With occasion of the “Murillo’s year” (fourth centenary of his birth), the Andalusian Institute for Cultural Heritage (Instituto Andaluz de Patrimonio Histórico) received the request from a private ...collector for the restoration and authentication of a
bozzetto
of the Murillo´s painting entitled
Moses and the water from the rock of Horeb
. During the intervention, several studies on the materials employed were carried out—on the
bozzetto
and on the final large dimension painting, to characterize the different components of the paintings (ground layer, pigments and binders), as well as to confirm/reject the authenticity of the
bozzetto
. After a detailed general inspection using multispectral techniques (visible, UV, IRR) some
pentimenti
were discovered. In addition, Macro X-ray fluorescence (MA-XRF) scanning technique was performed, complemented by point XRF and stratigraphic analyses. The results show that the ground layers were prepared in the usual fashion of the artist, using earths, calcium carbonate, iron oxide pigments and white lead. MA-XRF mapping allowed determining the spatial distribution and the combination of these pigments along the surface of both paintings. Results show that canvas, priming, binders, pigments and painting techniques of the
bozzetto
are compatible with those of the original painting, so we can conclude that most likely this is the original Murillo’s
bozzetto
.
Juan Martínez Montañés was one of the most important sculptors and altarpiece architects of the Spanish Golden Age. The restoration of the Santa Clara church in Seville has presented a unique ...opportunity to study the main altarpiece, crafted by Montañés between 1621 and 1623. He was also in charge of the polychromy and gilding, believing that delegating these procedures to others would diminish the quality of his work. This conviction led to a well-known lawsuit with the renowned contemporary Spanish painter Francisco Pacheco. Ultimately, the painter and sculptor Baltasar Quintero performed the polychromy of this altarpiece, but under the strict conditions of Montañés. Various non-invasive analytical techniques, such as CT, UVF, XRF, and digital microscopy, were employed to study wood treatment and polychromy. Additionally, three samples were prepared as cross-sections and analysed by SEM-EDX. The results revealed Montañés’ meticulous woodwork, anticipating its long-term preservation. Consistent with Montañés’ commitment to maintaining the superior quality of his work, the analysis showed an absence of a ground layer in the flesh areas, while the gilding was executed with high-quality gold. The pigment palette corresponds to the treaties and documents of his time, and the extensive areas of later retouches were accurately located. These new data provide a deeper understanding of both the technique and the high standards of one of the most important and globally recognised sculptors.
The artist Johannes Aquila was active in the last quarter of the fourteenth century in the area of Middle East Europe, divided today between Slovenia, Austria, and Hungary. He is principally known ...for his mural paintings in Velemér (Hungary), Turnišče and Martjanci (Slovenia), Bad Radkersburg and Fürstenfeld (Austria). His works have been studied from the art-historical point of view, revealing a complex influence on his style, from the Italian Trecento and from the Northern, especially Czech art. The present research aims to understand whether materials and painting techniques used by Aquila and his workshop also correspond to the North European or rather South European, mainly Italian, contemporary painting manner. Different invasive and non-invasive techniques have been selected in all five locations, depending on permissions obtained and analytical equipment available. Besides a precise study in situ by the naked eye and by digital microscope, also a portable X-ray fluorescence (XRF) and VIS spectrophotometry were used. Where possible, microsamples of pigments and plasters were extracted and studied by optical microscopy, SEM–EDX, FTIR, XRF and XRD. The results showed that artists used mostly inorganic pigments, generally stable in
a fresco
technique, and probably some lead-based ones. Aquila and his disciples combined
a fresco, a secco
and sometimes lime technique. His plasters are poor in lime and can contain organic fibres. There is a huge difference in the quality of technical execution between his early murals and his latter ones, where most of the work was carried out by his workshop.
