Comptes Rendus
Re-interpretation of the Old Masters' practices through optical and rheological investigation: The presence of calcite
[Réinterprétation des pratiques des Maîtres anciens par étude optique et rhéologique : la présence de calcite]
Comptes Rendus. Physique, Physics and arts / Physique et arts, Volume 19 (2018) no. 7, pp. 543-552.

Le blanc de plomb, composé d'un mélange de cérusite et d'hydrocérusite (respectivement PbCO3 et Pb3(CO3)2(OH)2), est souvent associé dans les peintures à d'autres pigments blancs, notamment la calcite. En combinant des analyses in situ et des reconstitutions de peintures, nous essayons de mieux comprendre le rôle de cette addition de calcite et d'étudier comment les artistes l'ont utilisée pour modifier les propriétés de leurs peintures. Des pigments blancs à base de plomb d'un nuancier hollandais du XVIIe siècle ont été analysés, ainsi que des peintures historiques (un tableau de Roger van der Weyden, du XVe siècle, et un de Nicolas Poussin, du XVIIe siècle). Deux exemples de zones présentant une addition de calcite sont donnés. L'addition de calcite améliore les propriétés optiques et rhéologiques. La spectroscopie de réflectance dans le domaine visible a été réalisée sur des peintures pures ainsi que sur des mélanges et a indiqué une augmentation de la transparence du mélange de peinture par rapport au blanc de plomb pur. Les mesures rhéologiques ont également indiqué une augmentation des modules élastiques et visqueux, ainsi que de la contrainte d'écoulement par rapport au blanc de plomb pur. La calcite aurait donc pu être utilisée pour aider à créer des effets d'impasto dans les peintures au blanc de plomb.

Compléments :
Des compléments sont fournis pour cet article dans le fichier séparé :

Lead white, composed of a mixture of cerussite and hydrocerussite (respectively PbCO3 and Pb3(CO3)2(OH)2), is often associated in paintings with other white pigments, especially calcite. By combining in-situ analyses with paint reconstructions, we attempt to get a better understanding of the role of this addition of calcite and to investigate how artists may have used it to modify the properties of their paints. Lead-based white pigments of a Dutch 17th-century nuancier have been analysed as well as historical paintings. Two examples are given: one from a painting by Roger van der Weyden, in the 15th century, and one by Nicolas Poussin, in the 17th century, from specific zones that indicate the addition of calcite. The presence of calcite and pigments enhances both the optical and the rheological properties. Visible reflectance spectroscopy was carried out on pure paints as well as mixtures and indicated an increase in the transparency of the paint mixture in comparison to pure lead white. Rheological measurements also indicated an increase in the elastic and viscous moduli, as well as of the yield stress again in comparison to pure lead white. Calcite could thus have been used to assist in the creation of impasto effects in lead white paints.

Supplementary Materials:
Supplementary material for this article is supplied as a separate file:

Publié le :
DOI : 10.1016/j.crhy.2018.11.003
Keywords: Lead white, Chalk, Transparency, Rheology, Visible reflectance spectroscopy
Mots-clés : Blanc de plomb, Craie, Transparence, Rhéologie, Spectroscopie par réflectance visible

Laurence de Viguerie 1 ; Helen Glanville 1 ; Guylaine Ducouret 2 ; Pierre Jacquemot 1, 3 ; Phuong Anh Dang 2 ; Philippe Walter 1

