Science and Art : The Painted Surface

[BOOK DESCRIPTION]

Science and art are increasingly interconnected in the activities of the study and conservation of works of art. Science plays a key role in cultural heritage, from developing new analytical techniques for studying the art, to investigating new ways of preserving the materials for the future. For example, high resolution multispectral examination of paintings allows art historians to view underdrawings barely visible before, while the use of non-invasive and micro-sampling analytical techniques allow scientists to identify pigments and binders that help art conservators in their work. It also allows curators to understand more about how the artwork was originally painted. Through a series of case studies written by scientists together with art historians, archaeologists and conservators, Science and Art: The Painted Surface demonstrates how the cooperation between science and humanities can lead to an increased understanding of the history of art and to better techniques in conservation.The examples used in the book cover paintings from ancient history, Renaissance, modern, and contemporary art, belonging to the artistic expressions of world regions from the Far East to America and Europe. Topics covered include the study of polychrome surfaces from pre-Columbian and medieval manuscripts, the revelation of hidden images below the surface of Van Gogh paintings and conservation of acrylic paints in contemporary art. Presented in an easily readable form for a large audience, the book guides readers into new areas uncovered by the link between science and art. The book features contributions from leading institutions across the globe including the Metropolitan Museum of Art, New York; Art Institute of Chicago; Getty Conservation Institute; Opificio delle Pietre Dure, Firenze; National Gallery of London; Tate Britain; Warsaw Academy of Fine Art and the National Gallery of Denmark as well as a chapter covering the Thangka paintings by Nobel Prize winner Richard Ernst.

[TABLE OF CONTENTS]

Chapter 1 Science and Art---My Two Passions    1  (27)
          Richard R. Ernst
      1.1 My Pathway Into Science                  1  (2)
      1.2 My Adventures in Tibetan Painting Art    3  (2)
      1.3 Scientific Tools for the Analysis of     5  (3)
      Ancient Paintings
        1.3.1 Age Determination of Paintings       5  (1)
        1.3.2 Methods of Pigment Analysis          6  (1)
        1.3.3 Infrared Reflectography              6  (1)
        1.3.4 Raman Spectroscopy                   7  (1)
      1.4 Exploring Four Thangka Paintings of      8  (16)
      Different Kinds
        1.4.1 Thangka Painting with Four           8  (2)
        Arhats, ET1
        1.4.2 Thangka Painting of Two Abbots       10 (5)
        from Taglung Monastery
        1.4.3 Kalacakra Mandala from Ngor          15 (3)
        Monastery
        1.4.4 A Fascinating Glimpse into the       18 (6)
        Life at Derge Gonchen Monastery
      1.5 Concluding Remark                        24 (4)
        References                                 25 (3)
    Chapter 2 Study and Laser Uncovering of        28 (18)
    Hypogean Early Christian Wall Painting of
    Roma's Catacombs of Santa Tecla and
    Domitilla
          S. Siano
          F. Fratini
          M. Mascalchi
          G. Patrizi
          B. Mazzei
      2.1 Introduction                             28 (3)
      2.2 State of Conservation                    31 (6)
        2.2.1 Remarks on the Painting              36 (1)
        Techniques and Deterioration Phenomena
      2.3 Optimisation of the Laser Ablation       37 (5)
      Treatments
        2.3.1 Interpretation of the Ablation       41 (1)
        Processes
      2.4 Conclusions                              42 (4)
        References                                 45 (1)
    Chapter 3 Scientific Examination for the       46 (22)
    Investigation and Conservation of Far East
    Asian Mural Paintings
          Rocco Mazzeo
          Giorgia Sciutto
          Silvia Prati
          Irene Bonacini
          He Ling
      3.1 Introduction                             46 (1)
      3.2 Analytical Approach                      47 (6)
        3.2.1 Non-invasive Techniques              47 (1)
        3.2.2 Micro-invasive Techniques            48 (4)
