{"id":13970,"date":"2021-03-24T08:00:01","date_gmt":"2021-03-24T08:00:01","guid":{"rendered":"https:\/\/www.artconservation.me\/?p=13970"},"modified":"2021-03-24T08:35:42","modified_gmt":"2021-03-24T08:35:42","slug":"about-pigments","status":"publish","type":"post","link":"https:\/\/www.artconservation.me\/fr\/about-pigments\/","title":{"rendered":"Les pigments"},"content":{"rendered":"<p>Les pigments font partie int\u00e9grante du travail du <a href=\"https:\/\/www.artconservation.me\/fr\/services\/\">restaurateur d'\u0153uvres d'art:<\/a> ils sont l'un des principaux constituants, avec le liant, des films picturaux\u00a0utilis\u00e9s\u00a0par les artistes pour donner vie \u00e0 leurs \u0153uvres, qu'elles soient peintes sur <a href=\"https:\/\/www.artconservation.me\/fr\/portfolio\/\">toile, sculpture en bois polychrome, sculpture en pierre polychrome, fresques ou peintures murales s\u00e8ches.<\/a> Les pigments sont \u00e9galement utilis\u00e9s pour des techniques particuli\u00e8res telles que la technique italienne de la \"scagliola\".<em>cagliola<\/em>Dans cette technique, les pigments sont m\u00e9lang\u00e9s avec du pl\u00e2tre et de la colle animale pour produire des p\u00e2tes qui sont utilis\u00e9es pour fabriquer de faux marbres. Les pigments sont \u00e9galement tr\u00e8s importants pour produire l'un des principaux outils du travail du restaurateur: la retouche des couleurs (aquarelles et vernis), voir <a href=\"https:\/\/www.artconservation.me\/fr\/how-to-make-retouching-colors\/\">mon article sur la retouche des couleurs.\u00a0<\/a><\/p>\n<p>&nbsp;<\/p>\n<h2>Mais que sont les pigments?<\/h2>\n<p>Ce sont des poudres solides color\u00e9es, insolubles dans le liant dans lequel elles sont dispers\u00e9es et inertes tant chimiquement que physiquement dans le liant lui-m\u00eame.<\/p>\n<p>Il existe \u00e9galement des colorants, des substances transparentes qui sont utilis\u00e9es pour colorer, apr\u00e8s avoir \u00e9t\u00e9 absorb\u00e9es par des poudres ou des gels inertes et incolores, parfois translucides. De cette fa\u00e7on, le colorant est converti en pigment.<\/p>\n<p>Les pigments, d'un point de vue chimique, sont divis\u00e9s en pigments organiques et pigments inorganiques:<br \/>\n<strong><br \/>\nLes PIGMENTS ORGANIQUES<\/strong> carbone (C) + hydrog\u00e8ne (H), ce sont g\u00e9n\u00e9ralement des colorants et ce sont d'origine \u00e0 la fois animale et v\u00e9g\u00e9tale;<\/p>\n<p>Quelques exemples:<\/p>\n<ul>\n<li>La\u00a0laque d'alizarine\u00a0(PR83) est un\u00a0pigment laqu\u00e9\u00a0fabriqu\u00e9 \u00e0 partir du colorant d'alizarine. Version synth\u00e9tique de la\u00a0laque de garance\u00a0v\u00e9ritable, elle est commun\u00e9ment appel\u00e9e\u00a0laque de garance. L'alizarine\u00a0est un colorant rouge d'origine v\u00e9g\u00e9tale, extrait de la racine de la\u00a0garance des teinturiers\u00a0(Rubia tinctorum L.), une plante de la famille des\u00a0Rubiac\u00e9es.<\/li>\n<li>Le carmin, \u00e9galement connu sous le nom de rouge cochenille ou simplement cochenille. La cochenille carmin\u00e9e (Dactylopius coccus) est un insecte de l'ordre des Rincoti, originaire d'Am\u00e9rique centrale. L'insecte produit de l'acide carminique, qui est une d\u00e9fense contre les pr\u00e9dateurs. Cet acide peut \u00eatre extrait du corps et des \u0153ufs pour produire ce pr\u00e9cieux colorant naturel.