Статті в журналах з теми "Pigment art"
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1
Dupuis, Guillaume, Mady Elias, and Lionel Simonot. "Pigment Identification by Fiber-Optics Diffuse Reflectance Spectroscopy." Applied Spectroscopy 56, no. 10 (October 2002): 1329–36. http://dx.doi.org/10.1366/000370202760354803.
Повний текст джерелаАнотація:
Fiber-optics reflectance spectroscopy is used to identify pigments in pictorial layers of works of art thanks to a spectra database of dry powdered mineral pigments. Measurements are noninvasive, without any contact, and can be implemented in situ, without moving the work of art under investigation from its conservation place. The experimental device, using the special back-scattering configuration, is briefly presented. The protocol leading to the constitution of the spectra database of dry mineral pigments is described. Unlike other studies, this protocol has been developed to emphasize multiple scattering of light by elementary pigments in comparison with specular reflection on the surface of the sample. In these conditions, the diffuse reflectance spectrum is the label of the mineral pigment. The numerical processing of pigment identification is detailed. Both the influences of the roughness of the studied surface and of a possible varnish layer are taken into account when numerical identification is implemented. Several applications on patrimonial works of art are reported.
2
Kougemitrou, I., G. Economou, J. Giovanopoulos, I. Baziotis, G. Leontakianakos, and V. Stathopoulos. "A mineralogical study of pigments used in two Iakovidis paintings: Verification of artwork authenticity using Raman micro-spectroscopy method." Bulletin of the Geological Society of Greece 47, no. 1 (September 5, 2013): 392. http://dx.doi.org/10.12681/bgsg.11014.
Повний текст джерелаАнотація:
For the purpose of the current study, we examined two paintings, an original and a fake one, entitled “Still life with grapes”, and claimed both to be created from the Greek Painter G. Iakovidis. The current Research Project has been carried out at the Centre Nikias, an innovative Research Centre specialised on certification, maintenance and restoration of art works. Raman spectroscopic analysis has been carried to verify the authenticity of the used pigments and also the originality of the two paintings. The Raman spectra acquired confirmed four different colours in both painting`s pigments: red, blue, white and yellow. For the first painting Cinnabar for the red pigment, Ultramarine for the blue pigment, White earths for the white pigment and Yellow ochre for the yellow pigment. In the second painting the colours used verified as synthetic pigments. We identified the presence of Cadmium red for the red colour, Cobalt blue for the blue pigment, Zinc white for the white and Cadmium yellow for the yellow one.
3
Juhnevica, Inna, and Artūrs Čurakovs. "Optimization of Exposed Concrete Pigmented with Fe<sub>x</sub>O<sub>y</sub>." Key Engineering Materials 903 (November 10, 2021): 203–7. http://dx.doi.org/10.4028/www.scientific.net/kem.903.203.
Повний текст джерелаАнотація:
Lately concrete has been used not only as backbone of structure but as esthetic construction art. The challenge is to combine these two parameters and predict concrete behavior. The target of this paper is to successfully develop easily controllable, visually attractive concrete that provides with necessary compressive strength criteria. Two mix designs with Fe2O3 and Fe3O4 pigments were tested for 1, 3, 7, 14, 28-day compressive strength. Concrete samples were left indoors and outdoors to investigate migration of salts also called as efflorescence. Concrete mix designs without pigment additive showed higher compressive strength as well as density compering to pigmented concrete. Pigmented concrete outdoor specimens showed increased migration of salts on surface comparing to indoor specimens.
4
Rafalska-Łasocha, Alicja, Katarzyna Podulka, and Wiesław Łasocha. "XRPD investigations of “Prussian blue” artists’ pigment." Powder Diffraction 26, no. 1 (March 2011): 39–47. http://dx.doi.org/10.1154/1.3554269.
Повний текст джерелаАнотація:
The compound NH4Fe[Fe(CN)6]·xH2O—a commercially available “Prussian blue” pigment—crystallizes in theFm3m space group,a=10.232(1) Å, based on X-ray powder diffraction (XRPD) data. XRPD investigations of other commercially available “Prussian blue” pigments and oil paints were undertaken. Results for the pigments showed that the XRPD techniques were able to differentiate several different Prussian blue phases that differed only slightly in chemical compositions. Results for the oil paints allowed for the determination of the major crystalline phases used as fillers. However, on the basis of XRPD investigations of oil paints prepared in our laboratory containing a mixture of true Prussian blue Fe4[Fe(CN)6]3·14H2O and BaSO4(a common filler), the pigment was detectable only in concentrations higher than 2%. This result suggests that XRPD may not be a preferred technique for the identification of Prussian blue in paintings and other works of art because the concentration of this pigment in such materials is commonly less than 2%.
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Wiggins, Marcie B., Jocelyn Alcántara-García, and Karl S. Booksh. "Characterization of copper-based pigment preparation and alteration products." MRS Advances 2, no. 63 (2017): 3973–81. http://dx.doi.org/10.1557/adv.2018.53.
Повний текст джерелаАнотація:
ABSTRACTCopper-based pigments are common in works of art that show signs of decay on green and blue areas and are frequently associated with the degradation of organic substrates and/or media (drying oils, cellulose, etc.). The exact causes of degradation remain unknown. This prompted us to study possible starting and degradation products of one especially reactive copper pigment, verdigris (copper acetate), as well as pigments of the same family (salt and soap greens). Preparation of pigments using historical methods was followed by spectroscopic and crystallographic characterization using Fourier-transform infrared (FTIR) spectroscopy, X-ray diffraction (XRD), and X-ray photoelectron spectroscopy (XPS). Synthesis of verdigris and verdigris-like pigments resulted in a mixture of starting polymorphs of verdigris, including neutral and basic verdigris. With accelerated aging, pigments degraded to a polymorph of basic verdigris when not affected by organic media, whereas pigments on cellulosic substrates showed oxidized copper species. With this study, we are beginning to understand verdigris starting materials and highlight the complex interactions between pigments and substrates that influence pigment degradation pathways.
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Bedford, Clare, David Wayne Robinson, and Devlin Gandy. "Emigdiano Blues: The California Indigenous Pigment Palette and an In Situ Analysis of an Exotic Colour." Open Archaeology 4, no. 1 (April 1, 2018): 152–72. http://dx.doi.org/10.1515/opar-2018-0010.
Повний текст джерелаАнотація:
Abstract The Native inhabitants of South Central California produced rock art containing red, orange, black, white, green and blue colours using a range of mineral and organic materials. Many of these same colours were used on material culture and body painting. This paper focuses on a sub-group of the Chumash, called the Emigdiano, who produced an enigmatic blue colour used in the creation of rock art. Here, we focus on the blue pigment at the rock shelter site of Three Springs in the Wind Wolves Preserve in South Central California. The composition of blue pigments has previously been the focus of discussion with suggestions that they were produced either using European pigments taken from Spanish missions, or that azurite from a local quarry was the source. Previous experimental work had demonstrated that it was possible for the blue to be produced from locally available azurite. Here we present the in situ analyses of these enigmatic blue pigments using handheld X-ray Fluorescence (pXRF). Results from pXRF analysis of rock art, quarried azurite samples and experimental rock art reconstructions showed that the Emigdiano Blue at Three Springs were not azurite based and was composed of optical blue (a mixture of black and white or grey materials which mimic the appearance of blue). This paper discusses the surprising implications of the use, given the availability of a ‘true’ blue pigment, and the wider ontological importance of combining multiple colours to produce the effect of blue in a rock art panel.
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Bonneau, A., F. Brock, T. Higham, D. G. Pearce, and A. M. Pollard. "An Improved Pretreatment Protocol for Radiocarbon Dating Black Pigments in San Rock Art." Radiocarbon 53, no. 3 (2011): 419–28. http://dx.doi.org/10.1017/s003382220003455x.