In St. Jacob’s parish church in Ormož, Slovenia, mural paintings from around 1350–1370 are partially conserved in the northeastern corner of the main nave. They are almost completely black, ...indicating a large-scale pigment degradation. They were studied as a part of a larger research project aiming to identify materials applied and their possible degradation. First, they were studied in situ, and next, extracted samples of plaster, pigments, and colour layers were analysed by optical microscopy, Raman spectroscopy, FTIR spectroscopy, SEM-EDS, and XRD. Haematite, green earth, malachite, azurite, and tenorite were identified, showing that azurite and perhaps also malachite degraded to black tenorite, probably due to their fine grinding and their application directly on the fresh plaster. The plaster is made with small and large amounts of aggregate with mostly quartz with some impurities, which makes it fragile. The original appearance of these murals was of bright blue and green colours.
The Fine Arts Museum in Seville conserves an especially wide group of paintings from the 16th century Spanish art, among which one of the highest importance is a triptych attributed to Marten de Vos. ...One of the panels was recently restored, which opened a possibility for its material and technical analysis. For this research, only non-destructive techniques have been used: ultraviolet light, infrared reflectography, and X-ray fluorescence. The ultraviolet exam showed wide areas of later interventions, which were confirmed by X-ray fluorescence results. By infrared reflectography it was possible to observe under-drawings and some pentimenti. The X-ray fluorescence results identified inorganic pigments, common for that period of time: lead white, yellow, and red ochres, lead-tin yellow, vermilion, a green copper based pigment, azurite, smalt as De Vos's basic blue pigment, umber, and an organic black pigment, probably bone black.
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The panel painting San Telmo by an anonymous 16th century Spanish artist is part of the permanent exhibition at the Fine Arts Museum of Seville, one of the most important Spanish galleries. As part ...of a larger study on 15th and 16th century Spanish painting, the principal interest of this work was to obtain more information the materials applied in its creation. The research work was carried out in situ in the exhibition room; hence, only non-destructive analytical methods were applied. The painting was first studied with UV light to observe later interventions. After this, a possible preparatory drawing was searched for with IR re-flectography (IRR). Finally, a portable X-Ray fluorescence (XRF) equipment was applied for a material analysis. The UV image of the painting clearly revealed later interventions, which helped to select the points for the XRF analysis, to distinguish between original and modern pigments. The XRF analysis showed that the painter’s palette was common for the 16th century, and similar to those found in other panels from the same period in the Museum collection, namely: lead white (identified by Pb), yellow and red ochres (Fe), vermilion (Hg), a copper based green pigment (Cu), azurite (Cu), and an organic black, probably bone black (Ca). Several retouches made on the bases of Zn and Ti whites were confirmed. The presence of Ca and Pb in every analysed point shows that there must be a calcium based preparation, probably gypsum, with a lead based priming. Most interestingly, the IR images revealed not only a very precise and decisive artist’s brushstroke, observed in the modelling of the subject’s head or clothing, but also a change in the shape of the boat that the Saint holds in his left hand (pentimenti).
Journal of the Institute of Conservation Non-destructive XRF analysis of selected Flemish panel paintings in the Fine Arts Museum of Seville Flemish panel painting; sixteenth century; pigment ...analysis; supports; non-destructive analysis; X-Ray fluorescence (XRF)
Bernardo Martorell was a leading artist of the 15th century in Catalonia . His panel painting the Ascension of the Virgin is one of the oldest in the collection of Fine Arts Museum of Seville. This ...is why it was chosen for the analysis among several other panels which form part of a bigger project between the Museum and the National Centre of Accelerators. The research work is dedicated to the characterization of materials applied in the Spanish paintings in the 15th and 16th centuries. The painting was studied by non-destructive techniques (UV light and a portable X-Ray fluorescence) to obtain information on materials applied and possible later interventions. The results showed that the original pigments applied are common for that period of time: lead white (Pb) yellow and red ochres (Fe), massicot, (Pb), umbra (Mn, Fe), vermillion (Hg), azurite (Cu) and a copper based green pigment (Cu). The thin layer of gold, confirmed by Au peaks, is applied over the surface, on top of a red bole layer. Some black areas over the gilded surface contain Ag. Retouches contain Ti, Zn, Cr and Cd that confirm the use of modern pigments, such as titanium-zinc white, chrome green or cadmium red.
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