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  1. 1
    The conservation team performed a number of cleaning and consolidation tests on the painting in order to evaluate the safest and most effective method of treatment
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    Date: 2013-09-21
  2. 2
    Began preliminary non-destructive analysis of pigments using X-ray Fluorescence (XRF) with the assistance of faculty and students from Villanova's Chemistry Department. Please refer to X-Ray Fluorescence section for additional detail. (Pictured here: Kristen Watts and Dr. Amanda Norbutus)
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    Date: 2013-09-21
  3. 3
    This sample was collected from the shot-silk robe of the woman holding the tambourine after removal of the degraded surface coating. The red-brown ground contains iron oxides, calcium, and alumino-silicates (Fe, Ca, Al, Si, O, Mg, Mn) while the paint layers appear to contain iron oxides (particularly green earth; Fe, Si, Mn, O) and lead white (Pb).<br/<br/><i>Top Left: Visible light/200x magnification; Top Right: BSE image/259x magnification; Bottom left and right: EDS elemental maps (Major Elements: Si, O, Ca, Al, Pb, Fe, K; Trace: Mg, Mn, Na, Ti)<i>
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    Date: 2013-12-25
  4. 4
    This sample was collected from the blue robe worn by the kneeling woman in the lower right corner before removal of the degraded surface coating. The red-brown ground contains iron oxides, calcium, and alumino-silicates (Fe, Ca, Al, Si, O, Mg, Mn) while the dark blue paint layer appears to contain an extremely pure grade of lapis lazuli (Al, Na, Si, O) followed by a thin layer of lapis mixed with lead white (Pb). In this particular sample the upper layer of the double ground is extremely thin and can only be detected in the EDS map for iron. A large red, iron oxide particle can also be seen in the lower left.<br/><br/><i>Top Left: Visible light/200x magnification; Top Right: BSE image/264x magnification; Bottom left and right: EDS elemental maps (Major Elements: Si, O, Ca, Al, Pb, Fe, K, Mg; Trace: Na)</i>
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    Date: 2013-12-25
  5. 5
    This sample was collected from a heavily overpainted back of the kneeling woman in the bottom right corner. The red-brown ground contains iron oxides, calcium, and alumino-silicates (Fe, Ca, Al, Si, O, Mg, Mn) while the uppermost layer of overpaint contains Zinc White (Zn), a pigment that was not available to artists until the 19th century. Spot analysis of red and yellow pigment particles mixed into the original lead-containing paint layers confirmed the presence of vermillion (Hg) and lead-antimonate yellow, most likely Naples Yellow (Pb, Sb). Top Left: Visible light/200x magnification;<br/><br/><i>Top Right: BSE image/302x magnification; Bottom left and right: EDS elemental maps (Major Elements: Pb, O, Si, Ca, Al, Zn, Fe; Trace: K, Mg, Mn, Hg, Sb)</i>
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    Date: 2013-12-25
  6. 6
    This sample was collected from the green-colored cushion on King Saul's throne before removal of the degraded surface coating. The red-brown ground contains iron oxides, calcium, and alumino-silicates (Fe, Ca, Al, Si, O, Mg, Mn); the upper ground layer contains more iron and manganese than the lower layer, indicating a higher concentration of earth colors/umbers in the second ground application. The presence of green earth particles was confirmed by the detection of high levels of silica (Si) and moderate to low levels of iron (Fe).<br/><br/><i>Top Left: Ultraviolet light/200x magnification; Top Right: BSE image/217x magnification; Bottom left and right: EDS elemental maps (Major Elements: Si, O, Ca, Al, Fe; Trace: K, S, Mg, Mn)</i>
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    Date: 2013-12-25
  7. 7
    This sample was collected from Abner's yellow ptergues (leather straps worn at the waist by Roman soldiers). The red-brown ground contains iron oxides, calcium, and alumino-silicates (Fe, Ca, Al, Si, O, Mg, Mn); the upper ground layer contains more iron and manganese than the lower layer, indicating a higher concentration of earth colors/umbers in the second ground application. The upper paint layers contain lead white (Pb) and yellow iron oxides (Fe, O). Top Left: Visible light/200x magnification;<br/><br/><i>Top Right: BSE image/399x magnification; Bottom left and right: EDS elemental maps (Major Elements: Si, O, Ca, Pb, Al, Fe; Trace: K, S, Mg, Mn)</i>
