Difference between pages "Category:Calcium carbonate: Ukiyo-e colorant" and "Stand oil"

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[[File:51-69_Stand.Oil_canvas.jpg|thumb|Stand oil]]
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== Description ==
  
[[File:SC155045.jpg|right|250px|link=https://collections.mfa.org/objects/207552/kamakura-village-from-an-untitled-series-of-westernstyle-l?ctx=1be86594-d25a-458d-827f-8e5dc3048977&idx=0|Kamakura Village by Katsushika Hokusai]]
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A pale, thick, concentrated form of [[linseed%20oil|linseed oil]]. Stand oil is prepared by anaerobically heating linseed oil to about 300C. This allows the oil to partially polymerize without any [[oxidation|oxidation]] occurring. Aneorobic conditions are obtained using a vacuum or [[carbon%20dioxide|carbon dioxide]] atmosphere. Stand oil was likely developed by the Dutch in the 19th century. Stand oil dries more slowly and yellows less than untreated linseed oil. It forms a tough, flexible film that is resistant to weathering. Stand oils have been used in [[varnish|varnishes]], glazes, and as a high viscosity additive to other paint media. Half oil is 50% stand oil and 50% [[turpentine%20%28oil%29|turpentine]].
  
<font size="3">'''[[Calcium carbonate]]'''</font> 胡粉(''gofun''): Black is derived from
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== Synonyms and Related Terms ==
  
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Standöle (Deut.); standoil (It); olio standolizzato (It); half oil; standoil; polymerized oil; lithographic oil; English oil varnish;
  
'''For more information see:''' [[Calcium carbonate]]
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== Physical and Chemical Properties ==
<br>
 
  
== Examples of Calcium carbonate in Ukiyo-e Prints ==
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* Iodine number is lower than linseed oil. 
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* Produces a greenish iridescent fluorescence.
  
{| class="wikitable" style="display: inline-table;font-size:90%;text-align:center;width:15%"
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==Resources and Citations==
|[[File:dyed indigo.jpg|200px]]
 
|-
 
|
 
[[File:Indigo FORS.JPG|200px]]<br>[[Harunobu, Beautiful Women of the Yoshiwara, Applying makeup (MFA 2006.1537.5)|Beauties of the Yoshiwara by Suzuki Harunobu]]
 
|}
 
{| class="wikitable" style="display: inline-table;font-size:90%;text-align:center;width:15%"
 
|[[File:dyed indigo.jpg|200px]]
 
|-
 
|
 
[[File:Indigo FORS.JPG|200px]]<br>[[Harunobu, Beautiful Women of the Yoshiwara, Applying makeup (MFA 2006.1537.5)|Beauties of the Yoshiwara by Suzuki Harunobu]]
 
|}
 
{| class="wikitable" style="display: inline-table;font-size:90%;text-align:center;width:15%"
 
|[[File:dyed indigo.jpg|200px]]
 
|-
 
|
 
[[File:Indigo FORS.JPG|200px]]<br>[[Harunobu, Beautiful Women of the Yoshiwara, Applying makeup (MFA 2006.1537.5)|Beauties of the Yoshiwara by Suzuki Harunobu]]
 
|}
 
{| class="wikitable" style="display: inline-table;font-size:90%;text-align:center;width:15%"
 
|[[File:dyed indigo.jpg|200px]]
 
|-
 
|
 
[[File:Indigo FORS.JPG|200px]]<br>[[Harunobu, Beautiful Women of the Yoshiwara, Applying makeup (MFA 2006.1537.5)|Beauties of the Yoshiwara by Suzuki Harunobu]]
 
|}
 
{| class="wikitable" style="display: inline-table;font-size:90%;text-align:center;width:15%"
 
|[[File:dyed indigo.jpg|200px]]
 
|-
 
|
 
[[File:Indigo FORS.JPG|200px]]<br>[[Harunobu, Beautiful Women of the Yoshiwara, Applying makeup (MFA 2006.1537.5)|Beauties of the Yoshiwara by Suzuki Harunobu]]
 
|}
 
  
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* R. J. Gettens, G.L. Stout, ''Painting Materials, A Short Encyclopaedia'', Dover Publications, New York, 1966
  
