Relevant bibliographies by topics / Painting conservation

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Painting conservation'

Author: Grafiati
Published: 4 June 2021
Last updated: 11 February 2022

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Journal articles on the topic "Painting conservation"

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Bruquetas Galán, Rocío. "A Changing Art. Nineteenth-Century Painting Practice and Conservation." Ge-conservacion 13 (June 29, 2018): 100–101. http://dx.doi.org/10.37558/gec.v13i0.587.

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A Changing Art. Nineteenth-Century Painting Practice and Conservation Ed. Por Nicola Costaras, Kate Lowry, Helen Glanville, Pippa Balch, Victoria Sutcliffe y Polly Satlmarsh) Londres: Archetype (en asociación con The British Association of Paintings Conservator-Restorers, BAPCR), 2017. ISBN: 9781909492547 Dimensiones: 246 x 175 mmPáginas: 144Ilustraciones en color
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Suparma Netra, I. Made, and Nyoman Wardi. "Konservasi Koleksi Lukisan Museum Le Mayeur." Humanis 23, no. 3 (September 27, 2019): 216. http://dx.doi.org/10.24843/jh.2019.v23.i03.p08.

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As a result of human work, painting is a cultural heritage that has important values. The state of the structure of the paintings which is composed by organic materials makes the painting very vulnerable to the environmental influences and other causes of damage. This research aims to find out about the characteristics of the painting, the types of damage, the factors that cause damage, and its conservation techniques both preventive and and curative to painting collection of Le Mayeur Museum.The results of this research are expected to provide benefits and development of science in the field of archeology about the study of cultural heritage conservation. This study uses qualitative analysis, technology analysis, and comparative analysis. Data collection technique used are direct observation technique, interviews, and library reserach studies. The theories applied are Aesthetic Theory and Conservation Theory.The results obtained namely the characteristic of Le Mayeur’s paintings are representative with women’s theme and surroundings life, the coloring technique using plaque technique with oil paint, watercolor, traditional paint, and pastels color. Generally, there are several types of damage to the painting collection of Le Mayeur Museum, such as physical or mechanic damage, biotic damage, and chemical damage. Those types of damage are caused by physical factors,chemistry factors, biotic factors, and human factors. The conservation techniques carried out at the Le Mayeur Museum include preventive conservation and curative conservation. The preventive actions are carried out with control of temperature, air humidity, intensity of ultraviolet light, and control of air containing salt due to sea water vapor. The curative actions taken are semi-chemist medicine and painting restoration.
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Amura, Annamaria, Landi Luisa, Luigi Pisani, Maria Veronica Soro, Giorgia Zantedeschi, and Stefano Pagnotta. "Image analysis applied to the planning of a canvas painting restoration intervention." Ge-conservacion 18, no. 1 (December 10, 2020): 339–46. http://dx.doi.org/10.37558/gec.v18i1.822.

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This work proposes a methodology of digital analysis of the state of conservation of a canvas painting to solve difficulties related to the pictorial reintegration of paintings that present an excessive number of different lacunae in terms of size and extent. The case study is related to the small-size oil on canvas painting executed by an unknown artist, where the lacunae were challenging to analyze and localize graphically. Therefore, it required a careful evaluation of the approach to be used during the pictorial reintegration intervention. Using an image analysis method, based on the semi-automatic extraction approach, the state of conservation’s graphic relief outlining different virtual operating proposals was obtained.
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Wong, L., W. Rose, A. Dhanda, A. Flavin, L. Barazzetti, C. Ouimet, and M. Santana Quintero. "MAXIMIZING THE VALUE OF PHOTOGRAMMETRIC SURVEYS IN THE CONSERVATION OF WALL PAINTINGS." International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLVI-M-1-2021 (August 28, 2021): 851–57. http://dx.doi.org/10.5194/isprs-archives-xlvi-m-1-2021-851-2021.

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Abstract. In the field of wall painting conservation, photogrammetric surveys are an increasingly common documentation tool. The outputs from these surveys, including captured images, orthophotos, and three-dimensional models, are used by conservators to monitor and record condition phenomena and conservation treatments. To serve these conservation needs, the outputs should have visual fidelity, meaning they are a close representation of the subject based on their spatial resolution, overall focus, even lighting and color accuracy. However, wall paintings present unique technical challenges for photogrammetry considering their often large scale, irregular topography, range of surface attributes, and access issues. As a documentation technique more commonly applied to capture the geometry of buildings and objects, using photogrammetry to record both the topography and fine surface details of a wall painting requires thorough planning. This paper examines specific challenges in documenting wall paintings and how collaboration between conservators and heritage-recording specialists has improved practice and maximized the value of photogrammetric surveys for conservation.
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Hamm, James F., Paula Mora, Laura Mora, and Paul Philippot. "The Conservation of Wall Painting." Bulletin of the Association for Preservation Technology 18, no. 3 (1986): 69. http://dx.doi.org/10.2307/1494123.

