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Journal articles on the topic 'Yellow ochre'

Author: Grafiati

Published: 2 June 2025

Last updated: 31 July 2025

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1

Rakow, G., J. P. Raney, J. Relf-Eckstein, and D. Rode. "AC Pennant, AC Base and Andante yellow condiment mustard cultivars." Canadian Journal of Plant Science 89, no. 2 (2009): 331–36. http://dx.doi.org/10.4141/cjps08145.

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Yellow condiment mustard (Sinapis alba L.) occupies about 50% of the total acreage of condiment mustard grown in western Canada. Breeding efforts at Agriculture and Agri-Food Canada in Saskatoon (AAFC) from 1987 to 2001 resulted in the registration of three new cultivars. AC Pennant, AC Base and Andante had 8, 7 and 6% higher grain yield, respectively, than the check cultivar Ochre, on average over 28 location years in 3 yr of condiment mustard Co-op tests 1999–2001. All three cultivars had similar maturity and plant height to Ochre. Andante had lower fixed oil than Ochre while AC Base had low

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Secco, Michele, Leslie Rainer, Kiernan Graves, et al. "Ochre-Based Pigments in the Tablinum of the House of the Bicentenary (Herculaneum, Italy) between Decorative Technology and Natural Disasters." Minerals 11, no. 1 (2021): 67. http://dx.doi.org/10.3390/min11010067.

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Ochre-based pigments have been employed since the first artistic expressions of mankind, with widespread diffusion during the Roman civilization. Such prominent use influenced their technological development, focused on functional and aesthetic optimization through complex manufacturing procedures. Furthermore, their appearance is also influenced by degradation processes, sometimes driven by natural disasters such as the eruption of Mount Vesuvius in 79 AD, in which yellow ochres of Vesuvian sites were sometimes converted to red by thermal alteration. In this contribution, a multi-analytical a

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Secco, Michele, Leslie Rainer, Kiernan Graves, et al. "Ochre-Based Pigments in the Tablinum of the House of the Bicentenary (Herculaneum, Italy) Between Decorative Technology and Natural Disasters." Minerals 11, no. 1 (2021): 67. http://dx.doi.org/10.3390/min11010067.

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Ochre-based pigments have been employed since the first artistic expressions of mankind, with widespread diffusion during the Roman civilization. Such prominent use influenced their technological development, focused on functional and aesthetic optimization through complex manufacturing procedures. Furthermore, their appearance is also influenced by degradation processes, sometimes driven by natural disasters such as the eruption of Mount Vesuvius in 79 AD, in which yellow ochres of Vesuvian sites were sometimes converted to red by thermal alteration. In this contribution, a multi-analytical a

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4

Ryu, Ga Yeong, Young Kyun Kim, and Kyeong Soon Han. "A Study on the Alternative Method according to the Mixing of Traditional Material Dancheong Pigment: Focusing on Orpiment and Lead White." Journal of Conservation Science 38, no. 6 (2022): 720–34. http://dx.doi.org/10.12654/jcs.2022.38.6.13.

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Among the traditional dancheong pigments, orpiment and lead white have problems such as toxic properties, unstable supply and demand, and low color stability. Therefore, alternative methods are needed. This study attempted to solve these problems by reducing the amount of orpiment and lead white by mixing other pigments. The specimens were prepared by mixing orpiment with two types of yellow ochre and one each of oyster shell white and white clay. Lead white was mixed with three types of oyster shell white and white clay. Surface changes, chromaticity, and peeling characteristics were observed

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5

Loboda, Anastasia Yu, Igor N. Trunkin, Roman D. Svetogorov, et al. "A Study of the Pigments and Cohesive Colour Layers of the Paintings in a Church from the Tenth to Thirteenth Centuries on the Plateau of Eski-Kermen." Materials in Archaeology, History and Ethnography of Tauria, no. XXVI (2021): 156–74. http://dx.doi.org/10.37279/2413-189x.2021.26.156-174.

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In 2018–2019, the excavations of an aisleless church dated from the tenth to thirteenth centuries and located in quarter II on the territory of a provincial Byzantine town atop of the plateau of Eski-Kermen discovered fragments of wall-plaster with polychrome painting. There are several shades of green, two shades of red, white (beige), yellow (ochre), and grey-brown colours. This paper presents the results of studies of the colour layer, determines pigments and cohesive colour components, and uncovers the features of the painting technique applied to the walls of the church. Four groups of sa

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Khramchenkova, Rezida, Corina Ionescu, Airat Sitdikov, Polina Kaplan, Ágnes Gál, and Bulat Gareev. "A pXRF In Situ Study of 16th–17th Century Fresco Paints from Sviyazhsk (Tatarstan Republic, Russian Federation)." Minerals 9, no. 2 (2019): 114. http://dx.doi.org/10.3390/min9020114.

