National Gallery in Prague

Abstract Background Presented article summarizes the results of a broad-based survey on painting techniques used during the High and Late Gothic period in the Bohemian panel paintings located in the collections of the National Gallery in Prague. The work is focused on the specific use of yellow pigments – lead tin yellow type I and type II in the panel painting from the period around 1340–1550. In the scientific investigation supplementary microscopic and spectral analyses were made. A representative range of 57 micro-samples collected from the 36 panel paintings of the 21 Masters and their workshops was investigated by the methods of optical microscopy on polarizing microscope (OM). Molecular analysis of both types of yellow was performed using Raman micro-spectroscopy (RMS). The use of this technique was crucial for the nondestructive differentiation between each type of lead-tin yellow. Results Thanks to the Raman spectroscopy it was possible for the first time to map the usage of lead tin yellow type I and II in such a broad range. Combination of the analytical techniques brought the knowledge about the morphology of the grains and variability of the use of the lead tin yellows in the Bohemian panel paintings. Conclusions The contribution offers a systematic view on the outcomes and in a synoptic way consults the results of respective scientific methods. It clearly confirms both the temporally and locally specific use of both types of lead tin yellows. The presented facts are the results of interdisciplinary collaboration among the scientists and the art historian.

Abstract A series of scientific methods (X-ray analyses, optical and electron microscopy, Raman spectroscopy and thermal analyses) was used to research the ceramic bodies and glazes of forty vessels from Renaissance Prague. The set of Early Modern Age archaeological glazed ceramics contained tableware, kitchenware and technical ceramics. The main aim was to characterise ceramic materials and glazes used over two centuries. Attention was also paid to the identification of defects and corrosion products of the glazes. The research was conducted with an emphasis on the context of the original use of the ceramic artefacts and the environment of the waste pits from which they were excavated. The archaeological finds include three technical ceramic vessels (a rectifier, a bowl and a jar), which together could have formed a distillation apparatus. Since these vessels represent a rare finding, they were subjected to a detailed investigation. Based on the similarity of ceramic bodies and glazes, it was proved that the three technical ceramic vessels were made in the same workshop and were parts of one distillation apparatus. The results of the performed analyses determined that the studied vessels were manufactured from raw materials with a high content of a plastic component and that the raw materials did not change significantly during the period from the 15th to 18th centuries. The firing temperature of most of the vessels did not exceed 1000 °C. It was proved that all the glazes were medium- or high-lead content glazes and were coloured with ionic pigments.

Abstract The use of computed tomography (CT) for studying artwork has a long tradition in the restoration and care of collections in memory institutions. The result of the related tomographic reconstruction is a virtual spatial model in which we can examine the production technology, the internal structure, various damaged areas, and previous restoration interventions. The extension of standard CT to dual energy CT provides additional information to help distinguish materials with similar densities but different chemical compositions. As will be shown, pigment differences that appear very similar in optical light can be identified in this way. The differences found were confirmed by X-ray fluorescence and Raman spectroscopy analytical techniques. Current laboratory CT scanners make it possible to examine the layered structures of paintings and polychrome sculptures. In the case of wood panel paintings, however, we are faced with the common deformation of the panels. So, when examining the CT data, we can only see a small section of the paint layer, and it is difficult to examine the whole artwork in its entire context. This disadvantage can be solved by a virtual straightening of the panel, as will be demonstrated.

Abstract The research presented in this study aimed to document the variability of synthetic lead antimonate pigments known as Naples yellow in selected artworks by Czech landscape painters from the turn of the 20th century. Spectra obtained through Raman spectroscopy show considerable difference in the position of main band maximum (from 110 to 145 cm −1 ) characteristic of cubic pyrochlore structure Pb 2 Sb 2 O 7 —the major phase of the Naples yellow pigment. In several samples, hexagonal PbSb 2 O 6 with main band at 655 cm −1 was identified as a dominant phase, a finding that is somewhat surprising because PbSb 2 O 6 has been generally considered a minor admixture to cubic Pb 2 Sb 2 O 7 . Reference pigment samples were synthesised under known conditions, and their spectra were collected in order to get more comparative material. Also, commercially available Naples yellow pigments were characterised in the same way. We observed considerable differences of the obtained spectra caused by the presence of admixtures and diverse production conditions. The diversity of Naples yellow and the corresponding Raman spectra makes their identification problematic. Presented data thus may serve as a reference material in the identification process.

Pigments in the paints used for the coats of arms, polychromy on sculptures, and pigments in frescoes characterize not only the epoch but also individual creators or groups of artists involved in their creation. X-ray fluorescence analysis is a non-destructive method suitable for determining the chemical composition of these artifacts. This article covers the results of measurements of selected objects, and compares them with similar objects from the territory of the Czech Kingdom in the 14th century.

