Pub Date : 2024-01-03DOI: 10.1080/00393630.2023.2290851
Rebecca Piovesan, Elena Tesser, Greta Bruschi, Paolo Faccio, Fabrizio Antonelli
In the frame of the Venezia2021 project the private ‘Byzantine house' designed by Giuseppe Torres in 1905 was chosen as the emblematic architectural site which marks Venice’s transition towards mod...
{"title":"Giuseppe Torres’s ‘Byzantine House' in Venice: Building Materials and Deterioration Products of an Early 1900s Home in the Lagoon Environment","authors":"Rebecca Piovesan, Elena Tesser, Greta Bruschi, Paolo Faccio, Fabrizio Antonelli","doi":"10.1080/00393630.2023.2290851","DOIUrl":"https://doi.org/10.1080/00393630.2023.2290851","url":null,"abstract":"In the frame of the Venezia2021 project the private ‘Byzantine house' designed by Giuseppe Torres in 1905 was chosen as the emblematic architectural site which marks Venice’s transition towards mod...","PeriodicalId":21990,"journal":{"name":"Studies in Conservation","volume":"12 1","pages":""},"PeriodicalIF":0.8,"publicationDate":"2024-01-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139373908","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"化学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-12-30DOI: 10.1080/00393630.2023.2293611
Alfie Robinson
Lead white (basic lead carbonate), before its effective ban in much of Europe from 1989 onwards, was among the most versatile and widespread but also one of the most harmful pigments available. Thi...
{"title":"The Regulation of Lead White Paint in Conservation and Artistic Practice","authors":"Alfie Robinson","doi":"10.1080/00393630.2023.2293611","DOIUrl":"https://doi.org/10.1080/00393630.2023.2293611","url":null,"abstract":"Lead white (basic lead carbonate), before its effective ban in much of Europe from 1989 onwards, was among the most versatile and widespread but also one of the most harmful pigments available. Thi...","PeriodicalId":21990,"journal":{"name":"Studies in Conservation","volume":"26 1","pages":""},"PeriodicalIF":0.8,"publicationDate":"2023-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139067943","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"化学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-11-09DOI: 10.1080/00393630.2023.2278358
Dawa Shen, Xuyao Gu, Hongying Zhang, Nicola Macchioni, Qian Cheng, Xingling Tian, Jing Du, Naisheng Li, Kaizheng Yuan
ABSTRACTThermogravimetry (TG) is used to measure the change of sample mass versus temperature or time under a program controlling temperature. It is a common thermal analysis tool with a precise built-in balance, and accurate data can be obtained through a small amount of sample at the level of milligrams. The feasibility of the TG method for determining maximum water content (MWC) measurement of waterlogged archaeological wood was studied. Simulated waterlogged wood and waterlogged archaeological wood were used to determine the test condition for the TG method. MWC data obtained through the oven-dry and TG methods with different mass gradients from 0–10 mg to >50 mg were analyzed statistically. Deviation, error bar, and coefficient of variation were evaluated. According to the results, when sample mass is no less than 30 mg, and holding time at 105°C is no less than 40 min, data deviation between these two methods is less than 5%. Effect of sampling depth and presence of inorganic deposits were also investigated. Specimens were taken from an archaeological wood with a sampling depth from 2 to 6 mm, then MWC was measured through the TG method. The results indicate MWC of the samples taken from a depth of 2–4 mm is higher than that taken from a depth of 0–2 mm and is lower than that taken from a depth of 4–6 mm, which is related to inorganic deposits. The presence of deposits was verified through SEM-EDX. MWC of three archaeological wood samples from China and five archaeological wood samples from Italy were measured to verify the effectiveness of the TG method when wood species and degradation degree are different.KEYWORDS: ThermogravimetryTGTGAwaterlogged woodarchaeological woodmaximum water contentMWCoven-dry method AcknowledgementsWood samples from the Shell Mount Site, Guye, Gaoming, Guangdong Province were supplied by Professor Yong Cui, Guangdong Provincial Archaeology Institute. Wood samples from Nanhai I Shipwreck were supplied by the Archaeology and Conservation Project of Nanhai I Shipwreck. Wood samples from Italy were supplied by CNR-IBE. The authors thank all of them mentioned above. This work was supported by China National Cultural Heritage Administration under Excellent Young Scientist Fund (2014269); Chinese Academy of Cultural Heritage under Central Public-interest Scientific Institution Basal Research Foundation (2019-JBKY-06), and China’s National Key R&D Program (2020YFC1521800).Disclosure statementNo potential conflict of interest was reported by the author(s).Additional informationFundingThis work was supported by China's National Key R&D Program [grant number 2020YFC1521800]; China National Cultural Heritage Administration under Excellent Young Scientist Fund [grant number 2014269]; Chinese Academy of Cultural Heritage under Central Public-interest Scientific Institution Basal Research Foundation [grant number 2019-JBKY-06].
