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    Wyświetlanie 1-4 z 4
    Tytuł:
    Czerwone laki w malarstwie śląskim Mistrza lat 1486/1487
    Red Lake in Silesian Paintings by the Master from 1486/1487
    Autorzy:
    Olszewska-Świtlik, Justyna
    Nowik, Witold
    Powiązania:
    https://bibliotekanauki.pl/articles/538097.pdf
    Data publikacji:
    2001
    Wydawca:
    Narodowy Instytut Dziedzictwa
    Tematy:
    czerwone laki
    malarstwo śląskie
    Mistrz lat 1486/1487
    kościół w Strzegomiu
    ołtarz ze Strzegomia
    badania czerwonych barwników
    analiza barwników
    analiza pigmentów
    rodzaje czerwonego barwnika organicznego
    marzanna barwierska
    Opis:
    The article presents a precise definition of the types of red lake and methods of their analysis. The organic dye was examined with the help of highly efficient liquid chromatography combined with spectrometry in ultra violet and visible light (HPLC–DAD). The substrate was identified predominantly with the application of instrumental methods: X-ray fluorescence (XRF) and energy dispersion X-ray analysis using an electronic micro–probe (SEM-EDS). The samples originated from paintings ascribed to a Silesian workshop, which in 1486–1487 executed a retable for the church of St. Peter and Paul in Strzegom. The anonymous author was given the name of Master from 1486/1487. For the sake of comparison the research also included samples from The Offering of Christ in the Temple, a work by the Nürnberg–based artist H. Pleydenwurff from the former retable in the church of St. Elizabeth in Wroc³aw, dated as 1462. The outcome of the investigations supplement knowledge concerning the type of material used in mediaeval Silesian painting, and constitutes a source of information useful for a future and more precise distinction of the individual features of Polish and European workshops of the period.
    Źródło:
    Ochrona Zabytków; 2001, 1; 36-48
    0029-8247
    Pojawia się w:
    Ochrona Zabytków
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Analiza pigmentów i spoiw warstw malarskich obrazów Rembrandta van Rijn "Uczony przy pulpicie" i "Dziewczyna w ramie obrazu" ze zbiorów Zamku Królewskiego w Warszawie
    AN ANALYSIS OF THE PIGMENTS ANI) HINDERS OF THE PAINT LAYERS OF TWO PAINTINGS RY REMBRANDT VAN RIJN, THE SCHOLAR AT THE LECTERN AND THE GIRL IMA PICTURE FRAME, FROM THE COLLECTIONS OF THE ROYAL CASTLE IN WARSAW
    Autorzy:
    Nowicka, Anna
    Zadrożna, Irmina
    Powiązania:
    https://bibliotekanauki.pl/articles/536322.pdf
    Data publikacji:
    2010
    Wydawca:
    Narodowy Instytut Dziedzictwa
    Tematy:
    "Uczony przy pulpicie"
    "Dziewczyna w ramie obrazu"
    zbiory Zamku Królewskiego w Warszawie
    obrazy Rembrandta
    Rembrandt
    analiza pigmentów i spoiw warstw malarskich
    badania warstw malarskich
    Opis:
    From 2004 until 2000 in the Painting Conservation Study of the Royal Castle in Warsaw, the conservation of two tronie portraits The Scholar at the Lectern and The Girl in a Picture Frame, which are ascribed to Rembrandt and signed bv his name, date of creation: 1641, was performed. The paintings, which had belonged to the Lanckororiscy Family, were gifted to the Royal Castle in Warsaw in 1994 by Karolina Lanckororiska, together with other historic assets from her family collection. Before then, both works had been regarded as lost since World War II. This gave rise to doubts concerning their attribution, particularly with regard to the portrait of the woman. As a result, it was decided that comprehensive research work should be undertaken. The conservation works involved, among others, analyses of the paint layers and priming paints of both paintings, the results of which are discussed iti this publication. The analyses of the pigments and fillers, stratigraphie sections of samples, microscopic photographs and the interpretation of SEM-EDS spectrums were performed by mgr Anna Nowicka (Faculty of Conservation and Restoration of Works of Art of the Academy of Fine Arts in Warsaw), the instrumental examinations of binders were performed by dr Irmina Zadrożna (Faculty of Conservation and