The object of this study is unusual for both its material and technique. It is an oil painting on sheets of paper glued to a canvas made of linen fibres, thereby showing some execution peculiarities. It depicts the Virgin of Thessalonica in a hieratic attitude. The painting is attributed to the Salento-born artist Giuseppe Verrio (1639) for the church of the Theatine religious Order in Lecce, Italy, in which it is still placed, on the left altar of the transept. To truly understand and appreciate a work of art, it is important to have a basic knowledge of the materials and techniques used by the artist. For a better understanding of the execution techniques and to study the original materials and those that have been added over time, the painting was examined using the following analytical techniques: microscopic examination of cross-sections, μ-Raman spectroscopy and pyrolysis gas chromatography-mass spectrometry (Py-GC-MS). The data indicate that Verrio used different earthy, mineral and manufactured pigments, an organic dye used only on the paper, oil as a binder, and varnish as a protectant. The results demonstrate that the latter are both original and due to a subsequent restoration.
Analytical investigation of the original painted canvas of Santa Irene, by Giuseppe Verrio (Church of Sant’Irene, Lecce, Italy)
Rizzo, D.;Casciaro, R.
2021-01-01
Abstract
The object of this study is unusual for both its material and technique. It is an oil painting on sheets of paper glued to a canvas made of linen fibres, thereby showing some execution peculiarities. It depicts the Virgin of Thessalonica in a hieratic attitude. The painting is attributed to the Salento-born artist Giuseppe Verrio (1639) for the church of the Theatine religious Order in Lecce, Italy, in which it is still placed, on the left altar of the transept. To truly understand and appreciate a work of art, it is important to have a basic knowledge of the materials and techniques used by the artist. For a better understanding of the execution techniques and to study the original materials and those that have been added over time, the painting was examined using the following analytical techniques: microscopic examination of cross-sections, μ-Raman spectroscopy and pyrolysis gas chromatography-mass spectrometry (Py-GC-MS). The data indicate that Verrio used different earthy, mineral and manufactured pigments, an organic dye used only on the paper, oil as a binder, and varnish as a protectant. The results demonstrate that the latter are both original and due to a subsequent restoration.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