{"title":"Study on the Feasibility of the TG Method for Maximum Water Content Measurement of Waterlogged Archaeological Wood","authors":"Dawa Shen, Xuyao Gu, Hongying Zhang, Nicola Macchioni, Qian Cheng, Xingling Tian, Jing Du, Naisheng Li, Kaizheng Yuan","doi":"10.1080/00393630.2023.2278358","DOIUrl":"https://doi.org/10.1080/00393630.2023.2278358","url":null,"abstract":"ABSTRACTThermogravimetry (TG) is used to measure the change of sample mass versus temperature or time under a program controlling temperature. It is a common thermal analysis tool with a precise built-in balance, and accurate data can be obtained through a small amount of sample at the level of milligrams. The feasibility of the TG method for determining maximum water content (MWC) measurement of waterlogged archaeological wood was studied. Simulated waterlogged wood and waterlogged archaeological wood were used to determine the test condition for the TG method. MWC data obtained through the oven-dry and TG methods with different mass gradients from 0–10 mg to >50 mg were analyzed statistically. Deviation, error bar, and coefficient of variation were evaluated. According to the results, when sample mass is no less than 30 mg, and holding time at 105°C is no less than 40 min, data deviation between these two methods is less than 5%. Effect of sampling depth and presence of inorganic deposits were also investigated. Specimens were taken from an archaeological wood with a sampling depth from 2 to 6 mm, then MWC was measured through the TG method. The results indicate MWC of the samples taken from a depth of 2–4 mm is higher than that taken from a depth of 0–2 mm and is lower than that taken from a depth of 4–6 mm, which is related to inorganic deposits. The presence of deposits was verified through SEM-EDX. MWC of three archaeological wood samples from China and five archaeological wood samples from Italy were measured to verify the effectiveness of the TG method when wood species and degradation degree are different.KEYWORDS: ThermogravimetryTGTGAwaterlogged woodarchaeological woodmaximum water contentMWCoven-dry method AcknowledgementsWood samples from the Shell Mount Site, Guye, Gaoming, Guangdong Province were supplied by Professor Yong Cui, Guangdong Provincial Archaeology Institute. Wood samples from Nanhai I Shipwreck were supplied by the Archaeology and Conservation Project of Nanhai I Shipwreck. Wood samples from Italy were supplied by CNR-IBE. The authors thank all of them mentioned above. This work was supported by China National Cultural Heritage Administration under Excellent Young Scientist Fund (2014269); Chinese Academy of Cultural Heritage under Central Public-interest Scientific Institution Basal Research Foundation (2019-JBKY-06), and China’s National Key R&D Program (2020YFC1521800).Disclosure statementNo potential conflict of interest was reported by the author(s).Additional informationFundingThis work was supported by China's National Key R&D Program [grant number 2020YFC1521800]; China National Cultural Heritage Administration under Excellent Young Scientist Fund [grant number 2014269]; Chinese Academy of Cultural Heritage under Central Public-interest Scientific Institution Basal Research Foundation [grant number 2019-JBKY-06].","PeriodicalId":21990,"journal":{"name":"Studies in Conservation","volume":" 43","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-11-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135291010","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"化学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-11-09DOI: 10.1080/00393630.2023.2275099
Yae Ichimiya, Satoko Taguchi, Kazumi Mizumoto
ABSTRACTDoro-e refers to a genre of Japanese folk paintings: it is a group of works, likely to be produced from the mid-eighteenth to the nineteenth century, that emerged during a time when some of the techniques of European paintings, such as vanishing point, perspective, and mirror image were being incorporated into traditional Japanese paintings. Indeed, doro-e paintings played an important role in familiarising the Japanese public with these new techniques. However, the process of painting doro-e including materials and painting techniques used has not been interpreted, and the definition of doro-e remains elusive. This article begins by exploring Kamigata