1 Sorbonne Université, CNRS, Laboratoire d'archéologie moléculaire et structurale (LAMS), 75005 Paris, France
2 Sciences et ingénierie de la matière molle, CNRS UMR 7615, ESPCI Paris, PSL Research University, 10, rue Vauquelin, 75231 Paris cedex 05, France
3 Muséum national d'histoire naturelle, Sorbonne Université, CNRS, Institut de minéralogie, Physique des matériaux et cosmochimie, 75005 Paris, France
@article{CRPHYS_2018__19_7_543_0,
     author = {Laurence de Viguerie and Helen Glanville and Guylaine Ducouret and Pierre Jacquemot and Phuong Anh Dang and Philippe Walter},
     title = {Re-interpretation of the {Old} {Masters'} practices through optical and rheological investigation: {The} presence of calcite},
     journal = {Comptes Rendus. Physique},
     pages = {543--552},
     publisher = {Elsevier},
     volume = {19},
     number = {7},
     year = {2018},
     doi = {10.1016/j.crhy.2018.11.003},
     language = {en},
}
TY  - JOUR
AU  - Laurence de Viguerie
AU  - Helen Glanville
AU  - Guylaine Ducouret
AU  - Pierre Jacquemot
AU  - Phuong Anh Dang
AU  - Philippe Walter
TI  - Re-interpretation of the Old Masters' practices through optical and rheological investigation: The presence of calcite
JO  - Comptes Rendus. Physique
PY  - 2018
SP  - 543
EP  - 552
VL  - 19
IS  - 7
PB  - Elsevier
DO  - 10.1016/j.crhy.2018.11.003
LA  - en
ID  - CRPHYS_2018__19_7_543_0
ER  - 
%0 Journal Article
%A Laurence de Viguerie
%A Helen Glanville
%A Guylaine Ducouret
%A Pierre Jacquemot
%A Phuong Anh Dang
%A Philippe Walter
%T Re-interpretation of the Old Masters' practices through optical and rheological investigation: The presence of calcite
%J Comptes Rendus. Physique
%D 2018
%P 543-552
%V 19
%N 7
%I Elsevier
%R 10.1016/j.crhy.2018.11.003
%G en
%F CRPHYS_2018__19_7_543_0
Laurence de Viguerie; Helen Glanville; Guylaine Ducouret; Pierre Jacquemot; Phuong Anh Dang; Philippe Walter. Re-interpretation of the Old Masters' practices through optical and rheological investigation: The presence of calcite. Comptes Rendus. Physique, Physics and arts / Physique et arts, Volume 19 (2018) no. 7, pp. 543-552. doi : 10.1016/j.crhy.2018.11.003. https://comptes-rendus.academie-sciences.fr/physique/articles/10.1016/j.crhy.2018.11.003/

[1] R.J. Gettens; H. Kühn; W.T. Chase Lead white (A. Roy, ed.), Artists' Pigments – A Handbook of Their History and Characteristics, vol. 2, National Gallery of Art, Washington, DC, USA, 1993, pp. 67-82

[2] M. Merrifield Medieval and Renaissance Treatises on Painting, Dover Publications, London, 1967 (pp. cli)

[3] L.C. Matthew Vendecolori a Venezia: the reconstruction of a profession, Burlington Mag., Volume 144 (2002) no. 1196, pp. 680-686

[4] B. Berrie; L. Matthew Lead white from Venice: a whiter shade of pale? (M. Spring, ed.), The National Gallery Technical Bulletin 30th Anniversary Conference Postprints, Studying Old Master Paintings – Technology and Practice, Archetype Publications, London, 2011, pp. 295-301

[5] M. Stols-Witlox The heaviest and the whitest: lead white quality in north western European documentary sources, 1400–1900 (M. Spring, ed.), The National Gallery Technical Bulletin 30th Anniversary Conference Postprints, Studying Old Master Paintings – Technology and Practice, Archetype Publications, London, 2011, pp. 284-294

[6] J. Salvant Plisson; L. de Viguerie; L. Tahroucht; M. Menu; G. Ducouret Rheology of white paints: how Van Gogh achieved his famous impasto, Colloids Surf. A, Physicochem. Eng. Asp., Volume 458 (2014), pp. 134-141

[7] V. Gonzalez; D. Gourier; T. Calligaro; K. Toussaint; G. Wallez; M. Menu Revealing the origin and history of lead-white pigments by their photoluminescence properties, Anal. Chem., Volume 89 (2017) no. 5, pp. 2909-2918

