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Journal ArticleDOI

‘Lead white’ in Japanese paintings

01 Aug 1981-Studies in Conservation (Routledge)-Vol. 26, Iss: 3, pp 89-101
TL;DR: In this paper, the Freer collection of Japanese paintings of the twelfth to the sixteenth centuries has been determined, and basic lead carbonate (lead white) was found in 12 out of 13 Chinese paintings and in all three Korean paintings.
Abstract: Japanese paintings of the twelfth to the sixteenth centuries in the collection of the Freer Gallery of Art has been determined. In 12 out of 13 Chinese paintings, and in all three Korean paintings, basic lead carbonate (lead white) was found. Of the 29 Japanese paintings, six had basic lead carbonate, 20 had basic lead chloride (which occurred as two different compounds), and two carried both of these species. One Chinese painting had lead sulphate and one Japanese painting lead phosphate. Historical evidence suggests that two forms of 'lead white' were known and distinguished during the eighth century in Japan; the possible connection between this and the present findings on Japanese paintings is discussed.
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TL;DR: In this article, three paintings by Henrique Pousao, a 19th century Portuguese painter, belonging to the collection of Museu Nacional Soares dos Reis, Porto, Portugal, were analysed by Raman microscopy.
Abstract: Twenty-three paintings by Henrique Pousao—a 19th century Portuguese painter—belonging to the collection of Museu Nacional Soares dos Reis, Porto, Portugal, were analysed by Raman microscopy. The fine focus of a 100× objective allowed the visualisation and individual identification of small grains. As a result, thirty-seven compounds, namely, anatase, barium white, basic lead sulfate, brochantite, cadmium red, cadmium yellow, calcium carbonate, carbon-based black, celadonite, chrome green, chrome orange, chrome yellow, cobalt blue, cochineal lake, copper sulfide, emerald green, iron(III) oxyhydroxide, iron(III) oxide, kaolinite, lead antimonate yellow, lead carbonate, lead white, lead sulfate, madder lake, malachite, Prussian blue, quartz, realgar/pararealgar, red lead, rutile, Scheele's green, strontium yellow, ultramarine blue, vermilion, viridian, zinc white and zinc yellow, were identified. Not all these compounds are pigments; some are extenders, others trace components and others probably products of reactions between pigments. Special attention was given to the Raman characterisation of celadonite, chrome orange, basic lead sulfate and lead antimonate yellow. Complementary techniques were used to confirm the identities of certain pigments and to characterise reference samples. Pousao, whose work has not previously been studied spectroscopically, was found to have used a remarkably wide range of pigments over his painting periods, without showing significant preference for any particular set of pigments. Copyright © 2007 John Wiley & Sons, Ltd.

97 citations

Journal ArticleDOI
TL;DR: In this article, Ramaman microscopy has been used to identify the pigments decorating three valuable items owned by the Worshipful Company of Barbers (established in 1308 in London), one being a large leather screen dating to before 1712, the other two being illuminated title pages of books of ordinances of the Company dating to 1605 and 1658.

46 citations

Journal ArticleDOI
TL;DR: The colorfastness of several traditional Japanese colorants upon exposure to atmospheric ozone was tested in a chamber exposure experiment as discussed by the authors, where samples, in the form of colorants applied to paper, dyes on silk cloth, and colorants on a nineteenth-century Japanese woodblock print, were exposed to an atmosphere containing 0•40 parts per million ozone at 220C and 50% RH in the absence of light, for 12 weeks.
Abstract: The colorfastness of several traditional Japanese colorants upon exposure to atmospheric ozone was tested in a chamber exposure experiment. Samples, in the form of colorants applied to paper, dyes on silk cloth, and colorants on a nineteenth- century Japanese woodblock print, were exposed to an atmosphere containing 0•40 parts per million ozone at 220C and 50% RH, in the absence of light, for 12 weeks. Color differences, calculated from the measured diffuse reflectance spectra, were used to assess the rate and extent of the ozone fading. Of the colorants applied to paper, orpiment was the only inorganic pigment that showed severe color loss after ozone exposure. Several organic colorants on paper also reacted, including the widely used plant colorants ɑi (indigo) and ukon (turmeric). The woodblock print, produced using the plant-derived colorants beni (safflower), ɑi (indigo), shio (gamboge) and aigami (dayflower), showed significant ozone fading only in the blue and green areas, which contain ɑi. Several of the dyed silk cloths also exhibited some color change in this experiment, suggesting that prolonged exposure to atmospheric ozone could pose a risk to these materials as well.