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Gambirasi, A., L. Peruzzo, S. Bianchin, and M. Favaro. "Electron Backscatter Diffraction in Conservation Science: Phase Identification of Pigments in Paint Layers." Microscopy and Microanalysis 19, no. 4 (May 13, 2013): 921–28. http://dx.doi.org/10.1017/s1431927613000184.

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AbstractElectron backscatter diffraction (EBSD) was used in Conservation Science for characterization of ancient materials collected from works of art. The results demonstrate the feasibility of EBSD analysis on heterogeneous matrices as very small samples of paint layers collected from paintings. Two reference pigments were selected from those used by artists to investigate the relationship existing between EBSD pattern quality and properties of the investigated material (i.e., average atomic number, density, and Mohs hardness). The technique was also tested to investigate the pigment phases on two real samples collected from Romanino's Santa Giustina altarpiece, an oil on wood painting dated 1514 (Civic Museum, Padova, Italy). Results show for the first time the acquisition of EBSD patterns from painting samples mounted in resin, i.e., painting cross sections, opening a new powerful tool to elucidate the pigment phases avoiding large sampling on works of arts and to further study the complex mechanisms of pigment deterioration.
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O’donnell, Eliza, and Nicole Tse. "Materiality, Making and Meaning: Building the Artist Record through Conservation in Indonesia." International Journal of Creative and Arts Studies 5, no. 2 (December 26, 2018): 11–25. http://dx.doi.org/10.24821/ijcas.v5i2.2408.

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Ways of knowing and understanding the artistic process are not fixed, and there are multiple perceptions that rely on the experience of the viewer and sources that inform them. this paper presents a case study of a conservation residency and collaborative treatment of indonesian artist Entang wiharso’s ‘landscaping My Brain’ (2001) oil on canvas triptych painting, to examine how we understand the artistic process from a conservation perspective and how this material knowledge contributes to the artist record. an interdisciplinary methodology for the conservation treatment of wiharso’s painting relied on technical and visual examination of the artwork in partnership with artist interviews and archival research. the residency concluded with an exhibition of the painting in an ‘active state of conservation’, highlighting the conservation decisionmaking process as value based and culturally grounded, leading to questions of authority, the role of technical-conservation expertise, what approaches work best, who should do the work and what knowledge informs it. in considering how we understand the artistic process, this paper will draw on the importance of practice-based interdisciplinary learning between conservator, artist, collector, curator and students, and the potential for collaboration and knowledge building at the intersection of these disciplines.
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Feller, C., E. R. Landa, A. Toland, and G. Wessolek. "From soil in art towards Soil Art." SOIL Discussions 2, no. 1 (February 9, 2015): 85–132. http://dx.doi.org/10.5194/soild-2-85-2015.

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Abstract. The range of art forms and genres dealing with soil is wide and diverse, spanning many centuries and artistic traditions, from prehistoric painting and ceramics to early Renaissance works in Western literature, poetry, paintings, and sculpture, to recent developments in cinema, architecture and contemporary art. Case studies focused on painting, installation, and cinema are presented with the view of encouraging further exploration of art about, in, with, or featuring soil or soil conservation issues, created by artists, and occasionally scientists, educators or collaborative efforts thereof.
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Reina Ortiz, M., C. Yang, A. Weigert, A. Dhanda, A. Min, M. Gyi, S. Su, S. Fai, and M. Santana Quintero. "INTEGRATING HETEROGENEOUS DATASETS IN HBIM OF DECORATED SURFACES." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-2/W15 (August 26, 2019): 981–88. http://dx.doi.org/10.5194/isprs-archives-xlii-2-w15-981-2019.

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<p><strong>Abstract.</strong> There are multiple conservation challenges related to decorated surfaces, the majority are intimately linked to its documentation. This paper draws on wall paintings as a representative of decorated surfaces, arguing the importance of considering its fourthdimensionality &amp;ndash; space and time &amp;ndash; in its conservation and documentation. To that end, we propose the use of Building Information Model (BIM) as a platform to consolidate this approach together with various documentation techniques used for the conservation and management of wall paintings. This paper exemplifies this method with a case study of Myin-pya-gu Temple in Old Bagan (Myanmar); firstly, reviewing the different techniques used to document the temple and wall painting (photography, photogrammetry, laser scanning, reflectance transformation imaging (RTI); and secondly, discussing the data integration within a BIM environment. This position proposes a transition from a two-dimensional to a four-dimensional approach in wall painting conservation, potentially opening up possibilities of documentation, monitoring, simulation, or dissemination. Ultimately, the case study of Myin-pya-gu has the objective to introduce the use of HBIM as a platform for consolidating the documentation of decorated surfaces.</p>
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Liu, Y., S. Lyu, M. Hou, and Q. Yin. "THE COMPARISON BETWEEN NMF AND ICA IN PIGMENT MIXTURE IDENTIFICATION OF ANCIENT CHINESE PAINTINGS." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-3 (April 30, 2018): 1169–72. http://dx.doi.org/10.5194/isprs-archives-xlii-3-1169-2018.

