Grounds, or preparatory layers, form the basis of nearly all artistic oil paintings. They influence both a painting’s visual characteristics and its longevity. This thesis investigates a collection of c. 700 historical recipes for ground preparation and c. 300 related quotes from historical sources. This investigation results in a comprehensive and broad-based analysis of the materials and techniques advised for use in preparatory layers; individual recipes are placed in a geographical and historical context and long-term developments are traced. Historical sources reveal important information about the intended function of the different materials and methods, about the motives for employing certain materials or colours, and the relation between the ground and painting methods in subsequent layers. Historical descriptions of the influence of grounds on the degradation of paintings demonstrate that concerns with the stability of preparatory layers also influenced the artists’ choice of preparatory system. Chapters discussing the role of recipe books and the influence of commercial ground preparation on the character of historical sources examine the relation between written recipes and actual working practice. Reconstructions are employed to further investigate the working properties and ageing characteristics of materials described in the recipes. They also reveal important information about the relevance of written recipes for painting practices. Appendices include an annotated bibliography of historical sources and a recipe database (on CD).

/pdf/historical-recipes-for-preparatory-layers-for-oil-paintings-1vc045b95w.pdf

Historical recipes for preparatory layers for oil paintings in manuals, manuscripts and handbooks in North West Europe, 1550-1900: analysis and reconstructions

White lead (2PbCO3·Pb(OH)2), a common component in 17c. artists' painting materials, was singled out to investigate the potential of lead isotope abundance ratios in the field of authentication and origin assignment. Paintings by Peter Paul Rubens, Anthony van Dyck and other Old Masters of the Northern and Southern schools were chosen for this study. An interdisciplinary approach was chosen using both analytical instrumental methods, art technological and art historical knowledge. Minute samples taken from paintings from selected art collections worldwide were investigated using mass spectrometry, scanning electron microscopy (SEM) and energy-dispersive X-ray spectroscopy (EDX). The high precision lead isotope abundance ratios were measured by multiple collector inductively coupled plasma mass spectrometry (MC-ICP-MS). The determination of the calcium matrix influence with respect to possible bias effects to the isotope ratios gave clear decision support, to whether a result lies within the stated combined measurement uncertainty of the result, to eliminate time-consuming matrix separations. The scatter plots of the measured isotope abundance ratios for the painting pigments from P. P. Rubens, A. van Dyck and other Flemish painters exhibit a very narrow distribution forming a cluster. The range of the measured ratio 206Pb/204Pb amounts to 0.55% and for the ratio 207Pb/204Pb to 0.2%. The comparison of the data to cis-alpine (Italian) sample pigments from paintings from the same time period reveals a clear distinction between the two fields. With respect to the lead isotope data originating from the ores it is assumed that the pigment isotope ratio distribution can be explained by very distinct origin of raw materials. Presumably, no mixing of different lead ores from Europe took place. The comparison of the measured white lead isotope ratio values (Flemish paintings) and the data from ore samples led to the unexpected conclusion that local ores were not used for the pigment production but British or German sources.

Old Masters' lead white pigments: investigations of paintings from the 16th to the 17th century using high precision lead isotope abundance ratios

Universidad del Pais Vasco; European ScienceFoundation; European Regional DevelopmentFund; Regional Government of Madrid,Grant/Award Number: S2007/HUM-543

Cinnabar provenance of Chalcolithic red pigments in the Iberian Peninsula: A lead isotope study

This paper describes the use of lead isotopes ratios for an investigation of a homicide. Lead smears and bullet fragments recovered from a victim's clothing were compared with lead samples from two suspect bullets. More than 90 bullets of the same caliber and produced by the same manufacturer as the suspect bullets were analyzed. The lead isotopic compositions were found homogeneous within individual bullets. Different bullets from the same ammunition box also showed indistinguishable lead isotope ratios. Bullets from ammunition boxes produced in 27 different months were analyzed. The results were compared with those obtained for bullets and bullet fragments from the homicide case. The high precision isotope ratio measurements could distinguish between lead from the homicide case and nearly all bullets from the ammunition boxes that were investigated. The isotope ratios for bullets from one of the ammunition boxes were indistinguishable from those for the homicide bullets. Some bullets of the same caliber as the suspect bullets but produced by different manufacturers were also analyzed by this technique. All these bullets showed clear differences in their lead isotope ratios.

Lead Isotope Ratios in Lead Smears and Bullet Fragments and Application in Firearm Investigations

Isotopic studies are gaining much interest in heritage science, as they can provide insight into a material's age and provenance. Radiocarbon (14C) dating affords a time frame for the materials being studied, thus providing a historical context, whereas the specific pattern of lead isotope ratios may be used to set geographical constraints on the source of the original materials. Both methods require invasive sampling from the object, and henceforth limits their respective application. With the focus on lead white paint (2PbCO3·Pb(OH)2), in this study we extract the time of production of the pigment from the carbonate anion by radiocarbon dating while its origin is traced by lead isotope analysis on the cation. The methodology was applied to 12 British and 8 Swiss paintings from the 18th to 20th century, with known dates and provenance. The 14C analysis of the lead white in combination with the organic binder and canvas alone places all objects between the 17th and 20th centuries, which is in agreement with their signed date, wheras the lead isotope analysis of all samples are consistent with lead ores from European deposits. In most of the cases the combined results are consistent with the art historical data and prove that isotope analysis is intrinsic to the object. This feasibility study conducted on paintings of known age demonstrates the possibility to maximize the information output from lead white paint, thus increasing the benefits of a single sampling.

/pdf/dual-isotope-system-analysis-of-lead-white-in-artworks-1v7suzjh8n.pdf

Dual isotope system analysis of lead white in artworks.

Lead isotope ratios in artists' lead white: a progress report

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Lead isotope ratios in artists' lead white: a progress report