Academic literature on the topic 'X-ray painting'
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Journal articles on the topic "X-ray painting"
Mazzinghi, Anna, Chiara Ruberto, Lorenzo Giuntini, Pier Andrea Mandò, Francesco Taccetti, and Lisa Castelli. "Mapping with Macro X-ray Fluorescence Scanning of Raffaello’s Portrait of Leo X." Heritage 5, no. 4 (December 6, 2022): 3993–4005. http://dx.doi.org/10.3390/heritage5040205.
Full textJovanović, Vanja, Suzana Erić, Philippe Colomban, and Aleksandar Kremenović. "Identification of Lithol Red Synthetic Organic Pigment Reveals the Cause of Paint Layer Degradation on the Lazar Vozarević Painting “Untitled” with Copper Plates." Heritage 2, no. 3 (September 4, 2019): 2612–24. http://dx.doi.org/10.3390/heritage2030160.
Full textSimova, Veronika, P. Bezdicka, J. Hradilova, D. Hradil, and T. Grygar. "X-ray powder microdiffraction for routine analysis of paintings." Powder Diffraction 20, no. 3 (September 2005): 224–29. http://dx.doi.org/10.1154/1.1938983.
Full textMartins, Ana, Ellen Davis, and Talia Kwartler. "Max Ernst’s Woman, Old Man, and Flower (1923–24): Four Paintings in One Revealed by Technical Imaging." Heritage 4, no. 3 (September 6, 2021): 2224–36. http://dx.doi.org/10.3390/heritage4030125.
Full textDredge, Paula, Richard Wuhrer, and Matthew R. Phillips. "Monet's Painting under the Microscope." Microscopy and Microanalysis 9, no. 2 (March 14, 2003): 139–43. http://dx.doi.org/10.1017/s1431927603030198.
Full textGil-Torrano, Andrea, Auxiliadora Gómez-Morón, José María Martín, Rocío Ortiz, Mª del Camino Fuertes Santos, and Pilar Ortiz. "Characterization of Roman and Arabic Mural Paintings of the Archaeological Site of Cercadilla (Cordoba, Spain)." Scanning 2019 (July 28, 2019): 1–14. http://dx.doi.org/10.1155/2019/3578083.
Full textHan, Kyeongsoon, Sangjin Lee, and Hwasoo Lee. "Study of the Painting Methods of Mural Paintings in Ancient Tombs of Goguryeo Using Scanning Electron Microscope." Microscopy and Microanalysis 19, S5 (August 2013): 157–61. http://dx.doi.org/10.1017/s1431927613012555.
Full textKader, RabeaRadi Abdel, ShaimaaSayed Mohamed El –Sayed, and Ahmed Abo-El Yamin. "Study The Severe Effects of Iron Compounds Presenting in Sandstone on the Deterioration of Wall Paintings of Archaeological Tombs in Bahariya Oasis - Egypt." Budapest International Research in Exact Sciences (BirEx) Journal 1, no. 3 (July 25, 2019): 5–13. http://dx.doi.org/10.33258/birex.v1i3.337.
Full textLizun, Damian, and Jarosław Rogóż. "Observations on Selected Aspects of Liu Kang’s Painting Practice." Journal of Conservation Science 38, no. 5 (October 31, 2022): 460–81. http://dx.doi.org/10.12654/jcs.2022.38.5.09.
Full textLau, Deborah, David Hay, and Natasha Wright. "Micro X-ray diffraction for painting and pigment analysis." AICCM Bulletin 30, no. 1 (December 2006): 38–43. http://dx.doi.org/10.1179/bac.2006.30.1.005.
Full textDissertations / Theses on the topic "X-ray painting"
Steyn, Ruan. "Portable X-ray fluorescence and nuclear microscopy techniques applied to the characterisation of southern African rock art paintings." Thesis, Stellenbosch : Stellenbosch University, 2014. http://hdl.handle.net/10019.1/86541.
