Conservation Of Paintings Research Articles

The protection and management of the megalithic art of Galicia, Spain

Megalithic art is an important cultural resource in many regions of Western Europe. In this contribution we look at examples from Galicia, in the north-west corner of the Iberian Peninsula. A vast project has been underway since 1998, surveying and characterizing megalithic paintings, a field of research previously unexplored in any systematic way. Through defining the extent and state of conservation of megalithic paintings, the aim of the project is to be able to recommend adequate measures for their protection and preservation. It is hoped that this interdisciplinary effort will be combined with a consistent policy of display and promotion that will ensure a growing public awareness of the value of these fragile artistic works, while avoiding unnecessary losses in this part of our cultural heritage.

The Penn Doom: The re‐examination and conservation of an important medieval painting on wood

Abstract The Penn Doom is one of only five surviving medieval Last Judgement paintings in the UK executed on wood. It was discovered in 1938, restored and documented by E. Clive Rouse. The3‐m wide painting, found in Holy Trinity church in the Buckinghamshire village of Penn, is a palimpsest, consisting of three distinct schemes, the second being partly a reworking of the first. In 1999, the Penn Trust and members of the church commissioned a re‐examination of the Doom for the purpose of conservation. The opportunity was taken to use extensive technical analysis not necessarily available to the earlier restorer. The results of dendrochronology, X‐radiography infrared reflectography pigment and medium analysis are described here, and throw new light on the age, positioning, context and history of the object, including possible reasons for the repainting. Digital imaging was used as a non‐destructive method of gaining a clearer visual understanding of the first scheme. The conservation treatment consisted of surface cleaning, removal of the 1950s wood support and 1 960s infill, repair with fish glue ana balsa, paint consolidation with Paraloid B‐72, and the design of a new aluminium support. The decision to infill large lacunae with distressed and painted jelutong wood was reached through joint discussions with the commissioners of the project.

The Treatment of Chinese Ancestor Portraits: An Introduction to Chinese Painting Conservation Techniques

In 1991, the Arthur M. Sackler Gallery, Smithsonian Institution, acquired a collection of 83 Chinese ancestor portraits in the format of hanging scrolls. The museum decided to make 34 of the scrollsthe subject of an exhibition called Worshiping the Ancestors: Chinese Commemorative Portraits, which opened in the summer of 2001. The condition of the paintings was evaluated, and it was determined that some paintings required a complete remounting while others required minimal stabilization. In this article, some specifics of Chinese painting conservation will be discussed, and a complete remounting process will be thoroughly described. It is our hope that this article will provide a better understanding of Chinese painting conservation while making its techniques more familiar to Western conservators.

The Treatment of Chinese Ancestor Portraits: An Introduction to Chinese Painting Conservation Techniques

In 1991, the Arthur M. Sackler Gallery, Smithsonian Institution, acquired a collection of 83 Chinese ancestor portraits in the format of hanging scrolls. The museum decided to make 34 of the scrollsthe subject of an exhibition called Worshiping the Ancestors: Chinese Commemorative Portraits, which opened in the summer of 2001. The condition of the paintings was evaluated, and it was determined that some paintings required a complete remounting while others required minimal stabilization. In this article, some specifics of Chinese painting conservation will be discussed, and a complete remounting process will be thoroughly described. It is our hope that this article will provide a better understanding of Chinese painting conservation while making its techniques more familiar to Western conservators.

THE DEVELOPMENT OF A CONSERVATION TREATMENT APPROACH FOR ISLAMIC MINIATURES

This paper describes the preliminary results of a study on the conservation of Islamic miniature paintings. The goal of the project is to evaluate traditional methods that are currently being used in the South Asian subcontinent, Iran and Central Asia to restore Islamic miniatures, and to explore the possibility of more appropriate treatment methods drawn from the Japanese scroll mounting tradition (Hyōgu), and from the repertoire of paper conservation techniques currently practised in the west. Information was gathered on the materials and techniques used in the production of Islamic miniature paintings, and the type of damage which they suffer. Surrogate objects prepared with traditional materials were used for testing purposes. In many cases, sophisticated techniques and equipment were not available and simple substitutes were employed, including visual assessment of test results. The project is still in progress but materials and techniques which show particular promise for the treatment of Islamic miniature paintings and manuscripts include funori (a seaweed-based adhesive) for the consolidation of flaking and friable paint layers, the ultrasonic mister for paint consolidation, the moisture chamber or dome used in association with a suction table for humidification, and the karibari (drying board) for flattening.

The structural conservation of canvas paintings: changes in attitude and practice since the early 1970s

Most developments in the structural conservation of canvas paintings since the Greenwich Lining Conference in 1974 are discussed, but the review is not intended as a complete historical survey. Attention is focused on the impact of the principles of minimalism on conservation practice, and the results of research into the mechanical aspects of structural treatments are summarised, particularly regarding lining and moisture/flattening processes.