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Twenty frescoes from “The Assumption” Cathedral located in the island town of Sviyazhsk (Tatarstan Republic, Russian Federation)—dated back to the times of Tsar Ivan IV “the Terrible”—were chemically analyzed in situ with a portable X-ray fluorescence (pXRF) spectrometer. The investigation focused on identifying the pigments and their combinations in the paint recipes. One hundred ninety-three micropoints randomly chosen from the white, yellow, orange, pink, brown, red, grey, black, green, and blue areas were measured for major and minor elements. The compositional types separated within each

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Stratulat, Lacramioara, Maria Geba, and Daniela Salajan. "Village from Muscel by Ion Marinescu Valsan State of Conservation and the Chromatic Palette." Revista de Chimie 69, no. 12 (2019): 3464–68. http://dx.doi.org/10.37358/rc.18.12.6770.

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Ion Marinescu V�lsan (1865 - 1936) was a Romanian painter belonging to the modern Romanian art from the beginning of the 20th century. Many of the paintings painted by him have picturesque landscapes in his native town, Malureni, Arges County. He was influencedby Nicolae Grigorescu. Village from Muscel painting, by Ion Marinescu V�lsan, was examined by several non-invasive techniques (Vis, UV &grazing light examination, IR reflectography, optical microscopy and X-rays fluorescence spectrometry) to obtain information on its chromatic palette and state of conservation. Zinc white, Lead white

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Bakovic, Marica, Slobodanka Karapandza, Sajed Mcheik, and Ana Pejović-Milić. "Scientific Study of the Origin of the Painting from the Early 20th Century Leads to Pablo Picasso." Heritage 5, no. 2 (2022): 1120–40. http://dx.doi.org/10.3390/heritage5020060.

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This study applied multiple scientific approaches to establish the significance of an old work of art, Red Guitar, by examining its historical origin and the color materials used in its creation. Additionally, the study provides thus far unknown pieces of Olga Picasso’s family history to be added to her biography. Scientific approaches included digital X-ray radiography, X-ray fluorescence spectroscopy, infrared Fourier transform spectroscopy, Raman spectroscopy, and elemental thermal conductivity analysis. This combination of techniques provided a broad confirmation as to when the painting wa

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Liu, Guan-Lin, and Sergei G. Kazarian. "Characterization and Degradation Analysis of Pigments in Paintings by Martiros Sarian: Attenuated Total Reflection Fourier Transform Infrared Spectroscopic Imaging and X-ray Fluorescence Approach." Heritage 6, no. 10 (2023): 6777–99. http://dx.doi.org/10.3390/heritage6100354.

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This paper presents a preliminary scientific investigation of pigments used by Martiros Sarian, a prominent Armenian artist known for his vibrant and evocative paintings. The study focuses on five of Sarian’s paintings from different periods of his career, namely, Morning in Stavrino, Arabian Dancer, Caravan, Yerevan Zangu River, and Kirovakan, dated between 1909 and 1948. Non-destructive techniques, including micro-attenuated total reflection Fourier transform infrared (ATR-FTIR) spectroscopic imaging and X-ray fluorescence (XRF), were employed to characterize the pigments in the samples extr

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Dayet Bouillot, Laure, Sarah Wurz, and Floréal Daniel. "Ochre Resources, Behavioural Complexity and Regional Patterns in the Howiesons Poort." Journal of African Archaeology 15, no. 1 (2017): 20–41. http://dx.doi.org/10.1163/21915784-12340002.

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Abstract The widespread use of ochre during Oxygen Isotope Stage 5 and 4 in South Africa has often been interpreted as reflecting complex behaviours amongst modern human populations. The Howiesons Poort is one of the most documented techno-complexes identified within this timeframe. It is associated with an intensification of a combination of innovative technical and symbolic behaviours. Despite the notable focus on ochre use, detailed analyses of Howiesons Poort assemblages in this respect are rare. New data on ochre exploitation from the Howiesons Poort of Klasies River main site are present

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Doruchowski, Roch W. "Inheritance of different undertones of onion (Allium cepa L.) dry skin color and the relationship between color and adherence." Acta Agrobotanica 39, no. 2 (2013): 341–45. http://dx.doi.org/10.5586/aa.1986.027.

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The research was carried out in 1977 and 1978. The inheritance of undertones, dry skin color from light straw to brown was controlled by two additive genes. The segregation ratio obtained was 15:1 and 11:5. The dry skin of a dark color (dark yellow, bronze, brown ochre, orange-brown) was stronger than the skin with a straw yellow or yellow color. Skin adherence was strictly related to its color. This was proved by statistical analysis of the correlation.

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Fioretti, Giovanna, Cinzia Campobasso, Giacomo Eramo, Alessandro Monno, and Gioacchino Tempesta. "On Devotional Artworks: A Non-Invasive Characterization of Pigments of the Madonna della Croce Wall Painting in Triggiano (Bari, Southern Italy)." Heritage 6, no. 5 (2023): 4263–81. http://dx.doi.org/10.3390/heritage6050225.

