期刊
APPLIED PHYSICS A-MATERIALS SCIENCE & PROCESSING
卷 111, 期 1, 页码 157-164出版社
SPRINGER HEIDELBERG
DOI: 10.1007/s00339-012-7490-5
关键词
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资金
- SSD programme of BELSPO, Brussels [S2-ART]
- FWO (Brussels, Belgium) [G.0704.08, G.01769.09]
- European Community [226716]
- Research Foundation-Flanders (FWO)
- U.S. Department of Energy, Office of Science, Office of Basic Energy Sciences [DE-AC02-98CH10886]
In 17th century Old Master Paintings, the underpainting generally refers to the first sketch of a composition. The underpainting is applied to a prepared ground using a monochrome, brown oil paint to roughly indicate light, shade and contours. So far, methods to visualize the underpainting-other than in localized cross-sections-have been very limited. Neither infrared reflectography nor neutron induced autoradiography have proven to be practical, adequate visualization tools. Thus, although of fundamental interest in the understanding of a painting's genesis, the underpainting has virtually escaped all imaging efforts. In this contribution we will show that 17th century underpainting may consist of a highly heterogeneous mixture of pigments, including copper pigments. We suggest that this brown pigment mixture is actually the recycled left-over of a palette scraping. With copper as the heaviest exclusive elemental component, we will hence show in a case study on a Portrait of an Old Man attributed to Rembrandt van Rijn how scanning macro-XRF can be used to efficiently visualize the underpainting below the surface painting and how this information can contribute to the discussion of the painting's authenticity.
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