La peinture funeraire de Macedoine. Emplois et Fonctions de la Couleur IVe-IIe s. av. J. -C.

Vol Ι: Texte (482 p.)Vol ΙΙ: Planches & Tableaux. (183 p.)Vol Ι: Texte. Vol ΙΙ: Planches & Tableaux

A Microcosm of Colour and Shine. The Polychromy of Chryselephantine Couches from Ancient Macedonia

The present work examines the polychromy applied to a number of fragmentary ivory small-scale sculptures that served as components of the luxurious decoration of chryselephantine couches from ancient Macedonia. The ivory fragments come from funerary contexts (the tomb of Philip II at Aigai, the Macedonian tomb II of Korinos at Pydna and the Macedonian tomb III of Aghios Athanassios near Thessaloniki), all of which are dated to the last quarter of the fourth century BC. The use of bright pigments on the laboriously executed faces of the figures and their garments, together with the gold leaf applied onto the hair and the background, conveys a powerful effect of polychromy that would have immediately caught the spectator’s eye, enhancing the overall aesthetic and material value of such lavishly decorated furniture. The identification of the pigments and the techniques of their application have been studied with the use of analytical methods (XRF, micro-XRF, XRD and SEM-EDS) and multi spectral imaging (Visible Induced Luminescence).Le présent article est consacré aux traces de polychromie retrouvées sur un certain nombre de sculptures fragmentaires en ivoire de petit format composant la somptueuse décoration des lits de banquets chryséléphantins de la Macédoine antique. Ces fragments en ivoire ont été découverts dans des sépultures (la tombe de Philippe II à Aigai, la tombe macédonienne II de Korinos à Pydna et la tombe III d’Aghios Athanassios près de Thessalonique, toutes datées du dernier quart du ive siècle avant Jésus-Christ.L’utilisation de pigments éclatants sur les visages soigneusement travaillés des figurines ainsi que sur leurs vêtements, tout comme la feuille d’or, appliquée sur la chevelure et sur le fond, leur confèrent une puissance de chatoiement qui devait immédiatement frapper le spectateur, renforçant l’impression esthétique comme la valeur matérielle de ce mobilier si fastueusement décoré.L’identification des pigments et les techniques de mise en œuvre employées ont été étudiées à l’aide d’analyses en XRF, micro-XRF, DRX, MEB-EDS et de l’imagerie multi-spectrale (photoluminescence

Organic residues in archaeology - the highs and lows of recent research

YesThe analysis of organic residues from archaeological materials has become increasingly important to our understanding of ancient diet, trade and technology. Residues from diverse contexts have been retrieved and analysed from the remains of food, medicine and cosmetics to hafting material on stone arrowheads, pitch and tar from shipwrecks, and ancient manure from soils. Research has brought many advances in our understanding of archaeological, organic residues over the past two decades. Some have enabled very specific and detailed interpretations of materials preserved in the archaeological record. However there are still areas where we know very little, like the mechanisms at work during the formation and preservation of residues, and areas where each advance produces more questions rather than answers, as in the identification of degraded fats. This chapter will discuss some of the significant achievements in the field over the past decade and the ongoing challenges for research in this area.Full text was made available in the Repository on 15th Oct 2015, at the end of the publisher's embargo period

La peinture funéraire de Macédoine (emplois et fonctions de la couleur (IVe-IIe siècle avant J.-C.))

La thèse se compose de trois volumes, Ia et Ib, complétés par un volume d'annexes (vol. II), où figurent les données issues des analyses techniques effectuées sur les échantillons étudiés pour chacun des monuments pris en considération (MLP, MEB-EDS, XRD, XRF, mFTIR, GC-MS, HPLC). Le catalogue rassemble dans les treize premiers chapitres l'ensemble des peintures funéraires de Macédoine, classées topographiquement et qualitativement: Vergina-Aigai, Lefkadia-Mieza, Pydna, Dion, Aghios Athanassios, la région de Thessalonique, Derveni-Leté, Nea Michaniona-Aineia, Potidée, Amphipolis, Tragilos et Drama. Ces chapitres monographiques qui présentent une analyse systématique de l'ensemble de la documentation disponible sont suivis de deux chapitres de synthèse sur les matériaux et les techniques de la peinture ancienne, aboutissant à une reconstitution des pratiques des peintres antiques, confrontées aux informations que nous recueillons dans les sources textuelles greco-romainesPARIS1-BU Pierre Mendès-France (751132102) / SudocSudocFranceF

Pigments and Binders

Pigments and binders include several natural and synthetic materials which have been used since pre‐history to produce a variety of colored artworks and textiles. Binders are used in paintings to disperse pigments. They include inorganic materials (e.g., in frescoes , water is the pigment vehicle; however, plaster is the ultimate binder) and organic materials (natural ones, such as proteins, siccative oils; or synthetic ones, such as acrylic, vinylic, alkydic). Characterizing the binding medium is fundamental in assessing the painting technique and addressing conservation issues, in order to devise the optimal restoration and/or display strategy. In addition, knowledge of an artist's palette facilitates a complete understanding of their work. These materials are usually characterized starting with an array of noninvasive imaging techniques, followed by the application of micro‐invasive (both destructive and not) protocols based on chromatographic and spectroscopic techniques