K G Beltsios
Biographic Data
| ID | 3645908 |
|---|---|
| NAME | K G Beltsios |
| GIVEN NAMES | K G |
| FAMILY NAME | Beltsios |
| SIGNATURE | BELTSIOS K G |
| AFFILIATIONS | Materials Science and Engineering University of Ioannina PO Box 1186 Ioannina 45110 Greece |
| VERIFIED | No |
| TOTAL WORKS | 6 |
| TOTAL CITATIONS | 15 |
| AUTHOR COUNT | 6 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2013 |
| LATEST PUBLICATION YEAR | 2021 |
| H-INDEX | 3 |
On the Red and Yellow Pigments of Post‐Byzantine Greek Icons
Red and yellow pigments on more than 50 panel paintings were investigated. The studied artefacts dated from the mid‐15th to the mid‐19th centuries and came from regions in modern‐day Greece. Cinnabar and yellow ochres predominated. Ιn the case of the region of north‐west Greece there was a persistent use of orpiment and the employment of a peculiar ochre‐type pigment, while the rare lead‐antimony‐tin yellow was identified in an early 18th‐century…
On the blue and green pigments of post‐Byzantine Greek icons
In the framework of a large‐scale investigation of post‐1453 ce icons, the blue and green pigments on more than 50 works were investigated. Studied works date from the mid‐15th to the mid‐19th centuries and originate from various modern‐day Greek regions. Results indicate the use of both natural and artificial pigments; among the latter, the very poorly documented in Greek icons artificial Cu‐based blue is included. A shift as regards the use of …
On the Metal‐Leaf Decorations of Post‐Byzantine Greek Icons
Metal leaves were widely used as decorative materials in post‐Byzantine ritual painting. Fifty‐two icons (mid‐15th to mid‐19th centuries) were studied by means of analytical techniques in order to reveal the materials and techniques encountered in their metal‐leaf decorations. High‐purity gold leaf was used throughout the studied period. Silver was employed rarely and mostly during the latter part of the period in consideration, while metal powde…
Two unique Byzantine immured lead-glazed relief ceramic icons and related tiles from the church of St Basil in Arta, Greece: Investigation and Interpretation of Materials and Techniques
On The Grounds Of Post‐Byzantine Greek Icons
The grounds of 51 post‐Byzantine icons (Eastern Orthodox panel paintings) were studied by means of analytical techniques. The artefacts cover the period from the mid‐15th to the mid‐19th century and originate mainly from western (Epirus and the Ionian Islands) and southern Greece (Crete). The findings are examined in the light of technical recipes from related areas and eras, while special insights are gained from the exploration of a gypsum proc…
Decorated Archaic Pottery From the Heracles Sanctuary at Thebes: A Materials, Technology and Provenance Study
Forty‐seven decorated samples of Archaic pottery excavated at a Heracles sanctuary (Thebes, Boeotia) were studied through a combined surface and body approach, using non‐destructive techniques. Most of the samples were archaeologically classified as Theban/Boeotian, others as Corinthian and a few as possibly Euboean. The techniques employed were optical microscopy and SEM–EDAX (micromorphology and compositional analysis of the surfaces) and XRF f…
On the Metal‐Leaf Decorations of Post‐Byzantine Greek Icons
Metal leaves were widely used as decorative materials in post‐Byzantine ritual painting. Fifty‐two icons (mid‐15th to mid‐19th centuries) were studied by means of analytical techniques in order to reveal the materials and techniques encountered in their metal‐leaf decorations. High‐purity gold leaf was used throughout the studied period. Silver was employed rarely and mostly during the latter part of the period in consideration, while metal powde…
On The Grounds Of Post‐Byzantine Greek Icons
The grounds of 51 post‐Byzantine icons (Eastern Orthodox panel paintings) were studied by means of analytical techniques. The artefacts cover the period from the mid‐15th to the mid‐19th century and originate mainly from western (Epirus and the Ionian Islands) and southern Greece (Crete). The findings are examined in the light of technical recipes from related areas and eras, while special insights are gained from the exploration of a gypsum proc…
Decorated Archaic Pottery From the Heracles Sanctuary at Thebes: A Materials, Technology and Provenance Study
