Francesca Caterina Izzo

Biographic Data

ID	634290
NAME	Francesca Caterina Izzo
GIVEN NAMES	Francesca Caterina
FAMILY NAME	Izzo
SIGNATURE	IZZO F C
AFFILIATIONS	Ca' Foscari University of Venice
ORCID	0000-0001-9319-5094
VERIFIED	Yes
TOTAL WORKS	21
TOTAL CITATIONS	55
AUTHOR COUNT	21
EDITOR COUNT	0
FIRST PUBLICATION YEAR	2012
LATEST PUBLICATION YEAR	2026
H-INDEX	4

A Step-by-Step Study of Commercial Artists’ Paint Tubes
Open AccessArianna Abbafati, Margherita Gnemmi et al.ARTICLEHeritage2026
Historical art materials have always been a starting point for better understanding artists’ artwork composition, the long-term stability of used formulations and for designing appropriate strategies for conservation. It is important to consider how artists have always been involved over the centuries in the selection and preparation of the materials they used. This changed with the advent of industrial formulations, which were produced and marke…
Early Degradation Behavior of Amber-Based Paint Layers in The Temptation of St Anthony by Salvador Dalí
Open AccessCatherine Defeyt, Francisca Vandepitte et al.ARTICLEHeritage2026
The iconic Dali’s painting The Temptation of St. Anthony dated 1946, housed in the Royal Museums of Fine Arts of Belgium since 1965, displays worrying surface conditions in specific areas, notably the figure of St. Anthony. The problematic paint layers similarly exhibit uneven transparency and a rugged surface irrespective of their color, raising questions about whether these features reflect deliberate artistic intent or material degradation. To…
Preserving the contemporary mural “Musica Popolare” by Orticanoodles in Milan, Italy
Open AccessNicolò Guarnieri, Laura Pagnin et al.ARTICLEJournal of Cultural Heritage2025Cited by: 1
Six commercial coatings were applied on a real street artwork and monitored over 1-year of natural ageing. • In-situ testing protocol was set up for assessing protection efficacy and durability. • Acrylic-based coatings in sheltered areas showed adhesion issues and a tendency to attract PM. • None of the commercial coatings offered optimal protection after 1-year. This study aims to investigate the possibility of protecting real street artworks i…
Unveiling Polychrome Printing Methods on Textiles
Open AccessVirginia Farinelli, Laura Falchi et al.ARTICLEHeritage2024
At the beginning of the 20th century, the eclectic artist Mariano Fortuny y Madrazo patented two innovative methods for polychrome printing on fabrics and textiles, giving life to Fortuny fabric production in Venice. The first patent was related to colour application, while the second to a special machine that allows continuous printing using cylindrical rollers. Despite the descriptions, the methodology and materials used remain a secret. In col…
Ultramarine Blue in Edvard Munch’s Collection
Open AccessBeatrice Giorgia Boracchi, Eun-Jin Strand Ferrer et al.ARTICLEHeritage2024References: 2
The recurrence of specific deteriorating phenomena in blue paints used by Edvard Munch, observed more frequently from artworks from 1907 and onwards, calls for an analytical investigation of these paints. Ten commercial Ultramarine blue oil paint tubes from Munch’s studio materials were studied, employing a multi-analytical approach comprising ATR-FTIR, μ-Raman, GC-MS, and SEM-EDS techniques. This study aims to ascertain the composition of these …
Preliminary Identification of Mixtures of Pigments Using the paletteR Package in R—The Case of Six Paintings by Andreina Rosa (1924–2019) from the International Gallery of Modern Art Ca’ Pesaro, Venic…
Open AccessTeodora Raicu, Fabiana Zollo et al.ARTICLEHeritage2023Cited by: 2References: 6
Frequently, the study of modern and contemporary paintings requires the taking of micro-samples to gain an in-depth understanding of the employed materials and techniques. However, since this procedure is characterized by its invasive nature, it must be carried out only if strictly necessary. This study aimed to evaluate the potentiality of K-means clustering to the corrected images of paintings to identify mixtures of pigments. This could assist…
Critical Analysis of the Materials Used by the Venetian Artist Guido Cadorin (1892–1976) during the Mid-20th Century, Using a Multi-Analytical Approach