doro-e, particularly megane-e (vue d'optique), which was painted in the initial period of doro-e works. Materials analysis indicates the use of smalt, which is not often found in traditional Japanese paintings. Indigo was also used to depict landscapes, indicating that traditional blue dye was still the preferred colour for European-influenced paintings during the Edo period (1603–1868). This study also discusses the application of gold-coloured outlines identified as brass. A diversity of colourants and techniques was used in doro-e, a fact that is not reflected in the current definition regarding doro-e, and is discussed in this article.KEYWORDS: Doro-eJapanese folk paintingMegane-e (vue d'optique)painting for optical viewing deviceKamigatabrass AcknowledgmentsThe authors thank the late Hanae Shiba for providing doro-e collections to conduct this research.Disclosure statementNo potential conflict of interest was reported by the author(s).Additional informationFundingThis work was supported by JSPS KAKENHI: [Grant Number JP19K21647].
{"title":"The Use of Smalt in the Japanese Folk Paintings, <i>Doro-e</i> and <i>Megane-e</i> (Vue d'Optique)","authors":"Yae Ichimiya, Satoko Taguchi, Kazumi Mizumoto","doi":"10.1080/00393630.2023.2275099","DOIUrl":"https://doi.org/10.1080/00393630.2023.2275099","url":null,"abstract":"ABSTRACTDoro-e refers to a genre of Japanese folk paintings: it is a group of works, likely to be produced from the mid-eighteenth to the nineteenth century, that emerged during a time when some of the techniques of European paintings, such as vanishing point, perspective, and mirror image were being incorporated into traditional Japanese paintings. Indeed, doro-e paintings played an important role in familiarising the Japanese public with these new techniques. However, the process of painting doro-e including materials and painting techniques used has not been interpreted, and the definition of doro-e remains elusive. This article begins by exploring Kamigata doro-e, particularly megane-e (vue d'optique), which was painted in the initial period of doro-e works. Materials analysis indicates the use of smalt, which is not often found in traditional Japanese paintings. Indigo was also used to depict landscapes, indicating that traditional blue dye was still the preferred colour for European-influenced paintings during the Edo period (1603–1868). This study also discusses the application of gold-coloured outlines identified as brass. A diversity of colourants and techniques was used in doro-e, a fact that is not reflected in the current definition regarding doro-e, and is discussed in this article.KEYWORDS: Doro-eJapanese folk paintingMegane-e (vue d'optique)painting for optical viewing deviceKamigatabrass AcknowledgmentsThe authors thank the late Hanae Shiba for providing doro-e collections to conduct this research.Disclosure statementNo potential conflict of interest was reported by the author(s).Additional informationFundingThis work was supported by JSPS KAKENHI: [Grant Number JP19K21647].","PeriodicalId":21990,"journal":{"name":"Studies in Conservation","volume":" 32","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-11-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135291421","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"化学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-11-01DOI: 10.1080/00393630.2023.2275098
Nina Kjølsen Jernæs, Ragni Fjellgaard Mikalsen
Since the 1990s, the Norwegian management for cultural heritage has increased its focus on finding effective solutions for protecting Norway’s wooden cultural heritage from fire damage. The medieval churches in general, including the wooden stave churches, with their interiors and inventories, are of special interest. However, the usefulness of protecting valuable interiors and inventories when fighting fire has been questioned. An experiment was carried out to find manageable solutions for protecting large inventories by using fire covers in case of fire. An experiment using seven commercially available products was conducted by fire fighters to investigate whether these products could protect historic interiors from water and fire. The preliminary results show that it is possible to find manageable, large format covers for the protection of large, immovable historic inventories.
