Pigment reference word file

advertisement

1 Bell, I. M., Clark, R. J. H., & Gibbs, P. J. (1997). Raman spectroscopic library of natural and synthetic pigments (pre- ≈ 1850 AD). SpectrochimicaActa Part A: Molecular and Biomolecular

Spectroscopy, 53(12), 2159 –2179.

2 Chan, T. Y. A., &Odlyha, M. (1995). The effect of relative humidity and pigment type on paint films. Thermochimica Acta, 269-270, 755 –767.

3 Burgio, L., Clark, R. J. H., & Gibbs, P. J. (1999). Pigment identification studiesin situ of

Javanese, Thai, Korean, Chinese and Uighur manuscripts by Raman microscopy. Journal of

Raman Spectroscopy, 30(3), 181 –184.

4 Smith, G. D., Burgio, L., Firth, S., & Clark, R. J. H. (2001). Laser-induced degradation of lead pigments with reference to Botticelli’s Trionfod’Amore. AnalyticaChimica Acta, 440(2), 185–188.

5 Mass, J. L., Opila, R., Buckley, B., Cotte, M., Church, J., & Mehta, A. (2012). The photodegradation of cadmium yellow paints in Henri Matisse’s Le Bonheur de vivre (1905–1906).

AppliedPhysics A .

6 B. Leone, A. Burnstock, C. Jones, P. Hallebeek, J. Boon, K. Keune, in ICOM Committee for

Conservation 14th Triennial Meeting (James and James, The Hague, 2005), pp. 803 –813.

7 Dei, L., Ahle, A., Baglioni, P., Dini, D., &Ferroni, E.(1998). GREEN DEGRADATION PRODUCTS

OF AZURITE IN WALL PAINTINGS: IDENTIFICATION AND CONSERVATION TREATMENT,

Studies in Conservation, Vol. 43, No. 2, pp. 80-88.

8 Giovannoni, S.,MatteiniM., & Moles, A. (1990). Studies and Developments concerning the

Problem of Altered Lead Pigments in Wall Painting, Studies in Conservation, Vol. 35, No. 1, pp.

21-25.

9 Saunders, D., (2000). Pollution and the National Gallery. National Gallery technical bulletin, volume 21,77-94.

10 Van der Snickt, G., Dik, J., Cotte, M., Janssens, K., Jaroszewicz, J., De Nolf, W., Groenewegen,

J., & Van der Loeff, L. (2009). Characterization of a Degraded Cadmium Yellow (CdS) Pigment in an Oil Painting by Means of Synchrotron Radiation Based X-ray Techniques,Analytical

Chemistry, 81, pp. 2600 –2610.

11 Saunders, D. & Kirby, J., (1994). Light-induced colour changes in red and yellow lake pigments,

National Gallery technical bulletin, volume 15, pp. 79-97.

12 Burgio, L., Clark, R. J. H. & Firth S. (2001). Raman spectroscopy as a means for the identification of plattnerite (PbO

2

), of lead pigments and of their degradation products, Analyst,

126, 222 –227.

13 Saunders, D. (1995). Photographic flash: threat or nuisance? National Gallery technical bulletin, volume 16, pp. 66-72.

14 Corbeil, M.-C. &Helwig K., (1995). An Occurrence of Pararealgar as an Original or Altered

Artists' Pigment. Studies in Conservation, Vol. 40, No. 2, pp. 133-138.

15 Kirby, J. & Saunders, D., (2004). Fading and colour change of Prussian Blue: methods of manufacture and the influence of extenders. National Gallery technical bulletin, volume 25, 73-

99.

16 Saunders, D.&Kirby, J., (2004). The effect of relative humidity on artists’ pigments. National

Gallery technical bulletin, volume 25, 62-72.

17 Odlyha, M., Cohen, N. S., Foster, G. M., & West, R. H. (2000). Dosimetry of paintings: determination of the degree of chemical change in museum exposed test paintings (azurite tempera) by thermal and spectroscopic analysis. Thermochimica Acta, 365(1-2), 53 –63.

