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Examination of Russian avant-garde painting
Запись от Евгений размещена 26.05.2010 в 12:39
On the possibility of using data on the composition of pigments, grounds and tie at the examination of works of Russian avant-garde painting
Studying technological features paintings of the past with nearly a century, made an invaluable contribution to the study of history painting. To date, paintings by old masters studied from this aspect quite well. Therefore, their attribution and expertise, if not always, it is often preceded by a technology research, including chemical analysis of materials. The chemical composition of materials to determine the chronological framework of the painting: it is impossible to create a masterpiece of the XVII century. pigments was first obtained in the XVIII century. as well as an artist could not use paints, made in the XIX century. being a contemporary of the XVIII century.
But this is the case with works of masters of the old school.
A completely different situation when the object of study - painting beginning of XX century. The bright and original works of artists - representatives of the direction of Russian avant-garde today is the object of attention. Paintings by these artists are exhibited at various exhibitions of their work - the subject of art history research, they are restored, and are subject to sale, and as everyone knows, the cost of these works is very high. The latter led to the fact that the art market awash with a huge number of fakes, some of which are masterfully executed.
Read more ...
This, in turn, causes difficulty in their attribution and examination methods of art criticism the analysis. Therefore, the study of material constituents Russian avant-garde artist is able to present additional information which may shed light on the history of their creation, help in unraveling the fundamental question of attribution and expert scrutiny - the establishment of the artwork. Process data, nor in any way substitute for analysis of art criticism, provide a basis for further search, narrowing its borders. Just as the painting is inconceivable without the knowledge of the technology of painting, and authentication of art can not be based on a study of all of its material constituents.
First, even the question of the possibility of using data on the material of this time for attribution or examination aroused skepticism among the researchers. This is explained by the fact that the colorful palette of preceding centuries almost completely changed in the XIX century. - Century of rapid development of chemical industry. But the same range of artistic materials continues to be made in the next, XX century, and now also in the XXI. It seemed logical to assume that the composition of the pigments used in order to distinguish the painting of XIX century. from the pattern of XX can not. This is a priori bias - one of the reasons why the technology art school of Russian avant-garde to the present moment, at least in our country, not systematically studied.
Indeed, most often made in the XIX century. pigments continued to be made and in XX, and some continue to be made now. But there are certain pigments that appear only in the XX century. This is - red cadmium, first produced in 1905 [a], titanium dioxide - 1916-1918. in a mixture with other inert fillers, and in pure form - in 1923, in Russia they began to produce in the 1930's. [2], blue and green phthalocyanine pigments are synthesized in 1935-1936. [3].
Currently, a number of pigments replaced by cheaper and less toxic compounds. Thus, significantly decreased production of white, yellow and red pigments based on lead. More and more is available various organic pigments, and the mineral - yellow and red scheme, as before, are cadmium compounds.
At the same time to obtain reliable information about how and what materials are written works by artists of Russian avant-garde, can only be referring to the original works.
For the first time in the history of the study of painting artists in this direction the authors of the messages had the unique opportunity to study a large group of paintings from various collections of Russian museums, which was part of the program on a database maintained by the Ministry of Culture of Russia and JSC "Art in Russia".
Altogether some 70 works by artists such as Kandinsky, Malevich, Popova, Udaltsova, Rozanova, Exter, Larionov Goncharova, Shterenberg, Kliun, Morgunov, Strezheminsky, Shaposhnikov, Ender, Lentulov, Konchalovsky Falk, dated 1908-1921 years.
Although the number of these papers are not so great as to make far-reaching conclusions, yet the study revealed some peculiarities in the use of pictorial material.
Soils. Studies had shown, the picture painted as a factory-primed canvas, and on canvas, primed by hand. The common thread of all the soils studied group - is white.
As fillers soils identified lead, zinc oxide, chalk, gypsum. In addition to the monolayer, artists have used two-layer soils, as well as mixtures of two components.
Very often the work of claiming authorship of the Russian avant-garde artists, and are not, contain an ingredient soil recrystallized calcite, that is the product obtained by processing the chalk or limestone. Recrystallized calcite, also known as lime whitewash, and used in wall paintings as a primer and as a white pigment, in the grounds of genuine works of art studied was not found.
In addition to the lime whitewash counterfeiters also use a mixture of titanium and white lead.
Pigments. Consider the three color groups of pigments, whose identification may significantly affect the results of an examination.
