Medieal Painting in Northern Europe: Techniques, Analyses, Art History - Studies in commemoration of 70th birthday of Unn Plahter, ed Jilleen Nadolny, archetype Publications, pp. 11-19., 2006
12th century polychome sculpture. Scientific analyses of pigment and media. Preparation layer of ... more 12th century polychome sculpture. Scientific analyses of pigment and media. Preparation layer of lead white bound in drying oil, oil gilding, red and green glazes applied on gold leaf.
First published in 1984 in Maltechnik-Restauro 90/1 (1984) pp. 35-44.
A Romanesque wooden polychrome sculpture from the church of Hemse, Gotland, dated 1170-1190, is examined (see also P. Tangeberg, same periodical). Layer structure, pigments, and medium are studied and identified by cross-sectioning, optical microscopy, scanning electron microscopy and electron microprobe. Wet chemical analysis and x-ray powder diffraction analysis were carried out, fatty acid composition was determined by gas chromotography. Analyses of paint were also done by infrared spectrometry. Both Christ and cross are painted in an oil technique. No general chalk glue ground was applied. Pigments: lapis lazuli (natural ultramarine), verdigris, organic yellow?, red lead, vermilion, organic red, lead white and black charred material. Gold foil is applied to an oil mordant. Oil medium both in ground and paint layers on 12th-century art may seem astonishing. A survey of 12thand 13th-century paint manuals suggests that this was a normal proccdure. (Reg. Editor's note: This art...
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the palette - Analyses (micro chemical tests, XRD; SEM-EDX FT-IR, GC-MS +.... see Table 39 p. 141, colouring materials: use, characterisation and identification. contribution from Katharina von Salis on chalk and coccolith identification and lead isotope identification by Sophie Stos
2.1 Range of materials, their chemical and physical behaviour 160,
2.1. I Aqueous media 160,
2.1.2 Drying oils 161;
2.1.3 Pine resin 162;
2.2 Refraction and translucency of paint 163,
2.3 Early oil technique 164,
2.4 Some recent analyses of related material 165,
2.5 Analyses 165,
25.1 Methods 165,
2.5.2 Analytical results 168,
2.5.3 Colours, pigments and media 168;
3 Summary 176,
3.1 Pigments 176,
3.2 Binding media 177,
3.3 The Heddal frontal;
First published in 1984 in Maltechnik-Restauro 90/1 (1984) pp. 35-44.
A Romanesque wooden polychrome sculpture from the church of Hemse, Gotland, dated 1170-1190, is examined (see also P. Tangeberg, same periodical). Layer structure, pigments, and medium are studied and identified by cross-sectioning, optical microscopy, scanning electron microscopy and electron microprobe. Wet chemical analysis and x-ray powder diffraction analysis were carried out, fatty acid composition was determined by gas chromotography. Analyses of paint were also done by infrared spectrometry. Both Christ and cross are painted in an oil technique. No general chalk glue ground was applied. Pigments: lapis lazuli (natural ultramarine), verdigris, organic yellow?, red lead, vermilion, organic red, lead white and black charred material. Gold foil is applied to an oil mordant. Oil medium both in ground and paint layers on 12th-century art may seem astonishing. A survey of 12thand 13th-century paint manuals suggests that this was a normal proccdure. (Reg. Editor's note: This art...
Eight oil paintings on paper have been analysed. The investigation of paper, preparation, pencil drawing, pigments and paint application is included.
Die untersuchung (acht malereien) zielte darauf ab, Auschlüsse zu erhalten über die Art des gewälten Papiers, seine Preparierung bezieungsweise Grundierung. die Pigmente, die Malweise und so weiter.
the palette - Analyses (micro chemical tests, XRD; SEM-EDX FT-IR, GC-MS +.... see Table 39 p. 141, colouring materials: use, characterisation and identification. contribution from Katharina von Salis on chalk and coccolith identification and lead isotope identification by Sophie Stos
2.1 Range of materials, their chemical and physical behaviour 160,
2.1. I Aqueous media 160,
2.1.2 Drying oils 161;
2.1.3 Pine resin 162;
2.2 Refraction and translucency of paint 163,
2.3 Early oil technique 164,
2.4 Some recent analyses of related material 165,
2.5 Analyses 165,
25.1 Methods 165,
2.5.2 Analytical results 168,
2.5.3 Colours, pigments and media 168;
3 Summary 176,
3.1 Pigments 176,
3.2 Binding media 177,
3.3 The Heddal frontal;
First published in 1984 in Maltechnik-Restauro 90/1 (1984) pp. 35-44.
A Romanesque wooden polychrome sculpture from the church of Hemse, Gotland, dated 1170-1190, is examined (see also P. Tangeberg, same periodical). Layer structure, pigments, and medium are studied and identified by cross-sectioning, optical microscopy, scanning electron microscopy and electron microprobe. Wet chemical analysis and x-ray powder diffraction analysis were carried out, fatty acid composition was determined by gas chromotography. Analyses of paint were also done by infrared spectrometry. Both Christ and cross are painted in an oil technique. No general chalk glue ground was applied. Pigments: lapis lazuli (natural ultramarine), verdigris, organic yellow?, red lead, vermilion, organic red, lead white and black charred material. Gold foil is applied to an oil mordant. Oil medium both in ground and paint layers on 12th-century art may seem astonishing. A survey of 12thand 13th-century paint manuals suggests that this was a normal proccdure. (Reg. Editor's note: This art...
Eight oil paintings on paper have been analysed. The investigation of paper, preparation, pencil drawing, pigments and paint application is included.
Die untersuchung (acht malereien) zielte darauf ab, Auschlüsse zu erhalten über die Art des gewälten Papiers, seine Preparierung bezieungsweise Grundierung. die Pigmente, die Malweise und so weiter.