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1.
Jens Stenger Narayan Khandekar Annie Wilker Katya Kallsen Daniel P. Kirby Katherine Eremin 《文物保护研究》2016,61(6):331-347
Mark Rothko's Harvard Murals are a series of paintings on canvas commissioned by Harvard University and created in the early 1960s. The present study investigates Rothko's creative process, materials, and technique with ultraviolet and infrared imaging, analytical chemistry, cross-sectional analysis, and comparisons with the literature. Infrared and Raman spectroscopy imaging of cross sections help with the chemical mapping of the paint stratifications. A comparison of paper studies, studies on canvas, and the final five works installed give a detailed insight into Rothko's editing process. The intimate relationship between works on paper and canvas is traced by uncovering a back and forth between the two media, and the mixing of dry pigment with binder is a common theme for works on both supports. Motif developments, changes, and distinct painting campaigns become apparent with ultraviolet induced visible fluorescence imaging and infrared reflected infrared digital photography. Color measurements and microfading experiments give insight into the stability and light sensitivity of the materials used by Rothko in the Harvard Murals. 相似文献
2.
《文物保护研究》2013,58(4):299-314
AbstractInstrumental-based color matching using non-destructive reflection spectrophotometry can be used as an aid in pigment selection for inpainting. This is useful when metamerism is of concern, particularly in modern art where the number of colorants available to artists and conservators is quite large. Simplified methods have been developed for art conservation where a single tint of each pigment mixed with white is required to define a pigment's optical properties based on the single-constant form of Kubelka-Munk (K-M) turbid media theory. Theoretically, this simplification can lead to errors in pigment selection for dark colors and colors not containing a white pigment. Instead, the two-constant form of K-M theory can be used where the model assumptions more closely match the optics of inpainting materials. The two methods were compared using four acrylic emulsion paints with a range of pigment absorption and scattering properties. It was found that the simplified method was inadequate for paints with appreciable and spectrally selective scattering, and as a consequence, pigment selection may result in a greater number of pigments than actually required. It was also found that only two samples per pigment were required to implement the two-constant technique: the mass tone and a tint. 相似文献
3.
The raw canvas paintings of Morris Louis and similar color field works, with their extreme vulnerability to staining and structural damage, present a challenge for safe and successful treatment design, often testing the bounds of our abilities as conservators and stimulating expansion of treatment methodologies. The ability to draw from specialized textile and painting conservation techniques, and to understand their long-term implications and impact on aesthetic perception, is essential for the conservator of these modern paintings. A large Morris Louis, Untitled (Floral), held as a non-accessioned work at the Museum of Fine Arts, Houston, provided an ideal example to explore the intersection of minimally interventive treatments with the need for aesthetic perfection. 相似文献
4.
While working together on tradition-based and contemporary works at the Smithsonian's National Museum of African Art (NMAfA) and in private practice, the authors found that their expertise in ethnographic conservation can be applied to the conservation of contemporary works. The treatment approach to ethnographic works has evolved over decades, shifting from alteration of original surfaces and heavy restoration to an emphasis on preserving the original integrity of the artwork through minimal intervention. This paper describes the evolution of ethnographic object conservation regarding surface alteration, while specifically focusing on African objects, and discusses applications of this approach to the conservation of contemporary art. The historical change in treatment attitudes is presented using examples from NMAfA's collections to underscore why the profession developed a minimal intervention approach and to argue for the relevance of this approach to related contemporary media. 相似文献
5.
AbstractThe Forbes Prize was established in 1958 to honour Edward Waldo Forbes, Director Emeritus of the Fogg Art Museum, Harvard University, and the first Honorary Fellow of IIC. It is awarded by the Council for conspicuous services to conservation and the recipient customarily delivers a lecture during the Institute's international congress. The recipient of the Forbes Prize 2004 was Andreas Burmester. 相似文献
6.
Myriam Eveno Erin Mysak Katharina Müller Gilles Bastian Nathalie Pincas Ina Reiche 《文物保护研究》2016,61(2):102-112
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
7.