White pigments. As the white pigments, the most common in the studied group are zinc and lead oxide. In works
issued for the avant-garde, we have identified white lead, which at the same time different from the original palette of white lead: modern white lead is a large single crystals in the form of tetrahedrons and other geometric shapes.
In the 70 studied the paintings created before 1921 are not detected titanium dioxide or mixed with inert fillers, either in pure form. Very often in paintings, falsify Russian avant-garde, we find titanium dioxide, which are present either in pure form or blended with zinc oxide or as a triple composition: zinc, titanium oxide and barite.
Blue pigments. In the studied group of original paintings often used artificial ultramarine, Prussian blue and cobalt blue. All these pigments are produced now and can be used in the forgery, but most often occurs in non-genuine paintings phthalocyanine blue pigment, first synthesized in 1935
Often, when studying patterns of unknown origin found a blue pigment, the beginning of use in painting which has no information and no data on how, when he was first received. It is a spectral Cobalt - this is the trade name for the pigment, which is the composition of silicate of cobalt and zinc. In 1971, the chief technologist Dulevo porcelain factory Alevtina Ivanovna Glebychevoy was defended thesis on technology of a number of pigments villemitovoy group that applies to these compounds. It is known that the pigments produced in Dulyovo for porcelain painting sold to factories for the production of decorative paints. In the study of original paintings by Russian avant-garde artists of the pigment was not found. The catalog company Lefranc in 1930 [4] of this pigment composition is also absent. Analysis of the same materials of paintings, questionable on several grounds, not just bringing to light the presence of the cobalt spectrum.
Green pigments. Presented in the original papers studied emerald green and green shveynfurtskoy; in one paper was found green cobalt. Emerald green continues to be made today. Shveynfurtskaya green because of its toxicity is no longer produced in the mid 1920's., On other sources - it continued to be made in Europe and the United States until 1960., In the early 1980's. its continued to produce as an insecticide.
For fakes often use a phthalocyanine green, phthalocyanine blue, or a mixture of pigment with a yellow pigment.
Despite the fact that the number of original works by artists studied Russian avant-garde is sufficiently representative, the study of pigments in 70 scenes can make some conclusions.
1. A set of identified pigments rather uniform for all artists. An analysis of the specific author of pigments shows that the artist, as a rule, remains true to repeatedly selected pigments in the transfer of any colors. It should be noted that Kandinsky's palette is somewhat different from a palette of other artists. Perhaps this is due to his habit of working colors produced in Germany.
2. Also revealed a combination of pigments, characteristic of the work specified period. Example, in the paintings of Kandinsky 1916-1917 years., Found a red organic pigment and red lead, and in earlier works (1909) - Red
organic pigment and cinnabar, as in the paintings discovered in 1909 Naples yellow, which is absent in the paintings 1916-1917 years.
3. Not found materials, the beginning of industrial production, which does not correspond to the time of writing patterns, ie, titanium dioxide and phthalocyanine pigments.
4. All studied works painted factory colors. The opinion of the possibility of creating new pigments because of the nature of creative experimentation Russian Avant-garde artists not confirmed in the study of this group of reference works. This is - a myth.
Environment prevailing in the art idea that artists can avail themselves to the synthesis of some pigments, are without basis in reality. In particular, you can hear that phthalocyanine pigments could be obtained at home. Such a representation is a complete illusion based on ignorance on complex processes of organic synthesis, which requires special equipment and special conditions - the pressure high and low temperatures, the use of corrosive agents, ie everything that is impossible to create otherwise, except as a laboratory or factories, conditions.
Binders. For the period covering the end of the XIX and XX in the whole., Characterized by the use of both traditional oil binder, and various composite compositions based on oil. During the identification of oil paintings in colorful layers researchers can determine these parameters it is directly related to the time of painting.
First, the degree of polymerization, or the degree of aged oil. Roughly based on the chemical properties of the oil film can be divided into three age-gradation of oil binder - whether fresh layer of paint, ie, deposited about a year or two ago, then - 30-50 years, the latest figure - 100 years. Next, determine the age of oil would not be possible.
Secondly, the chemical analysis of paints, contain oil, objectively demonstrates, how the aging process of oil bonds: a natural way, over time, or it was an accelerated, adulterated, ie, artificial.
Thirdly, the dilution of oil paints traditionally used organic solvents or resin varnishes on organic solvents or oil. Do so, as a rule, on the palette, and the tar content in different paint layers was different, as confirmed by chemical analysis.
