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Analysis of potential direct insolation as a degradation factor of cave paintings in Villar del Humo, Cuenca, Central Spain
5 references·1 citing·21 second hop
Analysis of potential direct insolation as a degradation factor of cave paintings in Villar del Humo, Cuenca, Central Spain (2009)Analysis of potential direct insolation a…The first Raman spectroscopic study of San rock art in the Ukhahlamba Drakensberg Park, South Africa (2008)The first Raman spectroscopic…The thermal responses of rock art pigments: Implications for rock art weathering in southern Africa (2007)The thermal responses of rock…Deterioration of San rock art : new findings, new challenges (2007)Deterioration of San rock art…Rock temperatures as an indicator of weathering processes affecting rock art (2006)Rock temperatures as an indic…Clay and iron oxide pigments in the history of painting (2003)Clay and iron oxide pigments …Documenting the light sensitivity of Spanish Levantine rock art paintings (2015)Documenting the light sensiti…Dating rock paintings in the uKhahlamba-Drakensberg and the Biggarsberg, KwaZulu-Natal, South Africa (2003)Assessing Early Spanish Explorer Routes Through Authentication of Rock Inscriptions (2011)Age, palaeoenvironment, and preservation of prehistoric petroglyphs on a boulder in the oasis of Salut (northern Sultanate of Oman) (2019)The rock art of Caraculo, Namibe province, Angola (2023)Predicting The Fading of Objects: Identification of Fugitive Colorants Through Direct Nondestructive Lightfastness Measurements (1999)Application of field portable EDXRF spectrometry to analysis of pigments of Levantine rock art (2010)An approximation to the study of black pigments in Cova Remigia (Castellón, Spain). Technical and cultural assessments of the use of carbon-based black pigments in Spanish Levantine Rock Art (2014)Discovering Southern African Rock Art. (1992)African heritage in a changing climate (2020)The museum environment (1978)Minerals provide tints and possible binder/extender in pigments in san rock paintings (South Africa) (2008)Ancient Egyptian Materials and Industries (1948)Ochre-differentiation through micro-Raman and micro-FTIR spectroscopies: application on wall paintings at Meteora and Mount Athos, Greece (2000)Reflection infrared spectroscopy for the non-invasive in situ study of artists’ pigments (2011)Raman spectroscopy of minerals and mineral pigments in archaeometry (2016)Mineral Pigments in Archaeology: Their Analysis and the Range of Available Materials (2018)An initial Raman microscopic investigation of prehistoric rock art in caves of the Quercy District, S.W. France (1999)Analysis with micro-Raman spectroscopy of natural organic binding media and varnishes used in art (2000)Processing ochre in the Middle Stone Age: Testing the inference of prehistoric behaviours from actualistically derived experimental data (2011)The first in situ micro‐Raman spectroscopic analysis of prehistoric cave art of Rouffignac St‐Cernin, France (2012)Characterizing the pigments and paints of prehistoric artists (2021)
this work references cited by second hop

References

  • 2003Clay and iron oxide pigments in the history of painting375 cited
  • 2008The first Raman spectroscopic study of San rock art in the Ukhahlamba Drakensberg Park, South Africa87 cited
  • 2006Rock temperatures as an indicator of weathering processes affecting rock art58 cited
  • 2007The thermal responses of rock art pigments: Implications for rock art weathering in southern Africa56 cited
  • 2007Deterioration of San rock art : new findings, new challenges17 cited

Cited by

  • 2015Documenting the light sensitivity of Spanish Levantine rock art paintings21 cited

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