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《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
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The American Girl (AG) collection is an enormously successful line of girls merchandise that includes dolls, books, and accessories. Through mail-order catalogs, AG has become a part of the cultural universe of young girls in the United States. We examined the dolls, books, accouterments, and catalogs as texts and, therefore, sites of cultural construction, attempting to uncover the ways in which nationality, history, race/ethnicity, consumerism, and gender are immersed in these products. Our study underscores how the AG dolls and products render the world for its young consumers. This rendering is not innocent. Inclusions, exclusions, and hierarchies are naturalized, offering a particular view of race, gender, and the imagined community that is embedded in social practices and power relations that help determine our ways of seeing and imagining from a very young age. 相似文献
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《文物保护研究》2013,58(4):370-400
AbstractAn account is given of the examination of the polychromed sculpture in the Hedin altarpiece (1466) in Rothenburg old T. (W Germany). Analytical methods used, such as microscopy, wet chemical analysis, infrared spectrophotometry, thin-layer chromatography and gas-liquid chromatography are briefly described. Criteria for identification are summarized. Pigments identified are azurite, indigo, verdigris, green earth, madder, vermilion, red lead, lead white and carbon black. The binding medium is glue in matt areas. In other parts paints are mostly based on a resinous medium with varying amounts of oil. The materials identified in the applique relief brocades are compared with recipes described in the Liber Illuministarius from Tegernsee. Silver foil is used in producing translucent paint. 相似文献
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《文物保护研究》2013,58(1):16-22
AbstractThis paper discusses the technical examination of Christ in Martyrdom, painted in 1690 by Fra. Ricardo Pilar for the Monastery of São Bento, Rio de Janeiro, Brazil. The painting, which hangs in the sacristy, has recently been restored; this restoration and three previous restorations are described. The characteristic pose of Christ in the composition has been found in mediaeval German sculpture and was popular in Spanish painting in the sixteenth and seventeenth centuries. The techniques used for Christ in Martyrdom have been compared with contemporary Spanish and Portuguese treatises and selected paintings in the collection of the National Gallery, London, to illustrate Pilar's original style. The palette and the linseed oil medium are typical of Spanish painting and are likely to have been imported from Europe. 相似文献
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《文物保护研究》2013,58(1):63-64
AbstractWhite crystals have been found to grow on the surface of a number of wax artifacts. Analysis was carried out on samples of wax and crystals taken from a Victorian wax fruit arrangement displaying crystalline growth. The possible relationship between crystallization, cracking and changes in temperature is explored. 相似文献
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《文物保护研究》2013,58(4):304-315
AbstractA polychromed sculpture was restored and examined. The shrine is made from pine-wood and the sculpture from oak. The ground consists of chalk and animal glue; the pigments are: azurite, a green copper pigment, yellow organic colouring material, orpiment, red lead, vermilion, red organic colouring material, iron oxide red, lead white and charred matter (charcoal ?). Metals used are gold and silver. The medium is on a drying-oil base to which a protein-containing material is added. Generally, the colours were built up in two layers. There is an extensive use of imitation gold, while the use of gold foil is limited to the areas of hair and the flowers on the garments.In general, the wood in all parts of the object was in good condition and no general impregnation was needed. Cracks in the shrine were filled in with wood or rejoined. The sculpture, which was split in two, was glued together. The condition of the polychromy was relatively good, and only local treatment was required. 相似文献
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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
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《文物保护研究》2013,58(4):181-196
AbstractSince the late nineteenth century, museums in New Zealand have intermittently painted Maori wood sculpture matt red in the mistaken belief that they were continuing a tradition of red-coloured carving pre-dating the arrival of the European in New Zealand. Conservation work at AucklandMuseum has restored some of these back to their original surfaces. The article describes the history of the carvings under discussion, the conservation carried out, and some of the ramifications of the results achieved. 相似文献
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《文物保护研究》2013,58(4):201-205
AbstractWe have reacted Georgia marble in sulfur dioxide (SO2) enriched atmospheres and calculated the reaction rate constant. This constant was derived from surface reduction data, obtained by leaching thereaction product from samples exposed for different periods of time. Application of this constant to marble weathered in known ambient levels of sulfur dioxide (SO2) and relative humidity, allows the prediction of the thickness of the resulting gypsum crust formed over a given period of time. We have found that the crust grows outwards due to calciumions which migrate from the interior and then react with sulfur dioxide at the sample surface. Thus, anytreatment of the sulfated marble should include the considerations that the crust only masks the marble surface and is not an integral part of the original sculpture, and that cavities exist in the underlying layer of marble from which the calcium ions were selectively depleted. 相似文献
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《文物保护研究》2013,58(2):97-106