== Analysis ==
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* M. Doerner, ''The Materials of the Artist'', Harcourt, Brace & Co., 1934
Excitation Emission Matrix (EEM) spectroscopy can easily identify the organic reds: [[:Category:Safflower: Ukiyo-e colorant|safflower]], madder, and [[:Category:Sappanwood: Ukiyo-e colorant|sappanwood]]. Madder fluoresces brightly under UVA radiation and produces a unique EEM pattern that helps differentiate it from safflower, which also fluoresces.
 
  
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* G.S.Brady, ''Materials Handbook'', McGraw-Hill Book Co., New York, 1971  Comment: p. 458
  
<gallery mode="packed" heights="200px" style="text-align:left">
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* Reed Kay, ''The Painter's Guide To Studio Methods and Materials'', Prentice-Hall, Inc., Englewood Cliffs, NJ, 1983
Madder EEM ref.jpg|<center>EEM plot for Madder</center>
 
Red EEM plots.jpg|<center>3D EEM plots for Red references</center>
 
Red EmEx curves.jpg|<center>Overlay of EEM curves for Red references</center>
 
FORS of reds.jpg|<center>Overlay of FORS spectra for Red references</center>
 
</gallery>
 
  
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* Ralph Mayer, ''A Dictionary of Art Terms and Techniques'', Harper and Row Publishers, New York, 1969 (also 1945 printing)
  
==Other Images of Calcium carbonate ==
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* Hermann Kuhn, ''Conservation and Restoration of Works of Art and Antiquities'', Butterworths, London, 1986
<gallery>
 
Oyster shell.jpg|Weathered oyster shells <small>by Musashino Art University</small>
 
</gallery>
 
  
Add image of gofun
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* Pam Hatchfield, ''Pollutants in the Museum Environment'', Archetype Press, London, 2002
  
<!--==List of Prints ==
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* Art and Architecture Thesaurus Online, https://www.getty.edu/research/tools/vocabulary/aat/, J. Paul Getty Trust, Los Angeles, 2000
List of prints where indigo was detected-->
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[[Category:Materials database]]

Latest revision as of 14:52, 4 June 2022

Stand oil

Description

A pale, thick, concentrated form of Linseed oil. Stand oil is prepared by anaerobically heating linseed oil to about 300C. This allows the oil to partially polymerize without any Oxidation occurring. Aneorobic conditions are obtained using a vacuum or Carbon dioxide atmosphere. Stand oil was likely developed by the Dutch in the 19th century. Stand oil dries more slowly and yellows less than untreated linseed oil. It forms a tough, flexible film that is resistant to weathering. Stand oils have been used in varnishes, glazes, and as a high viscosity additive to other paint media. Half oil is 50% stand oil and 50% turpentine.

Synonyms and Related Terms

Standöle (Deut.); standoil (It); olio standolizzato (It); half oil; standoil; polymerized oil; lithographic oil; English oil varnish;

Physical and Chemical Properties

  • Iodine number is lower than linseed oil.
  • Produces a greenish iridescent fluorescence.

Resources and Citations

  • R. J. Gettens, G.L. Stout, Painting Materials, A Short Encyclopaedia, Dover Publications, New York, 1966
  • M. Doerner, The Materials of the Artist, Harcourt, Brace & Co., 1934
  • G.S.Brady, Materials Handbook, McGraw-Hill Book Co., New York, 1971 Comment: p. 458
  • Reed Kay, The Painter's Guide To Studio Methods and Materials, Prentice-Hall, Inc., Englewood Cliffs, NJ, 1983
  • Ralph Mayer, A Dictionary of Art Terms and Techniques, Harper and Row Publishers, New York, 1969 (also 1945 printing)
  • Hermann Kuhn, Conservation and Restoration of Works of Art and Antiquities, Butterworths, London, 1986
  • Pam Hatchfield, Pollutants in the Museum Environment, Archetype Press, London, 2002