Pub Date : 2021-11-04DOI: 10.4995/rech6.2021.13533
Manuel Giandomenico, F. Capasso, Sokol Muca, M. C. Gaetani, Sara Iafrate, M. Bartolini, U. Santamaria, A. Calia, E. Vasanelli, D. Melica
This study was carried out during the ICR conservation project involving two of the mural paintings of the Saint Peter and Paul’s hypogeum in Matera. Retouching mural paintings preserved in such a peculiar environment as hypogea is not an ordinary operation. In these contexts, relative humidity approximating to 100% makes hygroscopic materials less durable, favouring biological growth on them. In addition, severe climatic conditions can lead to a fast degradation of retouching materials. Watercolours, extensively employed for retouching mural paintings, are not completely recommendable in such humid environments, so a research was planned to find a compatible and alternative binding media. A study was carried out on laboratory samples to select the most suitable binding media among the following: two synthetic resins, Laropal A81 and Regalrez 1094, and two natural products, Funori and arabic gum. Each binder was blended with two different pigments. For each binder four different dilutions were tested, in order to find out how these factors could have affected the analysed properties. These products have been investigated in relation to their optical properties, wettability, vapour and water permeability, resistance to salt crystallisation and bioreceptivity. Some tests were repeated after an artificial ageing process, based on cyclical alternation of humid-cold and dry-hot exposure conditions. In addition to the laboratory tests, some in situ applications were performed. Amongst four binders, Regalrez 1094 showed the best results. Nevertheless, its bioreceptivity and applicability issues make necessary to continue and develop further research.
{"title":"RETOUCHING MURAL PAINTINGS IN HYPOGEUM: PRELIMINARY STUDY AND FIRST RESULTS","authors":"Manuel Giandomenico, F. Capasso, Sokol Muca, M. C. Gaetani, Sara Iafrate, M. Bartolini, U. Santamaria, A. Calia, E. Vasanelli, D. Melica","doi":"10.4995/rech6.2021.13533","DOIUrl":"https://doi.org/10.4995/rech6.2021.13533","url":null,"abstract":"This study was carried out during the ICR conservation project involving two of the mural paintings of the Saint Peter and Paul’s hypogeum in Matera. Retouching mural paintings preserved in such a peculiar environment as hypogea is not an ordinary operation. In these contexts, relative humidity approximating to 100% makes hygroscopic materials less durable, favouring biological growth on them. In addition, severe climatic conditions can lead to a fast degradation of retouching materials. Watercolours, extensively employed for retouching mural paintings, are not completely recommendable in such humid environments, so a research was planned to find a compatible and alternative binding media. A study was carried out on laboratory samples to select the most suitable binding media among the following: two synthetic resins, Laropal A81 and Regalrez 1094, and two natural products, Funori and arabic gum. Each binder was blended with two different pigments. For each binder four different dilutions were tested, in order to find out how these factors could have affected the analysed properties. These products have been investigated in relation to their optical properties, wettability, vapour and water permeability, resistance to salt crystallisation and bioreceptivity. Some tests were repeated after an artificial ageing process, based on cyclical alternation of humid-cold and dry-hot exposure conditions. In addition to the laboratory tests, some in situ applications were performed. Amongst four binders, Regalrez 1094 showed the best results. Nevertheless, its bioreceptivity and applicability issues make necessary to continue and develop further research. ","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":"133070826","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}
Pub Date : 2021-11-04DOI: 10.4995/rech6.2021.13528
José Luis Regidor Ros, Clara Portilla Romero, Juan Valcárcel Andrés, Pilar Roig Picazo
The case of the frescos by Palomino in the church of Santos Juanes in Valencia is a challenge that requires new alternatives to traditional mural restoration. Part of the paintings burnt in 1936 were detached and partly relocated in the vault afterwards. One third of the paintings, which were not detached, have been restored. A new phase of intervention has now begun, using a system of aesthetic reconstruction generated by digital images. This technique, already used successfully in a previous intervention, aims to recover the pictorial and functional atmosphere of this religious space.In order to fulfil the goal of trying to give a global solution to Palomino's work, it is necessary to find a chromatic solution to the apse of the church due to the absence of its original frescos. We propose the use of video mapping based on a historical black and white photograph taken by J. Alcon before the fire. Taking chromatic and iconographic references from other pictorial works that are in the same space-time context as the original painting and were executed by the same author, an aesthetic approach to the work would be made through the technique of video mapping. Mapping allows the viewer to see the pictorial and functional values of the artwork, without using an invasive form, and favours a vision of its historical-artistic context. Without physically altering the heritage, the final audiovisual presentation can reach multiple levels of information, helping the observer to understand, for example, the technique and pictorial materiality of the frescos and, at the same time, to discover the different iconographic representations.On the other hand, the successful system realised in the first phase was based on digital treatment of another historical photograph in black and white. This procedure was carried