Open AccessErik Guillermo Morales Toledo, Teodora Raicu et al.ARTICLEHeritage2023References: 3
The present study sought to expand on and confirm the already available information on the painting materials used by the Venetian artist Guido Cadorin (1892–1976). A multi-analytical approach was employed in the study of six tempera grassa easel paintings and one casein tempera on a panel signed by the artist and belonging to the International Gallery of Modern Art Ca’ Pesaro in Venice, Italy, which dated from 1921 to 1951. The aim of the resear…
Assessing the (In)Stability of Urban Art Paints
Open AccessD Cimino, Raffaella Lamuraglia et al.ARTICLEHeritage2022Cited by: 4References: 1
Urban art as a shared expression of street art between artists, citizenship and municipalities has always had an important role in the social life and appearance of modern cities. However, the durability of urban and street artworks is susceptible to the degradation processes that the employed commercial paint formulations undergo once outdoors. These are complex mixtures of compounds, differently sensitive to environmental agents according to th…
Life after death
Open AccessFrancesca Caterina Izzo, Carolina Rigon et al.ARTICLEArchaeological and Anthropological…2022Cited by: 1References: 42
Multi-Analytical Assessment of Bodied Drying Oil Varnishes and Their Use as Binders in Armour Paints
Open AccessFrancesca Caterina Izzo, Arja Källbom et al.ARTICLEHeritage2021References: 1
The characteristics of commercially available refined and bodied linseed and tung oils, used as binders in the production of armour paints after historic recipes, are explored. Employed as anticorrosive paints mainly from the 1920s to 1960s, armour paints are greener alternatives that can be used for protection in industrial heritage conservation. Using a multi-analytical approach, chemical and physical properties of the fresh oils and solid film…
Multianalytical Assessment of Armour Paints—The Ageing Characteristics of Historic Drying Oil Varnish Paints for Protection of Steel and Iron Surfaces in Sweden
Open AccessArja Källbom, Austin Nevin et al.ARTICLEHeritage2021Cited by: 1
The characteristics of armour paints, historically used to protect ferrous industrial heritage, are explored. Amour paints contain lamellar and highly reflexive pigments of micaceous iron oxide (MIO) and metallic, leafing aluminium, bound in linseed oil and linseed oil–tung oil mixtures, on an inhibitive and soap-forming linseed oil primer (red lead). It is the first study of the binding media used for historical armour paints and investigates th…
A Comprehensive and Systematic Diagnostic Campaign for a New Acquisition of Contemporary Art—The Case of Natura Morta by Andreina Rosa (1924–2019) at the International Gallery of Modern Art Ca’ Pesaro…
Open AccessAnna Piccolo, Emanuele Bonato et al.ARTICLEHeritage2021Cited by: 2References: 1
A multi-analytical approach has been employed to investigate the painting Natura Morta (1954–1955) by Andreina Rosa (1924–2019) to assess the state of conservation and to understand more about the painting materials and techniques of this artwork, which was recently donated by the painter’s heirs to the International Gallery of Modern Art Ca’ Pesaro (Venice-Italy). A comprehensive and systematic diagnostic campaign was carried out, mainly adoptin…
New insights into the composition of historical remedies and pharmaceutical formulations
Open AccessFrancesca Caterina Izzo, Giulia Carolina Lodi et al.ARTICLEArchaeological and Anthropological…2021Cited by: 7References: 70
The present paper reports one of the first studies on the identification of natural resins and balsams in modern era drug formulations. Gas chromatography coupled with mass spectrometry (GC-MS) was applied to investigate the composition of ancient remedies and pharmaceutical formulations coming from the Spezieria di Santa Maria della Scala in Rome, founded at the end of the seventeenth century by the Discalced Carmelites. The obtained results hig…
New results in ancient Maya rituals researches
Open AccessCarolina Rigon, Francesca Caterina Izzo et al.ARTICLEJournal of Archaeological Science…2020Cited by: 4References: 5
