scholarly journals Identification of CaCuSi4O10 (Egyptian blue) in the “Birch. Spring” painting by Robert Falk (1907) using photoluminescence

2021 ◽  
Author(s):  
Svetlana A. Pisareva ◽  
Irina N. Shibanova ◽  
Irina F. Kadikova ◽  
Ekaterina A. Morozova ◽  
Tatyana V. Yuryeva ◽  
...  
Keyword(s):  
Egyptian Blue

scholarly journals NIR Luminescence and Composition of Egyptian Blue as Markers in Archaeometric Evaluations

2021 ◽  
Vol 27 (S1) ◽  
pp. 3004-3006
Author(s):  
Admir Masic ◽  
Marco Nicola
Keyword(s):  
Egyptian Blue ◽  
Nir Luminescence

scholarly journals Identification and mapping of ancient pigments in a Roman Egyptian funerary portrait by application of reflectance and luminescence imaging spectroscopy

2022 ◽  
Vol 10 (1) ◽  
Author(s):  
Roxanne Radpour ◽  
Glenn A. Gates ◽  
Ioanna Kakoulli ◽  
John K. Delaney
Keyword(s):  
Molecular Spectroscopy ◽  
Imaging Spectroscopy ◽  
Chemical Mapping ◽  
Spectral Signatures ◽  
Egyptian Blue ◽  
Non Invasive ◽  
Analytical Protocol ◽  
Linear Unmixing ◽  
New Applications ◽  
Madder Lake

AbstractImaging spectroscopy (IS) is an important tool in the comprehensive technical analysis required of archaeological paintings. The complexity of pigment mixtures, diverse artistic practices and painting technologies, and the often-fragile and weathered nature of these objects render macroscale, non-invasive chemical mapping an essential component of the analytical protocol. Furthermore, the use of pigments such as Egyptian blue and madder lake, featuring diagnostic photoluminescence emission, provides motivation to perform photoluminescence mapping on the macroscale. This work demonstrates and advances new applications of dual-mode imaging spectroscopy and data analysis approaches for ancient painting. Both reflectance (RIS) and luminescence (LIS) modes were utilized for the study of a Roman Egyptian funerary portrait from second century CE Egypt. The first derivative of the RIS image cube was analyzed and found to significantly improve materials separation, identification, and the extent of mapping. Egyptian blue and madder lake were mapped across a decorated surface using their luminescence spectral signatures in the region of 540–1000 nm as endmembers in LIS analyses. Linear unmixing of the LIS endmembers and subsequent derivative analyses resulted in an improved separation and mapping of the luminescence pigments. RIS and LIS studies, combined with complementary, single-spot collection elemental and molecular spectroscopy, were able to successfully characterize the portrait’s painting materials and binding media used by the ancient artist, providing key insight into their material use, stylistic practices, and technological choices.

Application of forensic photography for the detection and mapping of Egyptian blue and madder lake in Hellenistic polychrome terracottas based on their photophysical properties

2017 ◽  
Vol 136 ◽  
pp. 104-115 ◽  
Author(s):  
Ioanna Kakoulli ◽  
Roxanne Radpour ◽  
Yuan Lin ◽  
Marie Svoboda ◽  
Christian Fischer
Keyword(s):  
Photophysical Properties ◽  
Forensic Photography ◽  
Egyptian Blue ◽  
Madder Lake

Structure and Properties of Egyptian Blue Monolayer Family: XCuSi4O10 (X = Ca, Sr, and Ba)

2016 ◽  
Vol 7 (3) ◽  
pp. 399-405 ◽  
Author(s):  
Yu Chen ◽  
Min Kan ◽  
Qiang Sun ◽  
Puru Jena
Keyword(s):  
Structure And Properties ◽  
Egyptian Blue

The Production Technology of, and Trade in, Egyptian Blue Pigment in the Roman World

2007 ◽  
Author(s):  
Michael Tite ◽  
Gareth Hatton
Keyword(s):  
Roman Empire ◽  
Raw Materials ◽  
Eastern Mediterranean ◽  
Blue Pigment ◽  
Chemical Compositions ◽  
X Ray Diffraction ◽  
Egyptian Blue ◽  
Intimate Mixture ◽  
Materials Used ◽  
Scanning Electron

