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1.
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 The mural, measuring approximately 11?×?6?m, painted in 1954, was removed from where it was originally made, in consequence of a fire that affected the place.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
2.
《文物保护研究》2013,58(4):207-217
AbstractMaterials from 38 paintings by Francis Bacon (1909–1992), including 21 complete works and 17 partially destroyed canvases are investigated. Observations are made of the artist's technique and details are compiled of the supports used. Samples of paint and priming were taken for analysis using polarized light microscopy, Fourier transform infrared spectroscopy (FTIR), gas chromatography–mass spectrometry (GC–MS), pyrolysis–GC–MS (Py–GC–MS), and scanning electron microscopy coupled with energy dispersive X-ray analysis (SEM–EDX). Analysis of priming layers appears to show that the priming composition correlates well with particular ranges of dates. A fairly limited range of materials are found, with many of the same pigments found in works spanning Bacon's career, though other pigments were introduced at different stages in his career. Oil paints were used consistently for the painting of figures, but household paints were increasingly used in backgrounds from the 1960s onwards. A variety of different synthetic media are found in later works, including household acrylic paints and spray paints. Increased knowledge of Bacon’s materials is expected to be of great value to conservators caring for the work of this highly significant artist, and is already helping in the authentication of works attributed to him. 相似文献
3.
《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
4.
《文物保护研究》2013,58(3):183-186
AbstractA yellowish copper vanadate mineral has been found in Swedish mural paintings from the fifteenth century. Small patches occur in malachite-green paint. Thirteen samples from five churches have been analyzed by optical and scanning electron microscopy with energy–dispersive X-ray spectrometry, transmission electron microscopy, X-ray powder diffraction, and polarized light microscopy. The substance is evidently the rather uncommon mineral volborthite, with the chemical formula Cu3V2O7(OH)2.2H2O. Very small quantities have also been noted for another mineral, presumably calcio-volborthite, CaCu(VO4)(OH), also named tangeite. The results show that the conservator should always be observant for pigments not earlier noticed or reported. There are some old mines in Central Europe, e.g. in Germany, which contain malachite as well as copper vanadate minerals, and this is probably the origin of the yellow patches in the paintings. 相似文献
5.
Pigments on a figurative wall painting in Poudeh village, central Iran, were analysed by micro X-ray fluorescence spectrometry, micro Raman spectroscopy, scanning electron microscopy coupled with energy dispersive X-ray spectrometry, micro Fourier transform infrared spectroscopy, X-ray diffractometry, and polarised light microscopy. Red lead, ultramarine blue, chrome yellow, brass powder, white huntite, and lammerite (Cu3(AsO4)2) were identified as red, blue, yellow, golden, white, and green pigments, respectively, while gypsum and barite were used as extender. In addition, glushinskite (MgC2O4·2H2O) was identified as a deterioration product of white huntite. Moreover, several analytical studies suggested that lammerite was a degradation product of emerald green (Cu(CH3COO)2·3Cu(AsO2)2) originally used as green pigment in the painting. The formation of lammerite is suggested to be due to the migration of arsenic throughout the paint layer. Based on the pigments identified, the wall painting is dated from the mid-nineteenth century to the mid-twentieth century. 相似文献
6.
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
7.
《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
8.
Jennifer Elaine Steele 《Public Library Quarterly》2020,39(5):434-456
ABSTRACT In 1998, a group of adult library patrons and individuals in Loudoun County, Virginia, brought a suit against library trustees, board members, and the director of the county’s public library, claiming that the library’s use of Internet blocking software was an infringement on their First Amendment rights, leading to the federal court case Mainstream Loudoun v. Board of Trustees of the Loudoun County Library (1998). Using an in-depth case study approach and going beyond a review of the court documents, the author uses a series of qualitative interviews with individuals connected to the court case to gather more in-depth information regarding events surrounding this case of censorship in public libraries and investigate the phenomenon of librarians acting as censors themselves. 相似文献
9.
《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
10.
《文物保护研究》2013,58(3):204-215
AbstractThree paintings from a group of thirty-two attributed to Jackson Pollock (1912–1956) were examined at the Harvard Art Museums. Paint samples were examined using Raman spectroscopy, scanning electron microscopy–energy dispersive X-ray spectrometry (SEM-EDX), laser desorption ionization time-of-flight mass spectroscopy (LDI-MS), Fourier transform infrared spectroscopy (FTIR), pyrolysis–gas chromatography–mass spectrometry (py-GCMS) and carbon-14 (C-14) dating. Carbon-14 dating detected no 'bomb' carbon from atmospheric atomic testing. All three paintings contained pigments and media available only after Pollock's death, including PR 254, PY151, and an emulsion copolymer of n-butyl methacrylate and iso-butyl methacrylate. 相似文献
11.
《文物保护研究》2013,58(1):158-160
AbstractConservation and technical issues pertaining to the investigation of six mediaeval Spanish ceramic lustre fragments are reported. Assessment of methods and materials to replicate the lustre glazes indicates that the spray application of nacreous (pearlescent) pigments in combination with conventional inorganic pigments and transparent colorants in an acrylic lacquer gives good results. The salient optical features oflustre glazes and nacreous pigments are discussed. Scanning electron microscopy in conjunction with electron diffraction studies are employed to characterize the glaze and ceramic body composition of the fragments. Transmission electron microscopy indicates that a uniform dispersion of copper crystallites, c. 2-4nm in diameter, is responsible for the lustre effect in one sherd. 相似文献
12.
