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This article focuses on the analysis of the pigmentary palette of Pio Collivadino (1869–1945), an Argentinian artist of outstanding influence in the national art of the early twentieth century. By using Raman spectroscopy on micro-samples taken from a selected corpus of the Pio Collivadino Museum consisting of representative works of different moments of his production, we were able to unambiguously detect several pigments in the artist’s palette: lead white, vermillion, Prussian blue, chrome yellows and oranges, synthetic ultramarine, zinc white, cadmium yellows and oranges, cobalt violet, viridian, cerulean blue, cadmium red and earth pigments (raw sienna and burnt sienna). The identification of the pigments used by Collivadino enabled us to set up a dialogue between his palette and those of the contemporary European artistic movements his work relates to: the Macchiaioli, the Scapigliati, the Divisionists (Italian artistic vanguards) and the Impressionists. The presence of Prussian blue, cerulean blue, viridian not mixed with emerald green and earth pigments relates Collivadino’s choice of pigments to that of the contemporary Italian artistic vanguards, distancing his palette from that of the Impressionists. The palettes of European artists active during the nineteenth century and the first half of the twentieth century have been widely studied making it possible to date the incorporation of the new bright and colorful pigments that were synthesized during this period. Taking into account Collivadino’s privileged position in the Art academic field, his choice of art materials may have influenced many artists whose works make up the Argentine national heritage. Therefore, the characterization of Collivadino’s pigmentary palette carried out here is an important step to date the incorporation of these bright new pigments in the Argentinian artists’ palettes. Besides Collivadino's work importance by itself, and due to his position of privilege, his palette also provides information about the availability of art supplies in Argentina during this period.

Fil: Gheco, Lucas Ignacio. Consejo Nacional de Investigaciones Cientificas y Tecnicas. Centro de Investigaciones y Transferencia de Catamarca. Universidad Nacional de Catamarca. Centro de Investigaciones y Transferencia de Catamarca; Argentina. Universidad Nacional de San Martin. Instituto de Investigaciones sobre el Patrimonio Cultural; Argentina

Desde una perspectiva histórica y a partir de la materialidad de dos piezas pictóricas, esta investigación pretende reflexionar sobre materiales, técnicas, usos y costumbres en la pintura colonial. Sobre un corpus de más de cuatrocientas obras del período colonial intervenidas, la propuesta implica analizar los soportes principales y accesorios de dos obras sudamericanas, San Luis Gonzaga y San Juan Nepomuceno, pertenecientes a la Iglesia de San Ignacio en la ciudad de Buenos Aires, Argentina.

The research conducted on the mural paintings of the dome and aisles of the San Miguel Church, Buenos Aires, Argentina, is herein described in this work. Based on the results attained from the stratigraphic analysis, the technique implemented by the architect and artist Augusto Ferrari was secco. The composition of the mortar in the majority of the samples collected was gypsum (CaSO4 · 2 H2O) and calcite (CaCO3), whereas the preparation layer was mainly characterized by the presence of gypsum and cerussite (PbCO3). In addition, the red pigments were characterized in all cases as hematite (Fe2O3) whereas orange and ochre colors were achieved by mixing chrome yellow (PbCrO4), chrome orange (PbCrO4·PbO), and gypsum and barite (BaSO4). Moreover, all the range of blue samples found in this mural paintings were characterized as lazurite (Na8 [Al6Si6O24] Sn). Finally, the gildings were composed of a superficial layer of gold of approximately 5-μm thickness, followed by a layer of hematite and chrome yellow. The latter was also employed as a yellow pigment in all of the analyzed works of art. In conclusion, it was demonstrated that the use of complementary and microdestructive spectroscopic methodologies is a very useful tool to determine not only the materiality but also the execution technique of the painting in order to assess, in an interdisciplinary approach, the future restoration and preservation strategies.

Fil: Marte, Fernando Daniel. Universidad Nacional de San Martin. Instituto de Investigaciones sobre el Patrimonio Cultural; Argentina

This chapter introduces the first research on Argentine mural materials. Ejercicio Plastico painted by Equipo Poligrafico (Polygraphic Team) and the Lunettes from Galerias Pacificos painted by TAM: Taller de Arte Mural (Mural Art Workshop). These two emblematic works for Argentine art of the thirties and forties were studied in an interdisciplinary way. The characterization was carried out from the point of view of the materials used and the execution techniques employed, and they were significant as the first investigations of this type on Argentine mural painting. Remarkably, both artworks suffered similar trajectories: they were sectioned, dismantled and abandoned for two decades, and afterwards they were recovered, researched, restored and located in a new context. During the process of revaluation, we had the opportunity to study these artworks and the data afforded us the possibility to understand the different states of conservation they were in and at the same time helped us to increase technological knowledge in this area, which is underexplored in Argentina.

