Journal articles: 'X-ray painting'

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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.

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Raffaello is renowned as one of the Old Renaissance Masters and his paintings and painting technique are famous for the details and naturality of the characters. Raffaello is famous in particular for the then-new technique of oil painting, which he mastered and perfected. On the occasion of the 500th anniversary of the death of Raffaello (2020), there was a large exhibition at the Scuderie del Quirinale in Rome, where many paintings and drawings by the Old Master were on show. One of these paintings was the portrait of Leo X with two cardinals belonging to the collection of the Uffizi galleries in Florence. Before going to Rome, the painting underwent conservation treatments at the Opificio delle Pietre Dure, where a comprehensive diagnostic campaign was carried out with the aim of understanding the painting materials and technique of the Old Master. In this paper, the results of macro X-ray fluorescence (MA-XRF) analysis, carried out exploiting the instrument developed by INFN-CHNet, are shown. Among the results, “bismuth black” and the likely use of glass powders in lakes are discussed.

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Jovanović, 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.

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Out of a total of 56 paintings in the collection of the Lazar Vozarević Gallery in Sremska Mitrovica, only one Lazar Vozarević painting from 1961, titled “Untitled”, has been subject to atypical degradation that has resulted in damage of completely atypical appearance. Such a problem had never before been noticed in Yugoslavian paintings of the 20th century. Discolored areas were found in various locations on the paint layer of the painting “Untitled” (especially on the lower and central parts of the painting), which disturbed the visual experience of the artistic work. To discover the cause of this discoloration, the composition of the paint layer was investigated, with the assumption that the true cause of degradation was hidden therein. Moreover, this painting belongs to a specific period in Vozarević’s activity, characterized by the use of non-traditional painting materials. To identify pigments from the highly degraded painting “Untitled”, scanning electron microscopy coupled with energy dispersive X-ray spectrometry (SEM/EDS) and micro-Raman spectroscopy were applied. Lithol red, a synthetic organic pigment known to give paintings a red tone, was identified as the main reason for the painting’s degradation. Lithol red is not only highly light-sensitive but is also chemically unstable, toxic, and sensitive to heat.

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Simova, 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.

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Laboratory powder X-ray microdiffraction with a focusing monocapillary and linear multichannel detector was applied to phase identification in fragments of painting layers of art works, canvas and wall paintings, and polychromes on wood. This method is useful in materials research of painting layers with complex stratigraphy, and it is indispensable in distinguishing inorganic pigments of different natural provenance and revealing degradation products. The advantage of X-ray microdiffraction is its nondestructive nature and no need of sample pretreatment. Samples after microdiffraction can hence be used for other analyses or archived. Another advantage is the possibility to work with samples smaller than 1 mm, which is particularly important in the analysis of artworks where the sample amount or size is a serious limit of using the laboratory techniques of materials research. The X-ray equipment used is more economical and more easily accessible than other microdiffraction techniques and is, hence, suitable for routine analytical work.

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Martins, 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.

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Examining the painting Woman, Old Man, and Flower (1923–24) by Max Ernst with macro-X-ray fluorescence scanning (MA-XRF), X-ray radiography (XRR) as well as photography under ultraviolet (UVF), infrared reflected (IRR) and transmitted (IRT) illumination revealed the existence and sequence of three distinct paintings concealed under the final composition. The study confirmed a known and previously documented intermediate composition and uncovered two additional states: a very first state exposed by XRR, and a third state revealed in the elemental distribution maps obtained by MA-XRF. The complimentary images document the insertion, mutation, and concealing of several human and anthropomorphic subjects across the four layers, expanding our understanding of the painting and of Ernst’s collage-like pictorial development. In addition, a list of pigments is proposed based on the elemental information provided by MA-XRF, contributing to the technical literature devoted to the materials of Ernst’s paintings during the transitional period between Dada and Surrealism.

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Dredge, 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.

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An oil painting by Claude Monet, Port-Goulphar, Belle-Ile 1887 (collection of the Art Gallery of New South Wales), was examined to determine both the identity of the pigments used by the artist in this painting and his technique of mixing colors and laying paint on the canvas. The extremely complex construction of the painting was revealed by optical microscopy, scanning electron microscopy (SEM), energy dispersive X-ray analysis (EDS), and X-ray mapping (XRM) analysis of cross sections of paint flakes excised from damaged regions of Port-Goulphar, Belle-Ile. Nine different pigments were found on the painting. Many of the identified colors were modern pigments that became available only late in the 19th century as a result of scientific advances in pigment chemistry. Although similar colors were available in a natural mineral form, they lacked the vivid color of their manufactured counterparts. The use of these new synthetic metallic oxide colors by Monet accounts for the brilliance of his paintings. In addition, a separation between successive paint layers was observed in some areas of paint chip cross sections, indicating that oil-based paint was applied to paint that had dried, and consequently, Port-Goulphar, Belle-Ile was painted over a long period of time. This observation is contrary to the general perception of Monet's technique of painting freely and quickly.

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Gil-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.

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The archaeological site of Cercadilla (Cordoba, Spain) includes a complete chronological sequence from the 3rd to 12th centuries. The most relevant monument is a Roman palace dated between the end of the 3rd century and the beginning of the 4th century AD. It is believed that it was the headquarters of the Emperor Maximiano Herculeo. A bathtub with mural paintings has been found in the thermal zone of the palace. Regarding the occupation of the archaeological site in the medieval period, it should be pointed out that two houses with mural paintings were found; these belong to the Caliphal era (10th-11th centuries). During the Caliphal era, the archaeological site was mostly occupied by one of the large suburbs surrounding the walled city. Cercadilla was gradually abandoned; this process starts at the beginning of the 11th century. This study is focused on the analysis of pigments and preparatory layers of red and white mural paintings of the Roman period in the bath zone and on the analysis of pigments in mural paintings in two houses of the Caliphal era. In the thermal zone, the walls have a white mural painting with vertical and horizontal red bands, while the walls in the two Caliphal houses present the red mural painting decorated with white stripes. Techniques such as Optical Microscopy (OM), Scanning Electron Microscopy in combination with Energy Dispersive X-ray Microanalysis (SEM-EDX), X-ray Diffraction (XRD), micro X-ray Diffraction (μ-XRD), Wavelength Dispersive X-ray Fluorescence (WD-XRF), and Fourier Transform-Infrared Spectroscopy (FT-IR) have been used to study the mural paintings of this archaeological site. The results allowed to determine the composition of the materials used and to understand the differences between the technologies employed in Roman and Caliphal remains studied.

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Han, 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.

