An Evaluation of Decorative Techniques on a Red-Figure Attic Vase from the Worcester Art Museum using Reflectance Transf
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Decorative Techniques on a RedFigure Attic Vase from the Worcester Art Museum using Reflectance Transformation Imaging (RTI) and Confocal Microscopy with a Special Focus on the “Relief Line” Paula ArtalIsbrand, Philip Klausmeyer and Winifred Murray MRS Proceedings / Volume 1319 / 2011 DOI: 10.1557/opl.2011.793
Link to this article: http://journals.cambridge.org/abstract_S1946427411007937 How to cite this article: Paula ArtalIsbrand, Philip Klausmeyer and Winifred Murray (2011). An Evaluation of Decorative Techniques on a RedFigure Attic Vase from the Worcester Art Museum using Reflectance Transformation Imaging (RTI) and Confocal Microscopy with a Special Focus on the “Relief Line”. MRS Proceedings,1319, mrsf101319 ww0106 doi:10.1557/opl.2011.793 Request Permissions : Click here
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Mater. Res. Soc. Symp. Proc. Vol. 1319 © 2011 Materials Research Society DOI: 10.1557/opl.2011.793
An Evaluation of Decorative Techniques on a Red-Figure Attic Vase from the Worcester Art Museum using Reflectance Transformation Imaging (RTI) and Confocal Microscopy with a Special Focus on the “Relief Line” Paula Artal-Isbrand¹, Philip Klausmeyer1, Winifred Murray1 1 Worcester Art Museum, 55 Salisbury Street, Worcester, MA 01609, U.S.A. ABSTRACT Decorative features on a Greek red-figure stamnos in the collection of the Worcester Art Museum were examined using Reflectance Transformation Imaging (RTI) and scanning laser confocal microscopy. These two surface examination tools helped to answer questions relating to the decorative process, particularly the tools and techniques that Attic painters used to create the so-called glossy black “relief lines” and “relief dots.” This research also incorporated fabricated mock-ups to help understand the ancient technology. It was determined that the relief line was not produced by an extruded method, but with a brush made of one or very few hairs, an idea first proposed by Gérard Seiterle in 1976 and termed Linierhaar. It was observed that not one but two distinct types of relief lines exist: the “laid” line (proposed by Seiterle) characterized by a ridge running through the middle of the line and the “pulled” line (proposed in this paper) which has a furrowed profile. Both line types were reproduced with a Linierhaar. Additionally, relief dots were replicated using a conventional brush. Surface examinations of other red-figure vessels using RTI and the confocal microscope suggest these conclusions apply to vessels of this genre as a whole. INTRODUCTION Greek black- and red-figure pottery production started around the first half of the 6thcentury BCE and lasted a little over three centuries through the first third of the 4th- century BCE [1]. Black-figure technique characterizes the first part of this period, which later gives way to the red-figure technique around 520 BCE with an overlap of both for about 30 years [2]. The method used to produce the distinctive red and black color of Greek Attic
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