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1.
《文物保护研究》2013,58(4):207-217
Abstract

Materials from 38 paintings by Francis Bacon (1909–1992), including 21 complete works and 17 partially destroyed canvases are investigated. Observations are made of the artist's technique and details are compiled of the supports used. Samples of paint and priming were taken for analysis using polarized light microscopy, Fourier transform infrared spectroscopy (FTIR), gas chromatography–mass spectrometry (GC–MS), pyrolysis–GC–MS (Py–GC–MS), and scanning electron microscopy coupled with energy dispersive X-ray analysis (SEM–EDX). Analysis of priming layers appears to show that the priming composition correlates well with particular ranges of dates. A fairly limited range of materials are found, with many of the same pigments found in works spanning Bacon's career, though other pigments were introduced at different stages in his career. Oil paints were used consistently for the painting of figures, but household paints were increasingly used in backgrounds from the 1960s onwards. A variety of different synthetic media are found in later works, including household acrylic paints and spray paints. Increased knowledge of Bacon’s materials is expected to be of great value to conservators caring for the work of this highly significant artist, and is already helping in the authentication of works attributed to him.  相似文献   

2.
none 《文物保护研究》2013,58(2):92-105
Abstract

The painting materials used by Lucio Fontana were investigated through the analysis of 28 Spatial Concept works created between the early 1950s and the artist's death in 1968. The pictorial media were analyzed by means of numerous techniques including Fourier transform infrared spectroscopy, pyrolysis-gas chromatography–mass spectrometry, scanning electron microscopy, and X-ray fluorescence. This study has provided a more complete understanding of the artist's technique, as it was found that Lucio Fontana had already begun experimenting with new synthetic pictorial and binding media such as alkyds and polyvinyl acetates at the beginning of the 1950s, and polyesters during the early 1960s. Although he never abandoned the use of commercial oil paints, Fontana's application of these new materials continued in an infinitely varied search for innovative expressive effects. The characterization results explain the physical and mechanical properties of the paint layers, and may be correlated with the conservation state of the works analyzed. All the results have been compiled and are discussed together with the artist's practices and their evolution over time.  相似文献   

3.
《文物保护研究》2013,58(3):204-215
Abstract

Three paintings from a group of thirty-two attributed to Jackson Pollock (1912–1956) were examined at the Harvard Art Museums. Paint samples were examined using Raman spectroscopy, scanning electron microscopy–energy dispersive X-ray spectrometry (SEM-EDX), laser desorption ionization time-of-flight mass spectroscopy (LDI-MS), Fourier transform infrared spectroscopy (FTIR), pyrolysis–gas chromatography–mass spectrometry (py-GCMS) and carbon-14 (C-14) dating. Carbon-14 dating detected no 'bomb' carbon from atmospheric atomic testing. All three paintings contained pigments and media available only after Pollock's death, including PR 254, PY151, and an emulsion copolymer of n-butyl methacrylate and iso-butyl methacrylate.  相似文献   

4.
ABSTRACT

This work presents a study of samples of the mural painting The Allegory of the Industrial Development of São Paulo (Alegoria ao Desenvolvimento Industrial Paulista), made in the city of São Paulo, Brazil, by the artist Fulvio Pennacchi. Using transmitted light petrographic microscopy, scanning electron microscopy coupled with energy dispersive X-ray spectrometry, and X-ray fluorescence, the stratigraphy, the textures, the mineralogy, and the chemical compositions of the mural were established; therefore the painting techniques, pigments, and materials applied by the artist were identified. The mural was painted with the fresco technique and variations. This technique involves the use of materials of mineral origin, both in the support and for the pigments. About the artist’s relevance, Fulvio Pennacchi is considered an important muralist of his time, being one of the pioneers in the production of frescoes in Brazil. The mural, measuring approximately 11?×?6?m, painted in 1954, was removed from where it was originally made, in consequence of a fire that affected the place. Specialized engineers transported it, and today it is stored awaiting restoration. The data presented here can support the process of restoration of the mural, as well as contribute to the improvement of protocols for the analysis of works of art, and to the historical record of mural painting techniques over time.  相似文献   

5.
《文物保护研究》2013,58(3):226-244
Abstract

This study describes the examination and analysis of four mixed media paintings from the 1960s and 1970s by Canadian artist Jack Chambers (1931–1978). The documentary evidence about his materials and methods is summarized and compared with the results of analysis of multilayer paint samples. The combination of Fourier transform infrared spectroscopy (FTIR) and gas chromatography-mass spectrometry (GC-MS) allowed the components of the paint media to be characterized: ortho-phthalate alkyd resins, iso-phthalate alkyd resins, drying oils, dammar, Pinaceae resin, and turpentine were identified in varying proportions. Many pigments and fillers were identified by FTIR and Raman and are enumerated. The effect that Chambers’ complex technique has had on the aging and degradation of the paintings is discussed. The severe cracking of the paint layers in one of the four paintings may be the result of a high proportion of dammar and turpentine diluent mixed with the alkyd paint and may also be related to the type of alkyd resin medium. Different history and environmental conditions may also be factors.  相似文献   