<\/li>\n<\/ul>\n<p><strong>PIGMENTS INORGANIQUES:<\/strong>ils sont g\u00e9n\u00e9ralement d'origine min\u00e9rale, ils ont une structure cristalline (ex: carbonates, chromates, phosphates, sulfures, silicates, oxydes);<\/p>\n<p>En nature, ils se pr\u00e9sentent sous forme de:<\/p>\n<p class=\"translation-block\">TERRES: produits de l'\u00e9caillage de roches de nature diff\u00e9rente;<\/p>\n<p>Un exemple de terre est le brun Van Dyck qui prends son nom du peintre Antoon van Dyck, qui l'a largement utilis\u00e9e dans ses peintures. Ceci est g\u00e9n\u00e9ralement compos\u00e9 d'un m\u00e9lange de terre naturelle et calcin\u00e9e et contient principalement des oxydes de fer.<\/p>\n<p>D\u2019une couleur brun tr\u00e8s fonc\u00e9 et intense, tendant au noir\u00e2tre, ce pigment inorganique a toujours \u00e9t\u00e9 largement utilis\u00e9e en un grand nombre de techniques (huile, aquarelle, tempera, etc.).<\/p>\n<p><strong>PIGMENTS MIN\u00c9RAUX:<\/strong>ceux-ci sont obtenus \u00e0 partir du broyage de min\u00e9raux, et trait\u00e9s ult\u00e9rieurement;<\/p>\n<ul>\n<li>Un exemple est la malachite qui a \u00e9t\u00e9 utilis\u00e9e comme pigment min\u00e9ral dan l\u2019art depuis l\u2019Antiquit\u00e9.<\/li>\n<\/ul>\n<p>Il existe \u00e9galement des <strong>PIGMENTS SYNTH\u00c9TIQUES,<\/strong> produits en laboratoire \u00e0 partire du 18\u00e8me si\u00e8cle.<\/p>\n<ul>\n<li>Un exemple est le Bleu de Prusse, un ferrocyanure ferrique. Ceci est le premier pigment synth\u00e9tique moderne.<\/li>\n<\/ul>\n<div id=\"attachment_13965\" style=\"width: 539px\" class=\"wp-caption alignleft\"><a href=\"https:\/\/www.artconservation.me\/fr\/how-to-make-retouching-colors\/\"><img fetchpriority=\"high\" decoding=\"async\" aria-describedby=\"caption-attachment-13965\" class=\"wp-image-13965\" src=\"https:\/\/www.artconservation.me\/wp-content\/uploads\/2015\/11\/Restoration_Brussels_Pigments_1-230x300.jpg\" alt=\"pigments art restoration conservation paintings\" width=\"529\" height=\"690\" srcset=\"https:\/\/www.artconservation.me\/wp-content\/uploads\/2015\/11\/Restoration_Brussels_Pigments_1-9x12.jpg 9w, https:\/\/www.artconservation.me\/wp-content\/uploads\/2015\/11\/Restoration_Brussels_Pigments_1-200x261.jpg 200w, https:\/\/www.artconservation.me\/wp-content\/uploads\/2015\/11\/Restoration_Brussels_Pigments_1-230x300.jpg 230w, https:\/\/www.artconservation.me\/wp-content\/uploads\/2015\/11\/Restoration_Brussels_Pigments_1-400x522.jpg 400w, https:\/\/www.artconservation.me\/wp-content\/uploads\/2015\/11\/Restoration_Brussels_Pigments_1-600x784.jpg 600w, https:\/\/www.artconservation.me\/wp-content\/uploads\/2015\/11\/Restoration_Brussels_Pigments_1-768x1003.jpg 768w, https:\/\/www.artconservation.me\/wp-content\/uploads\/2015\/11\/Restoration_Brussels_Pigments_1-784x1024.jpg 784w, https:\/\/www.artconservation.me\/wp-content\/uploads\/2015\/11\/Restoration_Brussels_Pigments_1-800x1045.jpg 800w, https:\/\/www.artconservation.me\/wp-content\/uploads\/2015\/11\/Restoration_Brussels_Pigments_1-1176x1536.jpg 1176w, https:\/\/www.artconservation.me\/wp-content\/uploads\/2015\/11\/Restoration_Brussels_Pigments_1-1200x1567.jpg 1200w, https:\/\/www.artconservation.me\/wp-content\/uploads\/2015\/11\/Restoration_Brussels_Pigments_1.jpg 1470w\" sizes=\"(max-width: 529px) 100vw, 529px\" \/><\/a><p id=\"caption-attachment-13965\" class=\"wp-caption-text\">Malachite<\/p><\/div>\n<h2>Propri\u00e9t\u00e9s g\u00e9n\u00e9rales des pigments:<\/h2>\n<ol>\n<li>INSOLUBILITE DANS LE LIANT: le pigment ne se dissout pas dans le liant, mais reste en suspension.