In the second half of XX century. composition of the oil binder radically changed - in the production of paints by adding considerable amounts of resin. Chemical analysis captures the constant ratio of oil /tar ", which suggests that the picture painted by industrial paints the second half of XX century.
For today's oil paints characterized the prevailing content of the resin in relation to oil, which is also quite unusual for oil paints the first decades of XX century. and, consequently, is also indicative of the fact of the examination. Since the second half of XX century in artistic practice firmly established diluents containing artificial polymer materials.
Alkyd polymers were invented in 1930, acrylic polymers - in 1935, vinyl - in 1937, these polymers were used initially in the form of solutions in organic solvents, and since 1949 in the form of aqueous dispersions. Introduction in manufacture decorative paints happened later. In domestic practice, it falls at the end of 1950 - early 1960.
In addition to the traditional techniques of oil painting, there were variations on its basis. Thus, the desire to give an oil painting it does not have a matte surface has identified the introduction of lipstick, consisting of resin, usually dammar, and wax. Lipstick mingled with oil paints on the palette, and its amount allowed to reach different degrees of mat painting. Different ratio of these additives in the paint layers can also be installed analytically. Such a composition tie says that it is not industrial paints. They have been used since the XIX century.
Important information concerning the dating of the paintings, can give such a resin as dammar. Open to European artists in the middle of the XIX century, dammar firmly part of the oil paint in the second half of XX century. That is confirmed by studies of painting. Dammarie in colorful layers of ten years ago is different than dammar in colorful layers of newly written works. As shown by experimental studies, three years later in oil paint containing dammar, appears whitish coating. The absence of such a raid shows slight age of the paint layer.
Since the XIX century. there are various versions of tempera painting, imitating the brilliant surface of oil paints. In the last quarter of XIX century. Some artists have tried to create new kinds of tempera. This technique has several advantages compared to oil: tempera colors do not darken, instantly dry, but the impression of oil, and if used as a diluent water, you can get the effect of tempera painting. Experiments on modification of the old tempera been extremely successful, resulting in several new species of. Due to the different set of organic components, and hence different mechanisms of aging, a colorful layer of such products has a different craquelure or do not have it at all. Tempera "Brilliant", for example, practically does craquelure due to the high content of dextrin in its composition.
Paintings executed in certain types of "new tempera, often look like oil paintings, so it is necessary to abandon widely practiced in the museum and restoration work of visual identification techniques of painting.
Another type of tempera was added to oil paints in the form of wax emulsion in water. It was also a way to make oil painting uncharacteristic for her matte surface. The paint on this binder is now called "wax, oil temperature. However, new and old wax-oil tempera can be distinguished from one another: for the old tempera characterized by intermittent mixing ratio of binder in the various layers of paint, for a new same temperature, on the contrary, this ratio is constant.
Production of various types of tempera, casein, except oil, lasted until the mid 1940's. Until they gradually have not replaced the ink on a variety of polymeric binders, the date of production which have already been identified.
Study of 15 original paintings 1908-1921 years. from the collections of provincial museums showed the following: soils mainly oil, less often - emulsion, only one case detected emulsion primer with the addition of starch. In the paint on the canvas has been detected only in which of the need to add synthetic varnish. Among studied painting new temperature (oil, resin, gum) found only in one picture L. Popova (collage - Still № 62, x., 1915, Nizhny Novgorod).
As practice shows, a study binder, in some cases may be decisive in determining the time of creation and the authenticity of works of art.
Defining only the composition of soil, pigment or binder, as a rule, does not give the desired result. Only a comprehensive study of all material components of the process of painting can bring us closer to the truth.
Get reliable information about physical characteristics of works of art can only under one condition - examining the original works of the methods of physical and chemical analysis. This comparison of data sets obtained in the study of original works, with the results of the study expertized pictures, gives the maximum effect of technological expertise.
