Historical glazes: Enhancing their value through reproduction and characterisation
DOI:
https://doi.org/10.23738/CCSJ.150205Keywords:
lake pigments, dyes, transparencies, glazesAbstract
This text presents a visual study of historical glazes made with lake pigments and dyes, applied on colour gradients used historically between the 15th and 17th centuries. This pictorial reproduction was carried out using materials and methodologies no longer in use, seeking methods of reproduction as close as possible to the pictorial processes used in the 15th and 17th centuries. This made it possible to evaluate the different results offered by the glazes applied to the basic colours from a visual and empirical point of view. For this study, several test pieces were made using nine pigments in the base layers on which different glazes were applied in several superimposed layers. To prepare the glazes, different types of lake pigments and dyes were used, all of them with different concentrations/thicknesses (from one to four coats). They were used to obtain different chromatic nuances that allow us to evaluate material, visual or perceptual aspects, highlighting the extent to which the glazes can alter, shading or accentuating the underlying colour. These data were quantified and assessed by means of homogeneity coefficients, colouring power, hiding power and particle visibility.
References
Armenini, G. B. (1587). De los verdaderos preceptos de la pintura (2000th ed.). Visor Libros.
Artoni, P., Raïch, M., Herrero-Cortell, M., & Ricci, M. L. (2019). Riconoscere dal colore. Pigmenti e coloranti dell’età moderna nell’analisi multibanda dei dipinti: Uno strumento visivo per gli storici dell’arte e i conservatori. Colore e Colorimetria. Contributi Multidisciplinari. Atti Della Quindicesima Conferenza Del Colore, a Cura Di A. Bottoli e V. Marchiafava.
Ball, P. (2012). La invención del Color. Madrid: Turner.
Bomford, D., Dunkerton, J., Gordon, D., & Roy, A. (1995). La pintura italiana hasta el 1400. Materiales, métodos y procedimientos del arte. Barcelona: Ediciones del Serbal.
Brandi, C. (1949) The Cleaning of Pictures in Relation to Patina, Varnish and Glazes, The Burlington Magazine, (91)183-88
Brandi, C. (1995). Teoría de la restauración (1995th ed.) Madrid: Alianza Editorial.
Cardon, D. (2007). Natural Dyes: Sources, Tradition, Technology and Science. London: Archetype Pub.
Doerner, M. (2001). Los materiales de pintura y su empleo en el arte. Barcelona: Reverté.
Eastaugh, N., Walsh, V., Chaplin, T., & Siddall, R. (2008). Pigment Compendium. A dictionary and Optical Microscopy of Historical Pigments. Oxford: Elsevier Science & Technology.
Eastlake, C. (1847). Materials for a History of Oil Painting. London: Longman, Brown, Green - Longmans.
Gettens, R. J., & Stout, G. L. (1966). Painting Materials. A Short Encyclopaedia. New York: Dover Pub.
Giannini, C. (2008). Diccionario de restauración y diagnóstico. San Sebastián: Nerea.
Gollini, G. (2020). Potenzialità della tecnica di imaging iperspettrale per lo studio di pitture a olio in presenza di velature. Tesi di Laurea. Università Degli Studi Firenze.
Hernández, A. (2019). Documentos para la Historia de la Restauración. Zaragoza: Prensas Universidad de Zaragoza.
Herrero-Cortell, M. (2019). Materiales, soportes y procedimientos utilizados en los obradores pictóricos de la Corona de Aragón (siglos XV y XVI). Una aproximación a través del paradigma valenciano. Tesis Doctoral. Universitat de Lleida.
Herrero-Cortell, M. y Zalbidea Muñoz, M. A., (2022). Ad faciendum lacham. Notas sobre la producción carmines y lacas rojas en la pintura valenciana de los siglos XV y XVI. 1st European Symposium on Drugs & Colors in History. Tirant Lo Blanch. In press.
Hofenk de Graaff, J. H. (2004). The colourful past: Origins, chemistry and identification of natural dyestuffs. London: Archetype Publ.
Kirby, J., Van Bommel, M., & VERHECKEN, A. (2014). Natural Colorants for Dyeing and Lake Pigments. Archetype Publications Ltd. https://archetype.co.uk/our-titles/natural-colorants-for-dyeing-and-lake-pigments/?id=209
Leona, M. (2009). Microanalysis of organic pigments and glazes in polychrome works of art by surface-enhanced resonance Raman scattering. Proceedings of National Academy of Sciences, 106(35), 14757-14762.
