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Pigments and Dyes in Archaeological and Historical Objects—Scientific Analyses and...
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Pigments and Dyes in Archaeological and Historical Objects—Scientific Analyses and Conservation Challenges

A special issue of Heritage (ISSN 2571-9408). This special issue belongs to the section "Materials and Heritage".

Deadline for manuscript submissions: closed (30 June 2021) | Viewed by 60823

Printed Edition Available!
A printed edition of this Special Issue is available here.

Special Issue Editor

Dr. Diego Tamburini

E-Mail Website
Guest Editor
Department of Scientific Research, The British Museum, Great Russell Street, London WC1B 3DG, UK
Interests: organic materials; chromatography; mass spectrometry; dyes; textiles; archaeological wood; Asian lacquers; Oriental art

Special Issue Information

Dear Colleagues,

The preservation of color in objects recovered from archaeological and historical sites is a challenging topic, and even more complex is the study of color when objects cannot be removed from their original location.

The identification and characterization of pigments and dyes does not only inform on the manufacture of an object but also opens to historical and art historical interpretation about trading of materials, provenance and dating, reconstruction of original appearance, and ultimately preservation, conservation, and display strategies. The information obtained on these materials opens a window onto the people who used them and therefore sheds light on societal, economic, and cultural changes in past civilizations.

Scientific research has seen enormous progress in the past decades with the development and optimization of analytical strategies to investigate color, spanning from in situ non-invasive approaches to molecular characterization of micro-samples. The scientific results are often fundamental to inform conservation practices and therefore preserve this delicate heritage component for future generations.

This Special Issue aims to address technical and fundamental research devoted to the study of pigments and dyes in archaeological and historical objects from a broad range of points of view. Contributions are therefore invited, but not restricted, on the following topics:

- In situ characterization and conservation of pigments and dyes in the archaeological site;

- Non-invasive approaches to the study of color (microscopy, spectroscopy, imaging, etc.);

- Micro-invasive analytical techniques (mass spectrometry-based techniques, etc.);

- Development of new scientific strategies for color investigation;

- Light-sensitivity and display in a museum context;

- Case studies focusing on wall paintings, textiles and polychrome objects;

- Conservation techniques and challenges;

- Modern art coloring materials.


Dr. Diego Tamburini
Guest Editor

Manuscript Submission Information

Manuscripts should be submitted online at www.mdpi.com by registering and logging in to this website. Once you are registered, click here to go to the submission form. Manuscripts can be submitted until the deadline. All submissions that pass pre-check are peer-reviewed. Accepted papers will be published continuously in the journal (as soon as accepted) and will be listed together on the special issue website. Research articles, review articles as well as short communications are invited. For planned papers, a title and short abstract (about 100 words) can be sent to the Editorial Office for announcement on this website.

Submitted manuscripts should not have been published previously, nor be under consideration for publication elsewhere (except conference proceedings papers). All manuscripts are thoroughly refereed through a single-blind peer-review process. A guide for authors and other relevant information for submission of manuscripts is available on the Instructions for Authors page. Heritage is an international peer-reviewed open access monthly journal published by MDPI.

Please visit the Instructions for Authors page before submitting a manuscript. The Article Processing Charge (APC) for publication in this open access journal is 1600 CHF (Swiss Francs). Submitted papers should be well formatted and use good English. Authors may use MDPI's English editing service prior to publication or during author revisions.

Keywords

  • Cultural heritage
  • Archaeology
  • Pigments
  • Dyes
  • Scientific analysis
  • Conservation
  • Mural paintings
  • Textiles
  • Polychrome objects
  • Analytical techniques
  • Museums
  • Display strategy

Published Papers (17 papers)

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Editorial

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6 pages, 206 KiB  
Editorial
Colour Analysis: An Introduction to the Power of Studying Pigments and Dyes in Archaeological and Historical Objects
by Diego Tamburini
Heritage 2021, 4(4), 4366-4371; https://doi.org/10.3390/heritage4040241 - 15 Nov 2021
Cited by 2 | Viewed by 2973
Abstract
Nature offers a myriad of colours and the desire to replicate them is intrinsic to human nature [...] Full article
(This article belongs to the Special Issue Pigments and Dyes in Archaeological and Historical Objects—Scientific Analyses and Conservation Challenges)