Resume Cet article presente les conclusions d’une partie des recherches portant sur les coquilles de Mytilus edulis provenant d’un amas coquilliers ou « conchales » du site Imiwaia I sur les bords du canal Beagle en Argentine. Notre objectif principal a ete d’apporter un complement d’informations sur la methode de preparation des bivalves par les chasseurs-cueilleurs-pecheurs marins dans leur alimentation (~6400 BP). Le projet s’est concentre sur l’analyse comparative de moules M. edulis modernes collectees dans la region et ouvertes par differentes methodes, et celles extraites du site archeologique Imiwaia I. L’analyse de la structure inorganique des deux couches constituantes des valves (calcite et aragonite) a permis de conclure sur la technique d’ouverture employee et des parametres de conservation qu’offre l’amas coquilliers. Au cours de cette etude, nous avons travaille a partir d’une approche pluridisciplinaire d’informations historiques, ethnographiques, archeologiques et chimiques afin de mieux comprendre et interpreter la methodologie d’ouverture des bivalves et de leur effet sur l’etat de conservation des informations portees par les specimens archeologiques.

The image of Our Lady of Copacabana, a gilded polychrome sculpture carved in maguey wood in 1583, is one of the most important devotions in the Americas. In former research, we have identified the use of gypsum, Armenian bole, cerussite and atacamite in its polychromy. In this study, a red sample taken from the Virgin's tunic and a blue sample extracted from the cloak have been analysed with the aim to identify both pigments and offer insights into the painting technique. Analysis by micro-Raman spectroscopy complemented with scanning electron microscopy-energy dispersive spectroscopy and high-performance liquid chromatography allowed the identification of carmine lake in the red sample. Analysis by micro-Raman spectroscopy of the surface of the blue sample and its cross section showed the presence of smalt-The blue-glass pigment-over a cerussite layer, bathed by a very thin ultramarine layer-from a probable native origin-following a pictorial tradition that would last even until the eighteenth century. This is the first time that lapis lazuli has been scientifically identified in a Spanish American colonial painted layer. This article is part of the themed issue 'Raman spectroscopy in art and archaeology'. Fil: Tomasini, Eugenia Paula. Consejo Nacional de Investigaciones Científicas y Técnicas. Oficina de Coordinación Administrativa Ciudad Universitaria. Unidad de Microanálisis y Métodos Físicos en Química Orgánica. Universidad de Buenos Aires. Facultad de Ciencias Exactas y Naturales. Unidad de Microanálisis y Métodos Físicos en Química Orgánica; Argentina Fil: Marte, Fernando. Instituto de Investigaciones sobre el Patrimonio Cultural; Argentina Fil: Careaga Quiroga, Valeria Pilar. Consejo Nacional de Investigaciones Científicas y Técnicas. Oficina de Coordinación Administrativa Ciudad Universitaria. Unidad de Microanálisis y Métodos Físicos en Química Orgánica. Universidad de Buenos Aires. Facultad de Ciencias Exactas y Naturales. Unidad de Microanálisis y Métodos Físicos en Química Orgánica; Argentina Fil: Landa, Carlos Rúa. Ministerio de Culturas y Turismo; Bolivia Fil: Siracusano, Gabriela Silvana. Universidad Nacional de Tres de Febrero; Argentina. Consejo Nacional de Investigaciones Científicas y Técnicas; Argentina Fil: Maier, Marta Silvia. Consejo Nacional de Investigaciones Científicas y Técnicas. Oficina de Coordinación Administrativa Ciudad Universitaria. Unidad de Microanálisis y Métodos Físicos en Química Orgánica. Universidad de Buenos Aires. Facultad de Ciencias Exactas y Naturales. Unidad de Microanálisis y Métodos Físicos en Química Orgánica; Argentina. Universidad Nacional de Tres de Febrero; Argentina