Collaborative Endeavors in the Chemical Analysis of Art and by Patricia L. Lang and Ruth Ann Armitage (Eds.)

By Patricia L. Lang and Ruth Ann Armitage (Eds.)

content material: PREFACE ; 1. WHAT>'S unsuitable WITH THIS photo? THE TECHNICAL research OF A recognized FORGERY ; GREGORY D. SMITH, JAMES F. HAMM, DAN A. KUSHEL, AND CORINA E. ROGGE ; 2. clinical exam AND remedy OF A portray via GIJSBERT GILLISZ D>'HONDECOETER within the MAURITSHUIS ; LAUREN PAUL BRADLEY, SABRINA MELONI, ERICH STUART UFFELMAN, AND JENNIFER L. MASS ; three. hand held XRF ANALYSES of 2 VERONESE work ; ERICH STUART UFFELMAN, ELIZABETH court docket, JOHN MARCIARI, ALEXIS MILLER, AND LAUREN COX ; four. CHARACTERIZATION OF THE BINDERS AND PIGMENTS within the ROCK work OF CUEVA los angeles CONGA, NICARAGUA ; R. LI, S. BAKER, C. SELVIUS DEROO, AND R. A. ARMITAGE ; five. LASER ABLATION-INDUCTIVELY COUPLED PLASMA-MASS SPECTROMETRY research OF reduce PECOS ROCK PAINTS AND attainable PIGMENT assets ; JON RUSS, KAIXUAN BU, JEFF HAMRICK, AND JAMES V. CIZDZIEL ; 6. id OF natural DYES by way of DIRECT research IN genuine TIME-TIME OF FLIGHT MASS SPECTROMETRY ; JORDYN GEIGER, RUTH ANN ARMITAGE, AND CATHY SELVIUS DEROO ; 7. CHARACTERIZING natural RESIDUES ON CERAMICS via DIRECT research IN genuine TIME TIME-OF-FLIGHT MASS SPECTROMETRY ; JOHN HOPKINS AND RUTH ANN ARMITAGE ; eight. NEW advancements within the <"NONDESTRUCTIVE>" relationship OF PERISHABLE ARTIFACTS utilizing PLASMA-CHEMICAL OXIDATION ; RUTH ANN ARMITAGE, MARY ELLEN ELLIS, AND CAROLYNNE MERRELL ; nine. the jobs OF CHEMISTRY AND tradition within the ORIGINS AND LEGACY OF CRUCIBLE DAMASCUS metal BLADES ; ANN FEUERBACH ; 10. ELEMENTAL COMPOSITION OF a sequence OF MEDIEVAL KOREAN COINAGE through ENERGY-DISPERSIVE X-RAY FLUORESCENCE SPECTROMETRY ; DANIELLE M. GARSHOTT, ELIZABETH MACDONALD, STEPHANIE SPOHN, HANA ATTAR, JENNIFER SHANGO, IRICE ELLIS, MEGHANN N. MURRAY, AND MARK A. BENVENUTO ; eleven. CHEMICAL COMPOSITION OF a chain OF SIAMESE BULLET cash: A look for modern COUNTERFEITS ; DANIELLE M. GARSHOTT, ELIZABETH MACDONALD, MEGHANN N. MURRAY, AND MARK A. BENVENUTO ; 12. research OF THE <"ARCHAIC MARK>" CODEX ; JOSEPH G. BARABE, ABIGAIL B. QUANDT, AND MARGARET M. MITCHELL ; thirteen. constructing A neighborhood OF technology AND artwork students ; PATRICIA HILL AND DEBERAH SIMON ; 14. THE CHEMISTRY OF ARTISTS>' PIGMENTS: AN IMMERSIVE studying direction ; PATRICIA L. LANG ; 15. BRIDGING the distance OF artwork AND CHEMISTRY on the INTRODUCTORY point ; ANNE GAQUERE-PARKER AND CASS D. PARKER ; sixteen. TECHNICAL exam OF CULTURAL background gadgets linked to GEORGE WASHINGTON ; ERICH STUART UFFELMAN, RONALD W. FUCHS II, PATRICIA A. HOBBS, LAUREN F. good, DANIELLE S. BOWMAN, AND DEREK A. G. BARISAS ; 17. THE SPECTROSCOPIC research OF PAINTS faraway from A POLYCHROME wooden SCULPTURE OF MALE SAINT ; PATRICIA L. LANG, SHAWN P. LEARY, REBECCA F. CAREY, MELISSA N. COFFER, RICK E. HAMILTON, AMBER L. KLEIN, RANDALL T. brief, AND PHILIP A. KOVAC ; EDITORS>' BIOGRAPHIES ; INDEXES ; writer INDEX ; topic INDEX

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Depending on the sample size required for analysis, a tungsten needle (16) or a scalpel can be used to take the sample, which may range from a few microns in diameter to the size of a period at the end of a 12-pt font sentence. Cross-sectional microscopy involves polishing a sample embedded in resin to reveal the sample’s edge, providing a cross-sectional view of the layer structure. The polished sample can be examined under magnification using light microscopy and/or scanning electron microscopy.

Colombini, M. ; Guatier, G. Chromatographia 2003, 58, 357–364. van den Berg, K. ; Boon, J. ; James and James: London, 1996; pp 930−937. Sutherland, K. J. Inst. Conserv. 2010, 33, 129–145. ; Chiantore, O. J. Anal. Appl. Pyrolysis 2003, 68-69, 115–136. Eastaugh, N. The Picture Restorer; (Spring 2003), pp 11−12. Wieseman, M. E. : London, 2010; pp 36−38. ; ACS Symposium Series; American Chemical Society: Washington, DC, 2012. ch002 Scientific Examination and Treatment of a Painting by Gijsbert Gillisz d’Hondecoeter in the Mauritshuis Lauren Paul Bradley,*,1 Sabrina Meloni,*,2 Erich Stuart Uffelman,3 and Jennifer L.

The upper half of the painting is dominated by a gray-blue sky with several small clouds; dark, horizontal striations resulting from the formation of lead soaps in an underlayer are visible throughout the sky. ; ACS Symposium Series; American Chemical Society: Washington, DC, 2012. ch002 Figure 2. Detail, lower right corner during cleaning. The varnish and overpaint are intact at left and have been removed at right. (see color insert) Figure 3. Cock and Hens in a Landscape. Royal Picture Gallery Mauritshuis.

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