Research

Jump to: Editorial, Other

17 pages, 8415 KiB  
Article
Jazz Colors: Pigment Identification in the Gouaches Used by Henri Matisse
by Ana Martins, Anne Catherine Prud’hom, Maroussia Duranton, Abed Haddad, Celine Daher, Anne Genachte-Le Bail and Tiffany Tang
Heritage 2021, 4(4), 4205-4221; https://doi.org/10.3390/heritage4040231 - 4 Nov 2021
Cited by 6 | Viewed by 3589
Abstract
Jazz, the illustrated book by Henri Matisse, is a testament to the vitality of the artist in the last decade of his career. The book consists of twenty illustrations reproduced in 370 copies using a stencil-based printing technique and the same Linel [...] Read more.
Jazz, the illustrated book by Henri Matisse, is a testament to the vitality of the artist in the last decade of his career. The book consists of twenty illustrations reproduced in 370 copies using a stencil-based printing technique and the same Linel gouaches the artist had used for the original maquettes. This study reports on the comprehensive analysis carried out to identify the pigments in the gouaches used in Jazz by transmitted and reflectance infrared, Raman, SERS, and X-ray fluorescence spectroscopies, and describes the lightfastness of these gouaches as evaluated by microfaedometry. This study also highlights the necessity of a multi-analytical approach for comprehensive identification of artist materials and investigates the suitability of portable and non-invasive techniques. The results were consistent across the three copies investigated: a portfolio in the collection of the Museum of Modern Art in New York and two books in the collection of the Musée National d’Art Moderne in Paris. In total, 39 distinct colors were characterized, with the magenta, pinks, and blues being the most fugitive. Full article
(This article belongs to the Special Issue Pigments and Dyes in Archaeological and Historical Objects—Scientific Analyses and Conservation Challenges)
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18 pages, 18621 KiB  
Article
Unexpected Findings in 16th Century Wall Paintings: Identification of Aragonite and Unusual Pigments
by Laura Rampazzi, Cristina Corti, Ludovico Geminiani and Sandro Recchia
Heritage 2021, 4(3), 2431-2448; https://doi.org/10.3390/heritage4030137 - 15 Sep 2021
Cited by 3 | Viewed by 2478
Abstract
Sixteenth century wall paintings were analyzed from a church in an advanced state of decay in the Apennines of central Italy, now a remote area but once located along the salt routes from the Po Valley to the Ligurian Sea. Infrared spectroscopy (FTIR-ATR), [...] Read more.
Sixteenth century wall paintings were analyzed from a church in an advanced state of decay in the Apennines of central Italy, now a remote area but once located along the salt routes from the Po Valley to the Ligurian Sea. Infrared spectroscopy (FTIR-ATR), X-ray diffraction (XRD) and scanning electron microscopy (SEM) with a microprobe were used to identify the painting materials, as input for possible future restoration. Together with the pigments traditionally used for wall painting, such as ochre, ultramarine blue, bianco di Sangiovanni, cinnabar/vermilion, azurite, some colors were also found to have only been used since the 18th century. This thus suggests that a series of decorative cycles occurred after the church was built, confirmed by the multilayer stratigraphy of the fragments. Some of these colors were also unusual, such as clinochlore, Brunswick green, and ultramarine yellow. The most notable result of the analytical campaign however, was the ubiquitous determination of aragonite, the mineralogical form of calcium carbonate, mainly of biogenic origin. Sources report its use in Roman times as an aggregate in mortars, and in the literature it has only been shown in Roman wall paintings. Its use in 16th century wall paintings is thus surprising. Full article
(This article belongs to the Special Issue Pigments and Dyes in Archaeological and Historical Objects—Scientific Analyses and Conservation Challenges)
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10 pages, 6671 KiB  
Article
Textile Dyes from Gokstad Viking Ship’s Grave
by Jeannette Jacqueline Łucejko, Marianne Vedeler and Ilaria Degano
Heritage 2021, 4(3), 2278-2286; https://doi.org/10.3390/heritage4030129 - 8 Sep 2021
Cited by 4 | Viewed by 4106
Abstract
The grave from Gokstad in Norway, dating to ca 900 AD, is one of the best-preserved Viking Age ship graves in the world. The grave mound contained a variety of goods along with human remains, buried in a Viking ship. Several textiles, including [...] Read more.
