Pub Date : 2021-11-04DOI: 10.4995/rech6.2021.13544
Letizia Marcattili, M. Canavan
A major conservation and research project on The Visit of the Queen of Sheba to King Solomon by Lavinia Fontana was completed at the National Gallery of Ireland in Dublin in 2021. The painting, a large-scale oil on canvas (256 x 325 cm), was one of a number of pictures restored in the late 1960s by a team of conservators from the Istituto Centrale del Restauro in Rome, who came to Dublin during the establishment of the first conservation studio at the Gallery. The visiting restorers brought novel ideas and materials with them from the Istituto that would shape the Irish approach to conservation for decades to come. The prevailing ethos at the time in Italy was based on a minimal intervention approach with the use of novel, synthetic materials that had not yet been introduced to the collection of the National Gallery of Ireland. The painting, after treatment by the Istituto team, recorded material evidence of a particular moment in the development of conservation in Italy and Ireland. Large areas of historic loss and damage across the surface of the painting had been reintegrated by the Italian restorers with the application of retouchings in the tratteggio style, also known as rigatino, using a Paraloid-based medium. In some cases, portraits and other significant details in the image were fully reconstructed by the retouchings. Underlying instability required the removal of some of these retouchings during the most recent treatment, but others could be retained if desired. With the help of archival images and documentation, a decision-making model was developed to evaluate the quality and historic value of these retouchings and to determine which to preserve, which to modify and which to remove. Reduction of retouchings often necessitates replacement, and the partial preservation of the historic retouchings brought further factors to bear on the decision-making model for the chromatic reintegration of the painting. A return to the tratteggio technique was chosen for the larger instances of loss compensation in the treatment, albeit with a finer hatching so that the newer reintegration remains distinguishable from the historic one. This was complemented with a pointillist technique over textured fillings for smaller and shallower losses. Furthermore, where blistering and heat damage in the paint layers resulted in uneven topography, a third auxiliary technique was used. The desired texture was found when testing Paraloid-based gels on a mock-up and applied to bring continuity the surface texture in these areas of the painting. With this approach we intend to meet the conservation needs of the object, restore the legibility of the image and retain the evidence of the historic intervention of this founding team of Italian restorers at the National Gallery of Ireland.
2021年，拉维尼娅·丰塔纳的《示巴女王拜访所罗门国王》在都柏林的爱尔兰国家美术馆完成了一项重要的保护和研究项目。这幅大型布面油画(256 x 325厘米)是20世纪60年代末由罗马Centrale del Restauro研究所的一组修复人员修复的众多画作之一，他们在画廊建立第一个修复工作室期间来到都柏林。来访的修复人员带来了来自研究所的新颖想法和材料，这些想法和材料将在未来几十年里塑造爱尔兰的保护方法。当时意大利流行的精神是基于最小的干预方法，使用新颖的合成材料，这些材料尚未被引入爱尔兰国家美术馆的收藏。这幅画，经过研究所团队的处理，记录了意大利和爱尔兰保护发展的特定时刻的物证。意大利修复师使用一种以paraloide为基础的介质，使用tratteggio风格(也称为rigatino)进行修饰，将这幅画表面的大面积历史损失和损坏重新整合起来。在某些情况下，图像中的肖像和其他重要细节通过修饰完全重建。潜在的不稳定性需要在最近的治疗中去除其中的一些触点，但如果需要，可以保留其他触点。在档案图像和文件的帮助下，开发了一个决策模型，以评估这些润饰的质量和历史价值，并确定哪些需要保留，哪些需要修改，哪些需要删除。减少修饰往往需要更换，而历史修饰的部分保存给绘画色彩重新整合的决策模型带来了进一步的因素。对于治疗中较大的损失补偿实例，选择了回归tratteggio技术，尽管有更精细的孵化，以便新的重新融合仍然与历史的重新融合区分开来。这是补充了一个点画技术在纹理填充较小和较浅的损失。此外，在油漆层起泡和热损伤导致地形不均匀的地方，使用了第三种辅助技术。当在模型上测试基于paraloid的凝胶时，发现了所需的纹理，并应用于在绘画的这些区域带来表面纹理的连续性。通过这种方法，我们打算满足对象的保护需求，恢复图像的易读性，并保留爱尔兰国家美术馆意大利修复师创始团队历史性干预的证据。
