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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
2.
ABSTRACTThis 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 The mural, measuring approximately 11?×?6?m, painted in 1954, was removed from where it was originally made, in consequence of a fire that affected the place.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
3.
《文物保护研究》2013,58(3):116-121
AbstractThough infrared spectroscopy is the single most powerful technique for the characterization of materials and though it is widely used in the chemical industries, its application to conservation has been severely limited due to the complexity and limited sample size of the materials presented for examination. In the past decade, the development of infrared Fourier transform spectroscopy has made possible the study of small samples and complex mixtures. The technique of infrared Fourier transform spectroscopy is compared to conventional infrared spectroscopy with reference to spectra of paper, egg yolk, albumin, madder, Indian yellow, purpurin, alizarin, indigo, and linseed oil. 相似文献
4.
《文物保护研究》2013,58(3):147-151
AbstractIn conducting research on the physical propertIes and durabIlIty of coating materials used in the conservation of art objects, difficulty was encountered In efforts to make uniformly thick, coherent, free-standing films for testing purposes. An efficientrapid casting technique has been developed utilizing reusable molds. The technique is applicable to the preparation of films from a wide range of materials. 相似文献
5.
《文物保护研究》2013,58(4):259-266
AbstractDuring the restoration of art works, data of great significance to art history frequently emerge. The purpose of our research is to throw light on the materials used in the past in the treatment and maintenance of works in ivory and bone. This has been achieved by conducting in-depth historical research into the specific literature and, thereafter, by examining with X-ray powder diffraction analysis and DTA and TG thermal analyses the accumulated deposits in the carvings and cavities of several artifacts belonging to the ivory collection housed in the National Museum in Ravenna. 相似文献
6.
《文物保护研究》2013,58(2):82-83
Abstractsystematic study of the whole thickness of the ground was carried out on about 50 paintings. The originality of the work consisted in first revealing by back -scattered scanning electron microscopy where two types of coating had been used. The components of each layer were then analyzed by X-ray diffraction and found to be principally anhydrite for the gesso grosso and gypsum for the gesso sottile. According to these results, Tuscan painters used a double white ground until the end of the fifteenth century. The use of a single layer of gypsum was widespread in other Italian schools in the fifteenth century. 相似文献
7.
《文物保护研究》2013,58(1):168-174
AbstractThe history, materials and technique of an early fifteenth-century wall painting, St Michael Weighing Souls, are described. The pigments are typical of mediaeval Spain but the methods by which they were applied show a sophisticated understanding of their optical properties. Complex mechanisms of deterioration in some areas of colour are discussed, together with the rationale, materials and methods used in the conservation treatment. 相似文献
8.
The subject of the research is an oil painting entitled Idyll created using an unusual technique. The painting layer was applied on canvas covered with photosensitive medium on which a photograph was developed. The results of the examination of Idyll in the context of its attribution to Henryk Siemiradzki (1843–1902) are discussed. Its atypical technology and the possibility of the artist having used the photographic technique are also considered. X-ray fluorescence spectroscopy, infrared spectroscopy, and scanning electron microscopy were performed to establish the technique and to characterize the pigments and materials used in the painting. The identified pigments and the information provided by analytical photography (UV, X-ray images) were compared with the results of the detailed examination of 56 of Siemiradzki’s oil paintings. Performed analyses revealed that the majority of the features identified in Idyll point to Henryk Siemiradski’s technique. 相似文献
9.
《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
10.
《文物保护研究》2013,58(1):175-178
AbstractThe 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
11.
SummaryA Roman wall painting of the first century AD, recently discovered in Rome, has been studied extensively, in situ, by non-destructive X-ray fluorescence (XRF) analysis. The coloured pigments, the medium and the plaster were all examined. The presence of potassium and calcium in all coloured layers demonstrates that the painting technique is of a type very similar to that used in Pompeian wall paintings, and described in the 1950s by Selim Augusti. In this type of wall painting, the pigments were dissolved in a lime/soap/water solution, the function of the soap being to mitigate the negative effects of lime on alkali-sensitive mineral-based colours. 相似文献
12.
《文物保护研究》2013,58(1):46-53
AbstractThe 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
13.
《文物保护研究》2013,58(1):10-16
AbstractFourteen tesserae from the mosaics in the Cathedral of Salerno were examined by X-ray diffraction and by energy-dispersive X-ray analyses. Their constituents were identified and they can be divided into crystalline and amorphous materials. The main crystalline phases are quartz, calcite, magnesium carbonate, magnesium hydroxide and microcline. The amorphous materials are composed of silica containing several elements: Ca, Na, K, A1, Fe, Cr, Mn, Ni, Ti, Cu. For comparison, one tessera from Pompei was characterized. A subdivision of tesserae into three groups, crystalline, amorphous and composite, is suggested. 相似文献
14.