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AbstractDisputes on the painting methods of Goguryeo murals can mainly be categorized into whether the murals adapted eastern secco or western fresco; however, the murals have their own unique methods as well. There are different viewpoints among experts on interpreting the painting methods. This study involved the creation of research samples to discover the painting methods under dispute and may help discover the methods based on scanning electron microscopy energy-dispersive X-ray spectroscopy (SEM-EDX) studies. Goguryeo murals introduced pseudo-fresco rather than buon fresco methods. Unlike fresco techniques in the West, Goguryeo painters mixed traditional soft binders and adapted typical secco painting techniques for paintings, borders, and corrections after drying. The disputed issues may be resolved by these techniques, and samples may be produced based on the analyzed data. Therefore, many questions can finally be answered through SEM-EDX elemental mapping.

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Kader, 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.

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The Wall paintings in Bahariya oasis expose to various deterioration factors, especially the resulted deterioration from the geological nature of sandstones' supports; sandstone of Bahariya formation is considered the weakest sandstone type in Egypt because of its geological formation which contains a very big percentage of iron oxides. Sandstone samples were taken, analyzed and examined by x-ray diffraction and scanning electron microscope, the iron oxides are thecement material in sandstone which affect negatively on the wall paintings in the selected tombs (Badi –Ishtarand Bannantiu tombs),they caused a lot of deterioration phenomena to the wall painting layers like: layers loss,black spots, cracking through all the layers and sandstone support weakness that threatens the remaining wall paintings and the safety of the tombs. Iron oxides percentage in Badi – Ishtartomb is more than Bannantiu tomb and this is reflected on the wall paintings case in Badi – Eshtar. This research sheds the light on this phenomenon and its effect on the wall painting's deterioration.

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Lizun, 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.

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This article gathers, for the first time, some intriguing technical features of Liu Kang’s painting practice, which spans seven decades. These features encompass retouching, alteration as well as the painting over of rejected compositions and painting on the reverse sides of earlier artworks. As Liu Kang (1 91 1–2004) did not discuss the technical details of his artistic process, an exploration of these aspects of the artist’s expression helps us understand the motivation behind his unconventional decisions. The paint layers were characterised through imaging methods like visible light (VIS), ultraviolet fluorescence (UVF), near-infrared (NIR), reflectance transformation imaging (RTI), digital optical microscopy (DOM) and X-ray radiography (XRR). The technical analyses were additionally supplemented with archival sources. The results showed that some aspects of the artist’s painting practice may distort the provenance of the paintings, impact dating, visual interpretation of his painting technique and style, as well as future conservation and display decisions. The presented case studies discuss the influence of Liu Kang’s unconventional painting approaches on the perception and interpretation of his artworks. Additionally, some hidden alterations and entirely new compositions were revealed for the first time and presented here, adding to growing knowledge about the artist’s painting technique. Moreover, universal aesthetical and ethical considerations were discussed in the context of the conservation and display approach to the artist’s retouching work and double-sided paintings. Besides, this research promotes a need for obtaining a comprehensive understanding of Liu Kang’s painting practice and coherent guidelines to ensure proper presentation of his artworks and to prevent misinterpretation of his technique and artistic outcomes.

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Lau, 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.

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Li, Jiaxin, Bingjie Mai, Peng Fu, Gele Teri, Yanli Li, Jing Cao, Yuhu Li, and Juanli Wang. "Multi-Analytical Research on the Caisson Painting of Dayu Temple in Hancheng, Shaanxi, China." Coatings 11, no. 11 (November 9, 2021): 1372. http://dx.doi.org/10.3390/coatings11111372.

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In this research, the caisson painting of Dayu Temple in Hancheng, Shaanxi, China, was analyzed via a multi-analytical methodology, using a pH meter, an ultra-depth-of-field optical microscope, a scanning electron microscope-energy dispersive spectrometer (SEM-EDS), a high-resolution X-ray diffractometer (XRD), a micro-confocal laser Raman spectrometer, a gas chromatography mass spectrometer (GC-MS), and X-ray fluorescence spectroscopy (XRF). With the corroborative evidence derived from the above analyses, it could be determined that the caisson painting of Dayu Temple was painted on bamboo paper and attached to hemlock wood substrate of the Pinaceae Tsuga genus using starch paste, with common colorants such as carbon black, cinnabar mixed with a small amount of red lead, ultramarine, and ultramarine mixed with Paris green, with animal glue having been adopted as a sizing agent. These results provide important scientific data for the production craft of precious caisson paintings, contributing to the revelation of their historic, artistic, and scientific value, and should enable conservators to make informed decisions in restoration.

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Insaurralde Caballero, Mirta, and María Castañeda-Delgado. "At the Core of the Workshop: Novel Aspects of the Use of Blue Smalt in Two Paintings by Cristóbal de Villalpando." Arts 10, no. 2 (April 14, 2021): 25. http://dx.doi.org/10.3390/arts10020025.

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During the seventeenth century, the use of smalt and indigo became increasingly common among painters’ workshops in New Spain. The unprecedented importance of these two blue pigments in oil painting may be explained by artistic and geopolitical circumstances. This article expands on the use of blue smalt—a byproduct of glass production and a material that lacks in-depth study in viceregal painting—by focusing on the technical analysis of El Triunfo de la Eucaristía and La Asunción painted by Cristóbal de Villalpando (ca. 1649–1714), which are part of the collection of the Museo Regional de Guadalajara (Mexico). The technological and material study of both paintings, situated within the trade and circulation of painting materials at the turn of the eighteenth century, shows how the painter deployed techniques rooted in his predecessors while incorporating particular technical adaptations. The authors examine cross-section samples of Villalpando’s paintings with optical microscopy, Scanning electron microscopy with energy dispersive X-ray spectroscopy (SEM-EDX), and Fourier-transformed infrared spectroscopy (FT-IR), and were able to identify different qualities of smalt as well to suggest a possible provenance. These analyses evidence novel aspects in the painting tradition of workshops in New Spain that ultimately reverberated in practices of the long eighteenth century.

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Zou, Weihan, and Sok-Yee Yeo. "Investigation on the Painting Materials and Profile Structures Used in Ancient Chinese Folk Architectural Paintings by Multiple Analytical Methods." Coatings 12, no. 3 (February 28, 2022): 320. http://dx.doi.org/10.3390/coatings12030320.

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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.

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Hayakawa, Yasuhiro, Seiji Shirono, Sadatoshi Miura, Tomohide Matsushima, and Tokugo Uchida. "Nondestructive analysis of a painting, a national treasure in Japan." Powder Diffraction 22, no. 2 (June 2007): 126–29. http://dx.doi.org/10.1154/1.2737467.

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The painting materials and drawing techniques of a pair of two-panel folding screens entitled Red and White Plum Blossoms by Ogata Korin, a national treasure in Japan, were investigated directly and nondestructively by XRF, X-ray radiography, and high resolution digital imaging. Several assumptions were made about the materials used in the red and white plum trees drawn on the right and left screens, respectively, and the river drawn at the center. By the present investigation, the materials used for the paintings were revealed, and some of them contradicted what have been previously believed.