Повний текст джерелаАнотація:
The dating of South African rock art using radiocarbon is a considerable challenge and only 1 direct date has so far been obtained, on black pigments from Sonia's Cave Upper, Boontjieskloof. The main problem with direct dating these paintings is the presence of calcium oxalates behind, on, and within the pigment layers. Calcium oxalates are formed through lichen and bacterial action on the rock face. These reactions can sometimes take place over long periods and can incorporate carbon of a younger age into the pigments. This study aims to date black pigments from a rockshelter, RSA TYN2 (Eastern Cape, South Africa), by removing the calcium oxalate contamination. Two different protocols were tried: density separation and acidification. The latter successfully removed calcium oxalates and was therefore applied to 3 black pigment samples from the rockshelter. After acid pretreatment, accelerator mass spectrometry (AMS) dating was undertaken on the remaining residues. Three results were obtained (2072 ± 28 BP, 2100 ± 40 BP, and 2083 ± 32 BP), which constitute the oldest results so far obtained for direct dates on South African rock art. The most likely calibrated date range for the painting at this site is between 2120 and 1890 cal BP. The ages are in close agreement with each other and this consistency suggests that our preparation protocol has successfully removed the majority of the carbon contaminants.
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Small, Irene V. "Pigment Pur and the Corpo da Côr: Post-Painterly Practice and Transmodernity." October 152 (May 2015): 82–102. http://dx.doi.org/10.1162/octo_a_00218.
Повний текст джерелаАнотація:
This article analyzes a near-contemporaneous incidence of post-painterly practice—the use of raw pigment—utilized by the French neo—avant—garde artist Yves Klein and the Brazilian artist Hélio Oiticica. The use of raw pigment by both artists was conditioned by a self—conscious relationship to the history of modernist art and the monochrome as a limit and origin of painting. Despite the confluence of such orientations, Klein's pigments purs (pure pigments) and Oiticica's corpo da côr (body of color) resulted in radically divergent orientations toward the industrially produced commodity and hence the readymade. By exploiting inconsistencies characteristic of the commodity in developmentalist Brazil, Oiticica orchestrated a transfer of making from artist to viewer, initiating a newly participatory dimension within modernist color.
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Rogge, Corina E., and Julie Arslanoglu. "Luminescence of coprecipitated titanium white pigments: Implications for dating modern art." Science Advances 5, no. 5 (May 2019): eaav0679. http://dx.doi.org/10.1126/sciadv.aav0679.
Повний текст джерелаАнотація:
Material analysis of cultural artifacts can uncover aspects of the creative process and help determine the origin and authenticity of works of art. Technical studies on abstract expressionist paintings revealed a luminescence signature from titanium white paints whose pigments were manufactured by coprecipitation with calcium or barium sulfate. We propose that trace neodymium present in some ilmenite (FeTiO3) ores can be trapped in the alkaline earth sulfate during coprecipitation, generating a luminescent marker characteristic of the ore and process. We show that the luminescence is linked to a specific ilmenite source used in historic TITANOX pigments, is not present in pigments produced by more advanced chemistries, and provides dating information. Facile Raman-based detection of this luminescence, along with characteristic peaks of rutile, anatase, calcium sulfate, or barium sulfate, can identify the type of titanium white pigment and narrow its manufacture date range.
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Hendriks, Laura, Irka Hajdas, Ester S. B. Ferreira, Nadim C. Scherrer, Stefan Zumbühl, Markus Küffner, Leslie Carlyle, Hans-Arno Synal, and Detlef Günther. "Selective Dating of Paint Components: Radiocarbon Dating of Lead White Pigment." Radiocarbon 61, no. 2 (October 18, 2018): 473–93. http://dx.doi.org/10.1017/rdc.2018.101.
Повний текст джерелаАнотація:
ABSTRACTLead white is a man-made white pigment commonly used in works of art. In this study, the possibility of radiocarbon dating lead white pigments alone and in oil paints was explored using well-dated lead white pigments and paints. Resulting14C ages on lead white pigments produced following the traditional stack process, where carbonate groups results from the incorporation of CO2originating from fermentation, matched the production years, while radiocarbon dating of lead white made using other industrial processes indicate that14C depleted CO2was used in their production. The method was applied to two case studies, where lead carbonate samples were dated in two oil paintings, one Baroque and one from the 20th century. We hereby show that the lead white pigment can be dated by14C and used as proxy for the time of creation of an artwork. Additionally, a two-step method was developed to allow14C analysis of both the lead white pigment and oil binder from the same sample. A single lead white paint sample can yield two distinct radiocarbon ages, one from the carbonate and one from the natural organic binder. This study thus proposes new strategies for14C dating of artworks.
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Orna, Mary Virginia, and Marco Fontani. "The Modernity of Ancient Pigments: A Historical Approach." Colorants 1, no. 3 (July 13, 2022): 307–46. http://dx.doi.org/10.3390/colorants1030019.
Повний текст джерелаАнотація:
Naturally occurring and synthetic ancient pigments have a history of use spanning thousands of years. Curiously, some of their newly discovered properties make them excellent candidates for semiconductors, anticounterfeiting agents and so much more. In this paper, we will review their ancient roots in art and modern emergence as 21st century workhorses. You can never judge a pigment by its color alone!
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Hales, Shelley. "Art and Archaeology." Greece and Rome 69, no. 2 (September 6, 2022): 344–51. http://dx.doi.org/10.1017/s0017383522000122.
Повний текст джерелаАнотація:
In preparation for my first review, I have had the pleasure to read books that showcase the current breadth of contemporary study of ancient visual and material cultures, from subjects as diverse as canine skeletons in Athens, Egyptian papyri, and medieval mosques, and approaches ranging from the close analysis of pigment on Roman marble sculpture to the exploration of ‘viewsheds’ on the acropolis.
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Yivlialin, Galli, Raimondo, Martini, and Sassella. "Detecting the NIR Fingerprint of Colors: The Characteristic Response of Modern Blue Pigments." Heritage 2, no. 3 (July 30, 2019): 2255–61. http://dx.doi.org/10.3390/heritage2030137.
Повний текст джерелаАнотація:
Reflectance spectroscopy in the ultraviolet (UV), visible (Vis), and near infrared (NIR) range is widely applied to art studies for the characterization of paints and pigments, with the advantages of non-invasive techniques. Isolating and detecting the fingerprint of pigments, especially in the NIR range, is quite challenging, since the presence of vibrational transitions of the most common organic functional groups prevents to relate the optical spectrum of a composite sample, as an artwork is, to each one of its elements (i.e., support, binder, and specific pigment). In this work, a method is presented to obtain the UV-Vis-NIR optical response of the single components of a model composite sample reproducing an artwork, i.e., the support, the binder, and the pigment or dye, by using diffuse reflectance spectroscopy. This allowed us to obtain the NIR spectral fingerprint of blue pigments and to identify specific features possibly applicable for detecting cobalt and phthalocyanine blue colors in artwork analysis.
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Freitas, Marta V., Diana Pacheco, João Cotas, Teresa Mouga, Clélia Afonso, and Leonel Pereira. "Red Seaweed Pigments from a Biotechnological Perspective." Phycology 2, no. 1 (December 23, 2021): 1–29. http://dx.doi.org/10.3390/phycology2010001.
Повний текст джерелаАнотація:
Algae taxa are notably diverse regarding pigment diversity and composition, red seaweeds (Rhodophyta) being a valuable source of phycobiliproteins (phycoerythrins, phycocyanin, and allophycocyanin), carotenes (carotenoids and xanthophylls), and chlorophyll a. These pigments have a considerable biotechnological potential, which has been translated into several registered patents and commercial applications. However, challenges remain regarding the optimization and subsequent scale-up of extraction and purification methodologies, especially when considering the quality and quantity needs, from an industrial and commercial point of view. This review aims to provide the state-of-the-art information on each of the aforementioned groups of pigments that can be found within Rhodophyta. An outline of the chemical biodiversity within pigment groups, current extraction and purification methodologies and challenges, and an overview of commercially available products and registered patents, will be provided. Thus, the current biotechnological applications of red seaweeds pigments will be highlighted, from a sustainable and economical perspective, as well as their integration in the Blue Economy.