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    Date: 2013-12-25
  8. 8
    This sample was collected from the green-colored mountains in the distant background after removal of the overpaint and degraded surface coating. The red-brown ground contains iron oxides, calcium, and alumino-silicates (Fe, Ca, Al, Si, O, Mg, Mn). The paint layer contains lead white (Pb), earth colors (Fe, Si, O), and lead-antimonate (Pb, Sb). The presence of green earth particles was confirmed by the detection of high levels of silica (Si) and moderate to low levels of iron (Fe). A few yellow particles were found to contain lead and antimony (Pb, Sb) pointing towards the presence of Naples Yellow, however a large whitish agglomerate appeared to contain lead, antimony, and high levels of silica (Si). It may be that a range of lead-antimonate particles were used, with some possessing more of a "glassier" nature than others. Colored glass has been found in Italian Renaissance and Baroque paintings.<br/><br/><i>Top Left: Visible light/200x magnification; Top Right: BSE image/2124x magnification; Bottom left and right: EDS elemental maps (Major Elements: Si, O, Pb, Al, Ca, Fe; Trace: K, Mg, Sb)</i>
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    Date: 2013-12-25
  9. 9
    The red-brown ground contains iron oxides, calcium, and alumino-silicates (Fe, Ca, Al, Si, O, Mg, Mn). Multiple paint layers were found to contain lead-antimonate yellow (Pb, Sb), lead white (Pb), and earth colors (Fe, Si, O, Mn). The presence of phosphorous in the black paint layer indicates the presence of bone black (P). Images obtained using x-radiography confirmed that these colored paint layers beneath the black most likely correspond to a hidden figure that is present beneath the shield. Top Left: Visible light/200x magnification;<br/><br/><i>Top Right: BSE image/997x magnification; Bottom left and right: EDS elemental maps (Major Elements: Si, O, Pb, Al, Ca, Fe; Trace: K, Mg, Sb)</i>
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    Date: 2013-12-25
  10. 10
    This sample was collected from an area in the tiled floor where a pentimento (also called pentimenti) became visible after removal of the degraded surface coating. The red-brown ground can be seen followed by three paint layers; the first corresponds to the initial lay-in of the tiled floor, the second to the initial position of the soldier's foot, and the third to the tiled floor that is now visible in the composition (visible light/100x magnification). Pentimenti are original changes by the artist(s) and can become visible over time as oil paint layers become more transparent with age.
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    Date: 2014-01-16
  11. 11
    This sample was collected along the outer left edge (the tacking margin) of the painting before the degraded overpaint/surface coating was removed from the soldier's red cloak. The red-brown ground can be seen followed by several layers of red paint, indicating that multiple adjustments were made to this area of the composition (visible light/100x magnification). The uppermost paint layer was later confirmed to be unoriginal restoration paint.
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    Date: 2014-01-16
  12. 12
    This sample was collected from the shot-silk robe of the woman holding the tambourine after removal of the degraded surface coating. The red-brown ground can be seen followed by two layers of paint; the greenish colored lower layer contains earth colors and lead white while the top layer contains lead white with small additions of ultramarine (visible light/100x magnification).
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    Date: 2014-01-16
  13. 13
    This sample was collected from the dark helmet of a soldier in the background before removal of the degraded surface coating. The red-brown ground can be seen followed by two layers; the thin, dark black paint layer corresponds to the soldier's helmet while the top layer is the degraded surface coating (visible light/100x magnification).