AbstractThe Danish sculptor Anne Marie Carl-Nielsen (1863–1945) often prepared three-dimensional models in wax before producing her works of art. The Carl Nielsen Museum in Odense keeps a unique collection of around 200 of the artist's fragile wax models. In 2008 the entire collection was examined, documented, X-ray radiographed, photographed, and conserved. Analyses of five figurines by attenuated total reflectance-Fourier transform infrared spectroscopy, optical microscopy, and scanning electron microscopy-energy dispersive X-ray spectroscopy showed two different kinds of wax mixtures, one containing beeswax and potato or maize starch as filler, and the other consisting of gypsum, zinc stearate, and a greasy substance. During the examination a specific deterioration phenomenon was noticed in the areas where the wax models had been strengthened with internal metal armatures. A chemical reaction between the wax mixture and the copper containing armature has caused an intense greenish colouring of the wax as well as creating a soft and almost liquid consistency and formation of copper(II) carboxylate salts. Based on an original recipe from Anne Marie Carl-Nielsen, a replica of one of the wax mixtures was produced and examined with respect to its infrared spectrum and its modelling properties. 相似文献
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《文物保护研究》2013,58(3):34-40
AbstractIn preparation for a major exhibition at the National Gallery of Scotland in 2005, a thorough technical examination of VISION OF THE SERMON by Paul Gauguin was undertaken for the first time since the painting's acquisition in 1925. An inter-disciplinary approach to the research was adopted in an attempt to assess how innovative were the materials and techniques employed by Gauguin in this iconic work. The importance of the unique customs and religious piety of Brittany in 1888 to the iconography of Vision is discussed, as well as the various ways in which the original appearance of the painting has altered over time. Changes have occurred through both the natural ageing of materials and as a result of human intervention, particularly an aqueous lining and reframing. Analysis suggests that the paint medium consists of several different drying oils, confounding years of speculation that it may contain wax. The discovery that the original surface coating contains beeswax and tallow has grave implications for the feasibility of future conservation treatments. Following Gauguin's accusation of plagiarism by Emile Bernard, a tentative comparison is made between Vision and the latter's Breton Women in the Meadow. This reveals that while compositional similarities exist, Vision is far more complex, both in conception and execution. 相似文献
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《文物保护研究》2013,58(3):126-131
AbstractThe restoration of two early eighteenth-century marble statues by Antonio Corradini is described. Methylene chloride was used to remove plant stains. Sepiolite (magnesium silicate) and water drew out the dirt, and thick incrustations were removed with an ultrasonic dental tool. Incorrectly restored parts were remodelled according to contemporary prints, not in marble but using a casting procedure. 相似文献
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《文物保护研究》2013,58(3):206-214
AbstractThe article is a concise report on the art historical as well as technical aspects of thang-ka paintings. It also describes briefly the traditional methods and materials employed in the execution of these paintings. The artists’ materials described in the literature are compared with actual findings as a result of analysis of pigments, binding media and other materials involved in the execution of the thang-ka paintings. An outline of the causes of deterioration of thang-kas is also mentioned. Finally, an extensive account is given of the method of treatment carried out in the author's laboratory. 相似文献
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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
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《文物保护研究》2013,58(4):316-326
AbstractA survey is given of polychromed sculpture in Sweden. Historical aspects of the care of sculptures are discussed. Many retables have been imported from Lübeck and Antwerp. Polychromed sculptures are often well preserved because there was hardly any iconoclasm in Sweden. Many need treatment however due to various forms of neglect. A special case—the triptych of Kärrbo (c. 1500)—is described in detail from a technical point of view. 相似文献
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《文物保护研究》2013,58(3):175-182
AbstractThe Perkin-Elmer infrared microspectrometer consists of a basic, double-beam spectrometer M 13, on which a microscopical system model 85 with reflecting optics can be mounted. The microspectrometer can be used only for single-beam measurements. Pressed in a KBr-pellet, with a radius of 0·5 mm, the amount of sample of a pure material can be decreased to 2 μg. A sample with different paint-layers can be embedded in a wax with little infrared absorption and can be cut with the help of a microtome in slices with a thickness of 20 μ. Every paint-layer can be measured separately by means of an adjustable diaphragm in the microscope. A sample area of 37·5 ? 500 μ is sufficient to obtain an identifiable spectrum. 相似文献
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Clara Bratt Lauridsen Lola Wøhlk Hansen Theis Brock-Nannestad Jesper Bendix Kim Pilkjær Simonsen 《文物保护研究》2017,62(8):445-455
A study was conducted to investigate white bloom found on more than 130 polyvinyl chloride (PVC) dolls from the 1980s and 1990s produced by the Danish factory Dan Hill Plast A/S. The bloom was discovered on the dolls after 10 years of storage in a climate controlled facility with average temperature at 11–12°C and a relative humidity at 50?±?5%. Analysis of the dolls and the bloom was carried out using Fourier transform infrared spectroscopy, which revealed that the bloom consisted primarily of stearyl alcohol. Subsequent analysis with gas chromatography–mass spectrometry showed a minor presence of cetyl alcohol. It is proposed that the alcohol had been added as a lubricant to aid flow during processing. The stearyl alcohol was almost completely reabsorbed into the PVC dolls following one month storage at room temperature, suggesting that low temperature storage played a decisive role in the appearance of the bloom. It is likely that a decrease in temperature has led to a decrease in compatibility of the stearyl alcohol in the PVC compound, thus promoting its exudation. This paper also discusses an extreme bloom of white crystals on other PVC dolls of unknown provenance. 相似文献