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Gambirasi, A., L. Peruzzo, S. Bianchin, and M. Favaro. "Electron Backscatter Diffraction in Conservation Science: Phase Identification of Pigments in Paint Layers." Microscopy and Microanalysis 19, no. 4 (May 13, 2013): 921–28. http://dx.doi.org/10.1017/s1431927613000184.
Повний текст джерелаАнотація:
AbstractElectron backscatter diffraction (EBSD) was used in Conservation Science for characterization of ancient materials collected from works of art. The results demonstrate the feasibility of EBSD analysis on heterogeneous matrices as very small samples of paint layers collected from paintings. Two reference pigments were selected from those used by artists to investigate the relationship existing between EBSD pattern quality and properties of the investigated material (i.e., average atomic number, density, and Mohs hardness). The technique was also tested to investigate the pigment phases on two real samples collected from Romanino's Santa Giustina altarpiece, an oil on wood painting dated 1514 (Civic Museum, Padova, Italy). Results show for the first time the acquisition of EBSD patterns from painting samples mounted in resin, i.e., painting cross sections, opening a new powerful tool to elucidate the pigment phases avoiding large sampling on works of arts and to further study the complex mechanisms of pigment deterioration.
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Bayarri, Sebastián, and Ripoll. "Hyperspectral Imaging Techniques for the Study, Conservation and Management of Rock Art." Applied Sciences 9, no. 23 (November 21, 2019): 5011. http://dx.doi.org/10.3390/app9235011.
Повний текст джерелаАнотація:
Paleolithic rock art is one of the most important cultural phenomena in the history of mankind. It was made by making incisions and/or applying natural pigments mixed with water or organic elements on a rock surface, which for millennia has been subjected to different factors of natural and anthropogenic alteration that have caused its deterioration and/or disappearance. The present paper shows a methodology that employs hyperspectral technology in the range of visible light and the near infrared spectrum, providing a scientific and non-destructive way to study, conserve and manage such a valuable cultural heritage. Recognition of coloring matter, formal recognition of the figures, superposition of forms and documentation of the state of conservation are relevant topics in rock art, and hyperspectral imaging technology is an efficient way to study them. The aim is to establish a method of creating pigment cartography and enhancing the visualization of rock art panels. Illumination sources, spectroradiometry measurements and camera adjustments must be taken into account to generate accurate results that later will be pre-processed to derive reflectance data, and then pigment analysis and enhanced visualization methods are applied. This methodology has allowed us to obtain 76% more figures than using traditional techniques throughout the case study area.
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Vega Gutierrez, Sarath, R. Van Court, Derek Stone, Matthew Konkler, Emily Groth, and Seri Robinson. "Relationship between Molarity and Color in the Crystal (‘Dramada’) Produced by Scytalidium cuboideum, in Two Solvents." Molecules 23, no. 10 (October 9, 2018): 2581. http://dx.doi.org/10.3390/molecules23102581.
Повний текст джерелаАнотація:
Pigments from wood-decay fungi (specifically spalting fungi) have a long history of use in wood art, and have become relevant in modern science due to their longevity and colorfastness. They are presently under investigation as colorants for wood, bamboo, oils, paints and textiles. Major hurdles to their commercialization have been color repeatability (in that the same strain of the same species of fungus may produce different colors over time), and the binding of the pigments to glass storage containers. This is persistent as they do not naturally exist in a loose form. Due to these issues, the ‘standard’ color for each was historically determined not by the amount of pigment, but by the color in a solution of dichloromethane (DCM), using the CIE L*a*b colorspace. This method of standardization severely limited the use of these pigments in industrial applications, as without a dry form, standard methodologies for repeatable color processing into other materials could not be easily implemented. Recent studies have developed a method to crystalize the red pigment from Scytalidium cuboideum (Sacc. & Ellis) Sigler & Kang, producing a highly pure (99%) solid crystal named ‘Dramada’. Herein a method is detailed to compare the molarity of this crystallized pigment to variations in the color, to determine a color saturation curve (by weight) for the pigment from S. cuboideum in DCM and acetone. The molarities for this experiment ranged from 0.024 mM to 19 mM. Each molarity was color read and assigned a CIEL*a*b* value. The results showed that there was a correlation between the molarity and color difference, with the maximum red color occurring between 0.73 mM and 7.3 mM in DCM and between 0.97 mM to 0.73 mM in acetone. Extremely low molarities of pigment produced strong coloration in the solvent, and changes in molarity significantly affected the color of the solution. Having a saturation and color curve for the crystal ‘Dramada’ from S. cuboideum will allow for the reliable production of distinct colors from a known quantity (by weight) of pigment, erasing the final hurdle towards commercial development of the crystallized pigment from S. cuboideum as an industrial dyestuff.
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Longoni, Margherita, Alessia Buttarelli, Marco Gargano, and Silvia Bruni. "A Multiwavelength Approach for the Study of Contemporary Painting Materials by Means of Fluorescence Imaging Techniques: An Integration to Spectroscopic Methods." Applied Sciences 12, no. 1 (December 23, 2021): 94. http://dx.doi.org/10.3390/app12010094.
Повний текст джерелаАнотація:
Imaging methods based on visible luminescence induced by ultraviolet (UV) radiation are well consolidated in the investigation of ancient works of art, to map varnishes, retouches, and possibly some pigments. As far as contemporary art is involved, the wide range of synthetic materials, especially pigments, introduced from 1850 onwards, makes the possible application of the technique particularly challenging. Among the colouring substances used by artists in the 19th and 20th centuries, only cadmium-based pigments received attention due to their typical near-infrared luminescence. Nevertheless, the fluorescence emission exhibited by several synthetic pigments upon visible excitation was recently demonstrated and confirmed using UV radiation in the present work. The subsequent possibility of individuating such materials in paintings by ultraviolet fluorescence (UVF) images was explored on mock-up painting samples of a wide series of pigments dispersed in oil or acrylic binder. Visible and infrared luminescence images obtained by irradiating with visible radiation (VIVF and VIL) were also collected. It was thus evidenced the possible advantage of the choice of a different excitation wavelength in discriminating between the contributions of pigment and binder. Finally, a recent oil painting on panel was also examined as case study.
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Kleynhans, Tania, David W. Messinger, Roger L. Easton, and John K. Delaney. "Low-Cost Multispectral System Design for Pigment Analysis in Works of Art." Sensors 21, no. 15 (July 29, 2021): 5138. http://dx.doi.org/10.3390/s21155138.
Повний текст джерелаАнотація:
To better understand and preserve works of art, knowledge is needed about the pigments used to create the artwork. Various noninvasive techniques have been used previously to create pigment maps, such as combining X-ray fluorescence and hyperspectral imaging data. Unfortunately, most museums have limited funding for the expense of specialized research equipment, such as hyperspectral reflectance imaging systems. However, many museums have hand-held point X-ray fluorescence systems attached to motorized easels for scanning artwork. To assist museums in acquiring data that can produce similar results to that of HSI systems, while minimizing equipment costs, this study designed and modeled a prototype system to demonstrate the expected performance of a low-cost multispectral system that can be attached to existing motorized easels. We show that multispectral systems with a well-chosen set of spectral bands can often produce classification maps with value on par with hyperspectral systems. This study analyzed the potential for capturing data with a point scanning system through predefined filters. By applying the system and noise modeling parameters to HSI data captured from a 14th-Century illumination, the study reveals that the proposed multispectral imaging system is a viable option for this need.
