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/rech6.2021.13516
K. Seymour, María Vicente, Betlem Alapont, Christa Molenaar
The Suermondt-Ludwig Museum (Aachen) holds five Spanish fifteenth-century panel paintings in their collection. The five panels are all fragments, likely removed from their original settings at the turn of the nineteenth century during the upheaval of the Napoleonic Wars and sold on the art market after extensive restoration. Three of these five panels have been already treated at SRAL. The additional two will undergo a full conservation campaign in the coming year carried out in collaboration with conservation students from the University of Amsterdam and conservation training programmes in Spain. A treatment protocol was devised to ensure a systematic and sympathetic treatment, including reintegration. This provided key skill development for the trainee conservators. The removal of non-original surface materials revealed overcleaned and severely damaged surfaces. The integration of these surfaces required an innovative approach to return a sense of authenticity to the artworks, individually and as a disparate group. The subtle shift in gloss and texture between areas of paint and gilding, between different pigments bound in animal glue, egg tempera, and oleo-resinous glazes had been lost. The selection of conservation materials for infilling and retouching aimed to return this ephemeral play on light to the surfaces. This paper will discuss this innovative approach using the reintegration of one of the set of five panel paintings: the “Adoration of the Kings” (Inventory number: GK 243) as a case study. The materials were carefully chosen so as not to be mistaken for original materials in the future. The approach entailed thinking out of the box and approaching the filling and retouching stages simultaneously rather than as independent actions. This allowed a more holistic strategy to reintegration than if all losses were filled first prior to retouching. The filling materials utilised are based on a studio formulation consisting of a novel combination: Arbocel 500 (cellulose fibres) bound in a mixture of Aquazol 500 (poly(2-ethyl-2-oxazoline)) and Methocel A4M (methylcellulose) bound in water. This mixture was used to fill deeper losses and modified with aluminium hydroxide powder to create a surface fill. The protocol used began with testing of the materials to find the right formulation; adaptations for the typology of fill were incorporated into this design. The filler formulation is modified to best adapt to the specific losses in each area of each panel. The decision not to re-varnish the panels allowed filling and retouching to be carried out simultaneously and the different gloss surfaces of individual paint areas to be imitated by modifying the amount of retouching binding media (Aquazol 200 dissolved in ethanol/water). The resulting appearance allows different colour and surface finishes to retain their independent characteristics and returns a more authentic surface finish to the fifteenth-century artworks.
{"title":"INNOVATIVE APPROACHES FOR THE RE-INTEGRATION OF FIFTEENTH-CENTURY SPANISH PANEL PAINTINGS","authors":"K. Seymour, María Vicente, Betlem Alapont, Christa Molenaar","doi":"10.4995/rech6.2021.13516","DOIUrl":"https://doi.org/10.4995/rech6.2021.13516","url":null,"abstract":"The Suermondt-Ludwig Museum (Aachen) holds five Spanish fifteenth-century panel paintings in their collection. The five panels are all fragments, likely removed from their original settings at the turn of the nineteenth century during the upheaval of the Napoleonic Wars and sold on the art market after extensive restoration. Three of these five panels have been already treated at SRAL. The additional two will undergo a full conservation campaign in the coming year carried out in collaboration with conservation students from the University of Amsterdam and conservation training programmes in Spain. A treatment protocol was devised to ensure a systematic and sympathetic treatment, including reintegration. This provided key skill development for the trainee conservators. The removal of non-original surface materials revealed overcleaned and severely damaged surfaces. The integration of these surfaces required an innovative approach to return a sense of authenticity to the artworks, individually and as a disparate group. The subtle shift in gloss and texture between areas of paint and gilding, between different pigments bound in animal glue, egg tempera, and oleo-resinous glazes had been lost. The selection of conservation materials for infilling and retouching aimed to return this ephemeral play on light