{"title":"Retouching a Retouched Painting: Evaluation and re-treatment of historic retouchings in the conservation of a painting by Lavinia Fontana","authors":"Letizia Marcattili, M. Canavan","doi":"10.4995/rech6.2021.13544","DOIUrl":"https://doi.org/10.4995/rech6.2021.13544","url":null,"abstract":"A major conservation and research project on The Visit of the Queen of Sheba to King Solomon by Lavinia Fontana was completed at the National Gallery of Ireland in Dublin in 2021. The painting, a large-scale oil on canvas (256 x 325 cm), was one of a number of pictures restored in the late 1960s by a team of conservators from the Istituto Centrale del Restauro in Rome, who came to Dublin during the establishment of the first conservation studio at the Gallery. The visiting restorers brought novel ideas and materials with them from the Istituto that would shape the Irish approach to conservation for decades to come. The prevailing ethos at the time in Italy was based on a minimal intervention approach with the use of novel, synthetic materials that had not yet been introduced to the collection of the National Gallery of Ireland. The painting, after treatment by the Istituto team, recorded material evidence of a particular moment in the development of conservation in Italy and Ireland. Large areas of historic loss and damage across the surface of the painting had been reintegrated by the Italian restorers with the application of retouchings in the tratteggio style, also known as rigatino, using a Paraloid-based medium. In some cases, portraits and other significant details in the image were fully reconstructed by the retouchings. Underlying instability required the removal of some of these retouchings during the most recent treatment, but others could be retained if desired. With the help of archival images and documentation, a decision-making model was developed to evaluate the quality and historic value of these retouchings and to determine which to preserve, which to modify and which to remove. Reduction of retouchings often necessitates replacement, and the partial preservation of the historic retouchings brought further factors to bear on the decision-making model for the chromatic reintegration of the painting. A return to the tratteggio technique was chosen for the larger instances of loss compensation in the treatment, albeit with a finer hatching so that the newer reintegration remains distinguishable from the historic one. This was complemented with a pointillist technique over textured fillings for smaller and shallower losses. Furthermore, where blistering and heat damage in the paint layers resulted in uneven topography, a third auxiliary technique was used. The desired texture was found when testing Paraloid-based gels on a mock-up and applied to bring continuity the surface texture in these areas of the painting. With this approach we intend to meet the conservation needs of the object, restore the legibility of the image and retain the evidence of the historic intervention of this founding team of Italian restorers at the National Gallery of Ireland.","PeriodicalId":115079,"journal":{"name":"6th International Meeting on Retouching of Cultural Heritage. RECH6","volume":"16 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":"127810306","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/rech6.2021.13508
Paula Karina Śwituszak, Alina Tomaszewska -Szewczyk
WWII left a great proportion of cultural heritage in Middle-Eastern Europe damaged. In the immediate aftermath of the war, there was neither necessary expertise, manpower nor resources to deal with such complex and total conservational challenges. Artists and craftsmen took to preserving and repairing the most darling objects of local heritage, leaving to us not only their original works, but also visible marks of the struggle to preserve them. Today, we are facing the task to preserve the multilinear story hidden behind those objects - their original body, wounds, and bandages, showing both the art of creation as well as the art of restoration to next generations. A great example of such a conservation effort is the story of The Sacred Heart of Jesus, painted by Adolf Herman Duszek in 1924 and restored by him after the war, in 1950. Over 70 years later, the painting required another intervention – mainly because of the bad state of preservation of the paint layer. The main challenge of this restoration was to find the balance between leaving the visible traces of the history of the object, the conservation ethics as well as the aesthetics and expectations of the recent owners. As it turns out, the impact of a private context is a significant aspect during the formation of the conservation programme. This paper discusses the need for compromises which had to be reached during the conservation of this particular painting.
