By Andrew J. Clark
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Additional resources for Advanced Techniques in Art Conservation
In Figure 4, two mid-FTIR spectra are shown collected from areas of the sky, one painted by Raphael (spectrum a, point 34) and the other, at the extreme left-hand corner of the panel, painted by Ridolfo (spectrum b, point 35). 34 Diversely, the later retouches resulted to be made of smalt, Prussian blue, and synthetic ultramarine. This last one is the synthetic analogoue of lapis lazuli obtained by the furnacing of a mixture of kaolin, sulfur, and sodium carbonate. 34 Naples Yellows in Binary and Ternary Composition.
Part II. In-situ characterization of Renaissance plates by portable micro-Raman and XRF. J. Raman Spectrosc. 2010, in press. ; Brunetti, B. ; Sgamellotti, A. Non-invasive identification of organic materials in wall paintings by fiber optic reflectance infrared spectroscopy: a statistical multivariate approach. Anal. Bioanal. Chem. 2009, 395, 2097–2106. ; Brunetti, B. ; Sgamellotti, A. Non-invasive insitu investigations versus micro-sampling: a comparative study on a Renoirs painting. Appl. Phys.
She holds courses on Analytical Chemistry and the Chemistry of Cultural Heritage. She is Director of the Masters Course on “Materials and Diagnostic Techniques in the Cultural Heritage field”. Her research work includes developing analytical procedures based on spectroscopic and chromatographic techniques for characterizing micropollutants in the environment and, especially, organic materials and their degradation products in works of art and archaeological objects. She is head of the Chemical Sciences for the Safeguard of Cultural Heritage research group and specializes in the characterization of binders, organic dyes, and resins using chromatographic and mass-spectrometric techniques.