Non-destructive in situ examination of a 16th century Spanish panel painting "San Telmo”

The panel painting San Telmo by an anonymous 16th century Spanish artist is part of the permanent exhibition at the Fine Arts Museum of Seville, one of the most important Spanish galleries. As part of a larger study on 15th and 16th century Spanish painting, the principal interest of this work was t...

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Authors: Križnar, Anabelle, Laclavetine, Kilian, Muñoz, María V., Respaldiza Galisteo, Miguel Ángel, Vega, Mercedes
Format: article
Status:Published version
Publication Date:2015
Country:España
Institution:Universidad de Sevilla (US)
Repository:idUS. Depósito de Investigación de la Universidad de Sevilla
OAI Identifier:oai:idus.us.es:11441/127031
Online Access:https://hdl.handle.net/11441/127031
https://doi.org/10.4467/20843852.OM.15.010.5388
Access Level:Open access
Keyword:Panel painting
Pigments
UV
IRR
XRF
Pigmentos
Pintura moderna
Siglo XVI
16th Century
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network_name_str España
repository_id_str
spelling Non-destructive in situ examination of a 16th century Spanish panel painting "San Telmo”Križnar, AnabelleLaclavetine, KilianMuñoz, María V.Respaldiza Galisteo, Miguel ÁngelVega, MercedesPanel paintingPigmentsUVIRRXRFPigmentosPintura modernaSiglo XVI16th CenturyThe panel painting San Telmo by an anonymous 16th century Spanish artist is part of the permanent exhibition at the Fine Arts Museum of Seville, one of the most important Spanish galleries. As part of a larger study on 15th and 16th century Spanish painting, the principal interest of this work was to obtain more information the materials applied in its creation. The research work was carried out in situ in the exhibition room; hence, only non-destructive analytical methods were applied. The painting was fi rst studied with UV light to observe later interventions. After this, a possible preparatory drawing was searched for with IR refl ectography (IRR). Finally, a portable X-Ray fl uorescence (XRF) equipment was applied for a material analysis. The UV image of the painting clearly revealed later interventions, which helped to select the points for the XRF analysis, to distinguish between original and modern pigments. The XRF analysis showed that the painter’s palette was common for the 16th century, and similar to those found in other panels from the same period in the Museum collection, namely: lead white (identifi ed by Pb), yellow and red ochres (Fe), vermilion (Hg), a copper based green pigment (Cu), azurite (Cu), and an organic black, probably bone black (Ca). Several retouches made on the bases of Zn and Ti whites were confi rmed. The presence of Ca and Pb in every analysed point shows that there must be a calcium based preparation, probably gypsum, with a lead based priming. Most interestingly, the IR images revealed not only a very precise and decisive artist’s brushstroke, observed in the modelling of the subject’s head or clothing, but also a change in the shape of the boat that the Saint holds in his left hand (pentimenti).Jagiellonian University MuseumEscultura e Historia de las Artes Plásticas2015info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionapplication/pdfapplication/pdfhttps://hdl.handle.net/11441/127031https://doi.org/10.4467/20843852.OM.15.010.5388reponame:idUS. Depósito de Investigación de la Universidad de Sevillainstname:Universidad de Sevilla (US)InglésOpuscula Musealia, 23, 113-120.info:eu-repo/semantics/openAccessoai:idus.us.es:11441/1270312026-06-17T12:51:07Z
dc.title.none.fl_str_mv Non-destructive in situ examination of a 16th century Spanish panel painting "San Telmo”
title Non-destructive in situ examination of a 16th century Spanish panel painting "San Telmo”
spellingShingle Non-destructive in situ examination of a 16th century Spanish panel painting "San Telmo”
Križnar, Anabelle
Panel painting
Pigments
UV
IRR
XRF
Pigmentos
Pintura moderna
Siglo XVI
16th Century
title_short Non-destructive in situ examination of a 16th century Spanish panel painting "San Telmo”
