Search

Max Ernst was one of the most influential artists associated with both the Dada and Surrealist movements. However, until now, only few scientific studies have been devoted to his works. This paper presents the results of a multi-analytical investigation on six oil paintings, made between 1927 and 1942, belonging to the Peggy Guggenheim Collection in Venice (Solomon R. Guggenheim Foundation, New York). Through a combined art historical and scientific approach, this study aims at understanding Ernst's painting techniques, including frottage, grattage, dripping, and decalcomania, the used materials, and the state of conservation of the artworks. Non-invasive in situ investigations were performed by means of Vis–NIR multi-spectral imaging, X-ray fluorescence, external reflection FTIR and Raman spectroscopy. Imaging analysis revealed important information about Ernst's painting methods while the other techniques provided useful information about the ground layer, the painting materials and the presence of alteration products. Ernst's palette discloses great freedom in his use of materials and evolution during the time. This investigation demonstrates that an integrated, non-invasive, diagnostic approach provides a thorough analysis of materials and execution techniques of Ernst' masterworks allowing an in-depth knowledge of his highly skilled work. [ABSTRACT FROM AUTHOR]

A multi-analytical study was carried out on an ancient Egyptian limestone stele with red figures and hieroglyphs (S. 6145) coming from the village of Deir el-Medina and belonging to the collection of the Museo Egizio (Turin, Italy). With the support of a multidisciplinary team, a project for the preservation and conservation of this stele provided an opportunity to carry out a very detailed study of the object. Petrographic and mineralogical analysis led to the characterization and dating of the limestone, and ultrasonic tests were of great help in shedding light on the state of preservation of the stele, as a preliminary to planning conservation treatment. The chemical nature of the red pigment was investigated by non-invasive spectroscopic analyses. Multispectral imaging and statistical image processing improved the readability of the hieroglyphs, whose preservation ranged from heavily compromised to almost completely invisible, revealing some signs that had previously not been visible. [ABSTRACT FROM AUTHOR]

• Methods for revealing hidden details in ancient manuscripts and paintings are presented. • Different experimental approaches are described. • The most effective techniques of image analysis are introduced. • Special attention is given to multi-spectral imaging and blind separation methods. • Several case studies are presented. In this work, a critical review of the current nondestructive probing and image analysis approaches is presented, to revealing otherwise invisible or hardly discernible details in manuscripts and paintings relevant to cultural heritage and archaeology. Multispectral imaging, X-ray fluorescence, Laser-Induced Breakdown Spectroscopy, Raman spectroscopy and Thermography are considered, as techniques for acquiring images and spectral image sets; statistical methods for the analysis of these images are then discussed, including blind separation and false colour techniques. Several case studies are presented, with particular attention dedicated to the approaches that appear most promising for future applications. Some of the techniques described herein are likely to replace, in the near future, classical digital photography in the study of ancient manuscripts and paintings. [ABSTRACT FROM AUTHOR]

Abstract The chemical characterization of paint material is paramount for the understanding of painting techniques, provenance studies and for assessing conservation strategies. In particular, the chemical characterization of both the organic and inorganic fraction of lakes is fundamental to assess the technologies used in their production. In this short note, we present a pilot study by comparing several micro-destructive and non-destructive methods for the comprehensive characterization of the organic and inorganic fraction of reference madder lakes. In the final procedure, the chromophores-containing molecules were separated using a sample preparation procedure based on acid hydrolysis and solvent extraction, and analysed by high-pressure liquid chromatography with UV-Vis detector (HPLC-UV/Vis). Laser induced breakdown spectroscopy (LIBS) and X-Ray Fluorescence (XRF) were used for the study of the elemental composition. Multispectral Imaging was also applied in order to evaluate its potentialities to distinguish amongst different red lakes. The final multi-technique method allowed for the characterization of both organic and inorganic fraction from the same lake micro sample. [ABSTRACT FROM AUTHOR]

• A multi-technique approach has been used to study Max Ernst's masterpiece. • Vis-NIR imaging revealed a preparatory drawing and pentimenti. • Conscious use of colour palette which includes both traditional and synthetic pigments. • ER-FTIR analysis evidenced Zn oxalates and Zn metal soaps as degradation products. The Attirement of the Bride , painted by Max Ernst in 1940, is permanently on display in the Peggy Guggenheim Collection (PGC) in Venice. Within the framework of a larger study of materials and techniques of works by Ernst at the PGC, researchers carried out a series of non-invasive analyses. A combined approach based on Vis-NIR multispectral imaging, Raman Spectroscopy, X-Ray Fluorescence (XRF), and External Reflection Fourier Transform Infrared Spectroscopy (ER-FTIR), was conducted insitu in the museum galleries. In addition, two micro-samples were analysed with SEM-EDS and μ-Raman. This approach produced vital information on the preparatory drawing, the pentimenti , the pigments, the extenders and the alteration products present in the painting. The results showed also the presence of a white preparatory layer, under the pictorial one and above the canvas, composed by lithopone (a mixture of zinc sulphide and barium sulphate), basic lead carbonate and calcium carbonate. The latter compound is probably present also as an extender. The palette included both traditional and new synthetic, commercial pigments, used as primary colours or in mixtures. Moreover, in several areas of the painting, zinc oxalates have been identified as alteration products and more rarely, zinc metal soaps, which could also be present as additives in the paint tube. These analyses revealed the masterful and innovative painting technique of this pioneer of Surrealism. [ABSTRACT FROM AUTHOR]