Restoration Of Paintings Research Articles

Restoration of paintings on domes with non-developable geometry (Los Santos Juanes Church in Valencia)

ABSTRACTThe restoration of paintings on elements in cultural heritage buildings (fundamentally, churches) involves two structural problems: capturing the geometry of the construction element and its development. In many cases, the geometries are regular (e.g., cylinders, spheres, elliptical domes). However, there are cases in which the elements cannot be adapted to any known geometry, much less one that can be mathematically developed. The development of surfaces becomes essential for the restoration of paintings over “flat elements” (over which work is performed on the ground) that are subsequently transferred to the real surface (ceilings). The mathematical transformations that allow regular geometries to be developed are widely known (cartographic projections). However, when the geometry is irregular, there is no development. This study presents a new methodology based on differential rectification and its application for the development of oculi in the Los Santos Juanes Church (Valencia), whose geometry is completely irregular both in shape and as a result of construction defects (and damage caused by fire). The present study focuses on the restoration of paintings damaged by fire.

The Restoration of the Panel Painting depicting the Adoration of Shepherds with a Saint Bishop

Cet article traite de la restauration d’une peinture sur panneau avec cadre qui date de la deuxieme moitie du XVI siecle, qui est actuellement conserve a la Galleria Regionale della Sicilia di Palazzo Palazzo Abatellis (Palerme, Italie). Une attentive etude historique et artistique a precede la restauration qui avait pour but de retablir une bonne lecture de l’œuvre. Cette etude se concentre sur la possibilite de reintegrer un element manquant du cadre avec des materiaux utilises dans l’imprimante 3D pour retablir sa fonction de «connexion spatiale» entre l’œuvre et l’espace d’exposition. Le resultat de l’experience a consiste dans la creation de deux elements, imprimes grâce a l’ingenierie inverse et a une imprimante 3D apres avoir essaye trois differents types de filaments.

Cleaning and Restoration of an Oil Painting with a Polymer Gel in Iran

One of the major stages in the conservation and restoration of a painting is to clean its colored surface of unwanted stains, and old and darkened varnishes. Various solvents have been used to date for this purpose; however, new cleaning materials have also come onto the market in the past decade that are still unknown and may never have been employed in Iran. The present study aims to introduce a polymer gel and use an in vitro sample of the substance for cleaning and to then present the results of the tests carried out. Applying a polymer gel in the cleaning of paintings yielded better results and greater advantages over the solvents previously used to clean artworks. The advantages include, performing on the surface without penetrating the lower layers, the absence of residues after application, flexibility, solubility and the gentle removal of old stains and varnishes, maintaining clarity and cleaning the surface by simple removal of the thin dried layer, which requires no mechanical pressure. Microscopic examinations and pH testing showed that this new alternative technique can be of use in cleaning the color layers of oil paintings.

Mieszaniny z błękitem pruskim – zagadnienia trwałości barwy zielonych i błękitnozielonych warstw malarskich w malarstwie i konserwacji

Pigments individually characterized with an acceptable lightfastness do not always retain that characteristics when mixed on a palette by a painter or conservator-restorer. The awareness of this phenomenon is useful both while interpreting the appearance of a paint layer of pictures suggesting that some changes unintended by the artist have occurred, and while performing reintegration of damaged paint layers. Earlier preliminary research, in part already published, of several of such mixtures reported as unstable in painting manuals allowed to identify some of them containing Prussian Blue prone to distinct alterations. The subsequent tests and further observations made over the period of several years prompted the author to the conclusion, that the problem extends beyond the limits of such a simple ascertainment. Further examinations reported in this paper concerned several of such mixtures used to obtain green and greenish-blue hues tested in perspective of their potential use in painting restoration, with two different binders and with the admixture of white pigment or extender in order to allow for the assessment of lightened tone. The examination consisted on accelerated ageing (light exposure) of the obtained paint layers together with documentation of their condition at several stages (photographic and colorimetric records). Attempts were made for a preliminary identification of the mechanisms of changes based on the analysis of the results of IR- and Raman-spectroscopy of several samples. The direction of further research has been established, that would possibly allow for a more comprehensive interpretation of the observed phenomena. In the same time certain conclusions important for restoration practice, (possible to enunciate at this stage of research) have been presented.

