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1.
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
2.
Michael Hutter 《Journal of Cultural Economics》1998,22(2-3):99-112
Art museum output changes away from collection maintenance to display events and to the sale of add-on goods. What is the driving force? A series of theoretical explanations are tested: technological changes which favor new input combinations and thus arrive at a changed output; changes in the relative price structure; income flows and their relation to the productivity of the different museum output segments. It will be claimed that changes in the ability of art museums to become productive as part of a communication network are the major driving force of the output change. 相似文献
3.
The environmental radiation level is unknown for objects that have been in collections for decades or centuries. We have performed dose rate measurements in museums representative of ancient castles and palaces. Annual dose rates between 0.3 and 1.3 mGy/year have been measured. There is a correlation between annual rates and the materials close to the dosimeters. The dating of objects by luminescence (TL and OSL) requires accurate knowledge of the dose rate in the minerals under investigation. An estimation of the errors on ages can be deduced from our measurements for typical situations of works of art and museum objects. 相似文献
4.
InMaking the Mummies Dance, Thomas Hoving, former director of the Metropolitan Museum of Art, articulates a blistering defense of his, admittedly minority, view; namely, that trading directly with dealers when selling deaccessioned works of art or adding to museum collections is preferable to buying and selling in the open auction market (Hoving, 1992). Hoving has been severely criticized for his trades during his tenure at the Metropolitan, as well as for his assessment of the market for fine arts, which runs counter to the prevailing views held by many American public officials, professional art critics and museum boards. We shall present a theoretical model in support of Hoving's argument that trades made at auctions may not serve the public interest. We shall also statistically investigate the stochastic processes which characterize the tertiary art market. 相似文献
5.
Zoe Eirini Papliaka Konstantinos S. Andrikopoulos Evangelia A. Varella 《Journal of Cultural Heritage》2010,11(4):381-391
This study examines the materials of a contemporary pictorial artwork, belonging to the Macedonian Museum of Contemporary Art in Thessaloniki (Greece), and needing conservation. The combined use of micro-FTIR and micro-Raman spectroscopy allowed the identification of almost all painting materials. Moreover, the stability of a series of synthetic pigments towards accelerated ageing is investigated in applications using the contemporary binding medium styrene-acrylic copolymer. The pigments in question are: Hansa yellow PY3 and PY74, quinacridone PV19 and PR122, naphthol AS PR112, phthalocyanine green PG7 and blue PB15, dioxazine PV37, van Dyck brown PBk11, ivory black PBk9, and titanium dioxide PW6. The organic pigments were applied alone or mixed with titanium dioxide, in rutile form or as a mixture of rutile/anatase. The experimental swatches were subjected to ageing tests, and subsequently studied as to colour changes by means of colorimetric measurements, and as to the molecular structure differentiations by infrared spectroscopy in reflectance mode. The ageing tests included exposure to high temperature and humidity (90 °C, 60% RH) and to ultraviolet radiation (350 nm, 30 °C and 50% RH, with a substantial temperature increase at 90 °C for 3 days). The greater colour difference is caused by high temperature and humidity, whereas paint layers containing TiO2, and especially the mixture of the forms rutile/anatase, prove very susceptible to ultraviolet radiation, demonstrating a significant colour difference and extended molecular changes. 相似文献
6.
浙江人文荟萃,艺术创作尤其繁荣,自南宋以来即为中国书画重镇。"南宋四家"(李唐、刘松年、马远、夏圭)、赵孟頫、黄公望、徐渭、陈洪绶、任伯年、吴昌硕等都是在中国美术史上无论如何也绕不开的大师级人物。1927年11月,蔡元培选址杭州西子湖畔,于次年建立了中国第一所综合性国立高等艺术学府——国立艺术院(中国美术学院前身)。从此,20世纪的浙江美术发展历程就与这所高等学府相辅相成,可以说是"同呼吸,共命运"。浙江为中国美院的发展提供了良好的传统艺术积淀和氛围,以及众多的优秀师资、生源,而中国美院 相似文献
7.
