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1.
Nicéphore Niépce carried out a lot of meticulous experiments that led him to the invention of photography. In particular, in the 1820s, he obtained heliographs by coating a substrate with a light-sensitive substance, which was then exposed to light under a paper print made translucent with the help of varnish. The objective of the work described here is to determine how Niépce made these paper prints transparent. Did he use his experimental knowledge on photosensitive resins, or did he apply commonly used recipes of his time to make paper transparent? To date, no studies have been carried out on the varnish used by Nicéphore Niépce and no previous research has undertaken analytical investigations on Nicéphore's prints, using Attenuated Total Reflection Fourier Transform Infrared Spectroscopy (ATR-FTIR) and Gas Chromatography/Mass Spectrometry (GC/MS). In this paper, we identify the varnishes used by Nicéphore Niépce on four transparent prints, now belonging to the Nicéphore Niépce museum in Chalon-sur-Saône, France. The varnish he used was based on a diterpenic Pinaceae sp. resin (most probably colophony). The finding is supported by historical knowledge about varnishes.  相似文献   

2.
For the last 60 years, varnishes of ancient musical instruments, particularly stringed instruments of the violin family dating 17th and 18th centuries, have been analysed to establish their chemical composition and multi-layered structure. The objective was to rediscover the technology for making the varnish of esteemed Italian violins and to reconstitute it. This paper reviews the physico-chemical studies published on such varnishes and also focuses on a research project carried out since 2002 at the Musée de la musique in Paris. It aims to apply in a comprehensive way different non-destructive or micro destructive methods (Py-GC/MS, IR microscopy, SEM/EDX, EDXRF, synchrotron radiation-based techniques, …) to the study of a large and representative number of ancient varnished musical instruments from a museum collection.  相似文献   

3.
The aging of natural triterpenoid resins used as varnishes on paintings is still insufficiently understood. Although progress has been made, questions concerning the aging pathways in light vs. darkness, or the correlation of oxidation with yellowing, remain open. The influence of aging conditions, primarily the amount of light, but also resin composition, on the aging process were investigated. The aging reactions are followed using a variety of mass spectrometric and spectroscopic techniques. Aging processes in dammar and mastic varnishes are shown to be more dynamic and extensive than had generally been believed. In unaged bulk resins, large quantities of radicals develop within weeks after application as a varnish, due to the greatly increased surface-to-volume ratio. This is true for all aging conditions, including aging in darkness, and is accompanied by considerable oxidation as well. After a few months, most of the initial triterpenoids are oxidized. Natural aging in light and darkness leads to the same main aging products. All these findings point to the conclusion that aging largely proceeds by the same pathways in both light and darkness, mainly autoxidation. Without light, enough radicals are formed to maintain extensive autoxidation, although more slowly. Thus, differences between light and dark aging mechanisms are much smaller than often believed. In mastic, the absence of the polymeric constituents is found to enhance oxidation, but reduce yellowing. It appears that the polymer acts as a natural radical stabilizer, favoring the pronounced intrinsic yellowing tendency of mastic. The manipulation of resin composition might lead to improved aging properties of triterpenoid resin varnishes.  相似文献   

4.
The present work was one of the first attempts to analyze the conservation status of two ferrotypes, ancient photographic plates realized on a support made of iron. The photographic material was constituted of collodion as binder for the photosensitive silver halides grains. The two ferrotypes studied belonged to a private collection of a family from Durham, UK, and were made at the end of the 19th century. The analytical techniques used for the morphological and physicochemical characterization were noninvasive. The surface morphology was studied by means of optical microscopy (OM) and environmental scanning electron microscopy (ESEM) coupled with an energy dispersive X-rays (EDX) system for the elemental analysis. These techniques, together with microreflectance Fourier transform infrared spectroscopy (μ-FTIR) and contact angle, allowed to obtain information on both the chemical – elemental – composition of the materials constituting the ferrotypes, and the conservation status of these photographic plates. The study showed that the physicochemical diagnostics allowed to characterize the two ferrotypes that, despite their similar age and provenance, showed different conservation status, surface properties, and elemental composition.  相似文献   

