Pub Date : 2018-03-28DOI: 10.6092/ISSN.1973-9494/7945
C. Rúa, Marcela Sepúlveda, Sebastián Gutiérrez, J. Cárcamo-Vega, Julio Surco-Luque, M. Campos-Vallette, F. Guzmán, P. Conti, Magdalena Pereira
Micro-Raman spectroscopy was used to analyze and identify pigments and determine the palette of color in wall paintings from four churches of the Colonial Period, in the Bolivian highlands. The ancient churches Santiago de Callapa, Curahuara de Carangas, NuestraSenora de Copacabana de Andamarca and San Jose de Soracachi were constructed during the 17th and 18th centuries, around the important colonial Ruta de la Plata, between Potosi city and Arica harbor on the Pacific coast of South America. Most pigments used in the wall paintings correspond to inorganic minerals as well as to organic colorants. Fully chlorinated copper phthalocyanine (green), copper phthalocyanine (blue), β-naphthol (yellow) and benzoimidazolone (red), were identified in the corresponding colored areas suggesting subsequent recent interventions or restorations. Ground layer materials were also characterized. The present results allow for discussion of the pictorial techniques used in the Andean highland during the colonial period and allow conservators and restorers to make important decisions regarding the type of intervention to perform in the case of these important historical and patrimonial monuments.
微拉曼光谱被用于分析和识别颜料，并确定了玻利维亚高地殖民时期四座教堂壁画的调色板。古教堂Santiago de Callapa, Curahuara de Carangas, NuestraSenora de Copacabana de Andamarca和San Jose de Soracachi建于17世纪和18世纪，位于重要的殖民地Ruta de la Plata周围，位于波托西市和南美洲太平洋沿岸的Arica港之间。壁画中使用的大多数颜料既属于有机颜料，也属于无机矿物。在相应的彩色区域发现了完全氯化的酞菁铜(绿色)、酞菁铜(蓝色)、β-萘酚(黄色)和苯并咪唑酮(红色)，表明随后的近期干预或修复。对接地层材料也进行了表征。目前的结果允许讨论殖民时期在安第斯高地使用的绘画技术，并允许保护人员和修复人员就这些重要的历史和遗产古迹的干预类型做出重要决定。
{"title":"Raman Identification of Pigments in Wall Paintings of the Colonial Period from Bolivian Churches in the Ruta De La Plata","authors":"C. Rúa, Marcela Sepúlveda, Sebastián Gutiérrez, J. Cárcamo-Vega, Julio Surco-Luque, M. Campos-Vallette, F. Guzmán, P. Conti, Magdalena Pereira","doi":"10.6092/ISSN.1973-9494/7945","DOIUrl":"https://doi.org/10.6092/ISSN.1973-9494/7945","url":null,"abstract":"Micro-Raman spectroscopy was used to analyze and identify pigments and determine the palette of color in wall paintings from four churches of the Colonial Period, in the Bolivian highlands. The ancient churches Santiago de Callapa, Curahuara de Carangas, NuestraSenora de Copacabana de Andamarca and San Jose de Soracachi were constructed during the 17th and 18th centuries, around the important colonial Ruta de la Plata, between Potosi city and Arica harbor on the Pacific coast of South America. Most pigments used in the wall paintings correspond to inorganic minerals as well as to organic colorants. Fully chlorinated copper phthalocyanine (green), copper phthalocyanine (blue), β-naphthol (yellow) and benzoimidazolone (red), were identified in the corresponding colored areas suggesting subsequent recent interventions or restorations. Ground layer materials were also characterized. The present results allow for discussion of the pictorial techniques used in the Andean highland during the colonial period and allow conservators and restorers to make important decisions regarding the type of intervention to perform in the case of these important historical and patrimonial monuments.","PeriodicalId":42483,"journal":{"name":"Conservation Science in Cultural Heritage","volume":"75 12","pages":"117-137"},"PeriodicalIF":0.2,"publicationDate":"2018-03-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72453630","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 : 2018-03-28DOI: 10.6092/ISSN.1973-9494/7952
S. Alizadeh
One of the major stages in the conservation and restoration of a painting is to clean its colored surface of unwanted stains, and old and darkened varnishes. Various solvents have been used to date for this purpose; however, new cleaning materials have also come onto the market in the past decade that are still unknown and may never have been employed in Iran. The present study aims to introduce a polymer gel and use an in vitro sample of the substance for cleaning and to then present the results of the tests carried out. Applying a polymer gel in the cleaning of paintings yielded better results and greater advantages over the solvents previously used to clean artworks. The advantages include, performing on the surface without penetrating the lower layers, the absence of residues after application, flexibility, solubility and the gentle removal of old stains and varnishes, maintaining clarity and cleaning the surface by simple removal of the thin dried layer, which requires no mechanical pressure. Microscopic examinations and pH testing showed that this new alternative technique can be of use in cleaning the color layers of oil paintings.