A procedure to enhance the faded colours of museums artefacts is presented. The method is based on adjusting the spectral profile of the light while maintaining a given white colour of the illumination. The procedure is tested using colour LED clusters and a series of damaged samples and their good condition counterparts. The intensity of the three components of four feasible LED clusters is computed in order to produce white illumination metameric to a white LED light source taken as a reference. Colorimetric calculations are performed to model the colour changes undergone by target colour samples using illumination based on colour LED association with respect to the white LED reference. The model is based on CIELAB specification and allows to optimize the choice of three-colour LED associations that modify the hue and the saturation of a few target colour areas of illuminated samples while other areas are left moderately desaturated. Modelling and experimental visual validation were practically obtained by adjusting the intensity of five calibrated colour LEDs, blue, cyan, green, amber and red, accommodated in a light booth. A visual validation was conducted asking 20 observers to rate the colourfulness appearance of aged inkjet prints under every LED cluster with respect to the colourfulness of their original counterparts under the reference white LED source. The visual assessments agreed with the colorimetric predictions. Finally, a demonstration is shown of the feasibility of the method by simulating the rejuvenated appearance of a natural history specimen of which the museum possesses two differently aged items. 相似文献
8.
9.
Laser removal of surface contaminants on silver threads was carried out using Nd:YAG laser radiations from near infrared (1064 nm) through visible (532 nm) to ultraviolet (266 nm) produced by frequency harmonic generation. The thread in the museum textile was made of silver and silk in which the silver ribbon wraps the bunch of silk fibres. The goal of this work is to find a feasibility to clean the tarnished silver without any damage of the underlying silk since the conventional chemical treatment is problematic to apply in this specific specimen. From the results, it was found that the laser wavelength of 266 nm is most appropriate to clean the silver surface without causing any damage either to the silver or the silk surfaces while 1064 nm wavelength easily causes damages such as melting and burning to the silver as well as the silk inside. 相似文献
10.
The present paper provides a qualitative and quantitative approach to natural lighting design for the Hall of Two Hundred in Palazzo Vecchio (the present town hall) in Florence. Starting from transient simulation of natural lighting inside the Hall in its present state, using the commercial software Radiance, a design proposal was suggested, detecting the optimal conditions for tapestry conservation and maintenance and taking into account their periodical exhibition, designing a proper wall show-case solution. The suggested design does not modify the architecture and structure of the building. The distribution of natural lighting and consequently of the illuminance and luminance inside the ambient, suggested a solution for exhibition of the historical tapestries, which can guarantee not only tapestry conservation but also the Hall structure and its present uses. The design proposal provides a comfortable lighting environment, rehabilitation and improvement of the historical perception and sight of these works of art, under variable sun and sky conditions throughout the year. 相似文献
11.
Babette Babich 《Culture, Theory & Critique》2013,54(2):151-169
This essay revisits Meyer Schapiro's critique of Heidegger's interpretation of Van Gogh's painting of a pair of shoes in order to raise the question of the dispute between art history and philosophy as a contest increasingly ceded to the claim of the expert and the hegemony of the museum as culture and as cult or coded signifier. Following a discussion of museum culture, I offer a hermeneutic and phenomenological reading of Heidegger's ‘Origin of the Work of Art’ and conclude by taking Heidegger's discussion of the strife between earth and world to the site of the ancient temple of Apollo Epicurius at Bassae as an example of the insistent foreclosure of the ancient work of art and the conflicts of the pervasive efforts of modern conservation. 相似文献
12.
Abeer Arafat Maram Na’es Vicky Kantarelou Naseem Haddad Anastasia Giakoumaki Vasilike Argyropoulos Demetrios Anglos Andreas-Germanos Karydas 《Journal of Cultural Heritage》2013,14(3):261-269
Selected copper alloy artefacts from the collection of the Umm Qais museum at Irbid, Jordan, were studied by SEM-EDS analysis, while in situ analyses were performed by means of portable μ-XRF and LIBS spectrometers. Analysis and characterization of base metal and corrosion products of the copper alloyed artefacts were performed in relation to the environmental conditions of the display and as part of the overall assessment of the museum environment. Findings of this study are directed towards guiding a preventive conservation strategy for the copper alloyed artefacts at the Umm Qais museum. 相似文献
13.
