The Bone Black Pigment Identification by Noninvasive, In Situ Infrared Reflection Spectroscopy

Daveri, Alessia; Malagodi, Marco; Vagnini, Manuela

doi:10.1155/2018/6595643

Cited by 27 publications

(21 citation statements)

References 25 publications

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“…These white pigments are probably used either as pigments in lightening the color tones or as components forming the white ground layer. Quartz (SiO 2 ) in the ground layer is probably an impurity [50,51]. The results of FTIR also confirm the most used materials detected by MA-XRF and EDX.…”

Section: Discussionsupporting

confidence: 67%

Identification of the Painting Materials of a Unique Easel Painting by Mahmoud Sa'id

Elsayed

2019

Egyptian Journal of Archaeological and Restoration Studies

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The present study aims at examining a unique easel painting by the well-known Egyptian painter, Mahmoud Sa'id. It was painted over four years and displayed at the Agricultural Museum in Egypt. It experienced many deterioration phenomena. The study utilized some non-destructive and non-invasive analytical techniques, i.e. MA-XRF, SEM-EDX, ATR-FTIR, and GC-FID in addition to XRD and SM. Due to the case-study painting multilayers technique, the results of MA-XRF and EDX mapping and XRD patterns revealed using Ultramarine (Na,Ca) 8 (AlSiO 4) 6 (SO 4 ,S,Cl) 2 , yellow ochre (Fe 2 O 3 .H 2 O), red ochre (Fe 2 O 3), and a mixture of graphite (C) and bone black (C,Ca 5 (OH)(PO 4) 3) as a coloring pigments in the blue, yellow, reddish brown and black samples, respectively. Moreover, Barite (BaSO 4) and Zincite (ZnO) were used in the ground layer with Hydrocerussite (Pb 3 (CO 3) 2 (OH) 2) and Sphalerite (ZnS) in lightening colors. Linseed oil was asserted as the pigment binding media, while the binding media of the ground layer was not confirmed. Furthermore, fragility, brittleness, cleavages, peeling, cracks, macro cracks, stains, and ancient fault restoration were detected in the casestudy painting. Accordingly, it urgently requires treatment.

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Section: Discussionsupporting

confidence: 67%

Identification of the Painting Materials of a Unique Easel Painting by Mahmoud Sa'id

Elsayed

2019

Egyptian Journal of Archaeological and Restoration Studies

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“…1038 and 604 cm −1 and marker signal at ca. 2010 cm −1 [50], Figure S4) as a pigment and of a lipid-based medium (CH stretching bands at ca. 2916 and 2842 cm −1 and carbonyl band at ca.…”

Section: Superficie 207mentioning

confidence: 99%

“…1038 ν 3 (PO 4 3− ), 604 and 567 ν 4 (PO 4 3− ) and the signal at ca. 2010 cm −1 indicated that the black pigment was ivory black [50], probably mixed with Prussian blue, which was evident from the weak CN stretching band at ca. 2097 cm −1 [57].…”

Section: Superficie 553mentioning

confidence: 99%

Discovering Giuseppe Capogrossi: Study of the Painting Materials in Three Works of Art Stored at Galleria Nazionale (Rome)

Nasa

Moretti²,

Maniccia

et al. 2020

Heritage

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We present the results of a diagnostic campaign on three of Giuseppe Capogrossi’s abstract paintings from the 1950s and 1960s, conserved at the National Gallery of Modern and Contemporary Art in Rome. Non-invasive investigations by reflection FT-IR spectroscopy were carried out, followed by micro-destructive laboratory analyses using Py-GC-MS, and HPLC-ESI-Q-ToF. The investigations focused on identifying the binders used for both the preparation and the pictorial layers. In two of the paintings investigated, an industrial preparation was identified based on egg yolk, mixed with other organic materials (acryl resin, oil, animal glue). The paint media include the use of both oil and alkyd paint. In one of the three paintings, the presence of a styrene-acryl resin was observed. The results show the simultaneous use of traditional and innovative materials, confirming the complexity of the period in which the artist was active, characterized by the technical experimentation of both the artists and manufacturers. The research also contributes to a better understanding of Giuseppe Capogrossi’s artistic profile, from the point of view of executive techniques.

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“…The Raman spectrum recorded on the black pigment ] group is observed at 980 cm −1 . 35,36 Lampblack, charcoal black and bone-ivory black were common forms of carbon black in ancient Egypt. 37 Few exceptions were found in the application of magnetite (Fe 3 O 4 ) and pyrolusite (MnO 2 ).…”

Section: Black Pigmentmentioning

confidence: 99%

Unveiling the chromatic palette used for mural paintings in a recently discovered Ptolemaic‐era tomb (Sohag, Upper Egypt): A multitechnique surface investigation

Mahmoud

El-yamin

2020

Surface & Interface Analysis

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In 2019, an exceptional Ptolemaic-era tomb was discovered in Al-Diabat archaeological site, Sohag, Upper Egypt. Numerous fallen painted fragments in the floor of tomb were collected and studied. The microstructural and chemical makeup of samples was discerned by virtue of a field-emission scanning electron microscopy (FE-SEM) with an energy-dispersive x-ray (EDX) spectrometry. Further, the molecularvibrational property was acknowledged by Fourier-transform infrared (FT-IR) and micro-Raman (μ-Raman) spectrometers. Also, the crystalline structure of stone and plaster samples was defined by x-ray diffraction (XRD) analysis. The results have demonstrated that the murals were implemented on a thick mud plaster followed by a thin preparation layer, which, unusually, was made of calcite. Gypsum was also detected in variable quantity throughout the render samples. Colouring substances of Egyptian blue, green earth, red ochre, yellow ochre and carbon black were recognized in the studied murals. Besides, maghemite (γFe 2 O 3) was disclosed in the red pigment sample. Unexpectedly, gold was detected in the yellow paint areas, possibly associated with a religious tradition. As well, the recognition of an organic binder (probably egg yolk) nominates the application of tempera technique. Noteworthy, this research contributes in presenting significant findings on painting materials used in unusual rock-cut tomb from the Ptolemaic era.

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The Bone Black Pigment Identification by Noninvasive, In Situ Infrared Reflection Spectroscopy

Cited by 27 publications

References 25 publications

Identification of the Painting Materials of a Unique Easel Painting by Mahmoud Sa'id

Identification of the Painting Materials of a Unique Easel Painting by Mahmoud Sa'id

Discovering Giuseppe Capogrossi: Study of the Painting Materials in Three Works of Art Stored at Galleria Nazionale (Rome)

Unveiling the chromatic palette used for mural paintings in a recently discovered Ptolemaic‐era tomb (Sohag, Upper Egypt): A multitechnique surface investigation

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