Metallic Works Of Art Research Articles

Innovative perspective for the cleaning of historical iron heritage: novel bio-organogel for the combined removal of undesired organic coatings and corrosion

An innovative green organogel was designed to simultaneously tackle inorganic compounds (i.e., iron corrosion) and organic substances (i.e., acrylic coatings) as undesired materials possibly present on the surface of altered indoor metal artworks. Poly-3-hydroxybutyrate (PHB), ethyl lactate (EL), and deferoxamine B (DFO) were employed in the formulation as thickening agent, organic solvent, and complexing agent, respectively, aiming to propose a sustainable and less harmful chemical cleaning method for metal care. The components were selected because they are bio-sourced, renewable, biodegradable, and non- or low-toxic materials. A multi-modal protocol of analysis was carried out to characterise the newly designed PHB-EL-DFO organogel. The cleaning performance of the novel formulation was assessed on mild steel mock-ups presenting both corrosion and organic coating to be removed. The conducted multi-analytical approach verified that the PHB-EL-DFO gel was able to tackle the two undesired materials simultaneously in an adjustable and easy-to-use way thanks to a modular application.

Technology Artistic of Casting the Reproductions Metals in Ancient Iraq from the Old Period to the End of the Sumerian Era

The study refers to an important artistic method that was used to make metal artworks in ancient Iraq, which is the technique of casting molds and artistic reproductions. The research begins with the definition of this technique and methods of using it and its types, where the open mold and closed mold, and methods of casting and reproduction of metal arts through those molds, then the research touches on the rooting of the technique from the earliest times in ancient Iraq, and the most important artistic products that indicate this, then how this technique gradually developed, and the extent of its development until the end of the Sumerian ERA, through an analytical study of the most important metal arts from that period. The approach followed by the research is the approach of historical research through the study of variables, where the historical approach depends on following the history of the phenomenon or problem and how it developed longitudinally during the previous periods and then the features of development are derived.

Biocleaning of historical metal artworks: innovative green gels amended with microbial derivatives

The research study is aimed to design innovative bio-gel formulations able to tackle altered historical metal artworks in a green and sustainable perspective. The target of the research is the removal of undesired or altered materials of both inorganic (i.e., corrosion and tarnishing) and organic nature (i.e., protective coatings). The designed gel systems are initially assessed on mock-ups. Iron-, copper- and silver-based substrates, chosen as mostly present in historical metal collections, are chemically aged to form corrosion on the surface. Alternatively, they are coated with organic protectives (i.e., acrylic and nitrocellulose varnish) that are mostly used for indoor metal care. After multi-modal analytical assessment to check the action and safety of the gels on the metal mock-ups, the developed solutions are applied on real cases, thanks to the strong and fruitful collaboration with curators and conservators of metal artworks.

Innovative Use of the Pointillism Technique for the Production of Scrap Metal Mural Art of Kofi Annan for Environmental Sustainability

Scrap metals have been an environmental nuisance blocking the pathways of water and leading to various forms of environmental pollution at Anloga in the Kumasi Metropolis of Ghana. This scrap metal art project was aimed at creatively reusing and re-purposing scrap metals from various construction, dump sites and households for the creation of a metal artwork as a step in reviving scrap metal art for environmental sustainability. Over the years, murals have been made using various techniques in painting and sculpture. The studio-based research design that employs the qualitative descriptive method was used for this project. The project adopted the concept of pointillism whereby tiny dots in various pure colours are used in creating an artwork that is appreciated when viewed from a distance. We replicated this concept by representing the dots with metal domes from scrap metals in producing an innovative commemorative metal mural of the former UN General Secretary, Kofi Annan. The researchers employed participant observation and used photographs to collect the data by carefully studying the various scrap metals that were available for the project and by utilizing most metal working techniques. It was very necessary to carry on this project to revive scrap metal art in Ghana which is gradually dying out. The study revealed that recycling and melting of metal scraps should be done in kilns and furnaces rather than in open hearth processes for best results. The study recommends the exploration of other methods of doming in the future for much efficiency. Also, the study recommends the exploration of other fine art techniques and media using various scrap metals for artistic production.