{"title":"Cleaning and Restoration of an Oil Painting with a Polymer Gel in Iran","authors":"S. Alizadeh","doi":"10.6092/ISSN.1973-9494/7952","DOIUrl":"https://doi.org/10.6092/ISSN.1973-9494/7952","url":null,"abstract":"One of the major stages in the conservation and restoration of a painting is to clean its colored surface of unwanted stains, and old and darkened varnishes. Various solvents have been used to date for this purpose; however, new cleaning materials have also come onto the market in the past decade that are still unknown and may never have been employed in Iran. The present study aims to introduce a polymer gel and use an in vitro sample of the substance for cleaning and to then present the results of the tests carried out. Applying a polymer gel in the cleaning of paintings yielded better results and greater advantages over the solvents previously used to clean artworks. The advantages include, performing on the surface without penetrating the lower layers, the absence of residues after application, flexibility, solubility and the gentle removal of old stains and varnishes, maintaining clarity and cleaning the surface by simple removal of the thin dried layer, which requires no mechanical pressure. Microscopic examinations and pH testing showed that this new alternative technique can be of use in cleaning the color layers of oil paintings.","PeriodicalId":42483,"journal":{"name":"Conservation Science in Cultural Heritage","volume":"32 1","pages":"139-147"},"PeriodicalIF":0.2,"publicationDate":"2018-03-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83604039","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 : 2018-03-28DOI: 10.6092/ISSN.1973-9494/7956
P. Grandesso
AlmaDL Journals is an Open Access publishing service of the University of Bologna, Italy. After 5 years from the publication of the first paper in Conservation Science in Cultural Heritage about the service, we review the transformations and the growth it has experienced during this time span, with a look at the changes that have occurred in Open Access publishing that have driven and inspired the modifications adopted by AlmaDL Journals.
{"title":"The Academic Publication Service AlmaDL Journals and the New Challenges of Open Access","authors":"P. Grandesso","doi":"10.6092/ISSN.1973-9494/7956","DOIUrl":"https://doi.org/10.6092/ISSN.1973-9494/7956","url":null,"abstract":"AlmaDL Journals is an Open Access publishing service of the University of Bologna, Italy. After 5 years from the publication of the first paper in Conservation Science in Cultural Heritage about the service, we review the transformations and the growth it has experienced during this time span, with a look at the changes that have occurred in Open Access publishing that have driven and inspired the modifications adopted by AlmaDL Journals.","PeriodicalId":42483,"journal":{"name":"Conservation Science in Cultural Heritage","volume":"43 1","pages":"193-202"},"PeriodicalIF":0.2,"publicationDate":"2018-03-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73847714","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 : 2018-03-28DOI: 10.6092/ISSN.1973-9494/7940
G. Fatta, T. Campisi, M. L. Castri, Giuseppe Costa
St. Peter’s Basilica inside the Royal Palace of Palermo, known as the Palatina Chapel, is one of the most popular medieval monuments in Sicily. Built between 1130 and 1163, it contains interesting wooden framings that represent both bearing and finishing structures. Studies about the Arab-Norman church have often concentrated on the very rich and suggestive decorative mosaic apparatus of walls and floorings, as well as the pictorial cycle of wooden ceilings. Knowledge about the constructive techniques adopted and, in particular, about the realization of the coverings, is very limited: there are wooden floors built at different levels, vaults and wooden ceilings and among these is the portion that covers the main nave, housing the muqarnas decorations. The fortunate coincidence of the restoration building yard made it possible to gain precious knowledge of this extraordinary wooden structure, also through a laser scanning survey of a significant area of the wooden ceiling, performed with a low range device. The collected data adequately represent the geometry and the state of conservation of the ceiling and have been used to develop a spatial and geometrical analysis of the muqarnas and relate it to the structural layout. The survey of the internal and external sides of the covering enabled us to investigate further the materials and constructive techniques employed in this ancient wooden ceiling. At the same time, we were also able to document the original structural system and the completion parts, its conservation status and the interventions and modifications it has undergone through many centuries.
