The relationship between Albrecht Dürer's palette and fifteenth/sixteenth-century pharmacy price lists: the use of azurite and ultramarine

Burmester, Andreas; Krekel, Christoph

doi:10.1179/sic.1998.43.supplement-1.101

Cited by 3 publications

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“…In easel painting, azurite was often used as an underpainting for natural ultramarine. Germany was the principal supplier of azu rite during the sixteenth century, with mines in Saxony, Tyrol, and Saarland; the last source was known from Roman times (Burmester and Krekel 1998). Laurie (1914) identified many examples of azurite use on manuscripts from the mid-thirteenth to the mid-fourteenth cen tury, such as the Luttrell Psalter manuscript, East Anglia, England, which dates to 1340.…”

Section: Azurite As a Pigmentmentioning

confidence: 99%

Copper and Bronze in Art: Corrosion, Colorants, Conservation

Scott¹

2002

Studies in Conservation

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loo CHAPTER 3 BASIC COPPER CARBONATES 102 Malachite Decorative uses of malachite Malachite as a copper ore Nomenclature confusion Mineral properties Malachite as a pigment Malachite in bronze patinas Isotope ratios to determine corrosion environment 108 Azurite Azurite as a corrosion product Azurite as a pigment Conservation issues for azurite 111 Formation of Copper Carbonates in Solution 113 Decomposition of Malachite and Azurite by Heat 113 Artificial Malachite and Azurite 114 Blue and Green Verditer Use of blue and green verditer in art Synthesis of blue and green verditer 116 Mixed-Cation Copper Carbonates Mixed copper-zinc carbonates in corrosion Synthetic pigments with copper and zinc salts 117 Chalconatronite: A Sodium-Copper Carbonate Synthesis and use of chalconatronite Chalconatronite as a corrosion product 122 CHAPTER 4 CHLORIDES AND BASIC CHLORIDES 122 The Copper Chlorides Nantokite Atacamite Paratacamite (anakarite) and clinoatacamite Botallackite 125 Copper Chlorides and Bronze Disease Bronze disease research Role of chloride ions in corrosion Pitting corrosion 134 The Basic Copper Chlorides as Pigments Synthetic pigments Pigment morphology 139 Other Basic Copper Chlorides Connellite Calumetite Anthonyite Cumengite and mixed copper-lead chlorides Mixed copper-zinc chlorides \ Other mixed-cation copper chlorides 145 | CHAPTER 5 BASIC SULFATES 146 Historical References to Copper Sulfates 147 The Basic Copper Sulfates Brochantite and anderite Posnjakite Other basic sulfates 154 Environment and Corrosion Atmospheric sulfur dioxide Microenvironment and corrosion 159 Case Studies of Exposed Bronzes The Statue of Liberty The Great Buddha at Kamakura Gettysburg National Military Park bronzes Brancusi's Infinite Column 164 Sulfate Deposition in Burial Environments 165 Basic Sulfates as Pigments 169 PLATES 224 | CHAPTER 6 COPPER SULFIDES 226 The Chemistry of Copper Sulfides 227 Corrosion Environments and Copper Sulfide Production Sulfide formation in reducing environments Sulfide formation from atmospheric exposure Sulfide formation from pollution in the museum environment 235 Copper Sulfides and Niello Niello recipes Artifacts decorated with niello Niello chemistry 240 | CHAPTER 7 COPPER PHOSPHATES AND COPPER NITRATES 240 The Copper Phosphates Copper phosphate chemistry Copper phosphate corrosion in different environments Sampleite and the arid environment Pseudomalachite: A copper phosphate pigment 246 Turquoise The chemistry and mineralogy of turquoise The history of turquoise 250 The Copper Nitrate Minerals Copper nitrate corrosion products 252 | CHAPTER 8 COPPER SILICATES 253 Chrysocolla Chrysocolla as a pigment 255 Dioptase 255 Copper Silicates and Glasses 257 Egyptian Blue and Other Synthetic Copper Silicates Geographic distribution of Egyptian blue Lost and found secrets of Egyptian blue Chemical formulation of Egyptian blue Egyptian green Terminology Pigment deterioration mystery 266 Han Blue and Han Purple: Synthetic Pigments from China 268 | CHAPTER 9 THE ORGANIC SALTS OF COPPER 269 The Copper For...