Restoration of Works of Art of the Academy of Fine Arts in Warsaw, the Faculty of Chemistry of the Warsaw University of Technology), while the SEM- -FDS (scanning electron microscopy with energy' dispersive system) tests were performed by mgr Marek Wróbel (Institute of Hydrogeology and Engineering Geology of tht‘ Warsaw University). The analysis of the binders was carried out using the gas chromatography-mass spectrometry (GC-MS) method, with the Fourier Transform Infrared Spectroscopy (FI 1R) analysis as a supplementary technology. Flit" main difficulty connected with the interpretation of the results obtained was the fact that faces in both paintings, but especially in the portrait of the woman, had been covered with numerous repaints dating back to the 18th and 19th centuries, or even, perhaps, to the 17th century. On the basis of th«; tests, it was discovered that the board on which The Scholar at the Lectern was created had been covered with a thin layer of priming paint, which contained a preponderance of white lead and a tiny amount of calcium carbonate. The binder of the priming ground was gluten glue to which nut oil had been added. A layer of weak yellow- brown imprimitura was applied onto the priming paint. The following pigments were found in the painting: white lead, lead-tin yellow, ferrite yellow, smalt, green earth, malachite, boneblack, bituminous bronze, iron oxide red, organic red, and chalk. The binder of the paint layers was nut oil. The painting The Girl in a Picture Frume was painted on the priming paint, applied in two layers; the first thicker layer contained chalk as a filler, whereas the second, thinner layer consisted mainly of white lead, with a tiny amount of chalk. In both layers, an emulsion binder, prepared on the basis of gluten glue and an unidentified oil, was used. The layer containing white lead is fatter. The painting was painted using the following pigments: white lead, ferrite yellow, green earth, boneblack, bituminous bronze, vermilion or cinnabar of natural origin, organic red, and chalk. The presence of nut oil and linseed oil was found. No remaining traces of the original varnish was found on faces of either painting. I ht; aforementioned analyses helped to obtain important information that, iu combination with the results of research work carried out by art historians and conservators, led to the formulation of the final conclusions confirming Rembrandt’s authorship in the case of both portraits.
    Źródło:
    Ochrona Zabytków; 2009, 3; 5-13
    0029-8247
    Pojawia się w:
    Ochrona Zabytków
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Zastosowanie metody chromatografii cienkowarstwowej do oznaczania pigmentów nieorganicznych
    THE USE OF THIN LAYER CHROMATOGRAPHY IN THE DETERMINATION OF INORGANIC PIGMENTS
    Autorzy:
    Wróbel, Ewa
    Powiązania:
    https://bibliotekanauki.pl/articles/535976.pdf
    Data publikacji:
    1981
    Wydawca:
    Narodowy Instytut Dziedzictwa
    Tematy:
    chromatografia cienkowarstwowa
    oznaczanie pigmentów nieorganicznych
    identyfikacja pigmentów
    Thin-Layer Chromatography
    TLC
    rodzaje chromatografii cienkowarstwowej
    analiza kationów
    metody identyfikacji kationów
    identyfikacja anionów wchodzących w skład pigmentów
    metody oznaczania anionów
    Opis:
    It was in 1978 that a scientific and research laboratory of the State Enterprise for Monuments Conservation in Warsaw used — for the first time — thin layer chromatography to identify inorganic pigments. Basing on comprehensive literature on the analysis of inorganic ions by means of thin layer chromatography (TLC) nearly 50 methods of the determination of simple ions and their combinations were studied, partially restricting the task to methods of distribution on the most popular carriers. 