Hieronymus Bosch, The Last Judgement
An extensive collection of information on the pigment analysis and other artistic and technical aspects of Hieronymus Bosch, The Last Judgement.
Hieronymus Bosch, The Crowning with Thorns
‘The Crowning with Thorns’ is a depiction of another biblical scene (John 19:1-3) with the tormentors of Christ painted in close detail which was rather unusual in Bosch’s time.
Hieronymus Bosch, Christ Carrying the Cross (Vienna)
An extensive collection of information on the pigment analysis and other artistic and technical aspects of Hieronymus Bosch, Christ Carrying the Cross.
Hieronymus Bosch, Ecce Homo
An extensive collection of information on the pigment analysis and other artistic and technical aspects of Hieronymus Bosch, Ecce Homo.
Hieronymus Bosch, The Adoration of the Magi (New York)
An extensive collection of information on the pigment analysis and other artistic and technical aspects of Hieronymus Bosch, The Adoration of the Magi.
Hieronymus Bosch, The Adoration of the Magi (Madrid)
An extensive collection of information on the pigment analysis and other artistic and technical aspects of Hieronymus Bosch, The Adoration of the Magi.
Hieronymus Bosch, Saint Wilgefortis Triptych
Pigment analysis and other pertinent information on Hieronymus Bosch, Saint Wilgefortis Triptych: a depiction of the crucifixion of a female Saint.
Hieronymus Bosch, Saint Christopher
An extensive collection of information on the pigment analysis and other artistic and technical aspects of Hieronymus Bosch, Saint Christopher.
Hieronymus Bosch, Saint John on Patmos
An extensive collection of information on the pigment analysis and other artistic and technical aspects of Hieronymus Bosch, Saint John on Patmos.
Indian yellow
Indian yellow was prepared from urine of cows fed on mango leaves but its use ceased in the beginning of the twentieth century due to various factors.
Hieronymus Bosch, The Temptation of Saint Anthony
One of Bosch’s most important work with unusually complex genesis and dramatic changes to the composition.
Hieronymus Bosch, The Garden of Earthly Delights
An extensive collection of artistic and technical information on Hieronymus Bosch, The Garden of Earthly Delights, one of the Bosch’s best known paintings.
Hieronymus Bosch, Hermit Saints Triptych
The triptych shows three saints living in solitude and prayer. The pigment analysis revealed a limited palette of the usual pigments of the Renaissance period.
Hieronymus Bosch, The Haywain Triptych
An extensive collection of information on the pigment analysis and other artistic and technical aspects of Hieronymus Bosch, The Haywain Triptych.
Rogier van der Weyden, The Magdalen Reading
The painting shows Mary Magdalene with Saint Joseph in the background and the bare feet of Saint John to the left.
Caravaggio, Martha and Mary Magdalene
One of the most convincing depictions of the biblical scene where Martha is in the process of converting Mary Magdalene to the life of faith and virtue.
Monet, Irises
The large painting on luminous ground was painted with thick brush strokes. Monet’s palette is characteristic of this late period and contains pigments such as cobalt blue, cobalt violet, viridian, cadmium yellow and cadmium orange.
Monet, Water-Lilies
The very large painting is one of the many variations of the water-lily pond theme where Monet mostly employed single pigments.
Van Gogh, The Starry Night
The painting’s strength lies in the stark contrast between the calm sleeping village and the dramatic, swirling and menacing sky.
Van Dyck, Lord John Stuart and his Brother, Lord Bernard Stuart
A late portrait of the two sons of the 3rd Duke of Lennox. The pigment analysis casts light on the elaborate handling of painting materials in the costumes of both young men.
Van Dyck, Equestrian Portrait of Charles I
One of the largest paintings in the National Gallery London. The pigment analysis shows how Van Dyck achieved the subdued tonality and subtle colours.
Van Dyck, Lady Thimbelby and Dorothy, Viscountess Andover
This double portrait of two sisters, daughters of Thomas, Viscount Savage was painted in England. The interactive pigment analysis allows deeper insight into Van Dyck’s working methods and his masterful depiction of the draperies and flesh tones.
Van Dyck, The Abbé Scaglia Adoring the Virgin and Child
The pigment analysis reveals a palette of rather vivid colours. Van Dyck employed the usual pigments of his time, such as ultramarine, red lake, lead-tin yellow, vermilion and indigo.
