Metropolitan Museum of Art Chroma Exhibition

Title: Reconstruction of the so-called Cuirass-Torso from the Athenian Acropolis, Variant B Artist: Vinzenz Brinkmann Artist: Ulrike Koch-Brinkmann Date: 2005 Medium: Plaster cast, natural pigments in egg tempera, gold foil Dimensions: 23 5/8 × 17 5/16 × 9 13/16 in. (60 × 44 × 25 cm) Credit Line: Liebieghaus Skulpturensammlung, Polychromy Research Project, Frankfurt am Main, acquired 2016 as a gift from U. Koch-Brinkmann and V. Brinkmann Accession Number: POL.003 "This marble statue of a torso wearing a cuirass (a piece of armor comprising a breastplate and backplate) stood in the Sanctuary of Athena on the Athenian Acropolis. Two holes on the back below the left shoulder may have once held a sculpted quiver, indicating that the figure represents an archer .In Antiquity cuirasses were modelled in metal, in order to fit exactly the proportions of the warrior's body. The sculptor of the so-called Cuirassed Torso shaped the body as if the figure were nude. Only the lower edge of the cuirass is slightly raised. But the sculptor completely ignored the undergarment, or chitoniskos. Instead, it was the painter who completed what the sculptor left out. Although no pigments are preserved on the original, in ultraviolet and raking light, traces of the patterned decoration of the garment are visible. Suspended and upright leaves are attached to one another by small spirals. This delicate ornament completely covers the chitoniskos and enhances the plasticity of the figure. Traces of weathering confirm that a variety of colors were used. Two reconstructions show different possible color schemes for the cuirass and the pattern on the chitoniskos: Variant B represents a metal cuirass, while Variant C depicts a leather one." Vinzenz Brinkmann and Ulrike Koch-Brinkmann, 2005 Reconstruction, Variant B, 2005 Vinzenz Brinkmann and Ulrike Koch-Brinkmann plaster cast and natural pigments using the Michael Price method in egg tempera, gold leaf, H. ca. 62 cm. Sylvia Kellner, Miguel Gonzalez and Harald Theiss provided assistance with the gilding and the application of color. Liebieghaus Skulpturensammlung (Liebieghaus Polychromy Research Project), Frankfurt am Main, Inv. St.P 686 Scientific methods used: Ultraviolet-induced visible luminescence imaging (UVL) (Schott KV 418) Ultraviolet-reflected imaging (UVR) (Schott UG1 or Schott BG12) Optical stereoscopic microscopy (10–50x, Zeiss and Olympus) Raking light imaging (Schott KL1500) Black and white imaging in visible light (VIS) Color imaging in visible light (VIS) Photomicrograph (with microscope or macro objectives) Scientific evaluation Vinzenz Brinkmann, Ulrike Koch-Brinkmann Pigments used for the reconstruction blue: Egyptian blue; red: red ocher, calcite; flesh tones: rose madder, calcite. Acknowledgements Christina Vlassopoulou, Athens Acropolis Museum, Athens Text from: www.metmuseum.org/art/collection/search/853786

Title: Reconstruction of the so-called Cuirass-Torso from the Athenian Acropolis, Variant B Artist: Vinzenz Brinkmann Artist: Ulrike Koch-Brinkmann Date: 2005 Medium: Plaster cast, natural pigments in egg tempera, gold foil Dimensions: 23 5/8 × 17 5/16 × 9 13/16 in. (60 × 44 × 25 cm) Credit Line: Liebieghaus Skulpturensammlung, Polychromy Research Project, Frankfurt am Main, acquired 2016 as a gift from U. Koch-Brinkmann and V. Brinkmann Accession Number: POL.003 "This marble statue of a torso wearing a cuirass (a piece of armor comprising a breastplate and backplate) stood in the Sanctuary of Athena on the Athenian Acropolis. Two holes on the back below the left shoulder may have once held a sculpted quiver, indicating that the figure represents an archer .In Antiquity cuirasses were modelled in metal, in order to fit exactly the proportions of the warrior's body. The sculptor of the so-called Cuirassed Torso shaped the body as if the figure were nude. Only the lower edge of the cuirass is slightly raised. But the sculptor completely ignored the undergarment, or chitoniskos. Instead, it was the painter who completed what the sculptor left out. Although no pigments are preserved on the original, in ultraviolet and raking light, traces of the patterned decoration of the garment are visible. Suspended and upright leaves are attached to one another by small spirals. This delicate ornament completely covers the chitoniskos and enhances the plasticity of the figure. Traces of weathering confirm that a variety of colors were used. Two reconstructions show different possible color schemes for the cuirass and the pattern on the chitoniskos: Variant B represents a metal cuirass, while Variant C depicts a leather one." Vinzenz Brinkmann and Ulrike Koch-Brinkmann, 2005 Reconstruction, Variant B, 2005 Vinzenz Brinkmann and Ulrike Koch-Brinkmann plaster cast and natural pigments using the Michael Price method in egg tempera, gold leaf, H. ca. 62 cm. Sylvia Kellner, Miguel Gonzalez and Harald Theiss provided assistance with the gilding and the application of color. Liebieghaus Skulpturensammlung (Liebieghaus Polychromy Research Project), Frankfurt am Main, Inv. St.P 686 Scientific methods used: Ultraviolet-induced visible luminescence imaging (UVL) (Schott KV 418) Ultraviolet-reflected imaging (UVR) (Schott UG1 or Schott BG12) Optical stereoscopic microscopy (10–50x, Zeiss and Olympus) Raking light imaging (Schott KL1500) Black and white imaging in visible light (VIS) Color imaging in visible light (VIS) Photomicrograph (with microscope or macro objectives) Scientific evaluation Vinzenz Brinkmann, Ulrike Koch-Brinkmann Pigments used for the reconstruction blue: Egyptian blue; red: red ocher, calcite; flesh tones: rose madder, calcite. Acknowledgements Christina Vlassopoulou, Athens Acropolis Museum, Athens Text from: www.metmuseum.org/art/collection/search/853786

