Pub Date : 2021-11-04DOI: 10.4995/rech6.2021.13268
C. Braybrook
This paper discusses the traditional retouching method of egg tempera, which, amongst other retouching techniques, remains a practised and taught method at the Hamilton Kerr Institute (HKI), University of Cambridge, UK. Since its introduction to Britain, the method has evolved and adapted, most recently owing to the absence of MS2A resin. Laropal A81 has been used as the replacement isolating varnish. However, the physical properties and handling differ from MS2A. The typical diluent used at the HKI for Laropal A81 varnish is a 50:50 mixture of Shellsol A100 and Shellsol D40, however, when used as the isolating resin over an area of retouching this mixture could disrupt lower tempera layers. To remedy this, the diluent was changed to cyclococtane, an aliphatic hydrocarbon. Cyclooctane benefits from being less toxic compared to the aromatic hydrocarbon Shellsol A100 and can be manipulated more on the surface before the activation of lower Laropal A81 layers becomes problematic. Laropal A81 solubilized in cyclooctane was successfully used as the isolating resin for egg tempera retouching and offers promise for a variety of varnishing scenarios and retouching. This paper demonstrates this adapted method of egg tempera retouching through a case study of a 16th-century panel painting with large losses perfectly suited to this method.
{"title":"A new pigmented wax-resin formulation for infilling and reintegrating losses in paintings: testing its workability in two case studies","authors":"C. Braybrook","doi":"10.4995/rech6.2021.13268","DOIUrl":"https://doi.org/10.4995/rech6.2021.13268","url":null,"abstract":"This paper discusses the traditional retouching method of egg tempera, which, amongst other retouching techniques, remains a practised and taught method at the Hamilton Kerr Institute (HKI), University of Cambridge, UK. Since its introduction to Britain, the method has evolved and adapted, most recently owing to the absence of MS2A resin. Laropal A81 has been used as the replacement isolating varnish. However, the physical properties and handling differ from MS2A. The typical diluent used at the HKI for Laropal A81 varnish is a 50:50 mixture of Shellsol A100 and Shellsol D40, however, when used as the isolating resin over an area of retouching this mixture could disrupt lower tempera layers. To remedy this, the diluent was changed to cyclococtane, an aliphatic hydrocarbon. Cyclooctane benefits from being less toxic compared to the aromatic hydrocarbon Shellsol A100 and can be manipulated more on the surface before the activation of lower Laropal A81 layers becomes problematic. Laropal A81 solubilized in cyclooctane was successfully used as the isolating resin for egg tempera retouching and offers promise for a variety of varnishing scenarios and retouching. This paper demonstrates this adapted method of egg tempera retouching through a case study of a 16th-century panel painting with large losses perfectly suited to this method. ","PeriodicalId":115079,"journal":{"name":"6th International Meeting on Retouching of Cultural Heritage. RECH6","volume":"242 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123009461","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-11-04DOI: 10.4995/rech6.2021.13539
Juan Bermejo-Soler, Iñigo González-González, Estíbaliz Lama-Ochoa, Fernando Baceta-Gobantes, MªDolores Rodríguez-Laso
The mosaic made of hydraulic tiles, is an architectural coating with a significant decorative importance, characteristic of both modernist and Art Deco architectures. This technique appeared in France in the decade of the 1860s, spreading all over Europe with great rapidity, and with a remarkable impact until the beginning of World War II. The decoration with hydraulic mosaic is based on the use of tiles made of compressed cement, adorned with intense colours and a glossy appearance. After been used for more than a century, many of these decorations are in need of an immediate intervention. As they are serialized and mass-produced elements, their volumetric and chromatic reintegration becomes easier. Non-interventional procedures are not usually acceptable, as they often have pavement function. In this work, four different restoration techniques have been compared. Starting from inorganic binders, we have proposed 1) white cement / silicate mineral paint; 2) acrylic resin / paint and 3) epoxy resin / paint. Last, reintegration tests were made on marble stucco using a combination of plaster, pigments and animal glue. The results of these four systems were compared with the ones obtained from the traditional hydraulic mosaic, paying special attention to gloss, hardness, and porosity. As the goal is to choose the most appropriate technique applied to Cultural Heritage, its behaviour was tested through two accelerated aging tests. On one hand, a group of test samples have been exposed to the penetration of salts by capillarity, very common in pavements. On the other hand, the samples were placed in a climatic chamber with the aim of accelerating its aging, exposing them to humidity, heat and UV radiation. These tests have made possible to know the potential of each of these materials and their suitability for volumetric and chromatic reintegration.