6.
《文物保护研究》2013,58(4):225-241
Abstract

This paper describes the application of pyrolysis–gas chromatography–mass spectrometry (PyGCMS) to the characterization of an extensive range of synthetic paint types. Household and industrial paints, both of which have been formulated with polymers such as alkyd, polyvinyl acetate (PVA) and nitrocellulose, are included in this study, in addition to the acrylic solution and acrylic emulsion paints that were made specifically for the artists' market. The pyrograms obtained by PyGCMS were characteristic to each paint type and their principal diagnostic features are discussed. Apart from using the mass spectra produced by electron impact (EI) to confirm the identity of every peak, two additional analytical features of the mass spectrometer were shown to be particularly useful in this study. Chemical ionization (CI) was used to assist with the identification of unknown peaks through molecular weight determination. Selected ion current (SIC) monitoring, where the mass spectrometer only scans for specific masses, was successfully used for the detection of peaks of low intensity or those hidden by a more abundant material with a similar retention time.  相似文献   

7.
《文物保护研究》2013,58(3):205-229
Abstract

The purpose of this study was to develop a method for the identification of synthetic organic pigments on the basis of colour reactions with four different chemical reagents: concentrated sulphuric acid, concentrated nitric acid, a mixture of concentrated sulphuric acid and concentrated nitric acid and, finally, a solution of potassium iodate in concentrated sulphuric acid. Colour reactions for a large number of synthetic organic pigments in the form of pure powdered material were recorded. It is shown that the colour reactions observed are in overall agreement with the chemical grouping of pigments (for instance, naphthol AS pigments or quinacridone pigments), i.e., pigments belonging to the same pigment group yield similar colour reactions. This fact is the basis for the construction of flow charts for identification. Tests performed on a number of artists' colours containing pigments in various binding media show that the binding media do not noticeably affect the colour reactions observed, making the flow charts useful for the identification of actual artists' pigments. A fifth chemical reagent, namely a saturated solution of potassium hydroxide in 96% ethanol, was tested and abandoned as a result of its instability, which resulted in severe problems with reproducibility, especially for certain pigment groups, for example the acetoacetarylide pigments.  相似文献   

8.
《文物保护研究》2013,58(4):195-206
Abstract

The investigation of materials found in Bacon's studio is reported. The contents of the studio are examined and interpreted to identify the materials and colours most favoured by Bacon, and the range of media used. A small number of colours appear to have been heavily used. Some objects used as tools in the painting process are also investigated and explain textures seen in paint in his works. Samples of selected materials from the studio are analysed to identify the components of paints (pigments, extenders, and binders) used by Bacon. This investigation is part of a wider project examining his materials and techniques. The analytical information obtained here from the studio helps to clarify the statements made by Bacon in interviews regarding his use of materials and is proving useful in the identification of materials in his paintings, in order to help with the conservation and authentication of his works.  相似文献   

9.
Despite substantial literature on the dyeing of textiles, there is a lack of research about colouring Japanese mending papers (tissue papers) used for paper conservation purposes. This study investigates the fungal bioreceptivity of Japanese tissue papers after they have been treated with various dyes and pigments. A variety of toning materials including plant dyes, watercolours, acrylic paints, inks, pastels, gouaches, and colour pencils are commonly used by conservators for paper toning purposes. In this study, two Japanese tissue papers (Yukyu-shi and Sekishu Mare) were treated with selected plant dyes, watercolours, and acrylic paints and then inoculated with fungal species. Quantitative real-time polymerase chain reaction (qPCR) was used to quantify the DNA from Aspergillus niger and Penicillium rubrum as a proxy for fungal species abundance before and after inoculation and artificial moist heat ageing. qPCR primers which were universal for fungi amplified DNA from papers inoculated with A. niger and P. rubrum and these species were found to grow less on treated Sekishu Mare and Yukyu-shi papers compared with untreated papers. Sekishu Mare papers treated with artists' acrylic paints were found to be more resistant to fungal growth than similarly treated Yukyu-shi papers. This study suggests that for the best long-term preservation outcomes for paper materials in archives, libraries, galleries, and museums, acrylic paints generally perform better in conservation terms than most plant dyes and watercolours, although most colourants displayed some bioinhibition.  相似文献   