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D'Amico, Sebastiano, Valentina Venuti, Emanuele Colica, Vincenza Crupi, Giuseppe Paladini, Sante Guido, Giuseppe Mantella, and Domenico Majolino. "A combined 3D surveying, XRF and Raman in situ investigation on The Conversion of St Paul painting (Mdina, Malta) by Mattia Preti." ACTA IMEKO 10, no. 1 (March 31, 2021): 173. http://dx.doi.org/10.21014/acta_imeko.v10i1.824.

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This paper presents the results of three different approaches applied to the newly-restored titular painting entitled <em>The Conversion of St Paul</em>, the main altarpiece in the Mdina Cathedral in Malta. This large, dramatic painting is the work of the Baroque artist, Mattia Preti, known as <em>il Cavaliere Calabrese</em>. Here, we focus on the results of the digital photogrammetric survey that adopts image-based approaches for 2D/3D model reconstruction. The model was used to quantify important features of the painting as well extensions of the areas restored. In addition, portable X-ray fluorescence and Raman spectroscopies were used to non-destructively identify the nature of the painting materials, at the elemental and molecular spatial scales, respectively, with the ultimate goal of reconstructing the colour palette of the artist. The 3D model developed here could be applied to other paintings of Preti to conduct comparisons between different measurements in the paintings, with the main goal of clarifying the technique used by the artist. This information, along with the characterisation of the materials used, is crucial for the reconstruction of the historical–geographical context of the artwork, since specific pigmenting agents and media tend to represent the stylistic expression of an artist or an epoque.

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Al-Emam, Ehab, Victoria Beltran, Steven De Meyer, Gert Nuyts, Vera Wetemans, Karolien De Wael, Joost Caen, and Koen Janssens. "Removal of a Past Varnish Treatment from a 19th-Century Belgian Wall Painting by Means of a Solvent-Loaded Double Network Hydrogel." Polymers 13, no. 16 (August 10, 2021): 2651. http://dx.doi.org/10.3390/polym13162651.

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Polymeric materials have been used by painting conservator-restorers as consolidants and/or varnishes for wall paintings. The application of these materials is carried out when confronting loose paint layers or as a protective coating. However, these materials deteriorate and cause physiochemical alterations to the treated surface. In the past, the monumental neo-gothic wall painting ‘The Last Judgment’ in the chapel of Sint-Jan Berchmanscollege in Antwerp, Belgium was treated with a synthetic polymeric material. This varnish deteriorated significantly and turned brown, obscuring the paint layers. Given also that the varnish was applied to some parts of the wall painting and did not cover the entire surface, it was necessary to remove it in order to restore the original appearance of the wall painting. Previous attempts carried out by conservator-restorers made use of traditional cleaning methods, which led to damage of the fragile paint layers. Therefore, gel cleaning was proposed as a less invasive and more controllable method for gently softening and removing the varnish. The work started by identifying the paint stratigraphy and the deteriorated varnish via optical microscopy (OM), scanning electron microscopy coupled with energy-dispersive X-ray spectroscopy (SEM-EDX), X-ray diffraction (XRD), and Fourier-transform infrared (FTIR) spectroscopy. A polyvinyl alcohol–borax/agarose (PVA–B/AG) hydrogel loaded with a number of solvents/solvent mixtures was employed in a series of tests to select the most suitable hydrogel composite. By means of the hydrogel composite loaded with 10% propylene carbonate, it was possible to safely remove the brown varnish layer. The results were verified by visual examinations (under visible light ‘VIS’ and ultraviolet light ‘UV’) as well as OM and FTIR spectroscopy.

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Loboda, Anastasia Yu, Igor N. Trunkin, Roman D. Svetogorov, Victor M. Pojidaev, Andrey V. Kamaev, Sergey N. Malakhov, Kirill Yu Pelve, et al. "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." Materials in Archaeology, History and Ethnography of Tauria, no. XXVI (2021): 156–74. http://dx.doi.org/10.37279/2413-189x.2021.26.156-174.

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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.

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Fu, Peng, Ge-Le Teri, Jing Li, Jia-Xin Li, Yu-Hu Li, and Hong Yang. "Investigation of Ancient Architectural Painting from the Taidong Tomb in the Western Qing Tombs, Hebei, China." Coatings 10, no. 7 (July 17, 2020): 688. http://dx.doi.org/10.3390/coatings10070688.

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The Taidong Tomb in the imperial tombs of the Qing dynasties has great aesthetic value and a rich history. In this study, we conducted the first investigation ever performed on the raw materials used in the paintings in the Taidong Tomb. Energy dispersive X-ray spectroscopy (EDX), polarized light microscopy (PLM), X-ray diffraction (XRD), micro-Raman spectroscopy (m-RS), Fourier-transform infrared spectroscopy (FTIR) and pyrolysis–gas chromatography–mass spectrometry (Py-GC/MS) were used to comprehensively analyze the painting of Long’en Hall, Xipei Hall and the ceiling of Minglou. In the conclusion of the study, the paintings were found to contain natural mineral and synthetic pigments, including atacamite (Cu2Cl(OH)3), azurite (2CuCO3·Cu(OH)2), vermilion (HgS), carbon black (C), anglesite (PbSO4), white lead (2PbCO3·Pb(OH)2), synthetic emerald green (Cu(CH3COO)2·3Cu(AsO2)2) and ultramarine ((Na,Ca)8(AlSiO4)6(SO4,S,Cl)2). This allows us to conclude that some of the architectural paintings were repainted in the mid-to-late 19th century. The mortar layer may consist of brick ash (albite, gismondine), lime water, tung oil and flour. The fiber layer material may be ramie. Researching the raw materials of the paintings in the Taidong Tomb is of great value because it provides scientific data for the future preservation of the paintings in the tomb.

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Bourached, Anthony, George H. Cann, Ryan-Rhys Griffths, and David G. Stork. "Recovery of underdrawings and ghost-paintings via style transfer by deep convolutional neural networks: A digital tool for art scholars." Electronic Imaging 2021, no. 14 (January 18, 2021): 42–1. http://dx.doi.org/10.2352/issn.2470-1173.2021.14.cvaa-042.

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We describe the application of convolutional neural network style transfer to the problem of improved visualization of underdrawings and ghost-paintings in fine art oil paintings. Such underdrawings and hidden paintings are typically revealed by x-ray or infrared techniques which yield images that are grayscale, and thus devoid of color and full style information. Past methods for inferring color in underdrawings have been based on physical x-ray uorescence spectral imaging of pigments in ghost-paintings and are thus expensive, time consuming, and require equipment not available in most conservation studios. Our algorithmic methods do not need such expensive physical imaging devices. Our proof-ofconcept system, applied to works by Pablo Picasso and Leonardo, reveal colors and designs that respect the natural segmentation in the ghost-painting. We believe the computed images provide insight into the artist and associated oeuvre not available by other means. Our results strongly suggest that future applications based on larger corpora of paintings for training will display color schemes and designs that even more closely resemble works of the artist. For these reasons refinements to our methods should find wide use in art conservation, connoisseurship, and art analysis.