out in several ways such as straightening, rectifying and scaling of historical photograph. After the previous process, the following step was a digital colouring based on the superposition of the captures of the existing fragments to the picture taken by J. Alcon, always taking the colours of the original painting as a reference. The creation of the virtual final image also requires colour management calculations to be transformed into a printed or projected reality. The last step is to print and transfer the image to the wall. This was done with Papelgel®, a temporary support for the transfer of inkjet and pigmented printing inks. In this case the main novelty is the use of an adhesive pattern which improves the transfer of digital print fidelity and maintains the breathability of the wall. In the current phase of intervention, this system is intended to be applied to the rest of the vault once the detached fragments have been relocated to their original position.This project is an important attempt in the search for perfect harmony between the different computing elements. Information technologies offer a new and wide range of possibilities to prese
{"title":"Pictorial reconstruction of Palomino’s ceiling by digital techniques","authors":"José Luis Regidor Ros, Clara Portilla Romero, Juan Valcárcel Andrés, Pilar Roig Picazo","doi":"10.4995/rech6.2021.13528","DOIUrl":"https://doi.org/10.4995/rech6.2021.13528","url":null,"abstract":"The case of the frescos by Palomino in the church of Santos Juanes in Valencia is a challenge that requires new alternatives to traditional mural restoration. Part of the paintings burnt in 1936 were detached and partly relocated in the vault afterwards. One third of the paintings, which were not detached, have been restored. A new phase of intervention has now begun, using a system of aesthetic reconstruction generated by digital images. This technique, already used successfully in a previous intervention, aims to recover the pictorial and functional atmosphere of this religious space.In order to fulfil the goal of trying to give a global solution to Palomino's work, it is necessary to find a chromatic solution to the apse of the church due to the absence of its original frescos. We propose the use of video mapping based on a historical black and white photograph taken by J. Alcon before the fire. Taking chromatic and iconographic references from other pictorial works that are in the same space-time context as the original painting and were executed by the same author, an aesthetic approach to the work would be made through the technique of video mapping. Mapping allows the viewer to see the pictorial and functional values of the artwork, without using an invasive form, and favours a vision of its historical-artistic context. Without physically altering the heritage, the final audiovisual presentation can reach multiple levels of information, helping the observer to understand, for example, the technique and pictorial materiality of the frescos and, at the same time, to discover the different iconographic representations.On the other hand, the successful system realised in the first phase was based on digital treatment of another historical photograph in black and white. This procedure was carried out in several ways such as straightening, rectifying and scaling of historical photograph. After the previous process, the following step was a digital colouring based on the superposition of the captures of the existing fragments to the picture taken by J. Alcon, always taking the colours of the original painting as a reference. The creation of the virtual final image also requires colour management calculations to be transformed into a printed or projected reality. The last step is to print and transfer the image to the wall. This was done with Papelgel®, a temporary support for the transfer of inkjet and pigmented printing inks. In this case the main novelty is the use of an adhesive pattern which improves the transfer of digital print fidelity and maintains the breathability of the wall. In the current phase of intervention, this system is intended to be applied to the rest of the vault once the detached fragments have been relocated to their original position.This project is an important attempt in the search for perfect harmony between the different computing elements. Information technologies offer a new and wide range of possibilities to prese","PeriodicalId":115079,"journal":{"name":"6th International Meeting on Retouching of Cultural Heritage. RECH6","volume":"105 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":"126049611","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/rech6.2021.13476
Catarina Rocha Pires, L. Carlyle, K. Seymour, Susana França de Sá
A new pigmented wax-resin formulation introduced and tested for its suitability as a material to infill and reintegrate losses in paintings. This formulation contains Cosmoloid H80 microcrystalline wax and Regalrez® 1126 hydrogenated hydrocarbon resin, in a ratio of 1.5:1 (wax:resin, parts by weight), and is mixed with dry pigments and/or inert fillers (such as chalk, kaolin, or aluminium hydroxide). After extensive research on the properties and the stability of various formulations, the most successful one was applied on two canvas paintings with very diverse characteristics: a 17th century oil painting, and a 21st century acrylic painting. In this paper, the different application methods used are described step-by-step. These consisted of using the new formulations not only solely as infilling materials (by adding inert fillers to the wax-resin mixture), but also as materials capable of infilling and reintegrating a loss in one single step (by adding pigments to the wax-resin mixture). The possibility of imprinting and carving texture, as well as of sculpting the infills to recreate brushstrokes, was also tested and verified and is described in detail here.