The grave from Gokstad in Norway, dating to ca 900 AD, is one of the best-preserved Viking Age ship graves in the world. The grave mound contained a variety of goods along with human remains, buried in a Viking ship. Several textiles, including embroideries and shreds of what might have been the ship’s tent, were also found. The colors of the textile fragments are now severely faded, but the high quality of the embroidery made of gold and silk threads is still apparent. The style of the embroidery is exceptional, having no equivalents in other Scandinavian graves. The analyses by HPLC coupled with both diode array and mass spectrometric detectors revealed that the striped “tent” cloth as well as the silk thread used for the embroidery were originally dyed with anthraquinones of plant origin (alizarin, purpurin, pseudopurpurin, and anthragallol), markers of madder-type dyestuffs. Full article
(This article belongs to the Special Issue Pigments and Dyes in Archaeological and Historical Objects—Scientific Analyses and Conservation Challenges)
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19 pages, 9256 KiB  
Article
Reviving Alexander Calder’s Man-Eater with Pennants: A Technical Examination of the Original Paint Palette
by Abed Haddad, Megan Randall, Lynda Zycherman and Ana Martins
Heritage 2021, 4(3), 1920-1937; https://doi.org/10.3390/heritage4030109 - 19 Aug 2021
Cited by 5 | Viewed by 2682 | Correction
Abstract
Man-Eater with Pennants, a rarely exhibited sculpture in Alexander Calder’s oeuvre, was commissioned by The Museum of Modern Art (MoMA) and installed in 1945. To exhibit the large standing mobile in Alexander Calder: Modern from the Start (2021), the derelict sculpture had [...] Read more.
Man-Eater with Pennants, a rarely exhibited sculpture in Alexander Calder’s oeuvre, was commissioned by The Museum of Modern Art (MoMA) and installed in 1945. To exhibit the large standing mobile in Alexander Calder: Modern from the Start (2021), the derelict sculpture had to be remediated; this initiated a collaborative investigation with conservation scientists, conservators, curators, and the Calder Foundation into the original paint colors hidden beneath layers of repaint. XRF analysis was carried out to elucidate the paints’ composition, followed by sampling for analysis to assess the paint stratigraphy and binders. Scrapings were analyzed by µ-FTIR and Raman spectroscopies; cross sections were examined with optical microscopy and analyzed with SEM-EDS. Analysis differentiated between the original paints, which contain Prussian blue, parachlor red, chrome yellow, and the many layers of overpaint, which contain titanium white, molybdate orange, a variety of β-Naphthol reds, red lead, and ultramarine. A model for Man-Eater, Mobile with 14 Flags, is also part of the museum’s collection, and was first considered as a point of reference for the original colors. Similar analysis, however, indicates that the maquette was painted after the Man-Eater was first installed, therefore is not representative of the original colors. In addition to investigating an early primary palette for Calder’s outdoor sculptures, this study helped develop the plan for the restoration of the original color scheme of Man-Eater. Full article
(This article belongs to the Special Issue Pigments and Dyes in Archaeological and Historical Objects—Scientific Analyses and Conservation Challenges)
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14 pages, 3707 KiB  
Article
Dyes of a Shadow Theatre: Investigating Tholu Bommalu Indian Puppets through a Highly Sensitive Multi-Spectroscopic Approach
by Alessandro Ciccola, Ilaria Serafini, Giulia D'Agostino, Belinda Giambra, Adele Bosi, Francesca Ripanti, Alessandro Nucara, Paolo Postorino, Roberta Curini and Maurizio Bruno
Heritage 2021, 4(3), 1807-1820; https://doi.org/10.3390/heritage4030101 - 16 Aug 2021
Cited by 6 | Viewed by 2631
Abstract
Tholu Bommalu are typical leather puppets of the traditional Indian shadow theatre. Two of these objects are part of a collection in the International Puppets Museum “Antonio Pasqualino” (Palermo, Sicily, Italy), which can count on one hundred-seventy-three of artifacts. These Indian puppets were [...] Read more.