Abstract Phonograph cylinders are the oldest commercially available recording media and are an valuable part of cultural institutions’ collections. Even though they are an essential part of sound history, they have long been overlooked as a relatively chemically stable media. The only degradation mentioned in the literature was a whitish cover, traditionally appointed to microbiological growth. In our study, we focused on unravelling the issue of these degradation products. A selected collection from the National Museum – Czech Museum of Music was subjected to microbiological and analytical examination via digital microscopy, FTIR spectroscopy, colourimetry and SEM-EDS analysis. From the results, some of the degradation pathways were proposed. The results also help us to focus future research and suppress the degradation so that the cylinders stay longer in conditions fit for digitisation and overall archivation.

Prague-born painter and graphic artist Emil Orlik (1870-1932) made his first visit to Japan in 1900 to get acquainted with the woodblock printing technique as well as everyday life there. During his stay, he not only created ink drawings, watercolors, pastels, and gouaches, but also took the opportunity to collect Japanese art, including ukiyo-e prints. These were eventually included in an exhibition in 1902, which traveled to Brno and Prague after its premiere in Dresden and Berlin. Besides promoting a broader awareness of Japan and its traditional culture to Prague and its artistic milieu, the exhibition also testified to Orlik´s discernment as a collector.1

Abstract A set of scientific methods (X-ray analyses, optical and electron microscopy, Raman spectroscopy and thermal analyses) was used for research of ceramic bodies and glazes of forty vessels from Renaissance Prague. The set of early modern age archaeological glazed ceramics contained tableware, kitchenware and technical ceramics. The main aim was to characterize ceramic materials and glazes over two centuries. Attention was also paid to identification of defects and corrosion products of the glazes. The research was conducted with an emphasis on the context of the original use of ceramic artefacts and the environment of waste pits from which they were excavated. Among the archaeological finding, three vessels of technical ceramics were found (a rectifier, a bowl and a jar) which together could have formed a distillation apparatus. Since these vessels represent a unique finding, they were subjected to a detailed survey. Based on the similarity of ceramic bodies and glazes, it was proved that the three vessels of technical ceramics were made in the same workshop and were parts of one distillation apparatus. The results of the performed analyses proved that the studied vessels were manufactured from raw materials with high content of a plastic component and that the raw materials did not change significantly during the period from 15th to 18th centuries. The firing temperature of most of the vessels did not exceed 1000 °C. It was proved that all glazes were middle- or high-lead glazes and were coloured with ionic pigments.

In the reign of Ferdinand I of Habsburg, important examples of portrait painting were done in the Lands of the Bohemian Crown. Though few examples of Renaissance portraiture of that period have survived, there are some noteworthy portraits dating from 1526–1564. The paper focuses on the reception of the so-called Habsburg portrait type in portrait painting in Bohemia and Moravia and examines the purpose for which the commissioners used it. Two specific approaches will be illustrated on the portrait cycle of Adam I of Hradec and his family, painted by Jacob Seisenegger and dated 1529, and portraits of William of Rosenberg, his brother and sisters, commissioned between 1552 and 1554. In both cases, the commissioners were persons of the highest rank in Bohemian aristocratic society

Ramanova spektroskopie nachází široké uplatnění při průzkumu růz- ných typů objektů kulturního dědictví. Od roku 2013 je tato analytická technika využívána k identifikaci výtvarných materiálů v Chemicko- -technologické laboratoři Národní galerie v Praze. Díky variabilitě experimentálního uspořádání umožňuje provádět neinvazivní analýzy in situ, příp. nedestruktivní analýzy na odebraných vzorcích s vysokým prostorovým rozlišením. Příspěvek představuje poznatky a doporučení vycházející ze zkušeností shromážděných při měření více než tisíce výtvarných děl a několika tisíců vzorků. Vedle řady nesporných výhod přináší využití Ramanovy spektroskopie i několik úskalí. Při měření je vždy třeba důsledně regulovat výkon měřicího laseru, aby nedošlo k poškození zkoumaného objektu, příp. vzorku. Jakoukoliv úpravu spekter je třeba provádět citlivě, aby se zamezilo jejich zkreslení. Při vyhledávání v knihovnách spekter je nutné navržené shody posou- dit v kontextu dalších informací o analyzovaném materiálu a ideálně výsledky porovnávat s daty z dalších analytických metod. Vhodné je vytvářet vlastní knihovny spekter měřením standardních materiálů s definovaným složením.

This paper presents an investigation of wooden artworks from the collection of the National Gallery Prague created by Monogrammist IP-one of the top carvers of the Salzburg-Passau region at the beginning of the 16th century. His wood reliefs were examined to gain a better understanding of the historical techniques used in medieval art workshops. The internal structure of the small relief Visitation was analysed using computed tomography. Tomographic reconstruction made it possible to distinguish wood species, observe the internal structure of the artwork in detail, study the technological procedures and identify earlier repairs, additions and damages. Tomographic investigation proved the use of four types of wood on the relief Visitation, most likely pear, lime, unspecified softwood and other different species used for joining dowels. A combination of non-invasive and micro-destructive analytical techniques was employed for the chemical characterisation of the materials in the surface layers of the artworks. Photomicrographs of the surface were taken to provide material for the initial investigation. Non-invasive material research was conducted using a portable X-ray fluorescence analyser and, in selected cases, an external reflection infrared spectrometer. The detailed analyses on the micro-samples was carried out by optical microscopy, micro-Raman spectroscopy, Fourier transform infrared spectroscopy, scanning electron microscopy coupled with energy dispersive X-ray spectrometry and gas chromatography with mass spectrometry. A glaze layer based on protein with earth pigment was identified on the relief Christ the Saviour from Death.

