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Introduction
Paintings on copper became popular during the 16th and 17th centuries when many artists adopted this rigid, non-absorbent support for oil
painting [1,2,3]. Discovering how these paintings were executed presents a double challenge since the historical documentation is both limited
and dispersed. This research, which looks at the characterization of copper paintings, aims to combine literature references with analysis from
actual paintings. Twelve European paintings originating in Portugal, Flanders, Spain and Italy, on metal (eleven on copper and one on brass)
were chosen for study. The paintings date from the 17th and 18th centuries, therefore information from the artists’ manuals and treatises
(covering six different languages) focuses on this period. Analyses of the paintings were carried out with non-invasive and micro-invasive
techniques, including stereomicroscopy, X-radiography, µ-Energy Dispersive X-ray Fluorescence spectroscopy (μ-EDXRF), μ-
Raman spectroscopy (μ-Raman) and Optical Microscopy (OM).
This poster focuses on the results related to the preparatory layers, chosen for investigation primarily because they can be
difficult to detect visually and with the stereomicroscope, as evidenced in the study group of paintings (Fig. 1). For the
preparatory layers only three of the analytical techniques revealed meaningful results (see below).
PNT-FL-1
PNT-FL-2 PNT-FL-1 PNT-FL-4 PNT-FL-5 PNT-FL-6 PNT-PT-1 PNT-PT-2 PNT-PT-3 PNT-PT-4 PNT-ES-1 PNT-IT-1
Conclusions
In the paintings studied, a thin (10-20 µm) preparatory layer ranging from light brown to white was consistently found between the copper
support and paint layers, despite the poor visibility of this layer by observation and stereomicroscopy. Its presence and the materials used
were anticipated by consulting artists’ manuals and treatises contemporary with the period studied, and were confirmed with analysis.
References
[1] Van Der Graaf, J.A. 1972. Development of oil paint and the use of metal plates as a support. In Conservation of paintings and the
graphic arts: preprints of contributions to the Lisbon Congress, 9-14 October 1972. London: IIC, pp.139-152.
[2] Bowron, E.P. 1999. A brief history of European oil paintings on copper, 1560-1775. In M. Komanecky, ed. Copper as Canvas: Two
Centuries of Masterpiece Painting on Copper, 1575-1775. New York & Oxford: Phoenix Art Museum, Oxford University Press, pp. 9-44.
[3] Horovitz, I. 2012. Copper as a support for easel paintings. In J. Hill Stoner & R. Rushfield, eds. The Conservation of Easel Paintings.
London: Butterworths-Elsevier, pp. 99-106