to the surfaces. This paper will discuss this innovative approach using the reintegration of one of the set of five panel paintings: the “Adoration of the Kings” (Inventory number: GK 243) as a case study. The materials were carefully chosen so as not to be mistaken for original materials in the future. The approach entailed thinking out of the box and approaching the filling and retouching stages simultaneously rather than as independent actions. This allowed a more holistic strategy to reintegration than if all losses were filled first prior to retouching. The filling materials utilised are based on a studio formulation consisting of a novel combination: Arbocel 500 (cellulose fibres) bound in a mixture of Aquazol 500 (poly(2-ethyl-2-oxazoline)) and Methocel A4M (methylcellulose) bound in water. This mixture was used to fill deeper losses and modified with aluminium hydroxide powder to create a surface fill. The protocol used began with testing of the materials to find the right formulation; adaptations for the typology of fill were incorporated into this design. The filler formulation is modified to best adapt to the specific losses in each area of each panel. The decision not to re-varnish the panels allowed filling and retouching to be carried out simultaneously and the different gloss surfaces of individual paint areas to be imitated by modifying the amount of retouching binding media (Aquazol 200 dissolved in ethanol/water). The resulting appearance allows different colour and surface finishes to retain their independent characteristics and returns a more authentic surface finish to the fifteenth-century artworks. ","PeriodicalId":115079,"journal":{"name":"6th International Meeting on Retouching of Cultural Heritage. RECH6","volume":"66 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":"127534523","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/rech6.2021.13624
S. Noohi, Manijeh Hadian-Dehkordi
This study presents a part of a research project on retouching wet Collodion and dry gelatine glass plate negatives from Golestan Palace photo archive in Tehran, Iran, dating from the mid-19th century. The collection belongs to Qajar era. This is a case study on the use of red paint in retouching wet collodion glass plate negatives and aims to help the understanding of retouching material and their application. Red paints in four retouched negatives, and also their binder, identified in this study by means of, micro Fourier transform infrared (µ-FTIR), scanning electron microscopy-energy dispersive spectroscopy (SEM-EDS) and stereo microscopy technique. Elemental analysis performed with (SEM-EDS) revealed the presence of Lead (Pb), and Iron (Fe) elements in the paint. Thus, red Iron & red Lead pigments were identified as the red paints. The results confirmed by micro Fourier transform infrared (µ-FTIR), and a natural resin (probably gum Arabic) is identified as the binder of all paints as well. Red Lead, is realized as a paint to cover the boundaries, create more brightness, and as a binder to adhere masking papers, to the intended areas. Red Iron, is also found as a paint to correct emulsion defects and, make a perfectly clear and clean sky or background. Apparently, all these choices have been made consciously. It is believed that this study will contribute much to better understanding of retouching materials and the need to preserve them.
{"title":"A TECHNICAL STUDY OF RED PAINTS IN THE RETOUCHING LAYER OF SOME WET-COLLODION GLASS PLATE NEGATIVES OF GOLESTAN PALACE PHOTO ARCHIVE","authors":"S. Noohi, Manijeh Hadian-Dehkordi","doi":"10.4995/rech6.2021.13624","DOIUrl":"https://doi.org/10.4995/rech6.2021.13624","url":null,"abstract":"This study presents a part of a research project on retouching wet Collodion and dry gelatine glass plate negatives from Golestan Palace photo archive in Tehran, Iran, dating from the mid-19th century. The collection belongs to Qajar era. This is a case study on the use of red paint in retouching wet collodion glass plate negatives and aims to help the understanding of retouching material and their application. Red paints in four retouched negatives, and also their binder, identified in this study by means of, micro Fourier transform infrared (µ-FTIR), scanning electron microscopy-energy dispersive spectroscopy (SEM-EDS) and stereo microscopy technique. Elemental analysis performed with (SEM-EDS) revealed the presence of Lead (Pb), and Iron (Fe) elements in the paint. Thus, red Iron & red Lead pigments were identified as the red paints. The results confirmed by micro Fourier transform infrared (µ-FTIR), and a natural resin (probably gum Arabic) is identified as the binder of all paints