Portable X‐ray fluorescence device reveals the artistic palette of Carlo Bononi, Baroque artist from Ferrara

The principal aim of the in situ X‐ray fluorescence (XRF) analysis on the canvas “The Coronation of the Virgin” was to characterise the colour palette of Carlo Bononi (Ferrara, 1580–1632), a lesser‐known artist of the early Baroque period in Ferrara. More than 100 points were collected by means of a...

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Bibliographic Details
Published in:X-ray spectrometry 2020-05, Vol.49 (3), p.442-450
Main Authors: Impallaria, Anna, Mazzacane, Sante, Petrucci, Ferruccio, Tisato, Flavia, Volpe, Lisa
Format: Article
Language:English
Subjects:
artistic palette
Baroque art
Baroque era
Bononi
Fluorescence
Lead
Pigments
Portable equipment
Shades
Tin
X‐ray fluorescence
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Summary:The principal aim of the in situ X‐ray fluorescence (XRF) analysis on the canvas “The Coronation of the Virgin” was to characterise the colour palette of Carlo Bononi (Ferrara, 1580–1632), a lesser‐known artist of the early Baroque period in Ferrara. More than 100 points were collected by means of an XRF spectrometer, but the presence of many overlapping painted layers left some doubts about the preparation and the background layers. The scanning electron microscopy with energy dispersive spectrometer analysis on two samples resolved some of these doubts. The results obtained indicate the use of typical 17th century pigments, such as lead white, vermilion, azurite and a copper‐based green. For yellow pigments, the artist used the yellow ochre in some cases, while in others he used lead‐tin yellow. We also individuated at least three different shades of umber. Almost all the pigments have been identified and they are the first step in establishing the technical apparatus necessary to understand the modus operandi of the Ferrarese artist.
ISSN:0049-8246
1097-4539
DOI:10.1002/xrs.3139