A k-means clustering and histogram-based colorimetric analysis of metal album artworks: The colour palette of metal music

Because of its marketing impact and key role in the definition of a band’s visual identity, the artwork of a metal album is carefully designed to reflect the music played by the band. Bearing in mind the historical association between colour and music, we performed a quantitative colorimetric analysis of 1150 metal album artworks (MAA) (and of 400 non-metal artworks for the purpose of comparison) in order to study the place of colours in metal artworks visual identity. In each artwork, we have extracted its five dominant colours (with a k-means clustering algorithm) and underwent a colour histogram analysis. We showed that MAA appear darker than their non-metal counterparts. We derived a colour palette of MAA and showed that black, (dark) grey and brown/orange tones are by far the most frequently used colours. The presence of these ‘metal colours’ is very consistent between metal subgenres. However, the visual identity of some metal subgenres encompasses specific artwork colorimetric rules. Black metal album covers are darker and mainly use black and dark grey. Groove metal artworks tend to display warmer and more saturated colours with an increased use of brownish and orange tones. Drone metal albums are lighter while crossover albums have a mottled appearance. Nevertheless, for most of the metal subgenres the artwork visual identity seems to rely on colour-independent elements. We suppose that this identity might rather be built on thematic elements and probably also on the logotypes’ style. A lot of work remains to be done to clearly understand what makes metal albums look so peculiar.

Applications of energy dispersive X-ray fluorescence technique in metallic cultural heritage studies

• Synthesise the physical principles of EDXRF and compare different spectrometers. • Review the applications of EDXRF in the study of metallic heritage pieces. • Discuss about the advantages and limitations of the technique through case studies. Cultural heritage is a legacy that allows the expression of values and characteristics of different civilisations over time. Thus, the study of those artworks and their conservation is of paramount importance. In particular, the preservation and restoration of metallic artefacts is a challenge, as these materials are often subjected to corrosion and degradation, originating complex multilayered structures. Characterising materials that compose metallic artworks, as well as possible corrosion products, is extremely useful to understand the composition and evolution of their surface, guiding conservation and restoration procedures that are adapted for each piece. This characterisation must be selective, that is, allow for differentiating all the compounds present in the piece. Ideally, the characterisation technique used for the analysis should be non-destructive and should not modify aesthetic aspects of the artwork's surface. Portable techniques are also a desirable option, as they allow the characterisation of pieces that cannot be moved to a laboratory or sampled. In this context, X-ray fluorescence spectroscopy is a powerful tool that has been used by researchers and conservators in the characterisation of metallic materials and their corrosion products. In this paper, we review the principles, advantages and limitations of energy dispersive X-ray fluorescence spectroscopy applied to metallic cultural heritage studies.

The Art of Southern Arabian Daggers: An Emblem of Pride Masculinity and Identity

The long-held tradition of wearing daggers in southern Arabia is in decline. This research examines the rich history of the southern Arabian dagger, outlining its story over time, craftsmanship, and changing use, from a weapon to a ceremonial piece. A significant contribution in the field of visual art is offered, firstly by demonstrating the beauty of this metal artwork form, and secondly by examining the notions of pride, masculinity and identity with regard to southern Arabian dagger wearing. It is argued here that men in this region continue to attach meaning to the dagger. Additionally, existing critical studies, including the various efforts being made to respect and preserve the dagger’s cultural significance, are highlighted. It is contended here that for these reasons, the southern Arabian dagger will not be lost to history.

Multiscale roughness analysis by microprofilometry based on conoscopic holography: a new tool for treatment monitoring in highly reflective metal artworks

The analysis of surface roughness in highly reflective metal artworks is challenging and requires contactless devices capable to measure regions with high micrometer accuracy in both depth and lateral directions. We demonstrate optical profilometry based on scanning conoscopic holography for micrometer measurement of silver samples treated with different hand-made cleaning processes. The technique is shown effective in acquiring shiny and smooth metal samples providing high-resolution and high-accurate dataset (0.1,upmu hbox {m} depth and 5,upmu hbox {m} lateral resolution) that is a reliable representation of the microsurface structure. From a statistical point of view, the cleaning treatments have the same nature of the low-abrasion, but the underlying mechanical processes are different. This fact suggested a more in-depth study of both the amplitude and the hybrid areal roughness parameters. It is proposed a workflow for a dual integrated multiscale roughness analysis for surface characterization: a scale inspection to detect possible texture non-homogeneity, and a signals separation to outline the most significant texture components. The scale-limited components allowed to discriminate the different surface processes. The results on silver samples demonstrate the potential of multiscale roughness analysis by conoscopic holography as a new tool for treatment monitoring in metal artworks.

