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Your search keyword '"IRAMAT - Centre Ernest Babelon (IRAMAT-CEB)"' showing total 2 results
Start Over Author "IRAMAT - Centre Ernest Babelon (IRAMAT-CEB)" Journal archaeometry
2 results on '"IRAMAT - Centre Ernest Babelon (IRAMAT-CEB)"'

1. Chemical and Mechanical Characterisation of White Earthenware Glazes from the Johnston‐Vieillard Manufactory (France, 19th Century)

Author

Quentin Lemasson, Emmie Beauvoit, Camille Frugier, Ayed Ben Amara, Nicolas Tessier-Doyen, Rémy Chapoulie, Bernard Gratuze, Laurent Pichon, Claire Pacheco, Brice Moignard, IRCER - Axe 1 : procédés céramiques (IRCER-AXE1), Institut de Recherche sur les CERamiques (IRCER), Institut des Procédés Appliqués aux Matériaux (IPAM), Université de Limoges (UNILIM)-Université de Limoges (UNILIM)-Institut de Chimie du CNRS (INC)-Centre National de la Recherche Scientifique (CNRS)-Institut des Procédés Appliqués aux Matériaux (IPAM), Université de Limoges (UNILIM)-Université de Limoges (UNILIM)-Institut de Chimie du CNRS (INC)-Centre National de la Recherche Scientifique (CNRS), IRAMAT - Centre Ernest Babelon (IRAMAT-CEB), Institut de Recherches sur les Archéomatériaux (IRAMAT), and Université d'Orléans (UO)-Centre National de la Recherche Scientifique (CNRS)-Université Bordeaux Montaigne-Université de Technologie de Belfort-Montbeliard (UTBM)-Université d'Orléans (UO)-Centre National de la Recherche Scientifique (CNRS)-Université Bordeaux Montaigne-Université de Technologie de Belfort-Montbeliard (UTBM)

Subjects
Archeology, History, White (horse), 060102 archaeology, media_common.quotation_subject, [CHIM.MATE]Chemical Sciences/Material chemistry, 06 humanities and the arts, 02 engineering and technology, Art, 021001 nanoscience & nanotechnology, Archaeology, [SPI.MAT]Engineering Sciences [physics]/Materials, La icp ms, 0601 history and archaeology, 0210 nano-technology, ComputingMilieux_MISCELLANEOUS, media_common
Abstract

International audience

Published
2021

2. Manganese Black Pigments in Prehistoric Paintings: the Case of the Black Frieze of Pech Merle (France)

Author

Bernard Gratuze, Robert Akrich, Patricia Roger, L. Dulin, Bernard Guineau, M. Lorblanchet, Fabrice Muller, IRAMAT - Centre Ernest Babelon (IRAMAT-CEB), Institut de Recherches sur les Archéomatériaux (IRAMAT), Université d'Orléans (UO)-Centre National de la Recherche Scientifique (CNRS)-Université Bordeaux Montaigne-Université de Technologie de Belfort-Montbeliard (UTBM)-Université d'Orléans (UO)-Centre National de la Recherche Scientifique (CNRS)-Université Bordeaux Montaigne-Université de Technologie de Belfort-Montbeliard (UTBM), Unité de Recherche d'Archéologie et d'Histoire, Université Toulouse - Jean Jaurès (UT2J), Institut des Sciences de la Terre d'Orléans (ISTO), and Institut national des sciences de l'Univers (INSU - CNRS)-Université d'Orléans (UO)-Centre National de la Recherche Scientifique (CNRS)

Subjects
Archeology, History, [SHS.ARCHEO]Humanities and Social Sciences/Archaeology and Prehistory, media_common.quotation_subject, Burnt Blacks, 02 engineering and technology, 01 natural sciences, Prehistory, [SDU.STU.GC]Sciences of the Universe [physics]/Earth Sciences/Geochemistry, Mixed Blacks, Black Pigments, Pech Merle Cave, media_common, Frieze, Painting, Prehistoric Paintings, Colour Measurements, 010401 analytical chemistry, X-Ray Diffraction Analysis, Black Frieze, Black Manganese Hydroxydes, Technical information, Neutron Activation Analysis, Art, 021001 nanoscience & nanotechnology, Archaeology, 0104 chemical sciences, France, Rock art, 0210 nano-technology, Carbon Blacks
Abstract

Different black pigments of natural origin (mineral or organic) have been examined by means of several analytical methods (colour measurements, elemental analysis and structural analysis). The results, after being compared with each other, then served as reference points in the study of the `Black Frieze' of the cave of Pech Merle (Lot). After that, colour measurement was investigated in situ on the paintings as a means of displaying small differences (in hue or chroma) between the black colours. The aim of this study was to verify several hypotheses concerning the techniques used by the painters of Pech Merle, and specifically by the one(s) of the Black Frieze. A first objective was that of identifying the nature and, if possible, the origin of the black pigments used in these figures. A second objective was that of determining in which parts of the frieze one or the other (or one and the other) had been used; and the final objective was to provide new technical information that might help us better to understand how the Pech Merle frieze was produced, whether by a single painter and in one episode, for the most part, or, on the contrary, in several episodes and by a succession of different painters.

Published
2001

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