{"title":"The Muqarnas Ceiling of the Palatina Chapel in Palermo","authors":"G. Fatta, T. Campisi, M. L. Castri, Giuseppe Costa","doi":"10.6092/ISSN.1973-9494/7940","DOIUrl":"https://doi.org/10.6092/ISSN.1973-9494/7940","url":null,"abstract":"St. Peter’s Basilica inside the Royal Palace of Palermo, known as the Palatina Chapel, is one of the most popular medieval monuments in Sicily. Built between 1130 and 1163, it contains interesting wooden framings that represent both bearing and finishing structures. Studies about the Arab-Norman church have often concentrated on the very rich and suggestive decorative mosaic apparatus of walls and floorings, as well as the pictorial cycle of wooden ceilings. Knowledge about the constructive techniques adopted and, in particular, about the realization of the coverings, is very limited: there are wooden floors built at different levels, vaults and wooden ceilings and among these is the portion that covers the main nave, housing the muqarnas decorations. The fortunate coincidence of the restoration building yard made it possible to gain precious knowledge of this extraordinary wooden structure, also through a laser scanning survey of a significant area of the wooden ceiling, performed with a low range device. The collected data adequately represent the geometry and the state of conservation of the ceiling and have been used to develop a spatial and geometrical analysis of the muqarnas and relate it to the structural layout. The survey of the internal and external sides of the covering enabled us to investigate further the materials and constructive techniques employed in this ancient wooden ceiling. At the same time, we were also able to document the original structural system and the completion parts, its conservation status and the interventions and modifications it has undergone through many centuries.","PeriodicalId":42483,"journal":{"name":"Conservation Science in Cultural Heritage","volume":"40 1","pages":"65-85"},"PeriodicalIF":0.2,"publicationDate":"2018-03-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85002297","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 : 2018-03-28DOI: 10.6092/ISSN.1973-9494/7939
Donald P. Doak
Although publishers and authors hope to see their publications having an impact in the discipline, focusing only on the quality of the published articles may not guarantee the desired impact. Papers should also respond to principles of quality not only from a scientific point of view, as it is also very important to understand and capitalize on the critical phases that lead to usage — namely ensuring exposure and discoverability of the publications by the target audience. Apart from partnering with subscription agents that offer value-added services for online publications to ensure that linking to full text is accurate and stable, full-text databases also offer an effective channel to bring high-quality journal contents to a target audience that may eventually cite the consulted articles in their own researches. Nonetheless, the publisher, and at times the editor-in-chief, also wants to make sure that the full-text databases they work with are not going to bring a negative impact on the journal subscription. Therefore, it is critical that publishers look to partners that support all areas of their business in an optimal way. This is what has been achieved across the years by the Journal “Conservation Science in Cultural Heritage” which has had excellent results in its dissemination and scientific content.