ABSTRACTAiming at contributing to the preservation of black and white (B&W) film-based negatives held by Portuguese archives, four photographic collections from the first half of the twentieth century were selected for study. During the macro assessment of the collections the preservation condition and hues found in photographic negatives from the Elmano Cunha e Costa (ECC) were noticed, distinguishing this collection from the remaining ones. Additional attention was given considering that the ECC collection was formed in a colonial context in the 1930s, while the others were formed on the Portugal mainland. The ECC collection results from an ethnographic survey of Angolan tribes recorded with B&W film-based negatives. In this collection, sets of negatives with pink, lemon yellow, greenish, orange brownish, and red brownish hues were found. To identify the origin of such hues, the image layer was analysed by microscale energy-dispersive X-ray fluorescence (μ EDXRF) and scanning electron microscopy with energy-dispersive X-ray spectroscopy (SEM-EDX). Additionally, to assess the base decay and its effect on the formation of hues, the plastic supports were characterized by Fourier transform infrared microscopy (μ FTIR). To complement the assessment of the film-base decay, pH was measured by using combined microelectrodes. The identification of mercury, iodine, chromium, and iron by μ EDXRF allowed correlation of the hues found in the negatives with chemical corrective treatments performed to improve the image quality. SEM-EDX confirmed those results and proved that the elements found were in the photographic emulsion layer. The results obtained are relevant since the hues identified may now be used as markers to indicate the technical work performed on colonial photography. Additionally, the visual and molecular assessment of the negatives’ supports (good to fair condition) allow proposing that the original storage conditions may have had a beneficial contribution to their present condition. 相似文献
15.
《文物保护研究》2013,58(3):108-124
AbstractThe causes of deterioration of the gilded bronze doors of the Baptistery in Florence have been examined and the mechanism of corrosion discussed. An apparatus for thermal conditioning has been proposed and tested either on the north door of the Baptistery, or on samples exposed to the urban atmosphere in Milan and by laboratory tests on an electrochemical model. The effectiveness of the proposed apparatus has been verified by weight losses, by assessing soluble salts, by visual observations, by local chemical microanalyses, by morphological examinations with a scanning electron microscope equipped with an X-spectrometer and by X-ray diffraction. 相似文献
16.
《图书馆管理杂志》2012,52(3-4):244-264
ABSTRACT The effect of digital technology on special collections has been profound and ongoing. The purpose of this article is to explore the effect born digital materials, digitization, and intellectual property have had on special collections in the 21st century. In particular this study will focus on how archival materials have been significantly transformed by interacting with digital technology—providing both challenges in management and opportunities for new online environments to expose this content worldwide. Finally, a research experiment underway at the University of Virginia Library offers a framework that may help highlight some strategies for exploiting new opportunities going forward. 相似文献
17.
AbstractThe ageing of poly(vinyl acetate), PVAc, paints was assessed in works by Ângelo de Sousa and Joaquim Rodrigo. The materials and techniques of the artists were studied through interviews and by chemical analysis. They were both using PVAc in 1961, preparing their own paints by mixing commercial PVAc emulsions with selected colorants. It is shown that in most cases the emulsion employed was based on a PVAc homopolymer and that the paints are in good condition with no signs of deterioration. Finally, this study allowed a comparison to be made between paint samples aged naturally and those aged under artificial conditions. This means that these artificially aged samples may be used as reference materials for PVAc paintings. Both sets exhibit molecular infrared fingerprints that are undistinguishable from an unaged PVAc, suggesting little chemical degradation over 50 years of natural ageing. 相似文献
18.
AbstractThis paper describes the examination and treatment of three polychrome wooden sculptures by Pedro de Mena, an important seventeenth-century Spanish sculptor. These were three interesting cases, involving not only the usual conservation processes but also special situations such as the recovery of a glass eye, the replacement of missing parts and polychromy with the help of old photographs, and the analysis of a sculpture where the flesh colours varied depending on whether or not they had been exposed to sunlight. Our understanding of polychrome sculpture technique is enriched with new information concerning the blues of the cloaks, coloured glazes, and materials added to the paint to achieve different effects. 相似文献
19.
《文物保护研究》2013,58(4):301-304
AbstractThe Ördekli Bath is an important fourteenth-century monument in Bursa, Turkey. The bath partially collapsed during the 1855 earthquakes. The plan, construction techniques and material properties of the bath have been investigated to determine whether they could have been partly responsible for the collapse of the men's frigidarium. In this study, the physical, mechanical and chemical properties of the original materials, sampled from both the stable and unstable parts of the bath, were examined and compared with each other. The test results showed that the building materials used for the bath are incredibly durable. It is therefore proposed that the collapse of the men's frigidarium was not caused by the intrinsic properties of the materials from which the bath was constructed. The collapse is thought to result from flaws in the original design and construction techniques used for the men's frigidarium. 相似文献
20.
《文物保护研究》2013,58(3):156-159
AbstractA blue pigment frequently found in Cuban colonial decorative wall paintings from about 1750 to 1860 has been identified with the aid of thin-layer chromatography, IR spectrometry, X-ray diffraction, thermal analysis, scanning electron microscopy and X-ray microanalysis as ‘Maya blue’. This is the first reported occurrence of Maya blue from a period after the conquest and in a non-Mayan cultural area. 相似文献