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Chaplin, Tracey D., Robin J. H. Clark, Richard Jones, and Robert Gibbs. "Pigment analysis by Raman microscopy and portable X-ray fluorescence (pXRF) of thirteenth to fourteenth century illuminations and cuttings from Bologna." Philosophical Transactions of the Royal Society A: Mathematical, Physical and Engineering Sciences 374, no. 2082 (December 13, 2016): 20160043. http://dx.doi.org/10.1098/rsta.2016.0043.
Повний текст джерелаАнотація:
Non-destructive pigment analysis by Raman microscopy (RM) and portable X-ray fluorescence (pXRF) has been carried out on some Bolognese illuminations and cuttings chosen to represent the beginnings, evolution and height of Bolognese illuminated manuscript production. Dating to the thirteenth and fourteenth centuries and held in a private collection, the study provides evidence for the pigments generally used in this period. The results, which are compared with those obtained for other north Italian artwork, show the developments in usage of artistic materials and technique. Also addressed in this study is an examination of the respective roles of RM and pXRF analysis in this area of technical art history. This article is part of the themed issue ‘Raman spectroscopy in art and archaeology’.
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O'Regan, Gerard, Fiona Petchey, Rachel Wood, Andrew McAlister, Fiona Bradshaw, and Simon Holdaway. "Dating South Island Māori rock art: Pigment and pitfalls." Journal of Archaeological Science: Reports 24 (April 2019): 132–41. http://dx.doi.org/10.1016/j.jasrep.2018.12.009.
Повний текст джерела
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Pronti, Lucilla, Anna Candida Felici, Matthieu Ménager, Cathy Vieillescazes, and Mario Piacentini. "Spectral Behavior of White Pigment Mixtures Using Reflectance, Ultraviolet—Fluorescence Spectroscopy, and Multispectral Imaging." Applied Spectroscopy 71, no. 12 (July 21, 2017): 2616–25. http://dx.doi.org/10.1177/0003702817717969.
Повний текст джерелаАнотація:
Reflectance spectroscopy, ultraviolet (UV)—fluorescence spectroscopy, and multispectral imaging have been widely employed for pigment identification on paintings. From ancient times to the present, lead white, zinc white, and titanium white have been the most important white pigments used for paintings and they are used as pigment markers for dating a work of art. The spectral behavior of these pigments is reported in several scientific papers and websites, but those of their mixtures are quite unknown. We present a combined nondestructive approach for identifying mixtures of lead white, zinc white, and titanium white as powder and dispersed in two different binder media (egg yolk and linseed oil) by using reflectance spectroscopy, spectrofluorimetry, multispectral reflectance and UV-fluorescence imaging. We propose a novel approach for mapping the presence of white pigments in paintings by false color images obtained from multispectral reflectance and UV-fluorescence images. We found that the presence of lead white mixed with either zinc white or titanium white is highly detectable. Zinc white mixed with lead white or titanium white can be identified due to its UV-fluorescence emission, whereas titanium white in association with lead white or zinc white is distinguishable by its reflectance spectral features. In most cases, the UV-fluorescence analyses also permit the recognition of the binder media in which the pigments are dispersed.
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Buse, Juliana, Vanessa Otero, and Maria Melo. "New Insights into Synthetic Copper Greens: The Search for Specific Signatures by Raman and Infrared Spectroscopy for Their Characterization in Medieval Artworks." Heritage 2, no. 2 (June 4, 2019): 1614–29. http://dx.doi.org/10.3390/heritage2020099.
Повний текст джерелаАнотація:
A systematic investigation of medieval copper green pigments was carried out based on written sources: 21 manuscripts, dating from 50–70 to 1755 AD, were sourced and 77 recipes were selected, translating into 44 experiments. Reconstructions from medieval recipes were prepared and characterized through a multianalytical approach to disclose the original pigment formulation that is often described as verdigris. Based on the results obtained, we propose three main groups of copper green pigments, group 1, in which only Cu(CH3COO)2·H2O is formed; group 2, where this acetate is found together with copper oxalates; group 3, in which atacamite is present as the major green component or as a signature compound. The products formed are in perfect agreement with that predicted by the state-of-the-art research on the mechanisms of atmospheric corrosion of copper. This knowledge, together with our experience on craft recipes to prepare medieval paint materials, allowed us to recover a lost medieval recipe to produce a copper green pigment based mainly on atacamite, a basic copper chloride, which has been recently detected, by Raman and infrared spectroscopy, in artworks ranging from Catalonia and the Crown of Aragon panel painting to Islamic manuscripts.
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del Hoyo-Meléndez, J. M., J. L. Lerma, E. López-Montalvo, and V. Villaverde. "Documenting the light sensitivity of Spanish Levantine rock art paintings." ISPRS Annals of Photogrammetry, Remote Sensing and Spatial Information Sciences II-5/W3 (August 11, 2015): 53–59. http://dx.doi.org/10.5194/isprsannals-ii-5-w3-53-2015.
Повний текст джерелаАнотація:
A case study to evaluate the use of microfading spectrometry (MFS) for the study of colored systems found in prehistoric rock art paintings was conducted in the Cova Remígia rock-shelter, Castellón (Spain). This rock shelter is part of the rock art sites of the Mediterranean basin on the Iberian Peninsula included in UNESCO’s World Heritage List. Some of the paintings belonging to this group are exposed to environmental factors including natural daylight, wind and rain, depending on the time of the day and the season of the year. Therefore, their preservation is a major concern to stakeholders and researchers responsible for protecting and studying these prehistoric paintings. The experimental work in Cova Remigia focused on measuring the reflectance curves (400-700 nm) and determining the photostability of various areas containing red and black pigments on the rock art paintings. The preliminary results indicate that MFS is a suitable technique for studying the response to light of rock/pigment systems found in rock art sites. The advantages and limitations of the technique are discussed.
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Hibberts, Stephen, Howell G. M. Edwards, Mona Abdel-Ghani, and Peter Vandenabeele. "Raman spectroscopic analysis of a ‘ noli me tangere ’ painting." Philosophical Transactions of the Royal Society A: Mathematical, Physical and Engineering Sciences 374, no. 2082 (December 13, 2016): 20160044. http://dx.doi.org/10.1098/rsta.2016.0044.
Повний текст джерелаАнотація:
The discovery of an oil painting in seriously damaged condition with an important historical and a heterodox detail with possible origins in the late fifteenth century has afforded the opportunity for Raman microscopic analysis prior to its restoration being undertaken. The painting depicts a risen Christ following His crucifixion in a ‘ noli me tangere ’ pose with three women in an Italian terrace garden with a stone balustrade overlooking a rural landscape and an undoubted view of late-medieval Florence. The picture has suffered much abuse and is in very poor condition, which is possibly attributable to its controversial portrayal of a polydactylic Christ with six toes on His right foot. By the late sixteenth century, after the Council of Trent, this portrayal would almost certainly have been frowned upon by the Church authorities or more controversially as a depiction of the holy. Raman spectroscopic analysis of the pigments places the painting as being consistent chronologically with the Renaissance period following the identification of cinnabar, haematite, red lead, lead white, goethite, verdigris, caput mortuum and azurite with no evidence of more modern synthetic pigments or of modern restoration having been carried out. An interesting pigment mixture found here is that of the organic dye carmine and cinnabar to produce a particular bright red pigment coloration. Stratigraphic examination of the paint fragments has demonstrated the presence of an orange resin layer immediately on top of the canvas substrate, effectively rendering the pigment as a sandwich between this substratal resin and the overlying varnish. The Raman spectroscopic evidence clearly indicates that an attribution of the artwork to the Renaissance is consistent with the scientific analysis of the pigment composition. This article is part of the themed issue ‘Raman spectroscopy in art and archaeology’.