Title: Reconstruction of the so-called Cuirass-Torso from the Athenian Acropolis, Variant B Artist: Vinzenz Brinkmann Artist: Ulrike Koch-Brinkmann Date: 2005 Medium: Plaster cast, natural pigments in egg tempera, gold foil Dimensions: 23 5/8 × 17 5/16 × 9 13/16 in. (60 × 44 × 25 cm) Credit Line: Liebieghaus Skulpturensammlung, Polychromy Research Project, Frankfurt am Main, acquired 2016 as a gift from U. Koch-Brinkmann and V. Brinkmann Accession Number: POL.003 "This marble statue of a torso wearing a cuirass (a piece of armor comprising a breastplate and backplate) stood in the Sanctuary of Athena on the Athenian Acropolis. Two holes on the back below the left shoulder may have once held a sculpted quiver, indicating that the figure represents an archer .In Antiquity cuirasses were modelled in metal, in order to fit exactly the proportions of the warrior's body. The sculptor of the so-called Cuirassed Torso shaped the body as if the figure were nude. Only the lower edge of the cuirass is slightly raised. But the sculptor completely ignored the undergarment, or chitoniskos. Instead, it was the painter who completed what the sculptor left out. Although no pigments are preserved on the original, in ultraviolet and raking light, traces of the patterned decoration of the garment are visible. Suspended and upright leaves are attached to one another by small spirals. This delicate ornament completely covers the chitoniskos and enhances the plasticity of the figure. Traces of weathering confirm that a variety of colors were used. Two reconstructions show different possible color schemes for the cuirass and the pattern on the chitoniskos: Variant B represents a metal cuirass, while Variant C depicts a leather one." Vinzenz Brinkmann and Ulrike Koch-Brinkmann, 2005 Reconstruction, Variant B, 2005 Vinzenz Brinkmann and Ulrike Koch-Brinkmann plaster cast and natural pigments using the Michael Price method in egg tempera, gold leaf, H. ca. 62 cm. Sylvia Kellner, Miguel Gonzalez and Harald Theiss provided assistance with the gilding and the application of color. Liebieghaus Skulpturensammlung (Liebieghaus Polychromy Research Project), Frankfurt am Main, Inv. St.P 686 Scientific methods used: Ultraviolet-induced visible luminescence imaging (UVL) (Schott KV 418) Ultraviolet-reflected imaging (UVR) (Schott UG1 or Schott BG12) Optical stereoscopic microscopy (10–50x, Zeiss and Olympus) Raking light imaging (Schott KL1500) Black and white imaging in visible light (VIS) Color imaging in visible light (VIS) Photomicrograph (with microscope or macro objectives) Scientific evaluation Vinzenz Brinkmann, Ulrike Koch-Brinkmann Pigments used for the reconstruction blue: Egyptian blue; red: red ocher, calcite; flesh tones: rose madder, calcite. Acknowledgements Christina Vlassopoulou, Athens Acropolis Museum, Athens Text from: www.metmuseum.org/art/collection/search/853786

Title: Reconstruction of the so-called Cuirass-Torso from the Athenian Acropolis, Variant B Artist: Vinzenz Brinkmann Artist: Ulrike Koch-Brinkmann Date: 2005 Medium: Plaster cast, natural pigments in egg tempera, gold foil Dimensions: 23 5/8 × 17 5/16 × 9 13/16 in. (60 × 44 × 25 cm) Credit Line: Liebieghaus Skulpturensammlung, Polychromy Research Project, Frankfurt am Main, acquired 2016 as a gift from U. Koch-Brinkmann and V. Brinkmann Accession Number: POL.003 "This marble statue of a torso wearing a cuirass (a piece of armor comprising a breastplate and backplate) stood in the Sanctuary of Athena on the Athenian Acropolis. Two holes on the back below the left shoulder may have once held a sculpted quiver, indicating that the figure represents an archer .In Antiquity cuirasses were modelled in metal, in order to fit exactly the proportions of the warrior's body. The sculptor of the so-called Cuirassed Torso shaped the body as if the figure were nude. Only the lower edge of the cuirass is slightly raised. But the sculptor completely ignored the undergarment, or chitoniskos. Instead, it was the painter who completed what the sculptor left out. Although no pigments are preserved on the original, in ultraviolet and raking light, traces of the patterned decoration of the garment are visible. Suspended and upright leaves are attached to one another by small spirals. This delicate ornament completely covers the chitoniskos and enhances the plasticity of the figure. Traces of weathering confirm that a variety of colors were used. Two reconstructions show different possible color schemes for the cuirass and the pattern on the chitoniskos: Variant B represents a metal cuirass, while Variant C depicts a leather one." Vinzenz Brinkmann and Ulrike Koch-Brinkmann, 2005 Reconstruction, Variant B, 2005 Vinzenz Brinkmann and Ulrike Koch-Brinkmann plaster cast and natural pigments using the Michael Price method in egg tempera, gold leaf, H. ca. 62 cm. Sylvia Kellner, Miguel Gonzalez and Harald Theiss provided assistance with the gilding and the application of color. Liebieghaus Skulpturensammlung (Liebieghaus Polychromy Research Project), Frankfurt am Main, Inv. St.P 686 Scientific methods used: Ultraviolet-induced visible luminescence imaging (UVL) (Schott KV 418) Ultraviolet-reflected imaging (UVR) (Schott UG1 or Schott BG12) Optical stereoscopic microscopy (10–50x, Zeiss and Olympus) Raking light imaging (Schott KL1500) Black and white imaging in visible light (VIS) Color imaging in visible light (VIS) Photomicrograph (with microscope or macro objectives) Scientific evaluation Vinzenz Brinkmann, Ulrike Koch-Brinkmann Pigments used for the reconstruction blue: Egyptian blue; red: red ocher, calcite; flesh tones: rose madder, calcite. Acknowledgements Christina Vlassopoulou, Athens Acropolis Museum, Athens Text from: www.metmuseum.org/art/collection/search/853786

Title: Reconstruction of the so-called Cuirass-Torso from the Athenian Acropolis, Variant B Artist: Vinzenz Brinkmann Artist: Ulrike Koch-Brinkmann Date: 2005 Medium: Plaster cast, natural pigments in egg tempera, gold foil Dimensions: 23 5/8 × 17 5/16 × 9 13/16 in. (60 × 44 × 25 cm) Credit Line: Liebieghaus Skulpturensammlung, Polychromy Research Project, Frankfurt am Main, acquired 2016 as a gift from U. Koch-Brinkmann and V. Brinkmann Accession Number: POL.003 "This marble statue of a torso wearing a cuirass (a piece of armor comprising a breastplate and backplate) stood in the Sanctuary of Athena on the Athenian Acropolis. Two holes on the back below the left shoulder may have once held a sculpted quiver, indicating that the figure represents an archer .In Antiquity cuirasses were modelled in metal, in order to fit exactly the proportions of the warrior's body. The sculptor of the so-called Cuirassed Torso shaped the body as if the figure were nude. Only the lower edge of the cuirass is slightly raised. But the sculptor completely ignored the undergarment, or chitoniskos. Instead, it was the painter who completed what the sculptor left out. Although no pigments are preserved on the original, in ultraviolet and raking light, traces of the patterned decoration of the garment are visible. Suspended and upright leaves are attached to one another by small spirals. This delicate ornament completely covers the chitoniskos and enhances the plasticity of the figure. Traces of weathering confirm that a variety of colors were used. Two reconstructions show different possible color schemes for the cuirass and the pattern on the chitoniskos: Variant B represents a metal cuirass, while Variant C depicts a leather one." Vinzenz Brinkmann and Ulrike Koch-Brinkmann, 2005 Reconstruction, Variant B, 2005 Vinzenz Brinkmann and Ulrike Koch-Brinkmann plaster cast and natural pigments using the Michael Price method in egg tempera, gold leaf, H. ca. 62 cm. Sylvia Kellner, Miguel Gonzalez and Harald Theiss provided assistance with the gilding and the application of color. Liebieghaus Skulpturensammlung (Liebieghaus Polychromy Research Project), Frankfurt am Main, Inv. St.P 686 Scientific methods used: Ultraviolet-induced visible luminescence imaging (UVL) (Schott KV 418) Ultraviolet-reflected imaging (UVR) (Schott UG1 or Schott BG12) Optical stereoscopic microscopy (10–50x, Zeiss and Olympus) Raking light imaging (Schott KL1500) Black and white imaging in visible light (VIS) Color imaging in visible light (VIS) Photomicrograph (with microscope or macro objectives) Scientific evaluation Vinzenz Brinkmann, Ulrike Koch-Brinkmann Pigments used for the reconstruction blue: Egyptian blue; red: red ocher, calcite; flesh tones: rose madder, calcite. Acknowledgements Christina Vlassopoulou, Athens Acropolis Museum, Athens Text from: www.metmuseum.org/art/collection/search/853786