Image-based goniometric appearance characterisation of bronze patinas

Patinas are a form of metal polychromy used to decorate metallic artworks. Due to the nature of the metallic surface, their colour and gloss is perceived differently when the illumination and viewing directions vary. Sparkle effect on surfaces is a physical phenomenom caused by micro-facets on the surface coating which are also perceived with changing viewing and illumination geometry. In this paper, a method designed for the measurement of sparkle is applied for the goniometric characterisation of bronze patinas. Using a set of six different patinas, in three colours and two surface finishes, it is found that these surfaces exhibit different appearance when illuminated and viewed at different angles. Moreover, the roughness of the patinas is measured and as expected, as the roughness increases the specular reflection peak decreases. The experiment is repeated at two different institutions with different sets of equipment to test its repeatability and robustness. The sparkle is presented as a function of the angle of tilting, and it is characterised by its maximum value and full-width halfmaximum. It is found that the maximum and the roughness have a negative exponential relationship whereas the full-width halfmaximum and the roughness have a linear relationship.

Laboratory measurement system for pre-corroded sensors devoted to metallic artwork monitoring

<p>The monitoring of environmental corrosivity around works of cultural heritage is a key task in the field of both active and preventive conservation. In the case of metallic artworks, this task can be performed by means of coupons or sensors realised with the same materials as the artworks to be conserved. In this work, a measurement system for the development and testing of sensors for atmospheric corrosivity monitoring is presented. The metrological features of the measurement system operated in conjunction with a developed sensor are analysed. The sensor allows for considering the different corrosion behaviours due to the presence of corrosion layers on the object to be preserved. The first developed sensors are made of pre-corroded copper and their resistance is measured. The developed system allows for monitoring thickness loss of over 3 nm in the temperature range of 23 °C – 39 °C. The performed analysis demonstrated that the system presents an efficient laboratory setup for the development and characterisation of sensors for atmospheric corrosivity monitoring.</p><div> </div>

Characterisation of corrosion products on copper-based artefacts: potential of MA-XRF measurementsties of MA-XRF measurement

The use of macro-X-ray fluorescence (MA-XRF) scanners is now widespread in cultural heritage applications. However, its use for the characterisation of metallic works of art is still limited. In this study, a novel portable MA-XRF scanner prototype was tested on artificially corroded copper samples to assess its analytical capabilities on corroded metals, yielding information on the spatial distribution of the corrosion products grown on the metal’s surface. A multi-analytical approach was used to thoroughly characterise the copper samples and compare the obtained results to verify the reliability of the MA-XRF data. The prototype was able to obtain distribution maps of different elements, such as sulphur and chlorine, which can be directly correlated to different corrosion products. With the use of imaging filtering techniques, it was possible to investigate the stratification of the corrosion product layers and observe gradients in the distribution of certain elements.

Optimisation of the setup of LPR and EIS measurements for the onsite, non-invasive study of metallic artefacts

Electrochemical techniques have been successfully applied in the past as non-destructive techniques to the cultural heritage field. In particular, linear polarisation resistance (LPR) and electrochemical impedance spectroscopy (EIS) have been employed for the onsite monitoring of corrosion on metallic works of art, providing valuable results. Such techniques have been successfully adapted from the industrial field for this particular kind of application, but a systematic evaluation of the influence of all experimental settings on the obtained results is still lacking: several factors and parameters can affect the results, and it is important to properly consider their influence for a reliable interpretation of data. Therefore, in this work, the influence of a series of experimental parameters was evaluated in order to obtain a reliable and time-effective setup by performing a series of tests on a bronze artefact. Several variables were considered, with particular attention to those affecting the reproducibility and reliability of the measurements, as well as the duration of each single acquisition. It was demonstrated, in fact, that an optimised experimental setup from the point of view of the duration could improve also reproducibility and reliability of the measurements. The optimised protocol was then adopted in the framework of a diagnostic campaign of the Monumento ai Caduti (War Memorial) of Lecco (IT)