Polarization Second Harmonic Generation Discriminates Between Fresh and Aged Starch-Based Adhesives Used in Cultural Heritage

In this work, we report that polarization second harmonic generation (PSHG) microscopy, commonly used in biomedical imaging, can quantitatively discriminate naturally aged from fresh starch-based glues used for conservation or restoration of paintings, works of art on paper, and books. Several samples of fresh and aged (7 years) flour and starch pastes were investigated by use of PSHG. In these types of adhesives, widely used in cultural heritage conservation, second harmonic generation (SHG) contrast originates primarily from the starch granules. It was found that in aged glues, the starch SHG effective orientation (SHG angle, θ) shifts to significantly higher values in comparison to the fresh granules. This shift is attributed to the different degree of granule hydration between fresh and aged adhesives. Thus noninvasive high-resolution nonlinear scattering can be employed to detect and quantify the degree of deterioration of restoration adhesives and to provide guidance toward future conservation treatments.

Use of nanocoatings for the restoration of matte paintings

Nanotechnology has been used with promising results for the conservation of cultural heritage. Nanotechnology completely modifies some properties of pure polymers, such as their gas permeability an...

Digital non-metric image-based documentation for the preservation and restoration of mural paintings: the case of the Üzümlü Rock-hewn Church, Turkey

<p class="VARKeywords">Digital photography is a valuable documentation technique for the preservation of a cultural heritage site because highresolution photography presents both general and detailed views of mural paintings and mural condition in a single image. Advanced digital technology is particularly helpful for preserving and restoring mural paintings given that the painting condition is recorded on high-resolution base maps shows how mural paintings are damaged by environmental stresses, mechanical damages and inappropriate treatments, among others. In addition, photogrammetric software technology is rapidly advancing and being applied to the digital documentation of mural paintings or rock art. Nevertheless, human experience and investigation of mural paintings is indispensable for recording the condition of mural paintings, and this highlights that every step of documentation conducted in situ is desirable. However, images by photogrammetric software do not show sufficient resolution because most normal portable computers used on-site are not usually sufficient. Based on our experience at the Üzümlü Church in Cappadocia, Turkey, we propose a new approach to document mural conditions in situ for preservation and restoration. Our method is based on a comparison of a non-metric but approximate high-resolution image with the actual mural paintings. The method does not require special instruments and enables digital documentation of the mural condition in situ at a low cost, in a short time frame and using minimal human resources.</p>

Digital non-metric image-based documentation for the preservation and restoration of mural paintings: the case of the Üzümlü Rock-hewn Church, Turkey

<p class="VARKeywords">Digital photography is a valuable documentation technique for the preservation of a cultural heritage site because highresolution photography presents both general and detailed views of mural paintings and mural condition in a single image. Advanced digital technology is particularly helpful for preserving and restoring mural paintings given that the painting condition is recorded on high-resolution base maps shows how mural paintings are damaged by environmental stresses, mechanical damages and inappropriate treatments, among others. In addition, photogrammetric software technology is rapidly advancing and being applied to the digital documentation of mural paintings or rock art. Nevertheless, human experience and investigation of mural paintings is indispensable for recording the condition of mural paintings, and this highlights that every step of documentation conducted in situ is desirable. However, images by photogrammetric software do not show sufficient resolution because most normal portable computers used on-site are not usually sufficient. Based on our experience at the Üzümlü Church in Cappadocia, Turkey, we propose a new approach to document mural conditions in situ for preservation and restoration. Our method is based on a comparison of a non-metric but approximate high-resolution image with the actual mural paintings. The method does not require special instruments and enables digital documentation of the mural condition in situ at a low cost, in a short time frame and using minimal human resources.</p>

The roles of X rays and other types of electromagnetic radiation in evaluating paintings for forgery and restoration

Abstract Radiologists are experts in the use of electromagnetic radiation (EMR) to diagnose, and sometimes treat, disease. Medicine, however, is not the only industry which uses EMR to problem solve. EMR has a long standing role in the forensic examination of cultural properties. This article examines the roles of xrays and, to a lesser degree, gamma rays and beta particles in ruling out forgery and guiding the restoration of paintings. Of the 3 aforementioned EMR types, xrays have the largest role in painting authentication and restoration; much of this article is an overview of the different mechanisms by which xrays can be generated, as well as the information gleaned, from the different technologies in the forensic examination of paintings. Currently, the best method which uses EMR to examine paintings in 2 or 3D is optical coherence tomography (OCT). While OCT is not a widely known modality to the radiologist, it is a known technique in ophthalmology. The physics of OCT and the information yielded during painting examination will be discussed. While there is a high demand for forensic art experts, there are obstacles a radiologist would face should he/she decide to expand, or divert, their practice into this fascinating field.

