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1.
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   

2.
Funori is a polysaccharide-based adhesive extracted from seaweeds and is generally used in the conservation of easel paintings for the consolidation of matte paint. It is appreciated since it does not change the optical properties of the consolidated materials and its mechanical properties do not change with ageing. Because of these characteristics, this research focused on the evaluation of Funori as a suitable material for the consolidation of powdering paint layers in wall paintings. Tests were carried out where Funori was applied onto painted plaster replicas, which were then artificially aged and investigated in order to evaluate the material's behaviour according to the specific properties and conditions of wall paintings. The effectiveness of the consolidation was evaluated from the point of view of adhesive power, as well as the interactions of Funori with some physical properties of the consolidated painting, such as colour and water vapour permeability and, therefore, its resistance to accelerated ageing and biological colonization. In addition, the behaviour of Funori applied on plasters contaminated with soluble salts, a frequent condition in wall paintings, was also evaluated.  相似文献   

3.
One of the most important artistic circles in the first half of the fifteenth-century in Austria was the so-called ‘Older Villach's workshop’, founded by Frederic of Villach, a painter who was considered a master of fresco technique. A technical study was made of a number of wall painting cycles by the workshop of Frederic of Villach, first, to gain a broader knowledge of the painting techniques employed, and second, to allow comparison with a further group of wall paintings in Slovenia, which are stylistically related to this workshop and have been studied previously. Of special interest were artworks attributed to Frederic's son Johannes of Ljubljana and a number of other anonymous painters that show important similarities to Frederic's works. Samples of plasters and pigments were analysed by optical microscopy, scanning electron microscopy with energy dispersive X-ray spectroscopy, Fourier transform infrared spectroscopy, and X-ray diffraction. An important difference in the composition of plasters was discovered between the selected artistic groups. The palette used comprised predominantly earth and other mineral pigments. The construction of the paintings from incisions and preparatory drawings to the final modelling is basically similar and shows workshop connections. The principal painting technique was a fresco. The results contribute to a wider knowledge concerning the materials and techniques employed in gothic wall paintings in the Alpine region and offer new information that can be used to inform the future conservation of these selected wall paintings.  相似文献   

4.
The technical study of wall paintings from the Buddhist temple complex at Nako, Western Himalayas, was one of the basic preconditions required for designing an appropriate conservation strategy. The complex, composed of four temples from the eleventh–twelfth century, offered a unique possibility to carry out a comprehensive research of technology and painting materials used in early and later western Tibetan Buddhist wall paintings as well as a comparative assessment with murals from other sites in the Western Himalayas. The study was based on extensive fieldwork and an integrated analytical approach comprising a wide range of non-destructive and micro-destructive methods. Answering the question of the coevality of paintings in the smaller temples with other original murals, the precise characterisation of binding media, the detection of the yellow dye gamboge and natural minerals posnjakite and brochantite identified for the first time in Himalayan murals, the clarification of technology of metal decoration, and the making of raised elements are some of the most exciting results which emerged from the research.  相似文献   

5.
A great number of Central Asian wall paintings, archeological materials, architectural fragments, and textiles, as well as painting fragments on silk and paper, make up the so called Turfan Collection at the Asian Art Museum in Berlin. The largest part of the collection comes from the Kucha region, a very important cultural center in the third to ninth centuries. Between 1902 and 1914, four German expeditions traveled along the northern Silk Road. During these expeditions, wall paintings were detached from their original settings in Buddhist cave complexes. This paper reports a technical study of a wall painting, existing in eight fragments, from the Buddhist cave no. 40 (Ritterhöhle). Its original painted surface is soot blackened and largely illegible. Grünwedel, leader of the first and third expeditions, described the almost complete destruction of the rediscovered temple complex and evidence of fire damage. The aim of this case study is to identify the materials used for the wall paintings. Furthermore, soot deposits as well as materials from conservation interventions were of interest. Non-invasive analyses were preferred but a limited number of samples were taken to provide more precise information on the painting technique. By employing optical and scanning electron microscopy, energy dispersive X-ray spectroscopy, micro X-ray fluorescence spectroscopy, X-ray diffraction analysis, and Raman spectroscopy, a layer sequence of earthen render, a ground layer made of gypsum, and a paint layer containing a variety of inorganic pigments were identified.  相似文献   