Roel Hendrickx Ester S.B. Ferreira Jaap J. Boon Guylaine Desmarais Dominique Derome Lora Angelova 《文物保护研究》2017,62(7):393-409
Moisture is a driving factor in the long-term mechanical deterioration of canvas paintings, as well as for a number of physico–chemical degradation processes. Since the 1990s a number of publications have addressed the equilibrium hygroscopic uptake and the hygro-mechanical deformation of linen canvas, oil paint, animal glue, and ground paint. In order to visualise and quantify the dynamic behaviour of these materials combined in a painting mock-up or reconstruction, we have performed custom-designed experiments with neutron radiography and nuclear magnetic resonance (NMR) imaging. This paper reports how both techniques were used to obtain spatially and temporally resolved information on moisture content, during alternate exposure to high and low relative humidity, or in contact with liquids of varying water activities. We observed how the canvas, which is the dominant component in terms of volumetric moisture uptake, absorbs and dries rapidly, and, due to its low vapour resistance, allows for vapour transfer towards the ground layer. Moisture desorption was generally found to be faster than absorption. The presence of sizing glue leads to a local increase of moisture content. It was observed that lining a painting with an extra canvas results in a damping effect: i.e. absorption and drying are significantly slowed down. The results obtained by NMR are complementary to neutron radiography in that they allow accurate monitoring of water ingress in contact with a liquid reservoir. Quantitative results are in good agreement with adsorption isotherms. The findings can be used for risk analysis of paintings exposed to changing micro-climates or subjected to conservation treatments using water. Future studies addressing moisture-driven deformation of paintings can make use of the proposed experimental techniques. 相似文献
8.
《Library Collections, Acquisitions, and Technical Services》2007,31(3-4):119-137
After reviewing the historical significance of competitive rowing at Harvard and Yale universities and the literature dealing with rowing as a competitive sport, this article describes and reports the results of a checklist evaluation and simulated semi-availability study of the rowing collections of the Harvard and Yale University library systems. The results indicate, contrary to what might be expected, that major academic libraries can have noteworthy holdings in a specialized sports area. Harvard has a stronger rowing collection with a higher overall availability rate than does Yale. Comparison with a previous evaluation of the Free Library of Philadelphia's (FLP) rowing collection, based on the identical checklist, indicated its holdings are a bit stronger than Harvard's and considerably better than Yale's, but not as strong as the combined holdings of both Harvard and Yale. 相似文献
9.
This paper discusses issues surrounding the conservation of contemporary art within the private sector using a real example, a freestanding hinged and lacquered screen. The artwork developed severe damage whilst on display in a private collection when a section of the lacquer cracked and delaminated from the bottom of one of the panels, taking paint with it. This significantly compromised its pristine appearance, and preliminary observations suggested that restoration using traditional consolidation, retouching and varnishing techniques was highly unlikely to be successful. Initial contact with the artist led to negotiation with the original fabricator's studio. This highlighted the challenges involved in reinstating the badly damaged paint and resin using an approach that would still be acceptable within the code of ethics of the conservation profession, and the potential problems of sharing information with experts who are not conservators. Part painting, part sculpture and part furniture, the screen does not fall into the standard divisions of conservation practice. Its eventual treatment demanded collaboration between specialists in paintings, sculpture, lacquer work, and conservation science. The paper addresses three areas of importance to the conservation of contemporary art: the challenges of working as an interdisciplinary team to deal with complex (and sometimes conflicting) ethical approaches and material requirements; the difficulty in balancing the desire to preserve original materials with the need to produce a pristine result, and the importance of the artist's ratification of conservation to the market value of the work. 相似文献
10.
《文物保护研究》2013,58(2):85-94
AbstractThe role of colourmen’s canvas stamps in dating paintings is discussed. A series of 16 Winsor and Newton canvas stamps is illustrated in conjunction with a dating table, the resulting system being of practical use for dating paintings bearing Winsor and Newton canvas stamps. 相似文献
11.
ABSTRACT The restoration of the Roman building of the third-fourth century CE called Minerva Medica, in Rome, highlighted a problem concerning the choice of the color of the bricks for integration. Current conservation practice in Italy favours a restoration that as much as possible is consistent with the original but leaves some visible differences to a careful observer. Color measurement is usually performed using portable spectrocolorimeters that provide the reflectance spectrum and also colorimetric parameters such as L* a* b*, h* L* C*, RGB, etc. In other sectors, such as for olive oils, for wines, and also for the colors of commercial products, sensory panels are used to provide results of difference/similarity and are known to be similar to observations made by consumers. In this study, data from a top quality spectrocolorimeter and from a sensory panel are compared. Twenty non-professional people were involved in the comparison between seven restoration bricks and three ancient Roman bricks from the studied site. Observations took place in a room with controlled lighting, and each observer filled out a sensory card using about 2000 known comparison colors. Comparison of the results was carried out with graphic methods and by means of cluster analysis. The results show that the sensory panel could be a useful alternative to colorimetry, while cluster analysis allowed a significant response to questions posed by conservation professionals, and was confirmed by other graphic-statistical methods. 相似文献
12.