{"title":"The volumetric and chromatic reintegration of hydraulic mosaics: comparison between four different techniques","authors":"Juan Bermejo-Soler, Iñigo González-González, Estíbaliz Lama-Ochoa, Fernando Baceta-Gobantes, MªDolores Rodríguez-Laso","doi":"10.4995/rech6.2021.13539","DOIUrl":"https://doi.org/10.4995/rech6.2021.13539","url":null,"abstract":"The mosaic made of hydraulic tiles, is an architectural coating with a significant decorative importance, characteristic of both modernist and Art Deco architectures. This technique appeared in France in the decade of the 1860s, spreading all over Europe with great rapidity, and with a remarkable impact until the beginning of World War II. The decoration with hydraulic mosaic is based on the use of tiles made of compressed cement, adorned with intense colours and a glossy appearance. After been used for more than a century, many of these decorations are in need of an immediate intervention. As they are serialized and mass-produced elements, their volumetric and chromatic reintegration becomes easier. Non-interventional procedures are not usually acceptable, as they often have pavement function. In this work, four different restoration techniques have been compared. Starting from inorganic binders, we have proposed 1) white cement / silicate mineral paint; 2) acrylic resin / paint and 3) epoxy resin / paint. Last, reintegration tests were made on marble stucco using a combination of plaster, pigments and animal glue. The results of these four systems were compared with the ones obtained from the traditional hydraulic mosaic, paying special attention to gloss, hardness, and porosity. As the goal is to choose the most appropriate technique applied to Cultural Heritage, its behaviour was tested through two accelerated aging tests. On one hand, a group of test samples have been exposed to the penetration of salts by capillarity, very common in pavements. On the other hand, the samples were placed in a climatic chamber with the aim of accelerating its aging, exposing them to humidity, heat and UV radiation. These tests have made possible to know the potential of each of these materials and their suitability for volumetric and chromatic reintegration.","PeriodicalId":115079,"journal":{"name":"6th International Meeting on Retouching of Cultural Heritage. RECH6","volume":"173 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115918779","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-11-04DOI: 10.4995/rech6.2021.13522
C. Guimarães
This work aims to launch a critical perspective on the intervention actions undertaken lately in the historic center of the city of Uberaba – a medium size city in the countryside of the state Minas Gerais, Brazil. The central region of the city is made up of a set of buildings from the eclectic period that share space with modern buildings around the city's main square – Rui Barbosa Square. This square underwent several changes over time, highlighting the weaknesses in the construction of a heritage landscape in this territory, which supports collective memory. That said, we are interested in the contemporary transformations carried out in this region, which are related to both the market logic and the regulations regarding the clearing up the facades of historic buildings, such as the removal of advertising boards from stores. These reforms introduced new colors to the region, raising questions about the criteria (or lack thereof) for chromatic definition. The appeal to the use of strong colors without surveys or appropriate restoration techniques generates noise in the urban landscape. In this sense, we can ask ourselves if the advance in the promotion of heritage built by the public authorities can result in a tendency to trivialize the urban set. Specifically in this text, we will focus on the analysis of trivialization processes in urban sets of historical interest from the chromatic aspect, using comparative analyses, with structure analysis keys for the development of an initial critique of the cultural heritage in Uberaba.
