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Kaolinite-alunite association in late Gothic white grounds from Slovakia: A local peculiarity in painting technology
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SYSNO ASEP 0474826 Druh ASEP J - Článek v odborném periodiku Zařazení RIV J - Článek v odborném periodiku Poddruh J Článek ve WOS Název Kaolinite-alunite association in late Gothic white grounds from Slovakia: A local peculiarity in painting technology Tvůrce(i) Hradil, David (UACH-T) RID, SAI
Hradilová, J. (CZ)
Bezdička, Petr (UACH-T) SAI, RID, ORCID
Matulková, I. (CZ)Zdroj.dok. Applied Clay Science. - : Elsevier - ISSN 0169-1317
Roč. 144, AUG (2017), s. 79-87Poč.str. 9 s. Jazyk dok. eng - angličtina Země vyd. NL - Nizozemsko Klíč. slova Alunite ; Hydrothermal kaolin ; Late-Gothic paintings ; White earths ; X-ray powder microdiffraction Vědní obor RIV CA - Anorganická chemie Obor OECD Inorganic and nuclear chemistry CEP GA14-22984S GA ČR - Grantová agentura ČR Institucionální podpora UACH-T - RVO:61388980 UT WOS 000403637100009 EID SCOPUS 85019169910 DOI 10.1016/j.clay.2017.05.004 Anotace In European Gothic paintings, the use of materials other than calcium carbonates (chalk) or calcium sulphates (gypsum) in painting preparations was rare. Therefore, alternatively used materials, such as, e.g., white clays, can be seen as peculiarities, which correspond to the local availability or artist's preference. In this study white chalk-based grounds from masterpieces attributed to the workshop of Master Paul from Levoča, Slovakia, were investigated. It was motivated by the assumption of restorers that Master Paul complemented the chalk ground by more malleable white clay to achieve a very fine modelling of his polychrome statues. The results were compared with other artworks, where the use of white clays in grounds was previously indicated, and with reference samples of kaolin from Central-European sources. It was found that detailed microanalysis of the white earths in paintings leads to distinguishing of regional provenances. While in Czech paintings, either from Gothic or Baroque periods, residual kaolins from West-Bohemian deposits were identified, in the late Gothic Slovak paintings white earths came from hydrothermal kaolin deposits situated, most probably, in Tokaj Mountains, Hungary. Here presented finding is probably the first ever evidence of natural alunite and hydrothermal kaolinite in painted artworks, where they were applied as white pigments. Pracoviště Ústav anorganické chemie Kontakt Jana Kroneislová, krone@iic.cas.cz, Tel.: 311 236 931 Rok sběru 2018
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