        3.2.3 Bulk Analyses of Organic             52 (1)
        Substances
      3.3 Classification of Architectural          53 (1)
      Painting Decorations
      3.4 Painting Techniques                      53 (8)
        3.4.1 Plaster Layer                        53 (1)
        3.4.2 Preparation Layer                    54 (1)
        3.4.3 Paint Layer                          54 (7)
      3.5 Conservation                             61 (2)
      3.6 Closing Remarks                          63 (5)
        References                                 64 (4)
    Chapter 4 Maya Mural Paintings in Calakmul:    68 (26)
    Pictorial Technique and Conservation
          P. Baglioni
          R. Carrasco Vargas
          M. Cordeiro Baqueiro
          David Chelazzi
      4.1 Introduction                             68 (5)
        4.1.1 The Conservation Issues in the       70 (2)
        Southern Mesoamerican Area
        4.1.2 The Acropolis Chiik Nahb in          72 (1)
        Calakmul
      4.2 On the Maya Mural Painting Technique     73 (12)
        4.2.1 Sub-group 1--4 of Building 1         73 (6)
        4.2.2 Sub-groups A3, A5, and A6 of the     79 (6)
        "Banqueta"
      4.3 In Situ Consolidation of Wall            85 (9)
      Paintings with the use of Inorganic
      Hydroxide Nanoparticles
        Acknowledgements                           91 (1)
        Further Reading                            91 (1)
        References                                 91 (3)
    Chapter 5 The Colours of Indigenous Memory:    94 (26)
    Non-invasive Analyses of Pre-Hispanic
    Mesoamerican Codices
          Davide Domenici
          David Buti
          Costanza Miliani
          Brunetto Giovanni Brunetti
          Antonio Sgamellotti
      5.1 Pre-Hispanic Mesoamerican Codices        94 (3)
      5.2 The Investigated Manuscripts             97 (3)
      5.3 Methods of Analysis                      100(1)
        5.3.1 Measurement Set-up                   100(1)
      5.4 Results and Comparisons                  101(12)
        5.4.1 White                                101(3)
        5.4.2 Black                                104(1)
        5.4.3 Red                                  105(2)
        5.4.4 Yellow                               107(2)
        5.4.5 Blue                                 109(4)
      5.5 Cultural and Historical Implications     113(7)
      of the Analytical Results
        Acknowledgements                           115(1)
        References                                 115(5)
    Chapter 6 Material Study of the Codex          120(27)
    Colombino
          Sandra Zetina
          Jose Luis Ruvalcaba
          Tatiana Falcon
          Jesus Arenas Alatorre
          Saeko Yanagisawa
          Marisa Alvarez Icaza Longoria
          Eumelia Hernandez
      6.1 The Codex Colombino                      120(2)
      6.2 Methods and Instrumentation              122(1)
      6.3 Structure of the Leather Support         123(6)
      6.4 Painting Process                         129(4)
      6.5 Colorimetric Study                       133(1)
      6.6 Analytical Results                       133(3)
      6.7 Use of Color                             136(3)
      6.8 Alterations. The Life of the Codex       139(4)
      6.9 Conclusions                              143(4)
        Acknowledgements                           144(1)
        References                                 144(3)
    Chapter 7 Unveiling the Artistic Technique     147(23)
    of the Florentine Codex: When the Old World
    and the New World Met
          R. Giorgi
          D. Chelazzi
          D. Magaloni Kerpel
      7.1 Introduction                             147(3)
      7.2 The Analysis of the Florentine Codex     150(15)
      7.3 Conclusions                              165(5)
        Acknowledgements                           166(1)
        References                                 167(3)
    Chapter 8 Colour in Medieval Portuguese        170(23)
    Manuscripts: Between Beauty and Meaning
          Maria Joao Melo
          Rita Castro
          Adelaide Miranda
      8.1 Preamble                                 170(1)
      8.2 The Art of Romanesque Portuguese         171(3)
      Illuminations
      8.3 The Colours of Romanesque                174(7)
      Illuminations: a Molecular Approach
