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Anna Amat Costanza Miliani Brunetto Giovanni Brunetti 《Journal of Cultural Heritage》2013,14(1):23-30
The main advantage of a multi-technique non-invasive artwork investigations relies on the use of different spectroscopic techniques that give rise to complementary information. Despite the artworks complexity, this approach allows great insight into the artwork composition and alteration phases. However, difficulties arise from the great amount of heterogeneous interconnected data that has to be stored for a prompt analysis and preserved. A suitable tool to handle and analyse all the information on the fly is therefore crucial to optimize work, specially in in situ investigations. In this paper we present MOVIDA, a new tool for the data management and analysis of non-invasive investigations in the Cultural Heritage field that not only allows the digital preservation of all the information and knowledge, but can also be used as an analytical tool while the investigation is being developed. The software can be installed on any computer to record, elaborate and analyse the data on-the-spot. All the data generated can be managed within the same application and the information can be easily consulted, compared and related to the corresponding areas of the artwork. The software is self-comprehensive and user-friendly and can be used by all the professionals involved in the investigation and preservation of Cultural Heritage whatever their background and computer skills are. 相似文献
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Holographic interferometry (HI) was chosen as the diagnostic tool to support non-destructive identification of structural defects commonly found in numerous art conservation problems. Holographic recording provides the highest information content of the concerned artwork and by implementation of a portable pulse laser the procedure becomes vibration isolation free for use outside the laboratory. Nowadays, it is comprehensively appreciated from art conservators that detailed structural knowledge is essential when conservation of precious artworks is concerned. The versatility of a holographic interferometer when used to acquire explicit structural information of art objects is demonstrated here in characteristic cases. 相似文献
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Agnès Lattuati-Derieux Céline Egasse Sylvie Thao-Heu Nathalie Balcar Gilles Barabant Bertrand Lavédrine 《Journal of Cultural Heritage》2013,14(3):238-247
In recent years, plastics are designated as a source of indoor pollution and particular attention has thus been devoted to the identification of emitting low molecular weight compounds. Headspace-solid phase microextraction-gas chromatography coupled with mass spectrometry (HS-SPME-GC/MS) has been already successfully applied for screening emissions from synthetic materials. This analytical tool being also non-invasive, it has been already successfully applied in the field of cultural heritage science for the identification of volatile organic compounds (VOCs) emitted from various museum objects made of natural materials. In this research, we aimed at assessing the use of HS-SPME-GC/MS as an in situ non-invasive analytical tool for a better knowledge of the volatile organic compounds emitted by plastics in collections. The possibility of characterizing plastics based on their emission signatures was also evaluated. Twelve new standard plastic samples, belonging to seven main polymer families widely present in museum collections as well as three naturally aged museum objects, were investigated. In this paper, we provide a survey of the VOCs emitted, and the use of HS-SPME-GC/MS for identifying volatile marker compounds, degradation products, additives, and monomer residues of the plastic synthesis is evaluated. More than 200 different VOCs were identified from the new standard samples. Two categories of VOCs were distinguished: “non-specific” and “specific” ones. We showed that based on the “specific” VOCs, it was possible to identify the nature of the polymeric matrix itself or at least to unambiguously distinguish a plastic by family. Emissions from the museum objects were then characterised, and main volatile degradation compounds considered as degradation markers of the natural deterioration of polymeric matrices, were identified. This identification procedure could be further exploited for the characterization of VOCs emitted by objects made of multiple synthetic polymers. Complementary to other techniques, this analytical tool is an interesting way to assess the risk for the objects stored in the vicinity of emitting plastics. 相似文献
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Implementation of laser technology in art conservation has resulted in an increased consideration of intervention restoration processes. Skepticism is raised regarding the side effects of interactions that could induce either short- or long-term irreversible physical alterations. Herein, an integrated laser-optic module based on the principles of holographic interferometry (HI) has been developed to study existent structural condition and probable alterations. The experimental procedure involved allows repeatable data acquisition in long-term monitoring. The tested system and methodology overcome a fragmented structural approach imposed in art conservation diagnostics by existing instruments and practices, and a full field response offering a detailed source of information is obtained. The controlled procedures by which interference fringes are formed by laser cleaned surfaces permit their long-term comparison. The results urged studies on the fundamental mechanical behavior of defects. Thus, the high resolution of HI recording was used to study the dynamics of deterioration by detecting the potential of existing defects’ natural propagation, which for the first time is described here. The study can form the basis to distinguish natural from artificially induced alterations. Comparative evaluation during conventional conservation consolidation processes was performed on an early El Greco painting which resulted in a direct evaluation of the restoration action. The results thus far were acquired in laboratory facilities. A custom-developed system was next transported to the museum floor and a significant outcome of on-field holography complementing established structural conservation diagnostics was accomplished. 相似文献
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《Journal of Cultural Heritage》2009,10(2):275-280