Tholu Bommalu are typical leather puppets of the traditional Indian shadow theatre. Two of these objects are part of a collection in the International Puppets Museum “Antonio Pasqualino” (Palermo, Sicily, Italy), which can count on one hundred-seventy-three of artifacts. These Indian puppets were investigated to obtain information related to the use of dyes for their manufacturing through a multi-technical approach exploiting the combination of highly sensitive spectroscopic techniques. Wet cotton stubbons were used to entrap small particles of dyes on the fibers from the art objects for the consequent analyses. Visible Light Micro-Reflectance spectroscopy was employed for the preliminary identification of the molecular class of dyes directly on the swabs, while Surface Enhanced Raman Scattering allowed the identification of the specific dye. Several synthetic dyes belonging to different typologies of coloring compounds were identified. The study resulted in an interesting overview of dyes used in recent Tholu Bommalata manufacturing through the combination of micro-invasive techniques directly on the sampling substrate. Full article
(This article belongs to the Special Issue Pigments and Dyes in Archaeological and Historical Objects—Scientific Analyses and Conservation Challenges)
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21 pages, 10087 KiB  
Article
On the Hierarchical Use of Colourants in a 15th Century Book of Hours
by Angelo Agostino, Eleonora Pellizzi, Maurizio Aceto, Simonetta Castronovo, Giovanna Saroni and Monica Gulmini
Heritage 2021, 4(3), 1786-1806; https://doi.org/10.3390/heritage4030100 - 13 Aug 2021
Cited by 3 | Viewed by 2540
Abstract
An illuminated Book of Hours (in use in Chalon-sur-Saône) currently owned by the Museo Civico di Arte Antica and displayed in the prestigious Palazzo Madama in Torino (Italy) was investigated by means of optical microscopy, fibre optic reflectance spectroscopy, fibre optic molecular fluorimetry, [...] Read more.
An illuminated Book of Hours (in use in Chalon-sur-Saône) currently owned by the Museo Civico di Arte Antica and displayed in the prestigious Palazzo Madama in Torino (Italy) was investigated by means of optical microscopy, fibre optic reflectance spectroscopy, fibre optic molecular fluorimetry, X-ray fluorescence spectrometry and Raman spectroscopy. The aim of the scientific survey was to expand the knowledge of the manuscript itself and on the materials and techniques employed by Antoine the Lonhy, the versatile itinerant artist who decorated the book in the 15th century. The focus was to reveal the original colourants and to investigate the pigments used in rough retouches which were visible in some of the miniatures. The investigation was carried out in situ by portable instruments according to a non-invasive analytical sequence previously developed. It was evident that the use of different pigments by the master was ruled, at least partially, by a hierarchical scheme in which more precious materials were linked to the most important characters or details in the painted scene. Full article
(This article belongs to the Special Issue Pigments and Dyes in Archaeological and Historical Objects—Scientific Analyses and Conservation Challenges)
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21 pages, 1382 KiB  
Article
Characterizing the Dyes of Pre-Columbian Andean Textiles: Comparison of Ambient Ionization Mass Spectrometry and HPLC-DAD
by Jennifer Campos Ayala, Samantha Mahan, Brenan Wilson, Kay Antúnez de Mayolo, Kathryn Jakes, Renée Stein and Ruth Ann Armitage
Heritage 2021, 4(3), 1639-1659; https://doi.org/10.3390/heritage4030091 - 7 Aug 2021
Cited by 6 | Viewed by 3315
Abstract
The complex and colorful textiles of ancient Peru have long been a focus of technical study, particularly to characterize the sources of the wide variety of dyes utilized by these Andean artisans. This manuscript describes the characterization of the dyes of both primary [...] Read more.
The complex and colorful textiles of ancient Peru have long been a focus of technical study, particularly to characterize the sources of the wide variety of dyes utilized by these Andean artisans. This manuscript describes the characterization of the dyes of both primary (red, blue, and yellow) and secondary (purple, orange, and green) colors sampled from textiles spanning five major civilizations: the Paracas Necropolis, the Nazca, the Wari, the Chancay, and the Lambayeque, all from Peru. All but the Paracas Necropolis samples were part of technical conservation studies of the ancient South American textiles collections of the Michael C. Carlos Museum. Analysis of the dyes was carried out utilizing direct analysis in real time time-of-flight mass spectrometry (DART-MS) and paper spray MS. To validate these ambient ionization MS methods, the samples were further investigated using high-performance liquid chromatography (HPLC) with ultraviolet-visible diode array detection (DAD). These results show that ambient ionization MS methods are simple and fast for characterization of the general classes of dyes, e.g., plant reds vs. insect reds, and indigoids in blues and greens. Due to the myriad possible sources of yellow dyes and their tendency to undergo oxidative decomposition, positively identifying those components in these yarns was difficult, though some marker compounds and flavonoid decomposition products were readily identified by ambient ionization mass spectrometry. Full article
