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1.
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   

2.
《文物保护研究》2013,58(3):185-193
Abstract

The two Stangengläser, tall cylindrical vessels from the beginning of the seventeenth century, are described in detail. The severely damaged Stangengläser, decorated with diamond-point engraving and cold-painting, were challenging to treat. Research preceding the conservation revealed differences in decorating techniques. Samples of the paint layers were analyzed using micro-Fourier transform infrared spectroscopy. Two layers of resinous varnish with a middle layer of paint containing a plant gum were found on the Stangenglas with Allegory of Caritas and Zierotin coat of arms. In the plain paint layer of the Stangenglas with dancing couples, egg white was identified as the binder. The glasses, analyzed using scanning electron microscopy with energy dispersive X-ray spectrometry, had similar potash–lime–silica compositions, which seems to be characteristic for glass from Bohemian lands. Results of analysis contributed to the discussion about the possible provenance of the Stangengläser, the glassworks at Wilhelmberg, South Bohemia.  相似文献   

3.
The construction and examination of test panels is an ad hoc procedure, necessary for every spectral imaging study of paintings. Despite the common features, almost every scientific team follows a different way of construction. Furthermore, many of these approaches are not adequately documented in the relevant papers. Failure to use common language and practice leads to confusion about properties of materials and paint layers that have been overall examined by the scientists, as well as the validity of the results and their exploitation in several conservation applications. The present theoretical approach points out the need for common protocols for the construction of test panels and draws general principles as a flow chart on which they should be based.  相似文献   

4.
《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   

5.
《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   

6.
《文物保护研究》2013,58(1):127-129
Abstract

The restoration of the seventeenth-century adobe church at Carabuco, Bolivia, offers a model of how to conduct the preservation of the Latin American cultural heritage at remote sites. This paper details the conservation of the church's polychromed wooden choirloft, which had previously been restored in 1765-66 after this and other portions of the church collapsed. The choirloft is made oflocally grown eucalyptus wood painted all over with a tempera-based medium. It was executed by a local artist whose style draws on local folk-art traditions while reinterpreting European Renaissance decorative schemes. The choirloft conservation project had two goals: to guarantee its structural integrity and to stabilize the decorative paint layers. These goals were accomplished in a four-month conservation project which formed part of a larger effort to restore the church.  相似文献   

7.
This work presents the results of the investigation carried out on a group of terracotta sculptures (modelli) (sixteenth to eighteenth century) belonging to the extraordinary collection of Palazzo Venezia in Rome. The study, the diagnostic analysis, and the conservation work, were possible thanks to the grant supplied by the Getty Foundation of Los Angeles and by the bank Intesa San Paolo. The terracotta modelli had a practical function as they were of great use as sketches to the creation of the final masterpieces or as models for restoration. As a consequence, the terracotta models allow reconstructing the creative process of artists and restorers, fundamental to outlining the ancient workshop production. X-ray fluorescence spectroscopy, micro-stratigraphic investigation, Fourier transform infrared spectroscopy, and micro-Raman spectroscopy were chosen as useful techniques to study the morphology and composition of the surface-painted layers. Usually the surfaces were painted in order to simulate the materials of the sculpture for which the model was created, for example lead white was used to obtain a white surface simulating marble. But, often the models were re-painted to make them more attractive for the antique trade. So, several pigments have been found on the surfaces such as zinc white, Prussian blue, chrome yellow, and mono-azo pigment. In some cases, the characterization of the surface paintings was particularly important to the final decision about removing or leaving the surface paint in place.  相似文献   

8.
《文物保护研究》2013,58(1):54-55
Abstract

Before commencing the conservation treatment of a fifteenth-century coffered ceiling in the convent of Santa Fe, Toledo, the painting materials were analyzed. Elemental analysis of the pigments was carried out by XRF spectrometry. Cross-sections were made of the samples for optical microscopy. The binding media and the varnish were identified by gas chromatography, by analyzing the fatty acids, terpenes and amino acids. Once the painting had been studied, consolidation treatment was applied using different materials according to the solubility of the paint layers. Animal glue was mainly used, and Paraloid B-72 to a lesser extent, as a preliminary to the structural reinforcement of the support.  相似文献   

