Search Results (5)

Some paintings may have hidden depictions beneath the visible surface, which can provide valuable insights into the artist’s creative process and the genesis of the artwork. Studies have shown that these covered paintings can be revealed through image-based techniques and integrated data processing. This study analyzes an oil painting by Beceri from the mid-16th century depicting the Holy Family, owned by the Uffizi Galleries. During the analysis of the materials, we discovered evidence of pictorial layers beneath the visible scene. To uncover the hidden figuration, we applied a multimodal approach that included microprofilometry, reflectance imaging spectroscopy, macro X-ray fluorescence, and optical coherence tomography. We analyzed the brushstrokes of the hidden painting, visualized the underdrawing, located the painted areas beneath the outermost painting, and quantified the thicknesses of the pictorial layers. The pigments used for the underpainting were identified through cross-analysis of X-ray fluorescence and spectral correlation maps. The underlying pictorial subject, Leda and the Swan, appears to be inspired by a long-lost and replicated work by Michelangelo. This information places Beceri and his production in a more defined context. Full article

The possibility of using the electron paramagnetic resonance (EPR) mobile universal surface explorer (MOUSE) to study underpaintings is validated. The depth sensitivity of the EPR MOUSE is measured using an EPR standard, and is verified using three paramagnetic pigments in an acrylic binder under opaque acrylic layers of titanium white and lead white. The ability to distinguish and identify two layers of EPR signal-bearing pigments is shown using pairwise sets of ultramarine, Egyptian, and Han blue pigments in an acrylic binder. And finally, the spatial imaging capability is demonstrated using a printed design of magnetite black covered with a solid second layer of the pigment. These studies demonstrate that EPR spectroscopy with the EPR MOUSE is a viable method for studying paramagnetic and ferrimagnetic underlayers of pigments. Full article

The Archbishop’s Palace of Seville harbours an important art collection with mostly works by great Renaissance and Baroque artists. However, the authorship of some paintings is unknown, and, in a few cases, there is an interest in discovering the painter due to the quality of the artwork. As a first step for this purpose, a systematic analysis procedure has been established using non-destructive techniques, such as UV photography and IR reflectography, to locate interventions and underpaintings, as well as X-ray fluorescence to identify original pigments and those of later interventions. The study following this established protocol is presented with the example of two paintings by unknown authors. They were made in different centuries representing, consequently, different styles. UV images showed several retouches, while IR reflectography revealed under-drawing and composition corrections (pentimenti). Furthermore, XRF identified the pigments applied in the production of the different colours and tonalities, allowing to characterise the artist’s palette, whose pigments generally agree with the dates when the artworks were produced. This study resulted in valuable information on painting materials and techniques, which will be useful in the search for authorships, among others. Full article

The study aims to enhance our knowledge of the materials and techniques applied in the making of Russian, portable ecclesiastical paintings produced after the 16th century, and to evaluate a pilot, non-destructive, non-invasive, research methodology proposed for their examination. Based on research relating to the historical background of their production and distribution in the South, the availability of materials and the applied techniques, a non-destructive, non-invasive methodology is exploited to examine three triptychs and two polyptych side panels belonging to the collection of the Benaki Museum. As their small size and excellent state of preservation prohibit sampling, a study scheme based on visual examination, the implementation of a series of spectral imaging techniques (VIS, IRRFC, SWIR, UVL, RTI, X ray) and a non-invasive micro XRF analysis is tested. Fiber and wood-type identification are carried out microscopically. The collected information relates to the making of the frames and the supports, the design, the use of metal foils and pigments, the order of application of paint layers and the rendering techniques. Due to the non-destructive, non-invasive character of the procedure, organic constituents are not thoroughly examined. Use of an expected palette was confirmed, but the modelling proved rather sophisticated. Among the most interesting finds were the use of distinct pigment mixtures for the underpaints of the flesh parts and certain deviations from the expected rendering techniques. The methodology proved very effective in terms of its output, the global approach of the construction technique, the user-friendly application, the low cost and time consumption factors. Full article

In order to understand the painting materials and profile structures used in the creation of Chinese ancient folk architectural paintings, the architectural paintings of the Bell and Drum Tower at Fushan Temple in Shaanxi Province of China was investigated. In this study, optical microscopy, Fourier transform infrared spectroscopy (FTIR), micro-Raman spectroscopy, scanning electron microscopy-energy-dispersive X-ray spectroscopy (SEM-EDS), and chemical experimental methods were used. The profile structures, and the elemental and chemical compositions of the pigments and binders in the ground layer of the 12 samples were determined. Results showed that the painting profile structures in both towers comprised of pigment layer, underpainting layer and ground layer, where no starch was found in the chalk ground layer. The pigment layer mainly comprised of iron oxide red, chalk, lapis lazuli, carbon black, green earth, and a dark green pigment that is formed by a combination of carbon black and green earth. To-date, the use of green earth pigment in Chinese architectural paintings was not found in Chinese related academic literature; hence, this study marked the first identification of green earth being used in the architectural paintings. Tung oil, commonly used in Chinese architectural paintings as a binder for pigment, was also identified in the samples. Results from this study will serve as an important reference for better scientific investigation methods on ancient Chinese folk painting materials. Full article