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During the site excavation, Hurst also drew the art, bringing out details that are hard to see or scan, to create an exact but clearer copy. Among her other Maya illustrations in this manner were the famous Bonampak murals from Mexico, which she and Yale University colleague Leonard Ashby recreated between 1999 and 2002. Her art and analyses have appeared in National Geo- graphic, Arqueología Mexicana, the Met, the National Gallery of Art, and the Museo Nacional de Guatemala. In 2004 she won a MacArthur “genius” grant.


6.75 6.8 6.85 6.9 6.95 7.0 7.05 7.1 7.15 7.2


6.7


5.3 5.4 5.5 5.6 5.7 5.8 5.9 6.0 6.1 6.2 log (Fe)


s s


Painter 1-North Wall Painter 1-West Wall, north


s 20 SCOPE WINTER 2012


Painter 2-West Wall, north Painter 2- West Wall, south


X Painter 3?


“Plotting the XRF results and cross-referencing these with the stylistic variations” helped Hurst and O’Grady identify different pigment use, even when colors appeared identical. With yellow, for example, Painter One is associated with two dif- ferent proportions of iron and calcium, but Painter Two mostly used a yellow with a low iron-to-cal- cium ratio. Regardless of recipes, Hurst says, “the artists exhibit the same style, color use, and iconographic conventions, which suggests shared training,” and she posits “a school of mural art in the Maya lowlands during the first century BC.” (Scholars previously described this tradition only for the Classic period, hundreds of years later.) Next Hurst will lead the reassembling of more than 50 square yards of painting now in shards. She says, “XRF is a great tool in piecing these together quickly and reliably, to help us redis- cover these lost images and artists.”


SAN BARTOLO SUB-1A, WEST WALL MURAL DETAIL, ILLUSTRATION BY HEATHER HURST ’97, 2008


GRAPH BY O’GRADY AND HURST, 2011; ILLUSTRATION BY MICHAEL MALONE


log (Ca)


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