        8.3.1 The Visible: The Colourants          174(3)
        8.3.2 The Invisible: Fillers               177(1)
        8.3.3 The Invisible: The Binding Medium    177(1)
        8.3.4 Concluding Remarks                   178(3)
      8.4 Medieval Colours: Between Beauty and     181(4)
      Meaning
        8.4.1 Colour Systems                       181(1)
        8.4.2 Colour Mapping                       182(2)
        8.4.3 Outlook                              184(1)
      8.5 Conservation Issues                      185(4)
        8.5.1 Colour Degradation                   185(1)
        8.5.2 Parchment                            186(1)
        8.5.3 Bookbinding                          187(2)
      8.6 Perspectives                             189(4)
        Appendix                                   190(1)
        Acknowledgements                           190(1)
        References                                 190(3)
    Chapter 9 The Wall Paintings of the            193(16)
    Monumental Cemetery of Pisa: The War, the
    Restoration, the Conservation
          Alessia Andreotti
          Maria Perla Colombini
          Mauro Matteini
          Antonio Paolucci
      9.1 Introduction                             193(3)
      9.2 The Diagnosis of Materials               196(4)
        9.2.1 The State of Conservation of         197(2)
        Casein
        9.2.2 The Removal of Glues                 199(1)
      9.3 Environmental Monitoring                 200(5)
        9.3.1 Volatile Organic Compounds (VOCs)    201(2)
        9.3.2 Moisture Condensation                203(2)
      9.4 The Planned Conservation                 205(4)
        Acknowledgements                           207(1)
        References                                 207(2)
    Chapter 10 The Chemistry and Chemical          209(21)
    Investigation of the Transition from Egg
    Tempera Painting to Oil in Italy in the
    15th Century
          David A. Peggie
      10.1 Introduction                            209(5)
      10.2 The Chemistry of Binders and the        214(7)
      Significance for the Physical and Optical
      Properties of Paint
        10.2.1 Egg Tempera                         214(3)
        10.2.2 Drying oil                          217(4)
      10.3 Identification of Paint Binders         221(5)
        10.3.1 Instrumental Analysis of the        221(4)
        Paint Binder
        10.3.2 Refinement of Analytical            225(1)
        Protocols and the Use of Multiple
        Techniques
      10.4 Conclusion                              226(4)
        References                                 226(4)
    Chapter 11 Multi-criterial Studies of the      230(22)
    Masterpiece The Last Judgement, Attributed
    to Hans Memling, at the National Museum of
    Gdansk (2010--2013)
          Iwona Szmelter
          Laura Cartechini
          Aldo Romani
          Luca Pezzati
      11.1 Introduction: Hypothesis About the      230(2)
      Revaluation of the Triptych Attribution
      11.2 State of Knowledge on the Triptych      232(3)
        11.2.1 Revision of the Historical          232(1)
        Background
        11.2.2 The Intriguing History of the       233(2)
        Triptych as a Pirates' War Trophy
      11.3 Hypotheses on the Origins               235(3)
        11.3.1 Preliminary Non-invasive Research   235(3)
      11.4 A New Scientific Approach to the        238(7)
      Authorship of the Triptych
        11.4.1 Dating the Triptych                 238(1)
        11.4.2 New Insights into The Last          239(6)
        Judgement by Analytical Investigations
      11.5 New Approaches to the Heuristics of     245(3)
      Proto-Northern Renaissance
      11.6 Conclusion. Synergy in "Science and     248(4)
      Art": The Case of The Last Judgement
        Acknowledgements                           249(1)
        References                                 249(3)
    Chapter 12 Science and Conservation at the     252(17)
    Florentine O. P. D. and Raphael's Madonna
    of the Goldfinch
          Marco Ciatti
      12.1                                         252(17)
        References                                 267(2)
    Chapter 13 Underdrawing in Paintings           269(18)
          Roberto Bellucci
          Cecilia Frosinini
      13.1 Introduction                            269(2)
