Multi-Analytical Study of the Treatment and Conservation of a 19th-Century Oil Painting by Alberto Pasini | ||
| Luxor International Journal of Archaeological Studies | ||
| Articles in Press, Accepted Manuscript, Available Online from 24 October 2025 | ||
| Document Type: Original Article | ||
| DOI: 10.21608/lijas.2025.424077.1099 | ||
| Authors | ||
| Basma Mohamed Elnagar* 1; Moustafa Attia Mohie2; Mahmoud Sayed Korany3 | ||
| 1M.A. Student, Conservation Department, Faculty of Archaeology, Luxor University, Luxor, Egypt. | ||
| 2Organic Materials Conservation Department, Faculty of Archaeology, Cairo University, Giza, Egypt. | ||
| 3Conservation Department, Faculty of Archaeology, Luxor University, Luxor, Egypt. | ||
| Abstract | ||
| This study investigates the technology, techniques, treatment, and conservation of a 19th-century oil painting at the Prince Mohamed Ali Palace Museum in Manial. A combination of analytical methods was employed to identify the painting’s materials, the artist’s techniques, and the main aspects of deterioration and their causative factors. Infrared (IR) and ultraviolet (UV) multispectral imaging were used to detect previous restoration interventions and subsurface layers, while microscopic examination of cross-sections studied the stratigraphy and structural composition of the paint layers and identified deterioration not visible to the naked eye. Light microscopy analyzed the canvas fibers, weaving structure, thread density, and orientation. X-ray diffraction (XRD) identified pigments in the paint layer, and fillers in the ground, Fourier-transform infrared spectroscopy (FTIR) determined the binding medium of the ground layer, and gas chromatography-mass spectrometry (GC-MS) characterized the oil medium in the paint layers. The study revealed that the artist employed the “Alla prima” technique with a single thin ground layer on a linen canvas, using animal glue as the binder mixed with zinc white and lead white, and poppy oil as the painting medium. Pigments included carbon black, ultramarine blue, cobalt blue, chrome yellow, red lead, vermilion, raw umber, burnt umber, and zinc white. The painting exhibited varnish darkening, cracks, craquelure, tears, losses, previous restoration interventions, and general fragility of both canvas and paint layers. Treatment included varnish removal, consolidation of the paint layers, repair of cracks and craquelure using Nano-Beva 371, protection of the paint surface with Japanese paper and Beva 371, removal of previous restorations, treatment of tears, gaps, and high canvas acidity, lining with Beva 371 and a secondary linen support, retouching missing areas, and re-varnishing. | ||
| Keywords | ||
| Prince Mohamed Ali Palace Museum; Multispectral Imaging; GC-MS; Paint Layer Loss; Nano-Beva 371; Varnish Removal | ||
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