Abstract
The present paper illustrates the results of a diagnostic investigation performed on the oil on canvas painting “The Glory of St. Barbara” (1680–1688) by Mattia Preti. The painting is located inside the St. Barbara Church in Taverna (Catanzaro, Italy), the city that gave birth to the artist. In situ, non-invasive studies, by applying X-ray fluorescence (XRF) spectroscopy, along with laboratory micro-destructive analytical investigations, by employing electron probe microanalyses (EPMA) coupled with energy-dispersive spectrometry (EDS) and micro-Raman (µ-Raman) spectroscopy, were combined to retrieve the color palette and identify the painting technique and style of the famous master. As a result of this multi-scale characterization, an extraordinary pictorial technique was revealed, enriching knowledge about one of the oldest pictorial traditions outlined by Mattia Preti, and solving doubts still existing about many of his investigated artworks. Moreover, the achieved results represent useful and essential tools to address management issues of the artwork, by providing valuable information for planning and monitoring future restoration interventions of the canvas.
Highlights
IntroductionConservation strategies of ancient paintings still represent current challenges, especially for restorers and conservators who approach the study of artworks to safeguard them from the common processes of deterioration and ageing, mainly due to the passage of time
This paper shows the results of a non-invasive or, at least, micro-invasive, multi-scale analytical approach to the study of an ancient painted canvas, with particular focus on analytical approach to the study of an ancient painted canvas, with particular focus on the the composition of pigments and preparatory layers, as well as their alteration products
The results achieved by X-ray fluorescence (XRF) and electron probe microanalyses (EPMA)-energy-dispersive spectrometry (EDS) techniques, even revealing, on one side, an overall agreement between each other, clearly underline, on the other side, the necessity to apply further analytical techniques to overcome the limitation associated with elemental analysis
Summary
Conservation strategies of ancient paintings still represent current challenges, especially for restorers and conservators who approach the study of artworks to safeguard them from the common processes of deterioration and ageing, mainly due to the passage of time To this end, acquiring information on the painting technique and the raw materials (i.e., pigments, preparatory layers, etc.) is, firstly, decisive to understand the choices and. Aimed at the material knowledge of the work, as a necessary specific in-depth study in order to plan a consequent and delicate conservative intervention capable of restoring a correct reading of it, scientific investigations became mandatory These can represent at the same time a profitable opportunity for further verification and of the extension of numerous repaintings, the result of previous conservation interventions. The final goal is to contribute to the creation of a database that collects the technical aspects of the Maltese period of Preti in order to complete the understanding of the number of works present in many museums in Italy and abroad
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