Multi-technical approach for the characterization of polychrome decorative surfaces at Spanish Mission Churches in Nueva Vizcaya (Chihuahua, Mexico)
Open AccessKarla Muñoz-Alcocer, Laura Fuster-López et al.ARTICLESTAR Science & Technology of…2019
An interdisciplinary and multi-institutional group of science and art conservation specialists has provided new insight into the painting materials used in the polychrome walls and wooden ceilings in four seventeenth century Spanish colonial churches of Nueva Vizcaya (Chihuahua, Mexico). A multi-analytical study of the decorative surfaces was performed in situ using spectroscopic approaches (XRF, FORS), False Colour Infrared Reflectography – IRFC…
New insights into the fading problems of safflower red dyed textiles through a HPLC-PDA and colorimetric study
Open AccessRosa Costantini, Ina Vanden Berghe et al.ARTICLEJournal of Cultural Heritage2019Cited by: 1References: 15
An insight into the mechanical properties of selected commercial oil and alkyd paint films containing cobalt blue
Open AccessLaura Fuster-López, Francesca Caterina Izzo et al.ARTICLEJournal of Cultural Heritage2019Cited by: 1References: 15
Elucidating the composition and the state of conservation of nitrocellulose-based animation cells by means of non-invasive and micro-destructive techniques
Open AccessFrancesca Caterina Izzo, Alessandra Carrieri et al.ARTICLEJournal of Cultural Heritage2018Cited by: 2
Althusser and Italy
Francesca Caterina Izzo, Francesca IzzoARTICLEInternational Critical Thought2015
During the 1960s, the “exchange” between Louis Althusser and Italian Marxist philosophers developed around the theme of the autonomy of Marxism. Harmony between the theories of Althusser and Galvano Della Volpe (and his students) was short-lived, and there was a definitive break around the relationship between science and ideology. The chief intermediary for introducing Althusser's thought to Italy was Cesare Luporini, a philosopher and an active…
Th Century Artists' Oil Paints
Open AccessFrancesca Caterina Izzo, Barbara Ferriani et al.ARTICLEJournal of Cultural Heritage2014Cited by: 5References: 11
The study of pitch via gas chromatography–mass spectrometry and Fourier-transformed infrared spectroscopy
Open AccessFrancesca Caterina Izzo, Elisabetta Zendri et al.ARTICLEJournal of Archaeological Science2012Cited by: 24References: 4

The study of pitch via gas chromatography–mass spectrometry and Fourier-transformed infrared spectroscopy
Open AccessFrancesca Caterina Izzo, Elisabetta Zendri et al.ARTICLEJournal of Archaeological Science2012Cited by: 24References: 4
Th Century Artists' Oil Paints
Open AccessFrancesca Caterina Izzo, Barbara Ferriani et al.ARTICLEJournal of Cultural Heritage2014Cited by: 5References: 11
Althusser and Italy
Francesca Caterina Izzo, Francesca IzzoARTICLEInternational Critical Thought2015
During the 1960s, the “exchange” between Louis Althusser and Italian Marxist philosophers developed around the theme of the autonomy of Marxism. Harmony between the theories of Althusser and Galvano Della Volpe (and his students) was short-lived, and there was a definitive break around the relationship between science and ideology. The chief intermediary for introducing Althusser's thought to Italy was Cesare Luporini, a philosopher and an active…
Elucidating the composition and the state of conservation of nitrocellulose-based animation cells by means of non-invasive and micro-destructive techniques
Open AccessFrancesca Caterina Izzo, Alessandra Carrieri et al.ARTICLEJournal of Cultural Heritage2018Cited by: 2
Multi-technical approach for the characterization of polychrome decorative surfaces at Spanish Mission Churches in Nueva Vizcaya (Chihuahua, Mexico)
Open AccessKarla Muñoz-Alcocer, Laura Fuster-López et al.ARTICLESTAR Science & Technology of…2019
An interdisciplinary and multi-institutional group of science and art conservation specialists has provided new insight into the painting materials used in the polychrome walls and wooden ceilings in four seventeenth century Spanish colonial churches of Nueva Vizcaya (Chihuahua, Mexico). A multi-analytical study of the decorative surfaces was performed in situ using spectroscopic approaches (XRF, FORS), False Colour Infrared Reflectography – IRFC…
