An analytical approach to detect non-original embellishments on Classic Mimbres vessels

Abstract

Native American Indian Mimbres vessels from the Classic period (AD 1000–1150) are known for their geometric and figurative black designs on a white background. Owing to the growing popularity of Classic Mimbres vessels among collectors, it is believed that a large number of authentic Mimbres vessels have had their original designs embellished to increase their market value. Typically, the embellishments will enhance a simple central design of an authentic Classic Mimbres vessel to a more complex figurative design. A study was carried out by the Harvard Art Museums, in collaboration with the Harvard Peabody Museum of Archaeology and Ethnology, to investigate the composition of the black, red, and polychrome designs using pyrolysis-gas chromatography-mass spectrometry. Seven of the 25 vessels examined contained critical passages executed in synthetic modern paint media, indicative of deceptive embellishments.     

Materials and techniques in the pictorial oeuvre of Lucio Fontana

Abstract

The painting materials used by Lucio Fontana were investigated through the analysis of 28 Spatial Concept works created between the early 1950s and the artist's death in 1968. The pictorial media were analyzed by means of numerous techniques including Fourier transform infrared spectroscopy, pyrolysis-gas chromatography–mass spectrometry, scanning electron microscopy, and X-ray fluorescence. This study has provided a more complete understanding of the artist's technique, as it was found that Lucio Fontana had already begun experimenting with new synthetic pictorial and binding media such as alkyds and polyvinyl acetates at the beginning of the 1950s, and polyesters during the early 1960s. Although he never abandoned the use of commercial oil paints, Fontana's application of these new materials continued in an infinitely varied search for innovative expressive effects. The characterization results explain the physical and mechanical properties of the paint layers, and may be correlated with the conservation state of the works analyzed. All the results have been compiled and are discussed together with the artist's practices and their evolution over time.