第二次世界大战给中东留下了很大一部分文化遗产。在战争刚结束时，既没有必要的专门知识、人力和资源来处理这种复杂和全面的保护挑战。艺术家和工匠们开始保护和修复当地最受欢迎的遗产，给我们留下的不仅是他们的原创作品，还有保护它们的明显痕迹。今天，我们面临的任务是保存隐藏在这些物品背后的多线性故事-他们的原始身体，伤口和绷带，向下一代展示创造的艺术和修复的艺术。这种保护努力的一个很好的例子是《耶稣的圣心》的故事，这幅画由阿道夫·赫尔曼·杜塞克(Adolf Herman Duszek)于1924年绘制，战后于1950年由他修复。70多年后，这幅画需要另一次干预——主要是因为油漆层的保存状况不佳。这次修复的主要挑战是在留下物体历史的可见痕迹，保护伦理以及最近业主的美学和期望之间找到平衡。事实证明，在保护计划形成过程中，私人环境的影响是一个重要方面。本文讨论了在保护这幅特殊画作期间必须达成妥协的必要性。
{"title":"RETOUCHES WITH HISTORY – CONSERVATION OF THE SACRED HEART OF JESUS BY ADOLF HERMAN DUSZEK AND ITS AUTHORIAL POST-WWII RESTORATION","authors":"Paula Karina Śwituszak, Alina Tomaszewska -Szewczyk","doi":"10.4995/rech6.2021.13508","DOIUrl":"https://doi.org/10.4995/rech6.2021.13508","url":null,"abstract":"WWII left a great proportion of cultural heritage in Middle-Eastern Europe damaged. In the immediate aftermath of the war, there was neither necessary expertise, manpower nor resources to deal with such complex and total conservational challenges. Artists and craftsmen took to preserving and repairing the most darling objects of local heritage, leaving to us not only their original works, but also visible marks of the struggle to preserve them. Today, we are facing the task to preserve the multilinear story hidden behind those objects - their original body, wounds, and bandages, showing both the art of creation as well as the art of restoration to next generations. A great example of such a conservation effort is the story of The Sacred Heart of Jesus, painted by Adolf Herman Duszek in 1924 and restored by him after the war, in 1950. Over 70 years later, the painting required another intervention – mainly because of the bad state of preservation of the paint layer. The main challenge of this restoration was to find the balance between leaving the visible traces of the history of the object, the conservation ethics as well as the aesthetics and expectations of the recent owners. As it turns out, the impact of a private context is a significant aspect during the formation of the conservation programme. This paper discusses the need for compromises which had to be reached during the conservation of this particular painting. ","PeriodicalId":115079,"journal":{"name":"6th International Meeting on Retouching of Cultural Heritage. RECH6","volume":"48 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":"116364530","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/rech6.2021.13492
Melissa Ceriachi
This contribution examines a painting on wood: The Martyrdom of Saint Sebastian, by Giovanni Santi. This work of art is the altarpiece of the chapel dedicated to the saint, located in Urbino's Church of San Bartolomeo. The history of this work of art is inextricably linked to that of its conservation: initially, the artwork was difficult to read due to the serious state of deterioration of the paint layer, with a loss of significant portions of the painting, including pictorial parts that played a decisive role in the rendering of the image. This had significant implications when it came to choosing the methodology for the pictorial reintegration of the painting. The aim was to reduce the negative effects caused by the state of deterioration as much as possible, to improve the readability of the work. Following a conservative restoration of the panel and of the polychromy, and after submitting it to art historian officer for a careful and close evaluation, a differentiated pictorial reintegration of the work was planned, applying the Florentine “selezione cromatica" method for the main figure, Saint Sebastian, and for all lacuna treatments. This intervention was carried out using tempera colours, overlapping by hatching three pure colours, chosen from the primary and secondary colours. I continued the “selezione cromatica” on the integrations, using varnish colours until achieving the desired tone, maintaining a tone of brilliancy and chromatic vivacity similar to the painting by Santi. The other parts of the painting had been very seriously damaged due to irrecoverable losses and can no longer be reconstructed; these were treated by experimenting with the “chromatic abstraction” reintegration with tonal variations within the layers of abstraction. The method involves the application of a cross-hatching where no shape is reconstructed, in a four-colour scheme (yellow, red, green/blue, black), in tempera colours.