18 Odlyha, M., Cohen, N. S. & Foster, G. M., (2000). Dosimetry of paintings: determination of the degree of chemical change in museum exposed test paintings (smalt tempera) by thermal analysis.ThermochimicaActa, 365, 35-44.

19 Mattei, E., De Vivo, G., De Santis, A., Gaetani, C., Pelosi, C., &Santamaria, U. (2008). Raman spectroscopic analysis of azurite blackening. Journal of Raman Spectroscopy , 39 (2), 302 –306.

20 Franceschi, C. M., Costa, G. A., &Franceschi, E. (2010). Aging of the paint palette of Valerio

Castello (1624 –1659) in different paintings of the same age (1650–1655). Journal of Thermal

Analysis and Calorimetry , 103 (1), 69 –73.

21 Van Loon, A., & Boon, J. J. (2004). Characterization of the deterioration of bone black in the 17th century Oranjezaal paintings using electron-microscopic and micro-spectroscopic imaging techniques. SpectrochimicaActa Part B: Atomic Spectroscopy, 59(10-11), 1601 –1609.

22 Chappé, M., Hildenhagen, J., Dickmann, K., &Bredol, M. (2003). Laser irradiation of medieval pigments at IR, VIS and UV wavelengths. Journal of Cultural Heritage, 4(null), 264 –270.

23 Vincent, D. & Leach, B. (2004).The Occurrence and Alteration of Realgar on Ancient Egyptian

Papyri, Studies in Conservation, Volume 49, Number 2, pp. 73-84(12).

24 Rutherford, J. G. & West Fitzhugh, E. (1966). Azurite and Blue Verditer, Studies in Conservation,

Vol. 11, No. 2, pp. 54-61.

25 Scott, D.A., Dennis, M., Khandekar, N., Keeney, J., Carson D. & Swartz Dodd, L., (2003).An

Egyptian Cartonnage of the Graeco-Roman Period: Examination and Discoveries, Studies in

Conservation, Vol. 48, No. 1, pp. 41-5

26 Berke, H.,The invention of blue and purple pigments in ancient times.

27 Švarcová, S., Hradil, D., Hradilová, J., Kočí, E. &Bezdička, P., (2009). Micro-analytical evidence of origin and degradation of copper pigments found in Bohemian Gothic murals, Analytical and

Bioanalytical Chemistry, 395:2037 –2050.

28 Pollard, A. M., Thomas, R. G.& Williams, P.A., (1989).Synthesis and stabilities of the basic copper(II) chlorides atacamite, paratacamite and botallackite, Mineralogical Magazine, Vol. 53, pp. 557-563

29 Luxán, M., &Dorrego, F. (1999). Reactivity of earth and synthetic pigments with linseed oil.

Surface Coatings International, 82(8), 390 –402.

30 Clark, R. J. H. (2002). Pigment identification by spectroscopic means: an arts/science interface.

ComptesRendusChimie, 5(1), 7 –20.

31 Lau, D., Kappen, P., Strohschnieder, M., Brack, N., &Pigram, P. J. (2008). Characterization of green copper phase pigments in Egyptian artifacts with X-ray absorption spectroscopy and principal components analysis. SpectrochimicaActa Part B: Atomic Spectroscopy, 63(11), 1283 –

1289.

32 Chaplin, T. D., Clark, R. J. H., & Scott, D. A. (2006). Study by Raman microscopy of nine variants of the green-blue pigment verdigris. Journal of Raman Spectroscopy, 37(1-3), 223 –229.

33 Plenderleith,H.J.,Werner, A.E.A., (1971). The Conservation of Antiquities and Works of Art.

Oxford University Press: Oxford.