{"title":"A NEW PIGMENTED WAX-RESIN FORMULATION FOR INFILLING AND REINTEGRATING LOSSES IN PAINTINGS: TESTING ITS WORKABILITY IN TWO CASE STUDIES","authors":"Catarina Rocha Pires, L. Carlyle, K. Seymour, Susana França de Sá","doi":"10.4995/rech6.2021.13476","DOIUrl":"https://doi.org/10.4995/rech6.2021.13476","url":null,"abstract":"A new pigmented wax-resin formulation introduced and tested for its suitability as a material to infill and reintegrate losses in paintings. This formulation contains Cosmoloid H80 microcrystalline wax and Regalrez® 1126 hydrogenated hydrocarbon resin, in a ratio of 1.5:1 (wax:resin, parts by weight), and is mixed with dry pigments and/or inert fillers (such as chalk, kaolin, or aluminium hydroxide). After extensive research on the properties and the stability of various formulations, the most successful one was applied on two canvas paintings with very diverse characteristics: a 17th century oil painting, and a 21st century acrylic painting. In this paper, the different application methods used are described step-by-step. These consisted of using the new formulations not only solely as infilling materials (by adding inert fillers to the wax-resin mixture), but also as materials capable of infilling and reintegrating a loss in one single step (by adding pigments to the wax-resin mixture). The possibility of imprinting and carving texture, as well as of sculpting the infills to recreate brushstrokes, was also tested and verified and is described in detail here. ","PeriodicalId":115079,"journal":{"name":"6th International Meeting on Retouching of Cultural Heritage. RECH6","volume":"252 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":"116162096","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/rech6.2021.13484
Antoni Colomina, V. Guerola
In order to achieve a reintegration that manifests a consonance and general homogeneity in all the losses present in a pictorial surface, it is important that the adjustment of the vertical streaked lines is made in an invariable way to achieve the procedural analogy. This is relatively simple when the work is carried out by a single operator, with a particular and uniform modus operandi that is defined by the quality of its stroke. However, the procedure is more complex when the interventions require the collaborative work of several restorers, especially in large-format artworks or where the size of the losses determines this circumstance. For that purpose, it is proposed a work tool that we have named “hatching meter”, which is useful to determine the calligraphy and measurement of the lines to be used in the discernible processes of chromatic reintegration by each one of the restorers involved in the intervention. This referential measurement tool is composed of a total of sixteen cells, ordered from left to right and from top to bottom, from lowest to highest tonal value or luminosity. This gradation is achieved with the modulation of what we have called LCTD variables, referring to the various parameters with which the line is constructed and which depend on its length, contour, translucency and dispersion.