Sanchita Balachandran 《文物保护研究》2019,64(1):24-41
The tenure of archaeological chemist Dr. S. Paramasivan (1903–1987) at the Chemical Conservation Laboratory of the Madras Government Museum, India, sheds light on the development of the field of conservation science outside the scholarly centers of Europe and North America. Between 1930 and 1946, Paramasivan defined and broadened the role of a scientist responsible for the care and study of cultural heritage. From building and equipping his own laboratories to serve the museum's many departments, to collaborating with scientists, commercial metallurgists, and even religious practitioners across south India, Paramasivan's work is marked by a sense that the conservation scientist could and should practice beyond a laboratory's typical confines. In fact, working in this way created opportunities not only to physically transform ancient objects through conservation interventions, but also transform the understanding of ancient objects. In tracing his correspondence with Rutherford J. Gettens at the Fogg Art Museum, this paper provides insight into the complexity of defining the work of the conservation scientist even at one of the intellectual centers of the nascent field. Reflecting on Paramasivan's early career provides perspective on enduring challenges in conservation, and offers a way forward for a more expansive, collaborative, and community-engaged practice. 相似文献
13.
This paper describes the use of a customized algorithm for the colorization of historical black and white photographs documenting earlier states of paintings. This study specifically focuses on Pablo Picasso's mid-century Mediterranean masterpiece La Joie de Vivre, 1946 (Musée Picasso, Antibes, France). The custom-designed algorithm allows computer-controlled spreading of color information on a digital image of black and white historical photographs to obtain accurate color renditions. Expert observation of the present state of the painting, coupled with stratigraphic information from cross sections allows the attribution of color information to selected pixels in the digitized images. The algorithm uses the localized color information and the grayscale intensities of the black and white historical photographs to formulate a set of equations for the missing color values of the remaining pixels. The computational resolution of such equations allows an accurate colorization that preserves brushwork and shading. This new method is proposed as a valuable alternative to the use of commercial software to apply flat areas of color, which is currently the most common practice for colorization efforts in the conservation community. Availability of such colorized images enhances the art-historical understanding of the works and might lead to better-informed treatment. 相似文献
14.
《文物保护研究》2013,58(1):76-80
AbstractThe reasons for the often poor condition of Viceregal paintings and sculptures are examined. The conservation of four works is described, chosen largely because they had typical problems and would benefit from recently developed techniques. The treatments were: the preliminary lining of very cupped paintings, before using moisture to stretch the original canvas and allow the paint layer to lie flat again; lining badly torn paintings on a thin, semi-rigid, transparent support and using the old stretcher, in order to preserve the structure and aesthetic impression of the painting as much as possible; masking to protect susceptible fine lines against solvent action during cleaning; blending disturbing passages of the paint layer like blanching, irreducible stains, singeing and pentimenti into the colour scheme without overpainting; repairing broken pieces of sculpture with bamboo dowels. The study is accompanied by an iconographical discussion of colonial works of art. 相似文献
15.
Based on a nationwide investigation of the current state of preservation of museum objects in China, around 51% of the 35 million museum objects show different degrees of deterioration. Although treatment of objects is necessary, treatment alone is not sufficient. In China's present situation, preventing damage to museum objects is much more cost-effective than allowing damage to happen and then treating it. The number of museums in China is increasing very fast: 23?000 exhibitions are held, 600 million visits are made, and 35?000 archaeological objects are excavated nationwide, each year. At the same time, these museums are widely distributed and have different levels of resources. We need both technical knowledge and preventive conservation to safeguard our precious museum objects. This paper introduces research achievements in preventive conservation, and traces the development of this discipline in China. Starting from the classification of museums in China, legislation is detailed on preventive measures such as selecting appropriate light sources, controlling temperature, relative humidity, light damage, and pollutants. This paper describes achievements in monitoring, analysis, evaluation, and control of museum environments in China. It also proposes future directions for museum environment studies during China's twelfth Five-Year Plan. 相似文献
16.
