pigmented colorants: dependence on media and time - Cornell ...

List of Figures
1.1 SistineChapelrestoration....................... 4
1.2 Color matching between fresco giornate ............... 7
2.1 Composition of a painting’s many layers ............... 10
2.2 Cotton and linen canvas ........................ 11
2.3 Magnified cotton canvas ........................ 12
2.4 Stretching canvas over a wooden frame ................ 13
2.5 Magnified primed canvas ........................ 16
2.6 Dispersion of pigment in a binding medium ............. 17
2.7 A sample of pure pigments ...................... 19
2.8 Naturalpigmentsofantiquity..................... 20
2.9 Pictomicrographs of several pigments ................. 21
2.10 Different grades of Malachite ..................... 25
2.11 Opticalbehaviorataninterface.................... 29
2.12 Critical angle .............................. 32
2.13 Optical behavior at multiple interfaces ................ 33
2.14 Opticalbehaviorwithpaint...................... 34
2.15 The full optical behavior of a painting ................ 37
2.16 The binding method of fresco painting ................ 45
2.17 Crosssectionofafrescopainting ................... 46
3.1 The visible spectrum .......................... 48
3.2 Hue, brightness and saturation .................... 50
3.3 Newton’s basic optics experiment ................... 51
3.4 Subtractivecolormixtureinink ................... 52
3.5 Subtractivecolorprimaries ...................... 53
3.6 Additive color primaries ........................ 54
3.7 Georges Seurat, La Grande Jatte ................... 54
3.8 Emittedlightspectra ......................... 55
3.9 Reflected light spectra ......................... 56
3.10 Cross section of the human eye .................... 57
3.11 Crosssectionoftheretina....................... 60
3.12 Distribution of the retina’s photoreceptors .............. 61
3.13 Pictomicrographs of the human retina ................ 62
3.14 Isoluminance .............................. 63
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