Technical examination, material characterization, and restoration of the landscape painting by Mıgırdiç Givanian (1848-1906)

Selen Sertab Kayser; Özden Ormancı; Oğuz Emre Kayser

doi:10.14568/cp36639

Authors

Selen Sertab Kayser Mimar Sinan Fine Arts University, Department of Conservation and Restoration of Artworks, Cumhuriyet Mahallesi Silahşör Caddesi No:71, Bomonti/Şişli, 34380 İstanbul, Turkey; Ankara Hacı Bayram Veli University, Conservation of Cultural Property PhD Program, Ankara, Turkey https://orcid.org/0000-0002-9294-7132
Özden Ormancı Mimar Sinan Fine Arts University, Department of Conservation and Restoration of Cultural Property, Cumhuriyet Mahallesi Silahşör Caddesi No:71, Bomonti/Şişli, 34380 İstanbul, Turkey https://orcid.org/0000-0002-1098-3923
Oğuz Emre Kayser Ankara Hacı Bayram Veli University, Conservation of Cultural Property PhD Program, Ankara, Turkey; Mimar Sinan Fine Arts University, Department of Conservation and Restoration of Cultural Property, Cumhuriyet Mahallesi Silahşör Caddesi No:71, Bomonti/Şişli, 34380 İstanbul, Turkey https://orcid.org/0000-0002-0469-026X

DOI:

https://doi.org/10.14568/cp36639

Keywords:

Givanian, Conservation of oil paintings, Paintings on metal support, Raman Spectroscopy, µ-XRF

Abstract

This study presents the documentation, technical examinations, material characterization, and restoration work of an oil painting on a metal plate signed by Mıgırdiç Givanian. The painting was analyzed with visible, ultraviolet and oblique light, optical microscopy, X-ray, Raman and micro-X-Ray fluorescence spectrometry. Optical microscopy provided insights into the painting technique and deteriorations. It was determined that the artist used an iron-based metal plate and pigments including lead white, calcite, vermilion, Prussian blue, hematite, carbon black, and gypsum, which were identified through Raman analysis. The XRF analysis suggested the possibility of a copper-based green pigment, lead-tin yellow, and chrome yellow. During the restoration phase, the yellowed varnish layer on the surface was cleaned, and the localized retouches on the painting surface, were removed. As a finishing application, the surface was re-varnished and retouched. This study is significant as it represents the first comprehensive work conducted on a painting signed by Givanian.

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