<\/li>\n<li>INERTIE CHIMIQUE ET PHYSIQUE ENTRE LE LIANT ET LE SOLVANT: il ne doit y avoir aucune r\u00e9action ou modification entre ces composants;<\/li>\n<li>INTERACTION PHYSIQUE ENTRE PIGMENT ET LIANT: quand on m\u00e9lange pigment et liant, on donne lieu au ph\u00e9nom\u00e8ne de DISPERSION: les particules de pigment sont suspendues de mani\u00e8re stable dans le liant, elles ne sont pas dissoutes. L'attraction entre le pigment et le liant se produit uniquement dans la surface de s\u00e9paration entre les deux, appel\u00e9e INTERFACE.<br \/>\nPour comprendre comment la dispersion se produira, nous devons consid\u00e9rer deux facteurs:<br \/>\na) La mouillabilit\u00e9: l'attraction entre les mol\u00e9cules liquides (liant) et les mol\u00e9cules solides (pigment) doit \u00eatre plus forte que l'attraction des mol\u00e9cules liquides entre elles, ce n'est qu'ainsi que le liquide peut mouiller le solide.<br \/>\nb) Le broyage: l\u2019action m\u00e9canique pour r\u00e9duire les agglom\u00e9rats (accumulations plus ou moins importantes de particules primaires) et les agr\u00e9gats cristallines (ceux-ci ce trouvent uniquement dans la nature) en particules primaires (les plus petites).<\/li>\n<\/ol>\n<p>Les artistes ont toujours produit leurs couleurs en autodidacte, en choisissant soigneusement les pigments les plus purs, qui ont \u00e9t\u00e9 broy\u00e9s dans l'atelier et m\u00e9lang\u00e9s avec des liants et des additifs de s\u00e9chage qui \u00e9taient tenus secrets. \u00c0 partir du milieu du XIXe si\u00e8cle, l'apparition sur le march\u00e9 des tubes pr\u00eats \u00e0 l'emploi a grandement facilit\u00e9 le travail de l'artiste, en particulier ceux qui pratiquaient la peinture en ext\u00e9rieur. Mais certains <a href=\"https:\/\/www.artconservation.me\/fr\/about\/\">restaurateurs<\/a> produisent leurs <a href=\"https:\/\/www.artconservation.me\/fr\/how-to-make-retouching-colors\/\">couleurs de retouche,<\/a>notamment pour \u00eatre s\u00fbr de leur composition.<\/p>","protected":false},"excerpt":{"rendered":"<p>Pigments are an integral part of the work of the restorer of works of art: they are one of the main constituents, together [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":13964,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_bbp_topic_count":0,"_bbp_reply_count":0,"_bbp_total_topic_count":0,"_bbp_total_reply_count":0,"_bbp_voice_count":0,"_bbp_anonymous_reply_count":0,"_bbp_topic_count_hidden":0,"_bbp_reply_count_hidden":0,"_bbp_forum_subforum_count":0,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[118,109],"tags":[],"class_list":["post-13970","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-materials","category-painting"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.4 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>About pigments - ART CONSERVATION Brussels - Italian restorer Laura Porcu<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.artconservation.me\/fr\/about-pigments\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"About pigments - ART CONSERVATION Brussels - Italian restorer Laura Porcu\" \/>\n<meta property=\"og:description\" content=\"Pigments are an integral part of the work of the restorer of works of art: they are one of the main constituents, together [&hellip;]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.artconservation.me\/fr\/about-pigments\/\" \/>\n<meta property=\"og:site_name\" content=\"ART CONSERVATION Brussels - Italian restorer Laura Porcu\" \/>\n<meta property=\"article:published_time\" content=\"2021-03-24T08:00:01+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2021-03-24T08:35:42+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.artconservation.me\/wp-content\/uploads\/2015\/11\/Restoration_Brussels_Pigments_2.