-----------------------------------------------
By Topic: Questions of attribution patterns (Petrov.V .)... http://forum.artinvestment.ru/showthread.php?t=4315
-------------------------------------------------- --------------
On the possibility of using data on the composition of pigments, grounds and tie at the examination of paintings Russian Avant-Garde
V. Kireev, SA Pisarev
F. Rerberg. Paints and other art and modern materials. M., 1905. C. 14.
2. Artists' Pigments. A Handbook of Their History and Characteristics. N. Y. 1997. V. 3.
3. K. Venkataraman. Chemistry of synthetic dyes. L., 1957. T. II.
4. Etablishments Lefranc. Paris, 1930. P. 10-20.
Studying technological features paintings of the past with nearly a century, made an invaluable contribution to the study of history painting. To date, paintings by old masters studied from this aspect quite well. Therefore, their attribution and expertise, if not always, it is often preceded by a technology research, including chemical analysis of materials. The chemical composition of materials to determine the chronological framework of the painting: it is impossible to create a masterpiece of the XVII century. pigments was first obtained in the XVIII century. as well as an artist could not use paints, made in the XIX century. being a contemporary of the XVIII century.
But this is the case with works of masters of the old school.
A completely different situation when the object of study - painting beginning of XX century. The bright and original works of artists - representatives of the direction of Russian avant-garde today is the object of attention. Paintings by these artists are exhibited at various exhibitions of their work - the subject of art history research, they are restored, and are subject to sale, and as everyone knows, the cost of these works is very high. The latter led to the fact that the art market awash with a huge number of fakes, some of which are masterfully executed.
Read more ...
This, in turn, causes difficulty in their attribution and examination methods of art criticism the analysis. Therefore, the study of material constituents Russian avant-garde artist is able to present additional information which may shed light on the history of their creation, help in unraveling the fundamental question of attribution and expert scrutiny - the establishment of the artwork. Process data, nor in any way substitute for analysis of art criticism, provide a basis for further search, narrowing its borders. Just as the painting is inconceivable without the knowledge of the technology of painting, and authentication of art can not be based on a study of all of its material constituents.
First, even the question of the possibility of using data on the material of this time for attribution or examination aroused skepticism among the researchers. This is explained by the fact that the colorful palette of preceding centuries almost completely changed in the XIX century. - Century of rapid development of chemical industry. But the same range of artistic materials continues to be made in the next, XX century, and now also in the XXI. It seemed logical to assume that the composition of the pigments used in order to distinguish the painting of XIX century. from the pattern of XX can not. This is a priori bias - one of the reasons why the technology art school of Russian avant-garde to the present moment, at least in our country, not systematically studied.
Indeed, most often made in the XIX century. pigments continued to be made and in XX, and some continue to be made now. But there are certain pigments that appear only in the XX century. This is - red cadmium, first produced in 1905 [a], titanium dioxide - 1916-1918. in a mixture with other inert fillers, and in pure form - in 1923, in Russia they began to produce in the 1930's. [2], blue and green phthalocyanine pigments are synthesized in 1935-1936. [3].
Currently, a number of pigments replaced by cheaper and less toxic compounds. Thus, significantly decreased production of white, yellow and red pigments based on lead. More and more is available various organic pigments, and the mineral - yellow and red scheme, as before, are cadmium compounds.
At the same time to obtain reliable information about how and what materials are written works by artists of Russian avant-garde, can only be referring to the original works.
For the first time in the history of the study of painting artists in this direction the authors of the messages had the unique opportunity to study a large group of paintings from various collections of Russian museums, which was part of the program on a database maintained by the Ministry of Culture of Russia and JSC "Art in Russia".
Altogether some 70 works by artists such as Kandinsky, Malevich, Popova, Udaltsova, Rozanova, Exter, Larionov Goncharova, Shterenberg, Kliun, Morgunov, Strezheminsky, Shaposhnikov, Ender, Lentulov, Konchalovsky Falk, dated 1908-1921 years.
Although the number of these papers are not so great as to make far-reaching conclusions, yet the study revealed some peculiarities in the use of pictorial material.
Soils. Studies had shown, the picture painted as a factory-primed canvas, and on canvas, primed by hand. The common thread of all the soils studied group - is white.
As fillers soils identified lead, zinc oxide, chalk, gypsum. In addition to the monolayer, artists have used two-layer soils, as well as mixtures of two components.
Very often the work of claiming authorship of the Russian avant-garde artists, and are not, contain an ingredient soil recrystallized calcite, that is the product obtained by processing the chalk or limestone. Recrystallized calcite, also known as lime whitewash, and used in wall paintings as a primer and as a white pigment, in the grounds of genuine works of art studied was not found.
In addition to the lime whitewash counterfeiters also use a mixture of titanium and white lead.
Pigments. Consider the three color groups of pigments, whose identification may significantly affect the results of an examination.
White pigments. As the white pigments, the most common in the studied group are zinc and lead oxide. In works
issued for the avant-garde, we have identified white lead, which at the same time different from the original palette of white lead: modern white lead is a large single crystals in the form of tetrahedrons and other geometric shapes.
