By Patricia L. Lang and Ruth Ann Armitage (Eds.)
content material: PREFACE ; 1. WHAT>'S mistaken WITH THIS photograph? THE TECHNICAL research OF A recognized FORGERY ; GREGORY D. SMITH, JAMES F. HAMM, DAN A. KUSHEL, AND CORINA E. ROGGE ; 2. medical exam AND therapy OF A portray through GIJSBERT GILLISZ D>'HONDECOETER within the MAURITSHUIS ; LAUREN PAUL BRADLEY, SABRINA MELONI, ERICH STUART UFFELMAN, AND JENNIFER L. MASS ; three. hand held XRF ANALYSES of 2 VERONESE work ; ERICH STUART UFFELMAN, ELIZABETH court docket, JOHN MARCIARI, ALEXIS MILLER, AND LAUREN COX ; four. CHARACTERIZATION OF THE BINDERS AND PIGMENTS within the ROCK work OF CUEVA los angeles CONGA, NICARAGUA ; R. LI, S. BAKER, C. SELVIUS DEROO, AND R. A. ARMITAGE ; five. LASER ABLATION-INDUCTIVELY COUPLED PLASMA-MASS SPECTROMETRY research OF reduce PECOS ROCK PAINTS AND attainable PIGMENT assets ; JON RUSS, KAIXUAN BU, JEFF HAMRICK, AND JAMES V. CIZDZIEL ; 6. id OF natural DYES by way of DIRECT research IN actual TIME-TIME OF FLIGHT MASS SPECTROMETRY ; JORDYN GEIGER, RUTH ANN ARMITAGE, AND CATHY SELVIUS DEROO ; 7. CHARACTERIZING natural RESIDUES ON CERAMICS by means of DIRECT research IN actual TIME TIME-OF-FLIGHT MASS SPECTROMETRY ; JOHN HOPKINS AND RUTH ANN ARMITAGE ; eight. NEW advancements within the <"NONDESTRUCTIVE>" relationship OF PERISHABLE ARTIFACTS utilizing PLASMA-CHEMICAL OXIDATION ; RUTH ANN ARMITAGE, MARY ELLEN ELLIS, AND CAROLYNNE MERRELL ; nine. the jobs OF CHEMISTRY AND tradition within the ORIGINS AND LEGACY OF CRUCIBLE DAMASCUS metal BLADES ; ANN FEUERBACH ; 10. ELEMENTAL COMPOSITION OF a chain OF MEDIEVAL KOREAN COINAGE through ENERGY-DISPERSIVE X-RAY FLUORESCENCE SPECTROMETRY ; DANIELLE M. GARSHOTT, ELIZABETH MACDONALD, STEPHANIE SPOHN, HANA ATTAR, JENNIFER SHANGO, IRICE ELLIS, MEGHANN N. MURRAY, AND MARK A. BENVENUTO ; eleven. CHEMICAL COMPOSITION OF a sequence OF SIAMESE BULLET cash: A look for modern COUNTERFEITS ; DANIELLE M. GARSHOTT, ELIZABETH MACDONALD, MEGHANN N. MURRAY, AND MARK A. BENVENUTO ; 12. research OF THE <"ARCHAIC MARK>" CODEX ; JOSEPH G. BARABE, ABIGAIL B. QUANDT, AND MARGARET M. MITCHELL ; thirteen. constructing A group OF technological know-how AND paintings students ; PATRICIA HILL AND DEBERAH SIMON ; 14. THE CHEMISTRY OF ARTISTS>' PIGMENTS: AN IMMERSIVE studying direction ; PATRICIA L. LANG ; 15. BRIDGING the space OF paintings AND CHEMISTRY on the INTRODUCTORY point ; ANNE GAQUERE-PARKER AND CASS D. PARKER ; sixteen. TECHNICAL exam OF CULTURAL background gadgets linked to GEORGE WASHINGTON ; ERICH STUART UFFELMAN, RONALD W. FUCHS II, PATRICIA A. HOBBS, LAUREN F. reliable, DANIELLE S. BOWMAN, AND DEREK A. G. BARISAS ; 17. THE SPECTROSCOPIC research OF PAINTS faraway from A POLYCHROME wooden SCULPTURE OF MALE SAINT ; PATRICIA L. LANG, SHAWN P. LEARY, REBECCA F. CAREY, MELISSA N. COFFER, RICK E. HAMILTON, AMBER L. KLEIN, RANDALL T. brief, AND PHILIP A. KOVAC ; EDITORS>' BIOGRAPHIES ; INDEXES ; writer INDEX ; topic INDEX
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Additional info for Collaborative Endeavors in the Chemical Analysis of Art and Cultural Heritage Materials
In the past, paintings were frequently altered to suit the needs of the collector; the picture may have been cut down to fit a frame or to serve as a pendant painting to a smaller piece. The major alterations at the right and top edges occurred before 1876, when the painting’s present dimensions first appear in a Mauritshuis inventory book recording new acquisitions to the collection (55). The sanding along the joint may have occurred as late as 1937 when Traas describes putting the joint between the two planks together; sanding was commonly done to achieve a better glue bond (48).
The landscape was filled in around the birds, working from the background to the foreground. There are no major pentimenti or changes to the composition, further confirming the placement of the figures and forms had already been established when painting began. The blue sky was applied at the beginning of the painting process, directly on top of the gray imprimatura, without leaving reserves for the birds or the landscape. Leaving an area in reserve is an artistic technique in which other parts of the composition are painted around an area, which the artist will later fill (42).
It was selected as a gelling agent because it was assumed to have no independent cleaning properties and could be used to increase the viscosity of the isopropanol solvent and decrease the evaporation rate, thus minimizing the amount of solvent introduced to the surface. Based on the solubility properties of the plant, the paint was likely a drained oil mixed with a natural resin varnish; this combination of materials was a fairly common restoration technique in the past. Absorbing or “draining” the excess oil binding medium from an oil paint before it is used results in a “leaner” paint that remains more soluble than full-bodied oils over time.