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1.
The aim of this study is to develop a laboratory technique to simulate a natural ageing of canvas paintings adopting artificial ageing methods in air (thermal oxidation), in the absence of light. Four models of canvas paintings aged up to 315 years are considered. Paintings are constituted of oil film on oil ground layer, oil film on tempera ground layer, tempera film on tempera ground layer or by tempera film on oil ground layer. Surface strength and the colour of the paintings and the degree of polymerization (DP) of linen canvas were evaluated at different steps of ageing. The degradative result was estimated as the DP of linen canvas after prefixed times of microbial attack.  相似文献   

2.
Forty-six Streptomyces strains were isolated from paintings and stone surfaces from Tell Basta and Tanis tombs (80 km south-east Cairo, Egypt). Eight of these strains were selected to determine their sensitivity against 13 antibiotics. In general, high levels of resistance could be observed. Gentamycin, spiramycin and doxycycline were the most effective antibiotics against the majority of strains under study. Due to the observed antibiotic resistances, gamma irradiation was studied as a possible alternative to inhibit microbial growth. Isolated bacteria were exposed to different doses of gamma irradiation (5, 10, 15, 20 and 25 kGy). The growth of all Streptomyces isolates except S. canarius was completely inhibited at 25 kGy. The applied doses of gamma irradiation did not cause any observable alterations or colour changes to pigments and binding media (arabic gum, animal glue and egg-yolk) used in the paintings.  相似文献   

3.
Nanolime dispersed in 2-propanol was extensively used for the consolidation of wall paintings. The knowledge of the advances of this methodology dealing with all the possible effects associated with the nanolime new material in conservation is fundamental to assess and improve the technique. In this paper, four different dispersions of Ca(OH)2 nanoparticles were characterised by Small Angle X-rays Scattering technique (SAXS) and Transmission Electron Microscopy (TEM) in order to achieve information on size, shape, polydispersity, agglomeration, and crystal structure (by SAED patterns) of the particles. Once characterised, the dispersions were tested in two different case studies, the Carceri dello Steri in Palermo with their graffiti and the 18th century lunettes at the SS. Giuda e Simone Cloister, Corniola (Empoli) with their lime-based mural paintings. The treated samples were characterised in relationship to either their morphology and surface chemical composition by Scanning Electron Microscopy coupled with Energy Dispersive X-rays spectroscopy (SEM-EDX), or their water absorption and mechanical properties (resistance to material abrasion). The results obtained showed that all the dispersions were nanometrically structured and their application succeeded in recovering the mechanical properties of the painting or graffito layers, not altering their permeability to water and keeping perfectly the wall transpiration. However, the dispersions constituted of the nanoparticles obtained via a synthesis able to control size and shape of the Ca(OH)2 particles resulted in a better performance in situ, even if the differences found by SAXS and TEM were slight.  相似文献   

4.
Due to sensitivity of historic papers and their conservation importance, it is necessary to produce appropriate environment condition for preservation purposes. TiO2 nanoparticles have been evaluated for multiple applications in the conservation of paper because of TiO2 nanoparticles special characteristics for UV filtration, decomposing of air pollutants and their antifungal and antibacterial properties. Firstly, TiO2 nanoparticles synthesized in sol-gel process, and then have been coated on glass surface with spray-pyrolysis method. Then, coated glass used for preparing display box for protecting paper-art-works. Also, non-coated glass was used as a blank sample and assessments have been done on the filter paper (Whatman®) as a standard for paper-art-works. Temperature, humidity and light accelerated aging were done on samples in both coated and uncoated boxes. Results showed more tension strength and lower oxidation of paper and also, lower growth of fungi and bacteria in coated glassy box. Furthermore, madder dyed papers into coated box showed lower fading after UV exposure.  相似文献   

5.
This article presents an empirical study of paintings that have failed to meet their reserve price at auction. In the art trade, it is often claimed that when an advertised item goes unsold at auction, it will sell for less in the future. We have constructed a new dataset specifically for the purpose of testing this proposition. To preview our results, we find that paintings which come to auction and failed return significantly less when they are eventually sold than those paintings that have not been advertised at auction between sales. These lower returns may occur because of common value effects, idiosyncratic downward trends in tastes, or changes in the seller’s reserve price.
Kathryn GraddyEmail:
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6.
This paper presents the first extensive investigation of the composition of both the organic and inorganic media used by Lorenzo Lotto, one of the outstanding artists of the Italian Renaissance in the early 16th century. By investigating four paintings from The State Hermitage Museum collection (Saint-Petersburg, Russia), new insights into the artist's painting techniques were obtained, which contribute to our understanding of the transition from egg tempera to oil painting techniques that took place in Italian paintings between the 15th to the mid 16th century. Inorganic materials were determined using SEM-EDX and PLM, revealing information on the artist's palette. Of particular note was the powdered colourless glass found in the priming layer of the Madonna delle Grazie, which was most likely used as dryer. Organic materials were analysed in individual paint layers using GC-MS, and revealed a mature use of drying oils as paint binders, skilfully mixed with other organic materials and inorganic driers, to obtain the desired aesthetical and technical qualities of the paint. The study revealed that Lotto used the tempera grassa technique through most of his creative life.  相似文献   

