Anna Klisińska-Kopacz

The examination presented in this paper has been conducted in order to identify the drawing tools used by Szymon Czechowicz (1689‒1775) ‒ the most significant Polish painter of the late baroque period. 12 artists’ works from the collection of the Jagiellonian University Museum have been examined, using such non-invasive methods as Raman spectroscopy (RS), X-ray fluorescence (XRF), Infrared False Colour photography (IRFC), and near infrared spectroscopy (NIR). These methods allowed the analysis of the chemical composition of the drawings’ lines, as well as the identification of the drawing tools: sanguine and red pencils containing red ochre, red lead and white filling such as chalk and gypsum, sepia, graphite pencils, charcoal, and black pencils containing animal black. The materials identified are typical for the 18th century and the geographical areas of the artist activities. The results of the examination can be used as a verification criterion of the authenticity of other sketches attributed to the artist.

In order to determine in detail the structure of the painting, physical and chemical analyses were carried out, such as: UV light examination, IR light examination, X-ray, chemical analysis of the ground layer and pigments (of the original paint layer as well as the overpaint layers). The stratigraphy of the existing layers was determined based on the examination of the cross-sections. Pigments were identified by the analysis of their elemental contents. Chemical analyses were carried out using noninvasive methods. Measurements were carried out using X-ray fluorescence spectroscopy (XRF).

Maksymilian Gierymski’s works (1846–1874) have had a great impact on the development of Polish art and have inspired many generations of young artists. However despite Maksymilian Gierymski’s unquestionable artistry, his works acclaimed by art critics and art historians, his painting technique has never been examined. Recently the technology used in several dozens of his paintings has been examined under a research project carried out at the National Museum in Kraków. Ultraviolet and infrared photos as well as X-ray pictures of all paintings have been taken. The content of the painting layer was examined using X-ray fluorescence method. The examination has shown that Gierymski’s painting method is consistent throughout all his creative years. Many characteristic features have been identified, in particular regarding the method of landscape painting, expressed in the choice of painting media and techniques.
The painting Apple Tree Over a Stream is an example of a layered-construction composition, using a brown underpainting layer obtained through the use of iron pigments, which help to define the color values of the final painting.
 

Nero’s Torches by Henryk Siemiradzki is one of the most important and the largest in size paintings in the collection of the National Museum in Kraków. In 1879, the painter donated his famous work to the nation. It was assigned to the Cloth Hall. By this act the artist initiated the start of the first national museum in Poland.
The painting was thoroughly examined in order to identify the technology and technique of its production, elements of the creative process and the use of materials. Tests in situ of such a large work (3.76 m x 7.11 m) were possible thanks to the use of modern techniques and mobile analytical equipment.
X-ray, IR and UV photos of the painting were taken. In view of the large size of the painting, 236 snapshots using X-ray radiography (DX) equipped with CARESTREAM DRX-1 System detector were needed to obtain an X-ray image of the entire painting. Then pictures obtained from individual snapshots were put together using Photoshop CS6 computer programme to cover the entire painting. UV and IR images consisted of 26 snapshots. Pictures in analytical radiation and visible light helped to better understand the painting technique, the method of painting individual parts, preparatory drawing and the creative process. Numerous changes of the painting concept (pentimenti) were revealed.
In order to identify pigments used by the painter, non-invasive XRF spectroscopy technique was applied using two spectrometers of Bruker AXS Microanalysis manufacture. Eighty measurements were taken in the lower part of the painting using portable spectrophotometer μXRF ArtTAX®, other parts were examined using handheld spectrometer Tracer III and working on the scaffolding (165 measurements). Non-invasive tests were complemented by other methods using sampling (XRPD, microscopy and microchemical analysis, SEM EDX, FTIR, HPLC). Data obtained allowed to identify pigments applied and the way they were bound in the painting. In view of the large size of the painting, the scope of the analysis can be considered unusual or even record-breaking.