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Journal articles on the topic 'Sculpture polychrome'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Xiao, Wei. "The Technique of Creating Buddhist Polychrome Sculpture." Scientific and analytical journal Burganov House. The space of culture 15, no. 3 (September 10, 2019): 55–74. http://dx.doi.org/10.36340/2071-6818-2019-15-3-55-74.

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This work focuses on the origin, development, evolution of the Chinese art of polychrome sculpture, as well as philosophical ideas, national specificities, cultural content, a religious concept, artistic specificity and aesthetic ideas manifested in this context. The study provides a picture of how the cultural specificities of China are expressed in art and how spirituality is reflected in works of art. An objective description and complete historical research of the mentioned historical sites increase the available information on them and are meant to strengthen measures intended for their protection. The first comprehensive and detailed analysis of the technology for creating Chinese traditional Buddhist polychrome sculpture is presented in the article.The subject-matter of the artworks, the characteristics of the material used to create them, and the sculpting methods are fully analyzed through the method of a thorough study of the current state of the preserved polychrome sculpture in the Shuanglin Monastery. Two thousand and fifty-four statues of polychrome sculpture, the main of which are Buddha (佛祖), Bodhisattva (菩萨), Heavenly Kings (天王) and Arhat (罗汉) are preserved in the monastery. They are divided into two large groups: circular form sculptures and bas-reliefs. Clay, wood, water, straw, and mineral pigments are the main materials used for the creation of Buddhist polychrome sculptures. Modeling and polychrome painting are two main technologies in the process of making sculptures. Modeling consisted of creating a frame, applying coarse clay and sculpting a large-scale figure, applying medium density clay, applying thin layers of clay and creating details, whitening, bas-relief painting with the chalk-glue mixture, gilding, painting, etc. From the point of view of form, the ancient Chinese Buddhist polychrome sculpture as a work of religious art had to correspond to Buddhist canons. Before starting the process of creating a statue, a craftsman had to make a sketch. During modeling, an artist was guided by the secrets of the craft passed down orally from a teacher to his student and summarized as a technical guide by his predecessors. Statue of Skanda. Dynasty Min. Shuanglin Buddhist polychrome sculpture as a form of fine art with an elaborated form and rich spiritual content perfectly combines technology and artistry.

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2

Wrapson, Lucy. "Polychrome Sculpture: Meaning, Form, Conservation." Journal of the Institute of Conservation 40, no. 3 (September 2, 2017): 272–73. http://dx.doi.org/10.1080/19455224.2017.1371424.

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3

Hanspach-Bernal, Ellen. "Polychrome Sculpture: Meaning, Form, Conservation." Journal of the American Institute for Conservation 56, no. 1 (January 2, 2017): 75–77. http://dx.doi.org/10.1080/01971360.2017.1276346.

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4

Casciaro, Raffaele. "Recensione a Montañés, maestro de maestros, catalogo della mostra a cura di Ignacio Cano Rivero, Ignacio Hermoso Romero e María del Valme Muñoz Rubio." Storia della critica d'arte: annuario della S.I.S.C.A. 1 (2020): 9–23. http://dx.doi.org/10.48294/s2020.001.

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The critical review, recent restorations and an excellent photographic campaign have allowed a new reading of the work of Juan Martínez Montañés, the greatest wood sculptor of the Andalusian Renaissance. The Seville exhibition and its catalog explored themes such as the role of the wood arts in 16th and 17th century Andalusia, the contextual meaning of the art of the retable and the importance of polychromy in Montañés’s sculpture. Some attributions appear less convincing and a summary biographical profile that would have facilitated the reading of the essays and catalog entries is missing. This paper takes its cue from the theme of the exhibition to compare the Italian and Spanish critical tradition on polychrome wood sculpture. In Spain the high consideration for this sector of artistic production has always kept it at the center of the interests of the client and critics, unlike what has happened in Italy.

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5

Negri, Anita, Marco Nervo, Stefania Di Marcello, and Daniele Castelli. "Consolidation and Adhesion of Pictorial Layers on a Stone Substrate. The Study Case of the Virgin with the Child from Palazzo Madama, in Turin." Coatings 11, no. 6 (May 23, 2021): 624. http://dx.doi.org/10.3390/coatings11060624.