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Devotional artworks represent a valuable form of art, as they are evidence of religious worship and the demo-ethno-anthropological, as well as historical-artistic, heritage of a community, which is why they definitely belong to the cultural identity of a geographic area. The Madonna della Croce wall painting is an example of devotional art preserved today in the homonymous church in Triggiano (Bari, Italy). The presented study concerns the characterization of pigments used in the painting. The identification of pictorial materials had the aim of providing a contribution to knowledge about the

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Cortea, Ioana Maria, Lucian Ratoiu, Luminița Ghervase, Ovidiu Țentea, and Mihaela Dinu. "Investigation of Ancient Wall Painting Fragments Discovered in the Roman Baths from Alburnus Maior by Complementary Non-Destructive Techniques." Applied Sciences 11, no. 21 (2021): 10049. http://dx.doi.org/10.3390/app112110049.

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In this study, several wall painting fragments discovered in the Roman baths from the archeological site Alburnus Maior (Roşia Montană, Romania) were analyzed with the aim to investigate the material composition of both plasters and pictorial layers. Dated from the beginning of the second century AD, these rare findings stand among the oldest examples of preserved decorative polychrome paintings on plaster excavated thus far in the former territory of the Roman province of Dacia. A non-destructive multi-analytical approach based on complementary techniques was considered: Fourier transform inf

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KHANMORADI, Mozhgan, and Kamal Aldin NIKNAMI. "An Analytical Approach to Investigate the Parthians Painted Stuccoes from Qal‘eh-i Yazdigird, Western Iran." Historia i Świat 6 (September 14, 2017): 21–32. http://dx.doi.org/10.34739/his.2017.06.02.

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The use of stucco decoration on buildings has become popular in Iran from the first century but from the second century onwards stucco decorations were painted in bright colors. An important group of the Parthians Painted Stuccoes excavated in the 1965-79 and 2008 in Qal‘eh-i Yazdigird. Qal'eh-i Yazdigird is a Parthian Palace Stronghold in the Zagros range of mountains in western Iran. At Qal'eh-i Yazdigird the decoration includes geometric, figural, vegetal and architectural motifs. Much of the stucco decorations were vividly painted. Some of the fragments arePolychrome. These colors consist

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15

Kougemitrou, I., G. Economou, J. Giovanopoulos, I. Baziotis, G. Leontakianakos, and V. Stathopoulos. "A mineralogical study of pigments used in two Iakovidis paintings: Verification of artwork authenticity using Raman micro-spectroscopy method." Bulletin of the Geological Society of Greece 47, no. 1 (2013): 392. http://dx.doi.org/10.12681/bgsg.11014.

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For the purpose of the current study, we examined two paintings, an original and a fake one, entitled “Still life with grapes”, and claimed both to be created from the Greek Painter G. Iakovidis. The current Research Project has been carried out at the Centre Nikias, an innovative Research Centre specialised on certification, maintenance and restoration of art works. Raman spectroscopic analysis has been carried to verify the authenticity of the used pigments and also the originality of the two paintings. The Raman spectra acquired confirmed four different colours in both painting`s pigments:

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Lazidou, Dimitra, Dimitrios Lampakis, Ioannis Karapanagiotis, and Costas Panayiotou. "Investigation of the Cross-Section Stratifications of Icons Using Micro-Raman and Micro-Fourier Transform Infrared (FT-IR) Spectroscopy." Applied Spectroscopy 72, no. 8 (2018): 1258–71. http://dx.doi.org/10.1177/0003702818777772.

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The cross-section stratifications of samples, which were removed from six icons, are studied using optical microscopy, micro-Raman spectroscopy, and micro-Fourier transform infrared (FT-IR) spectroscopy. The icons, dated from the 14th to 19th centuries, are prominent examples of Byzantine painting art and are attributed to different artistic workshops of northern Greece. The following materials are identified in the cross-sections of the icon samples using micro-Raman spectroscopy: anhydrite; calcite; carbon black; chrome yellow; cinnabar; gypsum; lead white; minium; orpiment; Prussian blue;

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17

De Santis, Giuditta, Domenico Ronga, Federica Caradonia, et al. "Evaluation of two groups of quinoa (Chenopodium quinoa Willd.) accessions with different seed colours for adaptation to the Mediterranean environment." Crop and Pasture Science 69, no. 12 (2018): 1264. http://dx.doi.org/10.1071/cp18143.

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Agronomic and seed-quality traits in 17 quinoa (Chenopodium quinoa Willd.) accessions grouped according to seed colour (i.e. ochre and yellow) were investigated and compared with the white commercial cultivar Regalona-Baer. These accessions were previously selected from a range of accessions of diverse origin and seed colour for their potential value in a breeding program for cultivars adapted to the southern Italian environment. Field trials were conducted over 2 years in Foggia, southern Italy. The aim was to identify elite genotypes suited to the Mediterranean Basin in terms of high yields

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Yakovchenko, Lidia S., and Evgeny A. Davydov. "Candelariella ahtii (Candelariaceae, Ascomycota) – a new species of lichen from Central and North-East Asia, and a key to 8-spored Candelariella." Lichenologist 56, no. 5 (2024): 287–300. https://doi.org/10.1017/s0024282924000240.