Full textENGLISH ABSTRACT: Non-destructive portable X-ray Fluorescence (pXRF) and Particle Induced X-ray Emission (PIXE) were used to measure the elemental concentration of rock art fragment paintings. For pXRF the Amptek Silicon Drift Detector (SDD) and Niton XL3t spectrometers were used to perform the measurements. These two spectrometers use different spectrum analysis methods. The Peak Deconvolution (PD) analysis method is used for the Amptek SDD and an Inverse Overlap Matrix (IOM) method is used for the Niton XL3t spectrometer. The pXRF methods were validated by using alloys, coins and rock standards. The validation is important to establish if the pXRF technique is properly understood and used and to advance the investigation to more complex rock art paintings, with heterogeneous and layered properties. The elemental concentrations obtained for the Standard Reference Materials (SRMs), which were used for the validation, were in good agreement with that of the known concentration of the SRMs. The two rock art fragments which were analysed from the Mount Ayliff and Ha Khotso caves were part of larger rock art painting prior to it being naturally exfoliated from the rock. For the Mount Ayliff rock art, seven paint points, two unpainted rock (varnish) point adjacent to the paint and the back of the rock were analysed. The colour of the paint ranged from black, shades of brown and shades of red. The black paint is due to manganese or charcoal. The red colour is due to iron oxide and the red-brown colour is due to Hematite (a type of ferrous oxide) [1]. For the Ha Khotso fragment the paint on the front of the rock and the rock substrate (back of the rock) were analysed. For the Mount Ayliff rock art fragment the results for both pXRF spectrometers indicated that the elemental concentration was uniform across the fragment. This is due to the formation of a uniform layer of minerals such as silica and calcium introduced by the seepage of water through the cracks of the cave. Therefore no correlation could be established between the colour of the rock art paint and the elements detected, as was found with the work done by Peisach, Pineda and Jacobson [1]. For the Ha Khosto rock fragment a relation between the Ca composition and the cream colour of the rock art paint was established. Both the PIXE and pXRF techniques were used to identify the compound concentrations of the Ha Khotso rock art fragment. The comparison between the two techniques highlights the complexity of rock art paint analysis. The results from the PIXE elemental mapping indicated the non-uniform distribution of the elements in the analysed region. From the rock art fragment measuring the analysed points 5 times and obtaining the same results, indicated that the particle size and inhomogeneities did not have much effect on the compound compositions. In order to obtain high accuracy results with pXRF, sound scientific methodology with specific knowledge and expertise, not only about the XRF technique, but also about the sample under investigation is required. For alloy analysis pXRF is well suited, the analysis of geological material however more complex, since they are composed predominately of low atomic elements e.g. silicon, aluminium, magnesium, sodium, oxygen and carbon – all of which are excited with very low efficiencies.
AFRIKAANSE OPSOMMING: Nie-beskadigended X-straal Fluoresensie (pXRF) en Deeltjie Geinduseerde X-straal emmissie (PIXE) was gebruik om die elementêre konsentrasie van die rotstekeninge in hierdie studie te bepaal. Vir die pXRF-tegniek is die “Amptek Silicon Drift Detector (SDD)” en die “Thermo Scientific Niton XL3t” spektrometers gebruik gemaak om die metings uit te voer. Die twee spektrometers maak gebruik van verskillende spektrum analiseringsmetodes.Die “Peak Deconvolution (PD)” analiseringsmetode is gebruik vir die “Amptek SDD” en die “Inverse Overlap Matrix (IOM)” analiseringsmetode is gebruik vir die “Thermo Scientific Niton XL3t” spektrometer. Vir die validasie van die pXRF-metode is van allooie, muntstukke en rots standaarded gebruik gemaak. Die validasie is belangrik om vas te stel of die pXRF tegniek behoorlik verstaan en gebruik word en om die ondersoek te bevorder na meer komplekse rotstekeninge, met heterogene en lae eienskappe. Die element konsentrasies wat vir die “Standard Reference Material (SRM)” wat gebruik is vir die validasie, was in 'n goeie ooreenkoms met die van die konsentrasie van die SRM, wat bekend is. Die twee rotstekeninge wat ontleed is van die Mount Ayliff en Ha Khotso grotte en was deel van 'n groter rots kuns skildery voordat hul natuurlik afgebreek het. Vir die Mount Ayliff rotskuns, is sewe verf punte, twee ongeverfde rots (vernis) punte aangrensend aan die verf en die agterkant van die rots ontleed. Die kleur van die verf het gewissel van swart, skakerings van bruin en skakerings van rooi. Die swart verf kan toegeskryf word aan mangaan of houtskool. Die rooi kleur is as gevolg van ysteroksied en die rooi-bruin kleur is as gevolg van Hematiet ('n tipe van yster oksied) [1]. Vir die Ha Khotso rotskuns is die verf aan die voorkant van die rots en die rots substraat (agterkant van die