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The study and the restoration of a polychrome limestone statue representing the Virgin with the Child, from Palazzo Madama in Turin (NW Italy) offered interesting conservation issue related to the polychromy on stone. To preserve the pictorial layers, it was necessary to re-establish the cohesion among the different polychrome layers (original and repainted) and the adhesion between polychrome film and the stone substrate. Particular attention was paid to the choice of intervention materials, selected through a preliminary survey of the scientific literature, and then verified by laboratory tests (tape test, colorimetric test, and permeability test). The most suitable product should to be able to penetrate porosity, to consolidate the layers, to make the pictorial film adhere with the stone surface, and to avoid changes in the colour and in the permeability. The material chosen also had to ensure compatibility with the cleaning method that could only take place after the consolidation of the pictorial layers due to the problematic state of preservation. A range of products, characterised by their small particle size and low viscosity, was tested, and a micro-acrylic resin was selected and successfully applied on the polychromy of the sculpture.

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6

Quintero Balbas, Diego Quintero, Esteban Sánchez-Rodríguez, and Álvaro Zárate Zárate Ramírez. "Holy Corn. Interdisciplinary Study of a Mexican 16th-Century Polychrome Maize Stem, Paper, and Colorín Wood Sculpture." Heritage 4, no. 3 (July 31, 2021): 1538–53. http://dx.doi.org/10.3390/heritage4030085.

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Maize stem sculptures, produced during the 16th and 17th centuries in New Spain (today, Mexico) are a clear example of the convergence of the artistic traditions from the American indigenous populations and European influence. This typology of sculptures is not limited to the Americas, as the examples found in European countries have shown. Therefore, a detailed technological investigation is required to correctly classify them. This work presents the interdisciplinary and multianalytical investigation of a 16th-century sculpture made with a maize stem preserved in Guadalajara city, Mexico. We used a set of techniques, such as CT, SEM-EDX, μ-FTIR, and μ-Raman, to study, from a macro to a micro level, the structure, the polychromy, and the modification of the sculpture. The results showed the use of maize stems, paper, and wood in the construction of the sculpture and the use of the traditional polychromy, as well as the numerous modifications that changed its appearance considerably resulting in its misclassification. We were able to associate the statue with the Cortés workshop (Mexico City region), probably produced in the decade of 1580, and track its liturgical use and historical development through the centuries.

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7

Tomlinson, Janis. "The Sacred Made Real Spanish Polychrome Sculpture." Sculpture Review 59, no. 1 (March 2010): 28–35. http://dx.doi.org/10.1177/074752841005900104.

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8

Nagasawa, Ichiro, W. T. Chase, Tsukasa Shida, Naoki Fujita, and Masako Koyano. "CONSERVATION OF A JAPANESE POLYCHROME BUDDHIST SCULPTURE." Studies in Conservation 45, sup2 (October 2000): 23. http://dx.doi.org/10.1179/sic.2000.45.s2.023.

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9

Manso, Marta, Ana Bidarra, Stéphane Longelin, Sofia Pessanha, Adriana Ferreira, Mauro Guerra, João Coroado, and Luísa Carvalho. "Micro-Analytical Study of a Rare Papier-Mâché Sculpture." Microscopy and Microanalysis 21, no. 1 (September 15, 2014): 56–62. http://dx.doi.org/10.1017/s1431927614013129.

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AbstractThe analysis of a Portuguese “papier-mâché” sculpture depicting Saint Anthony is presented in this case study. Several questions were addressed such as the characteristics of the support, pigments used, and artistic technique in order to establish a possible timeline for its production. Qualitative analyses of the cross-sections and of the paper support were performed by optical microscopy using reflected light. Two polychrome layers from different periods and a rag pulped support were identified on the sculpture. The use of micro X-ray fluorescence and Raman microscopy techniques enabled the differentiation of coloring materials used in both polychromies. Semi-quantitative analyses of the gilded samples were also performed by scanning electron microscopy in combination with energy-dispersive spectroscopy allowing the determination of a common Au–Ag–Cu alloy with differences in the purity of the gold. The identified coloring materials lead us to believe that the sculpture was produced in the 19th century, being overpainted in the first half of the 20th century.

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10

Freitas, Renato P., Valter S. Felix, Marcelo O. Pereira, Ramon S. Santos, Ana L. Oliveira, Elicardo A. S. Gonçalves, Douglas S. Ferreira, André R. Pimenta, Leandro O. Pereira, and Marcelino J. Anjos. "Micro-XRF analysis of a Brazilian polychrome sculpture." Microchemical Journal 149 (September 2019): 104020. http://dx.doi.org/10.1016/j.microc.2019.104020.

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11

Geary, Angela. "Three‐dimensional virtual restoration applied to polychrome sculpture." Conservator 28, no. 1 (January 2004): 20–34. http://dx.doi.org/10.1080/01410096.2004.9995199.