Title: Study 1 of the color scheme of the so-called Treu Head Artist: Vinzenz Brinkmann Artist: Ulrike Koch-Brinkmann Date: 2014/ 2020 Medium: Marble stucco on plaster cast after 3D scan, natural pigments in egg tempera Dimensions: 14 9/16 × 10 1/4 × 10 1/4 in. (37 × 26 × 26 cm) Credit Line: Liebieghaus Skulpturensammlung, Polychromy Research Project, Frankfurt am Main Accession Number: POL.016 This study of the so-called Treu Head (named after the archaeologist who first studied its preserved color) reconstructs the extraordinarily rich traces of polychromy on the skin and hair of the marble original. Recent scientific investigations by the British Museum identified a pinkish skin color, consisting of a complex mixture of calcium carbonate, hematite, goethite, and Egyptian blue, applied to the highly polished marble surface. Carbon-based black was used as underpainting for the eyes, eyelids, and brows and remains visible as a dark shadow on the skin color, as seen on the left side of the reconstructed face. The nuanced application of pigment on the original is expressed in the painterly details and highlights of the features on the right side of the reconstruction. Text from: www.metmuseum.org/art/collection/search/853971

Title: Study 1 of the color scheme of the so-called Treu Head Artist: Vinzenz Brinkmann Artist: Ulrike Koch-Brinkmann Date: 2014/ 2020 Medium: Marble stucco on plaster cast after 3D scan, natural pigments in egg tempera Dimensions: 14 9/16 × 10 1/4 × 10 1/4 in. (37 × 26 × 26 cm) Credit Line: Liebieghaus Skulpturensammlung, Polychromy Research Project, Frankfurt am Main Accession Number: POL.016 This study of the so-called Treu Head (named after the archaeologist who first studied its preserved color) reconstructs the extraordinarily rich traces of polychromy on the skin and hair of the marble original. Recent scientific investigations by the British Museum identified a pinkish skin color, consisting of a complex mixture of calcium carbonate, hematite, goethite, and Egyptian blue, applied to the highly polished marble surface. Carbon-based black was used as underpainting for the eyes, eyelids, and brows and remains visible as a dark shadow on the skin color, as seen on the left side of the reconstructed face. The nuanced application of pigment on the original is expressed in the painterly details and highlights of the features on the right side of the reconstruction. Text from: www.metmuseum.org/art/collection/search/853971

Title: Study 1 of the color scheme of the so-called Treu Head Artist: Vinzenz Brinkmann Artist: Ulrike Koch-Brinkmann Date: 2014/ 2020 Medium: Marble stucco on plaster cast after 3D scan, natural pigments in egg tempera Dimensions: 14 9/16 × 10 1/4 × 10 1/4 in. (37 × 26 × 26 cm) Credit Line: Liebieghaus Skulpturensammlung, Polychromy Research Project, Frankfurt am Main Accession Number: POL.016 This study of the so-called Treu Head (named after the archaeologist who first studied its preserved color) reconstructs the extraordinarily rich traces of polychromy on the skin and hair of the marble original. Recent scientific investigations by the British Museum identified a pinkish skin color, consisting of a complex mixture of calcium carbonate, hematite, goethite, and Egyptian blue, applied to the highly polished marble surface. Carbon-based black was used as underpainting for the eyes, eyelids, and brows and remains visible as a dark shadow on the skin color, as seen on the left side of the reconstructed face. The nuanced application of pigment on the original is expressed in the painterly details and highlights of the features on the right side of the reconstruction. Text from: www.metmuseum.org/art/collection/search/853971

Title: Study 1 of the color scheme of the so-called Treu Head Artist: Vinzenz Brinkmann Artist: Ulrike Koch-Brinkmann Date: 2014/ 2020 Medium: Marble stucco on plaster cast after 3D scan, natural pigments in egg tempera Dimensions: 14 9/16 × 10 1/4 × 10 1/4 in. (37 × 26 × 26 cm) Credit Line: Liebieghaus Skulpturensammlung, Polychromy Research Project, Frankfurt am Main Accession Number: POL.016 This study of the so-called Treu Head (named after the archaeologist who first studied its preserved color) reconstructs the extraordinarily rich traces of polychromy on the skin and hair of the marble original. Recent scientific investigations by the British Museum identified a pinkish skin color, consisting of a complex mixture of calcium carbonate, hematite, goethite, and Egyptian blue, applied to the highly polished marble surface. Carbon-based black was used as underpainting for the eyes, eyelids, and brows and remains visible as a dark shadow on the skin color, as seen on the left side of the reconstructed face. The nuanced application of pigment on the original is expressed in the painterly details and highlights of the features on the right side of the reconstruction. Text from: www.metmuseum.org/art/collection/search/853971

Title: Study 1 of the color scheme of the so-called Treu Head Artist: Vinzenz Brinkmann Artist: Ulrike Koch-Brinkmann Date: 2014/ 2020 Medium: Marble stucco on plaster cast after 3D scan, natural pigments in egg tempera Dimensions: 14 9/16 × 10 1/4 × 10 1/4 in. (37 × 26 × 26 cm) Credit Line: Liebieghaus Skulpturensammlung, Polychromy Research Project, Frankfurt am Main Accession Number: POL.016 This study of the so-called Treu Head (named after the archaeologist who first studied its preserved color) reconstructs the extraordinarily rich traces of polychromy on the skin and hair of the marble original. Recent scientific investigations by the British Museum identified a pinkish skin color, consisting of a complex mixture of calcium carbonate, hematite, goethite, and Egyptian blue, applied to the highly polished marble surface. Carbon-based black was used as underpainting for the eyes, eyelids, and brows and remains visible as a dark shadow on the skin color, as seen on the left side of the reconstructed face. The nuanced application of pigment on the original is expressed in the painterly details and highlights of the features on the right side of the reconstruction. Text from: www.metmuseum.org/art/collection/search/853971