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Domínguez-Delmás, Marta, Francien G. Bossema, Jan Dorscheid, Sophia Bethany Coban, Moorea Hall-Aquitania, K. Joost Batenburg, and Erma Hermens. "X-ray computed tomography for non-invasive dendrochronology reveals a concealed double panelling on a painting from Rubens’ studio." PLOS ONE 16, no. 8 (August 27, 2021): e0255792. http://dx.doi.org/10.1371/journal.pone.0255792.

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Dating the wood from historical art objects is a crucial step to ascertain their production time, and support or refute attribution to an artist or a workshop. Dendrochronology is commonly used for this purpose but requires access to the tree-ring pattern in the wood, which can be hindered by preparatory layers, polychromy, wax, or integrated frames. Here we implemented non-invasive dendrochronology based on X-ray computed tomography (CT) to examine a painting on panel attributed to Rubens’ studio and its presumed dating around 1636 CE. The CT images achieved a resolution of 37.3 micron and revealed a double panelling, which was concealed by oak strips covering all four edges. The back (visible) board is made of deciduous oak (Quercus subg. Quercus), the most common type of wood used in 17th-century Netherlandish workshops, and was dated terminus post quem after 1557 CE. However, the front (original) board used for the painting has been identified through examination of the wood anatomy as a tropical wood, probably Swietenia sp., a species seldom used in Netherlandish paintings, and remains undated. Its very presence attests the global character of 17th-century trade, and demonstrates the use of exotic species in Flemish studios. The date of the oak board refutes previous results and suggests that this board was trimmed to meet the size of the tropical one, having been glued to it for conservation purposes or with deceiving intentions to pretend that the painting was made on an oak panel. These revelations have opened new lines of art historical inquiry and highlight the potential of X-ray CT as a powerful tool for non-invasive study of historical art objects to retrieve their full history.

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Pasquale, S., G. Politi, L. Pronti, M. Romani, G. Viviani, M. Cestelli Guidi, M. Angelucci, and A. M. Gueli. "Analysis of the distribution of titanium oxide nanoparticles on paintings." Journal of Physics: Conference Series 2204, no. 1 (April 1, 2022): 012070. http://dx.doi.org/10.1088/1742-6596/2204/1/012070.

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Abstract This work is addressed to analyse the distribution of titanium dioxide nanoparticles on painting crossing data coming from two methodologies. Scanning Electron Microscope and Proton Induced X-Ray emission techniques have been employed in the study of the interaction between a colloidal dispersion constituted by titanium dioxide nanoparticles and the painting surface. The former e was used to understand and morphology of the painting and to investigate the distribution of the nanoparticles on the entire cross section of the pictorial layers. Proton induced X-ray emission is aimed at examining the surface titanium distribution by mapping. This study is important because the exploitation of the photocatalytic activity of the titanium dioxide is possible only in the case of absorption of proper energy that can promote the oxide reduction reactions and thus the dirt and dust degradation.

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Vázquez de Ágredos Pascual, Mª Luisa, Cristina Vidal Lorenzo, and Gaspar Muñoz Cosme. "Archaeometrical Studies of Classic Mayan Mural Painting at Peten: La Blanca and Chilonche." MRS Proceedings 1618 (2014): 45–62. http://dx.doi.org/10.1557/opl.2014.454.

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ABSTRACTLa Blanca and Chilonche are two of the many Mayan settlements located on the lower reaches of the Mopan river (Department of Petén, Guatemala). The archaeological work conducted by La Blanca Project (University of Valencia, Spain) over the last ten years has revealed the rich polychrome of the monumental architecture of these sites, where the remains of ancient mural paintings are of the highest quality.In order to ascertain the materials and techniques used by painters at each site throughout the Classic period, our research team has recently conducted an analytical study with a multi-technique approach based on the combination of several non destructive and micro-destructive instrumental techniques, namely, light microscopy (LM), scanning electron microscopy-X-ray microanalysis (SEM/EDX), transmission electron microscopy (TEM), voltammetry of microparticles (VMP), X-ray microdiffraction (mXRD), X-ray diffraction (XRD), UVeVis spectrophotometry, FTIR spectroscopy and gas chromatographyemass spectrometry (GCeMS). These instrumental techniques provide reliable and complementary data, such as elemental and mineralogical composition, the identification of functional groups as well as specialization studies of electroactive species.This paper presents the results obtained at the Laboratories for the Analysis of Works of Art at the University of Valencia (Spain) and the Polytechnic University of Valencia (Spain) after chemically comparing the pigments and mural painting techniques of both Maya archaeological sites.

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Matsuoka, A., K. Yamada, M. Hayashi, and T. Sofuni. "Chromosome painting analysis of lymphocytes from X-ray treated cancer patients." Mutation Research/Environmental Mutagenesis and Related Subjects 360, no. 3 (August 1996): 256. http://dx.doi.org/10.1016/s0165-1161(96)90120-x.

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Dooryhée, E., M. Anne, I. Bardiès, J. L. Hodeau, P. Martinetto, S. Rondot, J. Salomon, G. B. M. Vaughan, and P. Walter. "Non-destructive synchrotron X-ray diffraction mapping of a Roman painting." Applied Physics A 81, no. 4 (September 2005): 663–67. http://dx.doi.org/10.1007/s00339-005-3281-6.

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Cortea, Ioana Maria, Lucian Ratoiu, Luminița Ghervase, Ovidiu Țentea, and Mihaela Dinu. "Investigation of Ancient Wall Painting Fragments Discovered in the Roman Baths from Alburnus Maior by Complementary Non-Destructive Techniques." Applied Sciences 11, no. 21 (October 27, 2021): 10049. http://dx.doi.org/10.3390/app112110049.

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In this study, several wall painting fragments discovered in the Roman baths from the archeological site Alburnus Maior (Roşia Montană, Romania) were analyzed with the aim to investigate the material composition of both plasters and pictorial layers. Dated from the beginning of the second century AD, these rare findings stand among the oldest examples of preserved decorative polychrome paintings on plaster excavated thus far in the former territory of the Roman province of Dacia. A non-destructive multi-analytical approach based on complementary techniques was considered: Fourier transform infrared (FTIR) spectroscopy, X-ray fluorescence (XRF), X-ray diffraction (XRD), UV fluorescence, and hyperspectral imaging (HSI). The obtained results highlight a common Roman color palette mainly based on naturally occurring earth pigments. Red ochre, yellow ochre, manganese-rich ochres/wads, carbon black, and calcite were identified. A traditional two-layer sequence of plasters was found—arriccio (based on lime and siliceous sands), and intonaco (pure lime). The presence of an organic protein binder, identified via FTIR analysis, and sustained by combined imaging documentation, indicates that the pigments were applied a secco. The obtained results are discussed in relation to previous published data, and they can be considered as valuable archeological indicators that contribute to the understanding of the painting techniques and the materials used in the Roman provinces.