[8] Bibliothèque Méjanes, Aix-en-Provence, France http://bibliotheque-numerique.citedulivre-aix.com/records/item/35315-traite-des-couleurs-servant-a-la-peinture-a-l-eau (Accessed 2018-10-10)

[9] I. Szmelter; P. Walter; H. Rousselière New information provided by multidisciplinary and combined studies, including radiography, XRD and XRF, of the triptych the last judgement from National Museum in Gdańsk: Rogier van der Weyden and Hans Memling co-authorship, Opusc. Mus., Volume 23 (2015), pp. 61-73

[10] H. Glanville; H. Rousselière; L. de Viguerie; P. Walter Mens agitat molem: new insights into Nicolas Poussin's painting technique by X-ray diffraction and fluorescence analyses, chapter 15 (A. Sgamellotti; B.G. Brunetti; C. Miliani, eds.), Science and Art: The Painted Surface, Royal Society of Chemistry, London, 2014, pp. 314-335

[11] L. de Viguerie; P. Walter; H. Glanville Some preliminary remarks on Nicolas Poussin's painting technique in L'Orage: complementary X-ray fluorescence/X-ray diffraction study, Kermes, Volume 94/95 (2015), pp. 97-106

[12] V.A. Solé; E. Papillon; M. Cotte; P. Walter; J. Susini A multiplatform code for the analysis of energy-dispersive X-ray fluorescence spectra, Spectrochim. Acta B, Volume 62 (2007), pp. 63-68

[13] L. de Viguerie; A. Duran; V.A. Sole; A. Bouquillon; J. Castaing; P. Walter Quantitative X-ray fluorescence analysis of an Egyptian faience pendant and comparison with PIXE, Anal. Bioanal. Chem., Volume 395 (2009) no. 7, pp. 2219-2225

[14] A. Gianoncelli; J. Castaing; L. Ortega; E. Dooryhée; J. Salomon; P. Walter et al. A portable instrument for in-situ determination of the chemical and phase composition of cultural heritage objects, X-Ray Spectrom., Volume 37 (2008), pp. 418-423

[15] J.A. Van de Graaf The interpretation of old painting recipes source, Burlington Mag., Volume 104 (1962) no. 716, pp. 471-475

[16] R. Spear A century of pigment prices: seventeenth-century Italy (J. Kirby; S. Nash; J. Cannon, eds.), Trade in Artist Materials – Markets and Commerce in Europe to 1700, Archetype Publications, 2010

[17] H. Glanville Veracity, verisimilitude and optics in painting in Italy at the turn of the 17th century, Kermes, Volume 84 (2012), pp. 59-84

[18] R. Bordalo; C. Bottaini; C. Moricca; A. Candeias Material characterisation of a Florentine painter in Portugal in the late 19th century: paintings by Giorgio Marini, Int. J. Conserv. Sci., Volume 7 (2016) no. 4, pp. 967-980

[19] E. Stanzani; D. Bersani; P.P. Lottici; P. Colomban Analysis of artist's palette on a 16th century wood panel painting by portable and laboratory Raman instruments, Vib. Spectrosc., Volume 85 (2016), pp. 62-70

[20] V. Gonzalez; T. Calligaro; L. Pichon; G. Wallez; B. Mottin Leonardo da Vinci's drapery studies: characterization of lead white pigments by l-XRD and 2D scanning XRF, Appl. Phys. A, Volume 121 (2015) no. 3, pp. 849-856

[21] V. Gonzalez; T. Calligaro; G. Wallez; M. Eveno; K. Toussaint; M. Menu Composition and microstructure of the lead white pigment in Masters paintings using HR Synchrotron XRD, Microchem. J., Volume 125 (2016), pp. 43-49

[22] M. Eveno; A. Duran; J. Castaing A portable X-ray diffraction apparatus for in situ analyses of masters' paintings, Appl. Phys. A, Volume 100 (2010), pp. 577-584

