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The Influence of Glass in the Color of Red Lakes Layers in Oil Painting: A Case Study in a Pictorial Series Attributed to Murillo Located in Guadalajara, Mexico

Published online by Cambridge University Press:  16 August 2012

Elsa Arroyo ,
Adriana Cruz Lara ,
Manuel Espinosa ,
José Luis Ruvalcaba ,
Sandra Zetina ,
Elsa Hernández  and
Shannon Taylor
Elsa Arroyo
Affiliation:
Laboratorio de Diagnóstico de Obras de Arte, Instituto de Investigaciones Estéticas, Universidad Nacional Autónoma de México, Circuito Mario de la Cueva s/n, Ciudad Universitaria, Mexico DF 04510, Mexico. e-mail: elsa2001@gmail.com
Adriana Cruz Lara
Affiliation:
Posgrado en Historia del Arte, Facultad de Filosofía y Letras, Universidad Nacional Autónoma de México, México DF, Mexico. e-mail: acruzlara2000@yahoo.com.mx
Manuel Espinosa
Affiliation:
Instituto Nacional de Investigaciones Nucleares, Carr. México-Toluca s/n La Marquesa, Ocoyoacac, 52750, Mexico. e-mail: meep@nuclear.inin.mx
José Luis Ruvalcaba
Affiliation:
Instituto de Física, Universidad Nacional Autónoma de México. Mexico DF, Mexico. e-mail: sil@fisica.unam.mx
Sandra Zetina
Affiliation:
Laboratorio de Diagnóstico de Obras de Arte, Instituto de Investigaciones Estéticas, Universidad Nacional Autónoma de México, Circuito Mario de la Cueva s/n, Ciudad Universitaria, Mexico DF 04510, Mexico. e-mail: elsa2001@gmail.com
Elsa Hernández
Affiliation:
Laboratorio de Diagnóstico de Obras de Arte, Instituto de Investigaciones Estéticas, Universidad Nacional Autónoma de México, Circuito Mario de la Cueva s/n, Ciudad Universitaria, Mexico DF 04510, Mexico. e-mail: elsa2001@gmail.com
Shannon Taylor
Affiliation:
Instituto de Física, Universidad Nacional Autónoma de México. Mexico DF, Mexico. e-mail: sil@fisica.unam.mx
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Abstract

This paper discuss the presence of powdered glass and quartz integrated in the red lake layers of two paintings attributed to the Sevillian painter Bartolome Esteban Murillo that belongs to the Guadalajara’s Regional Museum’s art collection. A laboratory experimental reproduction of the Sevillian painting technique was made using three different lakes (cochineal, madder lake and brazilwood) mixed with four varieties of glass to explore the optical properties and the influence of the transparent and translucent aggregates into the oil paint layers. The experimental reproductions were analyzed using ultraviolet-visible spectroscopy, optical and fluorescence microscopy and scanning electron microscopy (SEM-EDX). A comparison between the originals and the reproduced red lakes layers was carried out to understand the artistic process of Murillo’s color application. Preliminary results suggest that glass was not used as a siccative agent as the historical treatises mentioned but mainly as an additive to increase brightness, thickness and color saturation of the red lake layers related to the artist’s intention.

Keywords

gas chromatographyinfrared (IR) spectroscopydye
Type
Articles
Information
MRS Online Proceedings Library (OPL) , Volume 1374: Symposium S8 – Cultural Heritage and Archaeological Issues in Materials Science , 2012 , pp. 61 - 72
Copyright
Copyright © Materials Research Society 2012

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References

REFERENCES

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