scholarly journals Technical study of Germolles’ wall paintings: the inputof imaging technique

2016 ◽  
Vol 7 (15) ◽  
pp. 1 ◽  
Author(s):  
Christian Degrigny ◽  
Francesca Piqué ◽  
Nutsa Papiashvili ◽  
Julien Guery ◽  
Alamin Mansouri ◽  
...  
Keyword(s):  
Data Management ◽  
Imaging Technique ◽  
Analytical Techniques ◽  
Courtly Love ◽  
Wall Paintings ◽  
Significant Information ◽  
Painting Technique ◽  
Conservation Condition ◽  
Technical Study ◽  
Scientific Documentation

<p class="VARAbstract">The <em>Château de Germolles</em> is one of the rare palace in France dating from the 14<sup>th</sup> century. The noble floor is decorated with wall paintings that are a unique example of courtly love spirit that infused the princely courts of the time. After being concealed sometime in the 19<sup>th</sup> century, the paintings were rediscovered and uncovered in the middle of the 20<sup>th</sup> century and partly restored at the end of the 1990s. No scientific documentation accompanied these interventions and important questions, such as the level of authenticity of the mural decorations and the original painting technique(s) used in the medieval times remained unanswered. The combined scientific and financial supports of COSCH Cost Action and DRAC-Burgundy enabled to study Germolles’ wall paintings using some of the most innovative imaging and analytical techniques and to address some of the questions raised. The study provided significant information on the material used in the medieval times and on the conservation condition of the paintings. The data collected is vast and varied and exposed the owners of the property to the challenges of data management.</p>

scholarly journals Discovering the evolution of Jacques-Louis David’s portrait of Antoine-Laurent and Marie-Anne Pierrette Paulze Lavoisier

2021 ◽  
Vol 9 (1) ◽  
Author(s):  
Silvia A. Centeno ◽  
Dorothy Mahon ◽  
Federico Carò ◽  
David Pullins
Keyword(s):  
Analytical Approach ◽  
Analytical Techniques ◽  
Level Of Detail ◽  
Oil Painting ◽  
X Ray ◽  
Painting Technique ◽  
Maximum Coverage ◽  
The Enlightenment ◽  
Technical Study ◽  
High Level

AbstractJacques-Louis David’s (1748–1825) iconic portrait of Antoine Laurent Lavoisier (1743–1794) and Marie-Anne Lavoisier (Marie-Anne Pierrette Paulze, 1758–1836) has come to epitomize a modern couple born of the Enlightenment. An analytical approach that combined macro-X-ray fluorescence with the examination and microanalysis of samples by Raman spectroscopy and scanning electron microscopy-energy dispersive X-ray spectrometry to investigate imprecise indications of changes to the composition observed by microscopy and infrared refectography allowed the visualization of a hidden composition with a high level of detail. The results revealed that the first version depicted not the progressive, scientific-minded couple that we see today, but their other identity, that of wealthy tax collectors and fashionable luxury consumers. The first version and the changes to the composition are placed in the context of David’s mastery of the oil painting technique by examining how he concealed colorful features in the first composition by using paint mixtures that allowed for maximum coverage with thin paint layers. The limitations of the analytical techniques used are also discussed. To our knowledge, this is the first in-depth technical study of a painting by J.-L. David.

scholarly journals Exploring Liu Kang’s Paris Practice (1929–1932): Insight into Painting Materials and Technique

Heritage ◽  
2021 ◽  
Vol 4 (2) ◽  
pp. 828-863
Author(s):  
Damian Lizun ◽  
Teresa Kurkiewicz ◽  
Bogusław Szczupak
Keyword(s):  
Analytical Techniques ◽  
Extensive Study ◽  
Early Career ◽  
National Gallery ◽  
Lead White ◽  
Painting Technique ◽  
Painting Materials ◽  
Colour Palette ◽  
Technical Study ◽  
Insight Into

