Ganôsis et réfections antiques de polychromie. Enquête sur le portrait en marbre «de Bérénice II» au Musée royal de Mariemont

La policromía en la coroplastia romana. A propósito del análisis arqueológico y arqueométrico de una pieza procedente de la Casa del Mitreo (Mérida, Badajoz, España)

“…A priori se descarta el uso de la técnica de la gâno sis, consistente en la aplicación final de cera o aceites que permitieran, por un lado, un acabado brillante y, por otro, una mayor fijación (Leka, 2008: 135-181;Bourgeois, 2016).…”

Unveiling the paint stratigraphy and technique of Roman African polychrome statues

“…Recent studies on the literary sources describing the technical processes involved in paint application on statues (Henke 2020), and visual observations corroborated by observations and chemical analyses of micro-samples (Verri et al 2010;Bourgeois 2014;Lazzarini et al 2019;Şare Ağtürk 2021) have demonstrated a multi-layered polychromy with preparatory layers of different compositions, as well as binders of differing natures. Furthermore, according to ancient sources, the surface of the statues was in fact subject to frequent renovations, which included erasure, washing, re-painting of the statue and ganosis operations (Leka 2014;Bourgeois 2014Bourgeois , 2016. As underlined by recent studies, already in Antiquity, the polychromy could undergo restorations that maintained the original aspect or altered it during the Greek (Bourgeois 2014(Bourgeois , 2016 and Roman periods (Liverani 2014, Neri et al 2022.…”

“…Furthermore, according to ancient sources, the surface of the statues was in fact subject to frequent renovations, which included erasure, washing, re-painting of the statue and ganosis operations (Leka 2014;Bourgeois 2014Bourgeois , 2016. As underlined by recent studies, already in Antiquity, the polychromy could undergo restorations that maintained the original aspect or altered it during the Greek (Bourgeois 2014(Bourgeois , 2016 and Roman periods (Liverani 2014, Neri et al 2022. There is little information on these operations in the sources of the Roman Republican and Imperial times, but the early Christian sources (2 nd -4 th c. CE) describe the ritual care of statues and the attention paid to restore their colour (e.g.…”

L’épiderme des statues grecques : quand le marbre se fait chair

“…Une telle étude, menée par Brigitte Bourgeois pour un portrait féminin en marbre datant du III e siècle avant notre ère et conservé au Musée royal de Mariemont, a ainsi porté ses fruits. Elle a révélé que, dans ce cas, la cire d'abeille avait été appliquée pure, sans adjonction d'huile, de résine ou de pigment 63 .…”