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 to different archaeometric evidence that must be investigated and unravelled (see Salvadori and Sbrolli 2021 and Murat 2021 mediante this TC).

For example, some pigments, such as ochers, lend themselves to being used with the per giovane technique, while for others, such as those based on lead, verso secco 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 esatto others.

Moreover, we know that some pigments, such as those based on arsenic, are particularly fin sicuro light and sometimes obliged sicuro adopt particular techniques for their application. Therefore, the information we obtain from the painting technique analysis provides useful information for a correct display of the artefact and its conservation.

Finally, the information that we can obtain from the study of a scapolo artefact or artwork represents per piece of the wider mosaic that describes the evolution of painting techniques and is, therefore, of value per the broad field of art history.

Up esatto this point, the questions posed to 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 esatto the use of specific pigments that go beyond technological choices. Continua a leggere