A note on the use of blue and green copper compounds in paintings

Наумова, М. М.; Pisareva, S. A.

doi:10.1179/sic.1994.39.4.277

Cited by 32 publications

(20 citation statements)

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“…29 In this case, despite the identical optical characteristics of natural and artificial posnjakite, the latest should have different and rather uniform morphological features. 27,28 In this painting, however, the pigment particles morphology points in another direction (Fig. 15).…”

Section: Pigments Characterization and State Of Conservationmentioning

confidence: 83%

“…The most likely origin should be artificial. Although the earliest recipe for posnjakite dates from the late eighteenth century or early nineteenth century, this copper sulfate could possibly appear as an intermediated product in the mixtures of salts obtained by historical recipes . In this case, despite the identical optical characteristics of natural and artificial posnjakite, the latest should have different and rather uniform morphological features .…”

Section: Resultsmentioning

confidence: 99%

“…Where does the copper sulfate comes from? According to Naumova et al 27,28 and, more recently, Svarcov a et al 29 natural posnjakite is difficult to find in nature and only within a complex and specific mineral oxidation zones of copper deposits. The most likely origin should be artificial.…”

Section: Pigments Characterization and State Of Conservationmentioning

confidence: 99%

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Material and diagnostic characterization of 17th century mural paintings by spectra‐colorimetry and SEM‐EDS: An insight look at José de Escovar Workshop at the CONVENT of N^a Sr^a da Saudação (Southern Portugal)

Gil

Serrão

Carvalho

et al. 2013

Color Research & Application

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The early 17th century mural paintings set from the low-choir of the extinct Dominican Convent of Nossa Senhora da Saudação in the town of Montemor-o-novo were analyzed by a setup comprising visible spectra-colorimetry and scanning electron microscopy coupled with energy dispersive X-ray spectrometry (SEM-EDS) complemented with optical microscopy (OM), micro X-ray diffraction, micro FTIR, and micro Raman spectroscopy. The main goals were material and diagnostic characterization of the paint layers and pictorial techniques used by Jose de Escovar workshop, one of the most active and controversial easel and mural painters of Evora Archiepiscopate between 1585 and 1622. The results show a differentiate use of red, blue, and green pigments in an alkaline environment. Stable mercury sulfide (HgS) was identified in almost all red areas in the latest scenes while, in the first ones, red ochre (Fe 2 O 3 ) is the predominant pigment. Faded smalt (a co-potassium silicate glass) is present pure in the sky background or mixed with red ochre in the garments at the beginning of the low-choir but less at the end. Five kinds of copper-based materials, with different degrees of color alteration, were found, namely malachite and azurite, copper chlorides, copper sulfates (e.g., posjnakite), and pseudomalachite. Another curious feature is the uneven use of a limewash made with slaked calcitic lime in the carnations. Lack of material, internal organization strategies, or technical differences within the team are probably the most likely causes.

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Section: Pigments Characterization and State Of Conservationmentioning

confidence: 83%

Section: Resultsmentioning

confidence: 99%

See 1 more Smart Citation

Material and diagnostic characterization of 17th century mural paintings by spectra‐colorimetry and SEM‐EDS: An insight look at José de Escovar Workshop at the CONVENT of N^a Sr^a da Saudação (Southern Portugal)

Gil

Serrão

Carvalho

et al. 2013

Color Research & Application

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show abstract

“…In the literature one may read that malachite under certain conditions may be transformed into brochantite ͑copper sulfate hydroxide ͓Cu 4 SO 4 ͑OH͒ 6 ͔͒ ͑PDF 43-1458͒, nantokite ͓copper chloride-CuCl ͑PDF 06-0344͒ or copper trihydroxychloride polymorphs: botallackite ͑PDF 08-0088͒, atacamite ͑PDF 25-0269͒, or paratacamite ͑PDF 25-1427͒ with the common formula Cu 2 ͑OH͒ 3 Cl ͑Naumova and Pisarewa, 1994;Trąbska et al, 2000͔͒. Accordingly, we have carefully checked each of the obtained XRD patterns of green fragments of frescoes in a search for malachite corrosion products.…”

Section: Resultsmentioning

confidence: 99%

X-ray powder diffraction investigations of Ruthenian-Byzantine frescoes from the royal Wawel Cathedral (Poland)

et al. 2010

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Laboratory X-ray powder diffraction was applied to investigate the pigments used by medieval artists in Ruthenian-Byzantine frescoes in the royal Wawel Cathedral in Krakow (Poland). It was found that red fragments contained cinnabar (PDF 06-0256), yellow contained goethite (PDF 29-0713), and blue pieces contained azurite (PDF 02-0153). The green pigment, quite difficult to identify, was finally established as green earths—pigments commonly used in Byzantine wall paintings. Calcite (PDF 24-0027) was detected in all the samples. Small amounts of quartz (PDF 46-1045) in the plaster samples were also detected. The absence or presence of only minute amounts of quartz is a characteristic feature of the Ruthenian-Byzantine frescoes. Malachite was not detected in the green parts of the frescoes, in contrast to earlier investigations of wall paintings in Poland. Experimental details and the results obtained in this study are described and discussed.