This paper presents the results of an extensive study of 14 paintings by the pioneering Singapore artist Liu Kang (1911–2004). The paintings are from the National Gallery Singapore and Liu family collections. The aim of the study is to elucidate the painting technique and materials from the artist’s early oeuvre, Paris, spanning the period from 1929 to 1932. The artworks were studied with a wide array of non- and micro-invasive analytical techniques, supplemented with the historical information derived from the Liu family archives and contemporary colourmen catalogues. The results showed that the artist was able to create compositions with a limited colour palette and had a preferential use of commercially available ultramarine, viridian, chrome yellow, iron oxides, organic reds, lead white, and bone black bound in oil that was highlighted. This study identified other minor pigments that appeared as hue modifications or were used sporadically, such as cobalt blue, Prussian blue, emerald green, cadmium yellow, cobalt yellow, and zinc white. With regard to the painting technique, the artist explored different styles and demonstrated a continuous development of his brushwork and was undoubtedly influenced by Modernists’ artworks. This comprehensive technical study of Liu Kang’s paintings from the Paris phase may assist art historians and conservators in the evaluation of the artist’s early career and aid conservation diagnostics and treatment of his artworks. Furthermore, the identified painting materials can be compared with those used by other artists active in Paris during the same period.

scholarly journals Singing to Emmanuel: The Wall Paintings of Sant Miquel in Terrassa and the 6th Century Artistic Reception of Byzantium in the Western Mediterranean

Arts ◽  
2019 ◽  
Vol 8 (4) ◽  
pp. 128
Author(s):  
Carles Sánchez Márquez
Keyword(s):  
19Th Century ◽  
Eastern Mediterranean ◽  
Western Mediterranean ◽  
Wall Paintings ◽  
Singular Set ◽  
Late 19Th Century ◽  
Early Date ◽  
Early Christian ◽  
Christian Art ◽  
Technical Study

Since the late 19th century the wall paintings of Sant Miquel in Terrassa have drawn attention due to their singularity. From the early studies of Josep Puig i Cadafalch (1867–1956) to the present, both the iconographic program and the chronology of the paintings have fueled controversy among scholars. In particular, chronological estimates range from the time of Early Christian Art to the Carolingian period. However, a recent technical study of the paintings seems to confirm an early date around the 6th century. This new data allows us to reassess the question in other terms and explore a new possible context for the paintings. First, it is very likely that the choice of iconographic topics was related to the debates on the Arian heresy that took place in Visigothic Spain during the 5th and 6th centuries. Secondly, the paintings of Sant Miquel should be reconsidered as a possible reception of a larger 6th-century pictorial tradition linked to the Eastern Mediterranean, which is used in a very particular way. However, thus far we ignore which were the means for this artistic transmission as well as the reasons which led the “doers” of Terrassa to select such a peculiar and unique repertoire of topics, motifs, and inscriptions. My paper addresses all these questions in order to propose a new Mediterranean framework for the making of this singular set of paintings.

scholarly journals A Review on Historical Earth Pigments Used in India’s Wall Paintings

Heritage ◽  
2021 ◽  
Vol 4 (3) ◽  
pp. 1970-1994
Author(s):  
Anjali Sharma ◽  
Manager Rajdeo Singh
Keyword(s):  
Cultural Heritage ◽  
Analytical Techniques ◽  
Present Knowledge ◽  
Wall Paintings ◽  
Material Sources ◽  
Technical Details ◽  
Indian Painting ◽  
Modern Era

Iron-containing earth minerals of various hues were the earliest pigments of the prehistoric artists who dwelled in caves. Being a prominent part of human expression through art, nature-derived pigments have been used in continuum through ages until now. Studies reveal that the primitive artist stored or used his pigments as color cakes made out of skin or reeds. Although records to help understand the technical details of Indian painting in the early periodare scanty, there is a certain amount of material from which some idea may be gained regarding the methods used by the artists to obtain their results. Considering Indian wall paintings, the most widely used earth pigments include red, yellow, and green ochres, making it fairly easy for the modern era scientific conservators and researchers to study them. The present knowledge on material sources given in the literature is limited and deficient as of now, hence the present work attempts to elucidate the range of earth pigments encountered in Indian wall paintings and the scientific studies and characterization by analytical techniques that form the knowledge background on the topic. Studies leadingto well-founded knowledge on pigments can contribute towards the safeguarding of Indian cultural heritage as well as spread awareness among conservators, restorers, and scholars.