{"title":"RECOVERY OF A SEVERELY DETERIORATED PAINTING: THE MARTYRDOM OF SAINT SEBASTIAN BY GIOVANNI SANTI (15TH CENTURY). INTEGRATIVE PROPOSAL","authors":"Melissa Ceriachi","doi":"10.4995/rech6.2021.13492","DOIUrl":"https://doi.org/10.4995/rech6.2021.13492","url":null,"abstract":"This contribution examines a painting on wood: The Martyrdom of Saint Sebastian, by Giovanni Santi. This work of art is the altarpiece of the chapel dedicated to the saint, located in Urbino's Church of San Bartolomeo. The history of this work of art is inextricably linked to that of its conservation: initially, the artwork was difficult to read due to the serious state of deterioration of the paint layer, with a loss of significant portions of the painting, including pictorial parts that played a decisive role in the rendering of the image. This had significant implications when it came to choosing the methodology for the pictorial reintegration of the painting. The aim was to reduce the negative effects caused by the state of deterioration as much as possible, to improve the readability of the work. Following a conservative restoration of the panel and of the polychromy, and after submitting it to art historian officer for a careful and close evaluation, a differentiated pictorial reintegration of the work was planned, applying the Florentine “selezione cromatica\" method for the main figure, Saint Sebastian, and for all lacuna treatments. This intervention was carried out using tempera colours, overlapping by hatching three pure colours, chosen from the primary and secondary colours. I continued the “selezione cromatica” on the integrations, using varnish colours until achieving the desired tone, maintaining a tone of brilliancy and chromatic vivacity similar to the painting by Santi. The other parts of the painting had been very seriously damaged due to irrecoverable losses and can no longer be reconstructed; these were treated by experimenting with the “chromatic abstraction” reintegration with tonal variations within the layers of abstraction. The method involves the application of a cross-hatching where no shape is reconstructed, in a four-colour scheme (yellow, red, green/blue, black), in tempera colours.","PeriodicalId":115079,"journal":{"name":"6th International Meeting on Retouching of Cultural Heritage. RECH6","volume":"67 ","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133970341","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/rech6.2021.13512
Débora Sarmento, M. Cavaco, Maria da Conceição Borges de Sousa
An exemplar from the Ryūkyū Islands (Japan), this red lacquer circular box dates from c.1590 and is part of the collection of the National Museum of Ancient Art (MNAA) - Lisbon, Portugal [1-2]. The conservation and restoration intervention carried out at the José de Figueiredo Laboratory (LJF), considering its state of conservation with a high risk of lacquer detachment and consequent loss of a large part of the decorative elements, allowed the study and definition of methodologies, including in the treatment of chromatic reintegration [3]. Its condition, the type of intervention, as well as its subsequent placement on display, motivated the reintegration method chooses and its application, which aimed to improve the reading and decorative understanding of the box. The use of extra-fine quality gouache in the mimetic reintegration executed ensured the necessary compatibility and stability with its constituent materials.
作为Ryūkyū群岛(日本)的一个范例，这个红漆圆形盒子的历史可以追溯到大约1590年，是葡萄牙里斯本国家古代艺术博物馆(MNAA)收藏的一部分[1-2]。在jos de Figueiredo实验室(LJF)进行的保护和修复干预，考虑到它的保护状态与漆器脱落的高风险，以及随之而来的大部分装饰元素的损失，允许研究和定义方法，包括处理色彩整合[3]。它的条件，干预的类型，以及它随后的展示位置，激发了重新整合方法的选择和应用，旨在提高对盒子的阅读和装饰理解。在模拟再融合过程中使用超细水粉，确保了与组成材料的必要相容性和稳定性。
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Pub Date : 2021-11-04DOI: 10.4995/rech6.2021.13583
Francesca Tonini
Is it possible to mix and match the theoretical foundations of Cesare Brandi - internationally recognized - with the new theories of Muñoz Viñas for a new ethics of restoration, taking into account the suggestions of Paul Philippot, who was the first to deal with the restoration of wooden sculpture? For educational purposes in restoration schools, is not easy to cover all these aspects of retouching, but it is important to find a method that allows students to acquire a solid foundation, and then to deepen the different aspects of the question, hopefully simple but at the same time effective. The Author develops a proposal based on three basic cornerstones: 1. familiarity with the techniques of execution of the work of art and the materials of which it is composed (study of technical art history, and laboratory practice from painting to gilding); 2. study of the basic principles of the restoration theory; 3. practical experiments with the different techniques of pictorial integration (tratteggio, selezione cromatica, selezione effetto oro, dots, mimetic retouching), of the different retouching materials (watercolors, tempera, varnish colors, micaceous), and with protective coatings. In all situations the basic theoretical principles are: 1. recognizability: the pictorial restoration must always be easily recognizable (also using modern technologies); 2. reversibility, i.e. the retouching must be easily reversible without endangering the original work. Thus, the proposed methodology will be a useful tool to contribute and work on the wooden cultural heritage by including not only tangible aspects but also emotional, ideological and above all identity meanings.
