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1.
《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   

2.
《文物保护研究》2013,58(1):22-26
Abstract

Very small paint samples from Cosimo Tura's ‘The Annunciation with Saint Francis and Saint Louis of Toulouse’ were submitted to amino acid analysis in order to determine the nature of the binding media. The four panels appeared to have been painted with egg tempera, and showed extensive localized deterioration in the blue areas but not in the other coloured areas. Following the Picotag method, the samples were hydrolyzed in an acid vapor, derivatized with iso-thiocyanatobenzene, and analyzed using reversed phase high pressure liquid chromatography (HPLC). Amino acid analysis demonstrated that the red and brown areas were painted using egg yolk as the binding medium, while the blue areas were painted with animal-skin glue (distemper). Analysis of the green paint indicated a mixture of egg yolk and glue. The use of these techniques makes it possible to identify proteinaceous materials in art objects from samples in the microgram range.  相似文献   

3.
《文物保护研究》2013,58(1):46-53
Abstract

The collection of paintings by Velázquez in the Museo del Prado is important both because of the number of works — about 50 — and because of their quality and significance. It includes the Feast of Bacchus (The Drunkards), the Forge of Vulcan, Christ on the Cross, the Surrender of Breda (The Lances), the Fable of Arachne (The Spinners), Las Meninas and various royal portraits. Most of these works are in very good condition, which is essential for a proper study of the painter's technique and his development; in addition, since their source is the royal collection, they are well documented. Since 1982 most of the works by Velázquez in the Museo del Prado have been submitted to technical examination and to restoration. The technical studies included X-radiography, infrared reflectography, and analysis of the supports and materials, allowing us to establish the characteristics of each painting (technique, changes in composition, condition, history) and the development ofthe artist through the changes in his technique. Restoration consisted basically of consolidating the paint layers, moderate cleaning and the inpainting oflacunae. The only exception to the general good condition of the paintings was The Spinners, which presented a serious problem of craquelure and lack of adhesion in the paint layer.  相似文献   

4.
《文物保护研究》2013,58(3):134-142
Abstract

Naturally occurring pigments used by Aborigines in rock paintings have been collected in Western Australia. They area red pigment (mainly hematite, Fe2O3)(from a red ochre mine worked until historic times by Aborigines, and a white pigment (huntite, Mg3Ca(CO3)4) which is still collected and used by Aborigines. Samples were also taken from rock paintings in which these pigments were used or were thought to have been used. The pigment samples were analysed to establish chemical, mineralogical, and physical properties. The paint samples were examined microscopically and with an electron probe to study their relationship with the rock surface and with other paint layers. The relationship between the pigments’ properties and their durability is discussed.  相似文献   

5.
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   

6.
This paper deals with the conservation of Roy Lichtenstein's outdoor sculpture House I, conducted at Leeum, Samsung Museum of Art, Seoul, Korea. Having suffered from direct sunlight for more than a decade, the work presented severe paint fading and chalking. The purpose of the project was to provide the best possible protection by applying a durable paint material, while simultaneously preserving the colored surface that Lichtenstein had intended. A marine paint, which is relatively durable and was also utilized by the artist himself, was selected for the repainting system. An absence of practical experience and knowledge in Korea in relation both to the marine paint and its application led to many difficulties. During the actual application of the new paint, numerous technical problems arose which had to be solved in order to carry out the conservation treatment. To meet this demand, a close adherence to technical practice and an interdisciplinary study were carried out to provide the necessary understanding and compromise.  相似文献   

7.
《文物保护研究》2013,58(4):145-161
Abstract

For 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   

8.
This paper explores the local and transnational social linkages engendered among communities of practice from the production of cyberspace in the musical practice of a notable Singapore-based Extreme Metal group Rudra which they call Vedic metal. The significance of space in lived and living experiences of contemporary communities of practice is encapsulated in Lefebvre's writings, notably his triad of spatial concerns: spatial practice, representations of space and representational space. In the present context of Rudra, phenomena and practice of space via musical behaviour cannot avoid terms of reference such as technique and technology, particularly with the Internet as new mediated space. Technique, as skill acquisition of ‘instrumental techniques’, in conventions of practice and standards of excellence emerges as disciplined behaviour. But these techniques serve more as a/venues by which voices are en/abled towards what may be considered expressive ‘know-how’. From the case study of Rudra's cultural productions, therefore technology as ‘know-how’ cannot be understood merely as a function of musical and instrumental technique, but also as a function of the human capacity in intentional material action. Both practice-as-technique and practice-as-technology suggest that intentional materiality is amenable to observation and replicable elsewhere. Re/productivity of living space is therefore contingent upon other spaces of connectivity, albeit with varying degrees of strength contributing to their myriad activities.  相似文献   

9.
ABSTRACT

In January 2018, a feminist blog, babe, detailed an anonymous woman’s date with comedian Aziz Ansari, ending with her accusation that he had sexually assaulted her by escalating his sexual advances despite her verbal and nonverbal objections. Online reaction to the babe article was swift and plentiful, including a New York Times editorial written by conservative provocateur Bari Weiss entitled, “Aziz Ansari is Guilty. Of Not Being a Mind Reader.” Weiss’ piece drew 2953 online responses before the comment section closed the next day, with wide-ranging views addressing the respective behaviors and motivations of Ansari, “Grace,” and Weiss. The responses provide an opportunity to explore how commenters negotiate the boundaries of the #MeToo movement in the venue that had ignited the movement’s resurgence with the story of movie mogul Harvey Weinstein’s longstanding sexual abuse of women working in the film industry. This study applies quantitative and qualitative analysis to comment discourse and elicits three major themes: (1) expectations for seeking or conveying consent, (2) criteria for publicizing the private, and (3) demarcations between insensitivity and abuse. Justifications frequently offered for the positions articulated were based on references to personal experience, cultural expectations, the #MeToo movement, and feminism.  相似文献   