《文物保护研究》2013,58(2):54-61
AbstractSamples of pigments from excavated wall paintings of Vergina’s second tomb were analyzed by the non-destructive methods of X-ray fluorescence, X-ray diffraction and mineralogical microscopic examinations. The results showed that one type of blue pigment was used, the well-known Egyptian blue. The red pigments, except one which is haematite, are cinnabar (HgS), and the grey pigments are carbon. None of the black pigments contained manganese compounds. 相似文献
13.
《文物保护研究》2013,58(3):117-122
AbstractSamples of pigments from a wall-painting of a house of the first Pompeian style (400 Bc–168 BC) found in Pella, Greece, were analyzed by the non-destructive methods of X-ray fluorescence and X-ray diffraction. Red pigments were identified as cinnabar and iron oxide pigments (haematite and goethite). Blue was the well-known Egyptian blue and yellow was identified as goethite. A characteristic feature of the wall-painting was the presenceof green earth, i.e. celadonite and glauconite, encountered for the first time in this series of investigations. 相似文献
14.
Stefano Gambari 《Cataloging & classification quarterly》2013,51(5-6):455-486
AbstractThis article deals with the figure of Antonio Panizzi, considered as an Italian patriot and English librarian. It highlights the constant attention he devoted to the Italian political events throughout his life: from his arrival in London (1823) as a political exile, to his informal ambassador in United Kingdom, a role that allowed him to lobby the political class and the press on behalf of the cause of Italian patriots forced in the prisons of Kingdom of the Two Sicilies. The article describes the multifaceted library activity carried out by Panizzi at the British Library, of which he became Principal Librarian in 1856. Panizzi is considered to be the first Promethean Librarian of the 19th century, a great reformer with new ideas on library services, innovative methodologies, and working practices in librarianship. Panizzi rigorously carried out the activity of librarian at the British Library without ever forgetting the need for a free, unified, and democratic Italian state. 相似文献
15.
《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
16.
《The Reference Librarian》2013,54(83-84):263-276
SUMMARY This article will look at the historical development of cooperative service and resource sharing in libraries. Interlibrary Loan, union catalogs, library consortia, and electronic reference, have all impacted library work in the past century. The dissolving of walls is one of the main themes of library history in the 20th century. The developments of these years has clearly put the ability to use both human and institutional resources at the heart of contemporary library service. In looking at how this came to be, this article will examine developments in societal infrastructure and technology that made cooperative schemes both possible and economical. This article will also discuss how these developments have forced libraries to consider cooperative ways to respond to their primary service function. Lastly, conclusions will be drawn about how the emerging cooperative environment is changing the educational role of the librarian. 相似文献
17.
AbstractJapanese sculptures are made of wood, dry lacquer, clay, gilt bronze and stone. Buddhistic statues, made of wood, are the most abundant. The painting techniques of the wooden sculptures, including ground coating, pigments, and application of Japanese lacquer, are described, and typical examples of Buddhistic statues are given. Specific case studies on a clay statue and a wooden sculpture are made. 相似文献
18.
《文物保护研究》2013,58(3):91-106
AbstractSaint Michael’s at Hildesheim, a Benedictine cloister church built in the eleventh century, was provided, towards the end of the twelfth century, with a painted ceiling consisting of oak boards. It represents the so-called ‘root of Jesse’, the genealogical tree of Jesus Christ. The ceiling, preserved in its original state except for a small part which was destroyed during the seventeenth century, was painted in lime-casein tempera. It was taken down in 1943 to protect it from destruction through air raids. It was restored in the years from 1955 to 1960. Later repaints were taken off and the original state regained. The pigments examined were identified as those known from the High Middle ,Ages, i.e. Lapis Lazuli, Orpiment, Natural Vermilion, Charcoal, Green Earth, Ochre, Verdigris as well as Lime White, which has been described by Cennini as ‘Bianco di San Giovanni’. Lead White has not been identified in any of the specimens analysed. 相似文献
19.
AbstractThere are a few studies in library literature that explore accessibility issues from the perspective of students who use assistive technologies for accessibility. As we shared in part one of this two-part series in our column, librarians have extensively explored through usability studies with WAVE and other audit tools how accessible library websites and databases are when using assistive technologies like JAWS. In this column, we asked our blind student worker to journal his experiences navigating our library’s databases. We found this student navigated the databases better than we anticipated. While his experiences regarding the accessibility of the libraries’ electronic services varied, common issues he experienced included navigational issues from menus with expanding capabilities, documents that were not scanned with OCR, and images without alternative text. 相似文献
20.
《文物保护研究》2013,58(3):107-119
AbstractSamples of pigments from excavated wall-paintings at the great civilization center of the Greek Bronze Age, Thera, have been analysed by the non-destructive methods of X-ray fluorescence, X-ray diffraction and mineralogical microscopic examination. The results showed that three types of blue pigment were used, namely the well-known Egyptian blue, glaucophane, which is a sodium magnesium (or iron) aluminium hydroxide silicate which occurs as a natural mineral on Santorini, and a mixture of Egyptian blue and glaucophane. Black pigments were rather puzzling in that some of them are carbon as expected, and some are manganese compounds. The rest of the pigments are very similar to those previously examined from Mycenae and Knossos. 相似文献