{"title":"With a little help of my friends. A hopeful educational methodology on retouching for conservation-restoration students on wooden sculpture.","authors":"Francesca Tonini","doi":"10.4995/rech6.2021.13583","DOIUrl":"https://doi.org/10.4995/rech6.2021.13583","url":null,"abstract":"Is it possible to mix and match the theoretical foundations of Cesare Brandi - internationally recognized - with the new theories of Muñoz Viñas for a new ethics of restoration, taking into account the suggestions of Paul Philippot, who was the first to deal with the restoration of wooden sculpture? For educational purposes in restoration schools, is not easy to cover all these aspects of retouching, but it is important to find a method that allows students to acquire a solid foundation, and then to deepen the different aspects of the question, hopefully simple but at the same time effective. The Author develops a proposal based on three basic cornerstones: 1. familiarity with the techniques of execution of the work of art and the materials of which it is composed (study of technical art history, and laboratory practice from painting to gilding); 2. study of the basic principles of the restoration theory; 3. practical experiments with the different techniques of pictorial integration (tratteggio, selezione cromatica, selezione effetto oro, dots, mimetic retouching), of the different retouching materials (watercolors, tempera, varnish colors, micaceous), and with protective coatings. In all situations the basic theoretical principles are: 1. recognizability: the pictorial restoration must always be easily recognizable (also using modern technologies); 2. reversibility, i.e. the retouching must be easily reversible without endangering the original work. Thus, the proposed methodology will be a useful tool to contribute and work on the wooden cultural heritage by including not only tangible aspects but also emotional, ideological and above all identity meanings. ","PeriodicalId":115079,"journal":{"name":"6th International Meeting on Retouching of Cultural Heritage. RECH6","volume":"14 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":"125585106","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/rech6.2021.13611
Adriana Anselmo Oliveira, Leonel Ribeiro, Nelson Ferreira
The techniques applied to restore and conserve the 16 ceramic panels which are an integral part the façade of the Palácio da Justiça’s South Building, in Lisbon (authored by Jorge Barradas, Querubim Lapa and Júlio Resende), was marked by the adoption of disruptive technology as one of the main methods of approaching the pieces in need of intervention. Different materials and techniques, both digital and manual, either from physical or aesthetic perspectives, guaranteed their future preservation. Following principles of restoration ethics, photographic references of the compositions served as a goal to assimilate the original work as much as possible. Recurring missing parts were then to be reconstructed by means of 3D scanning and current object printing technology. Such technique allows a preview and manipulation through specific computer software. Once the file has been completed with all the information necessary to produce the object, it can be sent directly to a 3D printer. The main objective of intervening Jorge Barradas' panels with 3D printed objects, was to replace large key pieces in a non-intrusive way and without damaging the original work. Simultaneously, in addition to the durability of such printed materials, a "life insurance" is created in case of any damage or theft, since it can be replicated quickly from the thorough scan, stored in a digital file format.