In the 70 studied the paintings created before 1921 are not detected titanium dioxide or mixed with inert fillers, either in pure form. Very often in paintings, falsify Russian avant-garde, we find titanium dioxide, which are present either in pure form or blended with zinc oxide or as a triple composition: zinc, titanium oxide and barite.
Blue pigments. In the studied group of original paintings often used artificial ultramarine, Prussian blue and cobalt blue. All these pigments are produced now and can be used in the forgery, but most often occurs in non-genuine paintings phthalocyanine blue pigment, first synthesized in 1935
Often, when studying patterns of unknown origin found a blue pigment, the beginning of use in painting which has no information and no data on how, when he was first received. It is a spectral Cobalt - this is the trade name for the pigment, which is the composition of silicate of cobalt and zinc. In 1971, the chief technologist Dulevo porcelain factory Alevtina Ivanovna Glebychevoy was defended thesis on technology of a number of pigments villemitovoy group that applies to these compounds. It is known that the pigments produced in Dulyovo for porcelain painting sold to factories for the production of decorative paints. In the study of original paintings by Russian avant-garde artists of the pigment was not found. The catalog company Lefranc in 1930 [4] of this pigment composition is also absent. Analysis of the same materials of paintings, questionable on several grounds, not just bringing to light the presence of the cobalt spectrum.
Green pigments. Presented in the original papers studied emerald green and green shveynfurtskoy; in one paper was found green cobalt. Emerald green continues to be made today. Shveynfurtskaya green because of its toxicity is no longer produced in the mid 1920's., On other sources - it continued to be made in Europe and the United States until 1960., In the early 1980's. its continued to produce as an insecticide.
For fakes often use a phthalocyanine green, phthalocyanine blue, or a mixture of pigment with a yellow pigment.
Despite the fact that the number of original works by artists studied Russian avant-garde is sufficiently representative, the study of pigments in 70 scenes can make some conclusions.
1. A set of identified pigments rather uniform for all artists. An analysis of the specific author of pigments shows that the artist, as a rule, remains true to repeatedly selected pigments in the transfer of any colors. It should be noted that Kandinsky's palette is somewhat different from a palette of other artists. Perhaps this is due to his habit of working colors produced in Germany.
2. Also revealed a combination of pigments, characteristic of the work specified period. Example, in the paintings of Kandinsky 1916-1917 years., Found a red organic pigment and red lead, and in earlier works (1909) - Red
organic pigment and cinnabar, as in the paintings discovered in 1909 Naples yellow, which is absent in the paintings 1916-1917 years.
3. Not found materials, the beginning of industrial production, which does not correspond to the time of writing patterns, ie, titanium dioxide and phthalocyanine pigments.
4. All studied works painted factory colors. The opinion of the possibility of creating new pigments because of the nature of creative experimentation Russian Avant-garde artists not confirmed in the study of this group of reference works. This is - a myth.
Environment prevailing in the art idea that artists can avail themselves to the synthesis of some pigments, are without basis in reality. In particular, you can hear that phthalocyanine pigments could be obtained at home. Such a representation is a complete illusion based on ignorance on complex processes of organic synthesis, which requires special equipment and special conditions - the pressure high and low temperatures, the use of corrosive agents, ie everything that is impossible to create otherwise, except as a laboratory or factories, conditions.
Binders. For the period covering the end of the XIX and XX in the whole., Characterized by the use of both traditional oil binder, and various composite compositions based on oil. During the identification of oil paintings in colorful layers researchers can determine these parameters it is directly related to the time of painting.
First, the degree of polymerization, or the degree of aged oil. Roughly based on the chemical properties of the oil film can be divided into three age-gradation of oil binder - whether fresh layer of paint, ie, deposited about a year or two ago, then - 30-50 years, the latest figure - 100 years. Next, determine the age of oil would not be possible.
Secondly, the chemical analysis of paints, contain oil, objectively demonstrates, how the aging process of oil bonds: a natural way, over time, or it was an accelerated, adulterated, ie, artificial.
Thirdly, the dilution of oil paints traditionally used organic solvents or resin varnishes on organic solvents or oil. Do so, as a rule, on the palette, and the tar content in different paint layers was different, as confirmed by chemical analysis.