《Journal of Cultural Economy》2013,6(6):590-606
ABSTRACTThe relationship between collaboration and innovation in cultural organisations is an emerging topic that has drawn particular attention from scholars and practitioners. The main aim of this study is to assess the role of collaboration in the process of innovation in museum organisations. To achieve this aim, first, we develop a four-domain analytical framework by matching innovation types to cultural production processes to reflect the peculiarities of museum innovation. By applying this framework to the multiple case studies from four Spanish museums, we identify three main motivations (supplementing manpower, compensating for the scarcity of knowledge, improving demand-driven innovation) and four forms of collaboration (teamwork, outsourcing, consortium and conversation) and summarise the different modes of collaboration involved in various domains of production and innovation. An assessment is conducted subsequently to evaluate the effectiveness of existing collaborations in achieving technological and cultural innovation in museums. Finally, a list of implications for museums’ innovation management is presented. 相似文献
14.
Factors influencing the intention to revisit a cultural attraction: The case study of the Museum of Modern and Contemporary Art in Rovereto 总被引：1，自引：0，他引：1
This paper analyses the different factors influencing the intention to revisit a cultural attraction with an application to the Museum for Modern and Contemporary Art (MART) in Rovereto, Italy. The empirical data were obtained from a survey undertaken in 2009 and a zero-truncated count data model is estimated. The findings reveal that sociodemographic characteristics positively influence the probability to return to the museum. Also, as reported in other studies, the temporary exhibitions offered by the museum have a significant impact with an incidence rate ratio almost twice as high. No matter how much visitors spend on accommodation, they are less likely to revisit if they travel in groups, by train or on foot, are far from their town of origin and have spent a long time visiting the museum. 相似文献
15.
A series of light-fastness tests were conducted on a group of ethnographic objects that will be on exhibit at the Smithsonian Institution Arctic Studies Center, a recent addition to the Anchorage Museum at Rasmuson Center in Alaska. The objects surveyed belong to the collections of the Smithsonian National Museum of Natural History and the Smithsonian National Museum of the American Indian. This work was designed as a feasibility study on the use of a micro-fading tester as a non-contact and non-destructive technique to evaluate the light-stability of materials present in ethnographic collections. A broad range of objects containing a wide variety of materials were selected for the study. The materials investigated included a variety of dyes applied on silk, cotton, and wool substrates along with some unusual materials such as tanned skin and seal gut skin. The results from this investigation have allowed establishing exhibition recommendations taking into consideration the sensitivity of each object, light levels in the museum building, and estimated light exposures based on the duration of the exhibit. The micro-fading tester has proven to be a very useful tool for determining the light-stability of ethnographic materials without causing any harm to the objects. Objects containing equivalent materials are usually classified under a general category based on their probable sensitivity to light. However, micro-fading test results have permitted the detection of dissimilarities among some of these objects, which could be associated to variations in prior fading histories, the quality of raw materials, and different preparation methods. 相似文献
16.
Fibre Optics Reflectance Spectroscopy (FORS) is a well-established technique, widely used in the conservation field for in situ investigations and non-invasive diagnostics on traditional artworks. Nevertheless, there is little knowledge on the use of this technique for investigating modern artists materials used in contemporary artworks. The present study, carried out within the wider framework of the EC funded Project “POPART” (Preservation of Plastic ARTefacts in museum collections”), was aimed at investigating the possibility of extending the applications of FORS to synthetic polymers, and proposing this technique as new non-invasive analytical tool for diagnostics on plastic artworks in museum collections. Thus, a real case was selected from the permanent collection of the Conteporary Art Centre “Luigi Pecci” (Prato, Italy). The artwork, created in 1990 by the artist Stefano Arienti, was entirely constituted of expanded polystyrene (EPS) and it showed diffused signs of degradation. The need of singling out the main causes of deterioration in order to prevent further damages was evident. An in situ FORS measurements campaign was performed with the aim of gaining in-depth information about its conservation state and identifying the main agents responsible for the observed degradation. Thanks to the non-invasivity of the technique an extensive spectroscopic characterisation of different areas of the EPS surface could be performed and the spectral data were exploited to build a map of the degraded areas of the artwork. Data acquired in field were compared with those obtained from laboratory test performed on artificially aged EPS samples. These results helped in ascertaining the detrimental actions of the light sources used to back illuminate the artwork. In particular, in this case FORS proved to be effective in detecting EPS alterations before the chromatic effects became visually evident. These results suggested that FORS may be considered as a good candidate to be used for non-invasive investigations also on some modern materials and contemporary artworks. The research was completed with an interview to the artist Stefano Arienti, whose point of view was constructively integrated with the scientific results obtained. This emphasized the importance of an interdisciplinary approach to the solution of conservative problem in the field of contemporary art. 相似文献
17.