10.
《文物保护研究》2013,58(3):195-208
Abstract

Pyrolysis–gas chromatography was applied to the characterization of synthetic organic pigments. On pyrolysis, azo pigments and phthalocyanine blue yield characteristic fragments. These pyrolysis products were identified, and the mechanism of decomposition was studied. In the case of paint samples, the main pyrolysis products derive from the medium, although the presence of additional peaks enables azo pigments and phthalocyanine blue to be characterized. Some examples of the analysis of artists' paints are given and the peaks are identified. The main limitation of this technique is that it is impossible to detect chemically and thermally stable pigments, or inorganic components.  相似文献   

11.
《文物保护研究》2013,58(3):216-230
Abstract

The surfaces of acrylic emulsion (dispersion) paint films were investigated by atomic force microscopy (AFM), with supporting chemical information provided via infrared spectroscopy. The morphological and chemical features of the surfaces of a series of recently cast reference paint films were explored, including characterization of changes induced by exposure to water and mineral spirits. A portable in situ AFM system was also used to document the surfaces of acrylic emulsion paintings in Tate's collection. The complete and partial removal of migrated surfactant was successfully imaged alongside features arising from mechanical action. Differences in paint surfaces and migrated surfactant layers were observed in relation to pigment type, paint brand and exposure to accelerated ageing, in addition to applied wet surface cleaning treatments. The findings contribute to further understanding of the subtle changes occurring at acrylic emulsion paint film surfaces and are relevant to current debates on the removal/disturbance of original surface surfactant from these films through conservation treatment.  相似文献   

12.
《文物保护研究》2013,58(3):34-40
Abstract

In 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   

13.
《文物保护研究》2013,58(4):282-288
Abstract

A protocol for the characterization of proteins in paint media by immunofluorescent labelled antibodies is proposed. The main difficulties of the technique and their possible solutions are discussed. Positive results on egg white, in model samples, are reported.  相似文献   

14.
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   

15.
《文物保护研究》2013,58(1):175-178
Abstract

The sculpture of St Gines de la Jara in the collection of the J. Paul Getty Museum, dated 1692, is an outstanding example of the estofado technique of imitating brocade in gold leaf and paint. The life-size figure retains most of its original polychromy. In previous restoration treatments, there had been an unsuccessful attempt to simulate the estofado. The present treatment included a comprehensive technical examination, using X-radiography to identify construction techniques and cross-sectional analysis for the layer structure and materials. The decoration of the sculpture was carefully studied with the goal of understanding more clearly the technique of the estofador. A cleaning strategy was then devised. Where there were losses in the estofado, it was decided to aim for a chromatic compensation using watercolours, rather than attempting to duplicate the original process.  相似文献   

16.
《文物保护研究》2013,58(3):151-154
Abstract

Using the Kubelka and Munk formula (and in the absence of adequate experimentally determined data, hypothetical values), the effect of age-induced increase in the transparency of oil paint IS shown to produce distortions in the rendering of forms when the thickness of the paint and dark grounds or underpainting are the basis of the artist's technique.  相似文献   

17.
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   

18.
《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   

19.
ABSTRACT

For centuries, the only painting materials used in stained-glass production were grisaille and yellow (silver) stain. At the end of the fifteenth century, stained-glass painters began to use a new material, sanguine. This paint is mainly produced with iron oxide particles, usually haematite, and allowed to obtain a colour that can vary from yellowish to brownish-red due to the nature and particle size of the iron oxide. A translucent sanguine was mostly applied as flesh and hair colour, with an opaque sanguine used for drapery, architectural motifs, and heraldry. The main goal of this study is to investigate the relationship between historic sources on the preparation and use of sanguine from the fifteenth to the nineteenth centuries and the evolution evidenced in the recipes regarding the production method. Representative recipes from several centuries (sixteenth to nineteenth centuries) were selected and reproduced for this study. These reconstructions were thoroughly characterized using X-ray powder diffraction, optical microscopy (OM), and fibre optic reflectance spectroscopy (FORS). The OM and FORS data were correlated with historic sanguine paints applied on historic stained-glass. The similarities and differences between historic and reconstructed paints are presented. The study of reconstructed sanguine’s adhesion to glass using cross-cut testing was also performed, revealing that the adhesion is strongly influenced, not only by the binder, but also by the composition and morphology of the sanguine paint.  相似文献   

20.
ABSTRACT

Deception is a key element of immersive undercover journalism, achieved through the omission of information, the perpetuation of misconceptions, or possibly the assumption of a false identity. Usually when proponents defend going undercover, they use the-ends-justify-the-means arguments; that despite the journalist’s duplicity, public benefit outweighs the dishonesty that lies at the heart of the practice. Yet, such statements are usually made in the absence of in-depth theoretical analysis. This paper seeks to redress this by applying Standpoint Theory, testing it against the work of Günter Wallraff, Germany’s lauded but controversial undercover journalist who uses disguises to report on that country’s marginalized and disadvantaged. While the authors applaud Wallraff’s exposure of the deplorable illegal and immoral dealings he uncovers, and do not seek to dismiss the significant results he has achieved, this paper uses the case study of his work to test the applicability of Standpoint Theory to undercover journalism, concluding that even under this accommodating theory, there may be ethical limits to journalism’s most ethically contentious practice.  相似文献   

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