5.
Five optical analyses of a given work of art are presented, using multispectral imaging, optical coherence tomography, goniophometry, UV-fluorescence emission spectroscopy and diffuse reflectance spectroscopy. All these methods are non-destructive, contactless, and implementable in situ. They all lead to results in quasi-real time. The multispectral camera allows imaging of the whole painting with very high definition and recording of 240 millions of spectra. Optical coherence tomography allows local 2D and 3D imaging with in-face and in depth stratigraphies inside the painting with a micrometric accuracy. It allows the evaluation of the pigment volume concentration inside a layer, the measurement of the thickness of one or two varnish layers, the detection and measurements of gaps inside the paint layer, the depth of varnish micro-cracks. Goniophotometry allows the measurement of the upper surface state of the painting in different locations, by quantifying the mean slope of the facets making up the surface. UV-fluorescence emission spectroscopy allows the identification of the resin, the binder and the ageing state of varnishes by use of databases of reference varnishes. Diffuse reflectance spectroscopy leads to pigment, pigment mixture and dye identifications again by use of databases. The three last methods are implemented with the same portable multi-function instrument. It allows time saving, locations on request in front of the artwork and easy use by non-scientists. Each instrument is described with its protocol and accuracy. The studied painting is a portrait of a lady painted by the Austrian artist Franz Strotszberg, chosen for its several restorations. The five kinds of results are successively detailed, analysed and compared between themselves. It is shown that the different results are complementary and their crosschecking brings thorough information. For example, the shape of the network of varnish micro-cracks detected on the surface with the multispectral camera is added to the measurement of their depth with optical coherence tomography. Another example allows connecting two different surface states of the upper varnished surface measured by goniophotometry with the identification of these varnish with UV-fluorescence and with their thicknesses measured with optical coherence tomography.  相似文献   

6.
This study proposes a procedure for digitally classifying and cataloging moulds which belong to the historic collection of the Ginori porcelain factory in Doccia (Sesto Fiorentino, Italy). In addition to a vast number of antique plaster moulds, this collection includes artistic porcelain artifacts obtained from casting porcelain using the moulds and models made of various materials. The proposed methodology includes two workflows: the first starts with photographic and casting processes conducted recently on various groups of moulds and involves historical surveys for investigating the relationships between the various sets of moulds, the models from which they were derived and the porcelain objects derived from them. The second workflow was applied when no information was available for a set of moulds, and involved 3D scanning of the moulds, with virtual reconstruction of the corresponding model followed by a final art historical survey like that used in the first procedure. 3D scanning techniques and successive model reconstruction can also be applied for obtaining a virtual model in the first process, when the physical model was lost, damaged or never existed. The variety and extent of the Ginori collection suggested the use of a customized Data-Base (DB) and a set of functions designed to manage and extract information, data and archived images. This filing system, called DocciaDigitalArchive (DDA), also makes it possible to specify the relationships between the different typology samples (prototype models, moulds derived from them, handmade porcelain objects produced from these moulds), which are associated when the same subject is portrayed. The DB structure conceived also provides the possibility of incorporating pictures and data of known archetypes. This additional information makes it possible to place each subject in its historical and artistic context. For each sample filed in the DDA system, documentary cards, which summarize data, images, reports and links to other entities or samples connected to the subject consulted, can be viewed on a suitable interface.  相似文献   

7.
The preservation of early 20th century, late 19th century albumen prints is of great concern to collection managers and conservators of photographic materials. Attenuated Total Reflection Fourier Transform Infrared (ATR-FTIR) spectroscopic imaging is presented for the first time as analytical methodology for the study of albumen photographs. This paper shows the feasibility of obtaining FTIR images of samples from albumen photographs with a high spatial resolution using a Ge ATR objective coupled with an infrared microscope. The improved spatial resolution compared to FTIR images obtained by the reflection method is due to the high refractive index of the ATR crystal, which gives a high numerical aperture and hence, a higher spatial resolution. The technique reveals detailed information on the organic functional group distribution in the individual layers of embedded cross sections and is used complementary to visual microscopy and scanning electron microscopy/energy dispersed X-ray spectroscopy. The main results of the study are discussed with regard to their historical and artistic significance, and they are compared with data from historical and conservation literature.  相似文献   

