National Repository of Grey Literature 6 records found  Search took 0.01 seconds. 
Metodika pro obrazovou a morfologickou analýzu miniaturních portrétů
Pech, Michal ; Hradilová, Janka ; Hradil, David
The methodology is intended primarily for laboratories and restorers; it describes basic non-invasive methods of image and morphological analysis suitable for the study of miniature painting. Commonly used methods of restoration research designed for the study of easel and panel paintings can also be applied to the study of miniatures; however, their small size, materials, and techniques impose a number of limitations. Traditional invasive methods associated with sampling cannot be used when examining miniatures. The methodology describes how to adapt commonly used methods, such as visible and UV-light imaging, infrared reflectometry and digital radiography, to the study of miniatures. X-ray fluorescence scanning (MA-XRF spectroscopy) is proving to be a particularly important tool for pigment identification and the study of miniature painting techniques, with its ability to produce high-resolution elemental maps. In the future, it can be expected that this still not widely used method, which combines the advantages of image and analytical methods of exploration, will be rapidly developing.
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Bodová neinvazivní analýza miniatur přenosnými a laboratorními nástroji: metodika pro specifické použití ve výzkumu miniaturního malířství
Kočí, Eva ; Bezdička, Petr ; Hradil, David ; Garrappa, Silvia ; Hradilová, Janka ; Pech, Michal
The methodology brings a comprehensive procedure of non-invasive materials analysis of painted miniature artworks, while it is divided into two subsequent parts. In the first part, it describes the use of portable devices for spectroscopic analysis of miniatures, and in the second, it deals with the application of a new methodological procedure for phase/structural materials analysis based on X-ray powder diffraction. The methodology thus includes the following procedures: (i) determination of the elemental composition of the colour layer by the x-ray fluorescence analysis, (ii) identification of binders and other organic compounds using infrared spectroscopy (FT-IR), and finally (iii) phase/mineralogical and structural analysis to describe in more detail the pigments used and processes of their degradation. As part of this last step, the limits of Raman spectroscopy (RS) and the advantages of powder X-ray diffraction and micro-diffraction (XRPD and micro-XRPD) are described, which include greater gentleness to the analysed objects. A very complete and above all non-invasive methodological procedure for the analysis of miniatures is thus offered, which uses the complementarity of individual methods and which can be partly applied already in situ (directly in collection institutions) and partly at specialized workplaces.
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Aplikace environmentální rastrovací elektronové mikroskopie (EREM) v oboru analýzy miniatur: metodika pro specifické použití ve výzkumu miniaturního malířství
Hradil, David ; Hradilova, Janka ; Neděla, Vilém ; Tihlaříková, Eva
The methodology deals with a completely new, unused procedure of non-invasive analysis of painted portrait miniatures, using environmental scanning electron microscope with an energy-dispersive X-ray spectrometer (ESEM-EDS). ESEM, unlike the conventional scanning electron microscope (SEM), allows the analysis of the painting on the ivory support, which is not possible in the gas pressure approaching the vacuum, where there is a risk of deformation and damage due to the drying of this biological material. Instead of an inert gas (nitrogen, argon), the aim is to use a mixture of nitrogen and water vapor at a defined pressure corresponding to the required relative humidity in the measuring chamber. This enables a completely non-invasive analysis of painted miniature objects on organic types of supports. This methodology is divided into two parts: morphological analysis and elemental composition analysis. The first case involves the study of morphological details at high magnification (e. g. the possibility of distinguishing different types of supports or characterizing their microstructure). The second part describes the implementation of elemental analysis in high spatial resolution (distinction of individual pigment grains).
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The methodology for visualization of the internal structure of the painting using novel x-ray based methods
Hradilová, Janka ; Hradil, David ; Trmalová, Olga ; Žemlička, Jan
Aim of the methodology is to involve the newly tested a newly developed methods, which allow displaying an internal structure of a painting, into the routine conservation/restoration research. The methodology is yet specifically focused only on methods using X-rays, i.e. X-ray radiography (XRR) and X-ray fluorescence (XRF) (including macroscopic XRF scanning). The methodology includes testing the radiographic equipment with pixel detectors, which has been newly developed within the project, and assesses its contribution to the practical survey of painting techniques reflecting its exceptional spatial resolution, materials sensitivity and mobility.
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Portable X-ray fluorescence analyzers: methodology of their use within non-invasive survey of paintings in situ
Hradil, David ; Hradilová, Janka
Aim of the methodology is to determine the general limits for application of portable XRF analyzers (currently available and newly developed) to the practical materials research of the fine art and reduce the risk of erroneous interpretations in a given context. The target group are professionals and learned laymen (regardless of their initial education) who want use the method in the conservation practice or within the interdisciplinary research of fine arts, as a part of the non-invasive stage of such research, which does not require any intervention into the artwork and any transport of the painting to a specialized workplace.
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Naples yellow containing Sn in 18th - 19th century: Technological peculiarity or a forgotten pigment ?
Grygar, Tomáš ; Hradil, David ; Hradilová, Janka ; Bezdička, Petr ; Fogaš, I. ; Machovič, V.
Several Pb-containing yellow pigments were used in traditional European painting. Recipes for their production were probably adapted by those for yellow glass and enamel, having been known from antiquity. The popularity of one of them, Naples yellow, PB2Sb2O7, is strictly limited to the period from 17th to 19th century and its actual composition chanced within this period.

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