Coatings Technology Handbook, Second Edition

Coatings Technology Handbook, Second Edition

Not lining in the twenty‐first century: Attitudes to the structural conservation of canvas paintings

Abstract Developments in the structural conservation of canvas paintings, particularly regarding lining, were evaluated through a series of surveys carried out by questionnaire in 1975, 1984 and 2001. The 1975 survey reflected the end of an era when wax‐resin and glue‐paste lining were dominant. In the years between 1975 and 1984 there was a rapid growth in lining technology, and synthetic adhesives such as BEVA 371™ had become more popular. An important finding of the 1984 survey was that lining practice had become more diverse and most practitioners employed more than one form of lining. In 1984, lining was considered as a treatment of last resort, whereas the most recent survey recorded a widespread rejection of lining. The results of the 2001 questionnaire are discussed in detail, the most significant finding being the considerable change in attitude. Many practitioners now describe themselves as having become more minimal in their approach, preferring alternative treatments to lining.

Celebrating Chemistry and Art: National Chemistry Week 2001

For the year 2001 the theme of National Chemistry Week, the American Chemical Society’s annual outreach program, is “Celebrating Chemistry and Art.” Various examples of chemists who also made contributions to music, literature, and poetry are presented. The relationship of chemistry to such visual arts as painting, sculpture, photography, and art conservation is discussed. Useful resource articles are also cited. The history of National Chemistry Day, the brainchild of 1989 ACS President George C. Pimentel, and its successor, National Chemistry Week, are briefly discussed, as well as the desirability of a change in date because of competition from election news in the media. The new date for NCW, beginning in 2002, is announced for the first time.

Colloidal Particles of Ca(OH)2: Properties and Applications to Restoration of Frescoes

We studied the synthesis and characterization of Ca(OH)2 colloidal particles and their application to the restoration of wall paintings. Submicrometer Ca(OH)2 crystalline particles have been obtained by mixing equal volumes of NaOH and CaCl2 aqueous solutions with different degrees of supersaturation (from 2 to 10) and in the temperature range 60−90 °C. The Ca(OH)2 particles are crystalline and have the appearance of hexagonal platelets with thicknesses of a few nanometers, as determined by scanning electron microscopy, transmission electron microscopy, X-ray diffractometry, and atomic force microscopy techniques. The kinetic stability of dispersions of Ca(OH)2 particles in water and propan-1-ol has also been studied in view of their possible application in wall painting conservation. A successful example of this application to the restoration of Santi di Tito's wall paintings (16th century) in the Santa Maria del Fiore Cathedral in Florence is also reported.

Evaluation of a Principal Components-Based Searching Algorithm for Raman Spectroscopic Identification of Organic Pigments in 20th Century Artwork

The characterization of artists' materials is of great importance for the conservation and restoration of 20th century paintings, and it provides information which is of art-historical interest. The identification of modern organic pigments by Raman spectroscopy is hampered by the large amount of different synthetic materials that exist. Therefore, an extended database of reference spectra is needed. Besides this spectral library, there is need for an accurate and fast-searching algorithm for selecting the reference spectrum that best corresponds with the unknown spectrum. A principal components-based spectral searching algorithm is proposed that largely reduces the number of data points for each spectrum. By subsequent measurement of the Euclidian distance between the unknown and the reference spectra in the principal components space, the corresponding reference can be selected. The algorithm is tested by using the results of the Raman spectroscopic analysis of different colored pencils. Different qualities of matches for the identification protocol could be distinguished. The synthetic organic pigments in micro-samples of the painting “Faubourg” by Paul Delvaux could be identified by the proposed algorithm.

The Science of Paintings

No physical or chemical analysis can shed light on the reasons why a painting gives rise to an emotion in us. As the authors themselves declare, an understanding of how the choices made by the artist produce the emotional reaction in the human mind can be `as elusive as the resulting imagery'. Nevertheless, knowledge of the materials and of the techniques adopted by the artists, together with a thorough understanding of how light interacts with a painted surface, can undoubtedly improve our comprehension of the art object itself, thus expanding our appreciation of it. In this respect the book by W Stanley Taft and James W Mayer is quite successful. Besides constituting a good and comprehensive introduction to the science of materials involved in a painting and to the processes through which a painting is made, which is of interest to those concerned with conservation and restoration of art objects, it is also an intriguing reading for everyone interested in gaining insight into the making of paintings and curious about the mechanisms of their perception by the viewer. The book starts with a systematic analysis of the materials used for making a painting: support materials, paints, binders and coatings. All the above materials are subsequently treated from the point of view of their interaction with light, and a short account of the physiology of the eye and colour perception is also given. The main part of the book ends with a detailed introduction to optical, infrared, x-ray and neutron techniques for the analysis of painted surfaces and with a pleasant and interesting chapter on the forgery of works of art, smartly describing how forgers operate and how fakes can be scientifically detected. A relevant number of appendices, ranging from physical and geometrical optics to nuclear reactions and dating techniques, close the book. The book is well written. Apart from some of the appendices (where, however, mathematics has been conveniently limited) all the technical stuff is well balanced throughout the text, and its reading is never boring. All scientists involved in the conservation and restoration of paintings, especially those needing an introduction to the physics behind these topics, will enjoy reading this book. Roberto Olmi