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12

Sidorov, Oleksii, Jon Y. Hardeberg, Sony George, Joshua S. Harvey, and Hannah E. Smithson. "Changes in the Visual Appearance of Polychrome Wood Caused by (Accelerated) Aging." Electronic Imaging 2020, no. 5 (January 26, 2020): 60–1. http://dx.doi.org/10.2352/issn.2470-1173.2020.5.maap-033.

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This work takes a step towards understanding fundamental aspects of appearance change in cultural heritage. Particularly, we concentrate on the case study of the Hedal Madonna – a polychrome wood sculpture dated to the mid-1200s, and an important object of ecclesiastical art and Norwegian heritage. It is covered with a layered coating that gives rise to complex reflective properties and gives the sculpture a unique appearance. We studied the goniometric, spectral, and chromatic properties of mock-ups manufactured according to medieval techniques, and also carried out accelerated aging. We compared the properties of aged and original mock-ups, and found non-trivial changes in polychrome appearance. While the color of the mock-ups did not change significantly, we observed a noticeable change in their glossiness, presumably caused by structural degradation of the surface. We also found a difference in the goniometric properties of the polychrome material’s reflectance as a function of angle. Reflectance distributions that were originally symmetric with respect to angle became asymmetric. These findings will help to understand the original appearance of the Hedal Madonna, as well as aiding the design of appropriate conservation conditions for both the original statue and its recent reconstruction.

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13

Fazio, A. T., L. Papinutti, B. A. Gómez, S. D. Parera, A. Rodríguez Romero, G. Siracusano, and M. S. Maier. "Fungal deterioration of a Jesuit South American polychrome wood sculpture." International Biodeterioration & Biodegradation 64, no. 8 (December 2010): 694–701. http://dx.doi.org/10.1016/j.ibiod.2010.04.012.

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14

Sorace, Flavia, and Marco Bacci. "The reintegration of losses in a wooden late baroque polychrome crucifix: issues and ways to approach the selection of materials." Ge-conservacion 18, no. 1 (December 10, 2020): 283–90. http://dx.doi.org/10.37558/gec.v18i1.823.

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This work will review two different interventions of plastic and pictorial reintegration that a wooden late baroque polychrome sculpture has undergone. The Crucifix of Monte Giove, restored in the laboratory of the University of Urbino Carlo Bo, has unveiled large losses of the wood, some of which have altered the plastic forms and polychromy, and a shrinkage crack that has caused a deep vertical split in the torso and an alteration of the original volume. These issues have presented an opportunity for further discussion and study, relating to the potential solutions for each type of damage: the use of magnets to make the reconstructed elements movable and reversible and a filler for the wood’s crack to solve both the structural and the aesthetic issues. These two choices have been discussed analysing the critical approaches, the materials selection and the aesthetic results.

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15

Valentin, Nieves, Montse Algueró, and Carmen Martin de Hijas. "Evaluation of disinfection techniques for the conservation of polychrome sculpture in Iberian museums." Studies in Conservation 37, no. 1 (January 1992): 165–67. http://dx.doi.org/10.1179/sic.1992.37.1.165.

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16

Westmoreland, Rosamond, and Théo-Antoine Hermanés. "Examination and treatment of a seventeenth-century Spanish polychrome sculpture by Jose Caro." Studies in Conservation 37, no. 1 (January 1992): 175–78. http://dx.doi.org/10.1179/sic.1992.37.1.175.

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17

Valentin, Nieves, Montse Algueró, and Carmen Martin de Hijas. "EVALUATION OF DISINFECTION TECHNIQUES FOR THE CONSERVATION OF POLYCHROME SCULPTURE IN IBERIAN MUSEUMS." Studies in Conservation 37, sup1 (September 1992): 165–67. http://dx.doi.org/10.1179/sic.1992.37.s1.035.

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18

Westmoreland, Rosamond, and Theo-Antoine Hermanes. "EXAMINATION AND TREATMENT OF A SEVENTEENTH-CENTURY SPANISH POLYCHROME SCULPTURE BY JOSE CARO." Studies in Conservation 37, sup1 (September 1992): 175–78. http://dx.doi.org/10.1179/sic.1992.37.s1.037.

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19

Lippert, Sarah J. "Jean-Léon Gérôme and Polychrome Sculpture: Reconstructing the Artist’s Hierarchy of the Arts." Dix-Neuf 18, no. 1 (March 22, 2014): 104–25. http://dx.doi.org/10.1179/1478731814z.00000000047.