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AbstractCandelariella ahtii Yakovchenko sp. nov. is described based on phenotypic and ITS nrDNA sequence data. The species, occurring on soil in the crevices and cracks of siliceous rocks, is characterized by its squamulose cushion-forming thallus of imbricate, rounded to weakly incised granules/squamules with a greenish yellow to pale yellow pulverulent upper surface, lecanorine apothecia with a plane to somewhat convex ochre-yellow disc and a permanent thick thalline margin, 8-spored asci and ellipsoid to narrowly ellipsoid ascospores with rounded ends, as well as a distribution in Central a

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WANG, PAN-MENG, ZHUANG LI, YONG-QI WEI, et al. "A new agaricoid species of Porotheleum (Porotheleaceae, Agaricales) from Shandong Province, China." Phytotaxa 670, no. 1 (2024): 55–62. http://dx.doi.org/10.11646/phytotaxa.670.1.5.

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Porotheleum microsporum, a new agaricoid species of the genus Porotheleum (Porotheleaceae, Agaricales), was found growing on the live bark of Salix babylonica in Quancheng Park (Ji’nan City, Shangdong Province, China). This discovery, a testament to our rigorous research, is described and illustrated based on morphological, molecular, and ecological evidence. Our phylogenetic analyses based on DNA sequences of the internal transcribed spacers 1 and 2 with the 5.8S rDNA (ITS) and the large subunit of nuclear ribosomal DNA (LSU) support the inclusion of this new species in the genus Porotheleum

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20

Froment, Françoise, Aurélie Tournié, and Philippe Colomban. "Raman identification of natural red to yellow pigments: ochre and iron-containing ores." Journal of Raman Spectroscopy 39, no. 5 (2008): 560–68. http://dx.doi.org/10.1002/jrs.1858.

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TOMŠOVSKÝ, MICHAL. "Sarcodontia crocea (Basidiomycota, Polyporales) is unrelated to Spongipellis." Phytotaxa 288, no. 2 (2016): 197. http://dx.doi.org/10.11646/phytotaxa.288.2.12.

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Sarcodontia crocea (Schwein.) Kotl. (Kotlaba 1953: 117), is a resupinate wood-inhabiting basidiomycete with waxy, dentate-aculeate (toothed-spiny) hymenophore. This is characterized by the subulate, densely crowded spines, pale to sulphur-chrome yellow, turning to ochre and amber-brown with age; and a remarkable unpleasant acid-sweetish-fruity odour of young basidiomes. The preferred habitat of the fungus is decayed wood under bark or in cavities of old, unmanaged apple trees (Malus spp.), rarely other broadleaved hosts (Bernicchia and Gorjón 2010, Breitenbach and Kränzlin 1986).

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Astafurova, Yu V., and M. Yu Proshchalykin. "First record of Lasioglossum adabaschum (Blüthgen, 1931) (Hymenoptera: Halictidae) from Europe with description of hitherto unknown male." Far Eastern entomologist 479 (July 3, 2023): 1–6. http://dx.doi.org/10.25221/fee.479.1.

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Lasioglossum adabaschum (Blüthgen, 1931), a species hitherto known only from the holotype collected in Turkmenistan (Ashgabat), is reported from Europe (Russia: Kalmyk Republic and Astrakhan Province). The species is closely related to L. pallidum (Radoszkowski, 1888) known from Afghanistan, Turkmenistan and Russia. Lasioglossum adabaschum can be easily distinguished from L. pallidum by the mostly black body (versus almost entirely ochre- or whitish-yellow). The male of Lasioglossum adabaschum is here described for the first time. The known fauna of Europe numbers 2,131 species of bees.

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ZENG, MENG-YAO, YU-WEI WU, CHUN-YI WEI, YU-HAN WU, and MING-HE LI. "Bulbophyllum xiajinchangense (Orchidaceae; Malaxideae), a new species from China: evidence from morphological and DNA analysis." Phytotaxa 629, no. 3 (2023): 275–82. http://dx.doi.org/10.11646/phytotaxa.629.3.9.

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Bulbophyllum xiajinchangense (Orchidaceae), a new species from Yunnan province, China, is described and illustrated. It is morphologically similar to B. scabratum, but differs by its free (vs. convergent) lateral sepals, the ratio of mean lateral/dorsal sepal length (ca. 2.0 vs. ca. 3.0), purplish-red (vs. pale yellow-ochre) flowers. Phylogenetic analysis based on nuclear ribosomal ITS and two plastid (matK and psbA-trnH) sequences support B. xiajinchangense as a distinct species, which forms an independent lineage sister to B. levinei, B. gedangense and its allies.

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Haddad, Abed, Diana Hartman, and Ana Martins. "Complex Relationships: A Materials Study of Édouard Vuillard’s Interior, Mother and Sister of the Artist." Heritage 4, no. 4 (2021): 2903–17. http://dx.doi.org/10.3390/heritage4040162.