8.
Giovanni Fattori (Livorno 1825–Firenze 1908) is the most representative artist of the Macchiaioli's current, an early group of Italian plein-air artists, whose work anticipates, in the xixth century, that of their younger contemporaries, the French Impressionists. The study, performed by a multidisciplinary team made up of scientists and conservators, presents the results of the scientific characterization carried out on a group of 10 paintings made by Fattori between 1854 and 1893 and shows the way he used complex mixtures of a large variety of traditional and synthetic pigments, ranging from lead white, found pure and also extended with calcium carbonate, natural barite and gypsum to zinc white, from red ochre to cinnabar and vermilion, from yellow ochre and Naples yellow to chrome yellow, cadmium yellow and zinc yellow, combined with many other ones reported in details. This paper highlights the evolution of his painting technique during a time of great technological and social innovations and puts forward some hypothesis on his awareness about manufactured pigments, i.e. tube paints recently introduced into the artists’ circles. The wide range of pigments and their different quality among the same synthetic products suggest that the artist used all the available materials, and that picking out the pigments he retained the early xixth century artists techniques, such as the use of mineral earths and Prussian blue, similarly to his contemporary Italian artists Federico Zandomeneghi and Telemaco Signorini, but he also experimented new and peculiar pigment mixtures in the making of “colored darks” and an innovative use of the grounds in the final composition, that are also distinctive features of the French Impressionists. This work is aimed at contributing to overcome the lack of a comprehensive overview on the widespread historical and scientific data collected up to now on the Italian paintings in the xixth century, which has been severely underestimated with respect to previous art movements.  相似文献   

9.
There is little information in the conservation literature with respect to artists’ alkyd paints; thus, artists and conservators are somewhat at a loss about how to use and treat alkyds. Recently, analytical methods have been developed to identify the components in these polymers (oil modified polyesters), rates of cross-linking and mechanical properties. Presented in this paper are some of the characterization results of artists’ alkyd paints using THM (thermally assisted hydrolysis and methylation) gas chromatography– mass spectrometry (THM–GC/MS) and Fourier transform infrared spectroscopy–attenuated total reflectance (FTIR–ATR). Four brands of artists’ alkyd paints containing alkyd resin have been analysed; one containing a phthalic anhydride and pentaerythritol based alkyd resin, two containing isophthalic acid and pentaerythritol based alkyd resins, and the final one containing both phthalic anhydride and isophthalic acid and pentaerythritol based resins among the colours studied.  相似文献   

10.
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11.
This paper presents the first extensive investigation of the composition of both the organic and inorganic media used by Lorenzo Lotto, one of the outstanding artists of the Italian Renaissance in the early 16th century. By investigating four paintings from The State Hermitage Museum collection (Saint-Petersburg, Russia), new insights into the artist's painting techniques were obtained, which contribute to our understanding of the transition from egg tempera to oil painting techniques that took place in Italian paintings between the 15th to the mid 16th century. Inorganic materials were determined using SEM-EDX and PLM, revealing information on the artist's palette. Of particular note was the powdered colourless glass found in the priming layer of the Madonna delle Grazie, which was most likely used as dryer. Organic materials were analysed in individual paint layers using GC-MS, and revealed a mature use of drying oils as paint binders, skilfully mixed with other organic materials and inorganic driers, to obtain the desired aesthetical and technical qualities of the paint. The study revealed that Lotto used the tempera grassa technique through most of his creative life.  相似文献   

12.
ABSTRACT

This essay focuses on the relationship between culture and governance, exploring how the practice of government has invoked conflicts and crises in the Korean culture industries. The Park Geun-Hye regime used culture as a central engine to boost Korea's national economy by adopting the new slogan, ‘Creative Korea’, to embody the country's national values within the international community. However, the regime's constant emphasis on creative economies came under attack when it was discovered that the Ministry of Culture and Tourism abused its authority by censuring 9,473 artists who were critical of the regime. Through an analysis of journalistic interviews with artists, critics and cultural practitioners, this paper examines how the relationships of governmentality, culture and creativity have been negotiated in the process of regime change. In addition, this paper explores how the Korean Wave phenomenon – the transnational expansion of Korean popular culture – during the past two decades has reshaped the society's perception of the governor–governed relationship within the cultural sphere.  相似文献   

