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1.
《文物保护研究》2013,58(1):16-22
AbstractThis paper discusses the technical examination of Christ in Martyrdom, painted in 1690 by Fra. Ricardo Pilar for the Monastery of São Bento, Rio de Janeiro, Brazil. The painting, which hangs in the sacristy, has recently been restored; this restoration and three previous restorations are described. The characteristic pose of Christ in the composition has been found in mediaeval German sculpture and was popular in Spanish painting in the sixteenth and seventeenth centuries. The techniques used for Christ in Martyrdom have been compared with contemporary Spanish and Portuguese treatises and selected paintings in the collection of the National Gallery, London, to illustrate Pilar's original style. The palette and the linseed oil medium are typical of Spanish painting and are likely to have been imported from Europe. 相似文献
2.
《文物保护研究》2013,58(4):316-326
AbstractA survey is given of polychromed sculpture in Sweden. Historical aspects of the care of sculptures are discussed. Many retables have been imported from Lübeck and Antwerp. Polychromed sculptures are often well preserved because there was hardly any iconoclasm in Sweden. Many need treatment however due to various forms of neglect. A special case—the triptych of Kärrbo (c. 1500)—is described in detail from a technical point of view. 相似文献
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AbstractThis paper describes the examination and treatment of three polychrome wooden sculptures by Pedro de Mena, an important seventeenth-century Spanish sculptor. These were three interesting cases, involving not only the usual conservation processes but also special situations such as the recovery of a glass eye, the replacement of missing parts and polychromy with the help of old photographs, and the analysis of a sculpture where the flesh colours varied depending on whether or not they had been exposed to sunlight. Our understanding of polychrome sculpture technique is enriched with new information concerning the blues of the cloaks, coloured glazes, and materials added to the paint to achieve different effects. 相似文献
5.
《文物保护研究》2013,58(1):76-80
AbstractThe reasons for the often poor condition of Viceregal paintings and sculptures are examined. The conservation of four works is described, chosen largely because they had typical problems and would benefit from recently developed techniques. The treatments were: the preliminary lining of very cupped paintings, before using moisture to stretch the original canvas and allow the paint layer to lie flat again; lining badly torn paintings on a thin, semi-rigid, transparent support and using the old stretcher, in order to preserve the structure and aesthetic impression of the painting as much as possible; masking to protect susceptible fine lines against solvent action during cleaning; blending disturbing passages of the paint layer like blanching, irreducible stains, singeing and pentimenti into the colour scheme without overpainting; repairing broken pieces of sculpture with bamboo dowels. The study is accompanied by an iconographical discussion of colonial works of art. 相似文献
6.
《文物保护研究》2013,58(4):181-196
AbstractSince the late nineteenth century, museums in New Zealand have intermittently painted Maori wood sculpture matt red in the mistaken belief that they were continuing a tradition of red-coloured carving pre-dating the arrival of the European in New Zealand. Conservation work at AucklandMuseum has restored some of these back to their original surfaces. The article describes the history of the carvings under discussion, the conservation carried out, and some of the ramifications of the results achieved. 相似文献
7.
《文物保护研究》2013,58(4):304-315
AbstractA polychromed sculpture was restored and examined. The shrine is made from pine-wood and the sculpture from oak. The ground consists of chalk and animal glue; the pigments are: azurite, a green copper pigment, yellow organic colouring material, orpiment, red lead, vermilion, red organic colouring material, iron oxide red, lead white and charred matter (charcoal ?). Metals used are gold and silver. The medium is on a drying-oil base to which a protein-containing material is added. Generally, the colours were built up in two layers. There is an extensive use of imitation gold, while the use of gold foil is limited to the areas of hair and the flowers on the garments.In general, the wood in all parts of the object was in good condition and no general impregnation was needed. Cracks in the shrine were filled in with wood or rejoined. The sculpture, which was split in two, was glued together. The condition of the polychromy was relatively good, and only local treatment was required. 相似文献
8.
《文物保护研究》2013,58(3):95-109
AbstractDuring the Italian Renaissance wax was used to produce polychrome relief portraits on a miniature scale. This use of wax as a material for finished sculpture was subsequently adapted to the production of tableaux, of anatomical models, of life-size wax-works and of wax dolls. This article gives a brief account of the techniques of this type of sculpture and describes problems of conservation and restoration. Methods of repairing, cleaning and restoration are discussed, and the article concludes with a full account of the restoration work carried out on an allegorical tableau by Gaetano Zumbo and on two 17th-century ecclesiastical dolls. 相似文献
9.