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20

Tomasini, Eugenia P., Fernando Marte, Valeria P. Careaga, Carlos Rúa Landa, Gabriela Siracusano, and Marta S. Maier. "Virtuous colours for Mary. Identification of lapis lazuli, smalt and cochineal in the Andean colonial image of Our Lady of Copacabana (Bolivia)." Philosophical Transactions of the Royal Society A: Mathematical, Physical and Engineering Sciences 374, no. 2082 (December 13, 2016): 20160047. http://dx.doi.org/10.1098/rsta.2016.0047.

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The image of Our Lady of Copacabana, a gilded polychrome sculpture carved in maguey wood in 1583, is one of the most important devotions in the Americas. In former research, we have identified the use of gypsum, Armenian bole, cerussite and atacamite in its polychromy. In this study, a red sample taken from the Virgin's tunic and a blue sample extracted from the cloak have been analysed with the aim to identify both pigments and offer insights into the painting technique. Analysis by micro-Raman spectroscopy complemented with scanning electron microscopy–energy dispersive spectroscopy and high-performance liquid chromatography allowed the identification of carmine lake in the red sample. Analysis by micro-Raman spectroscopy of the surface of the blue sample and its cross section showed the presence of smalt—the blue-glass pigment—over a cerussite layer, bathed by a very thin ultramarine layer—from a probable native origin—following a pictorial tradition that would last even until the eighteenth century. This is the first time that lapis lazuli has been scientifically identified in a Spanish American colonial painted layer. This article is part of the themed issue ‘Raman spectroscopy in art and archaeology’.

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21

Larson, J. H. "The treatment and examination of polychrome Chinese sculpture at the Victoria and Albert Museum." Studies in Conservation 33, no. 1 (January 1988): 120–25. http://dx.doi.org/10.1179/sic.1988.33.1.120.

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22

Larson, J. H. "THE TREATMENT AND EXAMINATION OF POLYCHROME CHINESE SCULPTURE AT THE VICTORIA AND ALBERT MUSEUM." Studies in Conservation 33, sup1 (January 1988): 120–25. http://dx.doi.org/10.1179/sic.1988.33.s1.028.

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23

Campbell, Louisa. "Polychromy on the Antonine Wall Distance Sculptures: Non-destructive Identification of Pigments on Roman Reliefs." Britannia 51 (June 25, 2020): 175–201. http://dx.doi.org/10.1017/s0068113x20000124.

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ABSTRACTNon-destructive analytical techniques are now widely and successfully employed in the fields of materials science and conservation. Portable X-ray fluorescence (pXRF) and portable Raman spectrometry have proven particularly valuable for the rapid in-situ analysis of samples, but their applicability for the analysis of archaeological artefacts for which survival of surface treatments can be negatively impacted by post-depositional processes has been underexplored. Roman relief-sculpted monumental inscriptions from the Antonine Wall, commonly referred to as ‘Distance Slabs’, have offered an excellent opportunity to deploy these non-destructive techniques to determine whether they were originally adorned with pigments and, if so, to identify the colours used. This is a revolutionary approach to identifying colours on ancient sandstone sculpture that transforms our understanding of these unique monuments. Elemental composition analysis by pXRF has confirmed evidence for pigments and this is supported by the Raman results, making it possible to develop and reconstruct a palette of colours that originally brought these monuments to life in vibrant polychrome. The research offers a new methodology for identifying pigments on sandstone sculpture and opens new avenues for investigating other classes of material culture alongside the development of bespoke analytical equipment.

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24

Alieva, Olga O. "The Images, Technique and Stylistic Features of the Baroque Style in the Works of the Urals Stonecutters." ICONI, no. 1 (2021): 40–51. http://dx.doi.org/10.33779/2658-4824.2021.1.040-051.

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The article examines the particularities of the development in the Urals region of the genre of fi gurative sculpture of small forms from assembled stone by means of comparison with the art of the Italian masters from the baroque period, the establishers of this type of stonecutting art. The small fi gurative sculpture from assembled stone (polylite), which has developed as an independent genre of the art of stonecutting in the 17th century in Italy, acquired further development not only in Western Europe, but also in Russia, in the large-scale centers of artistic elaboration of stone in the country. In the region of the Ural Mountains, notwithstanding the pre-revolutionary conditions, the mastery of the principles of preparation of anthropomorphic images in the polylite technique took place only during the Soviet period as a particular school of preparation of specialists. At the contemporary stage it becomes possible to observe an active development of this genre in the artworks of the stonecutters of the Urals. The present-day fl ourishing of the polylite fi gurative sculpture of small forms in the works of the Urals-based stonecutters is connected here not only with the culture of elaborating this material and the successive continuity of the skills of working in the polylite technique, but also with the turn to the traditions of polychrome fi gurative compositions of Florentine masters of the Baroque Era, the effectiveness and naturalist qualities of their depiction.