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1920\" \/>\n\t<meta property=\"og:image:height\" content=\"1467\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"sharon\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"\u00c9crit par\" \/>\n\t<meta name=\"twitter:data1\" content=\"sharon\" \/>\n\t<meta name=\"twitter:label2\" content=\"Dur\u00e9e de lecture est.\" \/>\n\t<meta name=\"twitter:data2\" content=\"4 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/www.artconservation.me\\\/fr\\\/about-pigments\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/www.artconservation.me\\\/fr\\\/about-pigments\\\/\"},\"author\":{\"name\":\"sharon\",\"@id\":\"https:\\\/\\\/www.artconservation.me\\\/#\\\/schema\\\/person\\\/f00b3fc5b3c3f81ba88294b49f6a7ccd\"},\"headline\":\"About pigments\",\"datePublished\":\"2021-03-24T08:00:01+00:00\",\"dateModified\":\"2021-03-24T08:35:42+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/www.artconservation.me\\\/fr\\\/about-pigments\\\/\"},\"wordCount\":753,\"commentCount\":0,\"image\":{\"@id\":\"https:\\\/\\\/www.artconservation.me\\\/fr\\\/about-pigments\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/www.artconservation.me\\\/wp-content\\\/uploads\\\/2015\\\/11\\\/Restoration_Brussels_Pigments_2.jpg\",\"articleSection\":[\"Materials\",\"Painting\"],\"inLanguage\":\"fr-BE\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\\\/\\\/www.artconservation.me\\\/fr\\\/about-pigments\\\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/www.artconservation.me\\\/fr\\\/about-pigments\\\/\",\"url\":\"https:\\\/\\\/www.artconservation.me\\\/fr\\\/about-pigments\\\/\",\"name\":\"About pigments - ART CONSERVATION Brussels - Italian restorer Laura Porcu\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/www.artconservation.me\\\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\\\/\\\/www.artconservation.me\\\/fr\\\/about-pigments\\\/#primaryimage\"},\"image\":{\"@id\":\"https:\\\/\\\/www.artconservation.me\\\/fr\\\/about-pigments\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/www.artconservation.me\\\/wp-content\\\/uploads\\\/2015\\\/11\\\/Restoration_Brussels_Pigments_2.jpg\",\"datePublished\":\"2021-03-24T08:00:01+00:00\",\"dateModified\":\"2021-03-24T08:35:42+00:00\",\"author\":{\"@id\":\"https:\\\/\\\/www.artconservation.me\\\/#\\\/schema\\\/person\\\/f00b3fc5b3c3f81ba88294b49f6a7ccd\"},\"breadcrumb\":{\"@id\":\"https:\\\/\\\/www.artconservation.me\\\/fr\\\/about-pigments\\\/#breadcrumb\"},\"inLanguage\":\"fr-BE\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\\\/\\\/www.artconservation.me\\\/fr\\\/about-pigments\\\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"fr-BE\",\"@id\":\"https:\\\/\\\/www.artconservation.me\\\/fr\\\/about-pigments\\\/#primaryimage\",\"url\":\"https:\\\/\\\/www.artconservation.me\\\/wp-content\\\/uploads\\\/2015\\\/11\\\/Restoration_Brussels_Pigments_2.jpg\",\"contentUrl\":\"https:\\\/\\\/www.artconservation.me\\\/wp-content\\\/uploads\\\/2015\\\/11\\\/Restoration_Brussels_Pigments_2.jpg\",\"width\":1920,\"height\":1467,\"caption\":\"Alizarina\"},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\\\/\\\/www.artconservation.me\\\/fr\\\/about-pigments\\\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\\\/\\\/www.artconservation.me\\\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"About pigments\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\\\/\\\/www.artconservation.me\\\/#website\",\"url\":\"https:\\\/\\\/www.artconservation.me\\\/\",\"name\":\"ART CONSERVATION Brussels - Italian restorer Laura Porcu\",\"description\":\"Brussels Art Conservation and Restoration Studio specializing in stone sculptures, murals, mosaics, paintings and architectural art.