Title: Study 1 of the color scheme of the so-called Treu Head Artist: Vinzenz Brinkmann Artist: Ulrike Koch-Brinkmann Date: 2014/ 2020 Medium: Marble stucco on plaster cast after 3D scan, natural pigments in egg tempera Dimensions: 14 9/16 × 10 1/4 × 10 1/4 in. (37 × 26 × 26 cm) Credit Line: Liebieghaus Skulpturensammlung, Polychromy Research Project, Frankfurt am Main Accession Number: POL.016 This study of the so-called Treu Head (named after the archaeologist who first studied its preserved color) reconstructs the extraordinarily rich traces of polychromy on the skin and hair of the marble original. Recent scientific investigations by the British Museum identified a pinkish skin color, consisting of a complex mixture of calcium carbonate, hematite, goethite, and Egyptian blue, applied to the highly polished marble surface. Carbon-based black was used as underpainting for the eyes, eyelids, and brows and remains visible as a dark shadow on the skin color, as seen on the left side of the reconstructed face. The nuanced application of pigment on the original is expressed in the painterly details and highlights of the features on the right side of the reconstruction. Text from: www.metmuseum.org/art/collection/search/853971

Title: Reconstruction of the so-called Chios Kore from the Athenian Acropolis Artist: Vinzenz Brinkmann Artist: Ulrike Koch-Brinkmann Date: 2012 Medium: Cast from polymethyl metacrylat, natural pigments in egg tempera Dimensions: 23 5/8 × 9 1/16 × 3 15/16 in. (60 × 23 × 10 cm) Credit Line: Liebieghaus Skulpturensammlung, Polychromy Research Project, Frankfurt am Main, acquired 2016 as gift from U. Koch-Brinkmann and V. Brinkmann Accession Number: POL.014 When the marble statue of a young woman (a type known as a kore) reconstructed here was discovered in 1886, the archaeologist Valerios Staïs described traces of color on the skin and blue and red on the clothing. Azurite, cinnabar, orange and yellow ochers, and lead white have all been confirmed with ultraviolet-visible absorption spectroscopy. The reconstruction re-creates the statue’s blue undergarment, white skirt, and yellow himation. The colors and the adornment of the garments on the sculpture, which resembles those known to have been carved on the island of Chios, are remarkably sophisticated. Fine lines scratched into the pigment layer of the ornamental bands, now marble colored, were likely originally inlaid with gold. "The statue depicts a young girl of elegant appearance who once held a sacrificial offering in her outstretched right hand. With her left hand she may have lifted her skirt slightly, as if to make it easier to walk. The statue had been dedicated to the city goddess Athena. Traces of color on the flesh, as well as blue and red on the clothing, were detected by Émile Gilliéron at the time of the statue's discovery in 1886. Our investigation in 2010 using ultraviolet-visible absorption spectroscopy (UV-Vis spectroscopy) also confirmed the presence of azurite and cinnabar and many other colors, which served as the basis for the reconstruction. The girl's hair was painted with orange-yellow ocher. The diadem was decorated with a band of lotus and palmette against a blue ground, the disc earrings with spiraling volutes. The light yellow mantle was buttoned only on the right shoulder and upper arm, so that a blue undergarment with half-length sleeves is visible at the left shoulder. The mantle had a band with a blue border decorated with meanders, while the wide hem had the same pattern on red ground. The blue undergarment was decorated at the neck and along the shoulder seam with a broad red band with a meander pattern and rosettes. The skirt was white, with a wide strip in the middle once again decorated with meanders in an intense lead yellow on a red ground. Both her skirt and mantle were further decorated with a pattern of little crosses and blue double spirals. The color scheme clearly shows that the girl is wearing a white skirt and light-yellow mantle over the blue undergarment. The coordination of the colors and decoration of the various garments is remarkably sophisticated. The skin is painted in a combination of lead white and red and yellow oxide, based on traces of skin color found in the ears of the original. The Greek excavator on the Athenian Acropolis, Vasilios Staïs, described in 1887 the rendering of the skin on the Archaic kore. In the excavation reports in the Archaiologiki Ephemeris, the annual publication of the Greek Archaeological Service." Vinzenz Brinkmann and Ulrike Koch-Brinkmann Reconstruction 2012 (first version): marble stucco on PMM, natural pigments (chromatographically calibrated) in egg tempera H. 60 cm. 3D-printing in PMMA: Alphaform Liebieghaus Skulpturensammlung (Liebieghaus Polychromy Research Project), Frankfurt am Main, inv. St.P 707 Reconstruction 2012 (second version): Vinzenz Brinkmann and Ulrike Koch-Brinkmann marble stucco on PMM, natural pigments (chromatographically calibrated) in egg tempera H. 60 cm. 3D-printing in PMMA: Alphaform Liebieghaus Skulpturensammlung (Liebieghaus Polychromy Research Project), Frankfurt am Main, inv. St.P 711 Scientific methods employed: Ultraviolet-induced visible luminescence imaging (UVL) (Schott KV 418) Ultraviolet-reflected imaging (UVR) (Schott UG1 or Schott BG12) Optical stereoscopic microscopy (10–50x, Zeiss and Olympus) Raking light imaging (Schott KL1500), Visible-reflected imaging in black and white (VIS) Visible-reflected imaging in color (VIS) Photomicrograph (with microscope or macro objectives) 3-D scan in laser light Ultraviolet-visible absorption spectroscopy (UV-Vis spectroscopy) Scientific evaluation: Vinzenz Brinkmann, Ulrike Koch-Brinkmann, Heinrich Piening Pigments used in the reconstructions: blue: azurite; red: cinnabar; green: malachite; yellow: Cypriot ocher, lead yellow, dark yellow French ocher; white: kaolin, lead white; black: charred bone; flesh colors: lead white, red and yellow iron oxide Acknowledgements: Acropolis Museum, Athens Museum für Abgüsse klassischer Bildwerke, München Metropolitan Museum of Art, New York Text from: www.metmuseum.org/art/collection/search/853959