From Byzantine to post-Byzantine art: the painting technique of St Stephen's wall paintings at Meteora, Greece

2008 ◽  
Vol 35 (9) ◽  
pp. 2474-2485 ◽  
Author(s):  
Sister Daniilia ◽  
Elpida Minopoulou ◽  
Konstantinos S. Andrikopoulos ◽  
Andreas Tsakalof ◽  
Kyriaki Bairachtari
Keyword(s):  
Wall Paintings ◽  
Painting Technique ◽  
Byzantine Art

First Analytical Study on Second-Century Wall Paintings from Ulpia Traiana Sarmizegetusa: Insights on the Materials and Painting Technique

2019 ◽  
Vol 14 (5) ◽  
pp. 751-761 ◽  
Author(s):  
Ioana Maria Cortea ◽  
Luminița Ghervase ◽  
Ovidiu Țentea ◽  
Anca Constantina Pârău ◽  
Roxana Rădvan
Keyword(s):  
Analytical Study ◽  
Second Century ◽  
Wall Paintings ◽  
Painting Technique

Technical Study of a set of Metallic Artifacts from the Maya Site of Lagartero, Chiapas, Mexico

2012 ◽  
Vol 1374 ◽  
pp. 125-135 ◽  
Author(s):  
Gabriela Peñuelas Guerrero ◽  
Ingrid Jiménez Cosme ◽  
Pilar Tapia López ◽  
José Luis Ruvalcaba Sil ◽  
Jesús Arenas ◽  
...  
Keyword(s):  
Rutherford Backscattering Spectrometry ◽  
Energy Dispersive Spectrometer ◽  
Analytical Techniques ◽  
South American ◽  
X Ray ◽  
Technical Study ◽  
Maya Site ◽  
Chichen Itza ◽  
Elemental Depth ◽  
Metallic Artifacts

ABSTRACTDuring the excavations made at a burial of the post-Classic Mayan period (1220-1521 A.D.) in the pyramid number 2 of the pre-Hispanic site of Lagartero, Chiapas, Mexico, a set of four small metallic artifacts depicting reptile’s heads, were recovered. The objects were in poor conservation conditions and were taken to the Metal Conservation Laboratory of the National School of Conservation (ENCRyM- INAH) for suitable cleaning and conservation treatments.Analyses allowed identifying important technological features such as gilding remains. The analytical techniques included optical microscopy followed by X-Ray Fluorescence Spectroscopy (XRF), and Scanning Electron Microscope-coupled with Energy Dispersive Spectrometer (MEB-EDS). For the elemental depth profile a combined Particle X-Ray Emission Spectroscopy and Rutherford Backscattering Spectrometry (PIXE–RBS) analysis was carried out.The results indicate that the objects are made of a copper alloy, and then gilded probably using electrochemical replacement gilding (thickness has less than 1 μm). This technology has been observed in other metallic objects recovered from the Chichen-Itza Cenote in Yucatan, but it was not available in Mesoamerican areas so far. So, it could imply that these artifacts might have been imported from South American areas.

scholarly journals From Paris and Shanghai to Singapore: A Multidisciplinary Study in Evaluating the Provenance and Dating of Two of Liu Kang’s Paintings

2021 ◽  
Vol 37 (4) ◽  
pp. 322-339
Author(s):  
Damian Lizun
Keyword(s):  
Subject Matter ◽  
Analytical Methods ◽  
National Gallery ◽  
Digital Microscopy ◽  
Non Invasive ◽  
Painting Technique ◽  
Painting Materials ◽  
Multidisciplinary Study ◽  
Technical Study ◽  
The Hill

This paper focuses on the dating and provenance of two paintings, Climbing the hill and View from St. John’s Fort by the prominent Singaporean artist Liu Kang (1911–2004). Climbing the hill, from the National Gallery Singapore collection, was believed to have been created in 1937, based on the date painted by the artist. However, a non-invasive examination unveiled evidence of an underlying paint scheme and a mysterious date, 1948 or 1949. These findings prompted a comprehensive technical study of the artwork in conjunction with comparative analyses of View from St. John’s Fort (1948), from the Liu family collection. The latter artwork is considered to be depicting the same subject matter. The investigation was carried out with UVF, NIR, IRFC, XRR, digital microscopy, PLM and SEM-EDS to elucidate the materials and technique of both artworks and find characteristic patterns that could indicate a relationship between both paintings and assist in correctly dating Climbing the hill. The technical analyses were supplemented with the historical information derived from the Liu family archives. The results showed that Climbing the hill was created in 1948 or 1949 on top of an earlier composition painted in Shanghai between 1933 and 1937. As for the companion View from St. John’s Fort from 1948, the artist reused an earlier painting created in France in 1931. The analytical methods suggested that Liu Kang used almost identical pigment mixtures for creating new artworks. However, their painting technique demonstrates some differences. Overall, this study contributes to the understanding of Liu Kang’s painting materials and his working practice.

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