\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\\\/\\\/www.artconservation.me\\\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"fr-BE\"},{\"@type\":\"Person\",\"@id\":\"https:\\\/\\\/www.artconservation.me\\\/#\\\/schema\\\/person\\\/f00b3fc5b3c3f81ba88294b49f6a7ccd\",\"name\":\"sharon\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"fr-BE\",\"@id\":\"https:\\\/\\\/secure.gravatar.com\\\/avatar\\\/23e6b5fc7afa01a3f055c06509c90774a56150dcbfe8adf1eac7b87cc62dab45?s=96&d=mm&r=g\",\"url\":\"https:\\\/\\\/secure.gravatar.com\\\/avatar\\\/23e6b5fc7afa01a3f055c06509c90774a56150dcbfe8adf1eac7b87cc62dab45?s=96&d=mm&r=g\",\"contentUrl\":\"https:\\\/\\\/secure.gravatar.com\\\/avatar\\\/23e6b5fc7afa01a3f055c06509c90774a56150dcbfe8adf1eac7b87cc62dab45?s=96&d=mm&r=g\",\"caption\":\"sharon\"},\"url\":\"https:\\\/\\\/www.artconservation.me\\\/fr\\\/author\\\/sharon\\\/\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"About pigments - ART CONSERVATION Brussels - Italian restorer Laura Porcu","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/www.artconservation.me\/fr\/about-pigments\/","og_locale":"fr_FR","og_type":"article","og_title":"About pigments - ART CONSERVATION Brussels - Italian restorer Laura Porcu","og_description":"Pigments are an integral part of the work of the restorer of works of art: they are one of the main constituents, together [&hellip;]","og_url":"https:\/\/www.artconservation.me\/fr\/about-pigments\/","og_site_name":"ART CONSERVATION Brussels - Italian restorer Laura Porcu","article_published_time":"2021-03-24T08:00:01+00:00","article_modified_time":"2021-03-24T08:35:42+00:00","og_image":[{"width":1920,"height":1467,"url":"https:\/\/www.artconservation.me\/wp-content\/uploads\/2015\/11\/Restoration_Brussels_Pigments_2.jpg","type":"image\/jpeg"}],"author":"sharon","twitter_card":"summary_large_image","twitter_misc":{"\u00c9crit par":"sharon","Dur\u00e9e de lecture est.":"4 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/www.artconservation.me\/fr\/about-pigments\/#article","isPartOf":{"@id":"https:\/\/www.artconservation.me\/fr\/about-pigments\/"},"author":{"name":"sharon","@id":"https:\/\/www.artconservation.me\/#\/schema\/person\/f00b3fc5b3c3f81ba88294b49f6a7ccd"},"headline":"About pigments","datePublished":"2021-03-24T08:00:01+00:00","dateModified":"2021-03-24T08:35:42+00:00","mainEntityOfPage":{"@id":"https:\/\/www.artconservation.me\/fr\/about-pigments\/"},"wordCount":753,"commentCount":0,"image":{"@id":"https:\/\/www.artconservation.me\/fr\/about-pigments\/#primaryimage"},"thumbnailUrl":"https:\/\/www.artconservation.me\/wp-content\/uploads\/2015\/11\/Restoration_Brussels_Pigments_2.jpg","articleSection":["Materials","Painting"],"inLanguage":"fr-BE","potentialAction":[{"@type":"CommentAction","name":"Comment","target":["https:\/\/www.artconservation.me\/fr\/about-pigments\/#respond"]}]},{"@type":"WebPage","@id":"https:\/\/www.artconservation.me\/fr\/about-pigments\/","url":"https:\/\/www.artconservation.me\/fr\/about-pigments\/","name":"About pigments - ART CONSERVATION Brussels - Italian restorer Laura