{"title":"In the Heat of the Moment: Testing Fire-Protective Covers for Mitigating Damage to Large Historic Inventories","authors":"Nina Kjølsen Jernæs, Ragni Fjellgaard Mikalsen","doi":"10.1080/00393630.2023.2275098","DOIUrl":"https://doi.org/10.1080/00393630.2023.2275098","url":null,"abstract":"Since the 1990s, the Norwegian management for cultural heritage has increased its focus on finding effective solutions for protecting Norway’s wooden cultural heritage from fire damage. The medieval churches in general, including the wooden stave churches, with their interiors and inventories, are of special interest. However, the usefulness of protecting valuable interiors and inventories when fighting fire has been questioned. An experiment was carried out to find manageable solutions for protecting large inventories by using fire covers in case of fire. An experiment using seven commercially available products was conducted by fire fighters to investigate whether these products could protect historic interiors from water and fire. The preliminary results show that it is possible to find manageable, large format covers for the protection of large, immovable historic inventories.","PeriodicalId":21990,"journal":{"name":"Studies in Conservation","volume":"62 9","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135272183","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"化学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-10-25DOI: 10.1080/00393630.2023.2269360
Ian D. MacLeod, Liisa M. E. Näsänen
{"title":"Evaluation of Chloride Extraction Rates from Copper Compounds Under Subcritical Conditions","authors":"Ian D. MacLeod, Liisa M. E. Näsänen","doi":"10.1080/00393630.2023.2269360","DOIUrl":"https://doi.org/10.1080/00393630.2023.2269360","url":null,"abstract":"","PeriodicalId":21990,"journal":{"name":"Studies in Conservation","volume":"AES-11 4","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135168230","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"化学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-10-18DOI: 10.1080/00393630.2023.2256132
Cecilie Brøns, Jens Stenger, Richard Newman, Caroline Cartwright, Fabiana Di Gianvincenzo, Anna Katerinopoulou, Luise Ørsted Brandt, Negar Haghipour, Laura Hendriks
ABSTRACTAncient panel paintings on wood are, with the exception of the mesmerising mummy portraits, extremely rare. However, a small corpus of other types of Romano-Egyptian panel paintings is preserved in collections worldwide. The aim of this study is to explore the technical histories of these rare and intriguing artefacts. We present a comprehensive investigation of three Romano-Egyptian panel paintings from the collections of the Ny Carlsberg Glyptotek, Denmark, including their construction, materials, pigments, binding media, and dating. The panels are examined by various methods of analysis to provide much deeper insights into the materials and techniques used for their production, and to answer questions of chronology and classification. In total, this work offers a more thorough understanding of their function, significance, and original appearance, as well as insights into the art of painting during the Roman period.KEYWORDS: Panel paintingsRoman Egyptmulti-spectral imagingwood identificationradiocarbon datingpigment identificationFTIRRaman spectroscopySEM-EDXproteomicsXRDalunite/natroalunite AcknowledgementsThis study forms part of the interdisciplinary research project ‘Sensing the Ancient World: The Invisible Dimensions of Ancient Art’, which has been generously funded by the Carlsberg Foundation. We are grateful for their support, and also grateful to the Kirsten and Freddy Johansen Foundation, who generously funded the establishment of a new laboratory at the Ny Carlsberg Glyptotek, which has made this study possible. We would also like to take the opportunity to express gratitude to the Ny Carlsberg Glyptotek, conservator Rebecca Hast, and the technical staff for facilitating the study of the three panels. CB