Forty‐seven decorated samples of Archaic pottery excavated at a Heracles sanctuary (Thebes, Boeotia) were studied through a combined surface and body approach, using non‐destructive techniques. Most of the samples were archaeologically classified as Theban/Boeotian, others as Corinthian and a few as possibly Euboean. The techniques employed were optical microscopy and SEM–EDAX (micromorphology and compositional analysis of the surfaces) and XRF f…
On the blue and green pigments of post‐Byzantine Greek icons
In the framework of a large‐scale investigation of post‐1453 ce icons, the blue and green pigments on more than 50 works were investigated. Studied works date from the mid‐15th to the mid‐19th centuries and originate from various modern‐day Greek regions. Results indicate the use of both natural and artificial pigments; among the latter, the very poorly documented in Greek icons artificial Cu‐based blue is included. A shift as regards the use of …
On the Red and Yellow Pigments of Post‐Byzantine Greek Icons
Red and yellow pigments on more than 50 panel paintings were investigated. The studied artefacts dated from the mid‐15th to the mid‐19th centuries and came from regions in modern‐day Greece. Cinnabar and yellow ochres predominated. Ιn the case of the region of north‐west Greece there was a persistent use of orpiment and the employment of a peculiar ochre‐type pigment, while the rare lead‐antimony‐tin yellow was identified in an early 18th‐century…
Decorated Archaic Pottery From the Heracles Sanctuary at Thebes: A Materials, Technology and Provenance Study
Forty‐seven decorated samples of Archaic pottery excavated at a Heracles sanctuary (Thebes, Boeotia) were studied through a combined surface and body approach, using non‐destructive techniques. Most of the samples were archaeologically classified as Theban/Boeotian, others as Corinthian and a few as possibly Euboean. The techniques employed were optical microscopy and SEM–EDAX (micromorphology and compositional analysis of the surfaces) and XRF f…
On The Grounds Of Post‐Byzantine Greek Icons
The grounds of 51 post‐Byzantine icons (Eastern Orthodox panel paintings) were studied by means of analytical techniques. The artefacts cover the period from the mid‐15th to the mid‐19th century and originate mainly from western (Epirus and the Ionian Islands) and southern Greece (Crete). The findings are examined in the light of technical recipes from related areas and eras, while special insights are gained from the exploration of a gypsum proc…
On the Metal‐Leaf Decorations of Post‐Byzantine Greek Icons
Metal leaves were widely used as decorative materials in post‐Byzantine ritual painting. Fifty‐two icons (mid‐15th to mid‐19th centuries) were studied by means of analytical techniques in order to reveal the materials and techniques encountered in their metal‐leaf decorations. High‐purity gold leaf was used throughout the studied period. Silver was employed rarely and mostly during the latter part of the period in consideration, while metal powde…
Two unique Byzantine immured lead-glazed relief ceramic icons and related tiles from the church of St Basil in Arta, Greece: Investigation and Interpretation of Materials and Techniques
On the blue and green pigments of post‐Byzantine Greek icons
In the framework of a large‐scale investigation of post‐1453 ce icons, the blue and green pigments on more than 50 works were investigated. Studied works date from the mid‐15th to the mid‐19th centuries and originate from various modern‐day Greek regions. Results indicate the use of both natural and artificial pigments; among the latter, the very poorly documented in Greek icons artificial Cu‐based blue is included. A shift as regards the use of …
On the Red and Yellow Pigments of Post‐Byzantine Greek Icons
Red and yellow pigments on more than 50 panel paintings were investigated. The studied artefacts dated from the mid‐15th to the mid‐19th centuries and came from regions in modern‐day Greece. Cinnabar and yellow ochres predominated. Ιn the case of the region of north‐west Greece there was a persistent use of orpiment and the employment of a peculiar ochre‐type pigment, while the rare lead‐antimony‐tin yellow was identified in an early 18th‐century…
Archaeology (6 works) · Art (6 works) · Conservation Techniques and Studies (6 works) · Cultural Heritage Materials Analysis (6 works) · Building materials and conservation (5 works) · Byzantine architecture (5 works) · History (5 works) · Visual arts (4 works) · Ancient history (3 works) · Icon (3 works)