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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 ASEP0474826
    Document TypeJ - Journal Article
    R&D Document TypeJournal Article
    Subsidiary JČlánek ve WOS
    TitleKaolinite-alunite association in late Gothic white grounds from Slovakia: A local peculiarity in painting technology
    Author(s) Hradil, David (UACH-T) RID, SAI
    Hradilová, J. (CZ)
    Bezdička, Petr (UACH-T) SAI, RID, ORCID
    Matulková, I. (CZ)
    Source TitleApplied Clay Science. - : Elsevier - ISSN 0169-1317
    Roč. 144, AUG (2017), s. 79-87
    Number of pages9 s.
    Languageeng - English
    CountryNL - Netherlands
    KeywordsAlunite ; Hydrothermal kaolin ; Late-Gothic paintings ; White earths ; X-ray powder microdiffraction
    Subject RIVCA - Inorganic Chemistry
    OBOR OECDInorganic and nuclear chemistry
    R&D ProjectsGA14-22984S GA ČR - Czech Science Foundation (CSF)
    Institutional supportUACH-T - RVO:61388980
    UT WOS000403637100009
    EID SCOPUS85019169910
    DOI10.1016/j.clay.2017.05.004
    AnnotationIn 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.
    WorkplaceInstitute of Inorganic Chemistry
    ContactJana Kroneislová, krone@iic.cas.cz, Tel.: 311 236 931
    Year of Publishing2018
Number of the records: 1