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25

Khandekar, Narayan, and Michael Schilling. "A Technical Examination of a Seventeenth-Century Polychrome Sculpture of St Gines de laLaraby Luisa Roldan." Studies in Conservation 46, no. 1 (March 2001): 23–34. http://dx.doi.org/10.1179/sic.2001.46.1.23.

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26

Bassett, Jane, and Mari-Tere Alvarez. "Process and Collaboration in a Seventeenth-Century Polychrome Sculpture: Luisa Roldán and Tomás de los Arcos." Getty Research Journal 3 (January 2011): 15–32. http://dx.doi.org/10.1086/grj.3.23005385.

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27

Tomasini, Eugenia P., Carlos Rúa Landa, Gabriela Siracusano, and Marta S. Maier. "Atacamite as a natural pigment in a South American colonial polychrome sculpture from the late XVI century." Journal of Raman Spectroscopy 44, no. 4 (December 26, 2012): 637–42. http://dx.doi.org/10.1002/jrs.4234.

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28

Briški, Felicita, Dragica Krstić, Romana Jagić, Felicita Briski, Dragica Krstic, and Romana Jagic. "Microbial Species on a Polychrome Sculpture from a Ruined Church: Evaluation of the Microbicide PBK against Further Biodeterioration." Studies in Conservation 46, no. 1 (2001): 14. http://dx.doi.org/10.2307/1506879.

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29

Khandekar, Narayan, and Michael Schilling. "A Technical Examination of a Seventeenth-Century Polychrome Sculpture of St Gines de la Jara by Luisa Roldan." Studies in Conservation 46, no. 1 (2001): 23. http://dx.doi.org/10.2307/1506880.

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30

Wang, Xin, Gang Zhen, Xinying Hao, Tong Tong, Fangfang Ni, Zhan Wang, Jia Jia, Li Li, and Hua Tong. "Spectroscopic investigation and comprehensive analysis of the polychrome clay sculpture of Hua Yan Temple of the Liao Dynasty." Spectrochimica Acta Part A: Molecular and Biomolecular Spectroscopy 240 (October 2020): 118574. http://dx.doi.org/10.1016/j.saa.2020.118574.

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31

Briški, Felicita, Dragica Krstić, and Romana Jagić. "Microbial Species on a Polychrome Sculpture from a Ruined Church: Evaluation of the Microbicide PBK Against Further Biodeterioration." Studies in Conservation 46, no. 1 (March 2001): 14–22. http://dx.doi.org/10.1179/sic.2001.46.1.14.

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32

Gómez-Morón, Auxiliadora, Pilar Ortiz, Rocio Ortiz, Francesco Colao, Roberta Fantoni, Jacques Castaing, and Javier Becerra. "Multi-Approach Study Applied to Restoration Monitoring of a 16th Century Wooden Paste Sculpture." Crystals 10, no. 8 (August 17, 2020): 708. http://dx.doi.org/10.3390/cryst10080708.

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A multi-approach study has been designed to evaluate the mannerist-style masterpiece of the Christ of the Expiration (Museum Brotherhood, Seville, Spain), a polychrome wooden paste sculpture of the 16th Century that was restored in the Andalusian Historical Heritage Institute (IAPH). During its intervention, a combination of two non-destructive prototypes were used to evaluate the different color in its feet regarding its legs and torso and its cause. A portable equipment that combined X-ray diffraction (XRD) and X-ray fluorescence (XRF) was employed to analyze chemical composition and mineralogical characterization of pigments. This equipment allowed obtaining simultaneously XRF and XRD at the same point without sampling. X-ray techniques identified cerussite, hydrocerussite and barite in different layers. The presence of zinc oxide from a recent restoration was also detected. Additionally, laser induced fluorescence (LIF) was employed to assess the presence of different fluorescent compounds on the surface. This technique showed the use of acrylic products in the feet, loincloth and torso of Christ from previous restoration and allowed to detect spectral difference on the feet and a high ration of the acrylic product on feet, both could be the cause of the differential degradation between the feet and torso. This multi-approach study based on portable and non-destructive techniques allowed restoration monitoring and helped restorers to take decisions without sampling.

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33

Żmuda–Trzebiatowska, Iwona, Anna Fietkiewicz, and G. Sliwinski. "Indoor Atmospheric Degradation of Historical Metal Objects Studied by Spectroscopic Techniques." Solid State Phenomena 183 (December 2011): 233–40. http://dx.doi.org/10.4028/www.scientific.net/ssp.183.233.

