«PORTRAIT OF A LADY» OF THE BOICHUCK SCHOOL FROM THE NATIONAL ACADEMY OF FINE ARTS AND ARCHITECTURE FUNDS. COMPREHENSIVE EXAMINATION RESULTS

The article features the results of the comprehensive examination of an outstanding piece from the Mykhailo Boуchuk school, «Portrait of a Lady» from the NAFAA funds. The research was done by the Associate Professor of the Department of the Technique and Restoration of Artwork of NAFAA, Tetiana Tymchenko, Ph.D, and the Leading Researcher of the Bureau of scientific and technical expertise «ART-LAB» Svitlana Biskulova, Ph.D, in connection with the planned restoration of the artwork. Since 2018, «Portrait of a Lady» has been attributed to Mykola Kasperovych (1885–1938), an outstanding painter, restorer and researcher. The reasoning is provided in the expert conclusion of the Head of the Ukrainian Art Department of the end of 19th — beginning of the 20th century of the National Art Museum of Ukraine Olena Kashuba-Volvach. The article lists the peculiarities of the techniques, technology, condition of the artwork from the NAFAA funds. In particular, it reveals the peculiarities of the preparatory drawing, imitation of the monumental art techniques by means of the easel painting, and individual techniques of working with paints. The paper specifies the time of the portrait creation, which indicates 1923 — probably, the year of the work creation, and the age of the lady from the portrait, 30 years. The technological examination of the portrait in the Bureau of scientific and technical expertise «ART-LAB» confirmed the dating of the work to the period of the 1920s – 1930s. The article clarifies important components of the portrait technology: in particular, it has been found that the ground is chalk-glue and the paints’ medium is casein-oil tempera; among the pigments the zinc white with an admixture of lead white, yellow and red ochre, Ivory black pigment (burnt bone), mixed green pigment (burnt bone and yellow ochre) were identified. The examination revealed the traces of restoration interventions of different times. The paper features a number of considerations regarding further research of Boychukists’ creativity from the point of view of technology.

The combined use of SEM-EDX, Raman, ATR-FTIR and visible reflectance techniques for the characterisation of Roman wall painting pigments from Monte d’Oro area (Rome): an insight into red, yellow and pink shades

The aim of this work has been the identification of the painter’s materials employed in the wall decoration of some destroyed buildings dating approximately between the first century B.C. and the first century A.D. This research originates from a previously started joined archaeological and analytical investigation concerning a varied group of findings that resulted from a rescue excavation performed by Soprintendenza Archeologica in the area of Monte d’Oro in Rome. The focus of this study progression has been directed to a numerous selection of monochrome red, pink and yellow-pigmented fragments. The analyses were performed by means of scanning electron microscopy energy dispersive X-ray spectroscopy (SEM-EDX) combined with Raman and Fourier transform infrared (FTIR) spectroscopies; visible reflectance measurements have also been carried out and the relevance of this technique in such a kind of archaeological studies has been highlighted. Most attention has been given to the assessment of the performances of non-destructive techniques achieved by portable Raman, and visible reflectance instrumentation to test their diagnostic capabilities. In addition to the expected and well-known pigments such as cinnabar, red ochre, hematite for the reds and yellow ochre for the yellows, the study highlighted a diffuse use of mixed colours and in some cases the possible presence of overlapped painted layers and confirmed the presence of gildings. Among the mixtures of pigments, the most singular outcome concerns the pink fragments revealing the possible application of bone white, which seems to be rather uncommon as a pigment in Roman wall decorations.

Characterisation of materials and techniques in first archaeological findings of Nasca wall paintings

The pre-Colombian wall paintings in Peru were already known from north and central coast sites, but little information exists on the southern coast corresponding to the Nasca region. The recent excavations on Cahuachi site provided fragments of plaster with paint layers found near Great Pyramid, corresponding to phases III and IV of the construction of the site, and dating back to the Early Intermediate Period (from 200 BC to 350 AD). A series of fragments from three locations from these two respective periods were transferred directly from the excavation to the laboratory and analyzed. A panel of observation and analysis methods was applied in order to describe the stratigraphy and materials used for these paintings, with special attention to the paint layer. The stratigraphy was observed by optical and electron microscopies and X-ray fluorescence, Raman and infrared spectroscopies were employed for elemental and molecular characterization of the plaster and paintings. The obtained results show the large presence in painting layers of iron oxides and copper based pigments, as well as calcium sulfate, siliceous clay materials and graphite. Although most of these pigments could be provided by local deposits, the detection of graphite is probably linked to the use of charcoal. The variety of painting materials between phases III and IV are related to the palette of colours and pigments. The colours for phase III seem limited to the red and yellow ochre pigments, and unidentified black and gypsum white. During phase IV, additional pigments were identified such as: paratacamite, malachite and chrysocolla for greens, hematite for purple, charcoal and siliceous white, which replaced gypsum white. The paintings were sometimes applied in several layers and occasionally separated by a white coating layer. The painting materials and techniques identified on Cahuachi site, and especially the differences between the phases observed, constitute a new insight into the knowledge of wall painting tradition in Southern Peru.