7.
Giovanni Fattori (Livorno 1825–Firenze 1908) is the most representative artist of the Macchiaioli's current, an early group of Italian plein-air artists, whose work anticipates, in the xixth century, that of their younger contemporaries, the French Impressionists. The study, performed by a multidisciplinary team made up of scientists and conservators, presents the results of the scientific characterization carried out on a group of 10 paintings made by Fattori between 1854 and 1893 and shows the way he used complex mixtures of a large variety of traditional and synthetic pigments, ranging from lead white, found pure and also extended with calcium carbonate, natural barite and gypsum to zinc white, from red ochre to cinnabar and vermilion, from yellow ochre and Naples yellow to chrome yellow, cadmium yellow and zinc yellow, combined with many other ones reported in details. This paper highlights the evolution of his painting technique during a time of great technological and social innovations and puts forward some hypothesis on his awareness about manufactured pigments, i.e. tube paints recently introduced into the artists’ circles. The wide range of pigments and their different quality among the same synthetic products suggest that the artist used all the available materials, and that picking out the pigments he retained the early xixth century artists techniques, such as the use of mineral earths and Prussian blue, similarly to his contemporary Italian artists Federico Zandomeneghi and Telemaco Signorini, but he also experimented new and peculiar pigment mixtures in the making of “colored darks” and an innovative use of the grounds in the final composition, that are also distinctive features of the French Impressionists. This work is aimed at contributing to overcome the lack of a comprehensive overview on the widespread historical and scientific data collected up to now on the Italian paintings in the xixth century, which has been severely underestimated with respect to previous art movements.  相似文献   

8.
Acetic and formic acid vapors emitted from woodwork in historical organs are very important corrosive agents for lead pipes. These acids are slowly released from the wood both during playing and when the pipes are silent. To inhibit this emission process, the wood surface can be modified, by creating a protective layer with alkaline features. However, a coating of wood is not recommended since this could modify the appearance and create a layer not perfectly compatible with the substrate. For this reason, we propose to use some innovative nanotechnology that has been successfully applied for the deacidification of wood samples coming from the Vasa shipwreck. Application of calcium (or magnesium) hydroxide nanoparticles, with sizes ranging from 30–150 nm, allowed a homogeneous distribution of particles through the surface layer of wood simply by soaking (or spraying) it in a alcoholic (or mixed with less polar solvents) dispersion of nanoparticles. Nanoparticles do not modify the wood appearance and distribute randomly within the first layers of wood. The small size of particles accounts for the high reactivity with CO2 from the air, to give the alkaline reserve of carbonates that provide high efficacy in the neutralization of gaseous acids. The emission of volatile organic compounds (VOC) from the treated wood was determined by using an emission test cell, Field and Laboratory Emission Cell (FLEC). The results show that the emissions of acetic acid vapor from nanoparticles treated wood was very low (< 70 μg/m2 h) during the first 13 month. In contrast, untreated wood emitted high concentrations of acetic acid vapor (200–400 μg/m2 h).  相似文献   

9.
Paintings are in essence about visual features of varying significance from which differences in their market prices originate. Studies normally investigate derivative sources of painting price determinants, which is reasonably understandable because the appreciation of an image is quite subjective. This paper provides an operational solution to the quantification of paintings based on a new concept termed as “visual autocorrelation” of prices (VAP). Considering the current empirical framework of spatial and temporal autocorrelation of prices, and using data on the paintings of two abstract expressionist artists, empirical results support the coherence of the VAP concept.  相似文献   

10.
孙国维 《文化交流》2014,(11):32-35
浙籍著名画家徐纯中,系美国洛杉矶加州大学博士生导师和复旦大学上海视觉艺术学院教授、美国炎黄艺术研究院和上海炎黄书画院院长、上海中外文化艺术交流协会副会长。今年国庆节前记者采访了这位享誉美国的＂爱心画家＂。巨幅油画捐赠美国灾区2001年9月11日,基地组织的恐怖分子袭击美国纽约曼哈顿世界贸易中心＂双子大厦＂,在该事件中共有2988人遇难,并造成巨大的经济损失。此后,导致了国际范围内的多国合作和人道主义的爱心活动。  相似文献   