13.
Wool samples collected from thirteen Arraiolos carpets from the 17th–19th century belonging to the National Museum of Ancient Art (NMAA, Lisboa, Portugal) collection were analysed to identify the natural dyes and mordants employed in the traditional dyeing process, in a way to complement and improve actual knowledge on this rugs. Natural dyes were extracted from Arraiolos historical wool fibres using a mild extraction method, followed by high-performance liquid chromatography with diode array and mass spectrometry detection (HPLC-DAD-MS) for compound identification. Colourimetry was used to measure colour parameters in all historical samples. Quantification of mordants in the historical fibres was carried out by inductively coupled plasma-mass spectrometry (ICP-MS). Weld, indigo, spurge flax, brazilwood, madder and cochineal were identified as dye sources in the fibres. Alum was the most commonly used mordant, but the presence of iron and zinc was also detected in some darker samples. The use of madder and cochineal is not referred in the available historical dyeing recipes. This study also proved that the actual visual perception of these carpets is strongly affected by the natural dyes photodegradation, which was mostly unaccounted for before.  相似文献   

14.

The purpose of this article was twofold. Firstly, to investigate the heterogeneity among artists as an occupational category and secondly, to define arts as a profession and thereby to make a distinction between professional artists and amateurs. Artists' income and working conditions have been the subject of several studies, and many different sampling criteria have been used. Scholars have not yet achieved consensus on who should be included in the profession. In this article, we make an innovative contribution to this conversation. By applying a finite mixture model, which combines latent profile and latent class analysis, we have been able to identify different segments of artists in terms of professionalism. Each of these mutually exclusive classes is characterized by a particular income and working situation. We also include a membership function, estimated through a logistic regression, which allows prediction of the probability that an individual will belong to each class, given his/her socioeconomic characteristics. The subject of our study is Danish visual artists. The dataset consists of a combination of register data from Statistics Denmark and data collected from a questionnaire survey with 892 respondents. Based on the artists’ civil registration numbers, the two sources have been merged into a unique dataset. Our finite mixture model shows the heterogeneity among artists. Combined with a theoretically definition of arts as a profession, our research propose a distinction between professional artists and amateurs that cuts across categories used in prior literature. The results can be beneficial to cultural policy.

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15.
Stained glass windows belong to the most precious pieces of art in many European countries. Examples of heavily endangered paint on glass are reported in the literature and mainly related to condensation effects and air pollution, as stained glass windows preferably remain in their original architectural surrounding. Several surface coatings and paint treatments have been proposed to consolidate and protect degraded paint. Very often, the selection of the materials is based more on practical aspects than on scientific research. This study concerns the comparison of some traditional, modern and newly developed consolidants for the preservation of historic glass paintings. Experiments have been carried out with model painted glass samples simulating weathering phenomena of originals. Traditional materials like Paraloid B72, modern ones like SZA (proposed by the Fraunhofer-Institut für Silicatforschung, ISC), and three new consolidants prepared by the sol–gel method and based on different hybrid organic–inorganic alkyl-alkoxysilane systems have been considered. The adhesion, penetration, stability, hydrophobicity, mechanical and chemical resistance are properties and requirements tested to prove their effectiveness and range of use. The three new materials developed in this study for the consolidation of paint on glass have the potential to offer alternatives to existing materials. Nevertheless, further research is necessary before their application in restoration workshops can be recommended. A strategic approach is requested to avoid risks for these valuable historical originals and to contribute to the long-term preservation of the paint on stained glass windows in their original sites.  相似文献   