Roderick James Weston Gerald J. Smith Suzanne M. Scheele Stephen H. Williams 《Journal of Cultural Heritage》2012,13(4):413-418
Solid-phase microextraction (SPME)–gas chromatography (GC)–mass spectrometry (MS) has been applied to the analysis of acetic acid and furfural that are emitted from the fibres of Phormium tenax (Xanthorrhoeaceae) [New Zealand flax] during degradation. Accelerated hydrothermal ageing of fibres of the Ruawai cultivar of P. tenax for 55 days at 70 °C resulted in the production of acetic acid at a level greater or equal to 1.65 mg g–1 fibre. This corresponds to only 8.5% of the acetyl groups present in the fibres. These groups are an important source of acetic acid, which is capable of damaging the fibres. The rate of production of acetic acid suggests that a heritage object made from the fibres of P. tenax, that was stored in damp ambient conditions, would undergo significant deterioration after a relatively short period. Other volatile products released during ageing included furfural, a series of short to medium chain aliphatic aldehydes that were derived from the oxidation of long chain unsaturated fatty acids on the fibres and a small group of products that were derived from carotenoids. The levels of furfural were determined to be approximately 0.75% of the potential production but at these levels, furfural could contribute to unpleasant odours from unventilated items. Fibres from six cultivars of P. tenax were found to release acetic acid and furfural all at the same rate. The levels of acetic acid that can be generated from these fibres are sufficiently high that low moisture levels and continuous change of air is required to minimize degradation of cultural objects that are made from these fibres and displayed in museum halls. 相似文献
18.
Determining the size of museum subsidies 总被引：1，自引：1，他引：0
Fernand Martin 《Journal of Cultural Economics》1994,18(4):255-270
The justification of a subsidy relies upon the museum's soical value which consists in its use value, its non-use value, and in its externalities. The estimation of these values is based on the consumer sovereignty expressed by the net cash revenues of the museum, the consumer surplus, positive externalities and the willingness to pay taxes. The paper measures these sources of value by the travel cost and contingent valuation methods and by special computations of externalities. The particular museum, used in this paper as a case study, seems to pass the test, i.e, its subsidies do not exceed its social value. 相似文献
19.
《Journal of Cultural Heritage》2014,15(6):698-703
This study reports the acoustic history of the Benevento Roman theatre, from its origins in the Roman period to today. The theatre, built in the second century A.D., was abandoned following historical affairs – e.g. barbaric invasions – and natural events (earthquakes, floods, etc.). The building materials were used during the Langobardic Age for the construction of defensive walls and for the adornment of churches and buildings. During the following centuries some houses were built in the theatre. At the beginning of the 1900s, the dominating houses were demolished in order to bring to the light the buried parts of the theatre and to consolidate the structures. The recovery work ended only in 1950. The theatre is nowadays not only an ancient monument, but also the centre of important social activities with national and international festivals of music, dancing and drama. Using a software for architectural acoustic, and with a 3D theatre virtual model, we predicted the acoustic properties during the Imperial Age. With acoustic measurements carried out in situ, we evaluated the acoustic properties in the current state. 相似文献
20.
John W. O'hagan 《Journal of Cultural Economics》1998,22(2-3):197-207
This paper looks at three issues: the functions of art museums, the role of deaccessioning in this context and the importance of donations of works of art in contributing to the collection function. Donor restrictions it is argued should not be allowed to unduly influence the policy of an art museum, including that in relation to deaccessioning: this is especially the case given that often the state has paid, in the form of a tax expenditure, for the bulk of such donations. 相似文献