修复和保护16块陶瓷板的技术是里斯本Palácio da jusa南楼立面的组成部分(由Jorge Barradas, Querubim Lapa和Júlio Resende撰写)，采用颠覆性技术作为接近需要干预的部件的主要方法之一。从物理或美学的角度来看，不同的材料和技术，无论是数字的还是手工的，都保证了它们未来的保存。遵循修复伦理的原则，对作品的摄影参考是为了尽可能地吸收原作。然后通过3D扫描和当前的物体打印技术来重建反复出现的缺失部分。这种技术允许通过特定的计算机软件进行预览和操作。一旦文件中包含了生产物体所需的所有信息，它就可以直接发送到3D打印机。将Jorge Barradas的面板与3D打印对象进行干预的主要目的是以非侵入性的方式替换大型关键部件，而不会损坏原始作品。同时，除了这种印刷材料的耐用性外，它还为任何损坏或盗窃提供了“人寿保险”，因为它可以从彻底扫描中快速复制，并存储在数字文件格式中。
{"title":"THE USE OF 3D SCANNING AND PRINTING IN THE RESTORATION PROCESS OF THE EXPOSED CERAMIC PANELS OF JORGE BARRADAS (PALÁCIO DA JUSTIÇA DE LISBOA)","authors":"Adriana Anselmo Oliveira, Leonel Ribeiro, Nelson Ferreira","doi":"10.4995/rech6.2021.13611","DOIUrl":"https://doi.org/10.4995/rech6.2021.13611","url":null,"abstract":"The techniques applied to restore and conserve the 16 ceramic panels which are an integral part the façade of the Palácio da Justiça’s South Building, in Lisbon (authored by Jorge Barradas, Querubim Lapa and Júlio Resende), was marked by the adoption of disruptive technology as one of the main methods of approaching the pieces in need of intervention. Different materials and techniques, both digital and manual, either from physical or aesthetic perspectives, guaranteed their future preservation. Following principles of restoration ethics, photographic references of the compositions served as a goal to assimilate the original work as much as possible. Recurring missing parts were then to be reconstructed by means of 3D scanning and current object printing technology. Such technique allows a preview and manipulation through specific computer software. Once the file has been completed with all the information necessary to produce the object, it can be sent directly to a 3D printer. The main objective of intervening Jorge Barradas' panels with 3D printed objects, was to replace large key pieces in a non-intrusive way and without damaging the original work. Simultaneously, in addition to the durability of such printed materials, a \"life insurance\" is created in case of any damage or theft, since it can be replicated quickly from the thorough scan, stored in a digital file format. ","PeriodicalId":115079,"journal":{"name":"6th International Meeting on Retouching of Cultural Heritage. RECH6","volume":"14 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":"115349748","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/rech6.2021.13482
Beatriz Doménech, V. Guerola, M. Castell, Antoni Colomina
The present study is focused on the revision of the work clothing of the conservator-restorer, specifically in the lab coat, analysing its colour and the interference it can create regarding the perception of the colours, both of the artwork and of the chromatic palette used to retouch. In this way, the study starts from the review of the corpuscular theory of light. Based on this theory, it is analysed the absorption-reflection process of the interaction of light with matter, as well as it is explained how the colour of the lab coat can hinder or favour the perception and adjustment of the colours in a chromatic reintegration. This investigation is reinforced by a process of experimentation in which the light reflected by both white and black lab coats, is analysed through measurements using a lux meter. The measurements have been made facing pictorial works characterized for a chromatic palette of dark colours or vivid colours, wearing a white lab coat and a black lab coat. Afterwards, the results obtained have been analysed and compared allowing to discover, in a more realistic way, the intensity of the light reflection according to the colour of the work clothing of the conservator-restorer. In addition, the present study is complemented with the realization of an opinion survey to international conservation-restoration professionals. Through this survey, the aim is to find out whether professionals take this factor into consideration during colour reintegration, as well as their general opinion on this issue.