ТЕНДЕНЦІЇ РОЗВИТКУ КОВАЛЬСЬКОГО МИСТЕЦТВА (ЗА ПІДСУМКАМИ МІЖНАРОДНОГО ФЕСТИВАЛЮ «СВЯТО КОВАЛІВ», М. ІВАНО-ФРАНКІВСЬК)

The article defines and outlines the processes of artistic blacksmithing revival in Ivano-Frankivsk based on the results of the annual International Festival “Sviato Kovaliv” (Blacksmith Festival). The attention is riveted on the analysis of artistic features of forged sculptural compositions that complement the urban environment, and their art history analysis has been carried out. Methodology. The methodological background is the principle of system approach and integrated research. The historical, comparative and art history methods have been used for the study of the selected object of research. Results. It has been established that one of the biggest in Eastern Europe is the International Blacksmith Festival “Sviato Kovaliv” in Ivano-Frankivsk which began its activities in 2003. The purpose of this event is the revival of blacksmithing traditions forgotten in Ukraine in the Soviet times and popularization of the artistic metal as a craft and an art. It has been defined that in the space of a few years the event has developed from the amateur level into the large-scale international project which nowadays includes a complex of events: public demonstration of blacksmithing, performances, competitions, international scientific conference, and art exhibition of blacksmithing. It has been established that one of the results of festival is the production of joint blacksmith’s works, which nowadays complement the urban environment of Ivano-Frankivsk, and their artistic features have been analysed. It has been found out that metal artworks can be both functional and decorative, often with a deep idea. The scientific novelty lies in the study of important aspect of the modern artistic blacksmithing revival in Ukraine using the example of the International Festival “Sviato Kovaliv” (Blacksmith Festival) in Ivano-Frankivsk. The attention is focused on the artistic features of forged chased work. Practical significance. The research allows broadening your knowledge about the artistic blacksmithing development in Ivano-Frankivsk that contributes to the attraction of obtained information in the study of modern blacksmithing in Halychyna (Galicia).

Design and Construction of a Multipurpose Device for Doming and Punching

Metal work comes along with a lot of techniques which doming is not an exception. Doming techniques use doming block and punches to create metal domes for production of unique artifacts. These doming blocks and punches come in a shape of half round. The challenge has always been getting different shapes of domes and their corresponding punches to give a variety and creativity in design of metal works and the energy one needs to give, a lot of hammer blows to be able to achieve the domed metal. This project or research seeks to design and construct a multipurpose portable device or machine for doming and punching. The portable device is going to be operated manually (mechanically), which means without electricity which is bedeviled by power fluctuations in most African countries, the device could still be operated with the needed efficiency and technique. The tip of the device is adjustable so it can be changed to get the desired shape the operator wants. There is a disc-like plate that corresponds to the tips or the punches. The device is designed to have a small cabinet of which the punches can be kept. It is designed to have a handle hanged by it side of which pressure or force is applied to create the impression or the punches desired. The material used for this device is iron the metal working technique used is welding. This study made use of quantitative research design by using descriptive and studio-based research. Findings revealed that it is possible to get domes of different shapes and sizes with their corresponding punches which can easily be used to achieve various domed designs to foster creativity in design and fabrication of metal art works. This device is designed and constructed to help metal students of Kwame Nkrumah University of Science have variety of shapes as regards doming and punching as a technique of metal work. The study recommends that metal art students and practitioners alike should make use of this device to augment the technique of metal art. Again, it is recommended that apart from the device being operated mechanically, power options such as gas could be tried so that human effort could be minimized.

