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Traditional and modern pigments in Gino Severini's Swiss murals
Color Research and Application ( IF 1.2 ) Pub Date : 2023-06-10 , DOI: 10.1002/col.22870 Patrizia Moretti 1 , Stefan Zumbühl 2 , Nadim Scherrer 2 , Francesca Piqué 1
Color Research and Application ( IF 1.2 ) Pub Date : 2023-06-10 , DOI: 10.1002/col.22870 Patrizia Moretti 1 , Stefan Zumbühl 2 , Nadim Scherrer 2 , Francesca Piqué 1
Affiliation
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Between 1924 and 1947, Gino Severini decorated five churches in the Romand region of Switzerland with monumental religious wall paintings. This mural art played an important role in the Italian artist's career despite being mostly unknown and not easily found. The painting methods and materials of these modern Swiss murals were characterized by combining historical and archival research with onsite visual and scientific examination. Most pigments were identified with noninvasive methods integrating mapping techniques (i.e., technical photography and digital microscopy) with point analysis (x-ray fluorescence and reflection FT-IR spectroscopy). The results of these portable techniques were completed with SEM-EDS, μFT-IR FPA imaging, and μRaman analyses on micro-samples which provided stratigraphic and compositional information to complement the noninvasive results. Overall, the data obtained show that Severini used both traditional pigments (e.g., Sangiovanni white and ochres/earths of various color) and modern ones, such as cadmium-based pigments, with different painting techniques (e.g., zinc white was applied exclusively a secco). Apart from cerulean blue (cobalt stannate) and Naples yellow (lead antimonate) found only in two locations, the same set of pigments was documented in all of Severini's Swiss murals. The characterization of the artist's palette is important to understand the technical painting process followed by Severini, his interest on new painting materials available on the market and, at the same time, loyalty towards traditional painting methods, such as painting a fresco.
中文翻译：
吉诺·塞维里尼瑞士壁画中的传统与现代颜料
1924 年至 1947 年间，吉诺·塞韦里尼 (Gino Severini) 用不朽的宗教壁画装饰了瑞士罗曼德地区的五座教堂。尽管这种壁画艺术大多不为人知且不易发现，但它在意大利艺术家的职业生涯中发挥了重要作用。这些现代瑞士壁画的绘画方法和材料的特点是将历史和档案研究与现场视觉和科学检验相结合。大多数颜料都是通过将测绘技术（即技术摄影和数字显微镜）与点分析（X 射线荧光和反射 FT-IR 光谱）相结合的非侵入性方法进行鉴定的。这些便携式技术的结果是通过对微样品进行 SEM-EDS、μFT-IR FPA 成像和 μRaman 分析来完成的，这些分析提供了地层和成分信息来补充非侵入性结果。总体而言，获得的数据表明，塞韦里尼既使用了传统颜料（例如，桑乔瓦尼白和各种颜色的赭色/土色），也使用了现代颜料，例如镉基颜料，并采用了不同的绘画技术（例如，锌白专门应用于赛科））。除了仅在两个地点发现的天蓝（锡酸钴）和那不勒斯黄（锑酸铅）之外，塞韦里尼的所有瑞士壁画中都记录了同一组颜料。艺术家调色板的特征对于理解塞韦里尼遵循的技术绘画过程、他对市场上可用的新绘画材料的兴趣以及对传统绘画方法（例如绘制壁画）的忠诚非常重要。
更新日期：2023-06-10
中文翻译：
吉诺·塞维里尼瑞士壁画中的传统与现代颜料
1924 年至 1947 年间，吉诺·塞韦里尼 (Gino Severini) 用不朽的宗教壁画装饰了瑞士罗曼德地区的五座教堂。尽管这种壁画艺术大多不为人知且不易发现，但它在意大利艺术家的职业生涯中发挥了重要作用。这些现代瑞士壁画的绘画方法和材料的特点是将历史和档案研究与现场视觉和科学检验相结合。大多数颜料都是通过将测绘技术（即技术摄影和数字显微镜）与点分析（X 射线荧光和反射 FT-IR 光谱）相结合的非侵入性方法进行鉴定的。这些便携式技术的结果是通过对微样品进行 SEM-EDS、μFT-IR FPA 成像和 μRaman 分析来完成的，这些分析提供了地层和成分信息来补充非侵入性结果。总体而言，获得的数据表明，塞韦里尼既使用了传统颜料（例如，桑乔瓦尼白和各种颜色的赭色/土色），也使用了现代颜料，例如镉基颜料，并采用了不同的绘画技术（例如，锌白专门应用于赛科））。除了仅在两个地点发现的天蓝（锡酸钴）和那不勒斯黄（锑酸铅）之外，塞韦里尼的所有瑞士壁画中都记录了同一组颜料。艺术家调色板的特征对于理解塞韦里尼遵循的技术绘画过程、他对市场上可用的新绘画材料的兴趣以及对传统绘画方法（例如绘制壁画）的忠诚非常重要。
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