Abstract
Ion Marinescu V�lsan (1865 - 1936) was a Romanian painter belonging to the modern Romanian art from the beginning of the 20th century. Many of the paintings painted by him have picturesque landscapes in his native town, Malureni, Arges County. He was influencedby Nicolae Grigorescu. Village from Muscel painting, by Ion Marinescu V�lsan, was examined by several non-invasive techniques (Vis, UV &grazing light examination, IR reflectography, optical microscopy and X-rays fluorescence spectrometry) to obtain information on its chromatic palette and state of conservation. Zinc white, Lead white, Prussian blue, Cinnabar, Chrome yellow, Yellow ochre, Red ochre, Viridian and Burnt umber were used as the pigments, while the preparation layer is from Chalk, Zinc white, Lead white, identified by XRF analysis.
Highlights
The work of art Village from Muscel, undated and signed I
The state of conservation and the chromatic palette of the studied painting were determined based on an analytical protocol using non-invasive techniques: Vis, UV & grazing light examination, IR reflectography, optical microscopy and Xrays fluorescence spectrometry [1-6]
Ion MarinescuVâlsan uses in Village from Muscel the following pigments: Zinc white, Lead white, Prussian blue, Cinnabar, Chrome yellow, Yellow ochre, Red ochre, Viridian and Burnt umber, identified by X-rays fluorescence spectrometry (XRF) analysis
Summary
The work of art Village from Muscel, undated and signed I. Made in oil painting on canvas technique, part of the collection of the Art Museum in Constanta, presents a landscape of countryside with low wooden houses, low walls, light roof. The state of conservation and the chromatic palette of the studied painting were determined based on an analytical protocol using non-invasive techniques: Vis, UV & grazing light examination, IR reflectography, optical microscopy and Xrays fluorescence spectrometry [1-6]. Experimental part The areas analyzed by different analytical techniques were selected observing the requirements for works-ofart analysis and the complex composition of the painting. Visible (Vis), Ultraviolet (UV) and grazing light examination The surface of the painting was thoroughly examined in VIS and UV wavelength domains, using a SMZ 800 NIKON stereomicroscope, a lamp with magnifier and fluorescent light CTS ART LUX 20 and a lamp with magnifier and black light CTS ART LUX 70. Visible fluorescence with UV excitation was useful for gaining information regarding the degradation of varnish, the retouches and other interventions on the painting surface
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