An innovative multi-component fluoropolymer-based coating on outdoor patinated bronze for Cultural Heritage: Durability and reversibility

Abstract The application of protective coatings for the conservation of outdoor metallic artworks is currently considered the best approach actively employed. This paper focuses on the evaluation of the protectiveness of an optimised fluorosilane (FA-MS) coating with low occupational hazard impact and high inhibition efficiency. FA-MS coating was applied on a typical historical as-cast bronze (Cu-Sn-Zn-Pb), artificially patinated by synthetic acid rain dropping, to simulate natural unsheltered patinas. Subsequently, the patinated bronze was coated by brushing and then artificially aged by synthetic rain dropping. In order to investigate the coating-patina system, a multi-analytical approach was applied including scanning electron microscopy coupled with elemental analysis (FEG-SEM with EDS), microstructural analysis of cross-sections produced by Focused Ion Beam milling (FIB) and X-ray Photoelectron Spectroscopy (XPS). The coating homogenously covered the whole patinated surface producing a transparent layer few μms thick. The weathering solutions were also analysed for the assessment of metallic cations release. FA-MS showed excellent protective performances for the patinated bronze exposed to simulated outdoor conditions. Very high values of inhibiting efficiency in terms of metal release in the weathering solutions (up to 99%) were measured. In order to investigate all the necessary requirements for application in conservation field, the durability of FA-MS was also tested on a real bronze artistic casting, in terms of limiting the alloy composition changes (measured by in situ XRF) over time. A good durability of the coating was observed during the ongoing field exposure test. Lastly, reversibility of FA-MS was investigated by applying different mechanical cleaning methods, such as brushing and blasting. The reversibility was assessed by the evaluation of the morphology (colour change, surface roughness and optical microscopy) and the composition (SEM-EDS and Py-GC-MS chromatography) of the cleaned surfaces. Cleaning by brushing proved to be an efficient method for removing this coating without significantly altering the bronze patina.

Effects of cleaning procedures on the long-term corrosion behavior of bronze artifacts of the cultural heritage in outdoor environment.

The cleaning of metallic artworks is a crucial step for their preservation. Cleaning operations generally aim at removing deposits and corrosion layers, and all the non-stable and potentially reactive phases formed as a consequence of the interaction of the metal with the environment. Thus, all secondary-formed compounds and layers that can undermine the overall preservation of the artwork, both from the esthetic and the corrosion point of view, should be removed. On the other hand, superficial stable patinas contributing to the artistic and historic value of the objects and that may provide protection to the metallic surface should be preserved. The optimal cleaning procedure should be able to promote a long-term improvement of the corrosion resistance of the surfaces. Therefore, the long-term monitoring of the corrosion behavior of the cleaned surfaces with electrochemical techniques could provide valuable information for the selection of the optimal methodology. In this work, five cleaning procedures have been applied to five bronze sculptures. The cleaned surfaces have been characterized following a multi-analytical and non-invasive approach, and the long-term evolution of their corrosion behavior has been monitored by means of on-site non-invasive linear polarization resistance (LPR) and electrochemical impedance spectroscopy (EIS) measurements for more than 2years.

Источники для образа Афродиты у Эмпедокла

Empedocles uses two forces to describe the world process, the emergence and destruction of space - Love and Strife, which work in turn, and in due time, replace each other. It is obvious that love is responsible for unification and creation, and hostility for division and destruction. At first glance it seems quite natural that it is the power of unification that Empedocles calls Aphrodite. However, when you look closely at the fragments of the poem, the image of Aphrodite is not so unambiguous: she acts as a god-craftsman, that is, not just watches from afar as the roots of things are connected to each other, but mixes them with her own hands and is directly involved in the creation of living beings. We meet her involved in such activities as metal casting, pottery, and artwork. This naturally leads to the question from where did she get so many different functions? To answer this question, one should turn to literary sources about Aphrodite both before and after Empedocles’ life (in the context of Homer’s epos and Hesiod’s poem), consider the religious tradition of Cyprus and especially the East, neighboring Greece, from where, in the opinion of some scientists, the goddess could get into the Mediterranean cultural landscape (most important study here is the work by Nano Marinatos), to study archaeological data and findings related to Aphrodite. Taking into account Empedocles’ interest to bloodless sacrifices I will try to tie his views with the later orphic tradition. At the same time, in order to protect myself from losing the way in the forest of such huge massif it is necessary to restrict the area of this study. I will concentrate only on the activities of Aphrodite as she is presented in Empedocles.

