3 research outputs found
Materials and paint technique of a special masterpiece: Jacopo Tintoretto’s The Wedding Feast at Cana in Venice
The present paper illustrates the results of the scientific investigation performed on the painting on canvas The Wedding Feast at Cana (1561) by Jacopo Robusti, nicknamed Tintoretto. The painting, commissioned for the refectory of the Crociferi’s Convent of, is located in the Sacristy of the Basilica della Madonna della Salute in Venice, after the dissolution of the congregation.
Noninvasive single spot technique (X-ray fluorescence), and analytical investigations (optical microscopy, scanning electron microscopy with energy dispersive spectroscopy, and gas chromatography coupled with mass spectrometry) on ten micro-samples were combined to retrieve the palette and identifying the organic binding media.
The investigations revealed the existence of many pigments available at that time in Venice, among which is the precious lapis lazuli. The identification of two pigments, one white and one blue, allowed to know the possible time of execution of the two angles, added at the top. The study of the painting has made it possible to know completely unexpected aspects: the painting does not present the traditional ground of gypsum and animal glue, but it turns out to be complete without the preparatory layer. This painting is described by art historians as an “oil on canvas”; however, GC/MS did not identify any fatty acids of siccative oil, but only egg, presumably yolk, then The Wedding Feast at Cana was made in tempera.
on canvas The Wedding Feast at Cana (1561) by Jacopo Robusti, nicknamed Tintoretto. The
painting, commissioned for the refectory of the Crociferi’s Convent of, is located in the Sacristy
of the Basilica della Madonna della Salute in Venice, after the dissolution of the congregation.
Noninvasive single spot technique (X-ray fluorescence), and analytical investigations (optical
microscopy, scanning electron microscopy with energy dispersive spectroscopy, and gas
chromatography coupled with mass spectrometry) on ten micro-samples were combined to
retrieve the palette and identifying the organic binding media. The investigations revealed the
existence of many pigments available at that time in Venice, among which is the precious lapis
lazuli. The identification of two pigments, one white and one blue, allowed to know the possible
time of execution of the two angles, added at the top. The study of the painting has made it
possible to know completely unexpected aspects: the painting does not present the traditional
ground of gypsum and animal glue, but it turns out to be complete without the preparatory
layer. This painting is described by art historians as an “oil on canvas”; however, GC/MS did
not identify any fatty acids of siccative oil, but only egg, presumably yolk, then The Wedding
Feast at Cana was made in tempera
Analysis of Tintoretto's paintings in the Scuola Grande di San Rocco by an image spectrometer
The paper describes the system, the procedure and the
first results of the on site measurements devoted to the
spectrometric characterization of the Tintoretto\u2019s painting in the
\u201cScuola Grande di SanRocco\u201d in Venice. The measuring method
proves to be effective to provide a solid basis for the study and
the design of a new lighting system able to improve the quality of
the enjoyment of the works of art