{"title":"THE HATCHING METER AS A TOOL FOR COLLABORATIVE WORK IN THE CHROMATIC REINTEGRATION PROCESSES","authors":"Antoni Colomina, V. Guerola","doi":"10.4995/rech6.2021.13484","DOIUrl":"https://doi.org/10.4995/rech6.2021.13484","url":null,"abstract":"In order to achieve a reintegration that manifests a consonance and general homogeneity in all the losses present in a pictorial surface, it is important that the adjustment of the vertical streaked lines is made in an invariable way to achieve the procedural analogy. This is relatively simple when the work is carried out by a single operator, with a particular and uniform modus operandi that is defined by the quality of its stroke. However, the procedure is more complex when the interventions require the collaborative work of several restorers, especially in large-format artworks or where the size of the losses determines this circumstance. For that purpose, it is proposed a work tool that we have named “hatching meter”, which is useful to determine the calligraphy and measurement of the lines to be used in the discernible processes of chromatic reintegration by each one of the restorers involved in the intervention. This referential measurement tool is composed of a total of sixteen cells, ordered from left to right and from top to bottom, from lowest to highest tonal value or luminosity. This gradation is achieved with the modulation of what we have called LCTD variables, referring to the various parameters with which the line is constructed and which depend on its length, contour, translucency and dispersion.","PeriodicalId":115079,"journal":{"name":"6th International Meeting on Retouching of Cultural Heritage. RECH6","volume":"132 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":"123414597","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/rech6.2021.13579
Juliana Do Amaral Leopaci, Mariah Boelsums, Fernanda Bredariol
This article presents a case study of a polychrome wood carving sculpture representing Jesus Christ crucified. The piece belongs to the Chapel of Nossa Senhora da Glória, located in the district of Ressaca/Carandaí, Minas Gerais, Brazil. It was in a poor state of conservation, especially the very fragile polychrome, impairing the work. legibility. From the analysis of the state of conservation of the object, four important points were considered to support the proposed treatment: stability, reversibility, aesthetic legibility, and the potential oneness conceptualized by Cesare Brandi, which aimed at the stability of the material that would guarantee the potential oneness of the work without creating a historical and artistic falsehood. These points are directly linked to the modern techniques and resources used, as well as the intention to maintain the integrity and authenticity of the work. The entire polychrome process was of great importance to acquire its stability, due to the presence of four types of lacunae. Lastly, the chromatic reintegration, in which the pointillism technique was used, aimed to be distinguishable from the pictorial layer of the work. Therefore, this study aims to present the restoration process of a polychrome wood sculpture and, mainly, to demonstrate the importance of chromatic reintegration to insert and ensure aesthetic legibility and a potential oneness of the work.
本文介绍了一个多彩木雕雕塑，代表耶稣基督被钉十字架的案例研究。这件作品属于位于巴西米纳斯吉拉斯州Ressaca/Carandaí地区的Nossa Senhora da Glória教堂。它的保存状况很差，尤其是非常脆弱的彩色，损害了工作。易读性。从对文物保存状态的分析来看，我们认为有四个要点可以支持我们提出的处理方法:稳定性、可逆性、审美易读性，以及Cesare Brandi提出的潜在统一性概念，旨在保证材料的稳定性，从而保证作品的潜在统一性，而不会造成历史和艺术上的虚假。这些要点与所使用的现代技术和资源以及保持作品完整性和真实性的意图直接相关。由于存在四种类型的腔隙，整个多色过程对获得其稳定性至关重要。最后，使用点画技术的色彩融合，旨在与作品的图像层区分开来。因此，本研究旨在呈现一个多色木雕的修复过程，主要是为了展示色彩整合的重要性，以插入和确保审美的易读性和作品的潜在统一性。
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Pub Date : 2021-11-04DOI: 10.4995/rech6.2021.13502
Carolina Vatteroni
Historic buildings and architectural surfaces are a significant part of the European heritage.In the field of preservation and conservation of historic facades – especially for those of buildings that are still in use - restorers frequently face the task of faithfully repurpose from a chromatic point of view surfaces and paintings, often having small patches of original color as the only reference.This step is often carried out by visual assessment by a restorer proficient in the field of colorant formulation and with in-depth knowledge of the behavior of colorants in a specific material: the process involves making a series of samples that are tested on the surface to be treated, in order to identify the most suitable.Nevertheless, such a procedure is strictly related to the sensitivity of the conservator.The series of samples produced can easily be subject to phenomena of observer metamerism and conditional match: in fact, it is possible that a set of samples that appear to match under a defined set of viewing conditions, such as light source or viewing angle, no longer match if those conditions change.Since restoration is first and foremost a science, the restorer is provided by the market with effective and specific color measurement devices that are able to capture, measure and quantify the color of a surface, providing reliable data: -in order of increasing sophistication- densitometers, colorimeters and spectrophotometers.Unfortunately, on a restoration site and scaffolding the restorer does not always have the opportunity to use such sophisticated field-portable: as such equipment is often designed for other purposes, its use in built heritage conservation usually necessitates testing and careful calibration on order to ensure accurate data.Compromises must be made: the aim of this paper is to identify an intermediate solution, which would be more effective than visual assessment, easy to perform, and significantly less expensive than portable spectrophotometers.How this will be achieved? The tool I tested for this purpose is X-Rite's Color Checker, a target specifically designed for photography and video production that is able to compare, measure and analyze differences in color reproduction in any color rendition system.I used the Color Checker target and software to compare original paintings with samples reproduced by visual assessment, in order to verify their spectral match, which means the two colors have the same color coordinates and appear identical regardless of illuminant or observer.Then, I tested my data by comparing them with those obtained by specifically designed equipment.The results show that this method is able to provide relevant information on color matching, it is quick and easy to perform and definitely affordable, and it could represent a smart alternative for built heritage conservation.