rots) ontleed. Vir die Mount Ayliff rotstekening het die resultate vir beide pXRF spektrometers aangedui dat die elementele konsentrasie uniform oor die rotstekening is. Dit is as gevolg van die vorming van 'n uniforme lagie van silica en kalsium, wat deur die sypeling van water deur die krake van die grot na die oppervlak van die rotstekening beweeg het. Daarom kon geen korrelasie tussen die kleur van die rotstekening en die elemente wat gemeet is bepaal word nie, soos gevind deur die werk van Peisach, Pineda en Jacobson [1]. Vir die Ha Khotso rotstekening is ‘n verband tussen die room kleur van die rotstekening verf en Ca konsentrasie gevind. Beide die PIXE en pXRF tegnieke is gebruik om die konsentrasies van die Ha Khotso rotstekening te identifiseer. Die vergelyking tussen die twee tegnieke beklemtoon die kompleksiteit van rotstekening verf analise. Die resultate van die PIXE elementele karakterisering het aangedui die nie-eenvormige verspreiding van die elemente in die ontlede area. Deur die meting van die ontlede punte 5 keer te herhaal, en dieselfde resultate verkry, is ‘n aanduiding dat die deeltjie grootte en inhomogeniteite nie veel invloed op die elementele konsentrasies het nie. Ten einde 'n hoë akkuraatheid resultate te kry met pXRF, moet goeie wetenskaplike metode toegepas word met spesifieke kennis en kundigheid, nie net oor die XRF tegniek, maar ook oor die rotstekening wat ondersoek word vereis. pXRF is wel geskik vir die ontleding van allooie, die ontleding van geologiese materiaal is egter meer kompleks, aangesien die materiaal hoofsaaklik bestaan uit lae atoomgetal elemente bv silikon, aluminium, magnesium, natrium, suurstof en koolstof - wat almal met lae doeltreffentheid opgewek en baie afgerem word in die materiaal.
Salyer, Alice. "M0MENTARY LAPSES." Digital Commons @ East Tennessee State University, 2019. https://dc.etsu.edu/etd/3539.
Full textMori, Eva Kaiser. "Caracterização de pinturas do artista Alfredo Volpi por meio de métodos não destrutivos: espectrofotômetro, EDXRF, MEV e imageamento multiespectral." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/44/44144/tde-17112015-151200/.
Full textPainter Alfredo Volpi (1896 - 1988) is one of the most important contemporary Brazilian artists. His extensive work, mostly characterised by chromatic compositions and geometric abstractions, is technically unique. The artist attributed great importance to craft and materials, developing his own systematic way of working. Among the paintings analysed were 11 temperasin various supports (canvas, hardboard panel and mortar). Of the selection, 10 paintings were made around 1950, when the artist\'s work underwent a major transformation, from figuration to abstraction, from the use of industrial oil-based paints to the medieval technique of tempera. This technique, known for its opacity, colour saturation and material presence of pigments on the canvas,became as important as the colour itself in the shaping of the artist\'s new spatial relation. It is understood that these elements are important keys to a deeper understanding of his work, both technically and artistically. The present investigation was carried out making use of non-destructive complementary analytical techniques. The aim was to study the chromatic and chemical composition characteristics of his paintings and gather information on the technical procedures the artist may have used. The spectrophotometer was used to measure the colour based on the spectral curves and numerical reference coordinates within a uniform colour space. Techniques of visual examination with visible light, visible fluorescence by ultraviolet radiation and near-infrared reflectography were used to gather information about the artist\'s creative process. These techniques also helped detect restoration patches and identify pigments. The EDXRF (Energy Dispersive X-Ray Fluorescence) technique was important for chemical characterization of materials, while the SEM-EDS (Scanning Electron Microscope with Energy Dispersive X-Ray Spectroscopy) provided surface images and information on the chemical composition of the material present in the murals. From the integration of these techniques it was possible to identify a part of the rich palette of Volpi´s paintings; to document the present aspects of the colours; to recognize or give indications of pigment and ground compositions and to shed light on parts of each of the works background, such as the presence of graphite sketches, covered earlier paintings and brushstrokes as well as to document the current condition of the works under study. The tools used have proven useful in characterizing the paintings, revealing new information about the work of the artist and raising new questions. The information obtained may be the beginning of a database on his oeuvre.
Goodall, Rosemary A. "Non-destructive techniques for the analysis of pigments from an archaeological site." Thesis, Queensland University of Technology, 1997. https://eprints.qut.edu.au/36948/1/36948_Goodall_1997.pdf.
Full textBarbay, Vanessa Maree. "Becoming animal: exploring iconic and indexical representation." Phd thesis, 2013. http://hdl.handle.net/1885/10692.