Telemaco Signorini (Florence 1835-1901), one of the most important Italian painters of the 19th century, was particularly famous among his colleagues for his way of depicting dark details and shadows by using primarily blue colors. The restoration of his painting Pascolo a Pietramala (c. 1889, Galleria di arte moderna, Palazzo Pitti, Florence) gave the authors the opportunity to study Signorini's blue palette using non-invasive fiber optics reflectance spectroscopy (FORS) in the ultraviolet (UV), visible (vis), and near infrared (NIR) regions (350-1700 nm). Furthermore, to help in the identification of the pigments used, a suitable spectroscopic database was created for Prussian blue, artificial ultramarine blue, Thénard blue (or cobalt blue), and cerulean blue modern blue pigments, in masstone and in mixtures with lead white as well as zinc white. The main pigments used by the artist in the aforesaid painting were found to be Prussian blue, artificial ultramarine blue, Thénard blue (or cobalt blue). 相似文献
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In this note, 30,227 paintings by fifty well-known modern and contemporary Australian artists sold at auction over the period
1973–2003 are used to construct a hedonic price index. The attributes included in the hedonic regression model include the
name, age and living status of the artist, the number of works sold, the size and medium of the painting, and the auction
house, month and year in which the painting was sold. The results indicate that returns on Australian modern and contemporary
art averaged nearly five percent over the period with a standard deviation of sixteen percent. The results also show that
a ten percent increase in the Australian stock market is associated with a 3.4 percent increase in the art market. Generally,
artworks by artists deceased at the time of auction, larger works, works executed in oils, and those auctioned by Sotheby's
or Christies in July or August are associated with higher prices. 相似文献
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Painted glass magic lantern plates from the Museo Nazionale del Cinema, Torino (Italy), were studied using mid-infrared (mid-IR) fibre-optic reflectance spectroscopy (FORS), a non-invasive technique, to test its potential for the identification of the types of binding media used in the paints. Gum, oil and resin media were identified on the plates and the amounts of these media varied from place to place; the discovery of these media correlate well with the literature on magic lantern plate preparation and painting. The spectra collected are reported uncorrected and also with the fingerprint region corrected with the Kramers–Kronig correction, which corrects distorted peaks caused by specular reflections. 相似文献
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The technological shift of museums is extensively documented, even if research on the impact of technologies on cultural practices and social patterns at large is still lacking. As part of a research programme conducted by the Louvre and HEC Paris, the article proposes a conceptual analysis of ‘real’ (visiting the museum) and ‘virtual’ (visiting its website) experiences of museums. It contributes to the understanding of whether the two experiences are substitutes or complements using a newly created measurement scale. In addition, the article also aims at enriching the contemporary discussion on the artworks’ aura and the authenticity of the cultural experience in the digital age. 相似文献
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《Journal of Cultural Heritage》2014,15(1):80-84
The painting “Madonna with Child”, attributed to Pietro Lorenzetti (14th century) and reworked around the middle of the 16th century, was studied by several techniques in order to characterize the materials used in the original and in the repainted areas. FORS, light microscopy, ESEM-EDX, ToF-SIMS and GC-MS were used. Red ochre and raw sienna earth were identified by FORS in the original parts of the painting. On the repainted parts of the panel, cinnabar, ultramarine blue and lead white were found. By means of GC-MS and ToF-SIMS measurements it was possible to identify the organic binding media used in the preparatory and painted layers. 相似文献
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A new laser-based spectroscopic technique, called calibration-free LIPS (laser-induced plasma spectroscopy), is proposed for fast and precise elemental analysis in the field of cultural heritage conservation and study. Quantitative stratigraphic results, obtained by CF-LIPS on ancient Roman frescoe samples, are shown. The application of this calibration-free procedure frees the LIPS technique from the need of reference samples or an internal standard. This characteristic, along with the intrinsic speed (the whole process of data collection and analysis takes a few minutes) and precision (of the order of a few parts percent) make the CF-LIPS a viable technique for in situ quantitative analysis of artworks. 相似文献
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Sylaiou Styliani Liarokapis Fotis Kotsakis Kostas Patias Petros 《Journal of Cultural Heritage》2009,10(4):243-528
Museums are interested in the digitizing of their collections not only for the sake of preserving the cultural heritage, but to also make the information content accessible to the wider public in a manner that is attractive. Emerging technologies, such as VR, AR and Web3D are widely used to create virtual museum exhibitions both in a museum environment through informative kiosks and on the World Wide Web. This paper surveys the field, and while it explores the various kinds of virtual museums in existence, it discusses the advantages and limitation involved with a presentation of old and new methods and of the tools used for their creation. 相似文献
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《Journal of Cultural Heritage》2014,15(5):522-527
A new possible methodology for recognizing the nature of gypsum in artworks, in particular for wall paintings, was developed. Calcium sulfate can be an alteration product of the calcium carbonate, or a component used by the Artist himself; the problem of identification of the presence and the nature of gypsum could be found detecting the presence of strontium. This element could be used as a marker since, differently from the alteration form, in mineral gypsum simultaneous presence of calcium and strontium occurs. The correlation between these two elements may be recognized using non-invasive in situ X-ray fluorescence measurements. In the present work, we tested this occurrence in various mineral samples of gypsum and alabaster as well in tempera, fresco and Egyptian paintings. Considering the new possible role of strontium indicating the presence of natural gypsum, we expect to provide a valuable tool for conservation scientists, restorers and art historians. 相似文献