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Das, Ankita, Udita Das, and Asim K. Das. "Present State of Knowledge of Chemistry of Our Vision: Photoreceptor Molecules and Vision Cycle." Asian Journal of Organic & Medicinal Chemistry 7, no. 4 (2023): 309–20. http://dx.doi.org/10.14233/ajomc.2022.ajomc-p409.
Повний текст джерелаАнотація:
Vision process involves the participation of two types of retinal photoreceptor cells: rod cells respond to dim light while cone cells respond to bright light and colours. The visual pigments in both types of photoreceptor cells contain the common chromophore, 11-cis-retinal, linked through a Schiff base linkage to the opsin protein, a member of G-protein coupled receptor (GPCR) family, composed of 7- transmembrane helices (a 7TM receptor). Rhodopsin is the visual pigment present in the rod cells while three distinct types of visual pigments known as photopsins (red cones, green cones and blue cones absorbing red, blue and green parts of the visible spectrum respectively) are present in the cone cells. Absorption of light by the visual pigment causes the photoexcitation followed by photoisomerization, 11-cis-retinal (Z) to all-trans-retinal (E) with a high quantum yield through a number of reactive intermediates characterized by low temperature and picosecond (ps) time resolved spectroscopies coupled with femtosecond spectroscopy. This photoisomerization leads to a change in the conformation of opsin GPCR and a signal transduction cascade by activating transducin, a heterotrimeric G-protein, to breakdown the cGMP to close the cGMP-gated cation channels resulting in hyperpolarization of the photoreceptor cell. This action potential creates a nerve signal that is transmitted to the brain to produce the sense of vision. The photoisomerized pigment undergoes rapidly hydrolysis to produce the opsin protein and all trans-retinal, which can be reconverted enzymatically to 11-cis-retinal for recharging opsin to generate the active visual pigment to maintain the vision cycle (Wald cycle). This brief review highlights the state of our understanding of the biology behind the art of vision in humans and other organisms.
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Jiang, Xiaochenyang, Yanjun Weng, Xiaohong Wu, Jianfeng Cui, Hongshu Lyu, Jianxin Jiang, Guodong Song, Hetian Jin, Dashu Qin, and Changsui Wang. "Early globalized industrial chain revealed by residual submicron pigment particles in Chinese imperial blue-and-white porcelains." Proceedings of the National Academy of Sciences 117, no. 12 (March 2, 2020): 6446–52. http://dx.doi.org/10.1073/pnas.1916630117.
Повний текст джерелаАнотація:
The success of early Chinese blue-and-white porcelains relied heavily on imported cobalt pigment from the West. In contrast to art-historical concept, which contains both typological evidence and literature records, it is assumed that imported Sumali blue was completely superseded by domestic Chinese asbolane ore based on the analytical results of the Fe/Mn ratio in imperial productions from the Xuande reign (1426 to 1435 CE) onward. Using a focused ion beam transmission electron microscopy technique to reassess this hotly debated question, we have identified two classes of residual submicron pigment particles in the blue glaze with diagnostic differences in morphology, chemical composition, and distribution behavior. Compared with the microstructural features of the blue-and-white porcelains of the Yuan and Qing dynasties, we show that a mixture of imported and domestic cobalt pigments was used for aesthetic reasons, indicating that the overseas supply chain of imported pigment remained consistent and adequate even though the authorities had terminated official trade and tributary activities after the death of Admiral Zheng He. This discovery further suggests that the globalized trading network and cross-regional industrial chain had been extensively established in the 15th century. Moreover, we provide analytical evidence against the fundamental assumption of the current Fe/Mn provenancing criteria, implying that the failures of previous chemical analyses can be attributed to elemental differentiation between the silicate glaze and the arsenic pigment. We propose an innovative method for directly assessing original mineralogic information from submicron residual pigment particles that provides a more reliable way to trace cobalt circulation and holds great promise for provenance studies.
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Hedges, R. E. M., Christopher Bronk Ramsey, G. J. Van Klinken, P. B. Pettitt, Christina Nielsen-Marsh, Alberto Etchegoyen, J. O. Fernandez Niello, M. T. Boschin, and A. M. Llamazares. "Methodological Issues in the 14C Dating of Rock Paintings." Radiocarbon 40, no. 1 (1997): 35–44. http://dx.doi.org/10.1017/s0033822200017859.
Повний текст джерелаАнотація:
Chemical and isotopic analyses have been made of pigment samples from two separate rock art sites in Argentina. The purpose of the study has been to establish the feasibility of extracting carbonaceous material from the samples which will permit reliable radiocarbon dates for the time of painting. The two sites, Catamarca and Rio Negro, present quite different problems. Most of the paper is concerned with Catamarca, and here we have shown that the paint pigments contain very little or no organic binder; but they do contain calcium oxalate derived from local cacti, and calcium carbonate derived probably from local plant ash. We describe a method to purify carbon extracted from the calcium oxalate, and present the dates obtained on both components. We show that, though rare, natural deposits containing both calcium oxalate and calcite do occur, but that they are very distinct in both 13C and 14C compositions; and we argue that they are very unlikely to contaminate the pigments to such an extent that the 14C dates are altered. For the Rio Negro site we show that the ground for the paint pigments contains carbon derived from fires burnt inside the cave, and discuss how analytical methods provide information to develop a strategy for extracting material, from both ground and pigment, for more reliable dating.
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Melo, Maria João, Paula Nabais, Maria Guimarães, Rita Araújo, Rita Castro, Maria Conceição Oliveira, and Isabella Whitworth. "Organic dyes in illuminated manuscripts: a unique cultural and historic record." Philosophical Transactions of the Royal Society A: Mathematical, Physical and Engineering Sciences 374, no. 2082 (December 13, 2016): 20160050. http://dx.doi.org/10.1098/rsta.2016.0050.
Повний текст джерелаАнотація:
In this study, we successfully addressed the challenges posed by the identification of dyes in medieval illuminations. Brazilwood pigment lakes and orcein purple colours were unequivocally identified in illuminated manuscripts dated by art historians to be from the thirteenth to the fifteenth centuries and in the Fernão Vaz Dourado Atlas (sixteenth century). All three works were on a parchment support. This was possible by combining Raman microscopy and surface-enhanced Raman spectroscopy with microspectrofluorimetry. To the best of our knowledge, this is the first time that brazilein, the main chromophore in brazilwood lake pigments, has been unequivocally identified by surface-enhanced Raman spectroscopy in an illuminated work (the Dourado Atlas ). Complementing this identification, through microspectrofluorimetry and micro-Fourier transform infrared spectroscopy, it was possible to propose a complete paint formulation by comparison with our database of references; the dark pink hues, in the three case studies, were produced by combining brazilwood pigment lakes and gypsum in a protein- and gum arabic-based tempera. Orcein purple, also known as orchil dye, has been previously identified in medieval manuscripts, dated from the sixth to the ninth centuries. Our findings in fourteenth–sixteenth century manuscripts confirm the hypothesis that this dye was lost during the High Middle Ages, to be later rediscovered. This article is part of the themed issue ‘Raman spectroscopy in art and archaeology’.
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Naganuma, Takashi, and Jannu Igarashi. "Parure, pigment et art mobilier du Paléolithique supérieur au Japon." L'Anthropologie 125, no. 5 (November 2021): 102970. http://dx.doi.org/10.1016/j.anthro.2021.102970.
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Tymchenko, Теtiana, and Svitlana Biskulova. "«PORTRAIT OF A LADY» OF THE BOICHUCK SCHOOL FROM THE NATIONAL ACADEMY OF FINE ARTS AND ARCHITECTURE FUNDS. COMPREHENSIVE EXAMINATION RESULTS." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 30 (December 9, 2021): 120–27. http://dx.doi.org/10.33838/naoma.30.2021.120-127.
