Historical Painting Techniques, Materials, and Studio Practice

Table 2. Scientific techniques Jor the authentication oj paintings.
VISI ble observation and X- visible and hidden tool - knowledge 01 ancient
I Method Inlonnation Limitation
ray radiography marks; materials (machine technologies required
made canvas, nails, etc.) - new repairs may pose a
problem
pigment chronology identification of the - detailed knowledge of
inconsistency studies systematic use of pigments pigment chemistry and
(microchemical methods) in the painting which were technology required
not available in times when - problem of inteIpretation
the painting was presumed when only repainted areas
to be painted
analyzed
- the negati ve resul ts cannot
be considered a certain proof
of authenticity
radiocarbon dating absolute dating method of - does not provide good
the actual age of natural results for materials younger
product organic materials in than 300 years
paintings (wood, canvas, - prOblems of impurities
binding media)
dendrochronology or tree absolute dating method quality sample containing a
ring dating actual age of wood sam pIes number of easily measured
tree rings and corresponding
calibration data is needed
INTEGRATED APPROACH
FOR THE STUDY OF
PAINTING TECHNIQUES
Figure 1. Diagram of integrated approach for
the study of painting techniques.
Conclusion
Art historians, conservation scientists, and artists use different means to study
artists' techniques. Each of their approaches can contribute valuable information
about the painting techniques of an individual artist, a school, or
an art historical period or movement. But each approach leaves something
unexplained, something missing from the whole picture that encompasses
everything from the artist's brushwork to preference for certain materials and
formulas. To provide a real understanding of artists' techniques, it is necessary
to establish a close collaboration between all the above-mentioned disciplines,
not only to secure a more complete set of data but, more importantly, to
stimulate interdisciplinary formulation of more holistic answers about artists'
techniques (Fig. 1). A painting should not be studied by individual specialists
from each discipline, but rather by representatives of all disciplines who view
Table 3. Scientific methods used Jo r the analysis oj painting structures.
Method In onnation Llmltallon
mfrared refiectography Identillcation and study of I difficult to Idenllly
underdrawing
underdrawing beneath thick
layer of IR-opaque paint
layer
X-ray radiography study of support, lead white - superimposition of several
underpainting, brushwork, layers of painting in one
and changes in composition X-ray radiograph
- difficult inteIpretation for
features done in organic
materials or pigments of low
atomic number
X-ray tomography detailed study of individual - methodology under
paint layers
development
- high cost
- problem of interpretation
when individual paint layers
are of uneven thickness
cross section analysis detailed material - cross section sample
(microchemical methods, IR identification (pigments, needed
microscopy) binding media) and - high cost of analysis
sequence of individual paint - positive identification of
and material layers of the some organic pigments
painting
might need additional
sampling, followed by
organic microchemical
analysis
- additional sampling might
also be needed for detailed
analysis of binding media
using gas chromatography -
mass spectrometry
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Historical Painting Techniques, Materials, and Studio Practice