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Édouard Vuillard (1868–1949) is well known for his small atmospheric paintings, often portraying his own home and family as the subject matter. Interior, Mother and Sister of the Artist (1893) underwent at least one restoration treatment before being acquired by the Museum of Modern Art (MoMA) in 1934. The painting was treated again in 1954, but no analysis was carried out to understand the artist’s methods and materials at that time. To better understand the choices of Vuillard in Interior, Mother and Sister of the Artist, a comprehensive suite of imaging and spectroscopic analyses was undert

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Hälvä, S., T. Hirvi, and S. Mäkinen. "Yield and glucosinolates in mustard seeds and volatile oils in caraway seeds and coriander fruit: I Yield and glucosinolate contents of mustard (Sinapis sp., Brassica sp.) seeds." Agricultural and Food Science 58, no. 4 (1986): 157–62. http://dx.doi.org/10.23986/afsci.72227.

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Different varieties of yellow mustard (Sinapis alba L.), brown mustard (Brassica juncea (L.) Czern.) and black mustard (Brassica nigra (L.) W.D.J. Koch) were tested in 1983—1985 at three locations in Finland. The average seed yield of yellow mustard was 2220 kg/ha, it’s sinalbine content being 2.2—5.2 g/100g. There were no major differences between the tested varieties. Varieties ‘Kirby’ and ‘Gisilba’ produced the largest yields. ‘Gisilba’ and ‘Ochre’ had the shortest growth periods. The sinalbine content in yellow mustard seeds varied more between the years than between the varieties. The ave

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Yoo, Seon-Young, Buddakoralelage Janani Namal Seneviratne, and Gyu-Ho Kim. "A Characteristic Analysis on Clay Pigments of Mural Paintings in Sri Lanka." Journal of Conservation Science 38, no. 4 (2022): 327–33. http://dx.doi.org/10.12654/jcs.2022.38.4.07.

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Sri Lanka has four types of mural painting styles; Classic, Late Classic, Kandyan, and Southern styles, but there is little research on scientific analysis for mural paintings. In this study, we analyze white, yellow, and red clay pigments which were collected from ancient producing sites. Analyzing pigment samples shows that samples are containing aluminum oxide(Al<sub>2</sub>O<sub>3</sub>) and silicon dioxide(SiO<sub>2</sub>) which are connected to the soil. And a degree of iron oxidation determines yellow or red colors. To understand the characteristics o

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Briani, Francesca, Francesco Caridi, Francesco Ferella, et al. "Multi-Technique Characterization of Painting Drawings of the Pictorial Cycle at the San Panfilo Church in Tornimparte (AQ)." Applied Sciences 13, no. 11 (2023): 6492. http://dx.doi.org/10.3390/app13116492.

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We present some results, obtained using a multi-scale approach, based on the employment of different and complementary techniques, i.e., Optical Microscopy (OM), Scanning Electron Microscopy-Energy Dispersive X-ray Spectroscopy (SEM-EDS), X-ray diffraction (XRD), Raman and µ-Raman spectroscopy, Fourier transform infrared (FT-IR) spectroscopy equipped with Attenuated Total Reflectance (ATR) analyses, Inductively Coupled Plasma–Mass Spectrometry (ICP-MS), and Thermal Ionization Mass Spectrometry (TIMS), of an integrated activity focused on the characterization of micro-fragments of original and

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CARMACK, NOEL A. ""The Yellow Ochre Club": B. F. Larsen and the Pioneer Trail Art Tour, 1936." Utah Historical Quarterly 65, no. 2 (1997): 134–54. http://dx.doi.org/10.2307/45062348.

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TOMŠOVSKÝ, MICHAL, VICTOR SABET, STÉPHANE WELTI, PIERRE-ARTHUR MOREAU, and SYLVAIN DUMEZ. "A new species of Bjerkandera (Polyporales, Basidiomycota) from Europe." Phytotaxa 701, no. 1 (2025): 95–104. https://doi.org/10.11646/phytotaxa.701.1.7.

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Morphological and molecular revision of pore fungi from Czechia and France revealed a new species, Bjerkandera lecomtei, sp. nov. This species is characterized by annual resupinate basidiomata, yellow ochre to deep brownish pore surface, a monomitic hyphal system with clamp connections on generative hyphae, ellipsoid to cylindrical basidiospores measuring 4.9–8.3 × 2.9–4.9 µm, and growing on hardwood (Acer campestre in floodplain forest, Quercus sp. beams, etc.). It differs from the most European Bjerkandera species by resupinate basidiome and spore sizes. Macroscopic and microscopic features

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Piening, Heinrich. "Examination Report: The Polychromy of the Arch of Titus Menorah Relief." Images 6, no. 1 (2012): 26–29. http://dx.doi.org/10.1163/18718000-12340002.

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Abstract Between June 5 and 7, 2012, the menorah relief of the Arch of Titus in Rome was subjected to UV-VIS spectrometry analysis by the Arch of Titus Digital Restoration Project. This technical report details the methods by which UV-VIS-spectrometry of the menorah relief revealed traces of yellow ochre as a paint layer applied directly to the stone surface of a menorah arm and the front of the menorah base. UV-VIS spectrometry is a non-destructive technique used to identify colorants. The surface to be examined is briefly illuminated by white light. From the reflected light this produces, th

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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 (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 comp

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HUSSEIN, MOHAMED, HUSSEIN MAREY MAHMOUD, and ATEF BRANIA. "CHARACTERIZING THE PAINTED WALL RELIEFS FROM THE ANCIENT EGYPTIAN ROCK TOMBS OF MEIR AT ASSIUT, EGYPT." Journal of Science and Arts 22, no. 4 (2022): 953–64. http://dx.doi.org/10.46939/j.sci.arts-22.4-b01.