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The surface layers resulting from prolonged exposure to the indoor environment and the bulk material of metal artifacts from the collection of National Museum in Gdansk are studied by means of spectroscopic techniques. The composition of the surface layers of the forged iron box lid covered with polychrome (XVI c.), and of the bronze female nude sculpture (antiquity) is obtained from the XRF and µ-Raman spectra. The elemental composition is confirmed by the LIP (Laser Induced Plasma) spectroscopic measurements. The quasi-nondestructive LIP technique applied for stratigraphic sampling performed with an accuracy of ca 2 µm across the multilayer surface coverage reveals such elements as C, Ba and Na in the uppermost layer. From coincidence of the XRF, Raman and LIP data the presence of surface contaminant CaCO3, the corrosion product FeO(OH) and patina Cu2 (OH)3Cl are concluded. It is shown that the complementary spectroscopic analysis allows for the in-depth study of the environmental impact on historical objects and delivers indications for the appropriate strategy of the planned conservation activities. Moreover, from the data collected from the technologies applied in the past, origin, provenance and routing of the artifacts can be concluded.

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34

Samain, Louise, Fernande Grandjean, Gary J. Long, Pauline Martinetto, Pierre Bordet, Jana Sanyova, and David Strivay. "Synthesis and fading of eighteenth-century Prussian blue pigments: a combined study by spectroscopic and diffractive techniques using laboratory and synchrotron radiation sources." Journal of Synchrotron Radiation 20, no. 3 (April 6, 2013): 460–73. http://dx.doi.org/10.1107/s0909049513004585.

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Prussian blue, a hydrated iron(III) hexacyanoferrate(II) complex, is a synthetic pigment discovered in Berlin in 1704. Because of both its highly intense color and its low cost, Prussian blue was widely used as a pigment in paintings until the 1970s. The early preparative methods were rapidly recognized as a contributory factor in the fading of the pigment, a fading already known by the mid-eighteenth century. Herein two typical eighteenth-century empirical recipes have been reproduced and the resulting pigment analyzed to better understand the reasons for this fading. X-ray absorption and Mössbauer spectroscopy indicated that the early syntheses lead to Prussian blue together with variable amounts of an undesirable iron(III) product. Pair distribution functional analysis confirmed the presence of nanocrystalline ferrihydrite, Fe10O14(OH)2, and also identified the presence of alumina hydrate, Al10O14(OH)2, with a particle size of ∼15 Å. Paint layers prepared from these pigments subjected to accelerated light exposure showed a tendency to turn green, a tendency that was often reported in eighteenth- and nineteenth-century books. The presence of particles of hydrous iron(III) oxides was also observed in a genuine eighteenth-century Prussian blue sample obtained from a polychrome sculpture.

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35

Casas, Lluís, Roberta Di Febo, Carme Boix, Albert Egea, Oriol Vallcorba, Ignasi Queralt, Anna Anglisano, Isabel Moreno, and Lorena Andino. "The Colors of the Circus Mosaic from Barcino (Roman Barcelona): Characterization, Provenance, and Technology Issues." Minerals 11, no. 7 (July 9, 2021): 746. http://dx.doi.org/10.3390/min11070746.

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Archaeometric studies on mosaics often concentrate only on glass tesserae, while comprehensive studies including both stone and glass tesserae are scarce; however, both types of tesserae can sometimes bring relevant data to elaborate archaeological knowledge on a studied mosaic. In this paper, a representative set of tesserae from a large polychrome Roman mosaic retrieved in Barcelona (NE Spain) is investigated using various methods. Most of the techniques were directly applied on samples prepared as petrographic thin sections (including polarized-light, cathodoluminescence and electron microscopies, and synchrotron through-the-substrate μX-ray diffraction). The results indicate that, from the ten sampled stone tesserae, there are (i) seven limestones, one of them identified as Alveolina limestone (early Eocene) from the southern Pyrenees (ii) two sandstones from Barcelona’s Montjuïc hill (Miocene) and, (iii) a Carrara white marble from the Apuan Alps (Italy). The profuse presence of tesserae of both local and imported materials with well-known uses in architecture, epigraphy, and sculpture could imply that tesserae were a by-product of their main use. Two different production technologies were identified for the three sampled glass tesserae. The concurrent use of antimony- and tin-based opacifiers is in agreement with the accepted archaeological chronology of the mosaic (4th century AD).

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36

Kuckova, Stepanka, Irina Crina Anca Sandu, Michaela Crhova, Radovan Hynek, Igor Fogas, Vania Solange Muralha, and Andrei Victor Sandu. "Complementary cross-section based protocol of investigation of polychrome samples of a 16th century Moravian Sculpture by optical, vibrational and mass spectrometric techniques." Microchemical Journal 110 (September 2013): 538–44. http://dx.doi.org/10.1016/j.microc.2013.07.002.