Llácer, A. (2021). Veladuras históricas con pigmentos laca: Aproximación teórico-práctica y caracterización en diversas bandas del espectro. Tesis Final de Máster. Universitat Politènica de València. https://riunet.upv.es/handle/10251/173723
Llácer, A. y Zalbidea Muñoz, M. A. (2022). Veladuras medievales con colorantes y pigmentos-laca. De las fuentes a las reconstrucciones experimentales, Comunicazione Convegno Internazionale The Traces of the Colorful Souls. Visual and Material Arts in the Chromatic Middle Ages. Madrid, 2-4 march 2022. Universidad Complutense de Madrid.
López, G. (2002). Guía de los árboles y arbustos de la Península Ibérica y Baleares: (Especies silvestres y las cultivadas más comunes). Madrid: Mundi Prensa Libros.
Matteini, M. (2001). La química en la restauración: Los materiales del arte pictórico. San Sebastián: Nerea.
Mayer, R. (2005). Materiales y técnicas del arte. Madrid: Tursen - H. Blume
Mayerne De, T. (1620). Le manuscrit de Turquet de Mayerne (1967th ed.). Lyon: Audin Imprimeurs.
Merrifield, M. P. (1849a). Original treatises of the arts of painting: Vol. I. London: J. Murray, Albemarle St.
Merrifield, M P. (1849b). Original treatises of the arts of painting: Vol. II. London: J. Murray, Albemarle St.
San Andrés, M., Sancho, N., y de la Roja, J. M. (2010). Alquimia: Pigmentos y colorantes históricos. Anales de la Real Sociedad Española de Química, 1, 58-65.
Schweppe, H., & Roosen-Runge, H. (1997). Carmine-Cochineal Carmine and Kermes Carmine. In Feller. R. Artists’ Pigments. A handbook of their history and characteristics (Vol. I). London: Archetype Publications.
Schweppe, H., & Winter, J. (1997). "Madder and Alizarin". In Feller. R. Artists’ Pigments. A handbook of their history and characteristics (Vol. 3). London: Archetype Publications.
Scott, J. (1885). Field’s chromatography: A treatise on colours and pigments for the use of artists. London: Windsor and Newton. http://archive.org/details/Fieldquotschrom00Fiel
Terry, G. (1893). Pigments, Paint and Painting: A practical book for practical men. London: E. & F.N. Spon; New York: Spon & Chamberlain. https://www.gutenberg.org/ebooks/56344
Theophilus. (1847). Diversarum artium schedula. London: J. Murray.
van Eikema Hommes, M. H. (2002). Discoloration in Renaissance and Baroque Oil Paintings. Instructions for Painters, theoretical Concepts, and Scientific Data. Tesis Doctoral. University of Amsterdam. https://dare.uva.nl/search?identifier=6a808727-7edd-47a7-a561-1e961466f7ff
Watin. (1773). L’Art du Peintre, Doreur, Vernisseur (1785th ed.). Paris: Chez L’auteur.
Zalbidea Muñoz, M. A. (2014). Els vernissos artístics: Revisió i evolució. València. Universitat Politènica de València. http://hdl.handle.net/10251/66792
Zalbidea Muñoz, M.A., E. Giner-Cordero, “Pratica di tecniche artistiche storiche. Le vernici di Teofilo”, KERMES Art Conservation Restoration, 30, (106), 2017, 76-77. https://riunet.upv.es/handle/10251/112366
Zalbidea Muñoz, M. A., Zelazowski, J., y Herrero-Cortell, M. (2022). De diversus artibus, un recetario de tecnología artística para el estudio de los barnices medievales. 1st European Symposium on Drugs & Colors in History. Tirant Lo Blanch. In press.
Downloads
Published
Issue
Section
License
Copyright (c) 2023 Aranzazu Llácer Peiró, Miquel Àngel Herrero-Cortell, M. Antonia Zalbidea-Muñoz, Laura Fuster-López
This work is licensed under a Creative Commons Attribution 4.0 International License.
The "Cultura e Scienza del Colore - Color Culture and Science" journal is registered at the Court of Milan at n.233 of 24.06.2014.
The journal is an open access journal, free for readers and authors and has joined ROAD, the Directory of Open Access scholarly Resources, since 2014. Articles published in the “Cultura e Scienza del Colore - Color Culture and Science" journal are open access articles, distributed under the terms and conditions of the Creative Commons Attribution License (CC BY). The copyright is retained by the author(s).
