Discovery of Vespasiano Bignami paintings at the National Theatre of Costa Rica through technical photography and UV–Vis spectroscopy
暂无分享,去创建一个
[1] A. Romani,et al. Molecular Fluorescence Imaging Spectroscopy for Mapping Low Concentrations of Red Lake Pigments: Van Gogh's Painting The Olive Orchard. , 2020, Angewandte Chemie.
[2] M. Montero,et al. A Brief Insight Into the Secrets of the 120-Year-Old Main Curtain of the National Theatre of Costa Rica Through Non-Destructive Characterization Techniques , 2019, Journal of Conservation and Museum Studies.
[3] S. Vettori,et al. The ancient use of colouring on the marble statues of Hierapolis of Phrygia (Turkey): an integrated multi-analytical approach , 2019, Archaeological and Anthropological Sciences.
[4] E. Grifoni,et al. Multi-technique characterization of madder lakes: A comparison between non- and micro-destructive methods , 2018, Journal of Cultural Heritage.
[5] S. F. Vallejuelo,et al. Red and blue colours on 18th–19th century Japanese woodblock prints: In situ analyses by spectrofluorimetry and complementary non-invasive spectroscopic methods , 2018, Microchemical Journal.
[6] J. Madariaga,et al. In situ non-invasive characterization of the composition of Pompeian pigments preserved in their original bowls , 2018, Microchemical Journal.
[7] D. Tamburini,et al. The identification of lac as a pigment in ancient Greek polychromy - The case of a Hellenistic oinochoe from Canosa di Puglia , 2018 .
[8] Stefania Pasquale,et al. Effect of particle size on pigments colour , 2017 .
[9] J. Madariaga,et al. Optimization of sample treatment for the identification of anthraquinone dyes by surface-enhanced Raman spectroscopy , 2017, Analytical and Bioanalytical Chemistry.
[10] L. Montero. Análisis de la conformación del diseño arquitectónico y ornamental del Teatro Nacional de Costa Rica , 2017 .
[11] M. Ślebioda,et al. A multi-analytical approach to the characterization of natural organic dyestuffs and inorganic substrates present in the 19th-century artistic oil paints manufactured by a French art materials supplier Richard Ainès , 2017 .
[12] Roxanne Radpour,et al. Application of forensic photography for the detection and mapping of Egyptian blue and madder lake in Hellenistic polychrome terracottas based on their photophysical properties , 2017 .
[13] Leonoardo Santamaría Montero,et al. Mercato culturale: El nacimiento de la ornamentación de un Coliseo , 2015 .
[14] Antonino Cosentino,et al. Identification of pigments by multispectral imaging; a flowchart method , 2014, Heritage Science.
[15] T. Devièse,et al. Technological insights into madder pigment production in antiquity , 2014 .
[16] R. Olson. Art for a new audience in the Risorgimento: a meditation , 2013 .
[17] E. Braun. Introduction , 2013 .
[18] E. Braun. Easel painting in the age of Italian unification , 2013 .
[19] A. Romani,et al. Photoluminescence Properties of Zinc Oxide in Paints: A Study of the Effect of Self-Absorption and Passivation , 2012, Applied spectroscopy.
[20] Elena Phipps. Cochineal Red: The Art History of a Color , 2010 .
[21] Costanza Miliani,et al. Bleaching of red lake paints in encaustic mummy portraits , 2010 .
[22] Aviva Burnstock,et al. Identification of red colorants in van Gogh paintings and ancient Andean textiles by microspectrofluorimetry , 2010 .
[23] T. Devièse,et al. ‘The ‘Treu Head’: a case study in Roman sculptural polychromy’ , 2010 .
[24] Sophia Sotiropoulou,et al. Application of the Kubelka—Munk Correction for Self-Absorption of Fluorescence Emission in Carmine Lake Paint Layers , 2009, Applied spectroscopy.
[25] B. Berrie. An improved method for identifying red lakes on art and historical artifacts , 2009, Proceedings of the National Academy of Sciences.
[26] Pier Luigi Gentili,et al. Vibrational and electronic properties of painting lakes , 2008 .
[27] F. Pina,et al. The use of microspectrofluorimetry for the characterization of lake pigments. , 2008, Talanta.
[28] Mathieu Thoury,et al. Nondestructive Varnish Identification by Ultraviolet Fluorescence Spectroscopy , 2007, Applied spectroscopy.
[29] David W. Lee. Nature's palette , 2007 .
[30] Mauro Barni,et al. Image processing for the analysis and conservation of paintings: opportunities and challenges , 2005, IEEE Signal Process. Mag..
[31] Hilde van der Togt,et al. Publisher's Note , 2003, J. Netw. Comput. Appl..
[32] Christopher A. Maines,et al. Color Science in the Examination of Museum Objects , 2002 .
[33] Ruth Johnston-Feller,et al. Color Science in the Examination of Museum Objects: Nondestructive Procedures , 2001 .
[34] Z. Hao,et al. Some aspects of organic pigments , 1997 .
[35] Marie L. Carden,et al. Use of Ultraviolet Light as an Aid to Pigment Identification , 1991 .
[36] E. de la Rie,et al. Fluorescence of paint and varnish layers (Part II) , 1982 .
[37] M. Farnsworth. Second Century B. C. Rose Madder from Corinth and Athens , 1951 .
[38] L. Fieser. The discovery of synthetic alizarin , 1930 .
[39] The Technology of Red Lake Pigment Manufacture : Study of the Dyestuff Substrate , 2022 .