      13.2 Three Case Studies                      271(11)
        13.2.1 The First Case Study: Giotto's      271(3)
        Use of Templates for Panel Painting
        (Figures 13.1, 13.2, 13.3)
        13.2.2 Second Case Study: Michelangelo     274(5)
        Provides Drawings for Sebastiano del
        Piombo (Figures 13.4, 13.5, 13.6)
        13.2.3 Third Case Study: Francesco         279(3)
        Hayez, a Complete Set of Studio
        Materials (Figures 13.7, 13.8, 13.9)
      13.3 Conclusion                              282(5)
        References                                 283(4)
    Chapter 14 An Integrated Approach to the       287(27)
    Study and Preservation of Paintings Using
    Laser Light Technology: Diagnosis, Analysis
    and Cleaning
          P. Pouli
          K. Melessanaki
          V. Tornari
          E. Bernikola
          G. Filippidis
          D. Anglos
          C. Fotakis
      14.1 Introduction                            287(2)
      14.2 Holographic Interferometry              289(6)
      Non-destructive Testing
        14.2.1 Assessment of Structural            291(3)
        Condition and Defects on Paintings:
        Priority Maps
        14.2.2 Monitoring of Paintings'            294(1)
        Response to Environmental Changes
        14.2.3 HINDT Monitoring and Control of     295(1)
        Cleaning Interventions
      14.3 Multiphoton Excitation Fluorescence     295(4)
      and Third Harmonic Generation Imaging
      14.4 Laser Ablation for Analysis and         299(8)
      Cleaning
        14.4.1 Laser Removal of Degraded Varnish   301(2)
        14.4.2 LIBS Monitoring of Laser            303(4)
        Cleaning of Paintings
      14.5 Prospects and Limitations               307(7)
        Acknowledgements                           308(1)
        References                                 308(6)
    Chapter 15 Mens Agitat Molem: New Insights     314(22)
    into Nicolas Poussin's Painting Technique
    by X-ray Diffraction and Fluorescence
    Analyses
          H. Glanville
          H. Rousseliere
          L. de Viguerie
          Ph. Walter
      15.1 Introduction                            314(2)
      15.2 The Paintings                           316(1)
      15.3 Analytical Methods                      317(2)
        15.3.1 Description of the XRD-XRF          318(1)
        Portable Prototype
        15.3.2 Description of the XRF Portable     319(1)
        Prototype
        15.3.3 Investigation of the Samples        319(1)
      15.4 Nature of the Ground                    319(3)
      15.5 A Limited Number of Pigments            322(3)
      15.6 Coloured Reflection and Shadows         325(6)
        15.6.1 Venus' Face                         326(1)
        15.6.2 &Aelig;neas' Arm                    327(2)
        15.6.3 Eliezer's Coat                      329(2)
      15.7 Conclusion                              331(5)
        Acknowledgements                           332(1)
        References                                 332(4)
    Chapter 16 Designing Nature: Ogata Korin's     336(18)
    Technical Choices in Irises at Yatsuhashi
          Marco Leona
          Pablo S. Londero
          Jennifer Perry
          Kaori Fukunaga
          Gregory H. Bailey
          Charlotte Hale
      16.1 Introduction                            336(1)
      16.2 The Metropolitan Museum Screens in      337(2)
      Context: Korin and Yatsuhashi
      16.3 Irises at Yatsuhashi: A Summary         339(2)
      Discussion of Materials and Technique
      16.4 The Evidence in Detail: Analytical      341(8)
      Techniques and their Application to the
      Study of the Painted Surface
        16.4.1 The Continuous Gold Leaf Layer:     341(2)
        Terahertz Imaging and X-Ray
        Fluorescence Spectrometry Line-scanning
        16.4.2 The White Ground and the Iris       343(4)
        Flowers: Microscopic Examination, X-Ray
        Fluorescence Spectrometry, Raman and
        Surface-enhanced Raman Spectroscopy,
        Infrared Imaging, and Visible
        Reflectance Spectroscopy
        16.4.3 Changes in Composition: Infrared    347(2)
        Imaging
      16.5 Conclusions                             349(1)
      16.6 Examination Techniques and              350(4)
      Instrumental Parameters
        References                                 352(2)