{"title":"Interventions in urban centers: questions about chromatic (dis)integration","authors":"C. Guimarães","doi":"10.4995/rech6.2021.13522","DOIUrl":"https://doi.org/10.4995/rech6.2021.13522","url":null,"abstract":"This work aims to launch a critical perspective on the intervention actions undertaken lately in the historic center of the city of Uberaba – a medium size city in the countryside of the state Minas Gerais, Brazil. The central region of the city is made up of a set of buildings from the eclectic period that share space with modern buildings around the city's main square – Rui Barbosa Square. This square underwent several changes over time, highlighting the weaknesses in the construction of a heritage landscape in this territory, which supports collective memory. That said, we are interested in the contemporary transformations carried out in this region, which are related to both the market logic and the regulations regarding the clearing up the facades of historic buildings, such as the removal of advertising boards from stores. These reforms introduced new colors to the region, raising questions about the criteria (or lack thereof) for chromatic definition. The appeal to the use of strong colors without surveys or appropriate restoration techniques generates noise in the urban landscape. In this sense, we can ask ourselves if the advance in the promotion of heritage built by the public authorities can result in a tendency to trivialize the urban set. Specifically in this text, we will focus on the analysis of trivialization processes in urban sets of historical interest from the chromatic aspect, using comparative analyses, with structure analysis keys for the development of an initial critique of the cultural heritage in Uberaba. ","PeriodicalId":115079,"journal":{"name":"6th International Meeting on Retouching of Cultural Heritage. RECH6","volume":"22 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128275309","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-11-04DOI: 10.4995/rech6.2021.13500
S. Menon
In this paper I would like to focus the attention on the problems of integration in polychrome wooden sculptures, proposing some examples of repairing losses on large-sized, very incomplete artworks. The artifacts that are illustrated were also complicated by the heavy tampering that occurred over time and by the cultural value, as they were not musealized and object of devotion by the communities to which they belonged. The restoration of large gaps is one of the most complex themes of modern restoration. To try to better understand this aspect I propose four examples of reconstruction of large size losses. These extreme cases will be analysed in terms of severity of tampering, size and type of gaps, together with the solutions adopted in their formal recovery. They are three large wooden Venetian crucifixes, which are dated between the second half of the fourteenth century and the second half of the fifteenth century, and two sculptures from the casket of an altar with doors.
{"title":"PROBLEMS OF INTEGRATION IN POLYCHROME WOODEN SCULPTURE, EXAMPLES OF REPAIRING GAPS ON LARGE-SIZED, VERY INCOMPLETE ARTEFACTS.","authors":"S. Menon","doi":"10.4995/rech6.2021.13500","DOIUrl":"https://doi.org/10.4995/rech6.2021.13500","url":null,"abstract":"In this paper I would like to focus the attention on the problems of integration in polychrome wooden sculptures, proposing some examples of repairing losses on large-sized, very incomplete artworks. The artifacts that are illustrated were also complicated by the heavy tampering that occurred over time and by the cultural value, as they were not musealized and object of devotion by the communities to which they belonged. The restoration of large gaps is one of the most complex themes of modern restoration. To try to better understand this aspect I propose four examples of reconstruction of large size losses. These extreme cases will be analysed in terms of severity of tampering, size and type of gaps, together with the solutions adopted in their formal recovery. They are three large wooden Venetian crucifixes, which are dated between the second half of the fourteenth century and the second half of the fifteenth century, and two sculptures from the casket of an altar with doors. ","PeriodicalId":115079,"journal":{"name":"6th International Meeting on Retouching of Cultural Heritage. RECH6","volume":"34 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123268565","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-11-04DOI: 10.4995/rech6.2021.13547
Daniel Morales Martín, Antonella Magali Della Festa, A. Sánchez Ortiz
The filling of losses in easel paintings must provide the level and texture of the original pictorial layers. Synthetic poly-2-ethyl-2-oxazoline based stucco (Aquazol®) has been one of the latest additions with good results in the filling of paintings on canvas. The main objective of this research is to determine the properties of Aquazol® 200 based filler as a texturing filling with respect to its workability and its mechanical behaviour in relation to the structural stability of different textile substrates. To this end, two case studies have been used as a starting point, both of which share the need to find a stucco that does not add moisture to the canvas and that can reproduce the texture of the painting layer. In the experimental part, 18 mock-ups were made reproducing the pictorial surface of each work, as well as the restoration treatments of their supports. These were subjected to accelerated ageing to qualitatively analyse the stability of the filling before and after. After testing, it was found that Aquazol® 200 has excellent qualities for levelling and texturing gaps on moisture-sensitive substrates. The good ability to reproduce brush grooves, small impasti and smooth surfaces is noteworthy. On the other hand, a satisfactory result was not achieved on very pronounced impasto, requiring further study.