In the second half of XX century. composition of the oil binder radically changed - in the production of paints by adding considerable amounts of resin. Chemical analysis captures the constant ratio of oil /tar ", which suggests that the picture painted by industrial paints the second half of XX century.
For today's oil paints characterized the prevailing content of the resin in relation to oil, which is also quite unusual for oil paints the first decades of XX century. and, consequently, is also indicative of the fact of the examination. Since the second half of XX century in artistic practice firmly established diluents containing artificial polymer materials.
Alkyd polymers were invented in 1930, acrylic polymers - in 1935, vinyl - in 1937, these polymers were used initially in the form of solutions in organic solvents, and since 1949 in the form of aqueous dispersions. Introduction in manufacture decorative paints happened later. In domestic practice, it falls at the end of 1950 - early 1960.
In addition to the traditional techniques of oil painting, there were variations on its basis. Thus, the desire to give an oil painting it does not have a matte surface has identified the introduction of lipstick, consisting of resin, usually dammar, and wax. Lipstick mingled with oil paints on the palette, and its amount allowed to reach different degrees of mat painting. Different ratio of these additives in the paint layers can also be installed analytically. Such a composition tie says that it is not industrial paints. They have been used since the XIX century.
Important information concerning the dating of the paintings, can give such a resin as dammar. Open to European artists in the middle of the XIX century, dammar firmly part of the oil paint in the second half of XX century. That is confirmed by studies of painting. Dammarie in colorful layers of ten years ago is different than dammar in colorful layers of newly written works. As shown by experimental studies, three years later in oil paint containing dammar, appears whitish coating. The absence of such a raid shows slight age of the paint layer.
Since the XIX century. there are various versions of tempera painting, imitating the brilliant surface of oil paints. In the last quarter of XIX century. Some artists have tried to create new kinds of tempera. This technique has several advantages compared to oil: tempera colors do not darken, instantly dry, but the impression of oil, and if used as a diluent water, you can get the effect of tempera painting. Experiments on modification of the old tempera been extremely successful, resulting in several new species of. Due to the different set of organic components, and hence different mechanisms of aging, a colorful layer of such products has a different craquelure or do not have it at all. Tempera "Brilliant", for example, practically does craquelure due to the high content of dextrin in its composition.
Paintings executed in certain types of "new tempera, often look like oil paintings, so it is necessary to abandon widely practiced in the museum and restoration work of visual identification techniques of painting.
Another type of tempera was added to oil paints in the form of wax emulsion in water. It was also a way to make oil painting uncharacteristic for her matte surface. The paint on this binder is now called "wax, oil temperature. However, new and old wax-oil tempera can be distinguished from one another: for the old tempera characterized by intermittent mixing ratio of binder in the various layers of paint, for a new same temperature, on the contrary, this ratio is constant.
Production of various types of tempera, casein, except oil, lasted until the mid 1940's. Until they gradually have not replaced the ink on a variety of polymeric binders, the date of production which have already been identified.
Study of 15 original paintings 1908-1921 years. from the collections of provincial museums showed the following: soils mainly oil, less often - emulsion, only one case detected emulsion primer with the addition of starch. In the paint on the canvas has been detected only in which of the need to add synthetic varnish. Among studied painting new temperature (oil, resin, gum) found only in one picture L. Popova (collage - Still № 62, x., 1915, Nizhny Novgorod).
As practice shows, a study binder, in some cases may be decisive in determining the time of creation and the authenticity of works of art.
Defining only the composition of soil, pigment or binder, as a rule, does not give the desired result. Only a comprehensive study of all material components of the process of painting can bring us closer to the truth.
Get reliable information about physical characteristics of works of art can only under one condition - examining the original works of the methods of physical and chemical analysis. This comparison of data sets obtained in the study of original works, with the results of the study expertized pictures, gives the maximum effect of technological expertise.
-----------------------------------------------
By Topic: Questions of attribution patterns (Petrov.V .)... http://forum.artinvestment.ru/showthread.php?t=4315
-------------------------------------------------- --------------
On the possibility of using data on the composition of pigments, grounds and tie at the examination of paintings Russian Avant-Garde
V. Kireev, SA Pisarev
F. Rerberg. Paints and other art and modern materials. M., 1905. C. 14.
2. Artists' Pigments. A Handbook of Their History and Characteristics. N. Y. 1997. V. 3.
3. K. Venkataraman. Chemistry of synthetic dyes. L., 1957. T. II.
4. Etablishments Lefranc. Paris, 1930. P. 10-20.
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