16.
The procedures for making and applying a new family of high viscosity aqueous polymeric dispersions based on poly(vinyl alcohol)-borax (PVA-borax) matrices are presented. A specific system of this type has been used to remove an oxidized varnish coating from the surface of “Coronation of the Virgin with Saints”, a 15th century egg tempera painting on wood by Neri di Bicci (Florence, 1418–1492). FTIR spectra showed that the oxidized varnish was constituted of highly aged shellac resin. Good cleaning performance was attained when the liquid portion of the dispersion consisted of a mixture of water and acetone. Rheological investigations indicate that the acetone content does not affect the mechanical properties of the polymeric dispersion. Those mechanical properties permit easy removal of the cleaning agent simply by peeling it from the surface by means of a forceps or spatula once it has carried out its cleaning function. Optical microscopic and FTIR investigations show that the cleaning agent is able to remove the oxidized varnish coating from the surface of the Neri di Bicci painting without leaving detectable residues.  相似文献   

17.
This paper deals with a possible application of computer vision techniques in the field of Cultural Heritage. These techniques allow an effective integration of data from different sources. Particular consideration will be given to an accurate geometric analysis of the zone under study in order to detect degradation damage in historical building-stone materials. To this end, we employ a computer vision technique, known as the Shape from Shading method, for which a photographic image of the stone material under consideration is the only input data required. By using this method, it is possible to recover, under some constraints, the shape of the three-dimensional surface of the object from the photographic image. In order to improve the results, in this paper, we implement this technique by using an optimization approach which allows a suitable integration of photographic and spatial data, the latter of which is obtained by a topographical device. We outline the potentialities of the method which mainly consist of two relevant capabilities. The first one is the geometric shape reconstruction of the surface material at a resolution much higher than the one allowed by topographical acquisition. The second one is the correction of the lighting-induced distortions in the photographic image. Such a correction is relevant for further image-based analysis of the degradation of the stone material. Experimental results, obtained by using both photographic and spatial data relative to a pudding stone with degradation, are presented and discussed.  相似文献   

18.
This paper deals with the effects of formal training on artists employment situation in the 1990s. The empirical data is based on a survey of theatre and dance artists which was done by the Arts Council of Finland in co-operation with the Finnish Theatre Academy. The survey studied current employment status of theatre artists as well as the effects of formal training on their employment, working conditions and salary. The results of the survey have been published in Finnish by the Arts Council (Karhunen, 1994).  相似文献   

19.
During the 20th century, many innovative binders have been rapidly introduced to the art world and soon became popular as artists’ paints and pictorial media. However, despite the advantages that new synthetic materials presented, oil paints have never been entirely substituted. Indeed, this paper focuses on the results provided by the scientific analysis of a group works from the oeuvre of Lucio Fontana (1899–1968), all of which created between 1960 and 1964 using oil-based media, and aims to illustrate how oils contained in the pictorial media have influenced these works’ respective ageing and degradation processes. Despite the apparent coherence in the behaviour of many of Fontana's creations, some artworks revealed discrepancies in terms of the physical and mechanical behaviour of the pictorial films and in alterations resulting from degradation processes. Samples taken from case studies belonging to the Olii and Fine di Dio series were analysed using optical microscopy, X-Ray Fluorescence (XRF), Fourier-Transform Infrared Spectroscopy in attenuated total reflectance (FTIR-ATR) and Gas Chromatography-Mass Spectrometry (GC-MS) in order to study and identify the materials employed by the artist and the products of their degradation processes. These analyses gave unexpected but useful results (such as the presence of non-drying or slow-drying oils in the paint formulations) which not only provided us with new insight into the nature of the constituent materials, but also facilitated the elaboration of correct conservation measures and suitable restoration interventions.  相似文献   

20.
The literature of cultural economics generally finds that an artistic education has no significant impact on artists’ income and careers in the arts. In artists’ labor markets, indefinable features such as talent and artistic creativity apparently contribute more to success or higher rates of payment than education and training. In this article, we will readdress this question by looking at the artists’ survival in the arts occupations. We find it reasonable to expect than an artistic education can have a significant impact on artists’ careers because of the importance of technical skills, networks and signaling effects. We analyze the question by using a unique longitudinal dataset for five different groups of artists in Denmark, using the Cox model to apply survival functions and semi-parametric analysis. The results show, among other things, that an artistic education has a significant impact on artists’ careers in the arts, and we find important industry differences.  相似文献   

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