Title: Reconstruction of the so-called Chios Kore from the Athenian Acropolis Artist: Vinzenz Brinkmann Artist: Ulrike Koch-Brinkmann Date: 2012 Medium: Cast from polymethyl metacrylat, natural pigments in egg tempera Dimensions: 23 5/8 × 9 1/16 × 3 15/16 in. (60 × 23 × 10 cm) Credit Line: Liebieghaus Skulpturensammlung, Polychromy Research Project, Frankfurt am Main, acquired 2016 as gift from U. Koch-Brinkmann and V. Brinkmann Accession Number: POL.014 When the marble statue of a young woman (a type known as a kore) reconstructed here was discovered in 1886, the archaeologist Valerios Staïs described traces of color on the skin and blue and red on the clothing. Azurite, cinnabar, orange and yellow ochers, and lead white have all been confirmed with ultraviolet-visible absorption spectroscopy. The reconstruction re-creates the statue’s blue undergarment, white skirt, and yellow himation. The colors and the adornment of the garments on the sculpture, which resembles those known to have been carved on the island of Chios, are remarkably sophisticated. Fine lines scratched into the pigment layer of the ornamental bands, now marble colored, were likely originally inlaid with gold. "The statue depicts a young girl of elegant appearance who once held a sacrificial offering in her outstretched right hand. With her left hand she may have lifted her skirt slightly, as if to make it easier to walk. The statue had been dedicated to the city goddess Athena. Traces of color on the flesh, as well as blue and red on the clothing, were detected by Émile Gilliéron at the time of the statue's discovery in 1886. Our investigation in 2010 using ultraviolet-visible absorption spectroscopy (UV-Vis spectroscopy) also confirmed the presence of azurite and cinnabar and many other colors, which served as the basis for the reconstruction. The girl's hair was painted with orange-yellow ocher. The diadem was decorated with a band of lotus and palmette against a blue ground, the disc earrings with spiraling volutes. The light yellow mantle was buttoned only on the right shoulder and upper arm, so that a blue undergarment with half-length sleeves is visible at the left shoulder. The mantle had a band with a blue border decorated with meanders, while the wide hem had the same pattern on red ground. The blue undergarment was decorated at the neck and along the shoulder seam with a broad red band with a meander pattern and rosettes. The skirt was white, with a wide strip in the middle once again decorated with meanders in an intense lead yellow on a red ground. Both her skirt and mantle were further decorated with a pattern of little crosses and blue double spirals. The color scheme clearly shows that the girl is wearing a white skirt and light-yellow mantle over the blue undergarment. The coordination of the colors and decoration of the various garments is remarkably sophisticated. The skin is painted in a combination of lead white and red and yellow oxide, based on traces of skin color found in the ears of the original. The Greek excavator on the Athenian Acropolis, Vasilios Staïs, described in 1887 the rendering of the skin on the Archaic kore. In the excavation reports in the Archaiologiki Ephemeris, the annual publication of the Greek Archaeological Service." Vinzenz Brinkmann and Ulrike Koch-Brinkmann Reconstruction 2012 (first version): marble stucco on PMM, natural pigments (chromatographically calibrated) in egg tempera H. 60 cm. 3D-printing in PMMA: Alphaform Liebieghaus Skulpturensammlung (Liebieghaus Polychromy Research Project), Frankfurt am Main, inv. St.P 707 Reconstruction 2012 (second version): Vinzenz Brinkmann and Ulrike Koch-Brinkmann marble stucco on PMM, natural pigments (chromatographically calibrated) in egg tempera H. 60 cm. 3D-printing in PMMA: Alphaform Liebieghaus Skulpturensammlung (Liebieghaus Polychromy Research Project), Frankfurt am Main, inv. St.P 711 Scientific methods employed: Ultraviolet-induced visible luminescence imaging (UVL) (Schott KV 418) Ultraviolet-reflected imaging (UVR) (Schott UG1 or Schott BG12) Optical stereoscopic microscopy (10–50x, Zeiss and Olympus) Raking light imaging (Schott KL1500), Visible-reflected imaging in black and white (VIS) Visible-reflected imaging in color (VIS) Photomicrograph (with microscope or macro objectives) 3-D scan in laser light Ultraviolet-visible absorption spectroscopy (UV-Vis spectroscopy) Scientific evaluation: Vinzenz Brinkmann, Ulrike Koch-Brinkmann, Heinrich Piening Pigments used in the reconstructions: blue: azurite; red: cinnabar; green: malachite; yellow: Cypriot ocher, lead yellow, dark yellow French ocher; white: kaolin, lead white; black: charred bone; flesh colors: lead white, red and yellow iron oxide Acknowledgements: Acropolis Museum, Athens Museum für Abgüsse klassischer Bildwerke, München Metropolitan Museum of Art, New York Text from: www.metmuseum.org/art/collection/search/853959

Title: Reconstruction of the so-called Chios Kore from the Athenian Acropolis Artist: Vinzenz Brinkmann Artist: Ulrike Koch-Brinkmann Date: 2012 Medium: Cast from polymethyl metacrylat, natural pigments in egg tempera Dimensions: 23 5/8 × 9 1/16 × 3 15/16 in. (60 × 23 × 10 cm) Credit Line: Liebieghaus Skulpturensammlung, Polychromy Research Project, Frankfurt am Main, acquired 2016 as gift from U. Koch-Brinkmann and V. Brinkmann Accession Number: POL.014 When the marble statue of a young woman (a type known as a kore) reconstructed here was discovered in 1886, the archaeologist Valerios Staïs described traces of color on the skin and blue and red on the clothing. Azurite, cinnabar, orange and yellow ochers, and lead white have all been confirmed with ultraviolet-visible absorption spectroscopy. The reconstruction re-creates the statue’s blue undergarment, white skirt, and yellow himation. The colors and the adornment of the garments on the sculpture, which resembles those known to have been carved on the island of Chios, are remarkably sophisticated. Fine lines scratched into the pigment layer of the ornamental bands, now marble colored, were likely originally inlaid with gold. "The statue depicts a young girl of elegant appearance who once held a sacrificial offering in her outstretched right hand. With her left hand she may have lifted her skirt slightly, as if to make it easier to walk. The statue had been dedicated to the city goddess Athena. Traces of color on the flesh, as well as blue and red on the clothing, were detected by Émile Gilliéron at the time of the statue's discovery in 1886. Our investigation in 2010 using ultraviolet-visible absorption spectroscopy (UV-Vis spectroscopy) also confirmed the presence of azurite and cinnabar and many other colors, which served as the basis for the reconstruction. The girl's hair was painted with orange-yellow ocher. The diadem was decorated with a band of lotus and palmette against a blue ground, the disc earrings with spiraling volutes. The light yellow mantle was buttoned only on the right shoulder and upper arm, so that a blue undergarment with half-length sleeves is visible at the left shoulder. The mantle had a band with a blue border decorated with meanders, while the wide hem had the same pattern on red ground. The blue undergarment was decorated at the neck and along the shoulder seam with a broad red band with a meander pattern and rosettes. The skirt was white, with a wide strip in the middle once again decorated with meanders in an intense lead yellow on a red ground. Both her skirt and mantle were further decorated with a pattern of little crosses and blue double spirals. The color scheme clearly shows that the girl is wearing a white skirt and light-yellow mantle over the blue undergarment. The coordination of the colors and decoration of the various garments is remarkably sophisticated. The skin is painted in a combination of lead white and red and yellow oxide, based on traces of skin color found in the ears of the original. The Greek excavator on the Athenian Acropolis, Vasilios Staïs, described in 1887 the rendering of the skin on the Archaic kore. In the excavation reports in the Archaiologiki Ephemeris, the annual publication of the Greek Archaeological Service." Vinzenz Brinkmann and Ulrike Koch-Brinkmann Reconstruction 2012 (first version): marble stucco on PMM, natural pigments (chromatographically calibrated) in egg tempera H. 60 cm. 3D-printing in PMMA: Alphaform Liebieghaus Skulpturensammlung (Liebieghaus Polychromy Research Project), Frankfurt am Main, inv. St.P 707 Reconstruction 2012 (second version): Vinzenz Brinkmann and Ulrike Koch-Brinkmann marble stucco on PMM, natural pigments (chromatographically calibrated) in egg tempera H. 60 cm. 3D-printing in PMMA: Alphaform Liebieghaus Skulpturensammlung (Liebieghaus Polychromy Research Project), Frankfurt am Main, inv. St.P 711 Scientific methods employed: Ultraviolet-induced visible luminescence imaging (UVL) (Schott KV 418) Ultraviolet-reflected imaging (UVR) (Schott UG1 or Schott BG12) Optical stereoscopic microscopy (10–50x, Zeiss and Olympus) Raking light imaging (Schott KL1500), Visible-reflected imaging in black and white (VIS) Visible-reflected imaging in color (VIS) Photomicrograph (with microscope or macro objectives) 3-D scan in laser light Ultraviolet-visible absorption spectroscopy (UV-Vis spectroscopy) Scientific evaluation: Vinzenz Brinkmann, Ulrike Koch-Brinkmann, Heinrich Piening Pigments used in the reconstructions: blue: azurite; red: cinnabar; green: malachite; yellow: Cypriot ocher, lead yellow, dark yellow French ocher; white: kaolin, lead white; black: charred bone; flesh colors: lead white, red and yellow iron oxide Acknowledgements: Acropolis Museum, Athens Museum für Abgüsse klassischer Bildwerke, München Metropolitan Museum of Art, New York Text from: www.metmuseum.org/art/collection/search/853959