(This article belongs to the Special Issue Pigments and Dyes in Archaeological and Historical Objects—Scientific Analyses and Conservation Challenges)
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15 pages, 63150 KiB  
Article
Multi-Modal, Non-Invasive Investigation of Modern Colorants on Three Early Modern Prints by Maria Sibylla Merian
by Olivia Dill, Marc Vermeulen, Alicia McGeachy and Marc Walton
Heritage 2021, 4(3), 1590-1604; https://doi.org/10.3390/heritage4030088 - 4 Aug 2021
Cited by 5 | Viewed by 2882
Abstract
Northwestern University’s Charles Deering McCormick Library of Special Collections owns three hand-colored copperplate engravings that once belonged to an edition of Matamorphosis Insectorum Surinamensium by artist-naturalist Maria Sibylla Merian (1647–1717). Because early modern prints are often colored by early modern readers, or modern [...] Read more.
Northwestern University’s Charles Deering McCormick Library of Special Collections owns three hand-colored copperplate engravings that once belonged to an edition of Matamorphosis Insectorum Surinamensium by artist-naturalist Maria Sibylla Merian (1647–1717). Because early modern prints are often colored by early modern readers, or modern collectors, it was initially unclear whether the coloring on these prints should be attributed to the print maker, to subsequent owners or collectors, or to an art dealer. Such ambiguities posed challenges for the interpretation of these prints by art historians. Therefore, the prints underwent multi-modal, non-invasive technical analysis to assess the date and material composition of the prints’ coloring. The work combined several different non-invasive analytical techniques: hyperspectral imaging (HSI), macro X-ray fluorescence (MA-XRF) mapping, surface normal mapping with photometric stereo, visible light photography, and visual comparative art historical analysis. As a result, the prints and paper were attributed to a late eighteenth-century posthumous edition of Merian’s work while the colorants were dated to the early twentieth century. This information enables more thorough contextualization of these prints in their use as teaching and research tools in the University collection. Full article
(This article belongs to the Special Issue Pigments and Dyes in Archaeological and Historical Objects—Scientific Analyses and Conservation Challenges)
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16 pages, 6586 KiB  
Article
Holy Corn. Interdisciplinary Study of a Mexican 16th-Century Polychrome Maize Stem, Paper, and Colorín Wood Sculpture
by Diego Quintero Balbas, Esteban Sánchez-Rodríguez and Álvaro Zárate Ramírez
Heritage 2021, 4(3), 1538-1553; https://doi.org/10.3390/heritage4030085 - 31 Jul 2021
Cited by 3 | Viewed by 2385
Abstract
Maize stem sculptures, produced during the 16th and 17th centuries in New Spain (today, Mexico) are a clear example of the convergence of the artistic traditions from the American indigenous populations and European influence. This typology of sculptures is not limited to the [...] Read more.
Maize stem sculptures, produced during the 16th and 17th centuries in New Spain (today, Mexico) are a clear example of the convergence of the artistic traditions from the American indigenous populations and European influence. This typology of sculptures is not limited to the Americas, as the examples found in European countries have shown. Therefore, a detailed technological investigation is required to correctly classify them. This work presents the interdisciplinary and multianalytical investigation of a 16th-century sculpture made with a maize stem preserved in Guadalajara city, Mexico. We used a set of techniques, such as CT, SEM-EDX, μ-FTIR, and μ-Raman, to study, from a macro to a micro level, the structure, the polychromy, and the modification of the sculpture. The results showed the use of maize stems, paper, and wood in the construction of the sculpture and the use of the traditional polychromy, as well as the numerous modifications that changed its appearance considerably resulting in its misclassification. We were able to associate the statue with the Cortés workshop (Mexico City region), probably produced in the decade of 1580, and track its liturgical use and historical development through the centuries. Full article