Visualizing a black cat drawing hidden inside the painting by confocal micro-XRF analysis

Identification of pigments is one of the essential issues for the painting restoration or art appraisal.We investigated the nondestructive 3D elemental analysis of a paint sample using a confocal 3D-XRF spectrometer. The confocal 3D-XRF spectrometer combined with two polycapillary X-ray lenses was constructed in the laboratory. To confirm the analytical performance of the confocal 3D-XRF spectrometer, we analyzed several pigment mixtures of Emerald green (EG) and Prussian blue (PB). XRF intensities of Cu and Fe in the pigment mixtures showed good correlation with the content percentage of PB. In addition, we analyzed the replica paint in Daubigny's garden by Vincent Van Gogh to visualize a hidden painting beneath the surface. 3D-elemental map of Fe by confocal 3D-XRF showed characteristic distributions indicating the PB. The obtained 3D-XRF intensity imaging reflected the distribution of specific elements in the paint layers resulting in the successful visualization of the hidden cat.

A comparison between micro- and nanocellulose-filled composite adhesives for oil paintings restoration

Cellulose nanocrystals (CNC) and microcrystals (CMC) were selected as reinforcing fillers for poly(2-ethyl-2-oxazoline), a water-soluble thermoplastic adhesive widely used in the restoration of oil paintings. Thin composite films containing 5, 10, and 30 wt% of CNC or CMC were produced by solution mixing and casting. UV-vis spectroscopy showed how CNC preserved the adhesive transparency even at the highest CNC content, while for CMC, a progressive loss of transparency was observed. Thermal analysis evidenced a progressive increase of the glass transition temperature of the polymer matrix induced by CNC, while no effects were observed for CMC. Both micro- and nanocellulose were able to improve the elastic modulus and reduce the thermal expansion coefficient and creep compliance of the adhesive, with effects more pronounced for CNC nanoparticles. Finally, single-lap shear test on bonded ancient oil painting substrates confirmed the improved dimensional stability of the joint imparted by CNC in the adhesive under both quasi-static and creep conditions.

Influence of Animal Glues Application for Painting Restoration on Paper Characteristics

Artists have been used animal glues for a long time as binding and sizing materials of paintings in many countries including Korea. Since animal glues as a binding material lose their own adhesive strength by aging, pigment particles or pigment layers are easily detached from painting surface. Restaurators prefer to use animal glues for consolidation of pigment particles or pigment layers because artists use animal glues as a binder for their painting works. It is widely known that animal glues have different characteristics such as viscosity, stability on water etc. But there are still a few requirements to consider their stabilities for the restoration of paintings. Therefore, this study was aimed to evaluate of stability and efficiency of animal glue applications. The efficiency of animal glue application was decreased with increasing the concentration of animal glue solution. This result means the simple tendency, but does not representative data for other animal glues made from same raw materials. In most cases, the surface and mechanical characteristics of animal glues are dependent on some factors, like viscosity and concentration of animal glue solution.

Innovative microcrystalline cellulose composites as lining adhesives for canvas

Thin adhesive composite films were prepared by melt‐compounding and compression molding of a thermoplastic resin (Paraloid® B72) widely used for art protection and restoration with a microcrystalline cellulose powder (MCC). To simulate an oil painting restoration work, MCC‐based composites were applied as lining adhesives on two kinds of canvases (English linen and woven polyester). Interestingly, single–lap shear tests both in quasi‐static and creep conditions showed a remarkable stabilizing effect provided by MCC addition. Post‐mortem microstructural analysis of the overlap adhesive area proved how MCC introduction did not change the fracture behavior of the bonded joints. The visual assessment of transparency and color measurements evidenced a chromatic variation of MCC‐based films with a filler amount of 30 wt%, while, UV‐vis analysis showed a decrease of relative transmittance in proportion to the MCC content. Additionally, rheological tests highlighted a viscosity increase for Paraloid B72 in both dry and wet conditions (T = 23°C and RH = of 55%) as the MCC content increases. POLYM. ENG. SCI., 55:1349–1354, 2015. © 2015 Society of Plastics Engineers

