3750994
doi
10.5281/zenodo.3750994
oai:zenodo.org:3750994
user-innorenew
user-eu
Kavčič, Maša
Institute for the Protection of Cultural Heritage of Slovenia
Legan, Lea
Institute for the Protection of Cultural Heritage of Slovenia
Kranjc, Domen
Institute for the Protection of Cultural Heritage of Slovenia
Penko, Ana
Institute for the Protection of Cultural Heritage of Slovenia
Tavzes, Črtomir
Institute for the Protection of Cultural Heritage of Slovenia
Ropret, Polonca
Institute for the Protection of Cultural Heritage of Slovenia
Beehive panel paintings: Material characterisation
Retko, Klara
Institute for the Protection of Cultural Heritage of Slovenia
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
<p>Four different painted beehive panels dating from the beginning of the 19th to the second half of the<br>
20th century were selected for this study. This type of paintings was predominantly created by the lower<br>
(rural) classes and as such represents a variety of folk art [1]. This panels were traditionally placed on the<br>
front side of the hives. They were exposed outdoors, subjected to exterior environmental factors and<br>
therefore experienced degradation, which resulted in fading, loss of paint strata, etc. Although beehive<br>
panel paintings are specific and unique for Slovene ethnic territory, in-depth analytical studies regarding<br>
their material composition has not yet been published.<br>
Due to restrictions of the sampling, majority of the investigation on material composition within this<br>
study was performed in a non-invasive manner utilising reflection infrared and Raman spectroscopy. For a<br>
more detailed investigation micro-transflection FTIR spectroscopy on a diamond-coated metallic stick was<br>
employed on several areas of the paintings. On two panels, where sampling was allowed, we performed a<br>
more detailed study on samples’ cross-sections, which contained all stratigraphically present layers<br>
(wooden support, decorative layers). Paint layers are composed of historically commonly available<br>
pigments such as iron oxides, cinnabar/vermilion, lead white, carbon-based black, Prussian blue, etc. The<br>
main binder was determined to be composed of lipids which correspond with written archive texts stating<br>
that this type of paintings was usually done in oil. Two of the panels were also coated with a triterpenic<br>
resin. The main differences in the composition were observed for the panel from second half of the<br>
20th century, where the presence of synthetic organic red pigment PR3 and zinc white was determined.<br>
Furthermore, the presence of beeswax at the back of the panels was also detected, as well as some of the<br>
degradation products, such as carboxylates and oxalates.</p>
Zenodo
2019-05-07
info:eu-repo/semantics/conferencePoster
3750993
user-innorenew
user-eu
award_title=Renewable materials and healthy environments research and innovation centre of excellence; award_number=739574; award_identifiers_scheme=url; award_identifiers_identifier=https://cordis.europa.eu/projects/739574; funder_id=00k4n6c32; funder_name=European Commission;
1586938818.997351
33063
md5:33ab639f233c5bb1aa444d55133a118a
https://zenodo.org/records/3750994/files/Retko et al_konf.pdf
public
10.5281/zenodo.3750993
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doi