CHANGING PICTURES: DISCOLORATION IN 15TH-17TH CENTURY OIL PAINTINGS.
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Abstract:
An extensive art historical study which focus on the phenomenon of the discoloration of paintings. Five studies present research on the original composition of the paint and the original appearance of the paint in Renaissance and Baroque oil paintings: I. Determining the Intentions of Painting Methods and Recipes. II. Methods used by painters to Prevent Colour Changes Described in Sixteenth to Early Eighteenth Century Sources on Oil painting Techniques. III. Verdigris Glazes in Historical Oil Paintings: Recipes and Techniques. IV. Indigo as a Pigment in Oil Painting and the Problem of its Fading. V. Discoloration or Chiaroscuro? An interpretation of the Dark Areas in Raphaels' Transfiguration of Christ.Keywords:
Oil painting
Baroque
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study demonstrates that resin and fatty acids are able to extract copper(II) ions from verdigris (copper acetate) and verditer (basic copper carbonate). Ligand exchange reactions of basic copper carbonate with fatty acids and resin acids are much slower than is the case with copper acetate. The browning of paint layers is closely correlated with the relative ease of copper extraction; the copper diffuses in the form of fatty acid or resin carboxylic acid complexes. These complexes are formed in the painting layer during grinding of the pigment with binding media containing oleoresin acids, as well as being formed at the interface of this layer and organic upper layers, such as varnishes.
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