University Analytical Centre, Chemical & Forensic Sciences, University of Bradford, Bradford, West Yorkshire, UK.
Spectrochim Acta A Mol Biomol Spectrosc. 2011 Oct;80(1):14-20. doi: 10.1016/j.saa.2010.12.023. Epub 2010 Dec 16.
The Renaissance represented a major advance in painting techniques, subject matter, artistic style and the use of pigments and pigment mixtures. However, most pigments in general use were still mineral-based as most organic dyes were believed to be fugitive; the historical study of artists' palettes and recipes has assumed importance for the attribution of art works to the Renaissance period. Although the application of diagnostic elemental and molecular spectroscopic techniques play vital and complementary roles in the analysis of art works, elemental techniques alone cannot definitively provide the data needed for pigment identification. The advantages and limitations of Raman spectroscopy for the definitive diagnostic characterisation of yellow pigments that were in use during the Renaissance is demonstrated here in consideration of heavy metal oxides and sulphides; these data will be compared with those obtained from analyses of synthetic yellow pigments that were available during the eighteenth and nineteenth Centuries which could have been used in unrecorded restorations of Renaissance paintings.
文艺复兴时期在绘画技巧、题材、艺术风格以及颜料和颜料混合物的使用方面都取得了重大进展。然而，由于大多数有机染料被认为是不持久的，因此仍在普遍使用矿物基颜料；艺术家调色板和配方的历史研究对于将艺术作品归因于文艺复兴时期具有重要意义。虽然诊断元素和分子光谱技术的应用在艺术品分析中起着至关重要和互补的作用，但元素技术本身并不能明确提供用于颜料识别的数据。这里考虑了重金属氧化物和硫化物，展示了拉曼光谱技术在确定文艺复兴时期使用的黄色颜料的明确诊断特征方面的优势和局限性；这些数据将与从十八、十九世纪可用的合成黄色颜料分析中获得的数据进行比较，这些颜料可能用于未记录的文艺复兴绘画修复中。