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The present research was designed to characterize the main components of ancient Egyptian wall reliefs of Meir rock tombs at Assiut of Egypt using severalµ-destructive analytical methods. The microscopic characterization included optical examination on painted surfaces and petrographic examination on thin sections of rock fractions. The morphology of pigments and their chemical structure were investigated by scanning electron microscopy and energy dispersive X-ray spectrometry (SEM-EDX). Fourier transform infrared spectroscopy (FTIR) was used for the investigation of the molecular composition

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R, Galbadrakh, Simon K, Myanganbaatar T, Ulziitogtokh B, Enkhtur L, and Woerner G. "Possibility of direct rapid determination of inorganic contaminant elements in paints by LA-ICP-MS method." Физик сэтгүүл 18, no. 397 (2022): 3–12. http://dx.doi.org/10.22353/physics.v18i397.759.

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In this work content of inorganic major and trace elements were directly determined in produced in China, Russia, and Germany household use purpose oil, асгуI, and ochre paint samples using laser ablation-inductively coupled plasma-mass spectroscopy (LA_ICP_MS) technique. A sample preparation was simple and rapid: an oil and acryl paint droplets were dried on glass substrate for several hours on a hot plate at 60° C and few mg ochre paint powder samples were solidified with pure paraffin wax on the glass substrate. Dried oil and acryl paint droplets were ablated locally, drilling the hole way,

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Luis, Carlos Duarte Cavalcante, and Hugo Gomes Tostes Victor. "Análise arqueométrica de ocres amarelos do sítio arqueológico Pedra do Atlas, Brasil." Arqueologia Iberoamericana 45 (January 14, 2020): 3–10. https://doi.org/10.5281/zenodo.3733811.

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A Pedra do Atlas é um abrigo sob-rocha arenítica localizado na área rural do município de Piripiri, no norte do Piauí, Brasil, decorado com 423 pinturas rupestres, além de algumas inscrições gravadas. Recentemente, fragmentos cerâmicos, pigmentos minerais e alguns líticos foram encontrados no solo superficial desse sítio arqueológico. Amostras representativas dos ocres amarelos foram analisadas por fluorescência de raios X por dispersão de energia (EDXRF), análise elementar por CHN, micr

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Kantoğlu, Ömer, Ece Ergun, Rıdvan Kırmaz, Yakup Kalaycı, Abdullah Zararsız, and Önder Bayır. "Colour and Ink Characterization of Ottoman Diplomatic Documents Dating from the 13th to the 20th Century." Restaurator. International Journal for the Preservation of Library and Archival Material 39, no. 4 (2018): 265–88. http://dx.doi.org/10.1515/res-2018-0014.

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Abstract This study investigates the colours and inks used in diplomatic documents of the Ottoman Empire dating from the 13th to the 20th century. Elemental and spectroscopic analyses were carried out on more than 150 documents using μ-XRF, Raman and FTIR spectroscopy; 10 documents were selected representatively for each century. In addition to the characterization of colour and ink, their use and distribution through the centuries is discussed. Analysis showed the presence of minium, vermilion, red ochre and cochineal (red pigments); lapis lazuli (ultramarine blue), azurite (blue verditer), P

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Chen, Yushu, Xuanlin Ge, Shaojun Zuo, and Jianan Wang. "Effect of Drying Oil on Properties of Traditional Painted Coatings." Coatings 14, no. 12 (2024): 1545. https://doi.org/10.3390/coatings14121545.

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This study examines the effects of drying oils—Tung and linseed—on the properties of traditional polychrome coatings applied to wood. Samples prepared with cinnabar, malachite green, yellow ochre, and azurite pigments were analyzed using colorimetric, gloss measurements, surface roughness testing, adhesion strength, and SEM imaging. The results show that Tung oil generally enhances gloss by over 20% and provides superior adhesion, consistently achieving an adhesion grade of 0 (no peeling) across all pigments. Linseed oil, although effective at higher concentrations, displayed more variable adh

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Tammekivi, Eliise, Signe Vahur, Martin Vilbaste, and Ivo Leito. "Quantitative GC–MS Analysis of Artificially Aged Paints with Variable Pigment and Linseed Oil Ratios." Molecules 26, no. 8 (2021): 2218. http://dx.doi.org/10.3390/molecules26082218.