    Chapter 17 As Time Passed by Came Sunset.      354(19)
    Christen Kobke's View of Lake Sortedam, its
    Genesis and Colour Changes
          Anna Vila
          Kasper Monrad
          Troels Filtenborg
          Jørgen Wadum
      17.1 Introduction                            354(4)
      17.2 The Underdrawing                        358(1)
      17.3 The Paint Layer                         359(3)
      17.4 Pigment Analysis                        362(3)
      17.5 Written Sources                         365(2)
      17.6 Discussion and Conclusion               367(6)
        Acknowledgements                           368(1)
        References                                 368(5)
    Chapter 18 Examination of Vincent van          373(31)
    Gogh's Paintings and Pigments by Means of
    State-of-the-art Analytical Methods
          Koen Janssens
          Matthias Alfeld
          Geert Van der Snickt
          Wout De Nolf
          Frederik Vanmeert
          Letizia Monico
          Stijn Legrand
          Joris Dik
          Marine Cotte
          Gerald Falkenberg
          Luuk van der Loeff
          Margje Leeuwestein
          Ella Hendriks
      18.1 Introduction                            373(2)
      18.2 Characterization of Pigments, Paints    375(2)
      and Paintings by Spectroscopic and
      Imaging Methods
      18.3 Spectroscopic Methods                   377(6)
      18.4 Spectroscopic Investigation of Van      383(6)
      Gogh's Paintings and Pigments
      18.5 Innovative Ways of Imaging the Works    389(9)
      of Van Gogh
      18.6 Conclusions                             398(6)
        References                                 398(6)
    Chapter 19 A Vibrant Surface: Investigating    404(25)
    Color, Texture and Transparency in Winslow
    Homer's Watercolors
          B. Berrie
          F. Casadio
          K. Dahm
          Y. Strumfels
          M. Tedeschi
          J. Walsh
      19.1 Introduction                            404(2)
      19.2 Analysis Strategy and Methodology       406(7)
      19.3 Results                                 413(12)
        19.3.1 Overview                            413(2)
        19.3.2 Shift from Opaque to Transparent    415(1)
        Watercolor Technique
        19.3.3 Recurrent and Ubiquitous Pigments   416(3)
        19.3.4 Pigments Restricted to a            419(2)
        Location or Short Time Period
        19.3.5 Rarely Found Pigments               421(1)
        19.3.6 Use of Mixed Colors vs. Prepared    421(4)
        Colors
      19.4 Conclusions                             425(4)
        Appendix 1 Instrumentation                 426(1)
        Acknowledgements                           426(1)
        References                                 427(2)
    Chapter 20 After the Fact: Evaluating our      429(17)
    Interdisciplinary Study of Mondrian's
    Victory Boogie Woogie
          Maarten van Bommel
          Hans Janssen
          Ron Spronk
      20.1 Introduction                            429(2)
      20.2 The Project                             431(4)
      20.3 The Findings                            435(6)
        20.3.1 Composition in Lines                435(2)
        20.3.2 Composition of the Larger Colour    437(2)
        Planes
        20.3.3 The Unfinishing Touch               439(2)
      20.4 In Retrospect                           441(5)
        References                                 444(2)
    Chapter 21 Argentinean Murals: Conservation    446(16)
    and Characterization of Pictorial Techniques
          Fernando Marte
          Damasia Gallegos
      21.1 Introduction                            446(1)
      21.2 Ejercicio Plastico and Equipo           447(7)
      Poligrafico
        21.2.1 Identification of Materials and     450(4)
        Pictorial Techniques
      21.3 The Lunettes from Galerias Pacifico     454(4)
      and the Taller de Arte Mural
        21.3.1 Identification of Materials and     457(1)
        Pictorial Techniques
      21.4 Conclusions                             458(4)
        References                                 460(2)
    Chapter 22 Material and Technical Studies      462(15)
    of a Selected Group of Paintings by Candido
    Portinari, a Major Brazilian Modernist
    Painter
          Alessandra Rosado
          Isolda Mendes
          Edson Motta Jr.