9.
《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   

10.
ABSTRACT

Conservation of an oil painting on a zinc support is a complex challenge that has not been covered in the literature. Oil paint and zinc support rarely form a working combination because of their chemical properties. This article discusses the conservation of an oil painting on a zinc support that was found in extremely bad condition due to harsh environmental conditions it had been exposed to. The object had to be consolidated due to flaking paint and cleaned of surface dirt and support corrosion products. Finally, the object had to be physically strengthened due to the weakness of the support. This process required conservators to combine methods from several different fields of the conservation discipline. Methods employed in the conservation process came less from the literature, due to the lack thereof, and more from the everyday experience of the department and vernacular working practices. The overall methodology of the process has been reconstructed and critically evaluated in the broader field of conservation ethics and the discipline as a whole.  相似文献   

11.
A Japanese painting on paper, in the form of a horizontal scroll from the Stibbert Museum in Florence, is being treated at the ISCR Paper Conservation Laboratory. The scroll, entitled Bamo Dōi-zu represents 33 different types of horses. Although there is no author's seal, it has been attributed to the famous Japanese artist, Kanō Sansetsu (1589–1651). Before conservation treatment, the artefact underwent technical and scientific examination in order to identify its materials and determine its conservation condition. As sampling paint layers from paintings on paper is extremely invasive, non-destructive techniques such as X-ray fluorescence spectroscopy, Raman spectroscopy, Fourier transform infrared spectroscopy, and spectrophotometry were employed. Several points from the paper support were analysed: the metal-leaf decorations, the seals and calligraphy, as well as the painted horses. Results detected and revealed a very simple palette: cinnabar (or its synthetic equivalent vermillion), shell white, carbon black, and the organic yellow gamboge. Pure gold and silver leaves were used for decorating the frontispiece. Useful information was obtained from the paper support and on its conservation conditions. Micro-destructive analyses were also performed on a few paper fragments for microscopic and scanning electron microscope equipped with an X-ray probe analysis. Results showed that materials and techniques are consistent with the Kanō School period.  相似文献   

12.
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   

13.
This study describes the analysis of paint samples from carvings belonging to Hinemihi, the Maori meeting house, Clandon Park, Surrey, UK. The assessment of physical evidence contained within Hinemihi's built fabric (along with historiographic research of archival sources and oral histories) has formed a key part of the information gathering process during the current conservation project. The production of such data provides an opportunity for a dialogue that is essential for effective decision-making within participatory conservation projects. From this, it is evident that the use of paint analysis, in deciding the eventual painted scheme for a restored Hinemihi, is settled within a broader dialogue about the conception, use, and management of Hinemihi as a Maori cultural centre, as built heritage, and as an object of conservation. Therefore, the value of material analysis is considered in relation to the potential that this information has to engage a community of users in designing an effective conservation response that seeks to balance the opportunities and constraints of the cultural and physical landscapes that surround Hinemihi and Clandon Park.  相似文献   

14.
《文物保护研究》2013,58(2):44-108
Abstract

Thomas 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   

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(4):217-226
Abstract

Many natural and synthetic products have been used for the consolidation of paint layers, but none have been thoroughly tested for this application. This is apparent for most of the synthetic and semi-synthetic adhesives for conservation, many of which are pure polymer resins and dispersions adapted from other industries. They were not specifically formulated with the appropriate properties for conservation, nor do they take advantage of some of the more recent developments in adhesive technology. BEVA® 371 is unique among adhesives used for consolidation treatments, as it is a multi-component mixture and was designed specifically for the conservation field using the best technology available at the time. However, the main focus of the research was its application as a lining adhesive. Thus, optical properties and stability, specifically color stability, were not thoroughly evaluated even though some lining applications that were first recommended could have benefited from this type of investigation. This paper will discuss the development of BEVA® 371, the chemistry, and roles of each component, and address a practical concern about the tack behavior of its replacement formulation, BEVA® 371b.  相似文献   