34 Kotulanová, E., Schweigstillová, J., Švarcová, S.,Hradil, D., BezdičkaP. &Grygar, T.,

(2009).WALL PAINTING DAMAGE BY SALTS: CAUSES AND MECHANISMS, Acta Research

Reports, No. 18, 27 –31.

35 Miguel, C., Claro, A., Gonçalves, A. P., Muralha, V. S. F., &Melo, M. J. (2009). A study on red lead degradation in a medieval manuscript Lorvão Apocalypse (1189). Journal of Raman

Spectroscopy, 40(12), 1966 –1973.

36 Sotiropoulou, S., Perdikatsis, V., Apostolaki, C., Karydas, A. G., Devetzi, A., &Birtacha, K.

(2010). Lead pigments and related tools at Akrotiri, Thera, Greece. Provenance and application techniques. Journal of Archaeological Science, 37(8), 1830 –1840.

37 Brommelle, N. S., (1964).The Russell and Abney Report on the Action of Light on Water

Colours, Studies in Conservation, Vol. 9, No. 4, pp. 140-15.

38 Kühn, H., (1968).Lead-Tin Yellow, Studies in Conservation, Vol. 13, No. 1, pp. 7-33.

39 Doménech-Carbó, M. T., Edwards, H. G. M., Doménech-Carbó, A., Hoyo-Meléndez, J. M., &

CruzCañizares, J. (2012). An authentication case study: Antonio Palomino versus Vicente Guillo paintings in the vaulted ceiling of the Sant Joan del Mercat church (Valencia, Spain). Journal of

Raman Spectroscopy, 1250-1259.

40 Dawson, T. L. (2007). Examination, conservation and restoration of painted art. Coloration

Technology, 123(5), 281 –292.

41 Leone B., Burnstock A., Jones C., Hallebeek P., Boon J. and Keune K., The deterioration of cadmium sulphide yellow artists’ pigments

42 Snickt, G. Van Der, Dik, J., Cotte, M., Janssens, K., &Jaroszewicz, J. (2009). Characterization of a Degraded Cadmium Yellow ( CdS ) Pigment in an Oil Painting by Means of Synchrotron

Radiation Based X-ray Techniques, 1(7), 2600 –2610.

43 Mass, J. L., Opila, R., Buckley, B., Cotte, M., Church, J., & Mehta, A. (2012). The photodegradation of cadmium yellow paints in Henri Matisse’s Le Bonheur de vivre (1905–1906).

Applied Physics A.

44 Pérez-Alonso, M., Castro, K., &Madariaga, J. M. (2006). Investigation of degradation mechanisms by portable Raman spectroscopy and thermodynamic speciation: the wall painting of Santa María de Lemoniz (Basque Country, North of Spain). Analyticachimicaacta, 571(1),

121 –8.

45 Naumova, M. M., &Pisareva, S. A. (2013). A Note on the Use of Blue and Green Copper

Compounds in Paintings, 39(4), 277 –283.

46 Aceto, M., Agostino, A., Boccaleri, E., Crivello, F., &Garlanda, A. C. (2006). Evidence for the degradation of an alloy pigment on an ancient Italian manuscript. Journal of Raman

Spectroscopy, 37(10), 1160 –1170.

47 Gilbert, B., Lepot, L., &Deno, S. (2006). The technique of the mural paintings of the Tournai

Cathedral. Journal of Raman Spectroscopy, 37(10), 1098 –1103.

48 Castro, K., Sarmiento, A., Martínez-Arkarazo, I., MAdariaga, J. M. &Fernández, L. A., (2008).

Green Copper pigments biodegradation in Cultural heritage: from malachite to moolooite, thermodynamic modeling, X-ray Fluorescence, and Raman evidence. Analytical Chemistry, 80,

4103-4110.

49 Correia, A. M., Clark, R. J. H., Ribeiro, M. I. M., & Duarte, M. L. T. S. (2007). Pigment study by

Raman microscopy of 23 paintings by the Portuguese artist Henrique Pousao, 1(July), 1390 –

1405.

