Os trabalhos dos pintores: 106

Elisabeth Vigée Le Brun, Self-Portrait with Straw Hat, 1783.

Os trabalhos dos pintores: 105

Renoir, Portrait of Claude Renoir Painting, 1907.

Os trabalhos dos pintores: 104

Louis Berou, The Joys Of The Flooding, 1910.

Os trabalhos dos pintores: 103

Jacques-Louis David, Self-Portrait, 1794.

Studies in Conservation, vol. 52, n.º 3, 2007

Está em distribuição o 3.º fascículo de 2007 dos Studies in Conservation.

Índice:

• Katrien Keune, Jaap J. Boon, Analytical Imaging Studies of Cross-Sections of Paintings Affected by Lead Soap Aggregate Formation, pp. 161-176

• Clare Richardson, David Saunders, Acceptable Light Damage: a Preliminary Investigation, pp. 177-187

• W. Juan, Pau L. Leung, L. Jiazhi, A Study of the Composition of Chinese Blue and White Porcelain, pp. 188-198

• Lukasz Bratasz, Roman Kozlowski, Dario Camuffo, Emanuela Pagan, Impact of Indoor Heating on Painted Wood: Monitoring the Altarpiece in the Church of Santa Maria Maddalena in Rocca Pietore, Italy, pp. 199-210

• Xian Zhang, Karina Corrigan, Bruce MacLaren, Mimi Leveque, Richard Laursen, Characterization of Yellow Dyes in Nineteenth-Century Chinese Textiles, pp. 211-220

• Noriko Hayakawa, Rika Kigawa, Tomoyuki Nishimoto, Kurara Sakamoto, Shigeharu Fukuda, Takayuki Kimishima, Yasuhiro Oka, Wataru Kawanobe, Characterization of Furunori (Aged Paste) and Preparation of a Polysaccharide Similar to Furunori, pp. 221-232

Os trabalhos dos pintores: 102

Elisabetta Sirani, Self-portrait, cerca de 1660.

Os pigmentos usados por Henrique Pousão (1859-1884)

Andreia M. Correia; Robin J. H. Clark; Maria I. M. Ribeiro; Maria L. T. S. Duarte, "Pigment study by Raman microscopy of 23 paintings by the Portuguese artist Henrique Pousão (1859-1884)", Journal of Raman Spectroscopy, 38(11), 2007, pp. 1390-1405.

Resumo:

Twenty-three paintings by Henrique Pousão - 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. Pousão, 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.

Disponível em http://dx.doi.org/10.1002/jrs.1786.

Os trabalhos dos pintores: 101

Artemisia Gentileschi, Self-Portrait as the Allegory of Painting, 1630.

e_conservation Magazine, n.º 1, 2007

Saiu o primeiro número de e_conservation Magazine, uma publicação já estava anunciada há algum tempo.

Com edição apenas em formato electrónico, está livremente disponível para download em http://www.e-conservationline.com.

Os trabalhos dos pintores: 100

Sofonisba Anguissola, Self-portrait at the Easel Painting a Devotional Panel, 1556.

National Gallery Technical Bulletin, vol. 28, 2007

Já está em distribuição o volume de 2007 do National Gallery Technical Bulletin.

Índice:

• Simona Di Nepi, Ashok Roy, Rachel Billinge, Bernardo Daddi's Coronation of the Virgin: The Reunion of Two Long-Separated Panels, pp. 4-25

• Jill Dunkerton, Tintoretto's Underdrawing for Saint George and the Dragon, pp. 26-35

• Paul Joannides, Jill Dunkerton, A Boy with a Bird in the National Gallery: A Titian Puzzle, pp. 36-57

• Ashok Roy, Monet's Palette in the Twentieth Century: Water-Lilies and Irises, pp. 58-68

• Jo Kirby, Marika Spring, Catherine Higgitt, The Technology of Eighteenth- and Nineteenth-Century Red Lake Pigments, pp. 69-95