would like to express her gratitude to Marie Svoboda, Caroline Roberts, and Lucile Brunel-Duverger for sharing their immense knowledge on ancient panels paintings, in particular for enlightening discussions on the use of green and blue pigments. JS is grateful for discussions with Kaare Lund Rasmussen about oxalates and with Tom Egelund regarding the assessment of the paintings’ condition with raking light imaging. FTIR and Raman data were collected at the Center for Advanced Bioimaging (CAB) Denmark, University of Copenhagen; we are grateful for access to these facilities. Christophe Drouet, CNRS Senior scientist at the CIRIMAT Institute (University of Toulouse, France) kindly provided the raw FTIR reference data on a natroalunite-like compound. We would also like to thank Jens Soelberg from the Natural History Museum, Denmark for clarifying questions regarding acacia trees. FDG and LØB thank Meaghan Mackie for her help in analysing peptides by nanoLC-MS-MS and for her input and advice on the proteomic data. FDG and LØB would also like to thank Professor Jesper Velgaard Olsen at the Novo Nordisk Foundation Center for Protein Research for providing access to LC-MS-MS facilities and resources at the Center for Protein Research
75)，描绘了人类主题，用蛋彩画技术绘制，与当代板画非常相似(Elston和Maish Citation2001)例如布鲁塞尔，mus<s:1> royaux d 'Art et d 'Histoire, E 7409;与复仇女神的格里芬:普罗维登斯，艺术博物馆，罗德岛设计学院，博物馆艺术作品基金，59.030(另见Tallet和Zivie-Coche Citation2012, 445)例如，保罗·盖蒂博物馆的两幅肖像。78.号。美联社。262和74.AP.11。我们非常感谢Marie Svoboda提供的信息维也纳，Österreichische国家图书馆，纸莎草学院。不。807 G。Sörries (Citation2003, no。37);维也纳艺术史博物馆，no。X 443。Sörries (Citation2003, no。38);马里布，保罗·盖蒂博物馆，没有。由于明矾石/钠矾石在这个特殊的样品中是一个次要的相，它还含有一些地面物质，因此在Rietveld精化中不能可靠地确定原子位置，以确定明矾石和钠矾石之间的种类。这两个物种的区别在于明矾石结构中m -配位多面体中Na的含量(Drouet et al.)。Citation2004;冈田，平林，和Ossaka Citation1982)。化合物晶体结构的晶格参数为a = 6.9981(5) Å， c = 16.814(2) Å.10由Christophe Drouet(法国图卢兹大学)提供例如，J. Paul Getty博物馆的三块彩绘板中的两块，以前被认为是三联画的一部分，可以追溯到公元一世纪，它们是从旧木材中回收的，因为它们有销钉孔和其他与它们用作彩绘板无关的修改(Cartwright, Spaabæk, and Svoboda Citation2011)。另一个例子是公元四世纪的一个碎片板，上面画着一个人的画像，来自大都会艺术博物馆(no. 591)。31.8.2)，这很可能是一个从棺材上回收的面板。本研究由嘉士伯基金会资助，基金编号为CF17-0261, Kirsten and Freddy Johansen基金会;2016年联合国教科文组织“杰出女科学家奖”;和诺和诺德基金会，批准NNF14CC0001。L. Hendriks由Branco Weiss奖学金和Ernst Göhner基金会资助，赠款2021-0936。
{"title":"‘A Lost Chapter of Ancient Art’: Archaeometric Examinations of Panel Paintings from Roman Egypt","authors":"Cecilie Brøns, Jens Stenger, Richard Newman, Caroline Cartwright, Fabiana Di Gianvincenzo, Anna Katerinopoulou, Luise Ørsted Brandt, Negar Haghipour, Laura Hendriks","doi":"10.1080/00393630.2023.2256132","DOIUrl":"https://doi.org/10.1080/00393630.2023.2256132","url":null,"abstract":"ABSTRACTAncient panel paintings on wood are, with the exception of the mesmerising mummy portraits, extremely rare. However, a small corpus of other types of Romano-Egyptian panel paintings is preserved in collections worldwide. The aim of this study is to explore the technical histories of these rare and intriguing artefacts. We present a comprehensive investigation of three Romano-Egyptian panel paintings from the collections of the Ny Carlsberg Glyptotek, Denmark, including their construction, materials, pigments, binding media, and dating. The panels are examined by various methods of analysis to provide much deeper insights into the materials and techniques used for their production, and to answer questions of chronology and classification. In total, this work offers a more thorough understanding of their function, significance, and original appearance, as well as insights into the art of painting during the Roman period.KEYWORDS: Panel paintingsRoman Egyptmulti-spectral imagingwood identificationradiocarbon datingpigment identificationFTIRRaman spectroscopySEM-EDXproteomicsXRDalunite/natroalunite AcknowledgementsThis study forms part of the interdisciplinary research project ‘Sensing the Ancient World: The Invisible Dimensions of Ancient Art’, which has been generously funded by the Carlsberg Foundation. We are grateful