共查询到20条相似文献，搜索用时 31 毫秒
1.
《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
2.
《文物保护研究》2013,58(4):145-161
AbstractFor the study of Italian paintings and their techniques the examination of the binding media (glue, egg, oil) has considerable importance, but with the usual scientific methods of analysis the results have never been conclusive. Each sample may include more than one layer of paint and many constituents; egg yolk alone contains protein, oils, cholesterol. In the present project, in order to identify these diverse materials and also to eliminate interference from contamination (glue, wax or oil) used in later restoration processes, it was decided to mount original paint samples, including a bit of the ground, as cross-sections in a polyester resin embedding material and then to make the constituents visible under the microscope by using selective staining techniques. Only in this way could the foreign materials be distinguished from the original and the structure of the original layers be understood. Finally, other tests such as the fluorescent antibody technique and thin-layer chromatography could be applied to confirm the results of the staining. In removing over 500 specimens fronl paintings in the Walters Art Gallery precautions were taken to assure sample authenticity, and during the testing at the University of Michigan careful methods of standardization and control were devised, using both fresh and old samples of egg tempera and oil. Two stains, Ponceau S for protein and Sudan Black B for oil, provided the most workable means of identifying the binding media in the majority of the samples studied. A final report will have to await correlation of the material, but certain observations may be made at this stage: (a) 14th century, in primarily tempera paintings a limited use of oil was found associated with a specific green pigment, copper resinate; (b)15th century, the majority of the paintings were entirely of egg tempera, but layers containing oil in the underpainting or in the above-mentioned copper green occurred more frequently; (c)16th century, egg tempera was not replaced by oil, but both were used in a complex layering technique, the media varying layer by layer and area by area; (d)17th century, the mixed technique gradually declined, but egg tempera continued to be associated with the painting of flesh and occasional highlights. 相似文献
3.
AbstractIt is not well known that the mountings of Tibetan paintings have an iconography and a cosmogeneric relationship to the painting. Hence, a painting without its mounting is incomplete. The iconography is described and the cosmogeneric relationships are discussed, leading to the suggestion that, where possible, the original mounting should be conserved or a logical replacement made. The structure and manner of construction of mountings is shown and described in order to provide a basis for repairs. Four major style varieties are shown as an additional guide in reconstruction. A glossary of Tibetan terms is included for reference. 相似文献
4.
《文物保护研究》2013,58(2):44-108
AbstractThomas Bardwell (1704–67), an English portrait painter, wrote a technical treatise entitled The Practice of Painting and Perspective Made Easy which was published in 1756. The section on painting deals exclusively with the oil technique and may be considered one of the most original productions of its kind written in England. A total of 153 paint samples were taken from 15 of Bardwell’s paintings dating between 1740 and 1766, the better part of his active career. Through cross-sections, and likewise numerous analyses, made from these paint samples it was possible to reconstruct Bardwell’s actual practice. This in turn could be compared with the suggested technique as explained in his book. Bardwell’s actual practice follows his written advice rather closely; however, in general it was discovered to be less complicated. 相似文献
5.
AbstractUsing written accounts of observed methods and materials of Tibetan paintings as well as examination of numerous examples, the techniques of Tibetan paintings, especially paintings on cloth, are discussed. Brief mention is made of the regional styles of Tibetan painting, since the techniques used in the production of these paintings apparently vary throughout Tibet and China. Various types of supports are mentioned and analyses of the types of cloths are given. The preparation and materials used in the ground, pigments and preliminary drawings and prints are discussed. The iconometrics of Tibetan painting are mentioned, since the total conception of the object is dependent upon them. 相似文献
6.
《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
7.
ABSTRACT This article presents historical and scientific analysis, as well as the conservation treatment of a newly rediscovered Roman wall painting fragment, now in the collection of the Harvard Art Museums. Although the piece has not previously been published, it was among a group of fragments removed from a Roman villa near Boscotrecase in southern Italy, an area that has been key to the study of Roman wall painting and other decoration. Technical imaging confirms the use of painting techniques consistent with other high-quality paintings in the area. Materials analysis revealed a palette consistent with published findings of Roman wall paintings, including abundant use of Egyptian blue and green earth. Of interest was the use of Egyptian blue as an optical brightener in select white passages. Despite the high quality of the painting, no cinnabar was present, and all red passages were achieved using hematite. Multiple different white minerals were identified including calcite, aragonite, and gypsum. The widespread presence of gypsum is unusual and may point to alteration. 相似文献
8.
AbstractThe treatment of flaking pigment on two paintings, one on ceramic and the other on glass, is described; a brief history of painting on glass and ceramics places these works in context. The treatments are discussed in relation to other types of treatment for paintings on similar rigid supports. The longevity of the conservation methods used is discussed, as are the results of re-examination of the objects some years after the completion of the treatments. 相似文献
9.
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
10.
《文物保护研究》2013,58(4):209-214
AbstractWell-cleaned canvas fibres from two oil paintings have been dated by radiocarbon. Although the dates agree with the expected ages of the paintings to a first approximation, uncertainties in the date arise from ambiguities (or ‘wiggles’) in the calibration curve. Only by introducing additional information about the paintings into the calculations can more precise results be obtained. Two paintings have been dated in this way, using the radiocarbon dating technique in conjunction with dendrochronological and art historical information. 相似文献
11.
