Lead white is a man-made white pigment commonly used in works of art. In this study, the possibility of radiocarbon dating lead white pigments alone and in oil paints was explored using well-dated lead white pigments and paints. Resulting 14C ages on lead white pigments produced following the traditional stack process, where carbonate groups results from the incorporation of CO2 originating from fermentation, matched the production years, while radiocarbon dating of lead white made using other industrial processes indicate that 14C depleted CO2 was used in their production. The method was applied to two case studies, where lead carbonate samples were dated in two oil paintings, one Baroque and one from the 20th century. We hereby show that the lead white pigment can be dated by 14C and used as proxy for the time of creation of an artwork. Additionally, a two-step method was developed to allow 14C analysis of both the lead white pigment and oil binder from the same sample. A single lead white paint sample can yield two distinct radiocarbon ages, one from the carbonate and one from the natural organic binder. This study thus proposes new strategies for 14C dating of artworks.

Xavier Guerrero (1896-1974) had an important role in the so-called Mexican Mural Renaissance, as a technical leader in the murals painted by Roberto Montenegro and Diego Rivera in the early 1920’s. Jean Charlot, Diego Rivera and David Alfaro Siqueiros considered him as a sophisticated fresco craftsman, whose knowledge came from a popular mural painters guild.

In 1941 the Mexican Government donated a School to Chillan, a Chilean town almost destroyed by a strong earthquake. David Alfaro Siqueiros and Xavier Guerrero were commissioned to paint murals on the Mexico School. Between 1941-1942 Guerrero decorated several walls and the staircase ceiling, the mural program is called De México a Chile (From Mexico to Chile). In 2010 another earthquake destroyed part of the ceiling. This study is part of the diagnosis project of De México a Chile, and consists in the characterization of the mortar and painting layers with optical microscopy, X-ray diffraction (XRD), scanning electron microscopy (SEM) and thermal analysis (TGA), while textural properties of the mortars were studied with nitrogen adsorption-desorption techniques.

Analytical results show a stratigraphic sequence composed of several layers of Portland and lime combinations, and also an interesting painting technique that possibly involves the Portland cement setting process, with the development of specular gypsum.

In this paper, a novel hyperspectral image acquisition system able to obtain a set of narrowband images (~2,25 nm of bandwidth) and the related composition of monochrome images in the near-infrared is described. The aim of this system is to discriminate the materials by their optical spectral response in the range of 900-1700 nm. This system has been developed in the framework of a collaborative project that includes the improvement of the automatic composition of reflectographic mosaics in order to study the underdrawing of large formats big artworks in real-time. The main features of this project are detailed in this paper. Furthermore, a few enlightening results of the hyperspectral system and new lines of research are shown.

The authors have surveyed the little known paintings of the Kurnool area in central south India, bringing to light the varied work of artists active from the Palaeolithic to the present day. By classifying the images and observing their local superposition and global parallels, they present us with an evolving trend – from the realistic drawings of large deer by hunter-gatherers, through the symbolic humans of the Iron Age to the hand-prints of more recent pilgrims and garish life-size modern ‘scarecrows’. Here are the foundations for one of the world's longest sequences of rock art.

This manuscript relates the great literature, great art and the vast starry vault of heaven. It relates the myths of gods and heroes for whom the planets and the Medicean moons of Jupiter are named. The myths are illustrated by great art works of the Renaissance, Baroque and Rococo periods which reveal poignant moments in the myths. The manuscript identifies constellations spun off of these myths. In addition to the images of great art are associated images of the moons and planets brought to us by spacecraft in our new age of exploration, the New Renaissance, in which we find ourselves deeply immersed.

Astronomy and Art, two worlds seemingly opposite. One scientific and rigorous, the other perceived as light and whimsical. But if these two worlds were united? If art gave itself to the service of science? If fantasy became a playful pretext to transmit knowledge to young children? I recount here my experience, that of a meeting, and of an adventure. How and why an astronomy book for the very young emerged from the collaboration between a painter and an astronomer of the Observatory of Paris.

In November 1943, one of Barbara Hepworth’s daughters (Sarah, one of triplets) developed osteomyelitis of the thigh. This necessitated operation and subsequent treatment at the Princess Elizabeth Orthopaedic Centre in Exeter by Mr. Norman Capener. Artist and surgeon subsequently became friends and she encouraged his activities as a ‘weekend sculptor’. At his invitation she came to the hospital in November 1947 watching him in out-patients but more particularly in the operating theatre; other visits to London and Exeter followed. These studies of orthopaedic procedures form the great majority of Hepworth’s sixty-plus hospital drawings/paintings but there is also a small group of six paintings involving an operation on the ear made in April and May 1948. The link between these two and the introduction to the ear surgeon, Mr Garnett Passe, is unclear.

Five of the paintings of the ear operation are still in circulation but there is also a sketchbook containing no fewer than 28 drawings. A selection of the sketches together with the fenestration series of paintings will be discussed and also the relationship with the surgeon, Mr Garnett Passe.