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Rampazzi, Laura, Cristina Corti, Ludovico Geminiani, and Sandro Recchia. "Unexpected Findings in 16th Century Wall Paintings: Identification of Aragonite and Unusual Pigments." Heritage 4, no. 3 (September 15, 2021): 2431–48. http://dx.doi.org/10.3390/heritage4030137.

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Sixteenth century wall paintings were analyzed from a church in an advanced state of decay in the Apennines of central Italy, now a remote area but once located along the salt routes from the Po Valley to the Ligurian Sea. Infrared spectroscopy (FTIR-ATR), X-ray diffraction (XRD) and scanning electron microscopy (SEM) with a microprobe were used to identify the painting materials, as input for possible future restoration. Together with the pigments traditionally used for wall painting, such as ochre, ultramarine blue, bianco di Sangiovanni, cinnabar/vermilion, azurite, some colors were also found to have only been used since the 18th century. This thus suggests that a series of decorative cycles occurred after the church was built, confirmed by the multilayer stratigraphy of the fragments. Some of these colors were also unusual, such as clinochlore, Brunswick green, and ultramarine yellow. The most notable result of the analytical campaign however, was the ubiquitous determination of aragonite, the mineralogical form of calcium carbonate, mainly of biogenic origin. Sources report its use in Roman times as an aggregate in mortars, and in the literature it has only been shown in Roman wall paintings. Its use in 16th century wall paintings is thus surprising.

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Falkenberg, Gerald, Frank Seiboth, Frieder Koch, Ken Vidar Falch, Andreas Schropp, Dennis Brückner, and Jan Garrevoet. "CRL optics and silicon drift detector for P06 Microprobe experiments at 35 keV." Powder Diffraction 35, S1 (August 5, 2020): S34—S37. http://dx.doi.org/10.1017/s0885715620000536.

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A provisional setup for X-ray microprobe experiments at 35 keV is described. It is based on compound refractive lenses (CRLs) for nanofocusing and a Vortex silicon drift detector with 2 mm sensor thickness for increased sensitivity at high energies. The Microprobe experiment (PETRA III) generally uses Kirkpatrick-Baez mirrors for submicrometer focusing in the energy range of 5–21 keV. However, various types of scanning X-ray microscopy experiments require higher excitation energies. The CRL optics were characterized by X-ray ptychography and X-ray fluorescence (XRF) knife edge scans on a siemens star pattern and showed beam sizes down to 110 nm. The performance of the new setup for microscopic X-ray diffraction (XRD)–XRF scanning X-ray microscopy measurements at 35 keV is demonstrated on a cross-section of a painting fragment.

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Venuti, V., F. Caridi, E. Colica, V. Crupi, S. D’Amico, S. Guido, D. Majolino, G. Paladini, and G. Mantella. "Diagnostic investigation of the Cycle of the New Church of Sarria (Floriana, Malta) by Mattia Preti." Journal of Physics: Conference Series 2204, no. 1 (April 1, 2022): 012023. http://dx.doi.org/10.1088/1742-6596/2204/1/012023.

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Abstract In the present paper, we present the main results of a diagnostic investigation on different paintings by Mattia Preti, belonging to the Cycle of the New Church of Sarria, located inside the Church of the Immaculate Conception of Sarria (Floriana) in Malta. The analysis was carried out on the occasion of the restoration process and, due to the short time available, only on some representative areas of each painting. A multi-technique approach was applied in situ, employing X-ray fluorescence spectroscopy (XRF) and Raman microscopy. The aim was to achieve information on the execution technique, in a completely non-invasive way, following the requirements of the restorers.

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Wilson, R. Mark. "X-ray imaging shows how a 17th-century painting lost its color." Physics Today 75, no. 8 (August 1, 2022): 19–20. http://dx.doi.org/10.1063/pt.3.5058.

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Simova, V., P. Bezdicka, J. Hradilova, D. Hradil, E. Kotulanova, and T. Grygar. "X-ray powder microdiffraction: useful tool in investigation of wall painting layers." Acta Crystallographica Section A Foundations of Crystallography 61, a1 (August 23, 2005): c76. http://dx.doi.org/10.1107/s0108767305096789.

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Kotulanova, E., P. Bezdicka, T. Grygar, S. V. Grunwaldova, D. Hradil, and J. Hradilova. "Powder X-ray microdiffraction in research of wall painting damage by salts." Acta Crystallographica Section A Foundations of Crystallography 62, a1 (August 6, 2006): s188. http://dx.doi.org/10.1107/s0108767306096255.

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Neelmeijer, C., and M. Mäder. "The merits of particle induced X-ray emission in revealing painting techniques." Nuclear Instruments and Methods in Physics Research Section B: Beam Interactions with Materials and Atoms 189, no. 1-4 (April 2002): 293–302. http://dx.doi.org/10.1016/s0168-583x(01)01074-6.

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Blümich, Bernhard, Eleonora Del Federico, Denis Jaschtschuk, Markus Küppers, Katelin Fallon, Adelaide Steinfeld, and Paolo Tomassini. "Nondestructive Analysis of Wall Paintings at Ostia Antica." Heritage 4, no. 4 (November 20, 2021): 4421–38. http://dx.doi.org/10.3390/heritage4040244.

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Roman wall paintings at Ostia Antica were studied for the first time in situ in an integrated approach using nuclear magnetic resonance (NMR) depth profiling, portable X-ray fluorescence (XRF), and visible induced luminescence (VIL) in order to explore the materials used in their construction and gain insight into the evolution of the Roman painting technique over time. NMR revealed the signatures of covered wall paintings through details of the structure of the top painted mortar layers, and the loss of this information that can be encountered when paintings are detached from the wall for preservation purposes. XRF provided information about the pigment composition of the paintings, and VIL was used to identify Egyptian Blue. Egyptian Blue was only found in the earlier wall paintings studied dating from 1st century B.C.E. to the 1st century C.E. The pigment palette seems to become limited to iron-based pigments in the later paintings, whereas the palette of the earlier paintings appears to be more varied including mercury, lead, and copper-based pigments.

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Ricca, Michela, Maria Francesca Alberghina, Negin Derakhshan Houreh, Aybuke Sultan Koca, Salvatore Schiavone, Mauro Francesco La Russa, Luciana Randazzo, and Silvestro Antonio Ruffolo. "Preliminary Study of the Mural Paintings of Sotterra Church in Paola (Cosenza, Italy)." Materials 15, no. 9 (May 9, 2022): 3411. http://dx.doi.org/10.3390/ma15093411.

