A Roman Egyptian Painting Workshop: Technical Investigation of the Portraits from Tebtunis,Egypt |
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| Authors: | J. Salvant J. Williams M. Ganio F. Casadio C. Daher K. Sutherland L. Monico F. Vanmeert S. De Meyer K. Janssens C. Cartwright M. Walton |
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| Affiliation: | 1. Center for Scientific Studies in the Arts, Northwestern University, Evanston, IL, USA;2. Phoebe A. Hearst Museum of Anthropology, University of California, Berkeley, CA, USA;3. Getty Conservation Institute, Los Angeles, CA, USA;4. Art Institute of Chicago, Chicago, IL, USA;5. Sorbonne Universités, Centre de Recherche sur la Conservation (CRC, USR 3224), Muséum National d'Histoire Naturelle, Ministère de la Culture et de la Communication, CNRS, Paris, France;6. CNR Institute of Molecular Science and Technologies (CNR–ISTM), Perugia, Italy;7. SMAArt centre / Department of Chemistry, Biology and Biotechnologies, University of Perugia, Perugia, Italy;8. University of Antwerp, Antwerp, Belgium;9. Department of Scientific Research, British Museum, London, UK |
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| Abstract: | Roman‐period mummy portraits are considered to be ancient antecedents of modern portraiture. However, the techniques and materials used in their manufacture are not thoroughly understood. Analytical study of the pigments as well as the binding materials helps to address questions on what aspects of the painting practices originate from Pharaonic and/or Graeco‐Roman traditions, and can aid in determining the provenance of the raw materials from potential locations across the ancient Mediterranean and European worlds. Here, one of the largest assemblages of mummy portraits to remain intact since their excavation from the site of Tebtunis in Egypt was examined using multiple analytical techniques to address how they were made. The archaeological evidence suggests that these portraits were products of a single workshop and, correspondingly, they are found to be made using similar techniques and materials: wax‐based and lead white–rich paint combined with a variety of iron‐based pigments (including hematite, goethite and jarosite), as well as Egyptian blue, minium, indigo and madder lake to create subtle variations and tones. |
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| Keywords: | Fayum portraits Tebtunis physico‐chemical analysis hyperspectral imaging XRF FT– IR spectroscopy Roman Egypt |
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