6.
An assemblage of Buddhist wall paintings and sculptures dating to the twelfth/early thirteenth century are found distributed over the interiors of the temple complex at Sumda Chun, Ladakh. Detailed investigations carried out as part of a conservation project shed light on their antiquity and production technology. The sculptures are constructed with fine mud mortar applied over a wooden armature and affixed to the walls without any support from the ground. In both the sculptures and wall paintings, the paint layer is applied over a thin gypsum ground that functions as a white colourant where unpainted. For the paint layer, azurite, vermilion, and orpiment are the dominant mineral pigments utilized. Minium (red lead) has been used for preparatory drawings and as paint. Highlighting of special areas was achieved using a laminate of tin–lead alloy and gold on relief. Overall the material and techniques employed in the execution of the wall paintings and sculptures are consistent with those reported for other early sites in the region.  相似文献   

7.
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   

8.
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   

9.
The origin(s) and role(s) of metal soaps in paints are a worldwide concern today. These hybrid compounds, containing both fatty acid chains and metals associated with a carboxylate function, are increasingly identified in paints. As reviewed in the first part of this work, the presence of metal soaps in paints is differently interpreted in scientific publications: metal soaps are sometimes considered to play a positive role as anchor points, during paint drying processes; they can also be considered as responsible for many degradation processes (protrusions, efflorescences, darkening, etc.). Their origins are also interpreted in various ways. In some paintings (in particular from the twentieth century), they have sometimes introduced on purpose, as additives, to modify the physical properties of the painting materials. In older paintings, metal soaps are usually thought to result from an uncontrolled reaction of oil with lead-based pigments, in particular lead white, red lead, and lead tin yellow. In the second part of this work, the review of historical recipes of lead-based paint shows an important number of recipes based on controlled mixing of oil with lead driers. In the third part, the experimental reproduction of such traditional recipes using walnut oil and litharge (PbO) shows that lead soaps can be formed, both in about one hour at ～100°C, or in about one month at room temperature. It shows as well that after a few years, litharge is no longer detected in the paint medium, while different lead carbonates are. Finally, the micro-infrared spectroscopy and micro-X-ray diffraction re-analysis of protrusions from a nine-year model painting shows together with lead soaps, the presence of Pb5(CO3)3(OH)2O (‘synthetic plumbonacrite’), an unusual phase recently observed in a protrusion from a painting by Vincent Van Gogh. This work highlights (i) the multiple origins and roles of metal soaps in paints and (ii) the importance of combining the analysis of fragments from historical paintings with the analysis and reproduction of historical recipes. In particular, we show that the components detected today in historical paintings may severely differ from those originally used or prepared by the painter, complicating the assessment of the painter's intentions. More than the presence of metal soaps, the key questions to be tackled should be about their origins and (re)mobilization.  相似文献   

10.
Built in the early seventeenth century, the Chapel of Our Lady of Guia is one of the most important heritage sites in the historic centre of Macau. Its architectural features and wall paintings with Chinese and Western characteristics reflect the historical status of Macau as a hub for cultural exchange between China and the West. Since signs of deterioration have been observed on the wall paintings in recent years, it is very urgent and necessary to conserve them. In this paper, we will introduce the modern diagnostic techniques applied in the course of their conservation, including 3D laser scanning, high-definition digital photography, environmental monitoring, thermal infrared imaging, microwave scanning and penetration resistance tests. Comprehensive information on the current state of the wall paintings is collected, providing a solid foundation for their scientific preservation.  相似文献   

11.
A Japanese painting on paper, in the form of a horizontal scroll from the Stibbert Museum in Florence, is being treated at the ISCR Paper Conservation Laboratory. The scroll, entitled Bamo Dōi-zu represents 33 different types of horses. Although there is no author's seal, it has been attributed to the famous Japanese artist, Kanō Sansetsu (1589–1651). Before conservation treatment, the artefact underwent technical and scientific examination in order to identify its materials and determine its conservation condition. As sampling paint layers from paintings on paper is extremely invasive, non-destructive techniques such as X-ray fluorescence spectroscopy, Raman spectroscopy, Fourier transform infrared spectroscopy, and spectrophotometry were employed. Several points from the paper support were analysed: the metal-leaf decorations, the seals and calligraphy, as well as the painted horses. Results detected and revealed a very simple palette: cinnabar (or its synthetic equivalent vermillion), shell white, carbon black, and the organic yellow gamboge. Pure gold and silver leaves were used for decorating the frontispiece. Useful information was obtained from the paper support and on its conservation conditions. Micro-destructive analyses were also performed on a few paper fragments for microscopic and scanning electron microscope equipped with an X-ray probe analysis. Results showed that materials and techniques are consistent with the Kanō School period.  相似文献   