11.
The cultural atmosphere in a society is accumulated over time through the consumption of cultural services and is diminished through depreciation. Using cultural capital (e.g., cultural heritage, paintings, music scores), cultural services are provided by the cultural-services industry (e.g., museums, opera houses); cultural capital is enlarged by new cultural goods created by individuals. Individuals’ utilities are positively affected by the cultural services they consume, by the cultural goods they create and by the cultural atmosphere and the cultural capital accumulated in society. In a laissez-faire economy, individuals tend to ignore the positive external effects of their cultural-services consumption and creation of cultural goods on other individuals via accumulating cultural atmosphere and cultural capital. Consequently, suboptimally little cultural atmosphere and cultural capital will be accumulated. The efficient intertemporal allocation can be restored by introducing an appropriate subsidy that not only stimulates consumers’ demand for cultural services and the creation of new cultural goods but also enhances the accumulation of cultural atmosphere and cultural capital.
Sao-Wen ChengEmail: Phone: +49-271-7404534
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12.
Populations of Coptotermes havilandi and Heterotermes sp. were detected in soil and structures of San Cristóbal and El Morro of the San Juan National Historic Site. This was the first record of C. havilandi in Puerto Rico. Baits containing a chitin synthesis inhibitor, hexaflumuron, were applied using in-ground and aboveground bait stations. It took 2–8 months to eliminate three populations of C. havilandi, but 13–15 months were required to eliminate four populations of Heterotermes sp. Due to the vast area of the San Juan National Historic Site, there are probably many more unseen populations of subterranean termites. There is a need for a routine monitoring program for early detection of subterranean termite infestations so that baits can be applied to eliminate detectable populations before severe and irreversible damage occurs to this historic site.  相似文献   

13.
The possibility to use laser radiation to clean historical objects has been established for several years. A complex case and widely met problem are polychromes. They react (chemically as also physically) very sensitively towards laser radiation. In this study, the reaction of pigments was investigated in dependency on the incident wavelength (Nd:YAG, λ = 1064, 532, 355, 266 nm) and energy density. The chemical and also the physical interactions were investigated. In this work, the following analytical methods were utilised: differential thermal analysis (DTA), colour measurements (CIE-L*a*b*), X-ray diffraction (XRD) and energy dispersive X-ray analysis (EDX). It turned out that the colour change of the pigments can have different origins: they can for instance be induced by laser induced oxidation, reduction or phase changing. Most of the pigments show reactions at very low energy densities (H < 100 mJ cm–2). Overall the fundamental wavelength of the Nd:YAG-laser (λ = 1064 nm) proved to be most suitable, whereas λ = 355 nm shows most influence on the colour change.  相似文献   

14.
This paper applies a perpetual option-pricing model in examining historical returns on paintings. A key development of the paper is formalizing a structural relationship between rational investment decisions and historical returns to art ownership. In this regard the options’ framework yields choice-theoretic implications on the relationship among risk, convenience yields from art ownership, and investor ‘hurdle prices’—prices triggering the purchase and sale of artworks at auction. The methodology offers testable implications concerning the adjustment dynamics in the relationship between historical art returns and risk-free yields. The implications are examined in a case study of paintings of major art schools using error correction methodology. We find evidence of a long-run equilibrium relationship between painting types and risk-free bond yields, and some indication of buyers and sellers preferring exchange environments not prone to “speculative resales.”
Carlos A. UlibarriEmail:
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15.
The efficiency of a recently described non-aqueous method for paper deacidification using Ca(OH)2 nanoparticles in isopropanol was evaluated by pH and colorimetric measurements and by the analysis of the degree of polymerization (DP). Samples of plain paper and paper with iron gall ink were tested. The results were compared with non treated samples and samples submitted to the traditional treatment with saturated aqueous Ca(OH)2 solution. By comparing the two conservation methods, the aqueous one shows higher neutralization reaction kinetics than the non-aqueous one. The iron gall ink samples maintain their coloration closer to the original after the non-aqueous Ca(OH)2 nanoparticles treatment, in contrary to the aqueous treatment that changes the ink aesthetics considerably. Artificial aging tests revealed a general increase in the aging stability of deacidified paper samples. The Ca(OH)2 nanoparticles treatment can be an alternative for papers who can not be treated by the classical aqueous treatment, e.g. papers with water soluble components.  相似文献   