(This article belongs to the Special Issue Pigments and Dyes in Archaeological and Historical Objects—Scientific Analyses and Conservation Challenges)
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14 pages, 3839 KiB  
Communication
Preliminary Investigations into the Alteration of Cadmium Orange Restoration Paint on an Ancient Greek Terracotta Krater
by Georgina Rayner, Susan D. Costello, Arthur McClelland, Austin Akey and Katherine Eremin
Heritage 2021, 4(3), 1497-1510; https://doi.org/10.3390/heritage4030082 - 29 Jul 2021
Cited by 4 | Viewed by 2022
Abstract
In preparation for exhibition, an ancient Greek terracotta krater received treatment which included selective in-painting with cadmium orange (CdSSe). After one year on display the object displayed disfiguring alteration in select areas of restoration. Cross-section analysis of samples taken from the object revealed [...] Read more.
In preparation for exhibition, an ancient Greek terracotta krater received treatment which included selective in-painting with cadmium orange (CdSSe). After one year on display the object displayed disfiguring alteration in select areas of restoration. Cross-section analysis of samples taken from the object revealed that alteration only occurred in areas where the paint was in direct contact with darkened and abraded areas of the terracotta surface, in which analysis found the presence of chlorine. The alteration was recreated in mock-ups for more in-depth analysis. Using Raman spectroscopy and scanning electron microscopy with energy-dispersive X-rays (SEM-EDS) it was discovered that selenium-rich structures were forming throughout the paint films. The observed alteration is the result of degradation of the CdSSe pigment which occurs in the presence of chlorine and light. This research highlights the need for careful selection of restoration materials when dealing with objects suspected to contain residual chloride ions if desalination cannot be undertaken. Full article
(This article belongs to the Special Issue Pigments and Dyes in Archaeological and Historical Objects—Scientific Analyses and Conservation Challenges)
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14 pages, 1535 KiB  
Article
Identifying Brazilwood’s Marker Component, Urolithin C, in Historical Textiles by Surface-Enhanced Raman Spectroscopy
by Brenda Doherty, Ilaria Degano, Aldo Romani, Catherine Higgitt, David Peggie, Maria Perla Colombini and Costanza Miliani
Heritage 2021, 4(3), 1415-1428; https://doi.org/10.3390/heritage4030078 - 25 Jul 2021
Cited by 10 | Viewed by 2237
Abstract
The fugitive nature of the colorants obtained from sappanwood (Caesalpinia sappan L.) or the South American species commonly known as ‘brazilwoods’ (including other Caesalpinia species and Paubrasilia echinata (Lam.)) makes the identification of brazilwood dyes and pigments in historic artefacts analytically challenging. [...] Read more.
The fugitive nature of the colorants obtained from sappanwood (Caesalpinia sappan L.) or the South American species commonly known as ‘brazilwoods’ (including other Caesalpinia species and Paubrasilia echinata (Lam.)) makes the identification of brazilwood dyes and pigments in historic artefacts analytically challenging. This difficulty has been somewhat alleviated recently by the recognition and structural elucidation of a relatively stable marker component found in certain brazilwood dyes and pigments—the benzochromenone metabolite urolithin C. This new understanding creates an ideal opportunity to explore the possibilities for urolithin C’s localization and identification in historical artefacts using a variety of analytical approaches. Specifically, in this work, micro-destructive surface-enhanced Raman spectroscopic methods following a one-sample two-step (direct application of the colloid and then subsequent exposure of the same sample to HF before reapplication of the colloid) approach are utilized for the examination of four historical brazilwood dyed textiles with the results confirmed via HPLC-DAD analysis. It is shown that characterization of reference urolithin C is possible, and diagnostic features of this molecule can also be traced in faded historical linen, silk and wool textiles, even in the presence of minor quantities of flavonoid, indigoid and tannin components. The exploitation of the same micro-sample through a series of SERS analyses affords a fuller potential for confirming the characterization of this species. Full article
(This article belongs to the Special Issue Pigments and Dyes in Archaeological and Historical Objects—Scientific Analyses and Conservation Challenges)
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18 pages, 4567 KiB  
