The Matter from Which an Orange Colour Is Made: On the Arsenic Pigment Used in a Portuguese Mannerist Painting

Detalhes bibliográficos
Autor(a) principal: Cruz, António João
Data de Publicação: 2022
Outros Autores: Melo, Helena P., Valadas, Sara, Miguel, Catarina, Candeias, António
Tipo de documento: Artigo
Idioma: eng
Título da fonte: Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)
Texto Completo: http://hdl.handle.net/10400.26/48968
Resumo: The painting The Descent from the Cross, painted in 1620 by Pedro Nunes (1586–1637), presents two large figures with orange-coloured fabrics with conservation problems. Through the analysis of two samples with several analytical techniques, especially scanning electron microscopy combined with X-ray spectroscopy and Raman microscopy, it was possible to conclude that the orange colour is due to a complex artificial pigment made of amorphous arsenic sulphide. It essentially consists of spherical particles obtained by sublimation and condensation, possibly from orpiment, which ended up being joined with irregularly shaped particles resulting from crushing of the residual fraction obtained by solidification and fusion. This is a rare documented case of the extensive use of artificial arsenic sulphides in European easel painting, especially outside Italy. The conservation problems can be explained by the great sensitivity of the arsenic sulphides to photodegradation and the formation of powdery compounds.
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spelling The Matter from Which an Orange Colour Is Made: On the Arsenic Pigment Used in a Portuguese Mannerist Paintingpigmentsartificial arsenic sulphideamorphous arsenic sulphidehistoric treatisesMannerismPortugalThe painting The Descent from the Cross, painted in 1620 by Pedro Nunes (1586–1637), presents two large figures with orange-coloured fabrics with conservation problems. Through the analysis of two samples with several analytical techniques, especially scanning electron microscopy combined with X-ray spectroscopy and Raman microscopy, it was possible to conclude that the orange colour is due to a complex artificial pigment made of amorphous arsenic sulphide. It essentially consists of spherical particles obtained by sublimation and condensation, possibly from orpiment, which ended up being joined with irregularly shaped particles resulting from crushing of the residual fraction obtained by solidification and fusion. This is a rare documented case of the extensive use of artificial arsenic sulphides in European easel painting, especially outside Italy. The conservation problems can be explained by the great sensitivity of the arsenic sulphides to photodegradation and the formation of powdery compounds.MDPIRepositório ComumCruz, António JoãoMelo, Helena P.Valadas, SaraMiguel, CatarinaCandeias, António2024-01-15T18:00:12Z2022-09-132024-01-15T15:43:02Z2022-09-13T00:00:00Zinfo:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/articleapplication/pdfhttp://hdl.handle.net/10400.26/48968engcv-prod-350314910.3390/heritage5030138info:eu-repo/semantics/openAccessreponame:Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)instname:Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informaçãoinstacron:RCAAP2024-01-18T16:00:36Zoai:comum.rcaap.pt:10400.26/48968Portal AgregadorONGhttps://www.rcaap.pt/oai/openaireopendoar:71602024-03-20T01:52:01.149834Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) - Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informaçãofalse
dc.title.none.fl_str_mv The Matter from Which an Orange Colour Is Made: On the Arsenic Pigment Used in a Portuguese Mannerist Painting
title The Matter from Which an Orange Colour Is Made: On the Arsenic Pigment Used in a Portuguese Mannerist Painting
spellingShingle The Matter from Which an Orange Colour Is Made: On the Arsenic Pigment Used in a Portuguese Mannerist Painting
Cruz, António João
pigments
artificial arsenic sulphide
amorphous arsenic sulphide
historic treatises
Mannerism
Portugal
title_short The Matter from Which an Orange Colour Is Made: On the Arsenic Pigment Used in a Portuguese Mannerist Painting
title_full The Matter from Which an Orange Colour Is Made: On the Arsenic Pigment Used in a Portuguese Mannerist Painting
title_fullStr The Matter from Which an Orange Colour Is Made: On the Arsenic Pigment Used in a Portuguese Mannerist Painting
title_full_unstemmed The Matter from Which an Orange Colour Is Made: On the Arsenic Pigment Used in a Portuguese Mannerist Painting
title_sort The Matter from Which an Orange Colour Is Made: On the Arsenic Pigment Used in a Portuguese Mannerist Painting
author Cruz, António João
author_facet Cruz, António João
Melo, Helena P.
Valadas, Sara
Miguel, Catarina
Candeias, António
author_role author
author2 Melo, Helena P.
Valadas, Sara
Miguel, Catarina
Candeias, António
author2_role author
author
author
author
dc.contributor.none.fl_str_mv Repositório Comum
dc.contributor.author.fl_str_mv Cruz, António João
Melo, Helena P.
Valadas, Sara
Miguel, Catarina
Candeias, António
dc.subject.por.fl_str_mv pigments
artificial arsenic sulphide
amorphous arsenic sulphide
historic treatises
Mannerism
Portugal
topic pigments
artificial arsenic sulphide
amorphous arsenic sulphide
historic treatises
Mannerism
Portugal
description The painting The Descent from the Cross, painted in 1620 by Pedro Nunes (1586–1637), presents two large figures with orange-coloured fabrics with conservation problems. Through the analysis of two samples with several analytical techniques, especially scanning electron microscopy combined with X-ray spectroscopy and Raman microscopy, it was possible to conclude that the orange colour is due to a complex artificial pigment made of amorphous arsenic sulphide. It essentially consists of spherical particles obtained by sublimation and condensation, possibly from orpiment, which ended up being joined with irregularly shaped particles resulting from crushing of the residual fraction obtained by solidification and fusion. This is a rare documented case of the extensive use of artificial arsenic sulphides in European easel painting, especially outside Italy. The conservation problems can be explained by the great sensitivity of the arsenic sulphides to photodegradation and the formation of powdery compounds.
publishDate 2022
dc.date.none.fl_str_mv 2022-09-13
2022-09-13T00:00:00Z
2024-01-15T18:00:12Z
2024-01-15T15:43:02Z
dc.type.status.fl_str_mv info:eu-repo/semantics/publishedVersion
dc.type.driver.fl_str_mv info:eu-repo/semantics/article
format article
status_str publishedVersion
dc.identifier.uri.fl_str_mv http://hdl.handle.net/10400.26/48968
url http://hdl.handle.net/10400.26/48968
dc.language.iso.fl_str_mv eng
language eng
dc.relation.none.fl_str_mv cv-prod-3503149
10.3390/heritage5030138
dc.rights.driver.fl_str_mv info:eu-repo/semantics/openAccess
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dc.publisher.none.fl_str_mv MDPI
publisher.none.fl_str_mv MDPI
dc.source.none.fl_str_mv reponame:Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)
instname:Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação
instacron:RCAAP
instname_str Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação
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