{"title":"THE PERCEPTION OF THE CHROMATIC REINTEGRATION FROM THE ADJUSTMENT OF THE WORK CLOTHING. THE LAB COAT AND ITS COLOUR ALTERNATIVES","authors":"Beatriz Doménech, V. Guerola, M. Castell, Antoni Colomina","doi":"10.4995/rech6.2021.13482","DOIUrl":"https://doi.org/10.4995/rech6.2021.13482","url":null,"abstract":"The present study is focused on the revision of the work clothing of the conservator-restorer, specifically in the lab coat, analysing its colour and the interference it can create regarding the perception of the colours, both of the artwork and of the chromatic palette used to retouch. In this way, the study starts from the review of the corpuscular theory of light. Based on this theory, it is analysed the absorption-reflection process of the interaction of light with matter, as well as it is explained how the colour of the lab coat can hinder or favour the perception and adjustment of the colours in a chromatic reintegration. This investigation is reinforced by a process of experimentation in which the light reflected by both white and black lab coats, is analysed through measurements using a lux meter. The measurements have been made facing pictorial works characterized for a chromatic palette of dark colours or vivid colours, wearing a white lab coat and a black lab coat. Afterwards, the results obtained have been analysed and compared allowing to discover, in a more realistic way, the intensity of the light reflection according to the colour of the work clothing of the conservator-restorer. In addition, the present study is complemented with the realization of an opinion survey to international conservation-restoration professionals. Through this survey, the aim is to find out whether professionals take this factor into consideration during colour reintegration, as well as their general opinion on this issue.","PeriodicalId":115079,"journal":{"name":"6th International Meeting on Retouching of Cultural Heritage. RECH6","volume":"70 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":"130478245","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/rech6.2021.13523
Ânia Chasqueira, Ângela Ferraz, Ricardo Triães
This paper discusses the conservation of murals in Riachos, Portugal. Created in 2012 and 2016 by amateur painters in the context of a religious and ethnographic festival called “Benção do Gado”, a cattle-blessing event. The condition of these murals has deteriorated due to their outdoor location, poor choice of materials used and lack of maintenance. Those murals give meaning to the village, a sense of identity and uniqueness to the local community. These are the reasons why the community should be considered in the process of preservation. This study was conducted using mixed methods, with data gathered from a community survey, interviews with stakeholders and documentation of the current state of the murals. This research argues for a close relationship between conservators and the murals’ authors and the local population. The preservation project should create a balance between current ethical and scientific conservation practices and the voices of the community from whom those cultural manifestations belong, using them as part of the conservation process.
本文讨论了葡萄牙里亚科斯壁画的保护。由业余画家于2012年和2016年在名为“ben o do Gado”的宗教和民族志节日背景下创作，这是一个牛的祝福活动。这些壁画的状况已经恶化，由于他们的户外位置，使用的材料选择不当和缺乏维护。这些壁画赋予了村庄意义，给当地社区一种认同感和独特性。这些都是在保护过程中应该考虑社区的原因。这项研究采用混合方法进行，数据收集自社区调查、与利益相关者的访谈和壁画现状的文件。这项研究表明，保护人员与壁画作者和当地居民之间存在密切关系。保护项目应在当前的伦理和科学保护实践与这些文化表现形式所属的社区的声音之间取得平衡，并将其作为保护过程的一部分。
{"title":"Remove, repaint or retouch: should the community decided? The case of the outdoor murals of the Riachos village, Portugal.","authors":"Ânia Chasqueira, Ângela Ferraz, Ricardo Triães","doi":"10.4995/rech6.2021.13523","DOIUrl":"https://doi.org/10.4995/rech6.2021.13523","url":null,"abstract":"This paper discusses the conservation of murals in Riachos, Portugal. Created in 2012 and 2016 by amateur painters in the context of a religious and ethnographic festival called “Benção do Gado”, a cattle-blessing event. The condition of these murals has deteriorated due to their outdoor location, poor choice of materials used and lack of maintenance. Those murals give meaning to the village, a sense of identity and uniqueness to the local community. These are the reasons why the community should be considered in the process of preservation. This study was conducted using mixed methods, with data gathered from a community survey, interviews with stakeholders and documentation of the current state of the murals. This research argues for a close relationship between conservators and the murals’ authors and the local population. The preservation project should create a balance between current ethical and scientific conservation practices and the voices of the community from whom those cultural manifestations belong, using them as part of the conservation process. ","PeriodicalId":115079,"journal":{"name":"6th International Meeting on Retouching of Cultural Heritage. RECH6","volume":"92 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":"131650317","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/rech6.2021.13509
Martina Vuga
This paper presents results of the preliminary examination and conservation-restoration treatment of polychrome wooden sculpture, Madonna and Child, dated around 1520 from the National Gallery of Slovenia. Extensive areas of paint loss, discoloration of old retouches and darkened coating on gildings disrupted the sculpture’s visual unity and balance. Overpaints have progressively and significantly changed its appearance. Prior to the intervention we conducted detailed technical examination. Treatment included surface cleaning and partial removal of materials. Decisions, methods, and materials regarding aesthetic reintegration are pointed out: various approaches used on different surfaces, of which faces, and other parts of the skin, received a comprehensive “skin care”.