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Abstract. The article features the results of the comprehensive examination of an outstanding piece from the Mykhailo Boуchuk school, «Portrait of a Lady» from the NAFAA funds. The research was done by the Associate Professor of the Department of the Technique and Restoration of Artwork of NAFAA, Tetiana Tymchenko, Ph.D, and the Leading Researcher of the Bureau of scientific and technical expertise «ART-LAB» Svitlana Biskulova, Ph.D, in connection with the planned restoration of the artwork. Since 2018, «Portrait of a Lady» has been attributed to Mykola Kasperovych (1885–1938), an outstanding painter, restorer and researcher. The reasoning is provided in the expert conclusion of the Head of the Ukrainian Art Department of the end of 19th — beginning of the 20th century of the National Art Museum of Ukraine Olena Kashuba-Volvach. The article lists the peculiarities of the techniques, technology, condition of the artwork from the NAFAA funds. In particular, it reveals the peculiarities of the preparatory drawing, imitation of the monumental art techniques by means of the easel painting, and individual techniques of working with paints. The paper specifies the time of the portrait creation, which indicates 1923 — probably, the year of the work creation, and the age of the lady from the portrait, 30 years. The technological examination of the portrait in the Bureau of scientific and technical expertise «ART-LAB» confirmed the dating of the work to the period of the 1920s – 1930s. The article clarifies important components of the portrait technology: in particular, it has been found that the ground is chalk-glue and the paints’ medium is casein-oil tempera; among the pigments the zinc white with an admixture of lead white, yellow and red ochre, Ivory black pigment (burnt bone), mixed green pigment (burnt bone and yellow ochre) were identified. The examination revealed the traces of restoration interventions of different times. The paper features a number of considerations regarding further research of Boychukists’ creativity from the point of view of technology.
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Mureika, J. R., G. C. Cupchik, and C. C. Dyer. "Multifractal Fingerprints in the Visual Arts." Leonardo 37, no. 1 (February 2004): 53–56. http://dx.doi.org/10.1162/002409404772828139.
Повний текст джерелаАнотація:
The similarity in fractal dimensions of paint “blobs” in samples of gestural expressionist art implies that these pigment structures are statistically indistinguishable from one another. This conclusion suggests that such dimensions cannot be used as a “finger-print” for identifying the work of a single artist. To overcome this limitation, the authors have adopted the multifractal spectrum as an alternative tool for artwork analysis. For the pigment blobs, it is demonstrated that this spectrum can be used to isolate a construction paradigm or art style. Additionally, the fractal dimensions of edge structures created by luminance gradients on the canvas are analyzed, yielding a potential method for visual discrimination of fractally similar paintings
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Accorsi, Gianluca, Giovanni Verri, Angela Acocella, Francesco Zerbetto, Giovanni Lerario, Giuseppe Gigli, David Saunders, and Rachel Billinge. "Imaging, photophysical properties and DFT calculations of manganese blue (barium manganate(vi) sulphate) – a modern pigment." Chem. Commun. 50, no. 97 (2014): 15297–300. http://dx.doi.org/10.1039/c4cc01986e.
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Arsalan, Muhammad, Na Rae Baek, Muhammad Owais, Tahir Mahmood, and Kang Ryoung Park. "Deep Learning-Based Detection of Pigment Signs for Analysis and Diagnosis of Retinitis Pigmentosa." Sensors 20, no. 12 (June 18, 2020): 3454. http://dx.doi.org/10.3390/s20123454.
Повний текст джерелаАнотація:
Ophthalmological analysis plays a vital role in the diagnosis of various eye diseases, such as glaucoma, retinitis pigmentosa (RP), and diabetic and hypertensive retinopathy. RP is a genetic retinal disorder that leads to progressive vision degeneration and initially causes night blindness. Currently, the most commonly applied method for diagnosing retinal diseases is optical coherence tomography (OCT)-based disease analysis. In contrast, fundus imaging-based disease diagnosis is considered a low-cost diagnostic solution for retinal diseases. This study focuses on the detection of RP from the fundus image, which is a crucial task because of the low quality of fundus images and non-cooperative image acquisition conditions. Automatic detection of pigment signs in fundus images can help ophthalmologists and medical practitioners in diagnosing and analyzing RP disorders. To accurately segment pigment signs for diagnostic purposes, we present an automatic RP segmentation network (RPS-Net), which is a specifically designed deep learning-based semantic segmentation network to accurately detect and segment the pigment signs with fewer trainable parameters. Compared with the conventional deep learning methods, the proposed method applies a feature enhancement policy through multiple dense connections between the convolutional layers, which enables the network to discriminate between normal and diseased eyes, and accurately segment the diseased area from the background. Because pigment spots can be very small and consist of very few pixels, the RPS-Net provides fine segmentation, even in the case of degraded images, by importing high-frequency information from the preceding layers through concatenation inside and outside the encoder-decoder. To evaluate the proposed RPS-Net, experiments were performed based on 4-fold cross-validation using the publicly available Retinal Images for Pigment Signs (RIPS) dataset for detection and segmentation of retinal pigments. Experimental results show that RPS-Net achieved superior segmentation performance for RP diagnosis, compared with the state-of-the-art methods.
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Heimlich, Geoffroy, Pascale Richardin, Nathalie Gandolfo, Eric Laval, and Michel Menu. "First Direct Radiocarbon Dating of the Lower Congo Rock Art (Democratic Republic of the Congo)." Radiocarbon 55, no. 3 (2013): 1383–90. http://dx.doi.org/10.1017/s0033822200048311.
Повний текст джерелаАнотація:
Lower Congo rock art is concentrated in a region that stretches from Kinshasa to the Atlantic coast and from northern Angola to southern Congo-Brazzaville. Although Lower Congo rock art was identified as early as the 19th century, it had never been a subject of thorough investigation. Presently inhabited by the Ndibu, one of the Kongo subgroups, the Lovo Massif is situated north of the ancient Kongo Kingdom. With 102 sites (including 16 decorated caves), the massif has the largest concentration of rock art in the entire region. In 2008 and 2010, we were able to collect pigment samples directly on the panels of the newly discovered decorated cave of Tovo. Unlike the Sahara and southern Africa, both extensively prospected, rock art of central Africa is still widely unknown and not dated. Radiocarbon dating of rock art in Africa is a real challenge and only a few direct dates have been obtained thus far. After verifying that the pigment samples were indeed charcoal, we proceeded to 14C date them using accelerator mass spectrometry (AMS). The results indicate dates between cal AD 1480 and 1800, confirming that the occupation of Tovo Cave was contemporaneous with the ancient Kongo Kingdom.
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Wesley, Daryl, Tristen Jones, and Christian Reepmeyer. "Pigment geochemistry as chronological marker: The case of lead pigment in rock art in the Urrmarning ‘Red Lily Lagoon’ rock art precinct, western Arnhem Land." Australian Archaeology 78, no. 1 (June 2014): 1–9. http://dx.doi.org/10.1080/03122417.2014.11681993.
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Best, Susan. "Repair in Australian Indigenous art." Journal of Visual Culture 21, no. 1 (April 2022): 190–205. http://dx.doi.org/10.1177/14704129221088289.
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This article examines artworks by three emerging Australian Indigenous artists who are revitalizing Indigenous cultural traditions. The author argues that their work is reparative in the manner described by queer theorist Eve Kosofsky Sedgwick; that is, their art addresses the damage of traumatic colonial histories while being open to pleasure, beauty and surprise. The artists are all based in Brisbane and completed a degree in Contemporary Australian Indigenous Art at Queensland College of Art – the only degree of this nature in Australia. The artists are Carol McGregor, Dale Harding and Robert Andrew. McGregor’s work draws on possum skin cloak making, Harding has incorporated the stencil technique of rock art into his practice and Andrew uses a traditional pigment ochre and Yawuru language.