{"title":"The Stepping Stone to Greater Impact for Quality Journals is “Influence”; it is about Discoverability and Usage","authors":"Donald P. Doak","doi":"10.6092/ISSN.1973-9494/7939","DOIUrl":"https://doi.org/10.6092/ISSN.1973-9494/7939","url":null,"abstract":"Although publishers and authors hope to see their publications having an impact in the discipline, focusing only on the quality of the published articles may not guarantee the desired impact. Papers should also respond to principles of quality not only from a scientific point of view, as it is also very important to understand and capitalize on the critical phases that lead to usage — namely ensuring exposure and discoverability of the publications by the target audience. Apart from partnering with subscription agents that offer value-added services for online publications to ensure that linking to full text is accurate and stable, full-text databases also offer an effective channel to bring high-quality journal contents to a target audience that may eventually cite the consulted articles in their own researches. Nonetheless, the publisher, and at times the editor-in-chief, also wants to make sure that the full-text databases they work with are not going to bring a negative impact on the journal subscription. Therefore, it is critical that publishers look to partners that support all areas of their business in an optimal way. This is what has been achieved across the years by the Journal “Conservation Science in Cultural Heritage” which has had excellent results in its dissemination and scientific content.","PeriodicalId":42483,"journal":{"name":"Conservation Science in Cultural Heritage","volume":"27 1","pages":"59-63"},"PeriodicalIF":0.2,"publicationDate":"2018-03-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83550766","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 : 2018-03-28DOI: 10.6092/issn.1973-9494/7955
Aleksandre P. Lobodanov
The figure and work of Michail Vasil’evic Lomonosov are significantly and emblematically synonymous with interdisciplinarity and internationalization in one personality. It is evident from what has been described and noted in the various bibliographic sources that have been consulted, highlighting Lomonosov’s extreme versatility and, at the same time, his intense activity and interest in the various humanities and experimental sciences.
{"title":"The Versatile Figure of Michail Vasil'evič Lomonosov","authors":"Aleksandre P. Lobodanov","doi":"10.6092/issn.1973-9494/7955","DOIUrl":"https://doi.org/10.6092/issn.1973-9494/7955","url":null,"abstract":"The figure and work of Michail Vasil’evic Lomonosov are significantly and emblematically synonymous with interdisciplinarity and internationalization in one personality. It is evident from what has been described and noted in the various bibliographic sources that have been consulted, highlighting Lomonosov’s extreme versatility and, at the same time, his intense activity and interest in the various humanities and experimental sciences.","PeriodicalId":42483,"journal":{"name":"Conservation Science in Cultural Heritage","volume":"9 1","pages":"183-191"},"PeriodicalIF":0.2,"publicationDate":"2018-03-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81994561","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 : 2018-03-28DOI: 10.6092/ISSN.1973-9494/7937
Meriem Benkhedda, K. T. Aoul
The study and research described in this paper aims to reveal the unexplored aesthetical role of colors used for the ceramics in a mosque from the Marinid dynasty in Tlemcen, Algeria. The methodological approach consists firstly, of a formal analysis of the mosque’s artwork by describing its elements and composition and related principles. Secondly, the patterns and geometries are analyzed in-depth using artistic color concepts and laws of color contrast. The analysis demonstrates that the contrasts between bright, pure and dynamic colors provide luminosity, dynamism, rhythm, brightness and an optical mix. The color contrasts are also found to provide visual illusions of mass, volume or movement, as well as depth and relief that ultimately result in influencing the overall ambience of the mosque. The study thus enables the chromatic authenticity of this architectural heritage to be preserved by providing the necessary data for potential conservation, as well as providing a basis for innovative principles in expressing contemporary architecture.