Title: Reconstruction of the so-called Chios Kore from the Athenian Acropolis Artist: Vinzenz Brinkmann Artist: Ulrike Koch-Brinkmann Date: 2012 Medium: Cast from polymethyl metacrylat, natural pigments in egg tempera Dimensions: 23 5/8 × 9 1/16 × 3 15/16 in. (60 × 23 × 10 cm) Credit Line: Liebieghaus Skulpturensammlung, Polychromy Research Project, Frankfurt am Main, acquired 2016 as gift from U. Koch-Brinkmann and V. Brinkmann Accession Number: POL.014 When the marble statue of a young woman (a type known as a kore) reconstructed here was discovered in 1886, the archaeologist Valerios Staïs described traces of color on the skin and blue and red on the clothing. Azurite, cinnabar, orange and yellow ochers, and lead white have all been confirmed with ultraviolet-visible absorption spectroscopy. The reconstruction re-creates the statue’s blue undergarment, white skirt, and yellow himation. The colors and the adornment of the garments on the sculpture, which resembles those known to have been carved on the island of Chios, are remarkably sophisticated. Fine lines scratched into the pigment layer of the ornamental bands, now marble colored, were likely originally inlaid with gold. "The statue depicts a young girl of elegant appearance who once held a sacrificial offering in her outstretched right hand. With her left hand she may have lifted her skirt slightly, as if to make it easier to walk. The statue had been dedicated to the city goddess Athena. Traces of color on the flesh, as well as blue and red on the clothing, were detected by Émile Gilliéron at the time of the statue's discovery in 1886. Our investigation in 2010 using ultraviolet-visible absorption spectroscopy (UV-Vis spectroscopy) also confirmed the presence of azurite and cinnabar and many other colors, which served as the basis for the reconstruction. The girl's hair was painted with orange-yellow ocher. The diadem was decorated with a band of lotus and palmette against a blue ground, the disc earrings with spiraling volutes. The light yellow mantle was buttoned only on the right shoulder and upper arm, so that a blue undergarment with half-length sleeves is visible at the left shoulder. The mantle had a band with a blue border decorated with meanders, while the wide hem had the same pattern on red ground. The blue undergarment was decorated at the neck and along the shoulder seam with a broad red band with a meander pattern and rosettes. The skirt was white, with a wide strip in the middle once again decorated with meanders in an intense lead yellow on a red ground. Both her skirt and mantle were further decorated with a pattern of little crosses and blue double spirals. The color scheme clearly shows that the girl is wearing a white skirt and light-yellow mantle over the blue undergarment. The coordination of the colors and decoration of the various garments is remarkably sophisticated. The skin is painted in a combination of lead white and red and yellow oxide, based on traces of skin color found in the ears of the original. The Greek excavator on the Athenian Acropolis, Vasilios Staïs, described in 1887 the rendering of the skin on the Archaic kore. In the excavation reports in the Archaiologiki Ephemeris, the annual publication of the Greek Archaeological Service." Vinzenz Brinkmann and Ulrike Koch-Brinkmann Reconstruction 2012 (first version): marble stucco on PMM, natural pigments (chromatographically calibrated) in egg tempera H. 60 cm. 3D-printing in PMMA: Alphaform Liebieghaus Skulpturensammlung (Liebieghaus Polychromy Research Project), Frankfurt am Main, inv. St.P 707 Reconstruction 2012 (second version): Vinzenz Brinkmann and Ulrike Koch-Brinkmann marble stucco on PMM, natural pigments (chromatographically calibrated) in egg tempera H. 60 cm. 3D-printing in PMMA: Alphaform Liebieghaus Skulpturensammlung (Liebieghaus Polychromy Research Project), Frankfurt am Main, inv. St.P 711 Scientific methods employed: Ultraviolet-induced visible luminescence imaging (UVL) (Schott KV 418) Ultraviolet-reflected imaging (UVR) (Schott UG1 or Schott BG12) Optical stereoscopic microscopy (10–50x, Zeiss and Olympus) Raking light imaging (Schott KL1500), Visible-reflected imaging in black and white (VIS) Visible-reflected imaging in color (VIS) Photomicrograph (with microscope or macro objectives) 3-D scan in laser light Ultraviolet-visible absorption spectroscopy (UV-Vis spectroscopy) Scientific evaluation: Vinzenz Brinkmann, Ulrike Koch-Brinkmann, Heinrich Piening Pigments used in the reconstructions: blue: azurite; red: cinnabar; green: malachite; yellow: Cypriot ocher, lead yellow, dark yellow French ocher; white: kaolin, lead white; black: charred bone; flesh colors: lead white, red and yellow iron oxide Acknowledgements: Acropolis Museum, Athens Museum für Abgüsse klassischer Bildwerke, München Metropolitan Museum of Art, New York Text from: www.metmuseum.org/art/collection/search/853959

