The dark halo technique in the oeuvre of Michael Sweerts and other Flemish and Dutch baroque painters. A 17th c. empirical solution to mitigate the optical ‘simultaneous contrast’ effect?

Although the topic is rarely addressed in literature, a significant number of baroque paintings exhibit dark, halo-like shapes around the contours of the dramatis personae. Close examination of both finished and unfinished works suggests that this intriguing feature was a practical tool that helped the artist in the early painting stages. When applying the final brushwork, the halo lost its function, with some artists undertaking efforts to hide it. Although their visibility might not have been intended by the artists, today this dark paint beneath the surface is partially visible through the upper paint layers. Moreover, the disclosure of many halos using infrared photography (IRP), infrared reflectography (IRR) and macro X-ray fluorescence imaging (MA-XRF), additional to those that can be observed visually, suggests that this was a common and established element of 17th-century painting practice in Western Europe. Building on an existing hypothesis, we argue that halos can be considered as a solution to an optical problem that arose when baroque painters reversed the traditional, 15th- and 16th-century painting sequence of working from background to foreground. Instead, they started with the dominant parts of a composition, such as the face of a sitter. In that case, a temporary halo can provide the essential tonal reference to anticipate the chromatic impact of the final dark colored background on the adjacent delicate carnations. In particular, we attempt to clarify the prevalence of dark halos as a response to optical effects such as ‘simultaneous contrast’ and ‘the crispening effect’, described in literature only centuries later. As such, the recently termed ‘ring condition’ can be seen as the present-day equivalent of the ‘halo solution’ that was seemingly empirically or intuitively developed by 17th-century artists. Modern studies in visual perception proves that by laying a black ring around a target color, the optical impact of a surrounding color can be efficiently neutralized. Finally, by delving into works by Michael Sweerts, it becomes clear that resourceful artists might have adapted the halo technique and the underlying principles to their individual challenges, such as dealing with differently colored grounds.

Sicilian Byzantine Icons through the Use of Non-Invasive Imaging Techniques and Optical Spectroscopy: The Case of the Madonna dell’Elemosina

The iconographic heritage is one of the treasures of Byzantine art that have enriched the south of Italy, and Sicily in particular, since the early 16th century. In this work, the investigations of a Sicilian Icon of Greek-Byzantine origin, the Madonna dell’Elemosina, is reported for the first time. The study was carried out using mainly non-invasive imaging techniques (photography in reflectance and grazing visible light, UV fluorescence, infrared reflectography, radiography, and computed tomography) and spectroscopic techniques (X-ray fluorescence and infrared spectroscopy). The identification of the constituent materials provides a decisive contribution to the correct historical and artistic placement of the Icon, a treasure of the Eastern European historical community in Sicily. Some hidden details have also been highlighted. Most importantly, the information obtained enables us to define its conservation state, the presence of foreign materials, and to direct its protection and restoration.

Tuschenanalyse im P 11702

Near-infrared reflectography and imaging X-ray fluorescence analysis reveal that carbon inks of two different compositions were used in the papyrus manuscript Berlin P 11702. In contrast with the writing ink, one of the carbon drawing inks contained a significant addition of iron. This result emphasizes the need for routine instrumental ink analysis.

Illuminating the Imperceptible, Researching Mina’i Ceramics with Digital Imaging Techniques

Mina’i ceramics dating to the late 12th and early 13th century made in the Kashan region of Iran represent a novel period of overglaze enamelling technology in ceramic history. New colours were used to produce stylistically attractive and dynamic polychrome motifs. Due to their archaeological context, and popularity in the art market since the mid-20th century, these objects often have complex conditions involving reconstruction and overpainting. The aesthetic and technological significance of these pieces warrants further study, but in practice, removing restorations can lead to structural destabilisation, requiring time-consuming and potentially unplanned for conservation treatment. To determine if it is possible to gain useful information from the study of these artworks without disturbing existing restorations, a group of objects were drawn from the Sarikhani and Ashmolean Museum of Art and Archaeology collections. The objective of this project was twofold, first to assess the merits of the imaging techniques for understanding condition, and second to propose a protocol for imaging with the aim of encouraging collaborative projects with international partners. The techniques used in this study include digital photography under visible and ultraviolet light, infrared reflectography, and radiography. The results show that important information invisible to the naked eye can be obtained about the decorative surfaces, using ultraviolet light and infrared reflectography. Digital radiography proved to be equally effective when studying the condition of the ceramic body. The results of this project were used to produce guidance on these techniques as a collaborative documentation package for the study of Mina’i ceramics.

