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1.
AbstractThe 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
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《Slavic & East European Information Resources》2013,14(2-3):9-28
SUMMARY The archives of private philanthropic organizations provide information about the history of immigration into the United States via documents related to the foundations' sponsorship of research, social, and educational programs aimed at absorbing a large number of newcomers. In addition, when U.S. foreign policy or world events stimulated philanthropic activities relating to the immigrants' country of origin, foundations reached out for support from existing ethnic communities in the U.S., or for expertise from individual émigré scholars. The records of Carnegie Corporation of New York and of Carnegie Endowment for International Peace from the first half of the twentieth century illustrate the use of private philanthropy archives for scholarly research into the history of Eastern European immigration to the United States. 相似文献
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《文物保护研究》2013,58(4):231-254
AbstractAnalyses 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
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AbstractThe long-term stabilization of marine archaeological iron, whether cast or wrought, continues to challenge conservators responsible for treatment of this material. Results and observations obtained from past treatments highlight the daunting, prolonged, and laborious efforts required to desalinate large and complex ferrous artifacts recovered from the ocean. In general, the higher an artifact's chloride level, the less stable it is. Consequently, any stabilization treatment must involve the removal of as much Cl?1 as possible without affecting the integrity of the corroded artifact. This problem is particularly acute with corroding cast iron objects that have formed thick, fragile, and highly unstable corrosion layers. Over the course of the twentieth century, conservators have used a variety of techniques in an attempt to mitigate the negative effects of chloride ions on iron artifacts and prevent disintegration. In spite of early promise, each of these stabilization techniques has significant disadvantages, particularly with regard to treatment efficiency, duration of treatment, and/or unacceptable risks to the artifact during treatment. For these reasons, conservators and conservation scientists at the Warren Lasch Conservation Center in Charleston, South Carolina, decided to look at the possibility of using subcritical fluids to stabilize archaeological iron. This paper compares the efficiency and effectiveness of traditional stabilization techniques (i.e. alkaline soaking and cathodic polarization) to subcritical fluids on wrought iron rivets and metal shavings from the H.L. Hunley submarine as well as Civil War era cast iron artillery shells recovered from a marine environment. 相似文献
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《Journal of Government Information》1995,22(3):195-226
This article presents a comprehensive survey of the U.S. federal government's documentation of the single most important American military action of the second half of the twentieth century. Included is an essay on resources and an accompanying bibliography pertaining to U.S. government documents related to the Vietnam conflict. Most of the materials noted are derived from archival sources. Major historical works published by federal government historical agencies are also included. Finding aids are listed as appropriate. 相似文献
8.
AbstractBasketry artifacts fabricated from spruce and cedar limb wood and root and the inner bark of yellow and western red cedar have been found in water-saturated archaeological sites in the Pacific Northwest since the mid-twentieth century. These artifacts range in age from a few centuries to more than 5000 years old. While these materials retain their overall physical structure due to burial in an anoxic environment they are degraded on the cellular level. Experiments and treatments performed by archaeologists and conservators over the past 50 years have attempted to stabilize these degraded structures and minimize splitting, crumbing, and distortion of the woven structures as they dried. Many of these tests and treatments are published in out-of-print conference proceedings or remain unpublished in conservation lab records. This review of tests and treatments as well as a current condition assessment of several collections brings this information together for the first time and allows conservators and archaeologists specializing in these treatments to see the broader arch of success and failure of the preservation of waterlogged basketry materials. 相似文献
9.
《文物保护研究》2013,58(4):195-206
AbstractThe 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
10.
《文物保护研究》2013,58(2):143-144
AbstractOil paints dry by polymerization. This 'drying' process may be substantially complete and the surface of the paint film dry to the touch within weeks, but measurable changes continue for years. Other, slower processes also continue, primarily hydrolysis of glyceride esters. This produces carboxylic acid groups as either free fatty acids (in the case of acid groups that have not reacted otherwise) or acid groups bound to the crosslinked oil matrix (in the case of acid groups that have engaged in polymerization reactions). These may react with pigments to form carboxylate salts (called soaps in the case of a fatty acid). These changes affect the physical properties of the paint and the way that conservation treatments affect it. This paper examines the extent of hydrolysis and soap formation in some naturally aged drying oil and paint films, the extractability of these materials in organic solvents, and measured and predicted changes over time in the physical properties of naturally aged paint films. Long-term physical and mechanical changes due to aging are minor compared to those produced by overcleaning or excessive exposure to heat. 相似文献
11.