Article
Identification of Pre-1950 Synthetic Organic Pigments in Artists’ Paints. A Non-Invasive Approach Using Handheld Raman Spectroscopy
by Rika Pause, Inez Dorothé van der Werf and Klaas Jan van den Berg
Heritage 2021, 4(3), 1348-1365; https://doi.org/10.3390/heritage4030073 - 17 Jul 2021
Cited by 10 | Viewed by 3733
Abstract
There is little information on the actual use of early synthetic organic pigments (SOPs) in art objects, especially those from before 1950. Their presence can, however, pose a challenge to conservation because their chemical composition, as well as their lightfastness and sensitivity to [...] Read more.
There is little information on the actual use of early synthetic organic pigments (SOPs) in art objects, especially those from before 1950. Their presence can, however, pose a challenge to conservation because their chemical composition, as well as their lightfastness and sensitivity to solvents, are often unknown. Here, a study on the non-invasive identification of SOPs in historic pre-1950 varnished paint-outs from artists’ materials manufacturer Royal Talens is presented. The paints were analysed using a handheld Raman device. Spectra were evaluated by recording the spectra of the same samples with a benchtop instrument. This study demonstrated that the identification of SOPs in varnished oil paints with a non-invasive approach is possible and rather straightforward. The handheld Raman device allowed us to identify fourteen SOPs from eight pigment classes. Besides the occurrence of expected and the known SOPs of this time period, there were also some surprising results, like the detection of the triarylcarbonium pigments PG2 and PB8, and the monoazo Mordant Yellow 1. Full article
(This article belongs to the Special Issue Pigments and Dyes in Archaeological and Historical Objects—Scientific Analyses and Conservation Challenges)
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36 pages, 64909 KiB  
Article
Exploring Liu Kang’s Paris Practice (1929–1932): Insight into Painting Materials and Technique
by Damian Lizun, Teresa Kurkiewicz and Bogusław Szczupak
Heritage 2021, 4(2), 828-863; https://doi.org/10.3390/heritage4020046 - 19 May 2021
Cited by 12 | Viewed by 5649
Abstract
This paper presents the results of an extensive study of 14 paintings by the pioneering Singapore artist Liu Kang (1911–2004). The paintings are from the National Gallery Singapore and Liu family collections. The aim of the study is to elucidate the painting technique [...] Read more.
This paper presents the results of an extensive study of 14 paintings by the pioneering Singapore artist Liu Kang (1911–2004). The paintings are from the National Gallery Singapore and Liu family collections. The aim of the study is to elucidate the painting technique and materials from the artist’s early oeuvre, Paris, spanning the period from 1929 to 1932. The artworks were studied with a wide array of non- and micro-invasive analytical techniques, supplemented with the historical information derived from the Liu family archives and contemporary colourmen catalogues. The results showed that the artist was able to create compositions with a limited colour palette and had a preferential use of commercially available ultramarine, viridian, chrome yellow, iron oxides, organic reds, lead white, and bone black bound in oil that was highlighted. This study identified other minor pigments that appeared as hue modifications or were used sporadically, such as cobalt blue, Prussian blue, emerald green, cadmium yellow, cobalt yellow, and zinc white. With regard to the painting technique, the artist explored different styles and demonstrated a continuous development of his brushwork and was undoubtedly influenced by Modernists’ artworks. This comprehensive technical study of Liu Kang’s paintings from the Paris phase may assist art historians and conservators in the evaluation of the artist’s early career and aid conservation diagnostics and treatment of his artworks. Furthermore, the identified painting materials can be compared with those used by other artists active in Paris during the same period. Full article
(This article belongs to the Special Issue Pigments and Dyes in Archaeological and Historical Objects—Scientific Analyses and Conservation Challenges)
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15 pages, 20720 KiB  
Article
Yellow Lake Pigments from Weld in Art: Investigating the Winsor & Newton 19th Century Archive
by Maria Veneno, Paula Nabais, Vanessa Otero, Adelaide Clemente, M. Conceição Oliveira and Maria João Melo
Heritage 2021, 4(1), 422-436; https://doi.org/10.3390/heritage4010026 - 25 Feb 2021