The Combined Use of SEM-EDX, Raman, ATR-FTIR and Visible Reflectance Techniques for the Characterisation of Roman Wall Painting Fragments From Monte D’Oro Area (Rome): An Insight onto Red, Yellow and Pink Shades.

The aim of this work has been the identification of the painter’s materials employed in the wall’s decoration of some destroyed building dating approximately between the first century B.C. and the first century A.D. This research originates from a previously started joined archaeological and analytical investigation concerning a really varied group of findings that resulted from an excavation performed by Soprintendenza Archeologica in the area of Monte d'Oro in Rome. The focus of this study progression has been directed to a numerous selection of monochrome red, pink, and yellow pigmented fragments. The analyses were performed by means of scanning electron microscopy energy dispersive X-ray spectroscopy (SEM-EDX) combined to Raman and Fourier transform infrared (FTIR) spectroscopies; visible reflectance measurements have also been carried out in order to evaluate its appliance in such a kind of archaeological studies. Most attention has been given to the assessment of the performances of non-destructive techniques, precisely the ones achieved by portable Raman and visible reflectance instrumentation, above all to test their diagnostic capabilities. In addition to the expected and well-known pigments such as cinnabar, red ochre, hematite for the reds and yellow ochre for the yellows, the study highlighted a diffuse use of mixed colours and/or overlapped painted layers and confirmed in some cases the presence of gildings. Among the mixtures of pigments, the most singular outcome concerns the pink fragment revealing the possible application of bone white, which, based on of the known literature, seems to be rather uncommon as pigment in Roman wall decorations.

A pilot study of solvent-based cleaning of yellow ochre oil paint: effect on mechanical properties

Nanoindentation and dynamic mechanical analysis were used to measure changes in the surface and bulk mechanical properties of Winsor & Newton Yellow Ochre oil paint films following exposure to deionized water, aliphatic mineral spirits (Shellsol D40™), and D5 silicone solvent (decamethylcyclopentasiloxane). Yellow ochre paint films were exposed to the selected solvents by 24-h immersion, and sponge-cleaning. 24-h immersion in deionised water and Shellsol D40 caused measurable changes to bulk and surface mechanical properties. However, there were no measurable changes to the bulk or surface mechanical properties following sponge cleaning.

A Study of the Pigments and Cohesive Colour Layers of the Paintings in a Church from the Tenth to Thirteenth Centuries on the Plateau of Eski-Kermen

In 2018–2019, the excavations of an aisleless church dated from the tenth to thirteenth centuries and located in quarter II on the territory of a provincial Byzantine town atop of the plateau of Eski-Kermen discovered fragments of wall-plaster with polychrome painting. There are several shades of green, two shades of red, white (beige), yellow (ochre), and grey-brown colours. This paper presents the results of studies of the colour layer, determines pigments and cohesive colour components, and uncovers the features of the painting technique applied to the walls of the church. Four groups of samples were selected for the study featuring: 1 – white, 2 – yellow, 3 – red, and 4 – green colours. The elemental composition of the colour layer was studied by scanning electron microscopy combined with energy-dispersive X-ray microanalysis (SEM/EDX). The phase constitution of the samples was investigated by X-ray powder diffraction (XRD) method with the use of diffractometers operated in a transmission mode at the Kurchatov synchrotron radiation source. The chemical composition of colour layers was studied by infrared spectroscopy, and the study of cohesive colour materials was carried out by gas chromatography with mass spectrometry (GC/MS). The elemental composition and phase constitution of the white colour indicated the use of lime whitewash. Yellow ochre (goethite) was used as yellow colour. Red colour features the presence of hematite typical for the group of pigments united under the name of red soils. However, the discovery of 1% goethite typical for yellow ochres in the phase constitution of one sample allows the possibility that burnt yellow ochre was used as a red pigment. The green colour was green soil (glauconite and celadonite). It should be noted that none of the examined samples of red pigment contained traces of vermilion, which occurred in ancient paintings in the Crimea and was typical for Byzantine wall-paintings. In all the samples of pigments contained a significant degree of calcite (36-98%), possibly due to the presence of particles of undercolour in the measured samples of wall paintings, or diluting the pigment with lime water for the making of wall-painting featuring fresco technique. The use of the latter technique is also indicated by the presence of white lime colour. The traces of cohesive component in the form of fish glue and protein products from chicken eggs found in the red and green paint samples also suggests the use of the dry painting technique. Therefore, there are reasons to suppose that the painting of the quarter church of Eski-Kermen used two techniques, fresco and dry plaster paintings.