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Barajas Rocha, María. "El relieve monumental de la diosa Tlaltecuhtli del Templo Mayor: estudio para la estabilización de su policromía." Intervención Revista Internacional de Conservación Restauración y Museología 1, no. 1 (May 1, 2010): 23–33. http://dx.doi.org/10.30763/intervencion.2012.5.60.

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Heidemann, Stefan, Jean-François de Lapérouse, and Vicki Parry. "The Large Audience: Life-sized Stucco Figures of Royal Princes from the Seljuq Period." Muqarnas Online 31, no. 1 (October 19, 2014): 35–71. http://dx.doi.org/10.1163/22118993-00311p03.

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A pair of almost life-sized polychrome stucco sculptures attributed to the Seljuq period in Iran was closely examined prior to the reinstallation of the Islamic galleries at the Metropolitan Museum of Art in 2011. Iconographical analysis of their crowns and other accoutrements suggests that they represent a pair of royal figures that were once part of a larger decorative program dated to 1050–1150. Given the itinerant nature of the Seljuq court, it is proposed that this stucco decoration was created for a temporary reception structure, or kūshk, probably in western Iran. While scientific analyses have indicated that much if not all of the polychromy is modern, technical examination of the plaster used to create these figures and related examples in other collections is ongoing.

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Palagia, Olga. "Greek sculpture, Archaic, Classical & Hellenistic: new finds & developments 2005–2015." Archaeological Reports 61 (November 2015): 104–14. http://dx.doi.org/10.1017/s0570608415000113.

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Prospective students of Greek sculpture are daunted by the fact that they have to tackle a bibliography in several languages that stretches back to the 19th century and must often employ methods that are deemed old-fashioned. The development of style is, nevertheless, giving way now to the study of materials and techniques, as well as the historical perspectives underlying the production of sculpture at any given period. An additional difficulty is the fact that new material that comes to light is not always easily available for study, and even old material can remain out of bounds due to bureaucratic barriers. Current research tends to concentrate on the detection of polychromy on marble sculptures, a process which is best undertaken in the conservation departments of museums. 3D scanning is another expensive method which is currently being developed in various research directions.

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Bracci, Susanna, Donata Magrini, Rachele Manganelli del Fà, Oana Adriana Cuzman, and Barbara Mazzei. "Brightly Colored to Stay in the Dark. Revealing of the Polychromy of the Lot Sarcophagus in the Catacomb of San Sebastiano in Rome." Heritage 3, no. 3 (July 27, 2020): 858–74. http://dx.doi.org/10.3390/heritage3030047.

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The Lot Sarcophagus is one of the most relevant funerary sculptures of late antiquity (mid-4th century AC). Some of the remarkable aspects are the following (i) it is still preserved in situ; (ii) most of the carved scenes are rarities or unicum; (iii) not all the sculpture work has been completed, which allows us to analyse the executive process; (iv) many traces of polychromy have remained. This paper is focused on the characterization of the residual polychromy by using in-situ non-invasive techniques. Furthermore, few micro samples were taken, to be analysed in laboratory to study the composition of some deposits and to define if a preparatory layer was present under the coloured layer. The data showed that the very rich polychromy of the Lot Sarcophagus was made of Egyptian blue, yellow ochre, and three different types of red: two inorganics (red ochre and cinnabar), and one organic-based (madder lake). Furthermore, some decorations, completely vanished and no longer visible to the naked eye, have been rediscovered, also providing details on the construction phases. During the project, the 3D model of the sarcophagus was acquired, which afterwards was used to map the results of the diagnostic campaign.

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Milbrath, Susan. "Painted Architecture and Polychrome Monumental Sculpture in Mesoamerica. Elizabeth Hill Boone, editor. Dumbarton Oaks Research Library and Collection, Washington, D.C., 1985. 186 pp., figures, plates, bibliographies. $20.00 (cloth)." American Antiquity 52, no. 3 (July 1987): 665. http://dx.doi.org/10.2307/281633.

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Kobro, Katarzyna, and Władysław Strzemiński. "Composing Space/Calculating Space-Time Rhythms." October 156 (May 2016): 12–74. http://dx.doi.org/10.1162/octo_a_00251.