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Pub Date : 2021-11-04DOI: 10.4995/rech6.2021.13538
L. Rode, Blaž Šeme, Janja Slabe
The glazed ceramic pitcher no. N11519 from the National Museum of Slovenia collection presents empirical research and approaches to conserving damaged paintings by testing conservation materials and various reintegration techniques. Studies of specific pigmented retouching paints describe the retouching practice of glaze-like retouching paints. They have been a part of the diploma thesis entitled Ways of reintegration the missing polychrome painting on ceramic pitcher at the Academy of Fine Arts and Design, University of Ljubljana, majoring in Conservation and Restoration of Fine Arts. The reintegration assessment intends to present multilayered paint effects on chromatic reintegration of a large area of reconstructed painting on a ceramic pitcher. A silicone mold was made in the selected area of an extensive paint loss for reintegration samples, from which gypsum casting mock-ups were formed. The practical determination of the chromatic reintegration was to simulate the stratigraphy of the paint layer and the in-glaze method of decorating the pitcher: a white underglaze over which a polychrome painting with overglaze was applied. The practical goal was to get close to the original painting's color, structure, and texture with differing application modes in lines, dots, liquid strokes, and surface smoothing. The chromatic reintegration tests of a glaze painting were perceived with varied and comminated approaches to applying retouching paint media to gypsum mock-ups. This can be achieved by meticulous scrutiny to review and evaluation a medium in the appropriate solvent. The mock-up assessments showed that the most suitable for the glazed pitcher is chromatic reintegration with dotted hatched, using the retouching colors with urea-aldehyde resin Laropal® A 81. The researched methods and the technique of chromatic reintegration on a ceramic pitcher were presented in the exhibition In Good Hands: 60 Years of the Department of Conservation and Restoration of the National Museum of Slovenia
{"title":"ASSESSMENT OF CHROMATIC REINTEGRATION TECHNIQUES AND MATERIALS WITH SIMULATIONS ON MOCK-UPS: THE EXAMPLE OF A POLYCHROME GLAZED CERAMIC PITCHER FROM THE COLLECTION OF THE NATIONAL MUSEUM OF SLOVENIA","authors":"L. Rode, Blaž Šeme, Janja Slabe","doi":"10.4995/rech6.2021.13538","DOIUrl":"https://doi.org/10.4995/rech6.2021.13538","url":null,"abstract":"The glazed ceramic pitcher no. N11519 from the National Museum of Slovenia collection presents empirical research and approaches to conserving damaged paintings by testing conservation materials and various reintegration techniques. Studies of specific pigmented retouching paints describe the retouching practice of glaze-like retouching paints. They have been a part of the diploma thesis entitled Ways of reintegration the missing polychrome painting on ceramic pitcher at the Academy of Fine Arts and Design, University of Ljubljana, majoring in Conservation and Restoration of Fine Arts. The reintegration assessment intends to present multilayered paint effects on chromatic reintegration of a large area of reconstructed painting on a ceramic pitcher. A silicone mold was made in the selected area of an extensive paint loss for reintegration samples, from which gypsum casting mock-ups were formed. The practical determination of the chromatic reintegration was to simulate the stratigraphy of the paint layer and the in-glaze method of decorating the pitcher: a white underglaze over which a polychrome painting with overglaze was applied. The practical goal was to get close to the original painting's color, structure, and texture with differing application modes in lines, dots, liquid strokes, and surface smoothing. The chromatic reintegration tests of a glaze painting were perceived with varied and comminated approaches to applying retouching paint media to gypsum mock-ups. This can be achieved by meticulous scrutiny to review and evaluation a medium in the appropriate solvent. The mock-up assessments showed that the most suitable for the glazed pitcher is chromatic reintegration with dotted hatched, using the retouching colors with urea-aldehyde resin Laropal® A 81. The researched methods and the technique of chromatic reintegration on a ceramic pitcher were presented in the exhibition In Good Hands: 60 Years of the Department of Conservation and Restoration of the National Museum of Slovenia ","PeriodicalId":115079,"journal":{"name":"6th International Meeting on Retouching of Cultural Heritage. RECH6","volume":"19 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":"125118253","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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