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AbstractThe painting materials used by Lucio Fontana were investigated through the analysis of 28 Spatial Concept works created between the early 1950s and the artist's death in 1968. The pictorial media were analyzed by means of numerous techniques including Fourier transform infrared spectroscopy, pyrolysis-gas chromatography–mass spectrometry, scanning electron microscopy, and X-ray fluorescence. This study has provided a more complete understanding of the artist's technique, as it was found that Lucio Fontana had already begun experimenting with new synthetic pictorial and binding media such as alkyds and polyvinyl acetates at the beginning of the 1950s, and polyesters during the early 1960s. Although he never abandoned the use of commercial oil paints, Fontana's application of these new materials continued in an infinitely varied search for innovative expressive effects. The characterization results explain the physical and mechanical properties of the paint layers, and may be correlated with the conservation state of the works analyzed. All the results have been compiled and are discussed together with the artist's practices and their evolution over time. 相似文献
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AbstractThe use of an S-1 response infra-red image-converter for the examination of panel paintings is described. It is shown that satisfactory results maybe obtained with this equipment, which is easy to operate. The examination of underdrawings, retouchings and pentimenti is briefly discussed. 相似文献
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AbstractTwo historic house museums in the United States owe their preservation to the fact that they 'posed' for artist Andrew Wyeth, born in 1917 and still painting at the age of 86. Joyce Hill Stoner has based this article on her presentation at the American Institute for Conservation meeting in Miami in June 2002. 相似文献
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AbstractThe varnishes of 166 paintings were examined, before and after re-forming, by means of mixtures of cyclohexane, toluene and acetone having systematically increasing solvent power. The examination proves that re-forming facilitates the solubility of aged traditional natural resin varnishes. 54% of the varnishes were removed, after re-forming, with toluene and even ‘milder’ solvents. 相似文献
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