[23] E. Van de Wetering; C.M. Groen; J.A. Mosk Summary report on the results of the technical examination of Rembrandt's night watch, Bull. Rijksmus., Volume 24 (1976) no. 1/2, pp. 68-98

[24] K. Groen Investigation of the use of the binding medium by Rembrandt, Chem. Anal. Rheol. (Z. Kunsttechnol. Konserv.), Volume 11 (1997), pp. 207-227

[25] F. Perego Dictionnaire des matériaux du peintre, Belin, Paris, 2005

[26] L. De Viguerie; G. Ducouret; T. Moutard-Martin; F. Lequeux; P. Walter Historical evolution of the oil painting media: a rheological study, C. R. Phys., Volume 10 (2009) no. 7, pp. 612-621

  • Gwen dePolo; Arnaud Lesaine; Marco Faustini; Lucie Laporte; Côme Thillaye du Boullay; Étienne Barthel; Joen Hermans; Piet D. Iedema; Laurence de Viguerie; Kenneth R. Shull Using the Quartz Crystal Microbalance to Monitor the Curing of Drying Oils, Analytical Chemistry, Volume 96 (2024) no. 26, p. 10551 | DOI:10.1021/acs.analchem.4c00938
  • Z.Y. Khattari Optimization optical and radiation shielding properties via controlling the Hirshfeld topological constraints: A case study of carbonate-based crystals, Optical Materials, Volume 150 (2024), p. 115197 | DOI:10.1016/j.optmat.2024.115197
  • Irina A. Balakhnina; Andrey Yu. Chikishev; Evgeniy G. Kramarev; Anastasia V. Yurovetskaya; Nikolay N. Brandt Comparison of Color Changes in Paints Based on Ultramarine and Zinc White Resulting from Storage and Thermally Induced Aging, Studies in Conservation (2024), p. 1 | DOI:10.1080/00393630.2024.2393049
  • Riccardo Zito; Letizia Bonizzoni; Nicola Ludwig Application of Macro X-ray Fluorescence Fast Mapping to Thickness Estimation of Layered Pigments, Sustainability, Volume 16 (2024) no. 6, p. 2467 | DOI:10.3390/su16062467
  • Victor Gonzalez; Gilles Wallez; Marine Cotte; Élisabeth Ravaud; Myriam Eveno; Thomas Calligaro; Didier Gourier; Gilles Bastian; Vincent Delieuvin; Michel Menu Révéler les choix matériels et techniques de Léonard de Vinci par l’analyse chimique : le cas du pigment blanc de plomb, Technè, Volume Hors-série (2024), p. 162 | DOI:10.4000/11v4a
  • Maria Letizia Amadori; Gianluca Poldi; Mara Camaiti; Fabio Frezzato; Antonella Casoli; Giulia Germinario; Elena Monni; Cecilia Pedulli; Valeria Mengacci Giovanni Santi’s Late 15th-Century Paintings: Microscopic, Spectroscopic and Chromatographic Investigations on Pigments, Powdered Glass and Binding Media, Applied Sciences, Volume 13 (2023) no. 17, p. 9739 | DOI:10.3390/app13179739
  • Lucy Cooper; Alexandre Pierre; Elisabeth Ravaud; Yannick Mélinge; Odile Majérus; Daniel Caurant; Gilles Bastian; Myriam Eveno; Christine Andraud; Aurélie Tournié Influence of the addition of crushed glass on the physical and chemical properties of lead white oil paint, Journal of Cultural Heritage, Volume 61 (2023), p. 238 | DOI:10.1016/j.culher.2023.05.001
  • Elisabetta Gliozzo; Lucia Burgio Pigments—Arsenic-based yellows and reds, Archaeological and Anthropological Sciences, Volume 14 (2022) no. 1 | DOI:10.1007/s12520-021-01431-z
  • Elisabetta Gliozzo; Corina Ionescu Pigments—Lead-based whites, reds, yellows and oranges and their alteration phases, Archaeological and Anthropological Sciences, Volume 14 (2022) no. 1 | DOI:10.1007/s12520-021-01407-z