for their support, and also grateful to the Kirsten and Freddy Johansen Foundation, who generously funded the establishment of a new laboratory at the Ny Carlsberg Glyptotek, which has made this study possible. We would also like to take the opportunity to express gratitude to the Ny Carlsberg Glyptotek, conservator Rebecca Hast, and the technical staff for facilitating the study of the three panels. CB would like to express her gratitude to Marie Svoboda, Caroline Roberts, and Lucile Brunel-Duverger for sharing their immense knowledge on ancient panels paintings, in particular for enlightening discussions on the use of green and blue pigments. JS is grateful for discussions with Kaare Lund Rasmussen about oxalates and with Tom Egelund regarding the assessment of the paintings’ condition with raking light imaging. FTIR and Raman data were collected at the Center for Advanced Bioimaging (CAB) Denmark, University of Copenhagen; we are grateful for access to these facilities. Christophe Drouet, CNRS Senior scientist at the CIRIMAT Institute (University of Toulouse, France) kindly provided the raw FTIR reference data on a natroalunite-like compound. We would also like to thank Jens Soelberg from the Natural History Museum, Denmark for clarifying questions regarding acacia trees. FDG and LØB thank Meaghan Mackie for her help in analysing peptides by nanoLC-MS-MS and for her input and advice on the proteomic data. FDG and LØB would also like to thank Professor Jesper Velgaard Olsen at the Novo Nordisk Foundation Center for Protein Research for providing access to LC-MS-MS facilities and resources at the Center for Protein Research","PeriodicalId":21990,"journal":{"name":"Studies in Conservation","volume":"56 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135888985","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"化学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-10-03DOI: 10.1080/00393630.2023.2262842
Beatrice Menegaldo, Daniela Aleccia, Gert Nuyts, Aria Amato, Emilio Francesco Orsega, Giulia Moro, Eleonora Balliana, Karolien De Wael, Ligia Maria Moretto, Victoria Beltran
ABSTRACTGian Giacomo Inchiocchio (1604–1656), better known as Barbelli, was one of the main exponents of Lombard painting of the seventeenth century. A large body of work is attributed to him, encompassing a wide range of drawings, murals, and oil paintings. However, despite his broad production, there are still many open questions regarding his painting techniques and materials. In this paper, a multi-analytical study of the cycle Stories of the life of Saint George that originally decorated the presbytery of the parish church of Casaletto Vaprio (Cremona, Italy) was performed, combining non-invasive techniques with the characterisation of selected micro samples. Results show that Barbelli used a very limited number of inorganic pigments, often mixing them together to create different colours and shades. Remains of caseinate and degradation products (i.e. weddellite and whewellite) related to the strappo intervention were also highlighted. The study helped to decipher the materials and technique of this painting, providing data that can be used as a reference to study his extensive production.KEYWORDS: Mural paintingsBarbellistrappofresco techniquemulti-analytical study AcknowledgementsSince 2019, the municipality of Casaletto Vaprio in partnership with the Soprintendenza Archeologia Belle Arti e Paesaggio (ABAP) of the provinces of Cremona, Lodi, and Mantua has launched a project to acquire and relocate all the detached artworks. Prior to relocating the artworks, the state of conservation of each strappo was characterised. We thank the colleagues of ABAP for involving us in the study of these artworks and providing us with the samples. The authors would like to thank the Patto per lo Sviluppo della Città di Venezia (Comune di Venezia) for support for the research.Disclosure statementNo potential conflict of interest was reported by the author(s).Additional informationFundingThe authors acknowledge the financial support of the FWO agency under the call ‘FWO Medium Size Research Infrastructure' (funded project: High resolution Raman spectroscopy and imaging, ref. I010320N). This project has received funding from the European Union’s Horizon research and innovation programme under the Marie Skłodowska-Curie grant agreement ID 101058973 (DOI 10.3030/101058973).