《文物保护研究》2013,58(3):184-194
AbstractThere is a missing link in the strategic introduction of new materials in conservation, which lies between the identification of new processes/materials and their widespread use in conservation treatments. Clinical trials to monitor the results of treatment success provide an effective procedure to evaluate the conservation process. This is now possible due to the increasing power and widespread use in conservation laboratories of computers, which provide an analytical tool for evaluating and examining treatments and procedures. Information, such as object condition, is routinely generated during the conservation of objects. To use this information statistically, it has to be structured to answer specific questions. Medical professionals have already established epidemiological techniques as a means of evaluating patient health and treatment performance. These techniques can be applied to conservation questions to provide statistically valid answers. This is an important tool with which to judge and prioritize strategies in the conservation process. 相似文献
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《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
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Post-medieval Greek painting manuals, exemplified by the Hermeneia of the Art of Painting by Dionysius of Fourna, were often copied, enriched, and widely used in icon-painter workshops until the twentieth century. These manuals reflect the accumulated experience of many generations of painters and include sections that pertain to preparation and application of materials and handling of works. Here we present, discuss, and, in some cases, compare with pertinent western instructions and experimental findings (deriving from the analysis of icons and wall paintings), key Greek manual instructions for sound practice, and practical conservation of paintings. Instructions in consideration come from both the published version of Hermeneia and various unpublished manuals; it is shown that the first part of the widely circulating standard edition of Dionysius is by no means an exhaustive account of post-Byzantine technical knowledge. 相似文献
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AbstractParchment is produced by processing the dermal layer of animal hide through limited mechanical and chemical treatment and then drying it under tension. The weak condition of many historical objects made of this material is caused by chemical, biological and mechanical degradation. Repairing these objects by filling gaps with parchment or paper patches may be inadvisable, due to important differences in intrinsic strength, which can create tensions between old and new materials. Alternative filling methods may be used, consisting of the application of solid materials in the form of a powder or a suspension, used to create a solid sheet of reconstituted parchment. The solids may consist of any kind of collagenous material (powdered parchment or hide, gelatin), paper or a combination of the two. Published methods describe preliminary treatments (e.g.relaxation), application media (water, solvents, additives), use of additional consolidating membranes (Japanese paper, goldbeater's skin), use of adhesives for pasting and surface consolidation purposes, preparation of mechanically isotropic templates for infills and tinting with synthetic dyes. A comparative investigation of methods confirms that the mechanical properties achieved in these infills, such as tensile strength and elasticity, as well as their reproducibility, are acceptable for application in conservation practice. 相似文献
15.
《文物保护研究》2013,58(3):115-126
AbstractConservation treatments of three modern paintings are presented which illustrate the use of Beva 371 in solving difficult and varied conservation problems. They were selected as representing cases which could not have been solved satisfactorily with other adhesives and are: 1. Gottlieb, oil on glue-sized cotton. Transparently lined with Mylar; 2. Balthus, casein on unprimed canvas. Mounted on a solid support; 3. Klee, gouache on decaying, unprimed burlap. Transparently lined on silk chiffon. 相似文献
16.
《文物保护研究》2013,58(3):23-29
AbstractThe last 20 years (1984–2004) have seen the development of Tate as a brand which, at the launch of Tate Modern, reached new heights of international awareness. Over the same period the use of the collection has evolved, which has led to changes in conservation practice. Drawing on collection management data, patterns of conservation research and treatment, this paper considers how branding impacts on the care, presentation and perception of Tate paintings and frames. 相似文献
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《文物保护研究》2013,58(2):134-153
AbstractA broad outline of the considerations which arise with regard to the conservation of a museum collection of tapestries is given in this paper. The various types of damage to, and deterioration of, tapestries is discussed.Various methods of washing and dry cleaning, and the equipment necessary for these procedures, are reviewed, and a caution is included as to the necessity of testing all dyes for colour fastness in both water and any solvent used for dry cleaning. The equipment, materials and techniques of repair are discussed; three methods of repair being currently used in museums and specialist workshops — re-weaving, stitching on to a backing and the use of synthetic resins for impregnation and adhesion to a woven support. It is suggested in conclusion that the optimum method of repair in museums is stitching on to a backing. More research must be undertaken into the use of synthetic resins, and re-weaving usually alters the original appearance of the tapestry.Finally, the need for specialised conservation staff in a museum with a tapestry collection is emphasised. 相似文献
18.
《文物保护研究》2013,58(2):138-139
AbstractThe Oddy test is an 'accelerated' corrosion test employed by museums to evaluate the suitability of materials proposed for use in display and storage cases, The standard Oddy test requires a 28-day test period, and the results are assessed by visual observation. This paper describes an improved test method, which could reduce the length of the test period by half The improved method uses metal films as substitutes for the traditional metal coupons posing as 'surrogate art object', The new test results are then evaluated by computer with digital image processing for more objective selection of less corrosive materials. 相似文献
19.
《文物保护研究》2013,58(1):55-64
AbstractPlaster of Paris field jackets are commonly employed for lifting fragile archeological and paleontological material during excavation. When the plaster has been applied directly to the object surface its removal poses a severe risk of damage and loss. This study documents the development of an experimental method to test the suitability of various techniques for removing plaster of Paris from sub-fossil bone. The use of digital microscopic elevation models, already in use in other disciplines, was tested as a method for quantifying surface loss resulting from conservation treatments. The study concludes that citric acid is not suitable for use in close proximity to sub-fossil bone. Air abrasion and laser ablation proved extremely damaging, but ultrasonic cleaning caused no detectable damage. This study has relevance to the removal of plaster of Paris from other materials, such as carbonaceous statuary. The analytical technique itself has a far wider application and is recommended for evaluation of all surface treatments that have the potential to cause loss on a microscopic scale. 相似文献
20.
《文物保护研究》2013,58(2):76-91
AbstractThe study focuses on the range of pigments and media that the Italian artist Lucio Fontana (1899–1968) employed for selected works dating between 1949 and 1968. Samples were taken from ten groups of works, all on canvas support, as well as from painting equipment that survived in the artist's former two studios. Techniques of analysis used were pyrolysis-gas chromatography–mass spectrometry for media identification, and laser desorption ionization time-of-flight mass spectrometry and Raman microspectroscopy for pigment identification. Fontana's reputation as a daring and experimental artist, best known for his group of slashed paintings called tagli, is seen to correspond with certain unusual material choices he made. The study also points to several links that exist between seemingly unrelated cycles. These links are, among others, based on experiences with in part novel media such as oil, alkyd, polyvinyl acetate, acrylic, acrylic–vinyl, and mixtures of them. With regard to pigments, the selection of samples showed that they were mostly of a synthetic organic nature. 相似文献