10.
《文物保护研究》2013,58(1):33-54
Abstract

The final report on the Canadian Conservation Institute's poly(vinyl acetate) and acrylic adhesive research is given after 25–27 years of dark aging and 12–15 years of light aging. A total of 27 poly(vinyl acetate) and 25 acrylic adhesives were tested for pH, volatile emissions (mostly acetic acid), flexibility, strength, and yellowing after aging. In 1996, the work was first published after three to five years of aging data had accumulated. Measurements for pH, yellowing, strength, and flexibility were recently repeated again and these results are reported here. These new data points are reported to provide insight into the effect of these longer aging periods on the products included in the study. As well, the most stable (according to set criteria) poly(vinyl acetate) and acrylic adhesives tested are revealed, which, except for a few products, do not differ greatly from those reported in 1996.  相似文献   

11.
《文物保护研究》2013,58(4):299-314
Abstract

Instrumental-based color matching using non-destructive reflection spectrophotometry can be used as an aid in pigment selection for inpainting. This is useful when metamerism is of concern, particularly in modern art where the number of colorants available to artists and conservators is quite large. Simplified methods have been developed for art conservation where a single tint of each pigment mixed with white is required to define a pigment's optical properties based on the single-constant form of Kubelka-Munk (K-M) turbid media theory. Theoretically, this simplification can lead to errors in pigment selection for dark colors and colors not containing a white pigment. Instead, the two-constant form of K-M theory can be used where the model assumptions more closely match the optics of inpainting materials. The two methods were compared using four acrylic emulsion paints with a range of pigment absorption and scattering properties. It was found that the simplified method was inadequate for paints with appreciable and spectrally selective scattering, and as a consequence, pigment selection may result in a greater number of pigments than actually required. It was also found that only two samples per pigment were required to implement the two-constant technique: the mass tone and a tint.  相似文献   

12.
Recent restoration of The Rest on the Flight into Egypt by Giovanni Francesco Caroto, from the Louvre collections, included a technical examination of the Virgin's blue robe that aimed to characterize the original materials and later additions. The painting was examined using light microscopy and ultraviolet and infrared imaging, and one cross section was taken. None of these methods showed a clear distinction between the layers that were artist applied or modifications made by another hand. To gain information about the paint stratigraphy without taking additional samples, non-invasive confocal X-ray fluorescence (CXRF) analysis was carried out to examine several areas of the Virgin's robe. Using this technique, it was possible to identify the pigments and order of application of paint by the artist. All the pigments identified were considered to be artist applied, and on this basis no further cleaning was carried out and conservation proceeded with retouching of minor areas of loss or damage. This study highlights the advantages of CXRF analysis for the technical study of paintings, used in combination with classical methods for making informed conservation treatment decisions.  相似文献   

13.
The subject of the research is an oil painting entitled Idyll created using an unusual technique. The painting layer was applied on canvas covered with photosensitive medium on which a photograph was developed. The results of the examination of Idyll in the context of its attribution to Henryk Siemiradzki (1843–1902) are discussed. Its atypical technology and the possibility of the artist having used the photographic technique are also considered. X-ray fluorescence spectroscopy, infrared spectroscopy, and scanning electron microscopy were performed to establish the technique and to characterize the pigments and materials used in the painting. The identified pigments and the information provided by analytical photography (UV, X-ray images) were compared with the results of the detailed examination of 56 of Siemiradzki’s oil paintings. Performed analyses revealed that the majority of the features identified in Idyll point to Henryk Siemiradski’s technique.  相似文献   

14.
This article presents the intervention process carried out on a work of art created by artist Yolanda Gutiérrez Acosta, using a series of ephemeral materials such as butterfly wings and agave thorns. The work, an installation from 2002, is entitled ‘Efímeras’ (‘Ephemera’) and consists of 12 flowers mounted on acetate sheets and attached to the same with vinyl acetate copolymers and acrylic acid esters (Mowilith®). These flowers are installed on the floor in a bed of dried flowers. The conservation of contemporary art can lead to some previously unimaginable problems for restorers. Current works of art are somewhat material in nature, but they also have a conceptual dimension that is essential for their artistic interpretation. The artist’s participation in the decision-making process prior to the restoration was quite useful. The passage of time, its effect on the work, and the need to understand the possibility of the demise and destruction of the work were implicit as of the onset of its creation, such that, according to the artist, we are forced to reflect upon the possibilities of its future state.  相似文献   

