JAIC 2002, Volume 41, Number 3, Article 2 (pp. 225 to 242)
JAIC online
Journal of the American Institute for Conservation
JAIC 2002, Volume 41, Number 3, Article 2 (pp. 225 to 242)

GREEN, YELLOW, AND RED PIGMENTS IN SOUTH AMERICAN PAINTING, 1610–1780

ALICIA SELDES, JOSÉ E. BURUCÚA, GABRIELA SIRACUSANO, MARTA S. MAIER, & GONZALO E. ABAD



NOTES

1. The term “sandarac” is used with different meanings in the language of art materials. As a pigment, documents and manuals mention sandarac as a synonym of realgar, i.e., orpiment or burnt orpiment, hence its poisonous properties. It is also known as a synonym for red lead. Furthermore, the same word was also applied to a resin exuded by various trees, especially white cedars, which was used to make varnishes.



REFERENCES

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FURTHER READING

Querejazu Leyton, P.1986. Materials and techniques of Andean painting. In AAVV, Gloria in excelsis: The Virgin and angels in vicerregal painting of Peru and Bolivia. New York: Center for Inter-American Relations.


AUTHOR INFORMATION

ALICIA M. SELDES is professor in the Department of Organic Chemistry in the Faculty of Exact and Natural Sciences of the University of Buenos Aires, senior researcher of the National Council of Scientific and Technological Research (CONICET), and adviser in chemistry at the Fundación TAREA. Her areas of research interest are the analysis of traces of organic compounds and their structure through mass spectrometry techniques and the study of biologically active natural products of both marine and terrestrial origins. Since 1988, her link to the Fundación TAREA has extended her research to organic and inorganic materials used in colonial easel painting. Address: Department of Organic Chemistry, Faculty of Exact and Natural Sciences, University of Buenos Aires, Pabellón 2, Ciudad Universitaria, (1428) Buenos Aires, Argentina.

JOSÉ EMILIO BURUCÚA studied history of art and history of science with Hector Schenone, Carlo del Bravo, and Paolo Rossi. He obtained his doctorate at the University of Buenos Aires, where he is now professor and chair of modern history. He has been the director of research at the National Museum of Fine Arts, Buenos Aires, and vice-dean at the School of Philosophy and Letters, University of Buenos Aires. A member of the National Academy of Fine Arts and adviser in the history of art at Fundación TAREA, he has published books and articles on the history of perspective and on the historical relations between images and ideas. Address: Julio E. Payró Theory and Art History Institute, University of Buenos Aires, 25 de Mayo 217, (1002) Buenos Aires, Argentina.

GABRIELA SIRACUSANO is assistant professor of research methodology and of the historiography of art at the School of Philosophy and Letters, University of Buenos Aires, and assistant researcher of the National Council of Scientific and Technological Research (CONICET). She is also a staff researcher at the Julio E. Payró Theory and Art History Institute, University of Buenos Aires, and president of Argentine Center of Art History Researchers (CAIA). She has carried out and published studies on the relations between art and science. Address as for Burucúa.

MARTA S. MAIER is assistant professor in the Department of Organic Chemistry, Faculty of Exact and Natural Sciences, University of Buenos Aires, and assistant researcher of the National Council of Scientific and Technological Research (CONICET). Her areas of interest include biologically active compounds in echinoderms and the synthesis of their analogues. Since 1992 she has extended her scope to research on the organic materials found in colonial easel painting. Address as for Seldes.

GONZALO E. ABAD is a student of pharmacy at the University of Buenos Aires. He collaborates with the project of materials used in colonial easel painting. Address as for Seldes.


Copyright © 2002 American Institution for Conservation of Historic & Artistic Works