red coffins.

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Section: Methodsmentioning

confidence: 99%

Below the surface of the coffin lid of Neskhonsuennekhy in the Museo Egizio collection

et al. 2020

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“…In particular, MA‐XRF imaging was carried out by using the LANDIS‐X mobile scanner. [ 6–8 ] It is a novel mobile X‐ray scanner based on a real‐time technology integrating macro‐XRF (MA‐XRF), micro‐XRF (MXRF) and confocal‐XRF (CXRF) for performing the 2D and 3D elemental imaging of artworks. The instrument is based on a Rh‐anode microfocus X‐ray tube, a polycapillary lens in the excitation channel and two SDD detectors placed in a 45‐90‐45 geometric array and operated in parallel.…”

Section: Methodsmentioning

confidence: 99%

Complementary MA‐XRF and μ‐Raman results on two Leonardo da Vinci drawings

Bicchieri¹,

Biocca²,

Caliri

et al. 2021

X-Ray Spectrometry

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In 2018 all of Leonardo's drawings and manuscripts belonging to the Biblioteca Reale di Torino were moved to ICRCPAL for a complete scientific characterisation in preparation for the celebrations of the 500th anniversary of the artist's death. Except for the famous Autoritratto that was already studied twice in this manner (2012, 2015), the other drawings and documents had never been subjected to scientific investigations. This paper reports the results of the non‐destructive analysis of two drawings: Studi di gambe virili and Autoritratto. The use of three complementary techniques, namely macro‐X Ray Fluorescence (MA‐XRF), μ‐Raman spectroscopy and Atomic Force Microscopy (AFM), that have different penetration into the material, allowed for the complete chemical characterisation of the artworks. The analyses evidenced the artist's versatility and his mastery in the use of metal points, even unusual ones, such as the pure copper‐point described in literature but never previously revealed in Leonardo's drawings and, to the knowledge of the authors, also in other artists of the 15th century. MA‐XRF also showed the presence of pentimenti in the Studi di gambe virili and highlighted that the Autoritratto was drawn without a metal point preparatory sketch. AFM topographies also revealed that the Autoritratto urgently requires chemical stabilisation. The data collected underline the need to reconsider and reassess the historic‐artistic descriptions of the drawings and that further investigation of other works by Leonardo is necessary to obtain more information supported by scientific studies on the artist's techniques and materials.

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“…In this way, the elemental images are elaborated during the scanning and ready to be discussed with conservators and art historians already at the end of the measurement. Thanks to the fitting procedure, the elemental images are artefact‐free compared to the images based on the region of interest (ROI) method [20,22,23] …”

Section: Methodsmentioning

confidence: 99%

In situ macro X‐Ray fluorescence scanning on a Leonardo da Vinci portrait

et al. 2020

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Recently, an oil‐on‐panel painting, portraying Leonardo da Vinci, was found in the monastery of Camaldoli (Arezzo, Italy). The painting comes from a private donation and, over time, it never was moved from the monastery or loaned to museums or art galleries for exhibitions. Historians hypothesise that the painting could be a seventeenth‐century copy of a portrait or a self‐portrait of Leonardo da Vinci. Although, almost certainly, the panel was not signed by Leonardo, it raised a great interest for art experts, since the copy could be the outstanding testimony left to us of an original Leonardo's masterpiece, which is gone lost. The ICRCPAL in Rome, in collaboration with the ISPC‐CNR and the INFN‐LNS of Catania, started a scientific investigation of the painting based on the use of non‐invasive techniques. Macro X‐ray fluorescence imaging technique (MA‐XRF) was employed to document, for the first time, the nature of original pigments composing the pictorial and priming layers. The results allowed to better elucidate the painting technique, also to know the original look of degraded areas, suggesting an appropriate restoration and conservation policy. Novel information has been obtained concerning the pictorial process, since elemental distribution maps revealed an underpainting below the Leonardo portrait. Despite the cleaning process of the panel before its reuse, some pictorial details remained visible to the MA‐XRF analysis, allowing to infer the presumed figure hidden behind the figure of Leonardo.

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Study of two large‐dimension Murillo's paintings by means of macro X‐ray fluorescence imaging, point X‐ray fluorescence analysis, and stratigraphic studies

Cited by 16 publications

References 9 publications

Below the surface of the coffin lid of Neskhonsuennekhy in the Museo Egizio collection

Below the surface of the coffin lid of Neskhonsuennekhy in the Museo Egizio collection

Complementary MA‐XRF and μ‐Raman results on two Leonardo da Vinci drawings

In situ macro X‐Ray fluorescence scanning on a Leonardo da Vinci portrait

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