15.
《文物保护研究》2013,58(4):231-254
Abstract

Analyses of pigments from palettes used by J.M.W. Turner (active c.1792–c.1850) by means of microscopy, microchemical analysis, thin-layer chromatography, energy-dispersive X-ray analysis, X-ray diffraction and Fourier transform infrared spectroscopy are given. The occurrence of pigments in Turner's dated oil paintings and watercolours is also given, arranged by five-year periods. These findings are discussed in the context of published analyses of pigments from the first half of the nineteenth century. Turner used cobalt blue, emerald green, viridian, orange vermilion, barium chromate, chrome yellow, chrome orange and chrome scarlet within a few years of their known dates of discovery. It has become clear that Turner was using, or at least experimenting with, practically all the pigments known to be available at that time. In a few cases, in the light of these results, ideas on the availability of pigments to English artists have been revised backwards to the first known date of manufacture. Turner also possessed and used a wide range of red and yellow organic pigments, but few organic greens. The dyestuff extracted from Rubia tinctorum L. madder on an aluminiumcontaining substrate can be distinguished from the same madder on different substrates by its strong pink fluorescence in both ultraviolet and green light. The other red organic pigments (a second madder, brasilwood and cochineal dyestuffs on a range of substrates containing aluminium, copper, iron, aluminium/copper and clays) show negligible fluorescence. The red organic pigments were used in oil medium as well as watercolour, the yellows only in watercolour medium.  相似文献   

16.
This paper examines the preservation and curatorial approaches explored for the exhibition Silent Explosion: Ivor Davies and Destruction in Art at Amgueddfa Cymru – National Museum Wales (November 2015–March 2016). The collaboration between the artist, curator/researcher, and conservators is considered and the evolving and flexible way in which transient pieces were presented/re-presented is described. The paper offers a case study in the context of this exhibition and argues that regardless of whether it is in traditional media (such as painting) or as time-based media (unstable and open to interpretation), Davies' work challenges a perception of artworks as finished, single-authored objects.  相似文献   

17.
It has often been observed anecdotally and implied through experimentation that acrylic emulsion paintings accumulate and entrain soils over time due to the inherent mechanical softness in artist's acrylic paint films, through the presence of hydrophilic film components, and by virtue of the ubiquitous presence of surfactant moieties on these film surfaces once they dry. In the present study, it has been this last effect that we have sought to describe more fully in terms of surfactant responsiveness to both temperature and relative humidity (RH). Surfactant hydration and dehydration under varying temperature and RH conditions affects the ultimate partitioning of the surfactant at the paint–air interface, as well as the inherent size, aggregation tendencies, and solubility of surfactant in the bulk paint materials which contain components that are highly responsive to changes in temperature and RH (e.g. polyacrylic or polymaleic anhydride-type dispersal materials). In this work, analytical techniques including three-dimensional microscopy and quartz crystal microbalance with dissipation were used to add to and reinforce current understanding of the physical and mechanical changes to acrylic paint films with temperature and RH. The migration of surfactant at the film surface was studied using desorption electrospray ionization-mass spectrometry and attenuated total reflectance Fourier transform infrared microscopy.  相似文献   

18.
《Communication monographs》2012,79(4):318-339

Among historians in America, Carl Becker attained fame for style in discourse. Although his stylistic prowess was evinced in scholarly works which brought him eminence in his profession, epigrammatic style also was prominent in his writing of popular history, first in a polemic essay called “Kansas” which led to his role as propagandist in World War One, and then—and of particular interest to those interested in mass persuasion—an eminently successful high school textbook, Modern History. The objective of historiography herein is to establish causal relationships between epigrammatic style in those popular works and resultant, rhetorical effects upon Becker's readers mainly in the general public over a span of several decades. Primary source evidence of effectiveness is in letters to Becker, and other correspondence, that indicate which concepts and precise sentences in Modern History were salient and persuasive for a mass readership largely because of the epigrammatic style with which they were phrased.  相似文献   

19.
《资料收集管理》2013,38(1):77-90
Abstract

Over the years, the publishing industry has packaged single works of printed resources with accompanying media such as 3.5″ disks, CD-ROMs, videocassettes, audiocassettes, or web sites. Recognizing the importance of the information provided in the accompanying media and the library clients' access to them, the Library of Rush University (LRU) at Rush-Presbyterian-St. Luke's Medical Center developed and implemented “mixed media” policies and procedures. This paper discusses issues and Rush Library responses to the issues surrounding the management of “mixed media” titles in selection, cataloging, labeling, housing, circulation, loading data files, and the publicity that puts them in the client's hands.  相似文献   

20.

When radio and television are touted as the “greatest media for education” or the “promoting of social change” that the world has ever known, the need of the developing countries of the world for these media is often cited. It is probable that most citizens of the United States think of “developing nations” as those newly‐formed countries of Asia and Africa whose political, social and economic problems often are featured in the day's news reports. However, there are more than a score of developing nations in the western hemisphere, and one of these is right at the back door of the U. S. This country, Mexico, has been using radio and television effectively for a major literacy program since 1965, and the following article describes that program. Dennis Lowry is a doctoral candidate in mass communication in the University of Minnesota School of Journalism and Mass Communication. Information for this article was gathered during a six‐week study trip to Mexico in the summer of 1968.  相似文献   

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