Hans Brosamer (c. 1495 Fulda? – after 1554 Erfurt?) worked above all as graphic artist. He was active also as painter, being ascribed group of portraits dated mostly from early 1520's. The majority of these paintings, however, is signed by the monogram HB. The only painted portrait which bears Brosamer's full signature is the one of Johann von Otthera from 1536. Another painting signed in full by the artist is The Crucifixion, dated 1548, which appeared on the art market a few years ago (today Fulda, Vonderau Museum). The Crucifixion displays an interesting synthesis of reminiscences of Lucas Cranach and Albrecht Dürer, and Brosamer's own approach. The work is at the same time the only painting of religious subject which can be ascribed to the artist without any doubt, and therefore it provides a rare opportunity to capture his painting style.

This exhibition review, in the format of a visual essay, presents a selection of projects shown in the exhibition Retrotopia. Design for Socialist Spaces. Initiated and organized by the Berlin Kunstgewerbemuseum in 2023, Retrotopia was a comprehensive, cooperative project focusing on the role and impact of design in the countries belonging to the former Eastern Bloc and ex-Yugoslavia. Never before have these countries been represented together in one exhibition with their attendant material that helps to outline and raise awareness and understanding of the region’s design activities between the 1950s and the 1980s. Eleven design capsules were created, each highlighting two projects: one representing the public space and one the private sphere and the interior. The spectrum of interior projects and objects on display ranged from experimental housing exhibitions and cybernetic living machines to new furniture concepts, modular kitchen furniture, tableware, household tools, and toys for children.

Abstract A series of scientific methods (X-ray analyses, optical and electron microscopy, Raman spectroscopy and thermal analyses) was used to research the ceramic bodies and glazes of forty vessels from Renaissance Prague. The set of Early Modern Age archaeological glazed ceramics contained tableware, kitchenware and technical ceramics. The main aim was to characterise ceramic materials and glazes used over two centuries. Attention was also paid to the identification of defects and corrosion products of the glazes. The research was conducted with an emphasis on the context of the original use of the ceramic artefacts and the environment of the waste pits from which they were excavated. The archaeological finds include three technical ceramic vessels (a rectifier, a bowl and a jar), which together could have formed a distillation apparatus. Since these vessels represent a rare finding, they were subjected to a detailed investigation. Based on the similarity of ceramic bodies and glazes, it was proved that the three technical ceramic vessels were made in the same workshop and were parts of one distillation apparatus. The results of the performed analyses determined that the studied vessels were manufactured from raw materials with a high content of a plastic component and that the raw materials did not change significantly during the period from the 15th to 18th centuries. The firing temperature of most of the vessels did not exceed 1000 °C. It was proved that all the glazes were medium- or high-lead content glazes and were coloured with ionic pigments.

Cerulean blue is a pigment that was introduced to the art market at the turn of the 1850s and 1860s, with its composition stated as CoSnO 3 . For this project, the pigment was synthesised using historical recipes and analysed. The investigation involved examining various conditions for its preparation, such as different reactants, solution concentrations, precipitate ageing times, firing temperatures and calcination times. All of the samples obtained were green in colour, and their composition was defined as a mixture of SnO 2 and Co 2 SnO 4 . To gain a more accurate understanding of pigment composition, historical paint samples and commercially available pigments were analysed. These pigments were found to contain a relatively high amount of magnesium, so new pigment samples were prepared with added magnesium. The obtained samples have the desired blue colour; their composition is Mg 2‐x Co x SnO 4 and SnO 2 . Using K 2 SnO 3 ·3H 2 O as a reactant produced more reproducible results than using SnCl 4 ·5H 2 O. The reconstruction of pigment production methods revealed gaps in historical recipes. The collected data allowed us to specify the composition of cerulean blue pigment as Mg 2‐x Co x SnO 4 with a variable amount of SnO 2 .

Abstract Queen Anne of Bohemia and Hungary (1503–1547), wife of Ferdinand I of Austria, assembled a remarkable collection of jewellery and valuables. Analysis of her collection is aided by the survival of four inventories, as well as household accounts, which not only reveal its origins, development and structure during the queen’s lifetime, but also its fate after her death. The complex distribution of the artefacts involved Anne’s children and other Habsburg family members, as well as other European female rulers and noblewomen. Some of the jewels have been identified in portraits of Queen Anne and her daughters. The present study seeks to shed light on the role of jewellery in establishing personal bonds within the Habsburg family and within the cultural and political networks that linked European elites during the Renaissance.