title_full Non-destructive in situ examination of a 16th century Spanish panel painting "San Telmo”
title_fullStr Non-destructive in situ examination of a 16th century Spanish panel painting "San Telmo”
title_full_unstemmed Non-destructive in situ examination of a 16th century Spanish panel painting "San Telmo”
title_sort Non-destructive in situ examination of a 16th century Spanish panel painting "San Telmo”
dc.creator.none.fl_str_mv Križnar, Anabelle
Laclavetine, Kilian
Muñoz, María V.
Respaldiza Galisteo, Miguel Ángel
Vega, Mercedes
author Križnar, Anabelle
author_facet Križnar, Anabelle
Laclavetine, Kilian
Muñoz, María V.
Respaldiza Galisteo, Miguel Ángel
Vega, Mercedes
author_role author
author2 Laclavetine, Kilian
Muñoz, María V.
Respaldiza Galisteo, Miguel Ángel
Vega, Mercedes
author2_role author
author
author
author
dc.contributor.none.fl_str_mv Escultura e Historia de las Artes Plásticas
dc.subject.none.fl_str_mv Panel painting
Pigments
UV
IRR
XRF
Pigmentos
Pintura moderna
Siglo XVI
16th Century
topic Panel painting
Pigments
UV
IRR
XRF
Pigmentos
Pintura moderna
Siglo XVI
16th Century
description The panel painting San Telmo by an anonymous 16th century Spanish artist is part of the permanent exhibition at the Fine Arts Museum of Seville, one of the most important Spanish galleries. As part of a larger study on 15th and 16th century Spanish painting, the principal interest of this work was to obtain more information the materials applied in its creation. The research work was carried out in situ in the exhibition room; hence, only non-destructive analytical methods were applied. The painting was fi rst studied with UV light to observe later interventions. After this, a possible preparatory drawing was searched for with IR refl ectography (IRR). Finally, a portable X-Ray fl uorescence (XRF) equipment was applied for a material analysis. The UV image of the painting clearly revealed later interventions, which helped to select the points for the XRF analysis, to distinguish between original and modern pigments. The XRF analysis showed that the painter’s palette was common for the 16th century, and similar to those found in other panels from the same period in the Museum collection, namely: lead white (identifi ed by Pb), yellow and red ochres (Fe), vermilion (Hg), a copper based green pigment (Cu), azurite (Cu), and an organic black, probably bone black (Ca). Several retouches made on the bases of Zn and Ti whites were confi rmed. The presence of Ca and Pb in every analysed point shows that there must be a calcium based preparation, probably gypsum, with a lead based priming. Most interestingly, the IR images revealed not only a very precise and decisive artist’s brushstroke, observed in the modelling of the subject’s head or clothing, but also a change in the shape of the boat that the Saint holds in his left hand (pentimenti).
publishDate 2015
dc.date.none.fl_str_mv 2015
dc.type.none.fl_str_mv info:eu-repo/semantics/article
info:eu-repo/semantics/publishedVersion
format article
status_str publishedVersion
dc.identifier.none.fl_str_mv https://hdl.handle.net/11441/127031
https://doi.org/10.4467/20843852.OM.15.010.5388
url https://hdl.handle.net/11441/127031
https://doi.org/10.4467/20843852.OM.15.010.5388
dc.language.none.fl_str_mv Inglés
language_invalid_str_mv Inglés
dc.relation.none.fl_str_mv Opuscula Musealia, 23, 113-120.
dc.rights.none.fl_str_mv info:eu-repo/semantics/openAccess
eu_rights_str_mv openAccess
dc.format.none.fl_str_mv application/pdf
application/pdf
dc.publisher.none.fl_str_mv Jagiellonian University Museum
publisher.none.fl_str_mv Jagiellonian University Museum
dc.source.none.fl_str_mv reponame:idUS. Depósito de Investigación de la Universidad de Sevilla
instname:Universidad de Sevilla (US)
instname_str Universidad de Sevilla (US)
reponame_str idUS. Depósito de Investigación de la Universidad de Sevilla
collection idUS. Depósito de Investigación de la Universidad de Sevilla
repository.name.fl_str_mv
repository.mail.fl_str_mv
_version_ 1869407139562258432
score 15,301603

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