{"title":"Skin matters. Conservation-restoration treatment of a 16th Century polychrome wooden sculpture","authors":"Martina Vuga","doi":"10.4995/rech6.2021.13509","DOIUrl":"https://doi.org/10.4995/rech6.2021.13509","url":null,"abstract":"This paper presents results of the preliminary examination and conservation-restoration treatment of polychrome wooden sculpture, Madonna and Child, dated around 1520 from the National Gallery of Slovenia. Extensive areas of paint loss, discoloration of old retouches and darkened coating on gildings disrupted the sculpture’s visual unity and balance. Overpaints have progressively and significantly changed its appearance. Prior to the intervention we conducted detailed technical examination. Treatment included surface cleaning and partial removal of materials. Decisions, methods, and materials regarding aesthetic reintegration are pointed out: various approaches used on different surfaces, of which faces, and other parts of the skin, received a comprehensive “skin care”. ","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":"116508180","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/rech6.2021.13571
Elżbieta Szmit-Naud
The materials used by restorers have to fulfil the criteria of stability and reversibility. For retouching we use artistic materials adopted for this purpose (for example watercolors) and paints specially produced or handmade with selected pigments and resins - acrylic, polyvinyl acetate, until recently also ketone replaced by urea-aldehyde. Producers’ positive assessment of the pigment or paint lightfastness and the estimation of the removability based on binder data and even on paint layers ageing test may not provide enough information for an infallible selection of materials to use. Sometimes unintended changes of appearance occur relatively shortly after the completion of the retouching process. Furthermore, in practice, we create the retouching layer-varnish system, more consistent than we assume, which has consequences not only for visual effect but for the removability of the retouchings themselves. It matters especially in the case of varnished retouching layers exposed to light. Selected results of the research on contemporarily used retouching materials and the examination of some changed retouchings are presented to illustrate the indicated issues and facilitate the choice. They come from wider research conducted since the end of the 1990s, which had been continued up to now within the framework of partial projects The investigation was based on accelerated light ageing accompanied by instrumental colour assessment and of structural changes imaging by SEM. The conclusions and hypotheses resulting from the removability tests and surface examination by OCT realized on varnished and unvarnished aged paint layers are included in this paper as well.
{"title":"INDICATIONS FOR THE SELECTION OF RETOUCHING MATERIALS USED IN CONTEMPORARY PRACTICE","authors":"Elżbieta Szmit-Naud","doi":"10.4995/rech6.2021.13571","DOIUrl":"https://doi.org/10.4995/rech6.2021.13571","url":null,"abstract":"The materials used by restorers have to fulfil the criteria of stability and reversibility. For retouching we use artistic materials adopted for this purpose (for example watercolors) and paints specially produced or handmade with selected pigments and resins - acrylic, polyvinyl acetate, until recently also ketone replaced by urea-aldehyde. Producers’ positive assessment of the pigment or paint lightfastness and the estimation of the removability based on binder data and even on paint layers ageing test may not provide enough information for an infallible selection of materials to use. Sometimes unintended changes of appearance occur relatively shortly after the completion of the retouching process. Furthermore, in practice, we create the retouching layer-varnish system, more consistent than we assume, which has consequences not only for visual effect but for the removability of the retouchings themselves. It matters especially in the case of varnished retouching layers exposed to light. Selected results of the research on contemporarily used retouching materials and the examination of some changed retouchings are presented to illustrate the indicated issues and facilitate the choice. They come from wider research conducted since the end of the 1990s, which had been continued up to now within the framework of partial projects The investigation was based on accelerated light ageing accompanied by instrumental colour assessment and of structural changes imaging by SEM. The conclusions and hypotheses resulting from the removability tests and surface examination by OCT realized on varnished and unvarnished aged paint layers are included in this paper as well. ","PeriodicalId":115079,"journal":{"name":"6th International Meeting on Retouching of Cultural Heritage. RECH6","volume":"18 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":"116352716","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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