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Section: Azurite As a Pigmentmentioning

confidence: 99%

Copper and Bronze in Art: Corrosion, Colorants, Conservation

Scott¹

2002

Studies in Conservation

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“…Animal anthraquinones Dyes and lakes from scale insects were considerably more expensive than madder, at least according to the medieval and Renaissance literary sources available. Pharmacy price lists in fifteenth to sixteenth century Germany (Burmester and Krekel 1998) suggest that madder was even 40 times cheaper than grana, the name with which kermes was indicated in Italian medieval treatises. Similarly lac dye or Indian lac, the red dye extracted from the scale insect Kerria lacca, native to India and south-eastern Asia, was considered as an exceptionally expensive material, inferior in price only to gold and ultramarine (Kirby 2000;Howard 2003).…”

Section: Anthraquinonesmentioning

confidence: 99%

Pigments—the palette of organic colourants in wall paintings

Aceto

2021

Archaeol Anthropol Sci

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The present contribution deals with the use of organic colourants in wall paintings, polychrome pottery and painted stone artworks, i.e. painted artworks on inorganic supports. The term organic colourants is referred to the chemical nature of these compounds but not to the way of application; therefore, organic colourants can be dyes, lakes or pigments. The use of organic colourants in wall paintings has been given little attention in the past, perhaps on the assumption that they were rarely used by ancient artists. Recent diagnostic studies, however, brought evidence that their use was not fragmentary; on the contrary, there seems to be continuity in the centuries, at least with regard to the most widely used such as madder, Tyrian purple and indigo. Sources, alteration phenomena, identification methods and analytical evidence is given for the main organic colourants with concern to red, yellow, green, purple and blue hues. Drawbacks and issues are discussed with concern to the identification techniques.

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“…This could be hinted by the examination of medieval account books of trading companies acting throughout Europe. The fact that ultramarine was not available in Germany during XVI century and Azurite tripled its price between 1488 and 1553 [31], induce Northern Artists to the experimentation with other blues, taking advantage of the existing mine of Cobaltite (CoAsS) and Smaltite (CoAsS 2 ) in Saxony (Germany) discovered and mined since 16th century. On the contrary, this effect would be less obvious in Southern countries, especially in Italy, where the trade in Venice was rich and had a direct incoming of Ultramar [30].…”

Section: Historical Background and Iconographymentioning

confidence: 99%

The sixteenth century panel Virgin with the Child and an Angel, confluences of material characterization and iconography

Marín

Garcı́a

2018

Journal of Cultural Heritage

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Attribution of the panel The Virgin with the Child and an Angel today in the Art Museum of Girona is under study due to the existence of two hypotheses, both of them not thoroughly documented, pointing Jan Massys and Bernardo Luini as potential authors. Attribution process is an important issue in many museums and collections. In this article, the question is addressed by combining material and iconographic information, paying special attention to the information yielded by minor components, and by following the material characteristics of the existing restoration interventions. In addition to imaging and classical analytical techniques (SEM and FTIR), the capability of a new developed Laser Ablation-Inductively Coupled Plasma-Mass Spectrometry system for minor elements and thin layers detection is also discussed. Results confirmed a 16th century palette and revealed the use of specific pigments such as Verditer and Smalt. Analytical results combined with iconographic characteristics, permitted the contextualization of the painting in North Europe in the circle of production of Antwerp between 1500-1550. This conclusion does not allow the direct attribution to Jan Massys but minimize the probabilities of Bernadino Luini as author.

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The relationship between Albrecht Dürer's palette and fifteenth/sixteenth-century pharmacy price lists: the use of azurite and ultramarine

Cited by 3 publications

References 0 publications

Copper and Bronze in Art: Corrosion, Colorants, Conservation

Copper and Bronze in Art: Corrosion, Colorants, Conservation

Pigments—the palette of organic colourants in wall paintings

The sixteenth century panel Virgin with the Child and an Angel, confluences of material characterization and iconography

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