Title: Reconstruction of the so-called Chios Kore from the Athenian Acropolis Artist: Vinzenz Brinkmann Artist: Ulrike Koch-Brinkmann Date: 2012 Medium: Cast from polymethyl metacrylat, natural pigments in egg tempera Dimensions: 23 5/8 × 9 1/16 × 3 15/16 in. (60 × 23 × 10 cm) Credit Line: Liebieghaus Skulpturensammlung, Polychromy Research Project, Frankfurt am Main, acquired 2016 as gift from U. Koch-Brinkmann and V. Brinkmann Accession Number: POL.014 When the marble statue of a young woman (a type known as a kore) reconstructed here was discovered in 1886, the archaeologist Valerios Staïs described traces of color on the skin and blue and red on the clothing. Azurite, cinnabar, orange and yellow ochers, and lead white have all been confirmed with ultraviolet-visible absorption spectroscopy. The reconstruction re-creates the statue’s blue undergarment, white skirt, and yellow himation. The colors and the adornment of the garments on the sculpture, which resembles those known to have been carved on the island of Chios, are remarkably sophisticated. Fine lines scratched into the pigment layer of the ornamental bands, now marble colored, were likely originally inlaid with gold. "The statue depicts a young girl of elegant appearance who once held a sacrificial offering in her outstretched right hand. With her left hand she may have lifted her skirt slightly, as if to make it easier to walk. The statue had been dedicated to the city goddess Athena. Traces of color on the flesh, as well as blue and red on the clothing, were detected by Émile Gilliéron at the time of the statue's discovery in 1886. Our investigation in 2010 using ultraviolet-visible absorption spectroscopy (UV-Vis spectroscopy) also confirmed the presence of azurite and cinnabar and many other colors, which served as the basis for the reconstruction. The girl's hair was painted with orange-yellow ocher. The diadem was decorated with a band of lotus and palmette against a blue ground, the disc earrings with spiraling volutes. The light yellow mantle was buttoned only on the right shoulder and upper arm, so that a blue undergarment with half-length sleeves is visible at the left shoulder. The mantle had a band with a blue border decorated with meanders, while the wide hem had the same pattern on red ground. The blue undergarment was decorated at the neck and along the shoulder seam with a broad red band with a meander pattern and rosettes. The skirt was white, with a wide strip in the middle once again decorated with meanders in an intense lead yellow on a red ground. Both her skirt and mantle were further decorated with a pattern of little crosses and blue double spirals. The color scheme clearly shows that the girl is wearing a white skirt and light-yellow mantle over the blue undergarment. The coordination of the colors and decoration of the various garments is remarkably sophisticated. The skin is painted in a combination of lead white and red and yellow oxide, based on traces of skin color found in the ears of the original. The Greek excavator on the Athenian Acropolis, Vasilios Staïs, described in 1887 the rendering of the skin on the Archaic kore. In the excavation reports in the Archaiologiki Ephemeris, the annual publication of the Greek Archaeological Service." Vinzenz Brinkmann and Ulrike Koch-Brinkmann Reconstruction 2012 (first version): marble stucco on PMM, natural pigments (chromatographically calibrated) in egg tempera H. 60 cm. 3D-printing in PMMA: Alphaform Liebieghaus Skulpturensammlung (Liebieghaus Polychromy Research Project), Frankfurt am Main, inv. St.P 707 Reconstruction 2012 (second version): Vinzenz Brinkmann and Ulrike Koch-Brinkmann marble stucco on PMM, natural pigments (chromatographically calibrated) in egg tempera H. 60 cm. 3D-printing in PMMA: Alphaform Liebieghaus Skulpturensammlung (Liebieghaus Polychromy Research Project), Frankfurt am Main, inv. St.P 711 Scientific methods employed: Ultraviolet-induced visible luminescence imaging (UVL) (Schott KV 418) Ultraviolet-reflected imaging (UVR) (Schott UG1 or Schott BG12) Optical stereoscopic microscopy (10–50x, Zeiss and Olympus) Raking light imaging (Schott KL1500), Visible-reflected imaging in black and white (VIS) Visible-reflected imaging in color (VIS) Photomicrograph (with microscope or macro objectives) 3-D scan in laser light Ultraviolet-visible absorption spectroscopy (UV-Vis spectroscopy) Scientific evaluation: Vinzenz Brinkmann, Ulrike Koch-Brinkmann, Heinrich Piening Pigments used in the reconstructions: blue: azurite; red: cinnabar; green: malachite; yellow: Cypriot ocher, lead yellow, dark yellow French ocher; white: kaolin, lead white; black: charred bone; flesh colors: lead white, red and yellow iron oxide Acknowledgements: Acropolis Museum, Athens Museum für Abgüsse klassischer Bildwerke, München Metropolitan Museum of Art, New York Text from: www.metmuseum.org/art/collection/search/853959

Title: Reconstruction of a marble statue of the goddess Artemis from Pompeii, Variant A Artist: Vinzenz Brinkmann Artist: Ulrike Koch-Brinkmann Date: 2010 Medium: plaster cast, natural pigments in egg tempera Dimensions: 45 11/16 × 17 11/16 × 24 13/16 in., 121.3 lb. (116 × 45 × 63 cm, 55 kg) Credit Line: Liebieghaus Skulpturensammlung, Polychromy Research Project, Frankfurt am Main; on permanent loan from Ludwig-Maximilian Universität, München, Leibnizpreis 2007 O. Primavesi since 2014 Accession Number: POL.012 As early as 1762, art historian Johann Joachim Winckelmann used the well-preserved colors on the statue of Artemis from Pompeii as evidence that ancient marble sculpture was colorful. The wide range of pigments represented on the reconstruction was identified through ultraviolet-visible absorption spectroscopy, ultraviolet-induced visible luminescence, and visible-induced infrared luminescence. These include Egyptian blue; pink madder; kaolin mixed with lead white; orange and red ocher; hematite; cinnabar; umber; and two yellow pigments made from lead and ocher. "In 1762, two years after the discovery of this marble statue of Artemis, goddess of the hunt, in Pompeii, Johan Joachim Winckelmann observed the paint that was still well preserved. In his Geschichte der Kunst des Altertums (1764), this statue, which Winckelmann at first considered to be Etruscan, is his primary evidence for the polychromy of Greek sculpture. Shortly before his death, Winckelmann realized that the statue was to be associated with early Greek art. Today we know that the figure is a creation of the Early Imperial period, after a Late Hellenistic original that in turn quotes stylistic features of late Archaic sculpture (500-480 B.C.). Artemis wears a long pleated garment over a short-sleeve shirt. A shorter knee-length cloak is draped over the top and buttoned at the shoulders. She wears sandals on her feet and stands with her weight on her bent left leg. Her head is crowned with a band of rosettes. Three additional examples of this Artemis type have been identified dating to the Roman period. The colors used have been identified with the help of ultraviolet-visible absorption spectroscopy (UV-Vis spectroscopy), Ultraviolet-induced visible luminescence imaging (UVL), and Visible-induced infrared luminescence imaging (VIL). Egyptian blue, brilliant pink madder, red cinnabar, red iron oxide, red hematite, lead yellow, yellow ocher, and kaolin mixed with lead white have all been detected in the clothing of the original. The goddess wears a red blouse and, over it, a white dress and white mantle. The dress and the mantle are both decorated with bands of pink at the edges. An orange-brown ocher is preserved on her hair, and traces of color between the toes indicate that the skin was colored with a light brown pigment. A similar color palette can be found in Hellenistic terracotta statuettes and contemporary wall-paintings from Pompeii. The reconstruction Variant A shows only the traces of color that could be securely identified, with the color applied for a relatively flat effect. Variant B, which was developed in 2018 for the Winckelmann Museum in Stendal, completes this intermediary stage: the face and the hair are fully realized in paint. The garments and the hair are enhanced with a light-and-shadow effect in the manner of contemporary Roman wall-painting." Vinzenz Brinkmann and Ulrike Koch-Brinkmann Reconstruction Variant A, 2010: Vinzenz Brinkmann and Ulrike Koch-Brinkmann marble stucco on plaster cast, natural pigments (chromato-graphically calibrated) in egg tempera H. 116 cm. Plaster cast: Georg-August-Universität Göttingen, Archaeological Institute and Collection of Plaster Casts, Joren Ruppel Liebieghaus Skulpturensammlung (Liebieghaus Polychromy Research Project), Frankfurt am Main (on loan from the Ludwig-Maximilians-Universität, Munich, Leibnitz Prize O. Primavesi 2007, inv. LGLH Z04) Scientific methods employed: Ultraviolet-induced visible luminescence imaging (UVL) (Schott KV 418) Ultraviolet-reflected imaging (UVR) (Schott UG1 or Schott BG12) Optical stereoscopic microscopy (10–50x, Zeiss and Olympus) Raking light imaging (Schott KL1500) Black-and-white imaging in visible light (VIS) Visible-reflected imaging (VIS) Photomicrograph (with microscope or macro objectives), Ultraviolet-visible absorption spectroscopy (UV-Vis spectroscopy) Visible-induced infrared luminescence imaging (VIL) (Schott RG830 ARRI, LoCoster) Scientific evaluation: Vinzenz Brinkmann, Ulrike Koch-Brinkmann, Heinrich Piening Pigments used in the reconstruction: blue: Egyptian blue; red: red ocher, hematite, cinnabar; pink: rose madder; yellow: light yellow Cypriot ocher, lead yellow, orpiment; white: kaolin, lead white; black: soot; flesh tone: kaolin, brown iron oxide; hair: orange-yellow ocher (French ocher) Acknowledgements: Oliver Primavesi & Museo Archeologico Nazionale, Naples Text from: www.metmuseum.org/art/collection/search/853801