15 cations entering into the composition of 28 pigments and 1 2 anions entering into the composition of 20 pigments were identidfied. To give all results of the examinations set up in more than 2 0 big tables would exceed the framework of this article. Therefore some details of the examined methods of distribution have been quoted and briefly discussed as representative. When working out methods of the distribution of individual ions or their groups standard pigments and — for comparison purposes — standard salts available in the laboratory were used. Both pigments and standard salts were prepared for spreading on plates by means of proper solvents. Most frequently it was a diluted or concentrated acid and only occasionally a flux or a diluted base. Pigment solutions were prepared and their concentration did not exceed a few per cent (usually 1 per cent solution was employed). Solutions of the examined pigments or corresponding standard salts were spread on plates covered with a layer of a carrier. As a rule Merck’s plates with silicone gel (Kieselgel 60 F22) and a carrier layer (0.25 mm thick) cut from the plates of 20 X 20 cm down to 4 X 9 cm or Merck’s plates with a cellulose carrier (Cellulose F) of 0 .1 mm in thickness and also cut down to 4 x 9 cm were used. Before spreading standards, plates with cellulose were activated in a dryer at 105° С for 10 minÿ plates with silicone gel were activated at 110° С for 1 hour. Standards were spread on plates by means of capillaries, the diameter of which was 0.5 mm. The plates were numbered and then developed in small chromatographic cells (5x3x11 cm) saturated with vapours of the developing system. After developing a chromatogram, the plates were dried in a dryer and developed by spraying with special reagents. Developed chromatograms were photographesd with a Polaroid camera. The obtained results of the studies make it possible to introduce the analysis of pigments by means of thin layer chromatography as a method supplementary to other traditional methods of determination, particularly when only a small quantity of the sample is available and it is composed of several pigments and their determination by traditional methods is impossible.
    Źródło:
    Ochrona Zabytków; 1981, 3-4; 188-196
    0029-8247
    Pojawia się w:
    Ochrona Zabytków
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Odkrycie obrazu Ecce Homo z XVII wieku
    THE REVEALING OF A PAINTING ”ECCE HOMO” DATING FROM THE 17-TH CENTURY
    Autorzy:
    Niedzielska, Maria
    Powiązania:
    https://bibliotekanauki.pl/articles/535776.pdf
    Data publikacji:
    1975
    Wydawca:
    Narodowy Instytut Dziedzictwa
    Tematy:
    vwraikon
    Ecce Homo
    Chrystus Boleściwy
    identyfikacja pigmentów
    analiza techniczna obrazu
    przemalowanie obrazu
    Opis:
    The author of the present report was in 1973 entrusted with the restoration of a nineteenth-century painting on the front surface of which is shown the image of the Man of Sorrows (,,Ecce Homo” ) whereas on that rear an earlier painted Veraikon. In the course of restoration from beneath of the front painted layer another figure of the Man of Sorrows apearod, this one, however, dating from the 17th century. With the restorer’s examination has been covered the panel, the ground layer, the pigments and the binder. The nineteenth- -century overpaintings were chemically removed by the use of N,N-dimethyl formamide and, finally, the surface was cleaned mechanically. . The above described examination and cioaning made it possible to establish the teclmiques applied for execution and to determine the time at which the painting was produced that, among the others, could be defined basing on the diagonally planned artistic composition of painting, the composition of its ground layer (bolus with calcium carbonate admixture) and also that of the oil-resin binder. Artistic analysis has proved that the style of composition is one that can be found in paintings of similar kind coming from the period covering the 16th and 17th centuries ; however, the painting under discussion is one belonging to a group of those smaller in their size representations of Ecce Homo and, according to every probability, was painted by an artist from the North- -European circles active in Baroque period.
    Źródło:
    Ochrona Zabytków; 1975, 1; 55-61
    0029-8247
    Pojawia się w:
    Ochrona Zabytków
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-4 z 4

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