ABSTRACT Historic Japanese textiles from over 1000 years ago generally show marked deterioration and only very rare examples show their original forms and much information about textile reproduction has been lost. The replication of textile braids lacks systematic methodology and is still being practiced by only few individual braiding experts. The recreation of original braids as close as possible to original braids is a part of Japan’s intangible cultural heritage. The aim of this study is to clarify the decision-making procedure through which the braiding experts can decipher the original braiding structures. As a preliminary study of this project, interviews of a braid researcher and a replicating expert, Makiko Tada were performed regarding her working practices. It is important to clarify the braiding parameters for structural analysis such as the number of transits and the balance of ridges, and it became clear that the orientation of multiple colored threads plays an important role. The expert’s replicate works were also analyzed using a text-mining statistical technique to clarify the relationship of braiding parameters. The relationship between each braiding parameter and production method such as loop manipulation and Taka-dai became clear. As a result, the process of deciphering the original braid structure has been compiled in simplified workflows, which could contribute to the standardization and improvement in efficiency of replication of cultural property braids. 相似文献
10.
《文物保护研究》2013,58(4):201-205
AbstractWe have reacted Georgia marble in sulfur dioxide (SO2) enriched atmospheres and calculated the reaction rate constant. This constant was derived from surface reduction data, obtained by leaching thereaction product from samples exposed for different periods of time. Application of this constant to marble weathered in known ambient levels of sulfur dioxide (SO2) and relative humidity, allows the prediction of the thickness of the resulting gypsum crust formed over a given period of time. We have found that the crust grows outwards due to calciumions which migrate from the interior and then react with sulfur dioxide at the sample surface. Thus, anytreatment of the sulfated marble should include the considerations that the crust only masks the marble surface and is not an integral part of the original sculpture, and that cavities exist in the underlying layer of marble from which the calcium ions were selectively depleted. 相似文献
11.
《文物保护研究》2013,58(2):44-108
AbstractThomas Bardwell (1704–67), an English portrait painter, wrote a technical treatise entitled The Practice of Painting and Perspective Made Easy which was published in 1756. The section on painting deals exclusively with the oil technique and may be considered one of the most original productions of its kind written in England. A total of 153 paint samples were taken from 15 of Bardwell’s paintings dating between 1740 and 1766, the better part of his active career. Through cross-sections, and likewise numerous analyses, made from these paint samples it was possible to reconstruct Bardwell’s actual practice. This in turn could be compared with the suggested technique as explained in his book. Bardwell’s actual practice follows his written advice rather closely; however, in general it was discovered to be less complicated. 相似文献
12.
《文物保护研究》2013,58(4):145-161
AbstractFor the study of Italian paintings and their techniques the examination of the binding media (glue, egg, oil) has considerable importance, but with the usual scientific methods of analysis the results have never been conclusive. Each sample may include more than one layer of paint and many constituents; egg yolk alone contains protein, oils, cholesterol. In the present project, in order to identify these diverse materials and also to eliminate interference from contamination (glue, wax or oil) used in later restoration processes, it was decided to mount original paint samples, including a bit of the ground, as cross-sections in a polyester resin embedding material and then to make the constituents visible under the microscope by using selective staining techniques. Only in this way could the foreign materials be distinguished from the original and the structure of the original layers be understood. Finally, other tests such as the fluorescent antibody technique and thin-layer chromatography could be applied to confirm the results of the staining. In removing over 500 specimens fronl paintings in the Walters Art Gallery precautions were taken to assure sample authenticity, and during the testing at the University of Michigan careful methods of standardization and control were devised, using both fresh and old samples of egg tempera and oil. Two stains, Ponceau S for protein and Sudan Black B for oil, provided the most workable means of identifying the binding media in the majority of the samples studied. A final report will have to await correlation of the material, but certain observations may be made at this stage: (a) 14th century, in primarily tempera paintings a limited use of oil was found associated with a specific green pigment, copper resinate; (b)15th century, the majority of the paintings were entirely of egg tempera, but layers containing oil in the underpainting or in the above-mentioned copper green occurred more frequently; (c)16th century, egg tempera was not replaced by oil, but both were used in a complex layering technique, the media varying layer by layer and area by area; (d)17th century, the mixed technique gradually declined, but egg tempera continued to be associated with the painting of flesh and occasional highlights. 相似文献
13.
The paper crosses the boundaries between different genres, drawing on key material and emphasising the philosophical challenges around decision-making and values in relation to replication and replicas. In 1968, Philip K. Dick wrote the book Do Androids Dream of Electric Sheep? which became the inspiration for the 1982 film Bladerunner. The book is set in Los Angeles in a post-apocalyptic future where mankind has left Earth, resulting in androids being created to develop new ‘off-world’ colonies. The book and film create a novel and interesting framework to discuss the subject of replicas and replication within contemporary conservation practice. Key themes are decay promoting replication, original versus replica, creating empathy in replication. The debate focuses on the case study of Naum Gabo's Construction in Space (Crystal) of 1937–39; which was the sculpture replicated in the most recent replication project at Tate, completed in July 2015. 相似文献
14.