Conservation of Paintings: Research and Innovations

Conservation of Paintings: Research and Innovations

Conservation of Paintings: Research and Innovations

Conservation of Paintings: Research and Innovations

Thermomicroscopy applied to painting materials from the late 18th and 19th centuries

This paper discusses the application of thermomicroscopy in the temperature range 25–250°C for the characterisation of 100- and 200-year-old artists’ paint. Studies of 20th century reference materials, and paint samples from Sir Joshua Reynolds (1723–1792), J.M.W. Turner (1775–1851) and J.A.M. Whistler (1834–1903) are discussed, to illustrate the utility of thermomicroscopy both for the materials analyst and for the paintings conservator. Turner’s bituminous paint is prone to darken irreversibly at 75–88°C, while the ‘megilp’ formulations which he used are not distinguishable from oil paint with lead driers or oil with some resin added, though the group are distinguishable from unmodified oil medium. Beeswax and spermaceti wax melt out from Turner’s paint formulations at the typical melting point for the wax, whereas Reynolds’ paint formulations including beeswax have aged in a more complex way, and show melting point ranges which lie within those of the original components. Whistler’s paints tends to darken irreversibly at 70–90°C due to the presence of additives in his manufactured tube paints, and their measured melting points indicate a complex ageing process which may be analogous to that in Reynolds’ paint formulations.

Education

The Art BookVolume 7, Issue 2 p. 27-30 Education First published: 22 December 2003 https://doi.org/10.1111/1467-8357.t01-1-00192AboutPDF ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Share a linkShare onFacebookTwitterLinked InRedditWechat Abstract Books reviewed in this section: National Gallery Pocket Guides David Bomford Conservation of Paintings Nicholas Penny Frames Alexander Sturgis Faces Erika Langmuir Allegory Erika Langmuir Landscape Celia Fisher Flowers and Fruit William Vaughn British Painting: The Golden Age from Hogarth to Turner William Vaughn Arts of the 19th Century Volume I Françoise Cachin (ed) Arts of the 19th Century Volume II Volume7, Issue2March 2000Pages 27-30 RelatedInformation

A review of synthetic binding media in twentieth‐century paints

Abstract Numerous synthetic resins have been developed for use as binding media in twentieth‐century paint. These synthetic paints, including those intended for household or industrial markets as well as those designed specifically for artists’ use, have been widely used on works of art. However, most painting conservators are still relatively unfamiliar with the types of synthetic resin used. Although the subject is vast and complex, the binding media used in this field can be simplified into four principal classes: acrylic, alkyd, polyvinyl acetate and nitrocellulose. This paper outlines the nature, use and salient properties of these four classes and includes sections on their probable additives. Despite the difficulty in identifying additives, an awareness of which types are likely to be present will greatly assist the understanding of each binder's properties.

Recent applications of digital imaging in painting conservation: transportation, colour change and infrared reflectographic studies

In recent years digital imaging has proved to be a useful tool for documenting and examining paintings. These techniques can yield permanent records that are potentially more accurate than photographic images. The key applications in which digital imaging is superior to other techniques are those where short- or long-term changes are measured. The paper describes the imaging systems developed in a ten-year collaboration between the National Gallery, London and the Doemer- Institut, Munich and the geometric transformation algorithms which have allowed accurate comparisons of ‘before’ and ‘after’ images to be made. Recent results obtained from a long-term study of colour changes caused by display in the museum and short-term changes caused by transportation to loan exhibitions are presented. Improvements made to the procedure for acquiring, processing and presenting infrared reflectogram mosaics are also detailed. Finally, other conservationrelated and archival uses for the colour-accurate, high-resolution digital images are discussed.

Dechenphug : destin d'un monastère bhoutanais

Conservation works on Dechenphug, a small monastery in Bhutan, were carried out from 1996 to 1999 under the scientific control of Unesco. From the beginning, a strong disagreement was obvious between the ethics of the international organisation and the current local practice. A compromise was eventually agreed, a proof that both approaches are not always irreconcilable. Field training of local actors was a an important component of the project, which included the reconstruction of an ancillary building, the restoration of woodwork and roofs on the other two buildings, and the conservation of a mural painting.

The Structural Conservation of Panel Paintings

The Structural Conservation of Panel Paintings