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Since the colour in painting cultural relics observed by our naked eyes or hyperspectral cameras is usually a mixture of several kinds of pigments, the mixed pigments analysis will be an important subject in the field of ancient painting conservation and restoration. This paper aims to find a more effective method to confirm the types of every pure pigment from mixture on the surface of paintings. Firstly, we adopted two kinds of blind source separation algorithms, which are independent component analysis and non-negative matrix factorization, to extract the pure pigment component from mixed spectrum respectively. Moreover, we matched the separated pure spectrum with the pigments spectra library built by our team to determine the pigment type. Furthermore, three kinds of data including simulation data, mixed pigments spectral data measured in laboratory, and the spectral data of an ancient painting were chosen to evaluate the performance of the different algorithms. And the accuracy was compared between the two algorithms. Finally, the experimental results show that non-negative matrix factorization method is more suitable for endmember extraction in the field of ancient painting conservation and restoration.
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Dissertations / Theses on the topic "Painting conservation"

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Urquhart, Ian McLeod, and n/a. "An internship in painting conservation at the Australian National Gallery." University of Canberra. Applied Science, 1985. http://erl.canberra.edu.au./public/adt-AUC20061109.162330.

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My employment in the Paintings Section of the Conservation Department of the Australian National Gallery began in June 1983, however my internship did not begin until March 1984 under the supervision of Allan Byrne. At that time, the paintings section was divided, rather arbitrarily, into: paintings pre-1940, headed by Ilse King and; paintings post-1940, headed by Allan Byrne. Because of the departure of the then senior curator of conservation Dr Nathan Stolow, Allan Byrne became acting senior curator. When Allan Byrne took up the position of lecturer in paintings conservation at C.C.A.E., Ilse King then became acting senior curator and my supervisor; the division within the painting section was then disbanded. Jac Macnaughtan departed temporarily from the department to undertake study and to work at the Tate Gallery and at the Courtauld Institute in London leaving me with the paintings section. I was fortunate enough to have at first one assistant Simon Hartas, then two assistants, Mark Henderson and Les Cormack to help with the task of backing, framing and restretching paintings. There was no formal training programme for an intern - work was undertaken as it came into the department and as it was allotted. For the sake of simplicity and ease of handling the dissertation is divided into 3 parts: Part 1 includes the Functions and Facilities of the conservation department. Part 2 includes an outline of painting conservation practice within the gallery and details of conservation work undertaken. Part 3 comprises a project on some of the properties of hardboard. As the gallery has in its collection a considerable number of paintings on hardboard, to augment my knowledge and perhaps give some insight into the nature of hardboard, this project was undertaken in conjunction with the internship.
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Boothroyd, Brooks Hero. "Practical developments in English easel-painting conservation c.1824-1968 from written sources." Thesis, Courtauld Institute of Art (University of London), 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.300536.

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Learner, Thomas J. S. "The characterisation of acrylic painting materials and implications for their use, conservation and stability." Thesis, Birkbeck (University of London), 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.326669.

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西山, 要一, and Yoichi NISHIYAMA. "The conservation project of underground tomb with wall painting in Burj al Shamali, Tyre, Lebanon." 名古屋大学年代測定資料研究センター, 2012. http://hdl.handle.net/2237/18142.

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Bayle, Beatrice. "Conserving mural paintings in Thailand and Sri Lanka : conservation policies and restoration practice in social and historical context /." Connect to thesis, 2009. http://repository.unimelb.edu.au/10187/7144.

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Şerifaki, Kerem Böke Hasan. "Conservation problems of historic wall paintings of taxiarhis church in cunda, ayvalık/." [s.l.]: [s.n.], 2005. http://library.iyte.edu.tr/tezler/master/mimarirestorasyon/T000393.pdf.

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Theodorakopoulos, Charalampos. "The excimer laser ablation of picture varnishes : an evaluation with reference to light-induced deterioration." Thesis, Royal College of Art, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.602333.

