Poster Open Access

Beehive panel paintings: Material characterisation

Retko, Klara; Kavčič, Maša; Legan, Lea; Kranjc, Domen; Penko, Ana; Tavzes, Črtomir; Ropret, Polonca


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  <identifier identifierType="DOI">10.5281/zenodo.3750994</identifier>
  <creators>
    <creator>
      <creatorName>Retko, Klara</creatorName>
      <givenName>Klara</givenName>
      <familyName>Retko</familyName>
      <affiliation>Institute for the Protection of Cultural Heritage of Slovenia</affiliation>
    </creator>
    <creator>
      <creatorName>Kavčič, Maša</creatorName>
      <givenName>Maša</givenName>
      <familyName>Kavčič</familyName>
      <affiliation>Institute for the Protection of Cultural Heritage of Slovenia</affiliation>
    </creator>
    <creator>
      <creatorName>Legan, Lea</creatorName>
      <givenName>Lea</givenName>
      <familyName>Legan</familyName>
      <affiliation>Institute for the Protection of Cultural Heritage of Slovenia</affiliation>
    </creator>
    <creator>
      <creatorName>Kranjc, Domen</creatorName>
      <givenName>Domen</givenName>
      <familyName>Kranjc</familyName>
      <affiliation>Institute for the Protection of Cultural Heritage of Slovenia</affiliation>
    </creator>
    <creator>
      <creatorName>Penko, Ana</creatorName>
      <givenName>Ana</givenName>
      <familyName>Penko</familyName>
      <affiliation>Institute for the Protection of Cultural Heritage of Slovenia</affiliation>
    </creator>
    <creator>
      <creatorName>Tavzes, Črtomir</creatorName>
      <givenName>Črtomir</givenName>
      <familyName>Tavzes</familyName>
      <affiliation>Institute for the Protection of Cultural Heritage of Slovenia</affiliation>
    </creator>
    <creator>
      <creatorName>Ropret, Polonca</creatorName>
      <givenName>Polonca</givenName>
      <familyName>Ropret</familyName>
      <affiliation>Institute for the Protection of Cultural Heritage of Slovenia</affiliation>
    </creator>
  </creators>
  <titles>
    <title>Beehive panel paintings: Material characterisation</title>
  </titles>
  <publisher>Zenodo</publisher>
  <publicationYear>2019</publicationYear>
  <dates>
    <date dateType="Issued">2019-05-07</date>
  </dates>
  <resourceType resourceTypeGeneral="Text">Poster</resourceType>
  <alternateIdentifiers>
    <alternateIdentifier alternateIdentifierType="doi">10.5281/zenodo.3750994</alternateIdentifier>
    <alternateIdentifier alternateIdentifierType="url">https://zenodo.org/record/3750994</alternateIdentifier>
  </alternateIdentifiers>
  <relatedIdentifiers>
    <relatedIdentifier relatedIdentifierType="DOI" relationType="IsVersionOf">10.5281/zenodo.3750993</relatedIdentifier>
    <relatedIdentifier relatedIdentifierType="URL" relationType="IsPartOf">https://zenodo.org/communities/innorenew</relatedIdentifier>
  </relatedIdentifiers>
  <rightsList>
    <rights rightsURI="https://creativecommons.org/licenses/by/4.0/legalcode">Creative Commons Attribution 4.0 International</rights>
    <rights rightsURI="info:eu-repo/semantics/openAccess">Open Access</rights>
  </rightsList>
  <descriptions>
    <description descriptionType="Abstract">&lt;p&gt;Four different painted beehive panels dating from the beginning of the 19th to the second half of the&lt;br&gt;
20th century were selected for this study. This type of paintings was predominantly created by the lower&lt;br&gt;
(rural) classes and as such represents a variety of folk art [1]. This panels were traditionally placed on the&lt;br&gt;
front side of the hives. They were exposed outdoors, subjected to exterior environmental factors and&lt;br&gt;
therefore experienced degradation, which resulted in fading, loss of paint strata, etc. Although beehive&lt;br&gt;
panel paintings are specific and unique for Slovene ethnic territory, in-depth analytical studies regarding&lt;br&gt;
their material composition has not yet been published.&lt;br&gt;
Due to restrictions of the sampling, majority of the investigation on material composition within this&lt;br&gt;
study was performed in a non-invasive manner utilising reflection infrared and Raman spectroscopy. For a&lt;br&gt;
more detailed investigation micro-transflection FTIR spectroscopy on a diamond-coated metallic stick was&lt;br&gt;
employed on several areas of the paintings. On two panels, where sampling was allowed, we performed a&lt;br&gt;
more detailed study on samples&amp;rsquo; cross-sections, which contained all stratigraphically present layers&lt;br&gt;
(wooden support, decorative layers). Paint layers are composed of historically commonly available&lt;br&gt;
pigments such as iron oxides, cinnabar/vermilion, lead white, carbon-based black, Prussian blue, etc. The&lt;br&gt;
main binder was determined to be composed of lipids which correspond with written archive texts stating&lt;br&gt;
that this type of paintings was usually done in oil. Two of the panels were also coated with a triterpenic&lt;br&gt;
resin. The main differences in the composition were observed for the panel from second half of the&lt;br&gt;
20th century, where the presence of synthetic organic red pigment PR3 and zinc white was determined.&lt;br&gt;
Furthermore, the presence of beeswax at the back of the panels was also detected, as well as some of the&lt;br&gt;
degradation products, such as carboxylates and oxalates.&lt;/p&gt;</description>
  </descriptions>
  <fundingReferences>
    <fundingReference>
      <funderName>European Commission</funderName>
      <funderIdentifier funderIdentifierType="Crossref Funder ID">10.13039/501100000780</funderIdentifier>
      <awardNumber awardURI="info:eu-repo/grantAgreement/EC/H2020/739574/">739574</awardNumber>
      <awardTitle>Renewable materials and healthy environments research and innovation centre of excellence</awardTitle>
    </fundingReference>
  </fundingReferences>
</resource>
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