  • Sebastiano D’Amico; Valeria Comite; Giuseppe Paladini; Michela Ricca; Emanuele Colica; Luciano Galone; Sante Guido; Giuseppe Mantella; Vincenza Crupi; Domenico Majolino; Paola Fermo; Mauro Francesco La Russa; Luciana Randazzo; Valentina Venuti Multitechnique diagnostic analysis and 3D surveying prior to the restoration of St. Michael defeating Evil painting by Mattia Preti, Environmental Science and Pollution Research, Volume 29 (2022) no. 20, p. 29478 | DOI:10.1007/s11356-021-15880-5
  • Anna Mazzinghi; Chiara Ruberto; Lisa Castelli; Caroline Czelusniak; Lorenzo Giuntini; Pier Andrea Mandò; Francesco Taccetti MA-XRF for the Characterisation of the Painting Materials and Technique of the Entombment of Christ by Rogier van der Weyden, Applied Sciences, Volume 11 (2021) no. 13, p. 6151 | DOI:10.3390/app11136151
  • Gwen dePolo; Marc Walton; Katrien Keune; Kenneth R. Shull After the paint has dried: a review of testing techniques for studying the mechanical properties of artists’ paint, Heritage Science, Volume 9 (2021) no. 1 | DOI:10.1186/s40494-021-00529-w
  • P. Martinetto; N. Blanc; P. Bordet; S. Champdavoine; F. Fabre; T. Guiblain; J.-L. Hodeau; F. Lelong; O. Leynaud; A. Prat; E. Pouyet; E. Uher; Ph. Walter Non-invasive X-ray investigations of medieval sculptures: New insights on “applied tin-relief brocade” technique, Journal of Cultural Heritage, Volume 47 (2021), p. 89 | DOI:10.1016/j.culher.2020.10.012
  • Christopher Brooke; Howell Edwards; Peter Vandenabeele; Sylvia Lycke; Michelle Pepper Raman Spectroscopic Analysis of an Early 20th Century English Painted Organ Case by Temple Moore, Heritage, Volume 3 (2020) no. 4, p. 1148 | DOI:10.3390/heritage3040064
  • Cyrielle Messager; Lucile Beck; Laurence de Viguerie; Maguy Jaber Thermal analysis of carbonate pigments and linseed oil to optimize CO2 extraction for radiocarbon dating of lead white paintings, Microchemical Journal, Volume 154 (2020), p. 104637 | DOI:10.1016/j.microc.2020.104637
  • Victor Gonzalez; Selwin Hageraats; Gilles Wallez; Myriam Eveno; Elisabeth Ravaud; Matthieu Réfrégiers; Mathieu Thoury; Michel Menu; Didier Gourier Microchemical analysis of Leonardo da Vinci’s lead white paints reveals knowledge and control over pigment scattering properties, Scientific Reports, Volume 10 (2020) no. 1 | DOI:10.1038/s41598-020-78623-5
  • Victor Gonzalez; Marine Cotte; Gilles Wallez; Annelies van Loon; Wout de Nolf; Myriam Eveno; Katrien Keune; Petria Noble; Joris Dik Unraveling the Composition of Rembrandt's Impasto through the Identification of Unusual Plumbonacrite by Multimodal X‐ray Diffraction Analysis, Angewandte Chemie, Volume 131 (2019) no. 17, p. 5675 | DOI:10.1002/ange.201813105
  • Victor Gonzalez; Marine Cotte; Gilles Wallez; Annelies van Loon; Wout de Nolf; Myriam Eveno; Katrien Keune; Petria Noble; Joris Dik Unraveling the Composition of Rembrandt's Impasto through the Identification of Unusual Plumbonacrite by Multimodal X‐ray Diffraction Analysis, Angewandte Chemie International Edition, Volume 58 (2019) no. 17, p. 5619 | DOI:10.1002/anie.201813105

Cité par 18 documents. Sources : Crossref

Commentaires - Politique