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Li, Wen Bo, Li Xin Mo, Lu Hai Li, Xu Wei Hu, Xian Leng, Hua Fang, Wei Wei Li, and Shu Kun Li. "Study on Application Performance of Water-Based Pigment Ink on Uncoated Paper." Advanced Materials Research 380 (November 2011): 52–55. http://dx.doi.org/10.4028/www.scientific.net/amr.380.52.
Повний текст джерелаАнотація:
The performances of three kinds of water-based pigment inks were compared and studied, which include self-made ink, original printing ink and compatible ink. Art paper, matte paper and white card paper were used as the substrates. Testing the contact angle of ink droplets, the spreading, wetting, and drying rate of inks were investigated. The color density and CIE L*a*b* values of the printed samples were measured, to evaluate the hue error and color gamut. The water resistance was studied with corresponding experiments. The result indicates: self-made water-based pigment ink has the smallest contact angle on coated paper, showing a faster drying rate. Its color gamut is similar to the original printing ink on art paper, and the hue error is low. Through the water resistance test, the color density measured on art paper and matte paper had no changes, without color dissolving and color fading, showing good water resistance applicability.
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Chua, Lynn, Seah Zi Quan, Gao Yan, and Woo Sik Yoo. "Investigating the Colour Difference of Old and New Blue Japanese Glass Pigments for Artistic Use." Journal of Conservation Science 38, no. 1 (February 28, 2022): 1–13. http://dx.doi.org/10.12654/jcs.2022.38.1.01.
Повний текст джерелаАнотація:
Colour consistency is an important consideration when selecting pigments used on works of art. In this study, we analyse the colour difference between two sets of synthetic blue glass pigments acquired at least 8 years apart from the same manufacturer in Japan. The old pigment set (unused, dry powder with four different grain sizes) appears faded compared to the new set. These pigments are made available for artistic use, commonly in Nihonga or Japanese paintings. Raman spectroscopy and SEM-EDS results characterize these pigments as cobalt aluminate spinels dissolved in leaded glaze, a special class of complex coloured inorganic pigments that is not well-understood in the field of conservation. Colour difference between the old and new pigments with four different grain sizes were quantified by analysing photomicrographs with image analysis software. Blue pigments with coarse and extremely fine grains showed significant colour change compared to pigments with medium and fine grain sizes. The high occurrence of crystallites in the finer grains give a final colour that is bluer and lighter. Possible causes for the colour difference including manufacturing methods and storage environment are discussed.
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Jalandoni, Andrea, W. Winans, and Mark Willis. "Intensity Values of Terrestrial Laser Scans Reveal Hidden Black Rock Art Pigment." Remote Sensing 13, no. 7 (April 1, 2021): 1357. http://dx.doi.org/10.3390/rs13071357.
Повний текст джерелаАнотація:
The intensity values of terrestrial laser scanning (TLS) can be used to reveal painted black rock art behind graffiti and moss. The effect was observed in Gumahon cave in Peñablanca, Philippines where previously unnoticed black pigment was exposed underneath moss, red and white painted graffiti, and etched name graffiti. The application of TLS intensity values for this purpose has not, to our knowledge, been previously reported. The significance of this finding is that archaeologists are provided a new method of detecting obfuscated rock art that can aid interpretation. The method can be applied in similar contexts as black painted rock art is common in limestone caves across Southeast Asia and Micronesia, but also ubiquitous globally.
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Whiting, Cécile. "More Than Meets the Eye: Archibald Motley and Debates on Race in Art." Prospects 26 (October 2001): 449–76. http://dx.doi.org/10.1017/s0361233300001009.
Повний текст джерелаАнотація:
In 1933, Archibald J. Motley Jr., an African-American artist from Chicago who enjoyed a moderate level of national and international renown, issued his only formal public statement concerning the relationship he perceived between his art and race. His words, resonating with confidence, assert his conviction that painting could capture the truth of race through pigment. Reproduced opposite this declaration,Bluesof 1929 (Figure 1), which depicts well-coiffed men and women dancing in the Petite Cafe in Paris to tunes played by musicians seated in the foreground, would seem to reinforce Motley's point: paint transcribes the gradations of skin pigment incarnated by the various African, West Indian, and perhaps even African-American patrons of this nightspot. The color of skin, transmuted into the color of paint, identifies and catalogs race.
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Roh, Joo Yeon, Mary K. Matecki, Shelley A. Svoboda, and Kristin L. Wustholz. "Identifying Pigment Mixtures in Art Using SERS: A Treatment Flowchart Approach." Analytical Chemistry 88, no. 4 (February 3, 2016): 2028–32. http://dx.doi.org/10.1021/acs.analchem.6b00044.
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Amanatiadis, Stamatios, Georgios Apostolidis, and Georgios Karagiannis. "Consistent Characterization of Color Degradation Due to Artificial Aging Procedures at Popular Pigments of Byzantine Iconography." Minerals 11, no. 7 (July 19, 2021): 782. http://dx.doi.org/10.3390/min11070782.
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The degradation effects of artificial aging on the “true” pigment color of Byzantine iconography are thoroughly investigated in this work. For this purpose, a multi-material palette is fabricated, consisting of various popular egg-tempera pigments, while the original recipes from the literature are utilized in order to mimic the genuine art of Byzantine painters. Then, artificial aging procedures are appropriately employed to simulate environmental fluctuations in historical buildings, such as churches. A total of four time steps are investigated, including the initial condition, and pigments’ spectra in the ultraviolet/visible (UV/Vis) area are acquired in the diffuse reflectance mode at each individual step. Moreover, a color characterization procedure is realized via the quantification of lightness and saturation by means of the measured UV/Vis spectrum. The main objectives of this work are to determine the color stability, the type of color degradation, and generally the color response through time of the studied pigments. The extracted results indicate that a couple of pigments suffer severe color degradation while the majority present moderate darkening or discoloration.
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Leng, Xian, Bing Rong Cui, Lu Hai Li, Peng Du, Wen Zhao, and Xu Wei Hu. "Influence of Colorant on Ink-Jet Printing Quality." Materials Science Forum 689 (June 2011): 372–76. http://dx.doi.org/10.4028/www.scientific.net/msf.689.372.
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This study aims to analyse how inks of different colorant present unlike printing quality on selected substrates in inkjet printing. Applying Epson piezoelectric inkjet printer, experiments of printing pigment-based ink and dye-based ink on various substrates (coated art paper, porous photo paper, swellable photo paper, PP synthetic paper, xuan paper and PET-based coated film) were carried out respectively. Using digital microscope, the spreading, penetrating and distributing of ink drops were observed. Water fastness and light fastness were evaluated through aging test and water-immersing test, by measuring the decreasing of optical solid density. Taking the formula of inks and the composition of coating layers into consideration, contrast and analysis of print quality with different black inks on substrates of diverse support body were studied. The result demonstrates: Both dye-base and pigment-base inks present ideal optical density in special-purpose photo paper (swellable or porous type), exhibit distinct writing picture edge, and excellent water fastness and light fastness. While, coated art paper, PP synthetic paper, xuan paper and PET-based coated film, which shows relatively rough surface or weak ink absorbancy, are more suitable to use pigment-based ink.
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Gutierrez, Sarath, Kenya Hazell, John Simonsen, and Seri Robinson. "Description of a Naphthoquinonic Crystal Produced by the Fungus Scytalidium cuboideum." Molecules 23, no. 8 (July 31, 2018): 1905. http://dx.doi.org/10.3390/molecules23081905.
Повний текст джерелаАнотація:
Intarsia was an art form popular between the 15th–18th centuries that used wood pigmented by spalting fungi to create detailed landscapes, portraits, and other imagery. These fungi are still used today in art but are also finding relevance in material science as elements of solar cells, textile dyes, and paint colorants. Here we show that the spalting fungus Scytalidium cuboideum (Sacc. and Ellis) Sigler and Kang produces a red/pink pigment that forms two distinct colors of crystals (red and orange)—a very rare occurrence. In addition, a second structure of the crystal is proved through nuclear magnetic resonance (NMR). This is only the second instance of a stable, naphthoquinone crystal produced by a fungus. Its discovery is particularly valuable for solar cell development, as crystalline materials have a higher electrical conductivity. Other fungi in this order have shown strong potential as thin films for solar cells.