Cited by 4 | Viewed by 3845
Abstract
Weld (Reseda luteola) was one of the main sources of yellow dyes used for dyeing textiles and to prepare artists’ pigments in Europe until the 19th century. For the first time, this work explores the technology of preparing weld lake pigments [...] Read more.
Weld (Reseda luteola) was one of the main sources of yellow dyes used for dyeing textiles and to prepare artists’ pigments in Europe until the 19th century. For the first time, this work explores the technology of preparing weld lake pigments in the 19th century by Winsor & Newton (W&N), a renowned supplier of artists’ materials. Five recipes were discovered in the W&N 19th century Archive Database and reconstructed in the laboratory. W&N was extracting weld in neutral and basic media, and preparing the insoluble lake by complexation with Al3+ in the form of alum (KAl(SO4)2•12H2O) or hydrated alumina (Al(OH)3). Five yellow lake pigments were successfully obtained and characterized by High-Performance Liquid Chromatography-Diode Array Detector (HPLC-DAD) and Fourier Transform Infrared Spectroscopy (FTIR). Their chromatographic profiles display as main yellows, luteolin 7-O-glucoside (Lut-7-O-glu) or both Lut-7-O-glu plus luteolin 3′,7-O-glucoside (Lut-3’,7-O-glu). In two of the processes, the presence of gypsum (CaSO4•2H2O) was unequivocally detected by FTIR, being formed as a by-product. This work offers the first identification of weld lake pigments’ characteristic infrared bands. The W&N Database proved again to be a unique source of information on 19th-century artists’ materials and their commercial preparation. The knowledge gain is essential to ensure effective conservation and authentication procedures. Full article
(This article belongs to the Special Issue Pigments and Dyes in Archaeological and Historical Objects—Scientific Analyses and Conservation Challenges)
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17 pages, 3469 KiB  
Article
Review and New Evidence on the Molluscan Purple Pigment Used in the Early Late Bronze Age Aegean Wall Paintings
by Sophia Sotiropoulou, Ioannis Karapanagiotis, Konstantinos S. Andrikopoulos, Toula Marketou, Kiki Birtacha and Marisa Marthari
Heritage 2021, 4(1), 171-187; https://doi.org/10.3390/heritage4010010 - 14 Jan 2021
Cited by 8 | Viewed by 6639
Abstract
The production and use of the pigment extracted from the murex molluscs is discussed here in association with the purple textile dyeing industry in the Prehistoric Aegean. “True” purple has been identified in a number of archaeological finds dating from the early Late [...] Read more.
The production and use of the pigment extracted from the murex molluscs is discussed here in association with the purple textile dyeing industry in the Prehistoric Aegean. “True” purple has been identified in a number of archaeological finds dating from the early Late Bronze Age, found in old and recent excavations at three different but contemporary sites: Akrotiri and Raos on Thera, and Trianda on Rhodes. The chemical composition of the shellfish purple pigment either found in lump form or applied on wall paintings is discussed in relation to the archaeological context of several examined finds and with reference to Pliny’s purpurissum. The results of a comprehensive methodology combining new data obtained with molecular spectroscopies (microRaman and FTIR) and already reported data obtained with high performance liquid chromatography coupled with a diode array detector (HPLC–DAD) applied to samples of the murex purple finds are discussed in comparison to published data relating to few other instances of analytically proven murex purple pigment found in the Aegean over the timespan of its documented exploitation. Full article
(This article belongs to the Special Issue Pigments and Dyes in Archaeological and Historical Objects—Scientific Analyses and Conservation Challenges)
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1 pages, 162 KiB  
Correction
Correction: Haddad et al. Reviving Alexander Calder’s Man-Eater with Pennants: A Technical Examination of the Original Paint Palette. Heritage 2021, 4, 1920–1937
by Abed Haddad, Megan Randall, Lynda Zycherman and Ana Martins
Heritage 2022, 5(1), 460; https://doi.org/10.3390/heritage5010026 - 1 Mar 2022
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Abstract
The authors wish to make the following corrections to this paper [...] Full article
(This article belongs to the Special Issue Pigments and Dyes in Archaeological and Historical Objects—Scientific Analyses and Conservation Challenges)
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