Jenny Dickens Antonio Rava Maria Perla Colombini Marcello Picollo Will Shank 《文物保护研究》2016,61(3):29-37
Keith Haring painted large outdoor murals in Melbourne, Australia, in 1984 (the Collingwood Mural) and at Pisa in Italy in 1989 (Tuttomondo). Recently, both murals have been analyzed and conserved by similar teams of conservators and scientists. The original appearance of the Collingwood Mural was severely compromised, and the original materials much degraded. Tuttomondo was somewhat altered visually but with less physical damage. There were initial suggestions to repaint Tuttomondo but these were dissipated by good communication of the analytical findings. In Melbourne, there was a high-profile and emotive campaign to have the Collingwood Mural repainted. Conservators and government were heavily criticized for supposedly ignoring the artist's wishes. However, detailed research into Haring's published statements revealed that conservation does respect his artistic aims. For the Collingwood Mural, conservators had to consider whether to reduce the visual disturbances which obscured the works. Practices documented by conservation theorists and routinely undertaken by conservators guided the decision to apply mechanically reversible re-integration. This made Haring's unique ‘line’ visible and accessible again, and pleased the public. The controversies showed how conservators must communicate clearly and tactfully; appreciate the feelings of the public and involve communities in conservation, without compromising rigorous scientific and curatorial research. 相似文献
17.
The aim of this paper was to discuss the role of food preservation science and technology in the conservation of complex food-based installations. By introducing the principles of food science and food preservation into the decision-making process for the conservation of contemporary art, more insight on conservation and presentation possibilities was created. Considering the installation Piece in Ghent (P.I.G.) by Jason Rhoades, which contains French fries, the principles of food preservation science were evaluated. The preservation of the original foods was discussed against the potential of a reproduction of the foods. The context for conservation was determined by analysing the artist's intention, the production method of the artwork, and the degradation processes of the food materials. From the results obtained, guidelines to preserve the ‘original’ foods were proposed, as well as guidelines to reproduce foods that can last longer. The study demonstrated that food preservation science contributed to the development of effective strategies for the conservation of contemporary food-based art. 相似文献
18.
Rufus P. Turner's The Illustrated Dictionary of Electronics (Blue Ridge Summit, Pa.: TAB Books, 1980---$19.95/14.95) Sam Fedida and Rex Malik's The Viewdata Revolution (New York: John Wiley, 1980--- $34.95) The latest from the Harvard Program on Information Resources Policy (200 Aiken, Harvard University, Cambridge, Mass. 02138) 相似文献
19.
Sanneke Stigter 《文物保护研究》2016,61(3):227-232
This paper proposes autoethnography as a new approach for conservators. It allows for a process-based assessment that foregrounds the conservator's personal input during conservation treatments and installation procedures. It addresses the cognitive processes that steer towards the desired result in a chain of micro-level decisions. Two examples relating to the work of conceptual artist Jan Dibbets illustrate the approach. One provides insight into the conservator's deliberations during a conservation treatment, the other demonstrates the co-constructed nature of the artist interview as a negotiated text. These conservator's testimonies include and enforce the reflexivity that is needed to remain critical, not only when managing complex artworks. The methodological approach of autoethnography enriches the conservation of cultural heritage in general. 相似文献
20.
ABSTRACTLighting a cultural heritage artifact requires balancing visual perception with preventive conservation, by providing the best lighting (in terms of spectral distribution and quantity) to enable the viewer to appreciate details and color, while limiting photo-induced degradation. The paper outlines the methodology applied by a multi-disciplinary team while lighting the Shroud of Turin at its last public exhibition in 2015. The methodology considered the special requirements of the Shroud, including exposure to ultraviolet light, while providing appropriate display conditions that would meet audience expectations. The desired appearance (readability of the body image and color) was defined with the help of Shroud researchers and confirmed by subjective tests, while appropriate light levels for preservation were set in agreement with standard requirements and using knowledge of the degradation of linen in visible and UV light. The installation provided a controlled environment and a managed visitor route to the Shroud, assuring excellent perception of both details and color, with the lowest illuminance level about 15?lx. 相似文献