as well. Red Lead, is realized as a paint to cover the boundaries, create more brightness, and as a binder to adhere masking papers, to the intended areas. Red Iron, is also found as a paint to correct emulsion defects and, make a perfectly clear and clean sky or background. Apparently, all these choices have been made consciously. It is believed that this study will contribute much to better understanding of retouching materials and the need to preserve them.","PeriodicalId":115079,"journal":{"name":"6th International Meeting on Retouching of Cultural Heritage. RECH6","volume":"129 11 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":"114510737","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/rech6.2021.13498
Genevieve Mary Tobin
Golden varnishes appear on frames, furniture, wall hangings, leatherwork, panel paintings, mural paintings, and polychromy, and were applied to white metal gilding to imitate gold and other semi-precious materials. Despite the number of examples in cultural heritage there are few publications that discuss the ethical considerations of treating coloured silver gilded surfaces. The chromatic reintegration of gold-coloured varnishes on white metal gilding present specific material and technical challenges. In 2021 the Art Gallery of New South Wales (AGNSW) treated two identical late 19th century silver gilded frames for portraits by Joseph Backler from the Australian collection. In addition, a third portrait required the fabrication of a reproduction frame identical to the others. Conservation of the frames presented an opportunity for carrying out experiments into coloured coatings for loss compensation on silver gilding exploring applications for select conservation paints, dyes, and synthetic resins as substitutes for shellac. The results of experiments demonstrate that with the right application Liquitex Soluvar Gloss Varnish, Laropal A81 and Paraloid B72, present gloss levels and visual film forming properties comparable to shellac coatings when applied to burnished gilding. Additional tests with various dye colours illustrate that Orasol ® dye mixtures in colours Yellow 2GLN, Yellow 2RL, and Brown 2GL are reliable colour imitations for traditional gold-coloured varnishes. Although this research is preliminary, it may inform the selection and application of appropriate retouching materials for compensating losses to burnished silver leaf and golden varnishes in gilding conservation.
{"title":"The silver lining: preliminary research into gold-coloured varnishes for loss compensation in two 19th C silver gilded frames","authors":"Genevieve Mary Tobin","doi":"10.4995/rech6.2021.13498","DOIUrl":"https://doi.org/10.4995/rech6.2021.13498","url":null,"abstract":"Golden varnishes appear on frames, furniture, wall hangings, leatherwork, panel paintings, mural paintings, and polychromy, and were applied to white metal gilding to imitate gold and other semi-precious materials. Despite the number of examples in cultural heritage there are few publications that discuss the ethical considerations of treating coloured silver gilded surfaces. The chromatic reintegration of gold-coloured varnishes on white metal gilding present specific material and technical challenges. In 2021 the Art Gallery of New South Wales (AGNSW) treated two identical late 19th century silver gilded frames for portraits by Joseph Backler from the Australian collection. In addition, a third portrait required the fabrication of a reproduction frame identical to the others. Conservation of the frames presented an opportunity for carrying out experiments into coloured coatings for loss compensation on silver gilding exploring applications for select conservation paints, dyes, and synthetic resins as substitutes for shellac. The results of experiments demonstrate that with the right application Liquitex Soluvar Gloss Varnish, Laropal A81 and Paraloid B72, present gloss levels and visual film forming properties comparable to shellac coatings when applied to burnished gilding. Additional tests with various dye colours illustrate that Orasol ® dye mixtures in colours Yellow 2GLN, Yellow 2RL, and Brown 2GL are reliable colour imitations for traditional gold-coloured varnishes. Although this research is preliminary, it may inform the selection and application of appropriate retouching materials for compensating losses to burnished silver leaf and golden varnishes in gilding conservation.","PeriodicalId":115079,"journal":{"name":"6th International Meeting on Retouching of Cultural Heritage. RECH6","volume":"49 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":"128565343","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：