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Pigments

Pigments are ubiquitous in Art. They are in rock art paintings, stained-glass, master paintings, statues, fabrics, terracotta etc... They are omnipresent and a good knowledge of their chemical structure is a clear support for authentication, preservation and restoration.


Understanding à painted object and the artist


The characterization of the pigments used by a specific artist helps to understand the numerous processes that led to the production of the painted item (mixtures, overlapping layers, repairs, etc.).. The comprehension of a paint from a polychrome sculpture, a canvas, an icon or a wall, happens in the first instance by the characterization of the materials used by the artist.

Authenticate a painted item


Authentication can be made by confirming or refuting the composition of the palette of pigments used by the artist. The worldwide chronology of the use of pigments is another way to determine if a repair or restoration was made or whether the pigments are compatible with the creation date of the work. This type of analysis provides indirect dating.

A benefit for restoration and conservation


A common analytical application for the painting restorer and conservator is, among others, determining the stability of the pigments under light (microfadeometry) or heat.







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  • Micro cross-section from a 16<sup>th</sup> c. polychrome terra cotta (<em>Riccio -Andrea Briosco-</em>). Optical microscopy, visible light.
  • Micro cross-section from a 16<sup>th</sup> c. polychrome terra cotta (<em>Riccio -Andrea Briosco-</em>). Optical microscopy, visible light.
  • Micro cross-section from a 16<sup>th</sup> c. polychrome terra cotta (<em>Riccio -Andrea Briosco-</em>). Optical microscopy, ultraviolet light.
  • Micro cross-section from a 16<sup>th</sup> c. polychrome terra cotta (<em>Riccio -Andrea Briosco-</em>). Optical microscopy, visible light. Electronic microscopy imaging (BSI).
  • Pigment palette from Sam Francis (1923-1994) workshop. Exhaustive analyses.
  • Oil painting, "Souvenirs d'Anvers", Braque & Friesz, 1906, pigment analysis, (Priv. Coll.)
  • Oil painting, 19 <sup>th</sup> c.  , analyses prior to restoration (Coll. privée).
  • Oil painting, 19<sup>th</sup> c.  , detail.
  • Russian icon from the 17<sup>th</sup> c. during study and restoration (Priv. Coll.).
  • Russian icon from the 17<sup>th</sup> c. detail.
  • Illuminated parchment from <em>J. de Hesdin</em>, c. 1400, (BNP).
  • Illuminated parchment from <em>J. de Hesdin</em>, c. 1386, (BNP).
  • Detail of an early 20<sup>th</sup> c. painting. Analyses and expertise.
  • Detail of a 17<sup>th</sup> c. mural painting.
  • X-ray image of a 17<sup>th</sup> c. mural painting.
  • Mural pigments on the ceremonial Peruvian site of Haca de la Luna (200-800 DC, Moche culture). (Ph. G. Chiari).
  • Pigment sampling of a prehistoric painting in Brazil for in lab, Raman microscopy analyses.
  • Horse and mammoth Rock Art painting in the prehistoric cave of Mayenne-Science (France) -analyzed by Raman microscopy-
  • Pigment sampling from a black prehistoric painting in Mayenne/France for in lab, Raman microscopy analyses.
  • Rockart paintings and degradation processes on the site of Canyonlands National Park/Utah/USA.
  • Polychrome prints, 1681 -<em>Gutierrez Collection</em>- and mainly made of 20<sup>th</sup> c. contemporary pigments. © The J. Paul Getty Trust. All rights reserved.
  • Polychrome prints, 1681 -<em>Gutierrez Collection</em>- and mainly made of 20<sup>th</sup> c. contemporary pigments. © The J. Paul Getty Trust. All rights reserved.
  • Watercolor from <em>Georgia O'Keeffe</em>, within a faedometry study (GOK Museum/USA).
  • Watercolor from <em>Georgia O'Keeffe</em>, within a faedometry study (GOK Museum/USA).
  • Watercolor from <em>Georgia O'Keeffe</em>, within a faedometry study (GOK Museum/USA).
  • Green, blue and violet cobalt-based pigments made for painting or ceramic/glass coloring.
  • Gold leaf and tool for gilding technique.
  • Painted Venitian commode, c. 1745,  (JP Getty Museum).
<a target="_blank" href="http://www.getty.edu/art/gettyguide/artObjectDetails?artobj=1144&handle=li"> link to the item </A>
  • Miniature painting on ivory, 19<sup>th</sup> c. (Priv. Coll.).
  • Precolombian sculpture fragment and polychromy traces. In-situ analyses in the Musée de l'Homme, Paris.
  • Peruvian wooden-based representation (c. 900 DC., Chimu Tardio) of the site of Haca de la Luna. (R. Morales, Univ. Nacional de Trujillo, Perú).
  • Oil painting, "Enterrement de Van Gogh", Emile Bernard, 1893, pigment analysis, X-ray imaging, (Private Coll)
  • Colored copper engraved plate, from "Recueil choisi des plus belles vues des palais, des châteaux et maisons royales de Paris et de ses environs", Jean Rigaud, 18<sup>th</sup> c., pigment analysis, (Private Coll.)
  • Colored copper engraved plate, from "Recueil choisi des plus belles vues des palais, des châteaux et maisons royales de Paris et de ses environs", Jean Rigaud, 18<sup>th</sup> c., pigment analysis, (Private Coll.)
  • Colored plate (les derviche tourneurs), from "Recueil de 100 estampes des Nations du Levant", le Hay, 1714, pigment analysis,(Private Coll.)




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