【摘要】gian Giacomo Inchiocchio(1604-1656)是十七世纪伦巴第画派的主要代表人物之一，也被称为Barbelli。大量的作品被认为是他的作品，包括各种各样的素描、壁画和油画。然而，尽管他的作品广泛，但他的绘画技巧和材料仍有许多悬而未决的问题。在本文中，对最初装饰Casaletto Vaprio(意大利克雷莫纳)教区教堂长老会的圣乔治生活循环故事进行了多分析研究，将非侵入性技术与选定微样本的特征相结合。结果表明，Barbelli使用了非常有限的无机颜料，经常将它们混合在一起以创造不同的颜色和色调。还强调了酪蛋白酸盐和降解产物(即weddellite和whewellite)的残留。这项研究有助于破译这幅画的材料和技术，为研究他的广泛生产提供了参考数据。自2019年以来，Casaletto Vaprio市政府与Cremona, Lodi和Mantua省的Soprintendenza Archeologia Belle Arti e Paesaggio (ABAP)合作启动了一个项目，以获取和重新安置所有分离的艺术品。在重新安置艺术品之前，对每个吊带的保护状态进行了描述。我们感谢ABAP的同事让我们参与这些艺术品的研究，并为我们提供样品。作者感谢威尼斯市政委员会(Patto per lo siluppo della cittopordi Venezia)对这项研究的支持。披露声明作者未报告潜在的利益冲突。作者感谢FWO机构在“FWO中型研究基础设施”下的财政支持(资助项目:高分辨率拉曼光谱和成像，参考号:I010320N)。该项目已获得欧盟地平线研究与创新计划的资助，Marie Skłodowska-Curie资助协议ID 101058973 (DOI 10.3030/101058973)。
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Pub Date : 2023-09-27DOI: 10.1080/00393630.2023.2260629
Ling Zhu, Jingshu Gao, Lei Fu, Yuqi Yan, Jiufang Lv
ABSTRACTThis research delves into the contemporary utilization of digital technology within the context of the material cultural heritage associated with traditional Chinese furniture. Digital technology refers to the use of computers and electronic devices to process, store, transmit, and display information, which can be used to restore and protect traditional furniture. Valuable informational resources relevant to Chinese traditional furniture, for example, can be preserved through data integration for further utilization and development. Such applications of digital technology are still in the exploratory stage and as research content is relatively scattered, a systematic understanding is still lacking. The current applications of digital technologies in the field of traditional furniture are separated into four categories in this paper: database technology, digital restoration, digital identification, and digital exhibition. Each is described systematically. Database technology includes data acquisition, data pretreatment, model building, and platform construction; digital restoration technology mainly centers on the restoration of furniture structures and patterns. Digital identification includes the identification of age, wood, lacquer film composition, and structural mechanical performance. Digital exhibition includes digital museums, virtual reality, augmented reality, and the use of holographic projection technology. Additionally, an in-depth exploration was conducted into a comprehensive range of admonitions, constraints, and focal points that may ensue from the integration of digital technology, and a concise synthesis was presented regarding the digitization applications in the realm of traditional furniture, along with a critical assessment of their inherent deficiencies. We seek to analyze these technical features to establish a comprehensive understanding of digital technology application and development trends relevant to Chinese traditional furniture. This work is geared towards the conservation professional and may provide a reference for improving the utilization and application of digital systems for the effective preservation of traditional furniture.KEYWORDS: Chinese traditional furnituredatabase technologydigital restorationdigital identificationdigital exhibition Disclosure statementNo potential conflict of interest was reported by the author(s).Additional informationFundingThis work has been supported by Nanjing Forestry University; the study was funded by the project of ‘The Study on Overseas Dissemination and Cultural Identity of Chinese Classical Furniture from the Perspective of East and West’.