Full textTacon, Paul. "From rainbow snakes to 'X-Ray' fish : the nature of the recent rock painting tradition of Western Arnhem Land, Australia." Phd thesis, 1989. http://hdl.handle.net/1885/10074.
Full textČermáková, Zdeňka. "Mineralogická analýza historických maleb." Doctoral thesis, 2015. http://www.nusl.cz/ntk/nusl-333576.
Full textBooks on the topic "X-ray painting"
de, Voorde G. van, ed. The masters' and the forgers' secrets: X-ray authentication of paintings ; from early Netherlandish till modern. Brussel: Mercatorfonds, 2009.
Find full textGilardoni, Arturo. X-rays in art =: I Raggi X nell'arte. 2nd ed. Mandello Lario, Italy: Gilardoni, 1994.
Find full textVan Hulle, Dirk. Genetic Criticism. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780192846792.001.0001.
Full textHenderson, Linda Dalrymple. Umberto Boccioni’s Elasticity, Italian Futurism and the Ether of Space. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198797258.003.0011.
Full textBlackwood, Sarah. The Portrait's Subject. University of North Carolina Press, 2019. http://dx.doi.org/10.5149/northcarolina/9781469652597.001.0001.
Full textPress, Sketchakos. Sketchbook Rat: Best Large Blank White Pages for Painting, Drawing, Writing, Sketching and Doodling, 110 Pages, 8. 5 X 11 . Practice How to Draw Workbook, Rat Gifts for Rat Lovers. Independently Published, 2022.
Find full textBook chapters on the topic "X-ray painting"
Glanville, H., H. Rousselière, L. de Viguerie, and Ph Walter. "CHAPTER 15. Mens Agitat Molem: New Insights into Nicolas Poussin's Painting Technique by X-ray Diffraction and Fluorescence Analyses." In Science and Art, 314–35. Cambridge: Royal Society of Chemistry, 2020. http://dx.doi.org/10.1039/9781839161957-00314.
Full textMurillo-Fuentes, Juan José, and Laura Alba. "Thread Counting in X-Rays of Plain-Weave Painting Canvas." In Advanced Characterization Techniques, Diagnostic Tools and Evaluation Methods in Heritage Science, 91–105. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-75316-4_7.
Full textVoss, Richard F. "Local Connected Fractal Dimension Analysis of Early Chinese Landscape Paintings and X-Ray Mammograms." In Fractal Image Encoding and Analysis, 279–97. Berlin, Heidelberg: Springer Berlin Heidelberg, 1998. http://dx.doi.org/10.1007/978-3-662-03512-2_16.
Full textZhang, Hai, Stefano Sfarra, Ahmad Osman, Clemente Ibarra-Castanedo, Panagiotis Theodorakeas, Nicolas P. Avdelidis, Maria Koui, Domenica Paoletti, and Xavier P. V. Maldague. "Nondestructive Investigation of Paintings on Canvas by Infrared Thermography, Air-Coupled Ultrasound, and X-Ray Radiography." In 10th International Symposium on the Conservation of Monuments in the Mediterranean Basin, 367–74. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-78093-1_39.
Full textVanmeert, Frederik, Steven De Meyer, Arthur Gestels, Ermanno Avranovich Clerici, Nina Deleu, Stijn Legrand, Piet Van Espen, et al. "Non-invasive and Non-destructive Examination of Artists’ Pigments, Paints and Paintings by Means of X-Ray Imaging Methods." In Analytical Chemistry for the Study of Paintings and the Detection of Forgeries, 317–57. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-86865-9_11.
Full textJanssens, Koen, Geert Van der Snickt, Frederik Vanmeert, Stijn Legrand, Gert Nuyts, Matthias Alfeld, Letizia Monico, et al. "Non-Invasive and Non-Destructive Examination of Artistic Pigments, Paints, and Paintings by Means of X-Ray Methods." In Topics in Current Chemistry Collections, 77–128. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-52804-5_3.
Full textStout, Samantha, Antonino Cosentino, and Carmelo Scandurra. "Non-invasive Materials Analysis Using Portable X-ray Fluorescence (XRF) in the Examination of Two Mural Paintings in the Catacombs of San Giovanni, Syracuse." In Digital Heritage. Progress in Cultural Heritage: Documentation, Preservation, and Protection, 697–705. Cham: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-13695-0_71.
Full textMarey Mahmoud, Hussein. "Painting on Fibers." In Preservation and Restoration Techniques for Ancient Egyptian Textiles, 60–92. IGI Global, 2022. http://dx.doi.org/10.4018/978-1-7998-4811-0.ch004.
