Raman mapping analysis of pigments from Proas Iluminadas by Quinquela Martín
The painting Proas Iluminadas (Illuminated Bows) by Benito Quinquela Martín is studied by Raman spectroscopy in order to analyse the technique and the pigments employed by the artist: ultramarine blue, carbon black, cadmium-sulphure based compounds for the hue of yellow, orange and red; also zinc wh...
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Elsevier Masson SAS
2012
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| LEADER | 05557caa a22005297a 4500 | ||
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| 001 | PAPER-9296 | ||
| 003 | AR-BaUEN | ||
| 005 | 20250612094504.0 | ||
| 008 | 190411s2012 xx ||||fo|||| 00| 0 eng|d | ||
| 024 | 7 | |2 scopus |a 2-s2.0-84867724755 | |
| 040 | |a Scopus |b spa |c AR-BaUEN |d AR-BaUEN | ||
| 100 | 1 | |a Halac, E.B. | |
| 245 | 1 | 0 | |a Raman mapping analysis of pigments from Proas Iluminadas by Quinquela Martín |
| 260 | |b Elsevier Masson SAS |c 2012 | ||
| 270 | 1 | 0 | |m Halac, E.B.; Gerencia de Investigación y Aplicaciones, Comisión Nacional de Energía Atómica, Av. General Paz 1499, (B1650KNA) Buenos Aires, Argentina; email: halac@cnea.gov.ar |
| 504 | |a Vandenabeele, P., Edwards, H.G.M., Moens, L., A decade of Raman spectroscopy in art and archeology (2007) Chem. Rev., 107, pp. 675-686 | ||
| 504 | |a Magistro, F., Majolino, D., Migliardo, P., Ponterio, R., Rodriquez, M.T., Confocal Raman spectroscopic study of painted medieval manuscripts (2001) J. Cultur. Herit., 2, pp. 191-198 | ||
| 504 | |a Neff, D., Bellot-Gurlet, L., Dillmann, P., Reguer, S., Legrand, L., Raman imaging of ancient rust scales on archaeological iron artefacts for long-term atmospheric corrosion mechanisms study (2006) J. Raman Spectrosc., 37, pp. 1228-1237 | ||
| 504 | |a Lau, D., Villis, C., Furman, S., Livett, M., Multispectral and hyperspectral image analysis of elemental and micro-Raman maps of cross-sections from a 16th century painting (2008) Anal. Chim. Acta, 610, pp. 15-24 | ||
| 504 | |a Ropret, P., Miliani, C., Centeno, S.A., Tavzesa, C., Rosi, F., Advances in Raman mapping of works of art (2010) J. Raman Spectrosc., 41, pp. 1462-1467 | ||
| 504 | |a Historia General del Arte en la Argentina (1999) Academia Nacional de Bellas Artes, 8, p. 430. , Buenos Aires, (ISBN 10 9506120005) | ||
| 504 | |a Bell, I.M., Clark, R.J.H., Gibbs, P.J., Raman spectroscopic library of natural and synthetic pigments (Pre- 1850 AD) (1997) Spectrochim. Acta Part A, 53, pp. 2159-2179. , http://www.chem.ucl.ac.uk/resources/raman/index.html | ||
| 504 | |a Burgio, L., Clark, R.J.H., Library of FT-Raman spectra of pigments, minerals, pigment media and varnishes, and supplement to existing library of Raman spectra of pigments with visible excitation (2001) Spectrochim. Acta Part A, 57, pp. 1491-1521 | ||
| 504 | |a Bouchard, M., Smith, D.C., Catalogue of 45 reference Raman spectra of minerals concerning research in art history or archaeology, especially on corroded metals and coloured glass (2003) Spectrochim. Acta Part A, 59, pp. 2247-2266 | ||
| 504 | |a Mayer, R., (1991) The Artist's handbook of materials and techniques, , Faber & Faber, London, (ISBN 9780571143313) | ||
| 504 | |a Bomford, D., Kirby, J., Leighton, J., Roy, A., (1990) Art in the Making, Impressionism, , National Gallery Co Ltd, London, (ISBN: 0300050364) | ||
| 506 | |2 openaire |e Política editorial | ||
| 520 | 3 | |a The painting Proas Iluminadas (Illuminated Bows) by Benito Quinquela Martín is studied by Raman spectroscopy in order to analyse the technique and the pigments employed by the artist: ultramarine blue, carbon black, cadmium-sulphure based compounds for the hue of yellow, orange and red; also zinc white, barium yellow, massicot yellow and viridian were observed. The importance of using different excitation laser lines in the analysis of mixtures of pigments is highlighted. The Raman mapping analysis of cross section samples shows the way the artist composed the ground layer: a lead white stratum over a calcite one. It also allows distinguishing between a mixture of components and strata superposition, both presenting the same appearance under an optical microscope. This paper provides information about the materials and techniques used in a period of Argentine art not studied before from this point of view. © 2012 Elsevier Masson SAS. |l eng | |
| 593 | |a Gerencia de Investigación y Aplicaciones, Comisión Nacional de Energía Atómica, Av. General Paz 1499, (B1650KNA) Buenos Aires, Argentina | ||
| 593 | |a Escuela de Ciencia y Tecnología, Universidad Nacional de San Martín. M., De Irigoyen 3100, (B1650) San Martín Bs. As., Argentina | ||
| 593 | |a Consejo Nacional de Investigaciones, Científicas y Técnicas, Av. Rivadavia 1917, (C1033AAJ) CABA, Argentina | ||
| 593 | |a Dpto. de Física, Facultad de Ciencias Exactas y Naturales, Universidad de Buenos Aires, Intendente Güiraldes 2160, (C1428EGA) Ciudad Universitaria Pab I, Bs. As., Argentina | ||
| 593 | |a CEIRCAB-Tarea UNSAM. Buenos Aires, Argentina Benito Quinquela Martín 1784, (C1296ADJ) CABA, Argentina | ||
| 690 | 1 | 0 | |a CANVAS |
| 690 | 1 | 0 | |a PIGMENTS IDENTIFICATION |
| 690 | 1 | 0 | |a RAMAN MAPPING |
| 700 | 1 | |a Reinoso, M. | |
| 700 | 1 | |a Luda, Marcelo Alejandro | |
| 700 | 1 | |a Marte, F. | |
| 773 | 0 | |d Elsevier Masson SAS, 2012 |g v. 13 |h pp. 469-473 |k n. 4 |p J. Cult. Heritage |x 12962074 |t Journal of Cultural Heritage | |
| 856 | 4 | 1 | |u https://www.scopus.com/inward/record.uri?eid=2-s2.0-84867724755&doi=10.1016%2fj.culher.2012.01.003&partnerID=40&md5=9732d87e3161f2c3944102c267bc80f9 |y Registro en Scopus |
| 856 | 4 | 0 | |u https://doi.org/10.1016/j.culher.2012.01.003 |y DOI |
| 856 | 4 | 0 | |u https://hdl.handle.net/20.500.12110/paper_12962074_v13_n4_p469_Halac |y Handle |
| 856 | 4 | 0 | |u https://bibliotecadigital.exactas.uba.ar/collection/paper/document/paper_12962074_v13_n4_p469_Halac |y Registro en la Biblioteca Digital |
| 961 | |a paper_12962074_v13_n4_p469_Halac |b paper |c PE | ||
| 962 | |a info:eu-repo/semantics/article |a info:ar-repo/semantics/artículo |b info:eu-repo/semantics/publishedVersion | ||
| 999 | |c 70249 | ||