Louis Ducos du Huron (1837-1920) dedicated his entire life to the elaboration of physical-chemical processes for color photography. This study aimed at highlighting his unique contribution to three-color printing through 1) an in-depth review of the many protocols he published and 2) the synchrotron-based IR and X-ray microanalysis of fragments sampled in three artworks. Ducos du Hauron's method relied on the preparation and assembly of three monochromes (red, blue, yellow). This study brings to light complex multistep recipes based on photochemistry (carbon print), organic, and inorganic chemistry. The various ingredients involved (e.g., pigments, dichromate gelatin, collodion, resin) were identified and localized through their spectroscopic signature, confirming the relevance of synchrotron spectromicroscopy for the characterization of historical photographs. The impressive correlation between texts and chemical analyses calls for a wider application to the history of photography.
Louis Ducos du Huron (1837Huron ( -1920 dedicated his entire life to the elaboration of physical-chemical processes for color photography.This study aimed at highlighting his unique contribution to three-color printing through 1) an in-depth review of the many protocols he published and 2) the synchrotron-based IR and X-raym icroanalysis of fragments sampled in three artworks.D ucos du Hauronsm ethod relied on the preparation and assembly of three monochromes (red, blue,y ellow). This study brings to light complex multistep recipes based on photochemistry (carbon print), organic,a nd inorganic chemistry.T he various ingredients involved (e.g., pigments,dichromate gelatin, collodion, resin) were identified and localized through their spectroscopic signature,c onfirming the relevance of synchrotron spectromicroscopyf or the characterization of historical photographs.T he impressive correlation between texts and chemical analyses calls for aw ider application to the history of photography.
En 1946, une inspection menée sur les dessins de Jean-Auguste-Dominique Ingres (1780-1867) conservés au musée Ingres de Montauban constate leur état de conservation préoccupant. Les œuvres sont envoyées à Paris pour examen et étude en vue de leur restauration et de leur remontage, parallèlement au réaménagement complet du musée. Depuis lors, les nombreux documents conservés permettent de mieux connaître les interventions entreprises, les réflexions qui les ont précédées et les méthodes utilisées. Cette documentation constitue aujourd’hui un apport important à la connaissance de la collection et à l’histoire de la restauration des dessins.
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