45 citations

Journal ArticleDOI
TL;DR: In this article, micro-samples from the earliest complete copy of the Japanese masterpiece The Tale of Genji were analyzed by Raman and FTIR spectroscopy to determine the materials used.
Abstract: Micro-samples from the earliest complete copy of the Japanese masterpiece The Tale of Genji were analyzed by Raman and FTIR spectroscopy to determine the materials used. The album was commissioned in 1509 and consists of 54 illustrations by Tosa Mitsunobu with matching calligraphic pages painted by six different court calligraphers. The pages were originally pasted onto a folding screen but were remounted in an album in the 17th century and a frontispiece and finispiece illustration painted by Tosa Mitsuoki. The illustration for chapter 52 is a replacement of unknown date. The following materials were identified in the illustrations: azurite, indigo, malachite, atacamite, botallackite, chrysocolla, gamboge, vermilion, lead(II,IV) oxide (red lead), red ochre/haematite, calcite and basic lead carbonate (lead white). A smaller range was used on the calligraphic pages: vermilion, lead(II,IV) oxide (red lead), indigo, gamboge, yellow ochre and calcite. Most of the materials identified are part of the traditional Japanese palette, and a wide range of tones was created by mixing pigments from this relatively restricted set. The hydrated copper chlorides, atacamite and botallackite, may be alteration products of original malachite. The chrysocolla, a natural amorphous copper silicate, was probably incorporated accidentally with the malachite, as the two can occur together in nature. Chrysocolla occurs with malachite only on the replacement illustration for chapter 52, which lacks copper chlorides. The lead carbonate and red lead are both discolored in many areas. Lead sulfate was identified in some altered areas of red lead and probably represents a secondary alteration product. The primary alteration product of both lead pigments is assumed to be lead(II) sulfide, as silver in the manuscript has altered to silver sulfide. The alternative alteration product, lead(IV) oxide, is considered less likely. Copyright © 2006 John Wiley & Sons, Ltd.

38 citations

Journal ArticleDOI
TL;DR: In this article, the pigments, binders and execution techniques used by Nasrids to polychrome carpentry in the Hall of the Mexuar Palace at the Alhambra (Granada, Spain) were studied using optical microscopy, scanning electron microscopy with EDX analysis, selective staining techniques and gas chromatography.
Abstract: The pigments, binders and execution techniques used by the Nasrids (1238–1492) to polychrome carpentry in the Hall of the Mexuar Palace at the Alhambra (Granada, Spain) were studied using optical microscopy, scanning electron microscopy with EDX analysis, selective staining techniques and gas chromatography – mass spectrometry. This pioneering investigation presents the first results of a research project devoted to filling gaps in the knowledge of Nasrid art, traditionally approached by stylistic studies. Moreover, it is essential for the polychromy conservation of the studied artworks, and will help to clarify historical and painting uncertainties in the Alhambra monument. The palette consists of a limited range of colours: white (lead-base pigment), red (cinnabar and red lead), blue (lapis lazuli), black (carbon-based) and false gold (golden tin). Tempera grassa was the painting technique identified. Two types of grounds were used: (i) gypsum in calligraphy decoration for the false gold technique, and (ii) synthetic minium in geometric drawings in carpentry. Organic insulating layers of linseed oil were used between paint strata. Artists applied synthetic minium to protect the wood (Juglans regia and conifer) against attack by xylophages. To lighten the surface darkened by this ground layer, powdered tin was added to achieve a metallic lustre.

35 citations


Cites background from "‘Lead white’ in Japanese paintings"

  • ...Similar alteration products were identified in red lead-based layers in the polychromed stuccos in the Lions Palace (Cardell and Navarrete 2006), as well as in mural paintings and canvas from elsewhere (Winter 1981; Ordoñez and Twilley 1998; Van den Berg 2002; Cardell and Rodríguez-Gordillo 2003)....

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References
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Book
01 Jan 1956
TL;DR: Inorganic spot test analysis has been extensively studied in the literature, see as discussed by the authors for a survey of the current state and prospects of inorganic inorganic spot-test analysis, including preliminary orientational tests for the elements, their ions and compounds.
Abstract: Development, present state and prospects of inorganic spot test analysis. Methodology of spot test analysis (completely revised and enlarged by Dr. G. Skalos). Preliminary orientational tests. Tests for the elements, their ions and compounds. Application of spot reactions in tests of purity, examination of technical materials, studies of minerals. Tabular summary.

1,663 citations