{"title":"MOISTURE SENSITIVE EASEL PAINTINGS: A PRACTICAL APPLICATION OF FILLING AND TEXTURING OF LOSSES WITH AQUAZOL® BASED FILLER","authors":"Daniel Morales Martín, Antonella Magali Della Festa, A. Sánchez Ortiz","doi":"10.4995/rech6.2021.13547","DOIUrl":"https://doi.org/10.4995/rech6.2021.13547","url":null,"abstract":"The filling of losses in easel paintings must provide the level and texture of the original pictorial layers. Synthetic poly-2-ethyl-2-oxazoline based stucco (Aquazol®) has been one of the latest additions with good results in the filling of paintings on canvas. The main objective of this research is to determine the properties of Aquazol® 200 based filler as a texturing filling with respect to its workability and its mechanical behaviour in relation to the structural stability of different textile substrates. To this end, two case studies have been used as a starting point, both of which share the need to find a stucco that does not add moisture to the canvas and that can reproduce the texture of the painting layer. In the experimental part, 18 mock-ups were made reproducing the pictorial surface of each work, as well as the restoration treatments of their supports. These were subjected to accelerated ageing to qualitatively analyse the stability of the filling before and after. After testing, it was found that Aquazol® 200 has excellent qualities for levelling and texturing gaps on moisture-sensitive substrates. The good ability to reproduce brush grooves, small impasti and smooth surfaces is noteworthy. On the other hand, a satisfactory result was not achieved on very pronounced impasto, requiring further study.","PeriodicalId":115079,"journal":{"name":"6th International Meeting on Retouching of Cultural Heritage. RECH6","volume":"44 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126806351","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-11-04DOI: 10.4995/rech6.2021.13521
Annabelle Camp, Kris Cnossen
Currently there is no single resource summarizing the different visual compensation methods used in textile conservation. Many techniques are shared through spoken communication, and there is a lack of literature documenting accepted options. The goal of this paper is to introduce common techniques, such as the use of dyes and paints, as well as a less common method, digital printing. The authors discuss when each option is appropriate,addressing their respective color-matching capabilities, workability, appearance when dry,and time and material requirements. Numerous case studies illustrating the use of thesemethods, with an emphasis on painted fills, are presented. The case studies representa range of textile types, such as costume, needlework, historic and modern printed textiles,as well as a range of materials, including silk, cotton, and wool. Case studies includeexamples of visual compensation in areas of stains, patterns, and non-woven structures.The successes and limitations of each method are discussed.
{"title":"DYES, PAINTS, AND INKS: AN OVERVIEW OF VISUAL COMPENSATION TECHNIQUES IN TEXTILE CONSERVATION","authors":"Annabelle Camp, Kris Cnossen","doi":"10.4995/rech6.2021.13521","DOIUrl":"https://doi.org/10.4995/rech6.2021.13521","url":null,"abstract":"Currently there is no single resource summarizing the different visual compensation methods used in textile conservation. Many techniques are shared through spoken communication, and there is a lack of literature documenting accepted options. The goal of this paper is to introduce common techniques, such as the use of dyes and paints, as well as a less common method, digital printing. The authors discuss when each option is appropriate,addressing their respective color-matching capabilities, workability, appearance when dry,and time and material requirements. Numerous case studies illustrating the use of thesemethods, with an emphasis on painted fills, are presented. The case studies representa range of textile types, such as costume, needlework, historic and modern printed textiles,as well as a range of materials, including silk, cotton, and wool. Case studies includeexamples of visual compensation in areas of stains, patterns, and non-woven structures.The successes and limitations of each method are discussed. ","PeriodicalId":115079,"journal":{"name":"6th International Meeting on Retouching of Cultural Heritage. RECH6","volume":"38 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123707690","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-11-04DOI: 10.4995/rech6.2021.13580
P. Mezzadri, Francesca Valentini, Maria-Concetta Capua
This paper focuses on critical and analytical approaches behind the reintegration process in the conservation project of two contemporary mural paintings designed by Antonio Carena and located in the outdoor contemporary museum of Piscina in Italy. Moreover, there will be evaluated materials and techniques applied, in this selected case study, where contemporary criteria on chromatic reintegration, still connected to a case by case situation, confirm that the aesthetic presentation of a work of art is the phase of the restoration in which the exquisitely critical nature of the intervention is best expressed, since it implies a scientific plan at the basis and the objective critical judgment of the operator which is called to interpret some formal, visual and historical values of the work of art, acting on them. Finally, there will be analysed theoretical and technical methodologies to explain how scientific criteria, which are also objective and based on the visual perception of colour by the human psyche and its consequent aesthetic elaboration, passes through a scientific-critique interpretation of the constituent materials in the work of art.