The Dark Halo Technique in the Oeuvre of Michael Sweerts and Other Flemish and Dutch Baroque Painters. A 17th C. Empirical Solution to Mitigate the Optical ‘Simultaneous Contrast’ Effect?

Although the topic is rarely addressed in literature, a significant number of baroque paintings exhibit dark, halo-like shapes around the contours of the dramatis personae. Close examination of both finished and unfinished works suggests that this intriguing feature was a practical tool that helped the artist in the early painting stages. When applying the final brushwork, the halo lost its function, with some artists undertaking efforts to hide it. Although their visibility might not have been intended by the artists, today this dark paint beneath the surface is partially visible through the upper paint layers. Moreover, the disclosure of many halos using infrared photography (IRP), infrared reflectography (IRR) and macro X-ray fluorescence imaging (MA- XRF), additional to those that can be observed visually, suggests that this was a common and established element of 17th -century painting practice in Western Europe. Building on an existing hypothesis, we argue that halos can be considered as a solution to an optical problem that arose when baroque painters reversed the traditional, 15th - and 16th -century painting sequence of working from background to foreground. Instead, they started with the dominant parts of a composition, such as the face of a sitter. In that case, a temporary halo can provide the essential tonal reference to anticipate the chromatic impact of the final dark colored background on the adjacent delicate carnations. In particular, we attempt to clarify the prevalence of dark halos as a response to optical effects such as ‘simultaneous contrast’ and ‘the crispening effect’, described in literature only centuries later. As such, the recently termed ‘ring condition’ can be seen as the present-day equivalent of the ‘halo solution’ that was seemingly empirically or intuitively developed by 17th -century artists. Modern optics proves that by laying a black ring around a target color, the optical impact of a surrounding color can be efficiently neutralized. Finally, by delving into works by Michael Sweerts, it becomes clear that resourceful artists might have adapted the halo technique and the underlying principles to their individual challenges, such as dealing with differently colored grounds.

Looking for the missing link in the evolution of black inks

In the transition from carbon to iron-gall inks, the two documents from the Egyptian Museum and Papyrus Collection in Berlin with shelfmarks P 13500 and P 13501 discussed in this work present an important case. Their inks appear brownish, although they date back to the fourth and third century BCE, when carbon inks are believed to have been commonly if not exclusively used. Using imaging micro-X-ray fluorescence and infrared reflectography, we discovered that the inks in both documents contain a significant amount of copper in addition to carbon. Comparing the extant recipes for black writing inks and the experimental evidence, we suggest that these inks are a transition between the pure carbon and the iron-gall inks. Such inks may have been quite common before the production of iron-gall ink was clearly understood and established.

A fresh look: technical analysis and treatment of Picasso's Science and Charity at the Museu Picasso

The condition of the Picasso’s Science and Charity has always been a matter of concern for the Conservation Department at the Museu Picasso in Barcelona. In the last few years, several historical and technical lines of research (based on vintage photographs and physicochemical studies) have increased the understanding of the painting’s materials and how they have responded to the different environments since the painting was created. In 2017, a campaign was launched to consolidate flaking paint, remove traces of animal glue, and correct colour retouching from previous inpainting campaigns and filling issues from previous treatments from 1970. The new treatment was successful, with cracks and cuppings being stabilized. The treatment heavily relied on high-resolution, multi-band images, as well as research from a previous study published in 2010. Infrared reflectography and colorimetry provided new information and corroborated a new vision of the creative process that had previously only been based on micro-analyses of samples. Science and Charity provides a relevant case study as the painting suffers from many degradation problems that are found in other Picasso paintings restored in the same period.