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In this study, quantitative gas chromatography–mass spectrometry (GC–MS) analysis was used to evaluate the influence of pigment concentration on the drying of oil paints. Seven sets of artificially aged self-made paints with different pigments (yellow ochre, red ochre, natural cinnabar, zinc white, Prussian blue, chrome oxide green, hematite + kaolinite) and linseed oil mixtures were analysed. In the pigment + linseed oil mixtures, linseed oil concentration varied in the range of 10 to 95 g/100 g. The results demonstrate that the commonly used palmitic acid to stearic acid ratio (P/S) to disti

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Romero-Bastidas, Martha, Katherine Guacho-Pachacama, Carlos Vásquez-Mora, et al. "Multi-Analytical Characterization of Illuminated Choirbooks from the Royal Audience of Quito." Heritage 7, no. 12 (2024): 6592–613. http://dx.doi.org/10.3390/heritage7120305.

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Choirbooks are historical heritage manuscripts used for the performance of vocal music in religious ceremonies in colonial times. This study aimed to understand the characteristics of choirbook manuscripts produced in the Real Audiencia de Quito during the 17th century. The methodology combined non-invasive techniques, such as infrared false-color imaging (IRFC) and X-ray fluorescence (XRF), together with spot analysis by scanning electron microscopy with energy-dispersive X-ray spectroscopy (SEM-EDX) and Fourier transform infrared spectroscopy with attenuated total reflection (FTIR-ATR). The

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Cavallo, Giovanni, Maria Pia Riccardi, and Roberto Zorzin. "Powder diffraction of yellow and red natural earths from Lessini Mountains in NE Italy." Powder Diffraction 30, no. 2 (2015): 122–29. http://dx.doi.org/10.1017/s0885715614001407.

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A first attempt to differentiate goethite- and hematite-based natural materials, used for several purposes during the Late Palaeolithic in the Lessini Mountains (Italy), is here proposed. All raw materials were collected from known geological sites within a distance of about 20 km from archaeological excavations (Tagliente and Fumane caves) where ochre fragments were found. X-ray powder diffraction allowed the mineralogical composition of samples collected from carbonate and volcanic geological host and parent rocks to be inferred; in addition, a preliminary distinction based on the different

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Strong, Meghan E. "Do You See What I See? Aspects of Color Choice and Perception in Ancient Egyptian Painting." Open Archaeology 4, no. 1 (2018): 173–84. http://dx.doi.org/10.1515/opar-2018-0011.

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AbstractColor in ancient Egypt has been examined through linguistics, anthropological theory and archaeological science. In recent years, attention has focused on the application of art historical theories of reception and perception to ancient Egyptian art, but seldom on color itself. This article will examine aspects of color choice and visual perception, particularly focusing on use of the pigments yellow ochre and orpiment. Building on a growing body of art historical and archaeometric scholarship, it will demonstrate the contributions that experimental archaeology can make to the analysis

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Marcaida, Iker, Maite Maguregui, Silvia Fdez-Ortiz de Vallejuelo, et al. "In situ X-ray fluorescence-based method to differentiate among red ochre pigments and yellow ochre pigments thermally transformed to red pigments of wall paintings from Pompeii." Analytical and Bioanalytical Chemistry 409, no. 15 (2017): 3853–60. http://dx.doi.org/10.1007/s00216-017-0329-3.

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Gil, M., M. L. Carvalho, A. Seruya, A. E. Candeias, J. Mirão, and I. Queralt. "Yellow and red ochre pigments from southern Portugal: Elemental composition and characterization by WDXRF and XRD." Nuclear Instruments and Methods in Physics Research Section A: Accelerators, Spectrometers, Detectors and Associated Equipment 580, no. 1 (2007): 728–31. http://dx.doi.org/10.1016/j.nima.2007.05.131.

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Balakhnina, I. A., N. N. Brandt, Ya S. Kimberg, N. L. Rebrikova, and A. Yu Chikishev. "Variations in the IR spectra of yellow ochre due to mixing with binding medium and drying." Journal of Applied Spectroscopy 78, no. 2 (2011): 183–88. http://dx.doi.org/10.1007/s10812-011-9444-7.

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Brøns, Cecilie, Jens Stenger, Jørn Bredal-Jørgensen, Fabiana Di Gianvincenzo, and Luise Ørsted Brandt. "Palmyrene Polychromy: Investigations of Funerary Portraits from Palmyra in the Collections of the Ny Carlsberg Glyptotek, Copenhagen." Heritage 5, no. 2 (2022): 1199–239. http://dx.doi.org/10.3390/heritage5020063.

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The current study is the first comprehensive investigation of the polychromy of Palmyrene funerary portraits. It presents the technical examinations of six portraits (ca. 150–250 CE) from the collection of the Ny Carlsberg Glyptotek, illustrating the marvellous splendour of the cultural heritage of ancient Palmyra. The six portraits were examined with various analytical methods, including microscopy, ultraviolet-induced visible fluorescence imaging and visible light-induced infrared luminescence imaging, X-ray fluorescence spectroscopy, scanning electron microscopy coupled to energy-dispersive

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Stamboliyska, Bistra, Stefan Tapanov, Evelina Velcheva, et al. "Materials and Techniques of the Mural Paintings in the Church-Ossuary of the Rila Monastery, Bulgaria." Minerals 14, no. 11 (2024): 1115. http://dx.doi.org/10.3390/min14111115.