Porcu","isPartOf":{"@id":"https:\/\/www.artconservation.me\/#website"},"primaryImageOfPage":{"@id":"https:\/\/www.artconservation.me\/fr\/about-pigments\/#primaryimage"},"image":{"@id":"https:\/\/www.artconservation.me\/fr\/about-pigments\/#primaryimage"},"thumbnailUrl":"https:\/\/www.artconservation.me\/wp-content\/uploads\/2015\/11\/Restoration_Brussels_Pigments_2.jpg","datePublished":"2021-03-24T08:00:01+00:00","dateModified":"2021-03-24T08:35:42+00:00","author":{"@id":"https:\/\/www.artconservation.me\/#\/schema\/person\/f00b3fc5b3c3f81ba88294b49f6a7ccd"},"breadcrumb":{"@id":"https:\/\/www.artconservation.me\/fr\/about-pigments\/#breadcrumb"},"inLanguage":"fr-BE","potentialAction":[{"@type":"ReadAction","target":["https:\/\/www.artconservation.me\/fr\/about-pigments\/"]}]},{"@type":"ImageObject","inLanguage":"fr-BE","@id":"https:\/\/www.artconservation.me\/fr\/about-pigments\/#primaryimage","url":"https:\/\/www.artconservation.me\/wp-content\/uploads\/2015\/11\/Restoration_Brussels_Pigments_2.jpg","contentUrl":"https:\/\/www.artconservation.me\/wp-content\/uploads\/2015\/11\/Restoration_Brussels_Pigments_2.jpg","width":1920,"height":1467,"caption":"Alizarina"},{"@type":"BreadcrumbList","@id":"https:\/\/www.artconservation.me\/fr\/about-pigments\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/www.artconservation.me\/"},{"@type":"ListItem","position":2,"name":"About pigments"}]},{"@type":"WebSite","@id":"https:\/\/www.artconservation.me\/#website","url":"https:\/\/www.artconservation.me\/","name":"ART CONSERVATION Brussels - Italian restorer Laura Porcu","description":"Brussels Art Conservation and Restoration Studio specializing in stone sculptures, murals, mosaics, paintings and architectural art.","potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/www.artconservation.me\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"fr-BE"},{"@type":"Person","@id":"https:\/\/www.artconservation.me\/#\/schema\/person\/f00b3fc5b3c3f81ba88294b49f6a7ccd","name":"sharon","image":{"@type":"ImageObject","inLanguage":"fr-BE","@id":"https:\/\/secure.gravatar.com\/avatar\/23e6b5fc7afa01a3f055c06509c90774a56150dcbfe8adf1eac7b87cc62dab45?s=96&d=mm&r=g","url":"https:\/\/secure.gravatar.com\/avatar\/23e6b5fc7afa01a3f055c06509c90774a56150dcbfe8adf1eac7b87cc62dab45?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/23e6b5fc7afa01a3f055c06509c90774a56150dcbfe8adf1eac7b87cc62dab45?s=96&d=mm&r=g","caption":"sharon"},"url":"https:\/\/www.artconservation.me\/fr\/author\/sharon\/"}]}},"_links":{"self":[{"href":"https:\/\/www.artconservation.me\/fr\/wp-json\/wp\/v2\/posts\/13970","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artconservation.me\/fr\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artconservation.me\/fr\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artconservation.me\/fr\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artconservation.me\/fr\/wp-json\/wp\/v2\/comments?post=13970"}],"version-history":[{"count":10,"href":"https:\/\/www.artconservation.me\/fr\/wp-json\/wp\/v2\/posts\/13970\/revisions"}],"predecessor-version":[{"id":13982,"href":"https:\/\/www.artconservation.me\/fr\/wp-json\/wp\/v2\/posts\/13970\/revisions\/13982"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.artconservation.me\/fr\/wp-json\/wp\/v2\/media\/13964"}],"wp:attachment":[{"href":"https:\/\/www.artconservation.me\/fr\/wp-json\/wp\/v2\/media?parent=13970"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artconservation.me\/fr\/wp-json\/wp\/v2\/categories?post=13970"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artconservation.me\/fr\/wp-json\/wp\/v2\/tags?post=13970"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}