{"title":"Polychrome ceramics, artistic diagnosis and resulting ambiances in a Marinid Mosque, Algeria","authors":"Meriem Benkhedda, K. T. Aoul","doi":"10.6092/ISSN.1973-9494/7937","DOIUrl":"https://doi.org/10.6092/ISSN.1973-9494/7937","url":null,"abstract":"The study and research described in this paper aims to reveal the unexplored aesthetical role of colors used for the ceramics in a mosque from the Marinid dynasty in Tlemcen, Algeria. The methodological approach consists firstly, of a formal analysis of the mosque’s artwork by describing its elements and composition and related principles. Secondly, the patterns and geometries are analyzed in-depth using artistic color concepts and laws of color contrast. The analysis demonstrates that the contrasts between bright, pure and dynamic colors provide luminosity, dynamism, rhythm, brightness and an optical mix. The color contrasts are also found to provide visual illusions of mass, volume or movement, as well as depth and relief that ultimately result in influencing the overall ambience of the mosque. The study thus enables the chromatic authenticity of this architectural heritage to be preserved by providing the necessary data for potential conservation, as well as providing a basis for innovative principles in expressing contemporary architecture.","PeriodicalId":42483,"journal":{"name":"Conservation Science in Cultural Heritage","volume":"64 1","pages":"27-44"},"PeriodicalIF":0.2,"publicationDate":"2018-03-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73378608","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}
Achaemenid art is a combination of different nations' art and a reflection of thought and religion of the era. Plant, human, animal motifs and a combination of them have been used in the art of the Achaemenid era. But the abundant use of animal motifs, especially in jewelry, has distinguished the Achaemenid art. The present paper aims to study the animal symbols in the jewelry of the Achaemenid era. Following a definition of the symbol, it evaluates the role and status of animal symbols in Achaemenid jewelry by categorizing and analyzing those motifs. Descriptive-analytic method has been used in this paper and data has obtained from library research. According to the results of the study, it can be found that the symbolic animal motifs were used in the jewelry of the Achaemenid era to express the power and majesty of the king and the sovereignty; they demonstrate the Iranians' particular viewpoint toward the world, religion and custom of the era and artistic qualities of the related nations.
{"title":"Semiotics of Animal Motifs in the Jewelry of the Achaemenid Era","authors":"Shahryar Shokrpour, Reyhaneh Rashidi, Fatemeh Barmaki","doi":"10.6092/ISSN.1973-9494/7954","DOIUrl":"https://doi.org/10.6092/ISSN.1973-9494/7954","url":null,"abstract":"Achaemenid art is a combination of different nations' art and a reflection of thought and religion of the era. Plant, human, animal motifs and a combination of them have been used in the art of the Achaemenid era. But the abundant use of animal motifs, especially in jewelry, has distinguished the Achaemenid art. The present paper aims to study the animal symbols in the jewelry of the Achaemenid era. Following a definition of the symbol, it evaluates the role and status of animal symbols in Achaemenid jewelry by categorizing and analyzing those motifs. Descriptive-analytic method has been used in this paper and data has obtained from library research. According to the results of the study, it can be found that the symbolic animal motifs were used in the jewelry of the Achaemenid era to express the power and majesty of the king and the sovereignty; they demonstrate the Iranians' particular viewpoint toward the world, religion and custom of the era and artistic qualities of the related nations.","PeriodicalId":42483,"journal":{"name":"Conservation Science in Cultural Heritage","volume":"25 1","pages":"169-181"},"PeriodicalIF":0.2,"publicationDate":"2018-03-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73808142","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 : 2018-03-28DOI: 10.6092/issn.1973-9494/7938
Cesare Crova, F. Chiadini, L. Maio, L. Guerriero, Luca Pescione
Samples of chestnut wood taken from modern age structures in the Campania Region were subjected to chemical and physical analysis in order to examine the microstructural variations in the material as a result of exposure to microwaves with the aim of devitalising colonies of xylophages. Results showed that the use of microwaves does not lead to alterations in the structure of the wood, but does bring about variations in its hygroscopicity and permeability.
