De Keyser Nouchka, Broers Fréderique, Vanmeert Frederik, De Meyer Steven, Gabrieli Francesca, Hermens Erma, Van der Snickt Geert, Janssens Koen, Keune Katrien
University of Antwerp, Department of Physics, AXIS Research Group, Groenenborgerlaan 171, B-2010 Antwerp, Belgium.
Rijksmuseum, Museumstraat 1, Amsterdam, 1070 DN, Netherlands.
Sci Adv. 2022 Jun 10;8(23):eabn6344. doi: 10.1126/sciadv.abn6344. Epub 2022 Jun 8.
Over time, artist pigments are prone to degradation, which can decrease the readability of the artwork or notably change the artist's intention. In this article, the visual implication of secondary degradation products in a degraded yellow rose in a still life painting by A. Mignon is discussed as a case study. A multimodal combination of chemical and optical imaging techniques, including noninvasive macroscopic x-ray powder diffraction (MA-XRPD) and macroscopic x-ray fluorescence imaging, allowed us to gain a 3D understanding of the transformation of the original intended appearance of the rose into its current degraded state. MA-XRPD enabled us to precisely correlate in situ formed products with what is optically visible on the surface and demonstrated that the precipitated lead arsenates and arsenolite from the yellow pigment orpiment and the light-induced fading of an organic yellow lake irreversibly changed the artist's intentional light-shadow modeling.
随着时间的推移，艺术家使用的颜料容易降解，这会降低艺术品的可读性，或者显著改变艺术家的创作意图。在本文中，以A. 米尼翁一幅静物画中一朵褪色的黄玫瑰为例，探讨了二次降解产物的视觉影响。化学和光学成像技术的多模态组合，包括非侵入式宏观X射线粉末衍射（MA-XRPD）和宏观X射线荧光成像，使我们能够从三维角度了解玫瑰从最初的预期外观转变为当前降解状态的过程。MA-XRPD使我们能够将原位形成的产物与表面光学可见的现象精确关联，并表明黄色颜料雌黄中沉淀出的砷酸铅和白砷石以及有机黄色色淀的光致褪色不可逆地改变了艺术家有意营造的光影造型。