16.
The Sos Furrighesos necropolis (Anela) is considered to be one of the most important funerary monuments in Sardinia. The hypogeum consists of various graves, called Domus de Janas, which are decorated with Neolithic mural paintings and sculptures. This work was undertaken in order to clarify which techniques were used in the past, through the identification of pigments and binding media. The samples, scraped off from the paint surface, were studied by using various analytical techniques in order to characterise both the pigments and the binding media. The main problems concerning the characterisation were due to the small sizes (1–5 mg) of the samples and their complex nature. As regards pigments, X-ray diffraction and scanning electron microscopy-energy dispersive X-ray spectrometry analyses were performed on the samples. These techniques are well suited to the characterisation of inorganic pigments and have led to the identification of the red pigment as haematite. In order to characterise the organic binders, the samples were analysed by a procedure based on a gas chromatography–mass spectrometry technique, which allows proteinaceous and lipidic media determination in the same sample. In most of the samples, the presence of egg was suggested.  相似文献   

17.
In the present article an attempt is made to elucidate the organic colorants commonly encountered in the Russian avant-garde painting palette by a combined art historical, documentary and physicochemical investigation, and to examine the influence of environmental factors on the chromatic profile originally sought by the artist. The overall approach based on written sources is confirmed by measurements on relevant paintings. The documentary research deals with the influences of Orthodox iconography, folkloric art, and occidental modernist tendencies on the Russian avant-garde palette, and studies the effects of contradictory historical processes in the chromatic profile of individual paintings. In the experimental section a series of colorants are investigated concerning the effects of accelerated ageing on experimental painting tables, prepared as watercolor and gouache layers on paper ground. The resulting samples are subjected to colorimetric and spectroscopic measurements, and analogous analytical procedures are applied on samples taken from selected paintings. A systematic comparative study of all data permits evaluation of the materials used in terms of their stability towards extrinsic factors, and proposal of degradation routes in order to assist museum curators and conservators in every concrete case related to the broad spectrum of pigments examined.  相似文献   

18.
The paper presents our results concerning a complex investigation by reflectance spectroscopy (RS) and Electron Paramagnetic Resonance (EPR) of the defects induced by gamma irradiation in 22 different historical pigments. Gamma irradiation is used to destroy microflora and insects which are involved in biodeterioration processes of art works such as paintings. At the same time, it can induce defects i.e. color centers which are likely to modify the original painting colors by altering the embedded pigments. Accordingly, RS was used to quantify, by means of CIELAB color space, the contribution of irradiation defects to the pigments color changes, while EPR spectroscopy, in view of paramagnetic properties of color centers, was used to confirm their presence after irradiation. Our investigations showed that, excepting marble dust whose color alteration was still observable after 3 months, color changes induced by irradiation in all other pigments disappeared after about 30–40 days. In addition, RS as well as EPR measurements suggest that color changes are related to irradiation color centers, this finding being confirmed by the coincidence, within experimental uncertainties, of the half-life time color changes as obtained by these methods.  相似文献   

19.
Leaves of common deciduous trees: the horse chestnut (Aesculus hippocastanum) and linden (Tilia spp.) from the park, near one of the most important cultural institutions, the National Library of Serbia, were studied as bioaccumulators of heavy metal (Cr, Fe, Ni, Zn, Pb, Cu, V, As and Cd) air pollution. The leaf samples were collected from the urban park exposed to the exhaust of heavy traffic. The May–September heavy metal accumulation in the leaves, and their temporal trends, were assayed in a multi-year period (2002–2006). Comparing the obtained concentration of the investigated elements from the beginning to the end of growing seasons, a significant rate of accumulation was determined for a majority of measured elements, and it was concluded that these tree species (horse chestnut and linden) can be used as bioaccumulators of the investigated heavy metals. The SEM-EDAX analysis of individual particles deposited on the leaves showed that the 50–60% belong to a class of fine particles (D < 2 μm), mainly of anthropogenic origin. Thus, the investigated tree species could be grown as a natural barrier against urban air pollution in the vicinity of libraries, museums and other buildings for cultural heritage storage.  相似文献   

20.
We analyze art pricing in a unique dataset on Madrid inventories between 1600 and 1750. We estimate a price index for the Spanish art market that is used for a general historical analysis of art during this period, showing a large increase in the real price of paintings during the XVII century. Then we examine the price differential between domestic and foreign paintings: At the beginning of the century domestic production was priced substantially below imported paintings, but the price gap was gradually reduced during the century. We argue that such a price convergence was not the fruit of variations in real exchange rate, relative supply or home bias, but was associated with increasing prices for the new domestic painters of the XVII century. Increasing remuneration for painting may have induced artistic innovations by domestic producers and created the conditions for the development of the Siglo de Oro of Spanish art.  相似文献   

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