Search results for "Paintings"
showing 10 items of 64 documents
Determination of selected phthalates by gas chromatography–mass spectrometry in mural paintings from Palermo (Italy)
2013
Abstract Phthalate esters for decades, and probably even now, were used as softeners in water-based paintings. In general, these compounds are dangerous owing to their carcinogenicity and reproductive effects. Phthalates are not chemically but only physically bound to the matrices, hence, they may be leached into the environment and are ubiquitously found in environmental matrices. Considering that, construction is one of most important fields in Europe, and probably worldwide, with respect to its economic, technological and environmental impact. In the present work the phthalate esters content of several mural paintings was evaluated by gas chromatography–mass spectrometry (GC-MS). Because…
Organic materials in the wall paintings in Pompei: a case study of Insuladel Centenario
2012
Abstract Background The present research concerns the Roman wall paintings preserved at Insula del Centenario (IX, 8), the important Pompeian block situated in the Regio IX, along Via di Nola. Results The aims of this research are two: to verify the presence of lipidic and proteinaceous material to spread the pigments, and to identify organic matter in painting materials owing to previous restoration works. The samples collected from the wall paintings of different rooms have been investigated by Fourier Transform Infrared Spectroscopy (FT-IR), and Gas Chromatography/ Mass Spectrometry (GC/MS). Conclusions The analytical results show that these Roman wall paintings were realized without the…
Multitechnique diagnostic analysis and 3D surveying prior to the restoration of St. Michael defeating Evil painting by Mattia Preti
2021
In this study, a multimethodological analysis involving optical and physical/chemical diagnostic techniques and 3D photogrammetric survey was successfully applied, for the first time, on the large oil on canvas St. Michael defeating Evil painting by Mattia Preti, located inside the Church of the Immaculate Conception of Sarria (Floriana) in Malta. Pigmenting agents, binder media, and raw materials were first characterized, both at elemental and molecular scales, through X-ray fluorescence spectroscopy (XRF), optical stereo microscopy (SM), scanning electron microscopy coupled with energy dispersive X-ray spectroscopy (SEM-EDX), Fourier transform infrared spectroscopy (FT-IR), and gas chroma…
Photodegradation of selected phthalates on mural painting surfaces under UV light irradiation
2014
Abstract The esters of phthalic acid are considered as hazardous pollutants due to their mutagenicity, carcinogenicity and are also classified as endocrine disruptor chemicals. Several compounds of this class of substances for decades, and probably even now, were used as softeners in water-based synthetic paintings. Surfaces and structures, such as house walls painted with phthalates based paintings, can be a concern to construction workers engaged in demolition, restore and paint removal activities if they are not protected from hazardous dust inhalation. In this paper we report the results of an investigation about phthalate ester degradation by direct UV irradiation at 254 nm. The result…
Paintings as Solid Affective Scaffolds
2019
From Maya Blue to “Maya Yellow”: A Connection between Ancient Nanostructured Materials from the Voltammetry of Microparticles
2011
The yellow hue of a series of samples from wall paintings in several Mayan archaeological sites can be attributed to the presence of indigoid compounds, including isatin and dehydroindigo, attached to palygorskite, a local phyllosilicate clay. SEM/EDX, TEM, UV/Vis spectroscopy, and voltammetry of microparticles show that the ancient Mayas could prepare indigo, Maya Blue, and "Maya Yellow" during successive stages. Copyright © 2011 WILEY-VCH Verlag GmbH & Co. KGaA, Weinheim.
Identification of plant cells in black pigments of prehistoric Spanish Levantine rock art by means of a multi-analytical approach. A new method for s…
2017
We present a new multi-analytical approach to the characterization of black pigments in Spanish Levantine rock art. This new protocol seeks to identify the raw materials that were used, as well as reconstruct the different technical gestures and decision-making processes involved in the obtaining of these black pigments. For the first of these goals, the pictorial mat- ter of the black figurative motifs documented at the Les Dogues rock art shelter (Ares del Maestre, Castello ́ n, Spain) was characterized through the combination of physicochemical and archeobotanical analyses. During the first stage of our research protocol, in situ and non- destructive analyses were carried out by means of…
Aurora che fuga le tenebre (1799 circa)
2015
La scheda si occupa di un bozzetto pittorico opera del pittore Giuseppe Velasco The sheet deals with a pictorial sketch by the painter Giuseppe Velasco
Mortars and Plasters under the Mosaics and the Wall Paintings of the Roman Villa at Piazza Armerina, Sicily
2010
The Roman Villa at Piazza Armerina in Sicily, built in many successive steps over the 2nd and 3rd centuries A.D., is renowned all over the world for both the wealth and the refinement of its mosaic floors. In February 2007 the Regional Government of Sicily started a restoration project of the whole archaeological site. The systematic survey and study of all decorative elements highlighted the value of wall paintings, which until then were almost unknown except for casual approaches to specific problems of conservation, carried on without any relation to the far and away famous mosaics. This paper shows the results of a physical chemical investigation of the mortars used for both floors and …
THE DEPOSIZIONE PAINTING FROM S. CATERINA MONASTERY IN PALERMO, ITALY: A TECHNICAL STUDY ON A ‘TRASPARENTE’ PAINTING
2022
The article analyzes the Deposizione painting of Giovanni Patricolo from S. Caterina monastery in Palermo, a painting realized by a particular technique of artistic representation attested in the 19th century: the ‘trasparente’ paintings, a specific kind of ephemeral apparatuses. The focus of this study is to shed light on the practical functions and the chronological path of this work of art, connecting it with the specific executive technique of the manufact. Furthermore, this research was a preliminary study aimed at designing an appropriate intervention for the restoration and conservation of the painting and a proper valorization of this artwork.