The study on the Wedding Feast at Cana by Jacopo Tintoretto was conducted, initially, with a non-invasive XRF technique that allowed the identification of a somewhat rich palette of pigments. On the basis of information acquired with XRF analysis it was possible to control the sampling procedure by minimizing the number of samples required for subsequent chemical and stratigraphic investigation. The stratigraphic analyses showed that the painting lacks the preparatory layer and that the color was applied directly to the canvas without the presence of the traditional gesso and glue mixture which can be found in many of Tintoretto’s other works. Moreover, the investigations revealed the existence of many pigments available at that time in Venice, i.e. lead white, lead yellow and type II tin (or giallolino), orpiment, vermilion, verdigris, copper resin, black charcoal and the inevitable natural browns and yellow and red ochres. Two blue pigments were found: natural ultramarine blue, derived from ground lapis lazuli and smalt blue
Le nozze di Cana - I materiali e la tecnica pittorica alla luce delle indagini scientifiche, Jacopo Tintoretto - in The Wedding Feast at Cana - Materials and Painting Technique in the Light of New Scientific Investigations, / Casoli, Antonella. - STAMPA. - (2020), pp. 100-119.
Le nozze di Cana - I materiali e la tecnica pittorica alla luce delle indagini scientifiche, Jacopo Tintoretto - in The Wedding Feast at Cana - Materials and Painting Technique in the Light of New Scientific Investigations,
ANTONELLA CASOLI
2020-01-01
Abstract
The study on the Wedding Feast at Cana by Jacopo Tintoretto was conducted, initially, with a non-invasive XRF technique that allowed the identification of a somewhat rich palette of pigments. On the basis of information acquired with XRF analysis it was possible to control the sampling procedure by minimizing the number of samples required for subsequent chemical and stratigraphic investigation. The stratigraphic analyses showed that the painting lacks the preparatory layer and that the color was applied directly to the canvas without the presence of the traditional gesso and glue mixture which can be found in many of Tintoretto’s other works. Moreover, the investigations revealed the existence of many pigments available at that time in Venice, i.e. lead white, lead yellow and type II tin (or giallolino), orpiment, vermilion, verdigris, copper resin, black charcoal and the inevitable natural browns and yellow and red ochres. Two blue pigments were found: natural ultramarine blue, derived from ground lapis lazuli and smalt blueFile | Dimensione | Formato | |
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