ABSTRACTThe impact of relative humidity (RH) and temperature variation on the mechanical behaviour of paintings on canvas was investigated, based on the various environmental recommendations that are applied by museums and institutions worldwide. Paint samples were constructed based on the works of twentieth-century artists such as Soulages and Riopelle. The various samples are based on criteria such as paint media, additives, pigment type, canvas type, thickness, type of application, and drying time. Once they are fully dry, paint films behave as elastic, viscoelastic, or viscoplastic materials depending on the chemical nature of their components. These properties, as well as tensile strength, were determined by a series of tensile tests. Other samples were included, originating from discarded oil paintings on canvas from the seventeenth and nineteenth centuries. To carry out mechanical tests under controlled conditions of temperature and RH, a climatic chamber was built around the column of a universal testing machine. Samples were submitted to stress relaxation tests to observe their response to changes in environmental conditions. RH was increased from 20 to 90% and temperature from 15 to 60°C. Reactivity diagrams were drawn based on the results. The endurance limit under mechanical fatigue was determined from the diagrams and helped define the risks associated with each painting type when exposed to the accepted environmental recommendations. 相似文献
12.
《文物保护研究》2012,57(1):14-27
ABSTRACTZinc (carboxylate) soaps, formed by reactions between zinc oxide (ZnO) and fatty acids in a drying oil, are known to cause deterioration in the paint layers of modern and contemporary oil paintings. This study investigates zinc carboxylates that developed in an oil painting test panel designed to mimic the aging and degradation encountered in actual works of art. Following accelerated and natural aging, protrusions were noted on the surface of the test panel. A large protrusion with erupted gel features was extracted from the test panel, mounted in top view, and then cut to reveal the sample's cross section. The gel features, which resulted from the unreacted oil binder's separation from the paint matrix, facilitated zinc carboxylate formation. Using reflectance µ-FTIR and SEM-EDX analysis, the morphologies and spatial distributions of zinc carboxylates within the gel regions of the protrusion were studied. A concentration gradient of zinc within the gel material was observed in the cross-sectional view, indicating patterns of zinc carboxylate formation and migration. 相似文献
13.
《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
14.
《文物保护研究》2013,58(2):127-132
AbstractThe authors describe the application of TV holography, also known as electronic speckle pattern interferometry (ESPI), to the examination of wall paintings. The equipment usesfibre-optic illumination and a solid-state camera connected to a computer. Images made after the wall painting has been warmed slightly with an infrared lamp are compared with reference images; differences in the speckle pattern can be used to identify cracks and subsurface detachments. The system is robust and portable, allowing it to be used for the in situ investigation of wall paintings, including those exposed externally. It can also be used to monitor the condition of the work of art over time and to evaluate the success of any treatment. 相似文献
15.
AbstractThe dendrochronological method for dating wood was specifically modified and applied for the first time to the age determination of oak panels of 17th-century paintings. It is now possible to give to the art historian an exact terminus post because of the determination of the time at which the tree was felled to be used in the manufacture of a panel. Results of extensive comparative studies and considerations of the method of manufacture of such panels often lead to an objective chronological determination of the period of creation of the painting. However, it is only possible to date a painting in this way; the authenticity of the artist cannot be established. Potential contradictions between the results of dendrochronological dating and style criticism must be resolved by the art historian. 相似文献
16.
Abstract Furunori (aged paste) is a conservation material that is used for Japanese painting conservation. Furunori is a smoother and weaker adhesive than fresh paste, and it enables the surfaces to be easily peeled apart, with application of water, in a future conservation. Due to these characteristics, furunori has traditionally been used for attaching the backing paper to paintings in Japan, because it is considered that furunori causes less stress on the paintings than fresh paste. This study aims to clarify the characteristics of furunori based on chemical analysis and examination of the microorganisms involved in the early stage of furunori generation. Based on the results obtained, a polysaccharide similar to furunori was prepared. 相似文献
17.
《文物保护研究》2013,58(1):11-12
AbstractNew equipment is described which allows precise location of the X-ray source under the portion of interest of a painting undergoing radiography. It utilizes an electromagnetic wave transmitter placed on the painting and four sensors on the movable carriage containing the X-ray tube which process the signals and indicate, by an LED display, the necessary movements of the carriage. 相似文献
18.
《文物保护研究》2013,58(2):103-109
AbstractA prototype inspection system has been tested which makes use of electronic speckle pattern interferometry with computer image processing, for deformation and stress analysis and for the location and analysis of defects in museum objects. Two different examples have been chosen: a nineteenth-century oil painting on a wood panel and a seventeenth-century enamelled terracotta vase. The method can give quite accurate metrological information; it is also particularly promising for rapid qualitative analysis. 相似文献
19.
《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
20.
《文物保护研究》2013,58(2):62-72
AbstractAlthough smalt, a glass, might be expected to behave as a stable pigment, discolouration of smalt-containing paint layers has been observed. Early references from the literature are cited which mention the discolouration of smalt in oil media. Originally blue layers on paintings have changed into dull grey or greyish-green. Experiments suggest the following factors for this discolouration: low refractive index of the pigment compared with that of oil media; interaction of alkali content or cobalt content with oil and oleo-resinous media; the possibility of similar reactions with resin- or oil-resin varnishes in certain conditions. Discolouration may also occur if smalt is mixed with other pigments, or added as a drier or as an adulterant.A proper understanding of the mechanism of the deterioration would require further research by more sophisticated methods. 相似文献