Historical Painting Techniques, Materials, and Studio Practice

INTEGRATED APPROACH

FOR THE STUDY OF

PAINTING TECHNIQUES

Figure 1. Diagram of integrated approach fo r
the study of painting techniques.

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Table 2. Scientific techniques Jor the authentication oj paintings.

I Method Inlonnation Limitation

VISI ble observation and X- visible and hidden tool - knowledge 01 ancient

ray radiography marks; materials (machine technologies required

made canvas, nails, etc.) - new repairs may pose a

problem

pigment chronology identification of the - detailed knowledge of

inconsistency studies systematic use of pigments pigment chemistry and

(microchemical methods) in the painting which were technology required

not available in times when - problem of inteIpretation

the painting was presumed when only repainted areas

to be painted analyzed

• the negati ve resul ts cannot
  be considered a certain proof
  of authenticity
  radiocarbon dating absolute dating method of - does not provide good
  the actual age of natural results for materials younger
  product organic materials in than 300 years
  paintings (wood, canvas, - prOblems of impurities
  binding media)
  dendrochronology or tree absolute dating method quality sample containing a
  ring dating actual age of wood sam pIes number of easily measured
  tree rings and corresponding
  calibration data is needed

Conclusion

Art historians, conservation scientists, and artists use different means to study

artists' techniques. Each of their approaches can contribute valuable infor­

mation about the painting techniques of an individual artist, a school, or

an art historical period or movement. But each approach leaves something

unexplained, something missing from the whole picture that encompasses

everything from the artist's brushwork to preference fo r certain materials and

fo rmulas. To provide a real understanding of artists' techniques, it is necessary

to establish a close collaboration between all the above-mentioned disciplines,

not only to secure a more complete set of data but, more importantly, to

stimulate interdisciplinary fo rmulation of more holistic answers about artists'

techniques (Fig. 1). A painting should not be studied by individual specialists

from each discipline, but rather by representatives of all disciplines who view

Table 3. Scientific methods used Jor the analysis oj painting structures.

Method In onnation Llmltallon

mfrared refiectography Identillcation and study of I difficult to Idenllly

underdrawing underdrawing beneath thick

layer of IR-opaque paint

layer

X-ray radiography study of support, lead white - superimposition of several

underpainting, brushwork, layers of painting in one

and changes in composition X-ray radiograph

• difficult inteIpretation for
  features done in organic
  materials or pigments of low
  atomic number
  X-ray tomography detailed study of individual - methodology under
  paint layers development


• high cost


• problem of interpretation
  when individual paint layers
  are of uneven thickness
  cross section analysis detailed material - cross section sample
  (microchemical methods, IR identification (pigments, needed
  microscopy) binding media) and - high cost of analysis
  sequence of individual paint - positive identification of
  and material layers of the some organic pigments
  painting might need additional
  sampling, followed by
  organic microchemical
  analysis


• additional sampling might
  also be needed for detailed
  analysis of binding media
  using gas chromatography -
  mass spectrometry

Historical Painting Techniques, Materials, and Studio Practice