New insights into the fading problems of safflower red dyed textiles through a HPLC-PDA and colorimetric study
Open AccessRosa Costantini, Ina Vanden Berghe et al.ARTICLEJournal of Cultural Heritage2019Cited by: 1References: 15
An insight into the mechanical properties of selected commercial oil and alkyd paint films containing cobalt blue
Open AccessLaura Fuster-López, Francesca Caterina Izzo et al.ARTICLEJournal of Cultural Heritage2019Cited by: 1References: 15
New results in ancient Maya rituals researches
Open AccessCarolina Rigon, Francesca Caterina Izzo et al.ARTICLEJournal of Archaeological Science…2020Cited by: 4References: 5
Multi-Analytical Assessment of Bodied Drying Oil Varnishes and Their Use as Binders in Armour Paints
Open AccessFrancesca Caterina Izzo, Arja Källbom et al.ARTICLEHeritage2021References: 1
The characteristics of commercially available refined and bodied linseed and tung oils, used as binders in the production of armour paints after historic recipes, are explored. Employed as anticorrosive paints mainly from the 1920s to 1960s, armour paints are greener alternatives that can be used for protection in industrial heritage conservation. Using a multi-analytical approach, chemical and physical properties of the fresh oils and solid film…
Multianalytical Assessment of Armour Paints—The Ageing Characteristics of Historic Drying Oil Varnish Paints for Protection of Steel and Iron Surfaces in Sweden
Open AccessArja Källbom, Austin Nevin et al.ARTICLEHeritage2021Cited by: 1
The characteristics of armour paints, historically used to protect ferrous industrial heritage, are explored. Amour paints contain lamellar and highly reflexive pigments of micaceous iron oxide (MIO) and metallic, leafing aluminium, bound in linseed oil and linseed oil–tung oil mixtures, on an inhibitive and soap-forming linseed oil primer (red lead). It is the first study of the binding media used for historical armour paints and investigates th…
A Comprehensive and Systematic Diagnostic Campaign for a New Acquisition of Contemporary Art—The Case of Natura Morta by Andreina Rosa (1924–2019) at the International Gallery of Modern Art Ca’ Pesaro…
Open AccessAnna Piccolo, Emanuele Bonato et al.ARTICLEHeritage2021Cited by: 2References: 1
A multi-analytical approach has been employed to investigate the painting Natura Morta (1954–1955) by Andreina Rosa (1924–2019) to assess the state of conservation and to understand more about the painting materials and techniques of this artwork, which was recently donated by the painter’s heirs to the International Gallery of Modern Art Ca’ Pesaro (Venice-Italy). A comprehensive and systematic diagnostic campaign was carried out, mainly adoptin…
New insights into the composition of historical remedies and pharmaceutical formulations
Open AccessFrancesca Caterina Izzo, Giulia Carolina Lodi et al.ARTICLEArchaeological and Anthropological…2021Cited by: 7References: 70
The present paper reports one of the first studies on the identification of natural resins and balsams in modern era drug formulations. Gas chromatography coupled with mass spectrometry (GC-MS) was applied to investigate the composition of ancient remedies and pharmaceutical formulations coming from the Spezieria di Santa Maria della Scala in Rome, founded at the end of the seventeenth century by the Discalced Carmelites. The obtained results hig…
Assessing the (In)Stability of Urban Art Paints
Open AccessD Cimino, Raffaella Lamuraglia et al.ARTICLEHeritage2022Cited by: 4References: 1
Urban art as a shared expression of street art between artists, citizenship and municipalities has always had an important role in the social life and appearance of modern cities. However, the durability of urban and street artworks is susceptible to the degradation processes that the employed commercial paint formulations undergo once outdoors. These are complex mixtures of compounds, differently sensitive to environmental agents according to th…
Life after death
Open AccessFrancesca Caterina Izzo, Carolina Rigon et al.ARTICLEArchaeological and Anthropological…2022Cited by: 1References: 42
Preliminary Identification of Mixtures of Pigments Using the paletteR Package in R—The Case of Six Paintings by Andreina Rosa (1924–2019) from the International Gallery of Modern Art Ca’ Pesaro, Venic…