Egyptian blue was first used as a pigment on tomb paintings in Egypt from around 2300 BC, and during the subsequent 3,000 years, its use both as a pigment and in the production of small objects spread throughout the Near East and Eastern Mediterranean and to the limits of the Roman Empire. During the Roman period, Egyptian blue was distributed in the form of balls of pigment up to about 15mm across, and appears to have been the most common blue pigment to be used on wall paintings throughout the Empire. Egyptian blue was both the first synthetic pigment, and one of the first materials from antiquity to be examined by modern scientific methods. A small pot containing the pigment that was found during the excavations at Pompeii in 1814 was examined by Sir Humphrey Davy. Subsequently, x-ray diffraction analysis was used to identify the compound as the calcium-copper tetrasilicate C<sub>a</sub>C<sub>u</sub>Si<sub>4</sub>O<sub>10</sub>, and to establish that Egyptian blue and the rare natural mineral cuprorivaite are the same material. Examination of Egyptian blue samples in cross-section in a scanning electron microscope (SEM) revealed that they consist of an intimate mixture of Egyptian blue crystals (i.e. C<sub>a</sub>C<sub>u</sub>Si<sub>4</sub>O<sub>10</sub>) and partially reacted quartz particles together with varying amounts of glass phase (Tite, Bimson, and Cowell 1984). At this stage it should be emphasized that, in the literature, the term Egyptian blue tends to be used to describe both crystals of calcium-copper tetrasilicate and the bulk polycrystalline material that is used as the pigment and is sometimes referred to as frit. In this chapter, the suffix ‘crystal’ or ‘mineral’ will be added when the former meaning applies, and the suffix ‘pigment’, ‘sample’, or ‘frit’ will be added when the latter meaning applies. For the current study, a small group of Roman Egyptian blue samples were examined using scanning electron microscopy (SEM) with attached analytical facilities. Using the chemical compositions of the samples, together with the description of the manufacture of Egyptian blue given by Vitruvius (Morgan 1960) at the beginning of the first century BC in his Ten Books on Architecture, an attempt is made to identify the raw materials used in the production of Roman Egyptian blue.

scholarly journals New Insight into Hellenistic and Roman Cypriot Wall Paintings: An Exploration of Artists’ Materials, Production Technology, and Technical Style

Arts ◽  
2019 ◽  
Vol 8 (2) ◽  
pp. 74 ◽  
Author(s):  
Roxanne Radpour ◽  
Christian Fischer ◽  
Ioanna Kakoulli
Keyword(s):  
Production Technology ◽  
Raw Materials ◽  
Technical Characteristic ◽  
Roman Period ◽  
Wall Paintings ◽  
Egyptian Blue ◽  
Natural Minerals ◽  
New Information ◽  
Southwest Region ◽  
Insight Into

A recent scientific investigation on Hellenistic and Roman wall paintings of funerary and domestic contexts from Nea (‘New’) Paphos, located in the southwest region of Cyprus, has revealed new information on the paintings’ constituent materials, their production technology and technical style of painting. Nea Paphos, founded in the late 4th century BC, became the capital of the island during the Hellenistic period (294–58 BC) and developed into a thriving economic center that continued through the Roman period (58 BC–330 AD). A systematic, analytical study of ancient Cypriot wall paintings, excavated from the wealthy residences of Nea Paphos and the surrounding necropoleis, combining complementary non-invasive, field-deployable characterization techniques, has expanded the scope of analysis, interpretation and access of these paintings. The results from in situ analyses, combining X-ray fluorescence (XRF) and fiber-optic reflectance spectroscopy (FORS), forensic imaging in reflectance and luminescence, and digital photomicrography, were informative on the raw materials selection, application technique(s) and extent of paintings beyond the visible. Data collected through the integration of these techniques were able to: (1) show an intricate and rich palette of pigments consisting of local and foreign natural minerals and synthetic coloring compounds applied pure or in mixtures, in single or multiple layers; (2) identify and map the spatial distribution of Egyptian blue across the surface of the paintings, revealing the extent of imagery and reconstructing iconography that was no longer visible to the naked eye; and (3) visualize and validate the presence of Egyptian blue to delineate facial contours and flesh tone shading. This innovation and technical characteristic in the manner of painting facial outlines and constructing chiaroscuro provides a new insight into the artistic practices, inferring artists/or workshops’ organization in Cyprus during the Roman period.

Beyond Vitruvius: New Insight in the Technology of Egyptian Blue and Green Frits

2016 ◽  
Vol 99 (10) ◽  
pp. 3467-3475 ◽  
Author(s):  
Celestino Grifa ◽  
Laetitia Cavassa ◽  
Alberto De Bonis ◽  
Chiara Germinario ◽  
Vincenza Guarino ◽  
...  
Keyword(s):  
Egyptian Blue

Structure and colour properties in the Egyptian Blue Family, M1−xM′xCuSi4O10, as a function of M, M′ where M, M′=Ca, Sr and Ba

2007 ◽  
Vol 73 (1) ◽  
pp. 13-18 ◽  
Author(s):  
E. Kendrick ◽  
C.J. Kirk ◽  
S.E. Dann
Keyword(s):  
Colour Properties ◽  
Egyptian Blue
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