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“…Οξηζκέλεο νδεγίεο παξαζθεπήο ηερληηψλ ραιθνχρσλ ρξσζηηθψλ πεξηγξάθνπλ ηελ θάιπςε -πξν ηεο εθζέζεσο ζε νξγαληθφ νμχ-ησλ κεηαιιηθψλ πιαθψλ κε κέιη θαη αιάηη, πνπ νδεγεί ζην ζρεκαηηζκφ ηεο ρξσζηηθήο πξάζηλν άιαηνο-viride salsum (Theophilus 1979, 41, θεθάιαην 35• Thompson 1998. Με βάζε ζρεηηθέο πεηξακαηηθέο αλαπαξαγσγέο έρεη δηαπηζησζεί φηη καδί κε νμηθά άιαηα ραιθνχ ζρεκαηίδεηαη θαη αηαθακίηεο, δειαδή νμπρισξηνχρν άιαο ραιθνχ 269 [Cu 2 Cl(ΟΔ) 3 ] (Naumova θαη Pisareva 1994, 280• Scott 2002. Καζψο κάιηζηα αηαθακίηεο έρεη εληνπηζηεί ζε πιήζνο εηθνλνγξαθεκέλσλ ρεηξνγξάθσλ, εηθάδεηαη φηη ην ελ ιφγσ πξντφλ είρε ζρεηηθά επξεία δηάδνζε (Scott 2002, 281).…”

Section: ορυκτϋσ πρϊςινεσ χρωςτικϋσunclassified

Χρωστικές Κονίες Και Άλλα Υλικά Μεταβυζαντινής Ζωγραφικής

Μαστροθεόδωρος¹

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The Greek word ‘icon’ is commonly used to denote the ritual panel paintings used in the context of orthodox Christian church. On the basis of historical records, the craft of icon painting is thought to have existed from the very beginnings of Christianity, while it peaked artistically during the byzantine period. As far as the modern-day Greece areas are concerned, the craft continued to be practiced throughout the post-byzantine period (~1453-1830) and the outcome includes numerous skillfully crafted icons. The materials and techniques of icon painting are described in detail in the ‘Hermeneia’, a technical manual written by an early 18th century Greek Hieromonk. The recent revival of the interest towards byzantine painting led to the composition of other similar technical texts, while during the last few decades icons’ materials have been identified through physicochemical investigations. Nevertheless, the pertinent scientific or/and on limited number of artefacts. Consequently, several material aspects –such as the type/purity and the structural characteristics of metal leaves, the frequency of the use of several artificial inorganic pigments etc- have not yet been examined in detail. In the framework of the present PhD research programme, more than sixty portable icons have been subjected to detailed analysis with emphasis on inorganic materials (such as pigments) and certain fabrication features. The analytical protocol included in situ X-ray fluorescence analyses as well as laboratory microsample examination and analyses by optical microscopy, scanning electron microscopy (SEM-EDX), X-ray diffraction and micro-Raman spectroscopy. The preparatory/ground materials along with the metal-leaf decorations and relevant mordants, as well as the inorganic pigments have been thoroughly investigated. Analytical results indicate that post-Byzantine craftsmen had access to a reasonable variety of inorganic pigments, some of which were possibly collected by local sources. In the majority of the examined icons high-purity gold leaves have been applied, while silver leaves were used in a far less extend and mostly beyond the end of the 17th century. Moreover, it turned out that during the post-byzantine period a few Greek icons were manufactured by using techniques more involved than those described in surviving Greek technical texts such as the ‘Hermeneia’. Finally, on the basis of pertinent references in technical manuals and analytical data derived from the examined icons, the icon ‘conservation’ practices of the post-byzantine craftsmen were exploited

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A note on the use of blue and green copper compounds in paintings

Cited by 32 publications

References 4 publications

Material and diagnostic characterization of 17th century mural paintings by spectra‐colorimetry and SEM‐EDS: An insight look at José de Escovar Workshop at the CONVENT of N^a Sr^a da Saudação (Southern Portugal)

Material and diagnostic characterization of 17th century mural paintings by spectra‐colorimetry and SEM‐EDS: An insight look at José de Escovar Workshop at the CONVENT of N^a Sr^a da Saudação (Southern Portugal)

X-ray powder diffraction investigations of Ruthenian-Byzantine frescoes from the royal Wawel Cathedral (Poland)

Χρωστικές Κονίες Και Άλλα Υλικά Μεταβυζαντινής Ζωγραφικής

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A note on the use of blue and green copper compounds in paintings

Cited by 32 publications

References 4 publications

Material and diagnostic characterization of 17th century mural paintings by spectra‐colorimetry and SEM‐EDS: An insight look at José de Escovar Workshop at the CONVENT of Na Sra da Saudação (Southern Portugal)

Material and diagnostic characterization of 17th century mural paintings by spectra‐colorimetry and SEM‐EDS: An insight look at José de Escovar Workshop at the CONVENT of Na Sra da Saudação (Southern Portugal)

X-ray powder diffraction investigations of Ruthenian-Byzantine frescoes from the royal Wawel Cathedral (Poland)

Χρωστικές Κονίες Και Άλλα Υλικά Μεταβυζαντινής Ζωγραφικής

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Material and diagnostic characterization of 17th century mural paintings by spectra‐colorimetry and SEM‐EDS: An insight look at José de Escovar Workshop at the CONVENT of N^a Sr^a da Saudação (Southern Portugal)

Material and diagnostic characterization of 17th century mural paintings by spectra‐colorimetry and SEM‐EDS: An insight look at José de Escovar Workshop at the CONVENT of N^a Sr^a da Saudação (Southern Portugal)