Early occurrences of the use of smalt and shell gold in the Madonna of Humility by Jacopo Bellini at the beginning of the fifteenth century

Jacopo Bellini’s Madonna of Humility painted around 1430-40 is a Venetian painting from the Louvre Museum (Paris). Jacopo Bellini, father of well-known Giovanni and Gentile Bellini, is the founder of a dynasty of Venetian painters (Dunkerton and Spring in Natl Gallery Tech Bull 39:4–25, 2018; Eisler...

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Vydáno v:	European physical journal plus Ročník 136; číslo 6; s. 685
Hlavní autoři:	Eveno, Myriam, Ravaud, Elisabeth
Médium:	Journal Article
Jazyk:	angličtina
Vydáno:	Berlin/Heidelberg Springer Berlin Heidelberg 01.06.2021 Springer Nature B.V
Témata:	15th century Absorption spectroscopy Applied and Technical Physics Artists Atomic Chemical composition Cobalt Complex Systems Composition Condensed Matter Physics Focus Point on Scientific Research in Cultural Heritage Fourier transforms Gilding Gold Infrared imaging Infrared spectroscopy Light Massio, Niccolo di Giovanni di (Gentile da Fabriano) (1370?-1427) Mathematical and Computational Physics Mercury cadmium telluride Molecular Museums Optical and Plasma Physics Physics Physics and Astronomy Pigments Regular Article Spectrum analysis Stereomicroscopy Theoretical X ray absorption X ray imagery X-ray fluorescence France
ISSN:	2190-5444, 2190-5444
On-line přístup:	Získat plný text
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Shrnutí:	Jacopo Bellini’s Madonna of Humility painted around 1430-40 is a Venetian painting from the Louvre Museum (Paris). Jacopo Bellini, father of well-known Giovanni and Gentile Bellini, is the founder of a dynasty of Venetian painters (Dunkerton and Spring in Natl Gallery Tech Bull 39:4–25, 2018; Eisler in Abrams, Inc, New York, 1989). Although the British Museum and the Louvre Museum keep two important drawing books, very few paintings from Jacopo still exist today (Eisler in Abrams, Inc, New York, 1989). The study of the Madonna of Humility provided new data about early fifteenth century Venice painting practices, and in particular, the investigations brought to light two major points: the use of a still unusual gilding technique and one of the earliest occurrences of smalt in a painting. This study analyzed the composition of the pigments and gilding via stereomicroscopy and macroscopic X-ray fluorescence imaging. Scanning electron microscopy with energy-dispersive spectroscopy, Fourier transform infrared spectroscopy imaging, and X-ray absorption spectroscopy were performed on embedded micro-samples. Three gilding techniques have been identified. Besides the more common water and mordant gilding, the painting provides a very early example of shell gold use that could be investigated in depth. Unexpected smalt was identified in an underlayer of the Virgin’s dress and in the sky, here mixed with lapis lazuli, as in the most first known occurrences (Stege in Zeitschrift für Kunsttechnologie und Konservierung ZKK 18:121–142, 2004). Additionally, the elemental composition of the smalt particles showed unusual elements, such as copper, tin, and lead. The detailed study of the composition allows getting new insights into the origin of the cobalt ore and the way the glass pigment was prepared in this early recipe.
Bibliografie:	ObjectType-Article-1 SourceType-Scholarly Journals-1 ObjectType-Feature-2 content type line 14
ISSN:	2190-5444 2190-5444
DOI:	10.1140/epjp/s13360-021-01650-2