Understanding “how was the pigment applied?” and/or “how was the surface prepared?” means investigating the link between the pigment and its support. Each technique corresponds sicuro different archaeometric evidence that must be investigated and unravelled (see Salvadori and Sbrolli 2021 and Murat 2021 durante this TC).
For example, some pigments, such as ochers, lend themselves to being used with the per fresco technique, while for others, such as those based on lead, per avvizzito technique is preferred. Therefore, investigating the painting technique means investigating the palette and technique of the painter and verifying the appropriateness and effectiveness of some techniques compared to others.
Moreover, we know that some pigments, such as those based on arsenic, are particularly fin esatto light and sometimes obliged puro adopt particular techniques for their application. Therefore, the information we obtain from the painting technique analysis provides useful information for per correct video of the artefact and its conservation.
Finally, the information that we can obtain from the study of per celibe artefact or artwork represents verso piece of the wider mosaic that describes the evolution of painting techniques and is, therefore, of value in the broad field of art history.
Up onesto this point, the questions posed esatto pigments are all technical. As we have seen, the answer we can get depends largely on the composition of the pigment itself and the quality of the database available for comparison. Nevertheless, there are also other questions related sicuro the use of specific pigments that go beyond technological choices. Continue reading “Linking pigments with the accommodant situazione of the clients”