Probing creation process of paintings from Tarsila do Amaral (1886-1973) by MA-XRF and differential X-ray attenuation

被引：0

作者：

Parma, Monica Groppo ^{[1
]}

Mendes, Isolda de Castro ^{[1
]}

Pimenta, Andre Rocha ^{[2
]}

de Oliveira, Ana Leticia Castro ^{[2
,4
]}

Felix, Valter de Souza ^{[2
]}

Beraldo, Heloisa ^{[1
]}

Rocha Junior, Nilton Thaumaturgo ^{[3
]}

de Souza, Claudia Regina Ferreira ^{[3
]}

Mayer, Rafael Dias ^{[3
]}

de Oliveira, Aline Paula ^{[3
]}

de Oliveira, Matheus Batista ^{[2
]}

de Oliveira, Miguel Andrade ^{[2
]}

de Freitas, Renato Pereira ^{[2
]}

机构：

[1] Univ Fed Minas Gerais, Chem Dept, Inst Ciencia Exatas, Av Antonio Carlos 6627, BR-31270901 Belo Horizonte, MG, Brazil

[2] LISCOMP IFRJ CPAR, Lab Instrumentacao & Simulacao Computac, BR-26600000 Paracambi, RJ, Brazil

[3] Inst Criminalist Carlos Eboli, Dept Geral Policiacn Cient, Rio De Janeiro, Brazil

[4] Univ Estado Rio De Janeiro, Rio De Janeiro, RJ, Brazil

来源：

RADIATION PHYSICS AND CHEMISTRY | 2023年 / 212卷

关键词：

X-ray fluorescence spectroscopy; Modern art; Pigments; Brazilian painting; XRF simulation data; MONTE-CARLO-SIMULATION; GOLD LEAF THICKNESS; FLUORESCENCE SPECTROMETERS; RADIATION; PIGMENT;

D O I：

10.1016/j.radphyschem.2023.111191

中图分类号：

O64 [物理化学（理论化学）、化学物理学];

学科分类号：

070304 ; 081704 ;

摘要：

Three artworks from Brazilian painter Tarsila do Amaral (1886-1973), "Manteau Rouge" (1923), "Vendedor de Frutas" (1925), and "Urutu" (1928), from different creative phases of the artist, were analyzed by macro X-ray fluorescence scanning (MA-XRF) technique. Based on the obtained elemental maps, it was possible to deduce the pigments employed by Tarsila during her different artistic phases. To investigate the ground applied in the paintings, XRF spectra were simulated with Zinc White and Lead White pigments in two categories: pure pig-ments, and another as ground. These simulated results were compared with experimental XRF data, allowing the discussion of the presence of Pb and Zn pigments in different layers of the paintings. From elemental maps, it was possible to observe repaintings in the "Manteau Rouge" and "Vendedor de Frutas". Based on the results, it is possible to conclude that the painter utilized the same pigments consistently throughout her artistic phases, while exhibiting changes in her painting style.

引用

页数：11

共 6 条

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