An analytical investigation of the painting technique of Italian Renaissance master Lorenzo Lotto

Journal of Cultural Heritage

Volumn 13, Issue 3, 2012, Pages 259-274

  Kalinina, Kamilla B ^a   Bonaduce, Ilaria ^b   Colombini, Maria Perla ^b   Artemieva, Irina S ^a  

^a The State Hermitage Museum   (Russian Federation)

^b UNIVERSITY OF PISA   (Italy)

Author keywords

Data interpretation; GC MS for organic materials identification; Painting technique; SEM EXD for pigment identification

Indexed keywords

EID: 84865761178     PISSN: 12962074     EISSN: None     Source Type: Journal    
DOI: 10.1016/j.culher.2011.11.005     Document Type: Article

References (31)

1. Roy A. LabS TECH Workshop 2003, Nardini Editore, Perugia, pp. 13-20. B.G. Brunetti, C. Seccaroni, A. Sgamellotti (Eds.).
2. C. Higgit, R. White, National Gallery Technical Bulletin 26 (2005) 88-104.
3. R. Cesareo, M. Marabelli, L. Mora, in: Applicazione dei metodi nucleari, nel campo delle opere d'arte, Atti del Congresso Internazionale, Academia Nazionale dei Lincei, Roma, Roma-Venezia, 1973, pp. 576-592.
4. Moioly P., Seccaroni C. Lorenzo Lotto: il Compiato sul Cristo morto 2001, promossa da Museo Adriano Bernareggi, Bergamo, pp. 65. S. Editoriable (Ed.).
5. J. Dunkerton, National Gallery Technical Bulletin 19 (1998) 52-63.
6. Berrie B.H., Matthew L.C. Material Innovation and Artistic Inventation: New Materials and New Colors in Renaissance Venetian Paintings 2005, Washington.
7. Berrie B.H., Matthew L.C. Venetian " Colore" Artists at the Intersection of Technology and History National Washington Gallery of Art 2006, Yale University Press, New Haven.
8. Dunkerton J., Spring M. Painting Techniques, History, Materials and Studio Practice 1998, IIC Dublin Congress, London, pp. 120-130. A.R.A.P. Smith (Ed.).
9. P. Bensi, in: Lorenzo Lotto: il Compiato sul Cristo morto, promossa da Museo Adriano Bernareggi, Sylvana Editoriable, Bergamo, 2001.
10. V. Cheroldi, in: Lorenzo Lotto: il Compiato sul Cristo morto, promossa da Museo Adriano Bernareggi, Sylvana Editoriable, Bergamo, 2001, pp. 79-86.
11. C. Seccaroni, in: Lorenzo Lotto: il Compiato sul Cristo morto, promossa da Museo Adriano Bernareggi, Sylvana Editoriable, Bergamo, 2001, pp. 99-112.
12. Bonaduce I., Citoa M., Colombini M.P. The development of a gas chromatographic-mass spectrometric analytical procedure for the determination of lipids, proteins and resins in the same paint micro-sample avoiding interferences from inorganic media. J. Chromatogr. A 2009, 1216:5931-5939.
13. Colombini M.P., Andreotti A., Bonaduce I., Modugno F., Ribechini E. Analytical strategies for characterizing organic paint media using gas chromatography/mass spectrometry. Acc. Chem. Res. 2010, 43:715-727.
14. I. Arteemieva, La " Madonna delle Grazia" di Lorenzo Lotto, Arte Veneto, 2007.
15. Bonaduce I., Boon J.J. An integrated mass spectrometric and molecular imaging analytical approach to identify and localise constituents in paintings applied to gilded multilayer structures from 14th to 16th C works of art. New Trends in Analytical, Environmental and Cultural Heritage Chemistry 2008, Research Signpost, Transworld Research Network, Kerala (India), pp. 389-423. M.P. Colombini, L. Tassi (Eds.).
16. L. Carlyle, in: J.J. Boon, E.S.B. Ferreira (Eds.), Reporting Highlights of the De Mayerne Programme, Published by NWO, The Hague, November 2006, ISBN 90-77875-14-X.
17. Spring M. Raphael's Painting Technique: Working Practices before Rome. Proccedings of the Eu-ARTECH Workshop 2004, Nardini Editore, London. M.S.A. Roy, C. Plazzotta (Eds.).
18. Spring M. The Painting Technique of Pietro Vannucci, Called Il Perugino, Proccedings of the LabS TECH Workshop 2003, Nardini Editore, Perugia, pp. 21-28. C. Brunetti (Ed.).
19. Cauzzi D. The Painting Technique of Pietro Vannucci, Called Il Perugino, Proccedings of the LabS TECH Workshop 2003, Nardini Editore, Perugia, pp. 81-90. C. Brunetti (Ed.).
20. Berrie B.H., Walmsley E. Raphael's Painting Technique: Working Practices before Rome. Proccedings of the Eu-ARTECH Workshop 2004, Nardini Editore, London, pp. 101-107. M.S.A. Roy, C. Plazzotta (Eds.).
21. Martin E., Rioux J.P. The Painting Technique of Pietro Vannucci, Called Il Perugino, Proccedings of the LabS TECH Workshop 2003, Nardini Editore, Perugia, pp. 43-56. C. Brunetti (Ed.).
22. Lutzenberger K., Stege H., Tilenschi C. A note on glass and silica in oil paintings from the 15th to the 17th century. J. Cult. Herit. 2010, 11:365-372.
23. Merrifield M.P. Original Treatises dating from the XIIth to XVIIIth Centures on the Art of Painting 1849, London.
24. Colombini M., Lanterna G., Mairani A., Matteini M., Modugno F., R.M. Copper resinate: preparation, characterisation and study of its degradation. Annali di Chimica (Rome, Italy) 2001, 91:749-757.
25. Kuhn H., Lead-Tin, Yellow Artist's Pigments. A Handbook of Their History and Characteristics 1993, Washington DC, pp. 86-89, 99-110. A. Roy (Ed.).
26. Winter J., West FitzHugh E. Pigments Based on Carbon. Artist's Pigments. A Handbook of Their History and Characteristics 2007, Washington D.C, pp. 31. B.H. Berrie (Ed.).
27. Andreotti A., Bonaduce I., Colombini M.P., Gautier G., Modugno F., Ribechini E. Combined GCMS analytical procedure for the characterization of glycerolipid, waxy, resinous, and proteinaceous materials in a unique paint microsample. Anal. Chem. 2006, 78:4490-4500.
28. Mills J., White R. Organic Chemistry of Museum Objects 2000, Butterworth-Heinemann. second ed. Conservation and Museology.
29. Tsakalof A.K., Bairachtari K.A., Chryssoulakis I.D. Pitfalls in drying oils identification in art objects by gas chromatography. J. Sep. Sci. 2006, 29:1642-1646.
30. M.R. Shilling, D.M. Carson, H.P. Khanjian, WAAC Newsletter 21 (1998).
31. Cok P., Bernard B.D., Radillo M.P., Francescato F. Synoptic food composition tables 1986, Edizioni Piccini, Padova.