ABSTRACTTwo Spiritelli attributed to Donatello have been extensively studied from a technical point of view, including X-radiography, alloy analysis, characterization of the core, and visual observations on the interior and exterior of the statues. The results of this technical study reveal how the two statues were cast and document the artist’s technical choices. These new insights offer additional information to address questions regarding their attribution, production context, and conservation history. First, the technical study confirmed that the statues were made by the same workshop and argues against the prior proposal of different attributions for the two figures. Second, the results strongly suggest that the statues have never been separated since they were taken off Luca Della Robbia’s Cantoria. Finally, study of the two Spiritelli offers further evidence of the heterogeneity and ingeniousness of Donatellos bronze artistic production, and contributes to the ongoing debate whether the artist himself was involved in the technical aspects of his sculpture. 相似文献
15.
《文物保护研究》2013,58(4):370-400
AbstractAn account is given of the examination of the polychromed sculpture in the Hedin altarpiece (1466) in Rothenburg old T. (W Germany). Analytical methods used, such as microscopy, wet chemical analysis, infrared spectrophotometry, thin-layer chromatography and gas-liquid chromatography are briefly described. Criteria for identification are summarized. Pigments identified are azurite, indigo, verdigris, green earth, madder, vermilion, red lead, lead white and carbon black. The binding medium is glue in matt areas. In other parts paints are mostly based on a resinous medium with varying amounts of oil. The materials identified in the applique relief brocades are compared with recipes described in the Liber Illuministarius from Tegernsee. Silver foil is used in producing translucent paint. 相似文献
16.
《文物保护研究》2013,58(3):34-40
AbstractIn preparation for a major exhibition at the National Gallery of Scotland in 2005, a thorough technical examination of VISION OF THE SERMON by Paul Gauguin was undertaken for the first time since the painting's acquisition in 1925. An inter-disciplinary approach to the research was adopted in an attempt to assess how innovative were the materials and techniques employed by Gauguin in this iconic work. The importance of the unique customs and religious piety of Brittany in 1888 to the iconography of Vision is discussed, as well as the various ways in which the original appearance of the painting has altered over time. Changes have occurred through both the natural ageing of materials and as a result of human intervention, particularly an aqueous lining and reframing. Analysis suggests that the paint medium consists of several different drying oils, confounding years of speculation that it may contain wax. The discovery that the original surface coating contains beeswax and tallow has grave implications for the feasibility of future conservation treatments. Following Gauguin's accusation of plagiarism by Emile Bernard, a tentative comparison is made between Vision and the latter's Breton Women in the Meadow. This reveals that while compositional similarities exist, Vision is far more complex, both in conception and execution. 相似文献
17.
Edmund Carpenter 《Curator: The Museum Journal》1995,38(1):39-48
The “Wondrous Head of Roscrea,” a wooden head that combines Celtic and Maori features, was accepted by a number of professionals, including the author, as an authentic Irish sculpture. An initial investigation provided much supporting evidence, save for one detail—the date of an auction. Once that was supplied, the whole story collapsed. Whatever the faker's intention, he never intended to fool us. We fooled ourselves. 相似文献
18.
《文物保护研究》2013,58(1):140-144
AbstractThis paper presents the program initiated to conserve the templete in the Mudéjar Cloister in the Royal Monastery of Our Lady of Guadalupe. The program included evaluation of the original materials, development of repair materials and design of a conservation program for the templete. The paper concentrates on the analysis and conservation of the stuccos of the templete, which is a typical mudéjar-style structure of molded brick with an exterior stucco finish. Samples of stucco from the templete were analyzed by microscopy, both reflected and transmitted light; acid digestion (gravim～tric analysis); water vapor transmission rate; and Fourier transform infrared spectroscopy. Samples of pigments and salts were identified by microchemical methods. Data from these analyses were used to develop a replication stucco mix and a grout mix that would be physically and chemically compatible with the existing materials. The process of developing the mixes is described. Application of these materials to the conservation of the templete is outlined. The stucco mix was used for repairing the upper stage of the templete, which was largely devoid of its original stucco coating, and the grout was used to stabilize the stuccos of the base, which were largely intact but detached from the underlying brick. 相似文献
19.
《图书馆管理杂志》2013,53(3-4):397-410
AbstractThis paper informally presents the results of a study using a combined survey/interview technique that asked experienced extended, distance and/or distributed library services librarians for their advice to novice librarians in the field. The primary recommendation is to build relationships. Other strategies are offered in the areas of marketing, gathering information, evaluating policies, remaining flexible, keeping up with technology, and using the ACRL Guidelines for Distance Library Services. 相似文献
20.
《文物保护研究》2013,58(4):293-300
AbstractThis paper is concerned with the rediscovery of a technique of interior wall decoration known as Escariola which was introduced by Austrian and Italian immigrants to the mid-west region of the state of Santa Catarina (southern Brazil) at beginning of the twentieth century. This coating provides a refined, attractive and durable finishing. Historical investigation combined with sample characterization using X-ray diffractometry (XRD) and differential thermal and thermogravimetric analyses (DTA/TGA) revealed that this technique consists of the application on a rendered masonry wall of a 2–3 mm thick layer of slaked lime/white cement paste which is subsequently polished with talcum powder. Samples of Escariola paste were empirically reformulated and tested on a rendered masonry wall. Guidelines for producing Escariola are proposed here. 相似文献