Van Dyck, Charity
The pigment analysis helps to understand Van Dyck’s intricate painting technique. The best example is the red-brown drapery painted with a whole array of different pigments.
Van Dyck, The Balbi Children
The pigment analysis and the investigation of the painting reveal a very elaborate glazing technique which Van Dyck had not used in his later work.
Van Dyck, Portrait of a Woman and a Child
The pigment analysis reveals a masterful depiction of the draperies and dresses.
Cobalt titanate green
Cobalt titanate green is a modern green pigment with a slightly yellowish tint. It is not toxic and is well suited for landscape painting.
Resources Titian
Titian resources: books, articles, websites and videos on the paintings, pigments and technique of this Italian Renaissance painter.
Titian, Portrait of Girolamo Fracastoro
The pigment analysis reveals a very limited palette with coal black and lead white as the main pigments. Fracastoro was the famous medical doctor who identified syphylis.
Titian, Portrait of a Man with a Quilted Sleeve
The pigment analysis reveals an elaborate structure of the quilted and padded sleeve consisting of red and blue layers.
Titian, Portrait of a Lady (La Schiavona)
The pigment analysis reveals a very elaborate and refined structure of the purple dress consisting of interspersed blue and red layers.
Titian, The Holy Family with a Shepherd
The pigment analysis reveals a very extensive palette typical of the Renaissance period and also Titian’s elaborate painting technique.
Titian, Noli me Tangere
Titian, Noli me tangere is a depiction of the encounter of Christ and Magdalen. The pigment analysis underscores Titian’s masterful handling of colour.
Malevich, Suprematist Painting
Malevich explored pure light and pure colour by choosing pigments according to the light spectrum and employing optical phenomena.
Bellini, Pesaro Altarpiece
A thorough scientific investigation and pigment analysis uncovered an extensive palette with several rare pigments such as indigo, realgar and orpiment.
Michelangelo, Doni Tondo
Analysis of pigments by advanced scientific methods revealed interesting aspects of Michelangelo’s painting technique.
Murillo, Christ Healing the Paralytic
The pigment analysis reveals the usual pigments of the 17th century with smalt and carmine partially degraded in several areas.
Bruegel, Mad Meg
The pigment analysis conducted at the Genth University revealed the pigments used and answered two important art historical questions.
Dragon’s blood
Dragon’s blood is a rarely used pigment produced by many species of trees as a dark red resin. It is secreted from the wounded trunk or found in the fruits.
Raphael, The Procession to Calvary
Illustrated pigment analysis gives a thorough insight into Raphael’s technique, his choice of materials and his handling of colour.
Raphael, The Mond Crucifixion
Illustrated pigment analysis describing a rich palette of well known pigments such as vermilion, verdigris and ochres and also the rare orpiment.
Raphael, The Ansidei Madonna
The pigment analysis shows a rich palette of Renaissance pigments including ultramarine, verdigris and the very rare powdered metallic bismuth.
Raphael, Saint John the Baptist Preaching
Pigment analysis reveals typical pigments employed by Raphael such as ultramarine, lead-tin yellow, azurite and verdigris.
Raphael, Saint Catherine of Alexandria
The pigment analysis shows a rich palette of Raphael’s usual pigments such as ultramarine, azurite, lead-tin yellow and ochres.
Raphael, The Madonna of the Pinks
Pigment analysis shows Raphael’s use of two very rare pigments: metallic gold and metallic bismuth.
Raphael, An Allegory
An exhaustive pigment analysis reveals a rich palette of the usual Renaissance pigments but also includes the rare orpiment.
Degas, Ballet Dancers
Pigment analysis of one of many variations on this theme. The palette is rather limited and contains vermilion, viridian and ochres.
Modersohn, Portrait of an Old Woman
Pigment analysis of the work of this less known German expressionist painter. She was one of the painters who created modernism.
El Greco, Portrait of Jorge Manuel
The portrait of the artist’s son painted with El Greco’s usual pigments such as carmine, azurite, umber, vermilion and ochres.
Gerard David, Virgin and Child
The pigment analysis reveals a limited Renaissance palette with elaborate paint layers and masterful handling of colour.