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A multi-analytical approach was employed to study wall paintings located in the Sotterra church at Paola, in the province of Cosenza, Italy. The site is an underground church (hence the name of Sotterra, which means “under the earth”) rediscovered in the second half of the 19th century, during the building works of the Madonna del Carmine church on the same area. This underground church preserves valuable mural paintings having different styles. The construction’s dating and overlapped modifications made until the site was abandoned is also debated. A wall painting, depicting “The Virgin” as part of the “Annunciation and the Archangel Gabriel” present on the opposite side of the apse, was selected and investigated using both in situ and laboratory-based analysis. Preliminarily, the non-destructive investigations involved several analytical techniques (IR imaging, UV-Induced Visible Fluorescence, and X-ray Fluorescence analyses) that provided mapping and characterization of pictorial layers and first data about deterioration phenomena. On the basis of this information, a more in-depth study was conducted on micro-fragments aimed at characterizing the stratigraphy and to identify the artist’s technique. Cross-sections were analysed using polarized optical microscopy and electron scanning microscopy coupled with energy-dispersive X-ray spectroscopy to obtain morphological and chemical information on the selected pictorial micro-fragments of the wall painting. The results allowed to characterize the pigments and provide better readability of the whole figure, revealing details that are not visible to the naked eye, important for future historical-artistic and conservative studies. The results represent the first step of a systematic archaeometric research aimed at supporting the ongoing historical-stylistic studies to distinguish the different building phases hypothesized for this religious site which remained buried for three centuries.

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Peggie, David, Helen Howard, Jo Kirby, and Jens Najorka. "The Unexpected Discovery of Syngenite on Margarito d’Arezzo’s The Virgin and Child Enthroned, with Scenes of the Nativity and the Lives of the Saints (Probably 1263–4) and Its Possible Use as a Yellow Lake Substrate." Heritage 6, no. 2 (January 17, 2023): 762–78. http://dx.doi.org/10.3390/heritage6020041.

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The oldest painting in the National Gallery collection, The Virgin and Child Enthroned by Margarito d’Arezzo (NG564), dated to about 1263–4, depicts the Virgin and Child in a mandorla, surrounded by scenes of the Nativity and lives of the saints, set within red and decorative black borders, against a gilded background. The materials and technique were investigated using a combination of non-invasive techniques, such as Fibre Optic Reflectance Spectroscopy (FORS) and macro X-ray fluorescence scanning (MA-XRF), and the analysis of a small number of paint samples using energy dispersive X-ray analysis in the scanning electron microscope (SEM-EDS), High-Performance Liquid Chromatography (HPLC), Attenuated Total Reflectance—Fourier transform infrared spectroscopy (ATR-FTIR) and micro X-ray Diffraction (micro-XRD). The results provided evidence for the use of a number of organic colourants, with both indigo and red lake pigments identified. The finding of an unusual compound, syngenite (K2Ca(SO4)2·H2O), is here postulated as a potential substrate for an organic yellow lake pigment. In addition, reference pigments were prepared to explore this hypothesis. Although documentary evidence confirms that yellow lakes were being produced from an early date, there is very little direct evidence for their use in 13th-century panel paintings.

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Zubin Ferri, Tea, Emina Pustijanac, Ines Kovačić, and Josipa Bilić. "Micro-analytical Evidence of Copper-Based Pigment and Fungal Contamination of Medieval Mural Paintings in Beram, Croatia." Microscopy and Microanalysis 25, no. 6 (September 27, 2019): 1471–81. http://dx.doi.org/10.1017/s143192761901496x.

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AbstractThe aim of the present study was to map the painting materials, degradation processes, and biological features present on the mural painting in the church of St. Mary in Beram (Croatia) to study their possible interaction and produce information helping the preservation of this valuable painting. The research was conducted on micro samples of painting materials taken from different sites along the painting and the characterization of the present fungal species was carried out. The painting samples, together with observable patinas and degradation products, were studied by optical microscopy (OM), scanning electron microscopy, energy-dispersive spectroscopy (SEM/EDS), Fourier-Transform Infrared spectroscopy, and powder X-ray diffraction. Fungal diversity was studied using cultivation methods followed by OM and SEM analyses in addition to molecular analysis. The results contribute to the characterization of the original painting materials, successively added materials and occurred interventions, to the understanding of degradation progressions and fungal biotransformation processes. A mineral, cumengite, a copper-based pigment extremely rarely used in art, was found. Its occurrence together with barium sulfate, gypsum, and calcium oxalate possibly produced by microbiological activity was studied and information was added regarding the composition of painting materials in St. Mary church mural cycle.

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Alonso, A., N. A. Pérez, J. L. Ruvalcaba Sil, E. Casanova, P. Claes, V. Aguilar Melo, and J. Cañetas. "Comparative Spectroscopic Analysis of Maya Wall Paintings from Ek’Balam, Mexico." MRS Proceedings 1618 (2014): 63–72. http://dx.doi.org/10.1557/opl.2014.455.

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ABSTRACTThe Maya archaeological site of Ek’Balam is located in Yucatán, Mexico. This place is known for its artistic tradition of reliefs modeled in stucco as well as the rich pictorial and hieroglyphic texts. Although the mural played a key role in the artistic program architectural of elite groups, most of these remains have not been studied, either by its incomplete or fragile condition, or by localization in inaccessible substructures.In this study, technical aspects of the mural paintings from rooms 12 and 50 of the main building of the site are addressed by the spectroscopic analysis of its materials. Optical microscopy was used to observe the layers superposition and pigment distribution, while the stucco and rock support were characterized by X-ray Diffraction (XRD) and X-ray Fluorescence (XRF). Moreover, the chromatic palette composed of different colors and tones of red, yellow, orange, green, blue and black were analyzed mainly with non-invasive techniques using Raman and FTIR spectroscopies as well as XRF.The information obtained from the combination of these analytical techniques, allowed a better understanding of the similarities and differences between these two rooms that were built during the last construction stage of the Acropolis. These results were also compared with previous analyses of mural painting of this site and other Maya paintings.

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Antunes, Serrão, Valadas, Candeias, Mirão, Cardoso, Manso, and Carvalho. "A Painter in the Shadow: Unveiling Conservation, Materials and Techniques of the Unknown Luso-Flemish Master of Lourinhã." Heritage 2, no. 4 (October 24, 2019): 2725–44. http://dx.doi.org/10.3390/heritage2040169.