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Julio M. del Hoyo-Melndez Marion F. Mecklenburg María Teresa Domnech-Carb 《Journal of Cultural Heritage》2011,12(1):54
This paper presents the results of a light levels survey conducted at the Donald W. Reynolds Center for American Art and Portraiture in Washington DC. The museum space is shared by the National Portrait Gallery and the Smithsonian American Art Museum. After six years of extensive renovations, the building reopened to the public in July 1, 2006. The structure was not originally designed to house a museum collection since it contains numerous openings such as windows, doors and skylights, which provide a path for natural radiation to enter the building and come in contact with the artworks. From a preventive conservation standpoint, this is an important problem since sensitive works of art in the collection may be subjected to damage caused by light exposure. Environmental data loggers installed throughout the museum were programmed to take successive measurements every 10 min for 24 h a day, 7 days a week and 52 weeks a year. This light levels assessment started in November 1, 2007 and finished in October 31, 2008. This study presents a new method for determining natural radiation exposures registered in exhibition spaces that rely on both electric lighting and natural lighting, considering the growing trend of using daylight illumination in museums. 相似文献
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《Journal of Cultural Heritage》2014,15(3):308-312
This paper presents the work related to the 3D reconstruction of the scene depicted in the famous Piero della Francesca's fresco “The Resurrection”. The work has presented many challenges due to the fact that deliberate alterations to a mathematically correct perspective were introduced by the artist in order to visibly underline the contrast between the divine plane (Christ resurrected) and the human plane (a group of soldiers witnessing the scene). The reconstructed 3D model has been used in an interactive application enabling the virtual visit of the scene as seen from relevant viewpoints corresponding to the different perspectives and to details of the depicted figures. The application also allows to change in real-time the lighting conditions of the scene in order to compare the virtual illumination with the one present in the fresco so as to illustrate possible alternatives about the debated original collocation of the artwork. 相似文献
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《Journal of Cultural Heritage》2014,15(3):266-274
Most of the historical paints are mainly constituted by inorganic pigments, either pure or mixed, spread on the surfaces using different binding agents. The knowledge of the exact amount of different constituents of the paint, as well as of the mixing and pictorial techniques, is crucial for a careful program of conservation of polychrome works. Moreover, since the availability of these pigments has been changing through the centuries, their identification and chemical characterisation is useful to acquire or deepen information about the artist and his/her work. This information can also be useful for authentication purposes through relative dating because the identification of one pigment respect to another one can be used as a terminus post quem or ante quem the artwork was realized. In this work, X-ray fluorescence data from historical pigments, both pure and mixed, will be presented, in order to obtain quantitative information on the samples and to extract calibration curves to the aim of evaluating the pigment concentration in unknown mixtures. 相似文献
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《Journal of Cultural Heritage》2014,15(4):382-390
To prevent the deterioration of artwork on stretched canvas in a museum, it is often necessary to neutralize the transmission of vibrations from sources such as the wall or the floor. An anti-vibratory system easily optimizes vibrations that are transmitted from the floor because the artwork's motion occurs in vertical translation. Hanging artwork, which receives vibrations from the wall, presents a more complex case because the motion consists of a translation and a rotation. This paper presents a model to determine a cutting frequency above which vibrations transmitted to the artwork are lowered. A procedure to obtain the parameters of this model is also presented. Experiments in a laboratory and in the Louvre Museum validate the predicted cutting frequency given by the model. A downloadable spreadsheet is available to apply this method to specific artwork. 相似文献
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《Journal of Cultural Heritage》2014,15(5):564-568
This paper deals with the scientific survey of Remo Brindisi's painting “Ragazzo seduto” (Seated boy), made at the end of the 1950s, that is a symbolic figure of both his personal artistic solitude and the crisis of values determined by the economic boom in the post-war period. In a period of great changes and economic regrowth, the need to find a new style that could be the most authentic and personal as possible pressed the artist to experiment innovative products, including non-conventional support. Photographic and analytical techniques demonstrated the use of innovative products as an experimentation tendency, that pressed the artist to use non-conventional support, industrially treated with plasticized PVC and primed with acrylate polymers and to paint with traditional and industrial pigments mixed with an oil-modified alkyd resin. In the span of a few years, an unexpected and extended degradation on the whole surface of the painting took place, with the consequent formation of lifting and detachment of the paint film. The detected alteration is mainly due to the fast ageing of the employed polymeric materials, actually responsible of the impermanence of many contemporary works of arts. Clarifying the unknown aspects of the Remo Brindisi's stylistic choices together with the deterioration processes of the employed painting materials, this paper highlights the general problems related to the conservation of contemporary art, a neglected area of research in Italy, where more efforts are committed to the enormous and more ancient cultural heritage. 相似文献