12.
Post-medieval Greek painting manuals, exemplified by the Hermeneia of the Art of Painting by Dionysius of Fourna, were often copied, enriched, and widely used in icon-painter workshops until the twentieth century. These manuals reflect the accumulated experience of many generations of painters and include sections that pertain to preparation and application of materials and handling of works. Here we present, discuss, and, in some cases, compare with pertinent western instructions and experimental findings (deriving from the analysis of icons and wall paintings), key Greek manual instructions for sound practice, and practical conservation of paintings. Instructions in consideration come from both the published version of Hermeneia and various unpublished manuals; it is shown that the first part of the widely circulating standard edition of Dionysius is by no means an exhaustive account of post-Byzantine technical knowledge.  相似文献   

13.
Book reviews     
none 《文物保护研究》2013,58(2):122-126
Abstract

Using 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   

14.
《文物保护研究》2013,58(2):127-132
Abstract

The 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.
ABSTRACT

During recent conservation work carried out on the Etruscan mural paintings in the Tomba degli Scudi, (Tarquinia, 4th C. BCE), the study of the execution techniques led to an amazing discovery: human figures were composed using templates of single body parts. In the Tomba degli Scudi, the perfect overlap of limbs, chests, and heads was confirmed after processing rectified photogrammetric images of the wall paintings with photo editing software. The study also highlighted that such templates were probably made of rigid material and each one had three different sizes, in order to represent the hierarchical organization of the painted characters. In the past, scholars have demonstrated that templates were used to realize a number of Etruscan wall paintings. However, they had reported that only whole figures were reproduced. The notion that such templates consisted of single anatomical parts purposely created to portray figures in different poses never occurs in their studies. In fact, the use of modular templates, also called patroni and antibola, is acknowledged only from the Middle Ages onwards both in western and eastern art. Earlier evidence had never been found. This article aims to predate the use of modular shapes by about ten centuries, thus changing our knowledge of technologies whose tradition spans from the Classical Antiquity to the Middle Ages. Consequently, a new approach to the study of transfer techniques of preparatory drawings in Etruscan wall paintings is established. Furthermore, this article shows that, as in the Middle Ages, the size of such templates was scaled up or down to create hierarchies among the painted characters.  相似文献   

16.
《文物保护研究》2013,58(1):76-80
Abstract

The 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   

17.
none 《文物保护研究》2013,58(3):157-184
Abstract

The 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   

18.
《文物保护研究》2013,58(4):195-206
Abstract

The investigation of materials found in Bacon's studio is reported. The contents of the studio are examined and interpreted to identify the materials and colours most favoured by Bacon, and the range of media used. A small number of colours appear to have been heavily used. Some objects used as tools in the painting process are also investigated and explain textures seen in paint in his works. Samples of selected materials from the studio are analysed to identify the components of paints (pigments, extenders, and binders) used by Bacon. This investigation is part of a wider project examining his materials and techniques. The analytical information obtained here from the studio helps to clarify the statements made by Bacon in interviews regarding his use of materials and is proving useful in the identification of materials in his paintings, in order to help with the conservation and authentication of his works.  相似文献   

19.
Summary

A 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   

20.
《文物保护研究》2013,58(4):161-169
Abstract

A very moderate, non-destructive radioactivation of oil paintings, induced by thermal neutron bombardment, such that approximately only one in 1012 of the atoms comprising any painting is transformed into a radioactive species, has been found to produce temporary radioactivity sufficient to expose photographic film placed in direct contact with the paintings.

The resulting autoradiographs resemble conventional X-radiographs in that they reveal structural details in depth of both the painting and its support. Since the radioactivities arising from the different elements within a painting decay in different manners and at different rates, a series of significantly distinct auto radiographs can be obtained of any painting by making exposures through appropriate filters and at varying times following the original activation. Analysis of such a series of autoradiographs permits the identification of a number of the pigments used in a painting, together with information about the manner in which they were originally laid down by the artist and their distribution throughout the body of the painting.

Preliminary investigations have shown that the stability of oil paintings is unaffected by the activation procedure. The inherently necessary radiation dose absorbed by a painting as a result of activation sufficient for autoradiography is of the order of 50 rads. Paintings subjected to absorbed doses one hundred times as great as the dose necessary for autoradiography exhibit no changes in color, hardness, flexibility and solubility three years after their original activation.  相似文献   

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