Title: Reconstruction of a marble statue of the goddess Artemis from Pompeii, Variant A Artist: Vinzenz Brinkmann Artist: Ulrike Koch-Brinkmann Date: 2010 Medium: plaster cast, natural pigments in egg tempera Dimensions: 45 11/16 × 17 11/16 × 24 13/16 in., 121.3 lb. (116 × 45 × 63 cm, 55 kg) Credit Line: Liebieghaus Skulpturensammlung, Polychromy Research Project, Frankfurt am Main; on permanent loan from Ludwig-Maximilian Universität, München, Leibnizpreis 2007 O. Primavesi since 2014 Accession Number: POL.012 As early as 1762, art historian Johann Joachim Winckelmann used the well-preserved colors on the statue of Artemis from Pompeii as evidence that ancient marble sculpture was colorful. The wide range of pigments represented on the reconstruction was identified through ultraviolet-visible absorption spectroscopy, ultraviolet-induced visible luminescence, and visible-induced infrared luminescence. These include Egyptian blue; pink madder; kaolin mixed with lead white; orange and red ocher; hematite; cinnabar; umber; and two yellow pigments made from lead and ocher. "In 1762, two years after the discovery of this marble statue of Artemis, goddess of the hunt, in Pompeii, Johan Joachim Winckelmann observed the paint that was still well preserved. In his Geschichte der Kunst des Altertums (1764), this statue, which Winckelmann at first considered to be Etruscan, is his primary evidence for the polychromy of Greek sculpture. Shortly before his death, Winckelmann realized that the statue was to be associated with early Greek art. Today we know that the figure is a creation of the Early Imperial period, after a Late Hellenistic original that in turn quotes stylistic features of late Archaic sculpture (500-480 B.C.). Artemis wears a long pleated garment over a short-sleeve shirt. A shorter knee-length cloak is draped over the top and buttoned at the shoulders. She wears sandals on her feet and stands with her weight on her bent left leg. Her head is crowned with a band of rosettes. Three additional examples of this Artemis type have been identified dating to the Roman period. The colors used have been identified with the help of ultraviolet-visible absorption spectroscopy (UV-Vis spectroscopy), Ultraviolet-induced visible luminescence imaging (UVL), and Visible-induced infrared luminescence imaging (VIL). Egyptian blue, brilliant pink madder, red cinnabar, red iron oxide, red hematite, lead yellow, yellow ocher, and kaolin mixed with lead white have all been detected in the clothing of the original. The goddess wears a red blouse and, over it, a white dress and white mantle. The dress and the mantle are both decorated with bands of pink at the edges. An orange-brown ocher is preserved on her hair, and traces of color between the toes indicate that the skin was colored with a light brown pigment. A similar color palette can be found in Hellenistic terracotta statuettes and contemporary wall-paintings from Pompeii. The reconstruction Variant A shows only the traces of color that could be securely identified, with the color applied for a relatively flat effect. Variant B, which was developed in 2018 for the Winckelmann Museum in Stendal, completes this intermediary stage: the face and the hair are fully realized in paint. The garments and the hair are enhanced with a light-and-shadow effect in the manner of contemporary Roman wall-painting." Vinzenz Brinkmann and Ulrike Koch-Brinkmann Reconstruction Variant A, 2010: Vinzenz Brinkmann and Ulrike Koch-Brinkmann marble stucco on plaster cast, natural pigments (chromato-graphically calibrated) in egg tempera H. 116 cm. Plaster cast: Georg-August-Universität Göttingen, Archaeological Institute and Collection of Plaster Casts, Joren Ruppel Liebieghaus Skulpturensammlung (Liebieghaus Polychromy Research Project), Frankfurt am Main (on loan from the Ludwig-Maximilians-Universität, Munich, Leibnitz Prize O. Primavesi 2007, inv. LGLH Z04) Scientific methods employed: Ultraviolet-induced visible luminescence imaging (UVL) (Schott KV 418) Ultraviolet-reflected imaging (UVR) (Schott UG1 or Schott BG12) Optical stereoscopic microscopy (10–50x, Zeiss and Olympus) Raking light imaging (Schott KL1500) Black-and-white imaging in visible light (VIS) Visible-reflected imaging (VIS) Photomicrograph (with microscope or macro objectives), Ultraviolet-visible absorption spectroscopy (UV-Vis spectroscopy) Visible-induced infrared luminescence imaging (VIL) (Schott RG830 ARRI, LoCoster) Scientific evaluation: Vinzenz Brinkmann, Ulrike Koch-Brinkmann, Heinrich Piening Pigments used in the reconstruction: blue: Egyptian blue; red: red ocher, hematite, cinnabar; pink: rose madder; yellow: light yellow Cypriot ocher, lead yellow, orpiment; white: kaolin, lead white; black: soot; flesh tone: kaolin, brown iron oxide; hair: orange-yellow ocher (French ocher) Acknowledgements: Oliver Primavesi & Museo Archeologico Nazionale, Naples Text from: www.metmuseum.org/art/collection/search/853801