Michelangelo, Doni Tondo

This pigment analysis is based on the work of the scientists at the Opificio delle Pietre Dure (OPD), Florence, Italy (1). The scientists employed a whole array of methods to identify the pigments and learn about Michelangelo’s painting technique. The methods used were X-radiography (XRR), IR-reflectography (IRR), false colour infrared and ultraviolet imaging techniques, x-ray fluorescence (XRF) and fiber optics reflectance spectroscopy (FORS).

1 Saint Joseph’s blue tunic: natural ultramarine painted over a layer of azurite.
2 Flesh paint: lead white tinted with vermilion and lead-tin yellow.

3 The green part of the Virgin’s cloak: copper-based green pigment, probably verdigris.
4 Virgin’s pink dress: red lake.
5 Virgin’s blue drapery: natural ultramarine mixed with lead white.

6 Saint Joseph’s yellow drapery: lead-tin yellow. The use of yellow ochre has been excluded in this area.

7 Green vegetation behind the nude figures: verdigris lightened with lead-tin yellow.

8 Blue sky: natural ultramarine.

References

(1) Bellucci, Roberto; Buzzegoli, Ezio, Michelangelo’s ‘Doni Tondo’ investigated with non-invasive analytical techniques, in Studying Old Master Paintings: Technology and Practice. The National Gallery Technical Bulletin 30th Anniversary Conference, Postprints of the Conference (London, 16-18 September 2009), edited by M. Spring, London 2011, pp. 52 -58.

(1) Bellucci, Roberto; Buzzegoli, Ezio, Michelangelo’s ‘Doni Tondo’ investigated with non-invasive analytical techniques, in Studying Old Master Paintings: Technology and Practice. The National Gallery Technical Bulletin 30th Anniversary Conference, Postprints of the Conference (London, 16-18 September 2009), edited by M. Spring, London 2011, pp. 52 -58.