Full textMould, Richard F. "Paintings and Museum Artefacts." In A Century of X-rays and Radioactivity in Medicine, 96–102. CRC Press, 2018. http://dx.doi.org/10.1201/9781315136271-16.
Full textTite, Michael, and Gareth Hatton. "The Production Technology of, and Trade in, Egyptian Blue Pigment in the Roman World." In Communities and Connections. Oxford University Press, 2007. http://dx.doi.org/10.1093/oso/9780199230341.003.0013.
Full textConference papers on the topic "X-ray painting"
Chuan-xun, Hou, Li Hong-cai, Ma Shi-xin, and Zhao Xiao-feng. "A comprehensive effect evaluation method of pattern painting camouflage based on entropy weighted similarity." In Second Symposium on Novel Technology of X-Ray Imaging, edited by Peng Liu, Yangchao Tian, and Tiqiao Xiao. SPIE, 2019. http://dx.doi.org/10.1117/12.2524556.
Full textLi, Danyu, Timothy B. Morgan, Luke D. Pulfer, and Theodore J. Heindel. "Visualizing Near-Field Spray Characteristics With Broadband X-Rays." In ASME 2017 Fluids Engineering Division Summer Meeting. American Society of Mechanical Engineers, 2017. http://dx.doi.org/10.1115/fedsm2017-69088.
Full textShen, Haoting, M. Tanjidur Rahman, Navid Asadizanjani, Mark Tehranipoor, and Swarup Bhunia. "Coating-Based PCB Protection against Tampering, Snooping, EM Attack, and X-ray Reverse Engineering." In ISTFA 2018. ASM International, 2018. http://dx.doi.org/10.31399/asm.cp.istfa2018p0290.
Full textЕ.Я., Зубавичус,, Вдовиченко, М.В., Седов, Вл.В., Трунькин, И.Н., Светогоров, Р.Д., Пожидаев, В.М., and Терещенко, Е.Ю. "WALL PAINTING FRAGMENTS FROM YURYEV-POLSKOY ARCHAEOLOGICAL EXPEDITION: FIRST FINDINGS OF NATURAL SCIENCE STUDIES." In Археология Владимиро-Суздальской земли. Crossref, 2021. http://dx.doi.org/10.25681/iaras.2021.978-5-94375-365-7.98-111.
Full textGoradzhanov, V., I. Chilingarian, I. Katkov, K. Grishin, V. Toptun, I. Kuzmin, and M. Demianenko. "Optical spectroscopic observations of intermediate-mass black holes and their host galaxies: the M BH − σ ∗ relation." In ASTRONOMY AT THE EPOCH OF MULTIMESSENGER STUDIES. Proceedings of the VAK-2021 conference, Aug 23–28, 2021. Crossref, 2022. http://dx.doi.org/10.51194/vak2021.2022.1.1.147.
Full textYin, Rujie, David Dunson, Bruno Cornelis, Bill Brown, Noelle Ocon, and Ingrid Daubechies. "Digital cradle removal in X-ray images of art paintings." In 2014 IEEE International Conference on Image Processing (ICIP). IEEE, 2014. http://dx.doi.org/10.1109/icip.2014.7025873.
Full textJohnson, Don H., Lucia Sun, C. Richard Johnson, and Ella Hendriks. "Matching canvas weave patterns from processing x-ray images of master paintings." In 2010 IEEE International Conference on Acoustics, Speech and Signal Processing, ICASSP 2010. IEEE, 2010. http://dx.doi.org/10.1109/icassp.2010.5495297.
Full textKlein, A. G., D. H. Johnson, W. A. Sethares, H. Lee, C. R. Johnson, and E. Hendriks. "Algorithms for Old Master painting canvas thread counting from x-rays." In 2008 42nd Asilomar Conference on Signals, Systems and Computers. IEEE, 2008. http://dx.doi.org/10.1109/acssc.2008.5074612.
Full textWaaler, Dag. "Contributions to spectral imaging of oil paintings using standard medical X-ray equipment." In 2015 Colour and Visual Computing Symposium (CVCS). IEEE, 2015. http://dx.doi.org/10.1109/cvcs.2015.7274901.
Full textAppoloni, C. R., M. S. Blonski, P. S. Parreira, and L. A. C. Souza. "Pigments Elementary Chemical Composition Study of a Gainsborough Attributed Painting Employing a Portable X-Rays Fluorescence System." In VI LATIN AMERICAN SYMPOSIUM ON NUCLEAR PHYSICS AND APPLICATIONS. AIP, 2007. http://dx.doi.org/10.1063/1.2710629.
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