{"title":"Elimination of Xylophages from Wood through Microwave Treatment: Microstructural Experiments","authors":"Cesare Crova, F. Chiadini, L. Maio, L. Guerriero, Luca Pescione","doi":"10.6092/issn.1973-9494/7938","DOIUrl":"https://doi.org/10.6092/issn.1973-9494/7938","url":null,"abstract":"Samples of chestnut wood taken from modern age structures in the Campania Region were subjected to chemical and physical analysis in order to examine the microstructural variations in the material as a result of exposure to microwaves with the aim of devitalising colonies of xylophages. Results showed that the use of microwaves does not lead to alterations in the structure of the wood, but does bring about variations in its hygroscopicity and permeability.","PeriodicalId":42483,"journal":{"name":"Conservation Science in Cultural Heritage","volume":"244 1","pages":"45-57"},"PeriodicalIF":0.2,"publicationDate":"2018-03-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75755082","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 : 2018-03-28DOI: 10.6092/ISSN.1973-9494/7941
I. Nyström, Jacob L. Thomas, Yvonne Fors, Liv Friis, Anders Assis, K. Thuresson
This article concerns a 19th century dispute about twenty pieces of decorated furniture painted by the 19th century painter Anders Erik Adel (1809-1888) from Soderhamn, Halsingland, Sweden. Adel is considered to be one of the foremost painters in Halsingland. His art works - painted furniture and interiors - are displayed in museums and can also be found in the Decorated Farmhouses of Halsingland, UNESCO World Heritage. In 1839, Adel accused his client, the farmer Erik Olofsson, in court of having paid too little for the objects he had painted as he had used more pigments than those for which he had been paid. Almost 180 years later scientific methods combined with historic source research were used to understand what pigments Adel actually used. Through this study we demonstrate how multidisciplinary collaboration between sciences and humanities can contribute to deeper knowledge and new interpretations. The scientific analyses were preceded by analyses of the judicial protocols found. Non-invasive analyses using XRF instruments were conducted in situ, supplemented by other spectroscopic methods in the lab. The judicial protocols give an insight into what pigments Adel had access to, and when combined with the scientific analyses, this information provides historic evidence of the artist's materials and painting technique.
这篇文章是关于19世纪关于20件装饰家具的争论，这些家具是19世纪瑞典Halsingland Soderhamn的画家Anders Erik Adel(1809-1888)所画的。Adel被认为是Halsingland最重要的画家之一。他的艺术作品——彩绘家具和室内装饰——在博物馆展出，也可以在联合国教科文组织世界遗产Halsingland的装饰农舍中找到。1839年，阿德尔在法庭上指控他的客户、农民埃里克·奥洛夫松(Erik Olofsson)为他画的东西支付的钱太少，因为他使用的颜料比他得到的钱要多。大约180年后，科学方法结合历史资料研究被用来了解阿德尔实际使用的颜料。通过这项研究，我们展示了科学和人文学科之间的多学科合作如何有助于更深入的知识和新的解释。在进行科学分析之前，先对所发现的司法议定书进行了分析。使用XRF仪器进行非侵入性分析，在实验室中辅以其他光谱方法。司法协议提供了对阿德尔使用的颜料的深入了解，当与科学分析相结合时，这些信息提供了艺术家的材料和绘画技术的历史证据。
{"title":"Forensic Art History: the Ädel Painting Dispute 1839-1841","authors":"I. Nyström, Jacob L. Thomas, Yvonne Fors, Liv Friis, Anders Assis, K. Thuresson","doi":"10.6092/ISSN.1973-9494/7941","DOIUrl":"https://doi.org/10.6092/ISSN.1973-9494/7941","url":null,"abstract":"This article concerns a 19th century dispute about twenty pieces of decorated furniture painted by the 19th century painter Anders Erik Adel (1809-1888) from Soderhamn, Halsingland, Sweden. Adel is considered to be one of the foremost painters in Halsingland. His art works - painted furniture and interiors - are displayed in museums and can also be found in the Decorated Farmhouses of Halsingland, UNESCO World Heritage. In 1839, Adel accused his client, the farmer Erik Olofsson, in court of having paid too little for the objects he had painted as he had used more pigments than those for which he had been paid. Almost 180 years later scientific methods combined with historic source research were used to understand what pigments Adel actually used. Through this study we demonstrate how multidisciplinary collaboration between sciences and humanities can contribute to deeper knowledge and new interpretations. The scientific analyses were preceded by analyses of the judicial protocols found. Non-invasive analyses using XRF instruments were conducted in situ, supplemented by other spectroscopic methods in the lab. The judicial protocols give an insight into what pigments Adel had access to, and when combined with the scientific analyses, this information provides historic evidence of the artist's materials and painting technique.","PeriodicalId":42483,"journal":{"name":"Conservation Science in Cultural Heritage","volume":"4 1","pages":"87-99"},"PeriodicalIF":0.2,"publicationDate":"2018-03-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73200846","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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