{"title":"CRITICAL AND ANALYTICAL APPROACHES IN A CONTEMPORARY MURAL PAINTING' RETOUCHING PROCESS: THE KEY STUDY OF MURALS BY ANTONIO CARENA","authors":"P. Mezzadri, Francesca Valentini, Maria-Concetta Capua","doi":"10.4995/rech6.2021.13580","DOIUrl":"https://doi.org/10.4995/rech6.2021.13580","url":null,"abstract":"This paper focuses on critical and analytical approaches behind the reintegration process in the conservation project of two contemporary mural paintings designed by Antonio Carena and located in the outdoor contemporary museum of Piscina in Italy. Moreover, there will be evaluated materials and techniques applied, in this selected case study, where contemporary criteria on chromatic reintegration, still connected to a case by case situation, confirm that the aesthetic presentation of a work of art is the phase of the restoration in which the exquisitely critical nature of the intervention is best expressed, since it implies a scientific plan at the basis and the objective critical judgment of the operator which is called to interpret some formal, visual and historical values of the work of art, acting on them. Finally, there will be analysed theoretical and technical methodologies to explain how scientific criteria, which are also objective and based on the visual perception of colour by the human psyche and its consequent aesthetic elaboration, passes through a scientific-critique interpretation of the constituent materials in the work of art.","PeriodicalId":115079,"journal":{"name":"6th International Meeting on Retouching of Cultural Heritage. RECH6","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130162269","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-11-04DOI: 10.4995/rech6.2021.13479
Alessandro Gatti, Danilea Russo, Roberta Capezio, A. Piccirillo, Massimiliano Caldera, Paola Manchinu
This paper illustrates the results of the diagnostic campaign, the problems that emerged and the choices made during the 2019 intervention in the Alcova room of Palazzo Chiablese, paying particular attention to the phase of aesthetic restitution of the polychrome wooden lambriggio with panels dated to the second half of the 18th century. The radical changes in the intended use of the environment during the 19th century, associated with the destruction that occurred during WW2, left indelible wounds on the painted artefacts. In particular, the panels have undergone repeated treatments such as to conceal, in some cases, the 18th century paintings, creating a strong visual discontinuity. The pictorial activity included diversified technical solutions, modulated according to the specific problems encountered: small retouching alternated with extensive reconstructions based on historical photographic documentation and on direct comparison with the decorative elements of the most preserved panels. In compliance with the conservative history of the artefacts an overall recovery project was developed aimed at the search for a new aesthetic unit capable of coherently communicating with the remaining fixed furniture and mobile environment.
{"title":"THE PICTORIAL TREATMENT OF THE 18 TH CENTURY PAINTED LAMBRIGGIO IN THE ALCOVA ROOM OF PALAZZO CHIABLESE: METHODOLOGICAL APPROACH, TECHNICAL SOLUTIONS AND RETOUCHING","authors":"Alessandro Gatti, Danilea Russo, Roberta Capezio, A. Piccirillo, Massimiliano Caldera, Paola Manchinu","doi":"10.4995/rech6.2021.13479","DOIUrl":"https://doi.org/10.4995/rech6.2021.13479","url":null,"abstract":"This paper illustrates the results of the diagnostic campaign, the problems that emerged and the choices made during the 2019 intervention in the Alcova room of Palazzo Chiablese, paying particular attention to the phase of aesthetic restitution of the polychrome wooden lambriggio with panels dated to the second half of the 18th century. The radical changes in the intended use of the environment during the 19th century, associated with the destruction that occurred during WW2, left indelible wounds on the painted artefacts. In particular, the panels have undergone repeated treatments such as to conceal, in some cases, the 18th century paintings, creating a strong visual discontinuity. The pictorial activity included diversified technical solutions, modulated according to the specific problems encountered: small retouching alternated with extensive reconstructions based on historical photographic documentation and on direct comparison with the decorative elements of the most preserved panels. In compliance with the conservative history of the artefacts an overall recovery project was developed aimed at the search for a new aesthetic unit capable of coherently communicating with the remaining fixed furniture and mobile environment. ","PeriodicalId":115079,"journal":{"name":"6th International Meeting on Retouching of Cultural Heritage. RECH6","volume":"67 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114487618","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-11-04DOI: 10.4995/rech6.2021.13559
Ana Bailão, A. Bidarra, Bruna Silva Pereira, Ana Rita Esperança, Teresa Desterro
Chromatic reintegration aims to decrease deterioration evidences in the artwork and retrieve the visual interpretation of its iconographic shapes and contents. This case study will focus on the chromatic reintegration process of the eyeballs of a wood sculpture representing Saint Teotónio. Instead of applying colour over the eyeballs, it was decided to make thin lenses that could be placed directly on the surface. Experiments were carried out with different resins, on one centimetre in diameter moulds. The resins tested were Paraloid B72; PVA Inpainting Medium (Gustav Berger's Berger's O.F.); Mowilith DS 5/2; Aquazol 200; Plextol B500 and the monomer 2-ethyl hexyl acrylate (2 EHA). The selected resin was the monomer 2 EHA, which was then tested in a mixture with acrylic paint to achieve an accurate colour representation of the iris and pupil of the eye.