A life less ordinary: analysis of the uniquely preserved tattooed dermal remains of an individual from 19th century France

Abstract‘Anthropologies of the Body’ often view the human form as a sort of text, onto which meanings and experiences are inscribed during people’s lives, rendering the body effectively as an artefact of material culture. Such ‘inscription’ is generally metaphorical; however, in the case of tattooing, aspects of the way people wish to be perceived are quite literally inscribed upon the body. The current article presents analysis of an unusual ‘artefact’ in the form of the major anterior portion of the preserved, tattooed skin of an adult male. The skin’s provenance was previously unknown, as was the reason why he had been subject to such treatment after death. The current project has progressed towards resolving these issues using multiple approaches, including CT scanning, multispectral light sources, infrared reflectography and spectroscopic dating. The latter technique produced a date range of 1861 ±15 years for the wood on which the skin was mounted. Multispectral and infrared light examination made it possible to discern many of the tattooed motifs much more clearly. The images and text that were made visible suggested this man had been French and had probably spent time overseas, possibly in naval service. Towards the end of his life, he may have been imprisoned and the date ‘1883’ was decipherable. The current analysis allowed the investigators to glean far more information than was initially expected, providing a considerably richer personal narrative of this individual through the content of his tattoos than is usually possible in biological anthropology.

Manuscript Illumination in 19th-century Italy. Material Analysis of Two Partial Copies from the Squarcialupi Codex

The illuminations in two Italian manuscripts are still a mystery today. Both manuscripts were based fully or partly on the Florentine Squarcialupi Codex (Florence, Biblioteca Medicea Laurenziana, Med. Pal. 87) dating from around 1410/15. With the help of a multi-analytical, non-destructive approach employing mobile instrumentation (XRF spectroscopy, visible reflectance spectroscopy and infrared reflectography), we examined the manuscripts Toronto, Thomas Fisher Rare Book Library, MSS 09700 and Düsseldorf, Kunstpalast, Inv. K 1925-67 for the first time with regard to their production processes. The identification of modern pigments allows them to be contextualized in illumination practices of the 19th century. Manuals of that time provide a wealth of information on specific illumination practices and the availability of writing and painting materials, which correlates with the actual artefacts.

Behind the Scene of “The Holy Family with St. Anne and the Young St. John” by Bernardino Luini: A Computer-Assisted Method to Unveil the Underdrawings

Uncovering the underdrawings (UDs), the preliminary sketch made by the painter on the grounded preparatory support, is a keystone for understanding the painting's history including the original project of the artist, the pentimenti (an underlying image in a painting providing evidence of revision by the artist) or the possible presence of co-workers’ contributions. The application of infrared reflectography (IRR) has made the dream of discovering the UDs come true: since its introduction, there has been a growing interest in the technology, which therefore has evolved leading to advanced instruments. Most of the literature either report on the technological advances in IRR devices or present case studies, but a straightforward method to improve the visibility of the UDs has not been presented yet. Most of the data handling methods are devoted to a specific painting or they are not user-friendly enough to be applied by non-specialized users, hampering, thus, their widespread application in areas other than the scientific one, e.g., in the art history field. We developed a computer-assisted method, based on principal component analysis (PCA) and image processing, to enhance the visibility of UDs and to support the art-historians and curators’ work. Based on ImageJ/Fiji, one of the most widespread image analysis software, the algorithm is very easy to use and, in principle, can be applied to any multi- or hyper-spectral image data set. In the present paper, after describing the method, we accurately present the extraction of the UD for the panel “The Holy Family with St. Anne and the Young St. John” and for other four paintings by Luini and his workshop paying particular attention to the painting known as “The Child with the Lamb”.