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Pub Date : 2023-09-25DOI: 10.1080/00393630.2023.2260628
Jules Pelta Feldman
After May 2, 2022, heritage conservation briefly became a hot topic in the world of celebrity gossip. That evening, Kim Kardashian, a reality TV star and entrepreneur, wore a 60-year-old dress that had belonged to Marilyn Monroe to the Metropolitan Museum of Art’s annual Costume Institute Gala. In wearing Monroe’s dress, Kardashian sought to channel the glamor and celebrity of the mid-century star. She also summoned the ire of museum professionals, who considered her choice to wear a fragile historical garment a flagrant violation of conservation ethics. Yet increasingly, the discipline of conservation has come to recognize that an object’s ‘integrity’ does not rest solely in its physical materials – and the emerging discourse of performance conservation, informed by research into the conservation of contemporary art as well as intangible cultural heritage, emphasizes the active lives of what I call ‘performative objects’ over their physical form and static appearance. Here, I posit that Kardashian’s wearing of Monroe’s dress may be understood as a form of conservation – perhaps not of the dress itself, but of the performance of which that dress was an integral part, and without which, I argue, the dress has little significance. To make this argument, I will also draw on innovative approaches to the conservation of Indigenous heritage that recognize the preservation value of reanimating objects from the past. Establishing Monroe’s dress as a ‘performative object,’ an item inextricably linked to the body in motion, I endeavor to show how performance itself preserves the past.
2022年5月2日之后，遗产保护一度成为名人八卦界的热门话题。那天晚上，真人秀明星、企业家金·卡戴珊(Kim Kardashian)在大都会艺术博物馆(Metropolitan Museum of Art)的年度服装学院庆典上，穿着一件有60年历史的玛丽莲·梦露(Marilyn Monroe)的连衣裙。穿着梦露的礼服，卡戴珊试图传达这位上世纪中叶明星的魅力和名人气质。她还引起了博物馆专业人士的愤怒，他们认为她选择穿着一件脆弱的历史服装是对保护伦理的公然违反。然而，越来越多的保护学科已经认识到，一个物体的“完整性”并不仅仅取决于它的物理材料——通过对当代艺术和非物质文化遗产保护的研究，行为保护的新兴话语强调了我所说的“表演物体”的活跃生命，而不是它们的物理形式和静态外观。在这里，我认为卡戴珊穿梦露的裙子可以被理解为一种保守的形式——也许不是裙子本身，而是裙子作为一个组成部分的表现，如果没有这种表现，我认为裙子就没有什么意义了。为了提出这一论点，我还将借鉴保护土著遗产的创新方法，这些方法认识到使过去的物体恢复活力的保护价值。我将梦露的服装作为一种“表演对象”，一种与运动中的身体有着千丝万缕联系的物品，努力展示表演本身是如何保存过去的。
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