{"title":"CONTACT LENSES ON THE CHROMATIC REINTEGRATION PROCESS OF THE EYEBALLS OF A WOOD SCULPTURE","authors":"Ana Bailão, A. Bidarra, Bruna Silva Pereira, Ana Rita Esperança, Teresa Desterro","doi":"10.4995/rech6.2021.13559","DOIUrl":"https://doi.org/10.4995/rech6.2021.13559","url":null,"abstract":"Chromatic reintegration aims to decrease deterioration evidences in the artwork and retrieve the visual interpretation of its iconographic shapes and contents. This case study will focus on the chromatic reintegration process of the eyeballs of a wood sculpture representing Saint Teotónio. Instead of applying colour over the eyeballs, it was decided to make thin lenses that could be placed directly on the surface. Experiments were carried out with different resins, on one centimetre in diameter moulds. The resins tested were Paraloid B72; PVA Inpainting Medium (Gustav Berger's Berger's O.F.); Mowilith DS 5/2; Aquazol 200; Plextol B500 and the monomer 2-ethyl hexyl acrylate (2 EHA). The selected resin was the monomer 2 EHA, which was then tested in a mixture with acrylic paint to achieve an accurate colour representation of the iris and pupil of the eye. ","PeriodicalId":115079,"journal":{"name":"6th International Meeting on Retouching of Cultural Heritage. RECH6","volume":"80 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124878181","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-11-04DOI: 10.4995/rech6.2021.13605
Alexandre Ferreira Xavier, Ana Bailão, M. Manso
Mimetic chromatic reintegration in easel paintings is usually achieved by levelling the surface of losses (lacunae) with a white filler, followed by its retouching with an appropriate paint. This investigation aimed to understand how different formulations of fillers (colored fillers and white fillers covered with three kinds of paints: watercolor, gouache, and mastic resin) influence mimetic reintegration. Colorimetry, using a smartphone with a color measurement application, and Fiber Optics Reflectance Spectroscopy (FORS) measurements were made on 29 samples of fillers and on the surface of the pictorial layer of our case study - a painting by Veloso Salgado.The combined use of these techniques allowed us to choose the most similar material filler system. The pigmented fillers gave us the best results to perform a safer and faster chromatic reintegration procedure. This procedure appears to be suitable for contemporary art as which usually do not present a protective layer. Also, the use of pigmented fillers simplifies the color achievement.
{"title":"THE INFLUENCE OF FILLERS ON THE CHROMATIC REINTEGRATION PROCESS ON EASEL PAINTINGS: ANALYTICAL STUDY FOR SKIN COLOR.","authors":"Alexandre Ferreira Xavier, Ana Bailão, M. Manso","doi":"10.4995/rech6.2021.13605","DOIUrl":"https://doi.org/10.4995/rech6.2021.13605","url":null,"abstract":"Mimetic chromatic reintegration in easel paintings is usually achieved by levelling the surface of losses (lacunae) with a white filler, followed by its retouching with an appropriate paint. This investigation aimed to understand how different formulations of fillers (colored fillers and white fillers covered with three kinds of paints: watercolor, gouache, and mastic resin) influence mimetic reintegration. Colorimetry, using a smartphone with a color measurement application, and Fiber Optics Reflectance Spectroscopy (FORS) measurements were made on 29 samples of fillers and on the surface of the pictorial layer of our case study - a painting by Veloso Salgado.The combined use of these techniques allowed us to choose the most similar material filler system. The pigmented fillers gave us the best results to perform a safer and faster chromatic reintegration procedure. This procedure appears to be suitable for contemporary art as which usually do not present a protective layer. Also, the use of pigmented fillers simplifies the color achievement.","PeriodicalId":115079,"journal":{"name":"6th International Meeting on Retouching of Cultural Heritage. RECH6","volume":"43 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116621042","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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