Academic thesis
| Stefanie Küthe: | Back | |
| Language: | Original - Translation | |
| Overview: |
|
|
| Abstract: | This essay deals with the technique of the Bismuth paintings. Bismuth jewellery boxes were manufactured from the late 15th to the early 18th century. The metal was pulverized, elasticized in binding agents and then spreaded on wooden panellings that have been pre-primed before. The application of burnish led to a shiny lustrons surface, that was partially covered with paint afterwards. After a literature research exercise nine Bismuth jewellery boxes have been investigated in this essay. The focus concentrates on the examination of Bismuth layers in the polished micro sections. Apart from the widely used reflected light microscope the metal layer was analysed by the scientific method of the scanning electron microscopy / energy dispersive x-ray fluorescence (SEM/EDX). A sample of a Bismuth are from Schneeberg, Germany, a cleaned Bismuth nugget from Bolivia and a spectrographically standardized Bismuth oxide. Two different ways of microchemical proof for Bismuth are investigated to discuss the chances to detect Bismuth without a high-effort analysis. Prove-out panellings have been made to examine the binding agents Bismuth was plasticised in. Various historical paintings have been spread out on Bismuth surface to investigate, whether a golden finish impression can be imitated. In order to compare Bismuth and silver against each other distempers have been painted on two prove-out panellings in the Bismuth period style. |
| Details: |
|
| Back | |
The Hornemann Institute offers only the information displayed here. For further information or copies of academic work, please contact the author or - if there is no contact provided - the secretariats of the respective faculties.