50 Keune, K., Boon, J.J.; Boitelle, R.; Shimadzu, Y., (2012). Degradation of Emerald green in oil paint and its contribution to the rapid change in colour of the Descente des vaches (1834 –1835) painted by Théodore Rousseau, Studies in Conservation.

51 Rodrı, M. D., Castro, K., Sarmiento, A., Princi, E., &Pe, M. (2007). Vibrational spectroscopy at the service of industrial archaeology : Nineteenth-century wallpaper, 26(5).

52 Burgio, L., Melessanaki, K., Doulgeridis, M., & Anglos, D. (2001). Pigment identification in paintings employing laser induced breakdown spectroscopy and Raman, 905 –913.

53 Scott, D. A., Dennis, M., Khandekar, N., Keeney, J., Carson, D., Scott, D. A., & Dennis, M.

(2013). An Egyptian of the CartonnageGraeco-Roman Period.

54 Tomasini, E. P., Landa, R., & Maier, M. S. (2012). Atacamite as a natural pigment in a South

American colonial polychrome sculpture from the late XVI century, (November).

55 Bordalo R., Morais P. J., Young C. R. T., Santos, L. F. &Almeida R. M., (2012). Characterisation of laser-induced physical alteration of pigmented oil layers, e-Preservation Science, 9, 47-59.

56 Daniilia, S., Sotiropoulou, S., Bikiaris, D., Salpistis, C., Karagiannis, G., Chryssoulakis, Y., Price,

B. A., et al. (2000). Panselinos’ Byzantine wall paintings in the Protaton Church, Mount Athos,

Greece: a technical examination. Journal of Cultural Heritage, 1(2), 91 –110.

57 Pouli, P., Emmony, D., Madden, C., & Sutherland, I. (2001). Analysis of the laser-induced reduction mechanisms of medieval pigments. Applied Surface Science, 173(3-4), 252 –261.

58 Cooper, M., Fowles, P.&Tang, C. (2002). Analysis of the laser-induced discoloration of lead white pigment. Applied Surface Science, 201(1-4), 75 –84.

59 Ford B., MacLeod I. &Haydock P., (1994). Rock art pigments from Kimberley region of Western

Australia, Studies in Conservation, Vol. 39, No. 1, pp. 57-69.

60 Kotulanová, E., Bezdička, P., Hradil, D., Hradilová, J., Švarcová, S., &Grygar, T. (2009).

Degradation of lead-based pigments by salt solutions. Journal of Cultural Heritage, 10(3), 367 –

378.

61 Sansonetti, A., &Realini, M. (2000). Nd:YAG laser effects on inorganic pigments. Journal of

Cultural Heritage, 1, S189 –S198.

62 Minopoulou, E. (2009). A study of smalt and red lead discolouration in Antiphonitis wall paintings in Cyprus. Applied Physics A, 96(3), 701 –711.

63 Sotiropoulou, S., Daniilia, S., Miliani, C., Rosi, F., Cartechini, L., &Papanikola-Bakirtzis, D.

(2008). Microanalytical investigation of degradation issues in Byzantine wall paintings. Applied

Physics A, 92(1), 143 –150.

64 Smith, G. D., & Clark, R. J. H. (2002). The role of H

2

S in pigment blackening. Journal of Cultural

Heritage, 3(2), 101 –105.

65 De Santis, A., Mattei, E., &Pelosi, C. (2007). Micro-Raman and stratigraphic studies of the paintings on the “Cembalo” model musical instrument (A.D. 1650) and laser-induced degradation of the detected pigments. Journal of Raman Spectroscopy, 38(10), 1368 –1378.

66 Cotte, M.,Susini, J., Metrich, N., Moscato, A.,Gratziu, C., Bertagnini A., &Pagano, M. (2006).

Blackening of Pompeian Cinnabar Paintings: X-ray Microspectroscopy Analysis Analytical

Chemistry 78, 7484-7492.

Download