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The painting collection of Santa Casa da Misericórdia da Lourinhã is amongst Portugal’s most notable and scarcely best-known cultural heritage. The artistic interest of this pictorial group, besides the advanced state of degradation of a number of the paintings, together with the ruined circumstances of the building accommodating the collection, today in reconstruction, were the key reasons for this study. Thermo-hygrometric measurements were carried out. A multianalytical methodology incorporating micro-X-ray diffraction (µ-XRD), energy-dispersive X-ray fluorescence spectroscopy (EDXRF), scanning electron microscopy–energy dispersive spectroscopy (SEM–EDS), micro-Raman spectroscopy (µ-Raman), micro-Fourier transform infrared spectroscopy (µ-FTIR) has been followed for the study. These analyses were complemented by infrared photography (IRP) and reflectography (IRR), allowing the study of the underdrawing technique. The results of this study were compared with previous ones of the painter’s workshop and important distinctions and similarities were found within the materials and techniques used. This analysis methodology on materials contributes to safeguarding and the ensuing community awareness of this cultural heritage in danger.

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Hradil, David, Janka Hradilová, and Petr Bezdička. "Clay Minerals in European Painting of the Mediaeval and Baroque Periods." Minerals 10, no. 3 (March 11, 2020): 255. http://dx.doi.org/10.3390/min10030255.

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Clay-based pigments are among the most traditional. Unlike other mineral pigments, they have never been fully replaced by synthetic analogues and are still used in painting today. Since their analysis requires a specific approach, detailed distinction of clay pigments has never been a part of routine chemical-technological research in fine arts—regardless of a great potential of clay minerals for determining regional provenance of the material. This review article maps and summarizes research on clay pigments in historical paintings that has been systematically pursued by authors since the beginning of this millennium. This rallying and interconnection of knowledge was an opportunity for a new reflection on the common aspects of these research projects, either methodological or interdisciplinary, since these findings are closely related to art-historical evaluation of artworks. It offers a comprehensive insight into the microanalysis of clay pigments with using powder X-ray micro-diffraction and complementary methods. Significant new findings come, for example, from research on the Italian Baroque. It becomes clear that cheap availability of raw material, pottery clays, could have played an important role in the change in painting technology at the turn of the 16th and 17th centuries.

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Matsuoka, A., J. D. Tucker, M. Hayashi, N. Yamazaki, and T. Sofuni. "Chromosome painting analysis of X-ray-induced aberrations in human lymphocytes in vitro." Mutagenesis 9, no. 2 (1994): 151–55. http://dx.doi.org/10.1093/mutage/9.2.151.

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Woltman, Nienke. "'Spot the Difference'." Rijksmuseum Bulletin 67, no. 4 (December 15, 2019): 284–311. http://dx.doi.org/10.52476/trb.9735.

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The small, unsigned panel The Lamentation of Christ in the Rijksmuseum’s collection is attributed to Colijn de Coter and dated around 1510-15. There is another, almost identical version in a private collection. Visual analysis and analytical techniques including UV fluorescence, infrared reflectography, X-ray fluorescence (XRF), X-radiography, dendrochronology and paint sample analysis, were used to examine and compare the materials and techniques in both paintings in order to investigate the relationship between the two. Because only a small oeuvre is attributed to De Coter and there has as yet been very little scientific analysis of his paintings, this comparative investigation provides more information about the artist’s workshop practices. This research has revealed that the materials and techniques used in the two versions differ hardly at all and, moreover, correspond to standard practice in early sixteenth-century painting in the Low Countries. The thicker outlines in the underdrawings in both cases indicate that the compositions were traced or copied from the same model. The underdrawings of the two Lamentations also correspond to those in other paintings attributed to the artist. This makes it likely that both versions came from De Coter’s workshop.

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Cavaleri, Tiziana, Claudia Pelosi, Marco Ricci, Stefano Laureti, Francesco Paolo Romano, Claudia Caliri, Bernadette Ventura, Stefania De Blasi, and Marco Gargano. "IR Reflectography, Pulse-Compression Thermography, MA-XRF, and Radiography: A Full-Thickness Study of a 16th-Century Panel Painting Copy of Raphael." Journal of Imaging 8, no. 6 (May 24, 2022): 150. http://dx.doi.org/10.3390/jimaging8060150.

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The potential of any multi-analytical and non-invasive approach to the study of cultural heritage, both for conservation and scientific investigation purposes, is gaining increasing interest, and it was tested in this paper, focusing on the panel painting Madonna della Tenda (Musei Reali, Turin), identified as a 16th-century copy of the painting by Raffaello Sanzio. As a part of a broader diagnostic campaign carried out at the Centro Conservazione e Restauro, La Venaria Reale in Turin, Italy, the potential of the combination of X-ray radiography, pulse-compression thermography, macro X-ray fluorescence, and IR reflectography was tested to investigate the wooden support and all the preparatory phases for the realization of the painting. The results of the optical microscopy and SEM/EDS analyses on a multi-layered micro-sample were used for a precise comparison, integration, and/or confirmation of what was suggested by the non-invasive techniques. Particularly, the radiographic and thermographic techniques allowed for an in-depth study of a hole, interestingly present on the panel’s back surface, detecting the trajectory of the wood grain and confirming the presence of an old wood knot, as well as of a tau-shaped element—potentially a cracked and unfilled area of the wooden support—near the hollow. The combination of radiography, macro X-ray fluorescence, Near Infrared (NIR), and Short Wave Infrared (SWIR) reflectography allowed for an inspection of the ground layer, imprimitura, engravings, and underdrawing, not only revealing interesting technical-executive aspects of the artwork realization, but also highlighting the advantages of an integrated reading of data obtained from the different analytical techniques.

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De Meyer, S., F. Vanmeert, R. Vertongen, A. Van Loon, V. Gonzalez, J. Delaney, K. Dooley, et al. "Macroscopic x-ray powder diffraction imaging reveals Vermeer’s discriminating use of lead white pigments in Girl with a Pearl Earring." Science Advances 5, no. 8 (August 2019): eaax1975. http://dx.doi.org/10.1126/sciadv.aax1975.

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Until the 19th century, lead white was the most important white pigment used in oil paintings. Lead white is typically composed of two crystalline lead carbonates: hydrocerussite [2PbCO3·Pb(OH)2] and cerussite (PbCO3). Depending on the ratio between hydrocerussite and cerussite, lead white can be classified into different subtypes, each with different optical properties. Current methods to investigate and differentiate between lead white subtypes involve invasive sampling on a microscopic scale, introducing problems of paint damage and representativeness. In this study, a 17th century painting Girl with a Pearl Earring (by Johannes Vermeer, c. 1665, collection of the Mauritshuis, NL) was analyzed with a recently developed mobile and noninvasive macroscopic x-ray powder diffraction (MA-XRPD) scanner within the project Girl in the Spotlight. Four different subtypes of lead white were identified using XRPD imaging at the macroscopic and microscopic scale, implying that Vermeer was highly discriminatory in his use of lead white.

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Del Lama, Eliane A., Regina A. Tirello, Fábio R. D. de Andrade, and Yushiro Kihara. "Study of mural paintings by Fulvio Pennacchi in São Paulo City by mineralogical techniques." Anais da Academia Brasileira de Ciências 81, no. 1 (March 2009): 115–26. http://dx.doi.org/10.1590/s0001-37652009000100012.