Open AccessTeodora Raicu, Fabiana Zollo et al.ARTICLEHeritage2023Cited by: 2References: 6
Frequently, the study of modern and contemporary paintings requires the taking of micro-samples to gain an in-depth understanding of the employed materials and techniques. However, since this procedure is characterized by its invasive nature, it must be carried out only if strictly necessary. This study aimed to evaluate the potentiality of K-means clustering to the corrected images of paintings to identify mixtures of pigments. This could assist…
Critical Analysis of the Materials Used by the Venetian Artist Guido Cadorin (1892–1976) during the Mid-20th Century, Using a Multi-Analytical Approach
Open AccessErik Guillermo Morales Toledo, Teodora Raicu et al.ARTICLEHeritage2023References: 3
The present study sought to expand on and confirm the already available information on the painting materials used by the Venetian artist Guido Cadorin (1892–1976). A multi-analytical approach was employed in the study of six tempera grassa easel paintings and one casein tempera on a panel signed by the artist and belonging to the International Gallery of Modern Art Ca’ Pesaro in Venice, Italy, which dated from 1921 to 1951. The aim of the resear…
Unveiling Polychrome Printing Methods on Textiles
Open AccessVirginia Farinelli, Laura Falchi et al.ARTICLEHeritage2024
At the beginning of the 20th century, the eclectic artist Mariano Fortuny y Madrazo patented two innovative methods for polychrome printing on fabrics and textiles, giving life to Fortuny fabric production in Venice. The first patent was related to colour application, while the second to a special machine that allows continuous printing using cylindrical rollers. Despite the descriptions, the methodology and materials used remain a secret. In col…
Ultramarine Blue in Edvard Munch’s Collection
Open AccessBeatrice Giorgia Boracchi, Eun-Jin Strand Ferrer et al.ARTICLEHeritage2024References: 2
The recurrence of specific deteriorating phenomena in blue paints used by Edvard Munch, observed more frequently from artworks from 1907 and onwards, calls for an analytical investigation of these paints. Ten commercial Ultramarine blue oil paint tubes from Munch’s studio materials were studied, employing a multi-analytical approach comprising ATR-FTIR, μ-Raman, GC-MS, and SEM-EDS techniques. This study aims to ascertain the composition of these …
Preserving the contemporary mural “Musica Popolare” by Orticanoodles in Milan, Italy
Open AccessNicolò Guarnieri, Laura Pagnin et al.ARTICLEJournal of Cultural Heritage2025Cited by: 1
Six commercial coatings were applied on a real street artwork and monitored over 1-year of natural ageing. • In-situ testing protocol was set up for assessing protection efficacy and durability. • Acrylic-based coatings in sheltered areas showed adhesion issues and a tendency to attract PM. • None of the commercial coatings offered optimal protection after 1-year. This study aims to investigate the possibility of protecting real street artworks i…
A Step-by-Step Study of Commercial Artists’ Paint Tubes
Open AccessArianna Abbafati, Margherita Gnemmi et al.ARTICLEHeritage2026
Historical art materials have always been a starting point for better understanding artists’ artwork composition, the long-term stability of used formulations and for designing appropriate strategies for conservation. It is important to consider how artists have always been involved over the centuries in the selection and preparation of the materials they used. This changed with the advent of industrial formulations, which were produced and marke…
Early Degradation Behavior of Amber-Based Paint Layers in The Temptation of St Anthony by Salvador Dalí
Open AccessCatherine Defeyt, Francisca Vandepitte et al.ARTICLEHeritage2026
The iconic Dali’s painting The Temptation of St. Anthony dated 1946, housed in the Royal Museums of Fine Arts of Belgium since 1965, displays worrying surface conditions in specific areas, notably the figure of St. Anthony. The problematic paint layers similarly exhibit uneven transparency and a rugged surface irrespective of their color, raising questions about whether these features reflect deliberate artistic intent or material degradation. To…