17.
A great number of Central Asian wall paintings, archeological materials, architectural fragments, and textiles, as well as painting fragments on silk and paper, make up the so called Turfan Collection at the Asian Art Museum in Berlin. The largest part of the collection comes from the Kucha region, a very important cultural center in the third to ninth centuries. Between 1902 and 1914, four German expeditions traveled along the northern Silk Road. During these expeditions, wall paintings were detached from their original settings in Buddhist cave complexes. This paper reports a technical study of a wall painting, existing in eight fragments, from the Buddhist cave no. 40 (Ritterhöhle). Its original painted surface is soot blackened and largely illegible. Grünwedel, leader of the first and third expeditions, described the almost complete destruction of the rediscovered temple complex and evidence of fire damage. The aim of this case study is to identify the materials used for the wall paintings. Furthermore, soot deposits as well as materials from conservation interventions were of interest. Non-invasive analyses were preferred but a limited number of samples were taken to provide more precise information on the painting technique. By employing optical and scanning electron microscopy, energy dispersive X-ray spectroscopy, micro X-ray fluorescence spectroscopy, X-ray diffraction analysis, and Raman spectroscopy, a layer sequence of earthen render, a ground layer made of gypsum, and a paint layer containing a variety of inorganic pigments were identified.  相似文献   

18.
ABSTRACT

During the nineteenth century, chemists became increasingly engaged in the conservation treatment of polychrome surfaces. While collaborations between chemists and museum workers in charge of easel painting collections were mostly oriented towards the improvement of conservation practices, the involvement of chemists in the nascent field of archaeology was oriented towards material characterization, such as pigment analysis of polychrome surfaces. Since this type of analysis is destructive and damages the artwork, it could, therefore, be assumed that chemists were in these cases less concerned with the conservation of objects with an archaeological and historical provenance. On the contrary, my new reading of nineteenth-century English primary sources reporting pigment analysis shows that chemists also had ethical concerns about the physical integrity of archaeological objects and their conservation. This is apparent in the process in which paint samples were taken from the artworks for their subsequent analysis.  相似文献   

19.
《文物保护研究》2013,58(3):231-249
Abstract

This paper presents a comparative investigation of recovery procedures for the analysis of natural organic colorants, encompassing ten major natural organic dye chemical classes, several sample types (silk, wool, cotton, pigment, paint), prepared from the extracts of twelve biological sources, and nine different recovery protocols. These protocols are based on the traditional harsh hydrochloric acid method; on mild hydrolysis methods involving formic, oxalic or hydrofluoric acid; and on methods consecutively employing mild and harsh hydrolysis on the same sample. An evaluation system was developed by classifying analytical results in an upper, middle or lower grade with reference to the best result obtained. This classification was used to calculate scores for each hydrolysis method and for either textile (silk and wool or cotton) or pigment/paint. The best overall hydrolysis method for textile samples was a combination of mild oxalic acid with traditional hydrochloric acid hydrolysis. The best overall hydrolysis method for pigment/paint was a combination of a newly modified mild hydrofluoric acid treatment with traditional hydrochloric acid hydrolysis. The application of these methods to historical samples will not necessarily give the optimal result achievable for every biological source, but will definitely reduce the risk of missing essential information for the elucidation of ancient technology in a geographical and historical context. The reduced level of risk will avoid repetitive sampling and reduce the level of invasiveness, hence taking into account good conservation policies. The potential of these selected methods is illustrated with the analysis of some historical Chinese textile and paint samples.  相似文献   

20.
《文物保护研究》2013,58(3):203-209
Abstract

To inhibit the corrosion of lead objects and lead in high-lead bronzes, particularly in the presence of organic emanations from wood, paint, etc., and/or high humidity, is a difficult conservation problem. A method to prevent corrosion of lead in copper objects was therefore developed using benzotriazole (BTA). The most appropriate treatment method for the conservation of the objects was to immerse them in neutral BTA solution, for which a 0.5% (w/v) concentration of BTA was enough. For bigger objects, three or four coats of 1.0% solution applied by brushing were equally effective. The method was used successfully for the conservation of some ancient copper coins and bronze sculptures containing high amounts of lead; it can also be used to inhibit corrosion of lead objects.  相似文献   

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