Painted plaster from Bronze Age Thebes, Boeotia (Greece): a technological study

Brysbaert, Ann

doi:10.1016/j.jas.2008.05.005

Cited by 17 publications

(6 citation statements)

References 17 publications

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“…By the Bronze Age, the pigment was in use in Mycenaean and Minoan wall paintings [34][35][36], in Egyptian Art [14,37]. Ochres were in use in the far east.…”

Section: Red Ochrementioning

confidence: 99%

“…Wong et al [64] have shown that the yellow background to the paintings in the Tomb of Tutankhamen in the Valley of the Kings (Tomb KV 62) are goethite yellow ochres. In the northern Mediterranean, goethite is recognised from Minoan and Mycenean Art [34][35][36], Macedonian tomb paintings [65] and goethite ochre has been analysed on Hellenistic terracotta figurines [66] and for painting the skin of a 4th Century BCE marble statue of a male youth by Abbe et al [67]. Yellow ochre was one of the "austere" pigments of Pliny's palette.…”

Section: Wads: Manganese Ochresmentioning

confidence: 99%

“…It is clear that Egyptian Blue was considered a trade item during the Mediterranean Bronze Age, cakes of the pigment were found on the late 14th Century BCE Uluburun Wreck [171]. Egyptian Blue is found in frescoes from Minoan and Mycenean sites in Greece, which are dominated by a palette of red, yellow, black, white and blue [34][35][36][172][173][174][175][176].…”

Section: Egyptian Bluementioning

confidence: 99%

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Mineral Pigments in Archaeology: Their Analysis and the Range of Available Materials

Siddall

2018

Minerals

131

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Naturally occurring minerals or their synthetic analogues have been important as pigments used in artistic and cosmetic contexts in global antiquity. The analysis and identification of mineral pigments, though routine to the petrologist or mineralogist, also requires specialist knowledge of the archaeological contexts and available technologies and trade. This paper attempts to present an analytical approach to the study of mineral pigments in archaeology and also introduces the range of mineral pigments encountered in works of art and painted objects on archaeological sites and in museums. It attempts to cover the range of mineral and synthetic inorganic pigments used in global cultures from to the early Medieval period.

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“…By the Bronze Age, the pigment was in use in Mycenaean and Minoan wall paintings [34][35][36], in Egyptian Art [14,37]. Ochres were in use in the far east.…”

Section: Red Ochrementioning

confidence: 99%

Section: Wads: Manganese Ochresmentioning

confidence: 99%

Section: Egyptian Bluementioning

confidence: 99%

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Mineral Pigments in Archaeology: Their Analysis and the Range of Available Materials

Siddall

2018

Minerals

131

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“…Riebeckite (or Mg-riebeckite) was first identified as a blue pigment in the context of studies on Bronze Age wall paintings by Filippakis et al [489] Riebeckite is suggested as a pigment in a fresco painted plaster of Bronze Age from Thebes, Greece, by Brysbaert. [490] Westlake et al [491] carried out a very accurate investigation on 49 wall painting samples from Minoan, Roman and Early Byzantine periods to determine the evolution of the painting materials and reported the presence of blue riebeckite. A study on blue glaucophane-riebeckite pigment on the Akrotiri is reported by Vlachopoulos and Sotiropoulou [492] and by Sotiropoulou et al, [493] but no Raman analysis was performed.…”

Section: Vivianitementioning

confidence: 99%

Raman spectroscopy of minerals and mineral pigments in archaeometry

Bersani

Lottici

2016

J Raman Spectroscopy

145

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Minerals, as raw structural materials or pigments, play a fundamental role in archaeometry, for the understanding of nature, structure and status of an artefact or object of interest for cultural heritage. A detailed knowledge of the mineral phases is crucial to solve archaeological problems: Raman spectroscopy is a powerful investigation technique and has been applied extensively in the last 30 years on mineral identification and on pigment degradation. Here we report an updated review, covering the last decade, of the applications of Raman techniques to issues in which raw minerals, including mineral pigments, are involved. Particular attention is devoted to cases where the Raman analysis of minerals is deeper than a simple identification of the phases present in an archaeological or artistic object. Copyright © 2016 John Wiley & Sons, Ltd.

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“…Many ancient and modern sources provide a detailed description of the lime technique and its variants (Pliny the Elder [first century ad ]; Vitruvius [first century bc ]; Stefanaggi ; Brysbaert ; Cennini [1437]). First, the wall to be painted undergoes careful preparation.…”

Section: Introduction and Research Aimsmentioning

confidence: 99%

Microstructure and Surface Properties of Frescoes Based on Lime and Cement: The Influence of the Artist's Technique

Horgnies¹,

Bayle

Gueit

et al. 2014

Archaeometry

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International audienceFrescoes are known to be the most durable form of mural painting. The traditional technique, widely used throughout history, consists of applying water-dispersed pigments on a fresh lime plaster, which hardens through a carbonation reaction. At the beginning of the 20th century, Portland cement was used by some mural artists to obtain similar painting plaster. Although involving different setting mechanisms, cement-based frescoes show the same aspect and durability as lime-based frescoes. Using microstructure characterizations of ancient frescoes (lime- or cement-based) and laboratory reconstructions, this paper offers a description of the mechanisms responsible for the adhesion of pigments and the hardening of surface

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Painted plaster from Bronze Age Thebes, Boeotia (Greece): a technological study

Cited by 17 publications

References 17 publications

Mineral Pigments in Archaeology: Their Analysis and the Range of Available Materials

Mineral Pigments in Archaeology: Their Analysis and the Range of Available Materials

Raman spectroscopy of minerals and mineral pigments in archaeometry

Microstructure and Surface Properties of Frescoes Based on Lime and Cement: The Influence of the Artist's Technique

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