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Warczak, Magdalena, Maciej Gryszel, Marie Jakešová, Vedran Đerek, and Eric Daniel Głowacki. "Organic semiconductor perylenetetracarboxylic diimide (PTCDI) electrodes for electrocatalytic reduction of oxygen to hydrogen peroxide." Chemical Communications 54, no. 16 (2018): 1960–63. http://dx.doi.org/10.1039/c7cc08471d.
Повний текст джерелаАнотація:
Organic semiconductors can give high electrocatalytic currents while retaining excellent stability. We demonstrate the use of the industrial pigment PTCDI as a robust electrocatalyst for oxygen-to-peroxide electrolyzers operating at state-of-the-art efficiency.
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Văcar, Cristina Lorena, Cristina Mircea, Marcel Pârvu, and Dorina Podar. "Diversity and Metabolic Activity of Fungi Causing Biodeterioration of Canvas Paintings." Journal of Fungi 8, no. 6 (May 30, 2022): 589. http://dx.doi.org/10.3390/jof8060589.
Повний текст джерелаАнотація:
Research into the biodeteriorative potential of fungi can serve as an indicator of the condition of heritage items. Biodeterioration of canvas paintings as a result of fungal metabolic activity is understudied with respect to both the species diversity and mechanisms involved. This study brings new evidence for the physiology of fungi biodeteriorative capacity of canvas paintings. Twenty-one fungal isolates were recovered from four oil paintings (The Art Museum, Cluj-Napoca) and one gouache painting (private collection), dating from the 18th to 20th centuries. The species, identified based on the molecular markers Internal Transcribed Spacer (ITS), beta-tubulin (tub2), or translation elongation factor 1 (TEF-1), are common colonisers of canvas paintings or indoor environments (e.g., Penicillium spp., Aspergillus spp., Alternaria spp.). Fungi enzymatic profiles were investigated by means of hydrolysable substrates, included in culture media or in test strips, containing components commonly used in canvas paintings. The pigment solubilisation capacity was assessed in culture media for the primary pigments and studied in relation to the organic acid secretion. Caseinases, amylases, gelatinases, acid phosphatase, N-acetyl-β-glucosaminidase, naphthol-AS-BI-phosphohydrolase, and β-glucosidase were found to be the enzymes most likely involved in the processes of substrate colonisation and breakdown of its components. Aureobasidium genus was found to hold the strongest biodeteriorative potential, followed by Cladosporium, Penicillium, Trichoderma, and Aspergillus. Blue pigment solubilisation was detected, occurring as a result of organic acids secretion. Distinct clusters were delineated considering the metabolic activities detected, indicating that fungi specialise in utilisation of certain types of substrates. It was found that both aged and modern artworks are at risk of fungal biodeterioration, due to the enzymatic activities’ diversity and intensity, pigment solubilisation capacity or pigment secretion.
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Beckett, Fiona, and Aaron Shugar. "Following the Light: Use of Multimodal Imaging and Fiber Optic Spectroscopy to Evaluate Aging in Daylight Fluorescent Artists’ Pigments." Colorants 1, no. 2 (May 23, 2022): 208–25. http://dx.doi.org/10.3390/colorants1020013.
Повний текст джерелаАнотація:
Daylight fluorescent artists’ colors have been well established as fugitive. Upon exposure to light, these vibrant colors can fade and exhibit color shifts. Artwork containing these fluorescent colorants presents complex challenges for art conservators faced with conserving these inherently problematic materials. This paper examined nine fluorescent colorants obtained from Kremer Pigmente, referred to the previous literature and research, and attempted to quantify the visual and photographic observations of fading and color changes. It provides additional information that could be useful in considering conservation documentation and treatment. Fiber optic spectroscopy using ultraviolet and visible light sources was used to measure the spectral shifts of the colorants before and after exposure to light. The fluorescent colors exhibited alterations in intensity coupled with primary peak shifts in the spectrum corresponding to the optical fading and color shifts. Multimodal imaging was executed to analyze the pigments in different regions of the spectrum before and after aging, which has not been documented before with these fluorescent colorants. Imaging in various regions of the spectrum indicated differences in absorption and reflectance between the pigments as captured by a modified camera. The results were compared to recently published research including the identification of the dyes present in the Kremer line of pigments. Multimodal imaging and fiber optic spectroscopy provided valuable information for future documentation and conservation of artworks containing these colorants. Specifically, these non-invasive techniques provide a method to document and identify the spectral changes between the aged and unaged pigment, graph and predict the direction of overall color change, and provide useful data for establishing future conservation treatment protocols.
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Pause, Rika, Inez Dorothé van der Werf, and Klaas Jan van den Berg. "Identification of Pre-1950 Synthetic Organic Pigments in Artists’ Paints. A Non-Invasive Approach Using Handheld Raman Spectroscopy." Heritage 4, no. 3 (July 17, 2021): 1348–65. http://dx.doi.org/10.3390/heritage4030073.
Повний текст джерелаАнотація:
There is little information on the actual use of early synthetic organic pigments (SOPs) in art objects, especially those from before 1950. Their presence can, however, pose a challenge to conservation because their chemical composition, as well as their lightfastness and sensitivity to solvents, are often unknown. Here, a study on the non-invasive identification of SOPs in historic pre-1950 varnished paint-outs from artists’ materials manufacturer Royal Talens is presented. The paints were analysed using a handheld Raman device. Spectra were evaluated by recording the spectra of the same samples with a benchtop instrument. This study demonstrated that the identification of SOPs in varnished oil paints with a non-invasive approach is possible and rather straightforward. The handheld Raman device allowed us to identify fourteen SOPs from eight pigment classes. Besides the occurrence of expected and the known SOPs of this time period, there were also some surprising results, like the detection of the triarylcarbonium pigments PG2 and PB8, and the monoazo Mordant Yellow 1.
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Zotkina, L. V., A. L. Zaika, A. P. Zabiyako, V. Y. Matveev, E. M. Levacheva, and D. P. Volkov. "New Data on Paintings of the Nukzha Rock Art Site (Amur Region)." Problems of Archaeology, Ethnography, Anthropology of Siberia and Neighboring Territories 27 (2021): 448–52. http://dx.doi.org/10.17746/2658-6193.2021.27.0448-0452.
Повний текст джерелаАнотація:
The rock art site of Nukzha is located in northern Amur Region at the mouth of the Onyoni River. It was studied in the mid 1970s by A.P. Okladnikov and A.I. Mazin. As in the other rock art sites of the region, the Nukzha paintings were made by red mineral pigment. For a long time this location was inaccessible after construction of the Baikal-Amur railway. However, in the early 2000s, the studies of the Nukzha rock art site resumed. The project of additional branch of the railway required further research at the Nukzha site. During the field works of 2021, a new indexing was proposed, and detailed re-documenting of the site was carried out using up-to-date techniques of photo-documenting and processing of photographic materials. As a result, it was possible to make a comparison with the previously published evidence concerning the preservation state of the site, and identify some damage and loss of panel fragments. In addition, the previously published tracings were corrected and unknown images were found and recorded. Due to advanced approaches to documentation, including photography, 3D visualization, and color filtering of digital images, the authors of this article have managed to take a new look at this well-studied rock art site. Many paintings which looked like amorphous stains of red pigment appeared as recognizable images when viewed directly by the DStrech plug-in after colorfiltering. The experience of the Nukzha rock art site study once again shows the necessity of re-documentation of rock art sites.