Time-dependent variation of lead isotopes of lead white in 17th century Dutch paintings.
Ontology highlight
ABSTRACT:
SUBMITTER: D'Imporzano P
PROVIDER: S-EPMC8635429 | biostudies-literature |
REPOSITORIES: biostudies-literature
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Project description:Dutch 17th century painters were masters in depicting materials and their properties in a convincing way. Here, we studied the perception of the material signatures and key image features of different depicted fabrics, like satin and velvet. We also tested whether the perception of fabrics depicted in paintings related to local or global cues, by cropping the stimuli. In Experiment 1, roughness, warmth, softness, heaviness, hairiness, and shininess were rated for the stimuli shown either full figure or cropped. In the full figure, all attributes except shininess were rated higher for velvet, whereas shininess was rated higher for satin. This distinction was less clear in the cropped condition, and some properties were perceived significantly different between the two conditions. In Experiment 2 we tested whether this difference was due to the choice of the cropped area. On the basis of the results of Experiment 1, shininess and softness were rated for multiple crops from each fabric. Most crops from the same fabric differed significantly in shininess, but not in softness perception. Perceived shininess correlated positively with the mean luminance of the crops and the highlights' coverage. Experiment 1 showed that painted velvet and satin triggered distinct perceptions, indicative of robust material signatures of the two fabrics. The results of Experiment 2 suggest that the presence of local image cues affects the perception of optical properties like shininess, but not mechanical properties such as softness.
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Project description:Over time, artist pigments are prone to degradation, which can decrease the readability of the artwork or notably change the artist's intention. In this article, the visual implication of secondary degradation products in a degraded yellow rose in a still life painting by A. Mignon is discussed as a case study. A multimodal combination of chemical and optical imaging techniques, including noninvasive macroscopic x-ray powder diffraction (MA-XRPD) and macroscopic x-ray fluorescence imaging, allowed us to gain a 3D understanding of the transformation of the original intended appearance of the rose into its current degraded state. MA-XRPD enabled us to precisely correlate in situ formed products with what is optically visible on the surface and demonstrated that the precipitated lead arsenates and arsenolite from the yellow pigment orpiment and the light-induced fading of an organic yellow lake irreversibly changed the artist's intentional light-shadow modeling.
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Project description:Ocean-going ships were key to rising maritime economies of the Early Modern period, and understanding how they were built is critical to grasp the challenges faced by shipwrights and merchant seafarers. Shipwreck timbers hold material evidence of the dynamic interplay of wood supplies, craftmanship, and evolving ship designs that helped shape the Early Modern world. Here we present the results of dendroarchaeological research carried out on Batavia's wreck timbers, currently on display at the Western Australian Shipwrecks Museum in Fremantle. Built in Amsterdam in 1628 CE and wrecked on its maiden voyage in June 1629 CE in Western Australian waters, Batavia epitomises Dutch East India Company (Verenigde Oostindische Compagnie, or VOC) shipbuilding. In the 17th century, the VOC grew to become the first multinational trading enterprise, prompting the rise of the stock market and modern capitalism. Oak (Quercus sp.) was the preferred material for shipbuilding in northern and western Europe, and maritime nations struggled to ensure sufficient supplies to meet their needs and sustain their ever-growing mercantile fleets and networks. Our research illustrates the compatibility of dendrochronological studies with musealisation of shipwreck assemblages, and the results demonstrate that the VOC successfully coped with timber shortages in the early 17th century through diversification of timber sources (mainly Baltic region, Lübeck hinterland in northern Germany, and Lower Saxony in northwest Germany), allocation of sourcing regions to specific timber products (hull planks from the Baltic and Lübeck, framing elements from Lower Saxony), and skillful woodworking craftmanship (sapwood was removed from all timber elements). These strategies, combined with an innovative hull design and the use of wind-powered sawmills, allowed the Dutch to produce unprecedented numbers of ocean-going ships for long-distance voyaging and interregional trade in Asia, proving key to their success in 17th-century world trade.
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