          Claudio Valerio Teixeira
          Luiz A. C. Souza
      22.1 Introduction                            462(4)
      22.2 The Artist and His Career               466(1)
      22.3 Results: Portinari's Materials and      466(3)
      Techniques
        22.3.1 Supports, Grounds and               466(1)
        Preliminary Drawings
        22.3.2 Use of White Pigments               467(1)
        22.3.3 The Pigments                        467(2)
      22.4 Panels Guerra e Paz                     469(5)
      22.5 Conclusions                             474(3)
        Acknowledgements                           475(1)
        References                                 475(2)
    Chapter 23 Modern Painted Palimpsests.         477(22)
    Deciphering the Artworks of Osvaldo Licini
          M. Patti
          C. Anselmi
          B. Doherty
          C. Daffara
          R. Fontana
      23.1 Osvaldo Licini: an Introduction         477(3)
        23.1.1 Critical Success, Biographical      477(2)
        Sketches, Dating Issues
        23.1.2 The Contribution of Scientific      479(1)
        Investigations in Disclosing Licini's
        Work
      23.2 Recent Scientific Examinations:         480(3)
      Methodology and Employed Instruments
      23.3 The Investigated Paintings              483(12)
        23.3.1 Paesaggio con l'uomo                483(1)
        23.3.2 Olandese volante su fondo grigio    484(4)
        23.3.3 Angelo ribelle su fondo rosso       488(4)
        scuro
        23.3.4 Amalassunta su fondo blu            492(3)
      23.4 Conclusions                             495(4)
        Acknowledgements                           496(1)
        References                                 496(3)
    Chapter 24 The Burri Project: Research for     499(23)
    Technique and Conservation
          F. Rosi
          G. De Cesare
          P. Iazurlo
          A. Daveri
          M. Vagnini
          F. Valentini
          G. Basile
      24.1 The Project Structure                   499(2)
      24.2 Conservative Historical Background      501(2)
      of Burri's Work
        24.2.1 Palazzo Albizzini and Ex            501(1)
        Seccatoi del Tabacco: Exhibition History
        24.2.2 Burri's Materials: Historical       502(1)
        Background
      24.3 Works, Technique and Decay              503(6)
        24.3.1 Canvas Group                        503(1)
        24.3.2 Plastics Group                      504(1)
        24.3.3 Cellotex Group                      505(4)
        24.3.4 Theatrical Scenery Sketches         509(1)
      24.4 Case Studies: Scientific                509(9)
      Investigations and Restoration
        24.4.1 Non-invasive Scientific             509(5)
        Investigation
        24.4.2 Restoration and Conservation        514(4)
        Issues
      24.5 Conclusion                              518(4)
        Acknowledgements                           519(1)
        References                                 519(3)
    Chapter 25 John Hoyland: A British Master      522(24)
    of Acrylic Painting
          Bronwyn Ormsby
          Tom Learner
          Jo Crook
          Patricia Smithen
      25.1 Introduction                            522(1)
      25.2 Hoyland and Acrylic Paints              523(2)
      25.3 The Evolution of Hoyland's Painting     525(11)
      Technique: Six Paintings in the Tate
      Collection
        25.3.1 28.5.66 (1966) [Tate T00886]        526(3)
        25.3.2 17.3.69 (1969) [Tate T01130]        529(1)
        25.3.3 25.4.69 (1969) [Tate T01129]        530(2)
        25.3.4 Saracen (1977) [Tate T02402]        532(1)
        25.3.5 North Sound (1979) [Tate T02403]    533(1)
        25.3.6 Gadal (1986) [Tate T04924]          534(2)
      25.4 Painting Surfaces, Appearance and       536(2)
      Condition
      25.5 Case Study Surface Cleaning             538(2)
      Conservation Treatment: 25.4.69
      25.6 Conclusions                             540(6)
        Appendix: Analytical Techniques            541(1)
        Acknowledgements                           542(1)
        References                                 543(3)
    Chapter 26 Outdoor Painted Surfaces in         546(20)
    Contemporary Art
          Antonio Rava
          Oscar Chiantore
      26.1 Artworks in Outdoors Spaces             546(2)
      26.2 Materials for Contemporary Outdoor      548(5)
      Paintings
      26.3 What Can Be Found                       553(5)
      26.4 A Keith Haring Mural in Pisa and its    558(5)
      Conservation
      26.5 Final Remarks                           563(3)
        References                                 564(2)
    Chapter 27 The Elusive and Transitory          566(18)
    Materials in Contemporary Drawings
          Antonio Mirabile
          Patrizia Moretti
          Federica Presciutti
      27.1 Introduction                            566(2)
      27.2 Scientific Analyses and Measurements    568(13)
        27.2.1 Stefano Arienti and the Opera       568(5)
        Dedicated to Picasso
        27.2.2 Sandra Vasquez de la Horra:         573(3)
        Paper Impregnated with Wax and Drawing
        Mi Marioneta
        27.2.3 Beatriz Milhazes and the Collage    576(5)
        Manjary
      27.3 Conclusions                             581(3)
        References                                 582(2)
Subject Index                                      584