A Robotic Solution for the Restoration of Fresco Paintings

In this paper, a service robot solution is presented for the analysis, surveying and restoration of fresco paintings. The proposed design approach integrates robot design and restoration operation. It aims to merge them into a feasible solution that can be both practical and feasible for restorers. The simulation results are reported to show a successful design solution, which has been conceived with the constraints of a low-cost user-oriented design and the consideration of cultural heritage.

Joseph Loxton Rawbon, the "Master Restorer"

Joseph Loxton Rawbon arrived in Canada during the intense commercial and industrial growth of the Victorian era. A colourful character with bombastic flair, his numerous enterprises, however limited in their success, exemplify the boundless optimism of the Industrial Age and open a small window onto the history of Toronto's early cultural development through to the Second World War. Remarkably, Rawbon believed that, like his artist's stretchers and other inventions, the restoration of paintings held a key to the making of a fortune.

Data Mining Approach to Image Feature Extraction in Old Painting Restoration

Abstract In this paper a new approach to image segmentation was discussed. A model based on a data mining algorithm set on a pixel level of an image was introduced and implemented to solve the task of identification of craquelure and retouch traces in digital images of artworks. Both craquelure and retouch identification are important steps in art restoration process. Since the main goal is to classify and understand the cause of damage, as well as to forecast its further enlargement, a proper tool for a precise detection of the damaged area is needed. However, the complex nature of the pattern is a reason why a simple, universal detection algorithm is not always possible to be implemented. Algorithms presented in this work apply mining structures which depend of expandable set of attributes forming a feature vector, and thus offer an elastic structure for analysis. The result obtained by our method in craquelure segmentation was improved comparing to the results achieved by mathematical morphology methods, which was confirmed by a qualitative analysis.

Receitas oitocentistas para a conservação de gravuras: 'Restauração de quadros e gravuras', de Manuel de Macedo

A análise da tratadística revela-se um esforço essencial para o aprofundamento científico da Conservação e Restauro, em particular no que concerne ao conhecimento das técnicas artísticas e técnicas específicas de

National And International Knowledge Transfers When Using Technology On The Conservation & Restoration Of Paintings

This paper analyses whether there is national and international knowledge transfer in the creative industry of conservation and restoration of paintings. A comparison between American and European museums is exhibited, distinguishing collaboration with research institutes and universities. A bibliometric measurement was used to obtain the data and a factor analysis to examine them. Results show that European and American museums tend to cooperate in knowledge development with other museums, institutes and universities located in its geographical area.

Research on Protection and Restoration of Colored Paintings of Huixian Taoist Temple

Huixian Taoist Temple is the Taoist architecture heritage of Quanzhen Religion during Jin and Yuan dynasties. The colored paintings kept in four main buildings possess history and art value. Based on the investigation and mapping of the existing paintings, the protection and restoration plan is determined according to the comparison, analysis and value estimation. Further discussion is forwarded on the protection method with advanced scientific concept and new technology.

Crack detection and inpainting for virtual restoration of paintings: The case of the Ghent Altarpiece

Digital image processing is proving to be of great help in the analysis and documentation of our vast cultural heritage. In this paper, we present a new method for the virtual restoration of digitized paintings with special attention for the Ghent Altarpiece (1432), a large polyptych panel painting of which very few digital reproductions exist. We achieve our objective by detecting and digitally removing cracks. The detection of cracks is particularly difficult because of the varying content features in different parts of the polyptych. Three new detection methods are proposed and combined in order to detect cracks of different sizes as well as varying brightness. Semi-supervised clustering based post-processing is used to remove objects falsely labelled as cracks. For the subsequent inpainting stage, a patch-based technique is applied to handle the noisy nature of the images and to increase the performance for crack removal. We demonstrate the usefulness of our method by means of a case study where the goal is to improve readability of the depiction of text in a book, present in one of the panels, in order to assist paleographers in its deciphering.