Metal Decorations of Door of Saheb al-Amr Mosque in Tabriz: Azerbaijan Folk Art from Qajar Era

Mosques play a significant role in the lives of Muslims in addition to acting as places of worship. One of the most significant mosques of Azerbaijan region of Iran is Saheb al-Amr Mosque in Tabriz City. The mosque has unique designs of masks, metal hands and praying tablets made of metallic plates which were installed on the mosque door. Considering the inhibition of using portraiture in mosques and holy places, the present study intends to review the technical and artistic qualities as well as reasons behind installation of such designs on the mosque door. The primary questions of present study are concerned with (a) forms and roles of metal works of art installed on the door of Saheb al-Amr Mosque, and (b) reasons of installing these metallic works of art on the mosque door considering the inhibition of using portraiture in religious places. In order to answer these questions, descriptive-analytical method was adopted. The required information and data of this study were collected through field study and library review. The data analysis method is qualitative and results of this study, following collection of data and its analysis, suggest that the metal works of art were made of low-grade silver and brass by adopting different metalworking techniques which were inspired by contemporary art of Qajar era. The importance of the mosque to the public opinion led to installation of such objects in the mosque since they acted as means of indigent Muslims’ vow fulfilling.

X-ray fluorescence-based methods to measure the thickness of protective organic coatings on ancient silver artefacts

Organic coatings are commonly applied to protect the surfaces of metal artwork when preventive control of microclimatic conditions is not fully effective. In particular, the protection of silver artefacts is a major issue in conservation, as uncoated surfaces of silver objects tend to turn dark after few months in museum environment. Among the parameters that are considered to compare different coating products and check homogeneity and protection performance over the time, the coating thickness is a most relevant one. Aim of this paper is evaluating the possibility of using X-ray fluorescence (XRF) methods for non-invasive assessment of the coating thickness. Measurements were carried out on both mock-up samples made by assembling several Mylar sheets on a silver substrate and silver plates treated with different organic polymers, according to common conservation practices. Three different quantification approaches, based on empirical and theoretical calibration curves, and on the Fundamental Parameters method were tested. The measured values of thickness were compared to those provided by the eddy current technique to evaluate the accuracy of different approaches. As expected, the empirical approach resulted the most accurate one, although its application is limited by the availability of suitable calibration standards. The results prove the suitability of XRF-based method as a non-invasive tool to measure or at least compare the thickness of organic coatings in different areas of a given artefact. The measurements performed on treated silver plates showed that the common practice of applying a protective product by brush actually produces coatings quite uneven in thickness, even on flat surfaces.

Characterization of outdoor bronze monument patinas: the potentialities of near-infrared spectroscopic analysis.

The corrosion products usually found on outdoor bronzes are generated by the interaction between the metal alloy and the atmospheric pollutants. To protect the external surface of bronzes, different organic materials (natural or synthetic) can be applied, creating over time a patina consisting of a complex mixture of inorganic and organic degraded components. The correct chemical characterization of patina constituents is fundamental to define the state of conservation of a metal artwork and address proper restoration actions. In this paper, we evaluated the potentialities of near-infrared (NIR) reflectance microscopy (4000-7500cm-1) as complementary method to mid-infrared (MIR) analyses for the characterization of bronze patinas. Although NIR spectroscopy has been already used in the field of heritage science, its application for the characterization of bronze patinas is almost unexplored. In this paper, several corrosion products usually found on the surface of outdoor bronze sculptures were synthesized, characterized, and submitted to the NIR-MIR total reflection analysis to build up a reference spectral database. We devoted particular attention to the NIR features of copper hydroxychlorides, such as atacamite and paratacamite, which have not been studied in detail up to now. A selection of organic-based formulations, commonly used by restorers to protect the bronze surface against the outdoor aggressive environment, were also considered as references. Successively, NIR-MIR reflectance microscopy was successfully employed for the analysis of patina micro-samples collected from the bronze statues of the Neptune Fountain (sixteenth century) located in Bologna. The obtained results demonstrate the ability of NIR spectroscopy to identify organic and inorganic patina constituents, even in mixtures. In addition, the study can be considered as a proof of concept for the possible future application of the technique for in situ diagnostic campaigns on bronze sculptures.