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    Date: 2014-01-16
  14. 14
    This sample was collected from a heavily overpainted section of the blue robe worn by the kneeling woman in the lower right corner before removal of the overpaint and degraded surface coating. The red-brown ground can be seen as well as multiple layers of blue paint containing ultramarine (lapis lazuli) with small additions of lead white (visible light/100x magnification). These multiple layers suggest that several compositional changes were made to this area of the drapery while the uppermost layer was later confirmed to unoriginal restoration paint.
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    Date: 2014-01-16
  15. 15
    This sample was collected from the pink robe of the kneeling woman in the lower right corner before removal of the discolored overpaint. The red-brown ground can be seen as well as four layers of paint, suggesting that multiple compositional changes were made to this area of the drapery. The lower red layer is rich in red lake with additions of vermillion, followed by two lighter layers containing, lead white, vermillion, naples yellow, and earth colors including a single particle of green earth (visible light/100x magnification). The uppermost paint layer was later confirmed to be unoriginal restoration paint.
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    Date: 2014-01-16
  16. 16
    This sample was collected from the pink section of the robe worn by the kneeling woman before removal of the overpaint. The red-brown ground can be seen as well as two to three layers of paint; the light yellow paint may be the underlying flesh paint of the woman's back while the uppermost pink paint corresponds to the drapery (visible light/100x magnification). The uppermost paint layer was later confirmed to be unoriginal restoration paint.
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    Date: 2014-01-16
  17. 17
    This sample was collected from the yellow belt of the kneeling woman after removal of the overpaint and degraded varnish. The red-brown ground can be seen as well as several layers of paint; the black layer may represent dark paint used to delineate contours of the figures before successive paint layers were applied (visible light/100x magnification).
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    Date: 2014-01-16
  18. 18
    This sample was collected from the yellow belt of the kneeling woman after removal of the overpaint and degraded varnish. The red-brown ground can be seen as well as two layers of paint; the yellow belt in this instance was painted directly over a portion of the underlying blue robe (visible light/100x magnification).
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    Date: 2014-01-16
  19. 19
    Conservators and scientists will occasionally collect tiny microscopic <a href="http://www.artcons.udel.edu/about/kress/examination-techniques-and-scientific-terms/cross-sectional-microscopy">samples</a> from artwork in order to obtain a better understanding of the object's restoration history as well as the original materials used by the artist(s). Samples are often taken in conspicuous areas, such as near regions of existing loss or even along outer edges of a composition. In the case of the Triumph of David, there were multiple old tears and losses scattered throughout the painting allowing for the collection of several paint samples. These samples are then embedded in a clear resin and polished smooth, giving a cross-section view of the paint layers from the ground up under high magnification.<br/><br/>Samples can be viewed in visible and ultraviolet light as both types of illumination can reveal complementary information. Certain pigments may auto-fluoresce under ultraviolet light as well as certain organic materials like varnishes, glues, etc.<br/><br/>Cross-sectional samples subjected to both visible and ultraviolet illumination were prepared by Kristin deGhetaldi (project leader). Samples were imbedded in Extec(R) polyester resin/ hardener (approximately 10/ 0.5 ml) and subsequently analyzed under high magnification using a Nikon Eclipse 80i Binocular Microscope (4x, 10x, and 20x objectives) with a Nikon X-cite(R) 120 Mercury Lamp for reflected ultraviolet light. Under ultraviolet light, the samples were viewed using a BV-2A cube (excitation wavelengths between 400 and 420/ 470 nm barrier filter). Digital images were obtained using the Digital Eclipse DXM 1200f Nikon Camera in conjunction with the Automatic Camera Tamer control software for PC systems.
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    Date: 2014-01-22
  20. 20
    This sample was collected from the blue robe of the kneeling woman after removal of the degraded surface coating. The red-brown ground can be seen as well as two to three layers of blue paint containing ultramarine (lapis lazuli) with small additions of lead white (visible light/ultraviolet light/200x magnification). Ultraviolet illumination helped to reveal the presence of a double red-brown ground as well as a thin, pigmented glaze between two layers of paint.
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    Date: 2014-01-22