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The present research deals with two mural paintings made in 1947 with the fresco technique by Fulvio Pennacchi in the Catholic Chapel of the Hospital das Clínicas (São Paulo City, Brazil), namely the Virgin Annunciation and the Supper at Emmaus. This study regards the materials and painting techniques used by the artist, based on historical research,on in situ observations and laboratory analytical techniques (stereomicroscopy,scanning electron microscopy with an energy dispersive spectrometer, X-ray diffractometry, electron microprobe, images obtained with UV-light), aiming to improve the methods of characterization of objects of our cultural heritage, and to enhance its preservation accordingly. The results lead to the identification of the plaster components and of distinct layers in the frescoes, besides further information on grain size, impurities and textures, composition of pigments, and features of deterioration, such as efflorescences. The degree of degradation of the murals painting was assessed by this way. Our data suggest that a single layer of plaster was used by Pennacchi, as a common mortar with fine- and medium-grained aggregates. Differences in texture were obtained by adding gypsum to the plaster.

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Radpour, Roxanne, Christian Fischer, and Ioanna Kakoulli. "New Insight into Hellenistic and Roman Cypriot Wall Paintings: An Exploration of Artists’ Materials, Production Technology, and Technical Style." Arts 8, no. 2 (June 24, 2019): 74. http://dx.doi.org/10.3390/arts8020074.

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A recent scientific investigation on Hellenistic and Roman wall paintings of funerary and domestic contexts from Nea (‘New’) Paphos, located in the southwest region of Cyprus, has revealed new information on the paintings’ constituent materials, their production technology and technical style of painting. Nea Paphos, founded in the late 4th century BC, became the capital of the island during the Hellenistic period (294–58 BC) and developed into a thriving economic center that continued through the Roman period (58 BC–330 AD). A systematic, analytical study of ancient Cypriot wall paintings, excavated from the wealthy residences of Nea Paphos and the surrounding necropoleis, combining complementary non-invasive, field-deployable characterization techniques, has expanded the scope of analysis, interpretation and access of these paintings. The results from in situ analyses, combining X-ray fluorescence (XRF) and fiber-optic reflectance spectroscopy (FORS), forensic imaging in reflectance and luminescence, and digital photomicrography, were informative on the raw materials selection, application technique(s) and extent of paintings beyond the visible. Data collected through the integration of these techniques were able to: (1) show an intricate and rich palette of pigments consisting of local and foreign natural minerals and synthetic coloring compounds applied pure or in mixtures, in single or multiple layers; (2) identify and map the spatial distribution of Egyptian blue across the surface of the paintings, revealing the extent of imagery and reconstructing iconography that was no longer visible to the naked eye; and (3) visualize and validate the presence of Egyptian blue to delineate facial contours and flesh tone shading. This innovation and technical characteristic in the manner of painting facial outlines and constructing chiaroscuro provides a new insight into the artistic practices, inferring artists/or workshops’ organization in Cyprus during the Roman period.

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Inoue, Tsuyoshi, Yoko Sugawara, Atsushi Nakagawa, and Masaki Takata. "Japanese Crystallography in Culture and Art." Acta Crystallographica Section A Foundations and Advances 70, a1 (August 5, 2014): C1304. http://dx.doi.org/10.1107/s2053273314086951.

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"We can find many seeds of crystallography in Japanese culture. Most of the family crests have symmetry elements such as rotation axes and mirror symmetry elements. Sekka-zue, a picture book of 86 kinds of crystals of snow, was made by Toshitura Doi, who is a feudal lord in Edo-period and he observed snow using a microscope in nineteenth century. In recent years, people enjoy to make crystal structures, polyhedrons, carbon nanotube, quasicrystal etc. by origami, the art of folding paper [1]. In the field of science, the Japanese crystallography has contributed to explore culture and art. An excellent example is unveiling the original color of Japanese painting "Red and White Plum Blossoms" by Korin Ogata [2]. Prof. Izumi Nakai (Tokyo University of Science) developed an X-ray fluorescence analyzer and an X-ray powder diffractometer designated to the investigation of cultural and art works and had succeeded in reproducing the silver-colored waves through computer graphics after X-ray analyses of crystals on the painting. The scientific approach by Prof. Nakai et al. unveiled the mystery of cultural heritage of ancient near east, ancient Egypt etc. and is being to contribute to insight into the history of human culture. [1] An event to enjoy making crystals by origami is under contemplation. [2] The symposium ""Crystallography which revives heritages"" was held on February 16, 2014 at Atami in Japan."

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Remešová, Michaela, Lenka Klakurková, Ivana Ročňáková, Ladislav Čelko, Lucie Páleníková, and Jozef Kaiser. "Application of Metallographic Analysis Techniques for Detection and Identification of Spray Paint Defects." Solid State Phenomena 270 (November 2017): 118–23. http://dx.doi.org/10.4028/www.scientific.net/ssp.270.118.

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The paper is focused on the metallographic analysis of spray paint films with defects. The painting has two important roles. Firstly, it protects the substrate material (ferrous, nonferrous and plastic) and secondly, it improves the appearance of the surface. Appearance and quality of painting film play an important role in the industry (automotive, aerospace, consumer electronics, etc.). Defects of spray painting film, which have a negative effect on the appearance of the product, can be detected and further analysed by common methods used in metallography. Such methods are very effective tool for revealing the cause of defects and their elimination within the technological process (degreasing, cleaning, pickling, drying, technological discipline, etc.). In this paper, defects were characterized by high-resolution digital microscope (LM) and scanning electron microscope (SEM) equipped with energy dispersive X-ray analyser (EDX).

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Fernández, J. L., A. Campos, V. Goyanes, C. Losada, C. Veiras, and A. A. Edwards. "X-ray Biological Dosimetry Performed by Selective Painting of Human Chromosomes 1 and 2." International Journal of Radiation Biology 67, no. 3 (January 1995): 295–302. http://dx.doi.org/10.1080/09553009514550351.

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Matsuoka, A., J. D. Tucker, M. Hayashi, M. Honma, N. Yamazaki, and T. Sofuni. "Analysis of chromosomal rearrangements of X-ray-irradiated cultured human lymphocytes by chromosome painting." Mutation Research/Environmental Mutagenesis and Related Subjects 292, no. 3 (December 1993): 281–82. http://dx.doi.org/10.1016/0165-1161(93)90080-j.

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Cartechini, L., C. Miliani, B. G. Brunetti, A. Sgamellotti, C. Altavilla, E. Ciliberto, and F. D’Acapito. "X-ray absorption investigations of copper resinate blackening in a XV century Italian painting." Applied Physics A 92, no. 1 (April 10, 2008): 243–50. http://dx.doi.org/10.1007/s00339-008-4498-y.

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Journal articles on the topic 'X-ray painting'

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