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This presented research examined the wall paintings in the Church-Ossuary Presentation of the Blessed Virgin, part of the most important Rila Monastery complex in Bulgaria, painted by the painters from Mount Athos in 1795. The painting materials used to create the unique murals were studied for the first time by optical microscopy (OM), attenuated total reflectance Fourier transform infrared (ATR–FTIR), scanning electron microscopy energy dispersive X-ray spectroscopy (SEM–EDS), and enzyme-linked immunosorbent assay (ELISA). The vibrational and elemental analysis showed that the color palette

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Aldazabal, Verónica, Maria Reinoso, Graciela Custo, et al. "Characterization of Natural Pigments from the Archaeological Context of Traful Lake (Neuquén, Argentina)." Latin American Antiquity 30, no. 1 (2019): 127–41. http://dx.doi.org/10.1017/laq.2018.75.

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In this paper we discuss the use of mineral pigments recovered in stratigraphic position from three excavated archaeological sites (Traful Lake area, Argentina) with the aim of providing information on selection and frequency of use of these raw materials. In this region, human occupation has been recorded since 4000 BP. In order to identify the chromophoric minerals, we applied wavelength dispersive X-ray fluorescence spectrometry, Raman spectroscopy, and X-ray diffraction techniques. Green, red, yellow ochre, and white pigments dated between 3490 and 590 BP were analyzed. The results show th

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Astakhova, Irina S. "The painting of household objects of the Lower Pechora River in XIX – beginning XX centuries: On the use of paints." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 53 (2024): 113–22. http://dx.doi.org/10.17223/22220836/53/9.

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The article deal with the results of study of the composition of paints used in the painting of household objects of the Lower Pechora River. Spoons, tues, boxes were painted in the villages of Skitskaya, Zamezhnoye and Stepanovskaya of Ust-Tsilemsky district. Art historians distinguish Ust-Tsilem and Pyzhem painting. The Ust-Tsilem painting used red, green, yellow and black colors. Pyzhem painting covered only dishes (salt shakers, bowls, cups, spoons). In the Pyzhem painting were used red, green and black colors. The relevance of the study of mineral pigments is to use the material from the

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Tymchenko, Теtiana, and Svitlana Biskulova. "«PORTRAIT OF A LADY» OF THE BOICHUCK SCHOOL FROM THE NATIONAL ACADEMY OF FINE ARTS AND ARCHITECTURE FUNDS. COMPREHENSIVE EXAMINATION RESULTS." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 30 (December 9, 2021): 120–27. http://dx.doi.org/10.33838/naoma.30.2021.120-127.

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Abstract. The article features the results of the comprehensive examination of an outstanding piece from the Mykhailo Boуchuk school, «Portrait of a Lady» from the NAFAA funds. The research was done by the Associate Professor of the Department of the Technique and Restoration of Artwork of NAFAA, Tetiana Tymchenko, Ph.D, and the Leading Researcher of the Bureau of scientific and technical expertise «ART-LAB» Svitlana Biskulova, Ph.D, in connection with the planned restoration of the artwork. Since 2018, «Portrait of a Lady» has been attributed to Mykola Kasperovych (1885–1938), an outstanding

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Pronti, Lucilla, Giuseppe Capobianco, Margherita Vendittelli, Anna Candida Felici, Silvia Serranti, and Giuseppe Bonifazi. "Optimized Method for Mapping Inorganic Pigments by Means of Multispectral Imaging Combined with Hyperspectral Spectroscopy for the Study of Vincenzo Pasqualoni’s Wall Painting at the Basilica of S. Nicola in Carcere in Rome." Minerals 11, no. 8 (2021): 839. http://dx.doi.org/10.3390/min11080839.

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Multispectral imaging is a preliminary screening technique for the study of paintings. Although it permits the identification of several mineral pigments by their spectral behavior, it is considered less performing concerning hyperspectral imaging, since a limited number of wavelengths are selected. In this work, we propose an optimized method to map the distribution of the mineral pigments used by Vincenzo Pasqualoni for his wall painting placed at the Basilica of S. Nicola in Carcere in Rome, combining UV/VIS/NIR reflectance spectroscopy and multispectral imaging. The first method (UV/VIS/NI

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Nikolova, A. A., I. B. Nikolov, D. V. Lesigyarski, and B. K. Zlateva. "19Multidisciplinary analysis of two pictures by D. Dobrovich – a preliminary report." Bulgarian Chemical Communications 56, no. C (2024): 142–47. http://dx.doi.org/10.34049/bcc.56.c.si-19.

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In this work, we are presenting a preliminary study of the pigments used in two paintings by Dimitar Dobrovich: "Children playing with soap bubbles," oil on canvas, and "Roma. Girl with a Jar", oil on canvas. They were analyzed non-destructively by means of X-ray fluorescence (p-XRF) and Raman spectrometry. Chemical analysis of the used pigments and the obtained analytical results show a very rich palette, including cinnabar, ochre, lead white, lead yellow, minium, realgar/orpiment, gold, etc. The interest in the technical-technological features of these paintings aims to determine the specifi

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