Characterisation of Materials and Techniques in First Archaeological Findings of Nasca Wall Paintings

The pre-Colombian wall paintings in Peru were already known from north and central coast sites, but little information exists on the southern coast corresponding to the Nasca region. The recent excavations on Cahuachi site supplied fragments of plaster with paint layers found near Great Pyramide, corresponding to phases III and IV of the construction of the site, and dating back to the Early Intermediate Period (from 200 BC to 350 AD). A series of fragments from three locations from these two respective periods were transferred directly from the excavation to the laboratory and analysed. A panel of observation and analysis methods was applied in order to describe the stratigraphy and materials used for these paintings, with special attention to the paint layer. The stratigraphy was observed by optical and electron microscopies and X-ray fluorescence, Raman and infrared spectroscopies were employed for elemental and molecular characterization of the plaster and paintings. The obtained results show the large use of iron oxides and copper based pigments, as well calcium sulfate, siliceous and clay materials and graphite. Although the most of pigments could be provided by local deposits, the provenience of graphite remains undetermined. The differences of painting materials between phases III and IV are related to the palette of colours and pigments. The colors for phase III seem limited to the red and yellow ochre pigments, unidentified black and gypsum white. During phase IV, additional pigments were identified such as: paratacamite, malachite and chrysocolla for greens, hematite for purple, graphite black and siliceous white, which replaced gypsum white. The paintings were sometimes applied in several layers separated or not by white coating layer. The painting materials and techniques identified on Cahuachi site, and especially the differences between the phases observed, constitute a new insight in the knowledge of wall painting tradition in Southern Peru.

Pigments on Roman Wall Painting and Stucco Fragments from the Monte d’Oro Area (Rome): A Multi-Technique Approach

This work concerns the characterisation of a set of wall painting and stucco fragments collected during a rescue excavation carried out in 2013 by the Soprintendenza Archeologica in the Monte d’Oro area (Rome). Due to the contextless archaeological situation, analyses were performed to obtain more information about the collected materials. A multi-analytical approach has been applied including spectroscopic (FTIR, Raman and visible reflectance analyses) and elemental analysis (SEM-EDS) techniques. The chromatic palette has been in this way disclosed evidencing the use of pigments such as cinnabar, Egyptian blue, red and yellow ochre and green earth, but also the simultaneous use of them. The presence of a decoration achieved by using a gold leaf has been highlighted also, indicating the preciousness of the decorations. The convenience and advantages linked to the use of portable instrumentation have been also evidenced.

Archaeometric analysis of architectural ceramics form the site “Khustiin bulag” Tuv province, Mongolia

A series of architectural ceramics, including roof tiles and bricks from the excavation site at Khustyn Bulag, Mungunmorit soum, Tuv aimag (province) of Mongolia were subjected to detailed archaeometric analysis. We present here results of Fourier-transform infrared spectroscopy (FT-IR), Scanning electron microscopy (SEM-EDS) and Thermogravimetric analysis (TGA) and their potential to determine the composition of brick samples from one excavation site, and their firing temperatures. In addition, yellow ochre, which is a natural earth rock pigment that contains hydrated iron oxide and represents the most common pigment of antiquity, was revealed at this excavation site. The mineral composition of ochres will be determined and the possible use of it will be discussed.

Brightly Colored to Stay in the Dark. Revealing of the Polychromy of the Lot Sarcophagus in the Catacomb of San Sebastiano in Rome

The Lot Sarcophagus is one of the most relevant funerary sculptures of late antiquity (mid-4th century AC). Some of the remarkable aspects are the following (i) it is still preserved in situ; (ii) most of the carved scenes are rarities or unicum; (iii) not all the sculpture work has been completed, which allows us to analyse the executive process; (iv) many traces of polychromy have remained. This paper is focused on the characterization of the residual polychromy by using in-situ non-invasive techniques. Furthermore, few micro samples were taken, to be analysed in laboratory to study the composition of some deposits and to define if a preparatory layer was present under the coloured layer. The data showed that the very rich polychromy of the Lot Sarcophagus was made of Egyptian blue, yellow ochre, and three different types of red: two inorganics (red ochre and cinnabar), and one organic-based (madder lake). Furthermore, some decorations, completely vanished and no longer visible to the naked eye, have been rediscovered, also providing details on the construction phases. During the project, the 3D model of the sarcophagus was acquired, which afterwards was used to map the results of the diagnostic campaign.