Painting on copper: research on the materials and techniques used on ground layer according to historical treatises and analytical study of two paintings attributed to the Portuguese and Flemish schools

Vega, Daniel Esteban; Cardoso, Isabel Pombo; Carlyle, Leslie

doi:10.14568/cp2016040

Cited by 2 publications

(1 citation statement)

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“…Copper supports are non-absorbent [4]; they can preserve rich and highly saturated colours, even if applied in very thin layers/glazes, due to the oil binder that is not absorbed to a great extent. This, in combination with the smoothness of the metal substrate, which provides a reflective support, resulted in paintings with a very unique, translucent and luminous look often described as 'jewellike' [5].…”

Section: Introductionmentioning

confidence: 99%

Hypercolorimetric multispectral imaging system for cultural heritage diagnostics: an innovative study for copper painting examination

et al. 2018

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The aim of this work has been to test the application of a new multispectral imaging system, named Hypercolorimetric Multispectral Imaging, on two little 17 th oil paintings on copper in order to support the restoration activities. Hypercolorimetric Multispectral Imaging is a non-invasive, rapid and diagnostic technique that allows in-situ accurate and reproducible spectral reflectance measurements between 300nm and 1000nm to obtain seven monochromatic very high spatial resolution images (36 Megapixels starting from RAW format). The acquired images are transformed into radiometric and colorimetric measurements, consisting in 7 monochromatic images of spectral reflectance and one colorimetric image. All these calibrated images constitute the base for further processing performed through a dedicated software that implements a number of functions. In the present study a subset of those functions has been used, specifically: Principal Component Analysis, spectral clustering, spectral mapping, multiband contrast enhancement and edge detection. Combining calibrated images of different spectral regions acquisitions, it was possible to extract relevant information about the state of conservation of the two copper paintings and further significant details were readable compared with the data coming from each single acquisition.The Hypercolorimetric Multispectral Imaging acquisition process revealed to be fast allowing to be performed during the cleaning stage of the paintings. The imaging nature of the analysis allowed to compare and map different areas of the surfaces producing degradation maps of the painting layers, which represent a precious decision-making tool for conservators.

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Section: Introductionmentioning

confidence: 99%

Hypercolorimetric multispectral imaging system for cultural heritage diagnostics: an innovative study for copper painting examination

et al. 2018

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Non-Invasive Study of the Pigments of a Painting on Copper with the Inscription “Boceto di Pablo Veronese” on the Back

et al. 2023

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The palette used on a small painting on copper support, with the inscription “Boceto di Pablo Veronese” on the back, was characterized. Non-invasive techniques such as X-ray diffraction (XRD) and hand-held X-ray fluorescence (XRF) were proven to be highly effective for this. The objectives of the proposed work were twofold. On the one hand, the objective was the study, in situ, of the pigments of a painting on a copper support. On the other hand, it was to enrich the literature related to the study of paintings on metal supports, since few related studies are available despite the relatively large number of such 16th and 17th century paintings from Italy and Northern Europe. The results of the analysis showed a copper support with a base layer of gypsum mixed with ochre earths. Atop this layer is a sketch with lead white in the lighter areas and bone black in the darker shadow areas, suggesting that the artist performed a preliminary study of the luminosity of the scene. Finally, the upper or pictorial layer consists of a mix of pigments with some lead white to lower saturation and increase lightness, particularly evident in the flesh tones. The resulting palette thus includes lead white, vermilion, bone black, Naples yellow, and lazurite pigments. These results are compared to Veronese’s other paintings, as well as to those of certain contemporary artists, and the use of the resulting pigments in 16th and 17th century Italian painting techniques is discussed.

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Painting on copper: research on the materials and techniques used on ground layer according to historical treatises and analytical study of two paintings attributed to the Portuguese and Flemish schools

Cited by 2 publications

References 5 publications

Hypercolorimetric multispectral imaging system for cultural heritage diagnostics: an innovative study for copper painting examination

Hypercolorimetric multispectral imaging system for cultural heritage diagnostics: an innovative study for copper painting examination

Non-Invasive Study of the Pigments of a Painting on Copper with the Inscription “Boceto di Pablo Veronese” on the Back

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