Beauty is skin deep: the skin tones of Vermeer's Girl with a Pearl Earring

被引：20

作者：

van Loon, Annelies ^{[1
,2
]}

Vandivere, Abbie ^{[1
]}

Delaney, John K. ^{[3
]}

Dooley, Kathryn A. ^{[3
]}

De Meyer, Steven ^{[4
]}

Vanmeert, Frederik ^{[4
]}

Gonzalez, Victor ^{[2
]}

Janssens, Koen ^{[4
]}

Leonhardt, Emilien ^{[5
]}

Haswell, Ralph ^{[6
]}

de Groot, Suzan ^{[7
]}

D'Imporzano, Paolo ^{[8
]}

Davies, Gareth R. ^{[8
]}

机构：

[1] Mauritshuis, Conservat Dept, Pl 29, NL-2511 CS The Hague, Netherlands

[2] Rijksmuseum, Conservat & Sci, Hobbemastr 22, NL-1071 ZC Amsterdam, Netherlands

[3] Natl Gallery Art, Sci Res Dept, 6th & Constitut Ave NW, Washington, DC 20565 USA

[4] Univ Antwerp, Dept Chem, AXES, Groenenborgerlaan 171, B-2020 Antwerp, Belgium

[5] Hirox Europe Jyfel Corp, 300 Route Natl 6, F-69760 Limonest, France

[6] Shell Global Solut Int BV, Grasweg 31, NL-1031 HW Amsterdam, Netherlands

[7] Cultural Heritage Agcy Netherlands RCE, Hobbemastr 22, NL-1071 ZC Amsterdam, Netherlands

[8] Vrije Univ, Fac Sci, Geol & Geochem Res Cluster, De Boelelaan 1085, NL-1081 HV Amsterdam, Netherlands

来源：

HERITAGE SCIENCE | 2019年 / 7卷 / 01期

关键词：

Painting technique 17th century; Flesh paint; Contours; Lead white; Lead isotopes; Lead degradation products; Advanced imaging techniques; Paint cross-sections; LEAD WHITE PIGMENT; IMAGES;

D O I：

10.1186/s40494-019-0344-0

中图分类号：

C [社会科学总论];

学科分类号：

03 ; 0303 ;

摘要：

The soft modelling of the skin tones in Vermeer's Girl with a Pearl Earring (Mauritshuis) has been remarked upon by art historians, and is their main argument to date this painting to c. 1665. This paper describes the materials and techniques Vermeer used to accomplish the smooth flesh tones and facial features of the Girl, which were investigated as part of the 2018 Girl in the Spotlight research project. It combines macroscopic X-ray fluorescence imaging (MA-XRF), reflectance imaging spectroscopy (RIS), and 3D digital microscopy. Vermeer built up the face, beginning with distinct areas of light and dark. He then smoothly blended the final layers to create almost seamless transitions. The combination of advanced imaging techniques highlighted that Vermeer built the soft contour around her face by leaving a 'gap' between the background and the skin. It also revealed details that were otherwise not visible with the naked eye, such as the eyelashes. Macroscopic imaging was complemented by the study of paint cross-sections using: light microscopy, SEM-EDX, FIB-STEM, synchrotron radiation mu-XRPD and FTIR-ATR. Vermeer intentionally used different qualities or grades of lead white in the flesh paints, showing different hydrocerussite/cerussite ratios and particle sizes. Lead isotope analysis showed that the geographic source of lead, from which the different types of lead white were manufactured, was the same: the region of Peak District of Derbyshire, UK. Finally, cross-section analysis identified the formation of new lead species in the paints: lead soaps and palmierite (K2Pb(SO4)(2)), associated with the red lake.

引用

页数：20

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