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In this treatise, Katarzyna Kobro and Władysław Strzemiński distinguish between the condition of painting (which features a picture on a support with physical imits) and of sculpture (which involves space, which is limitless) and propose that the ways in which each medium determines its own essence must be fundamentally different. While painting relies on what would later be called “deductive structure,” in sculpture the issue is how to relate the object to space. After conducting a chronological examination of the different ways in which the sculptural object has related to space (in the Ancient, Medieval, Renaissance, and Baroque epochs), Kobro and Strzemiński propose various ways in which sculpture can not only relate to space but to “unite” with it via such solutions as polychrony and a disjunctive syntax through which the object itself eludes the perception of its identity.

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Rigante, Elena C. L., Cosima D. Calvano, Rosaria A. Picca, Simona Armenise, Tommaso R. I. Cataldi, and Luigia Sabbatini. "Multi-Technique Characterization of Pictorial Organic Binders on XV Century Polychrome Sculptures by Combining Micro- and Non-Invasive Sampling Approaches." Applied Sciences 11, no. 17 (August 30, 2021): 8017. http://dx.doi.org/10.3390/app11178017.

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A stony sculptural composition of the Nativity Scene is preserved in Altamura’s Cathedral (Apulia, Italy). This commonly called Apulian “presepe”, attributed to an unknown stonemason, is composed of polychrome carbonate white stone sculptures. While earlier stratigraphic tests have unveiled a complex superimposition of painting layers—meaning that several editions of the sculptures succeeded from the 16th to 20th century—a chemical investigation intended to identify the organic binding media used in painting layers was undertaken. Drawing on current literature, two strategies were exploited: a non-invasive in situ digestion analysis and an approach based on micro-removal of painting film followed by the Bligh and Dyer extraction protocol. Both peptide and lipid mixtures were analyzed by matrix-assisted laser desorption/ionization-mass spectrometry (MALDI-MS) and reversed-phase liquid chromatography coupled to mass spectrometry by electrospray ionization (RPLC-ESI-MS). Attenuated total reflectance Fourier-transform infrared spectroscopy (ATR-FTIR) examinations were also performed on micro-samples of painting films before lipids and proteins extraction. While human keratins were found to be common contaminants of the artwork’s surfaces, traces of animal collagen, siccative oils, and egg white proteins were evidenced in different sampling zones of the sculptures, thus suggesting the use of non-homogeneous painting techniques in the colored layers.

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Formica, Luciano, and Antonietta Gallone. "Polychromed Stone Sculpture: Scientific Examination and Conservation." Studies in Conservation 35, sup2 (January 1990): 11. http://dx.doi.org/10.1179/sic.1990.35.supplement-2.11.

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Ebert, Bettina. "Biographies carved in wood: Turning points in the lives of two medieval Virgin sculptures." Journal of Material Culture 24, no. 2 (November 21, 2018): 144–75. http://dx.doi.org/10.1177/1359183518811355.

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By comparing two medieval polychrome sculptures of a combined enthroned Virgin and nativity scene, important and hitherto unnoticed stages in their object biographies can be described. Provenance and attribution are addressed by virtue of stylistic and material comparisons, and the sculptures’ wider iconographic, social, historical and spatial contexts are outlined. The article demonstrates how conservation science investigations feed into knowledge regarding the sculptures’ material composition, use, transformation and treatment histories. Thus, the applicability of the conservator’s approach to examining objects and shedding light on wider historical contexts is outlined by virtue of this case study.

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Zhong, Zhou Bao. "The Conservation of Ancient Chinese Polychrome Clay Sculptures." Studies in Conservation 35, sup2 (January 1990): 20. http://dx.doi.org/10.1179/sic.1990.35.supplement-2.20.

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Sobieczky, Elisabeth. "White in Medieval Sculpture Polychromy – Iconography, Reception, Restoration." Zeitschrift für Kunstgeschichte 82, no. 3 (October 25, 2019): 299–320. http://dx.doi.org/10.1515/zkg-2019-3002.

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Dei, Luigi, Enzo Ferroni, Piero Baglioni, Andreas Ahle, Anna Maria Maetzke, Agnese Parronchi, and Marcello Spampinato. "MEDIAEVAL POLYCHROME SCULPTURES IN AREZZO: HISTORY AND PAINTING TECHNIQUE." Studies in Conservation 43, sup2 (September 1998): 3. http://dx.doi.org/10.1179/sic.1998.supplement-2.003.

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Vuga, Martina, and Miladi Makuc Semion. "Typical conservation problems of polychrome wooden sculptures in Slovenia." Conservar Património 22 (2015): 17–27. http://dx.doi.org/10.14568/cp2015009.

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Barbet, Alix. "Polychromie des nouvelles sculptures préromaines de Nîmes (Gard)." Documents d'Archéologie Méridionale 15, no. 1 (1992): 96–102. http://dx.doi.org/10.3406/dam.1992.1056.

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