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Narayanan, Bethany M. "The painted barns of southeastern Indiana : decorative painting and commercial advertisement." Virtual Press, 2001. http://liblink.bsu.edu/uhtbin/catkey/1214383.

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Many barns in the United States were painted at one time, most of them a solid color, usually red or white. A small proportion of barns were further embellished with decorative painting or commercial advertisements.This creative project studies such decoratively painted barns. It examines the reasons barns were painted, the materials and methods used in painting, and color preferences. It describes the four major types of decorative barn painting, and it traces the history of advertisements painted on barns, with special focus on the advertising campaign for Mail Pouch Tobacco.The project also includes a survey of the decoratively painted barns within a seven county region in southeastern Indiana and a preservation strategy for those barns. The region, which encompasses Dearborn, Franklin, Jefferson, Jennings, Ohio, Ripley, and Switzerland counties, was chosen because it has a relatively high concentration of Mail Pouch Tobacco advertisements and because it remains very agricultural in nature. The barns in the survey area remain in their rural historic context.A list of Mail Pouch Tobacco signs in the survey area was available as a result of prior research by others. The survey was conducted by driving the roads on which Mail Pouch signs had been recorded previously, looking also for other barn advertisements and decorative painting along the route. For each example noted, information was recorded on a survey form about the location, condition, and function of the barn as well as the type of painting, and photographs were taken in both black and white and color.As part of the preservation strategy, three driving tours were devised, and a full-color brochure describing the driving tours was designed. Application was made for a grant to fund production of the brochure for distribution to county visitor's bureaus and historic preservation agencies in the seven surveyed counties. If the grant is received, One thousand five hundred copies of the brochure will be printed.
Department of Architecture
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Reis, Dina da Costa. "The materials, technique, conservation treatment and after-care of interior de um convento." Master's thesis, Faculdade de Ciências e Tecnologia, 2011. http://hdl.handle.net/10362/6670.

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Dissertação apresentada na Faculdade de Ciências e Tecnologia da Universidade Nova de Lisboa para a obtenção do grau de Mestre em Conservação e Restauro, especialização em pintura sobre tela
This thesis concerns the study of the materials and techniques of the painting on canvas “Interior de um Convento” belonging to the Portuguese monument Pena National Palace (PNP) and the description of the conservation treatment carried out. The study required the use of several examination and analysis tools such as OM (Optical Microscopy), UV (ultraviolet) and IR (infrared) photography, μ-EDXRF (Energy Dispersive X-ray Fluorescence), μ-Raman (Raman spectroscopy) μ-FTIR (Fourier Transform Infrared Spectroscopy) and SEM-EDX (Electron Scanning Microscopy with Energy Dispersive X-ray Spectroscopy). The conservation treatment focused on minimal intervention with the purpose of maintaining the integrity of a nineteen century painting that has never been restored until the present date. Simultaneously, a project to investigate the best back and front protection system for the PNP’s paintings collection was initiated. Relative Humidity (RH) and temperature fluctuations were measured in the Palace and inside the half-closed and fully closed systems used to protect twelve model paintings constructed for the purpose. The objective was to choose the best protection system for dampening RH and temperature fluctuations while preventing the risk of mould occurrence. The preliminary results (4 months of readings) showed that the risk of mould growth requires further study for in a more prolonged period which encompasses seasonal changes.
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Buhler, Doyle Leo. "Capturing the game: the artist-sportsman and early animal conservation in American hunting imagery, 1830s-1890s." Diss., University of Iowa, 2011. https://ir.uiowa.edu/etd/2447.

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During the last half of the nineteenth century, American sportsmen-artists painted hunting-related images that were designed to promote the ideals of sporting behavior, conservationist thought, and the interests of elite sportsmen against non-elite hunters. Upper-class American attitudes regarding common hunters and trappers, the politics of land use, and the role of conservation in recreational hunting played a significant part in the construction of visual art forms during this period, art which, in turn, helped shape national dialogue on the protection and acceptable uses of wildlife. This dissertation takes issues critical to mid-century American conservation thought and agendas, and investigates how they were embodied in American hunting art of the time. Beginning with depictions of recreational sportsmen during the era of conservationist club formation (mid-1840s), the discussion moves to representations of the lone trapper at mid-century. These figures were initially represented as a beneficial force in the conquest of the American frontier, but trappers and backwoodsmen became increasingly problematic due to an apparent disregard for game law and order. I explore the ways in which market hunting was depicted, and how it was contrasted with acceptable "sportsmanlike" hunting methods. Subsequent chapters consider the portrayal of the boy hunter, an essential feature to the sportsman's culture and its continuance, and the tumultuous relationship between elite sportsmen and their guides, who were known to illegally hunt off-season. The last chapters address the subject of the wild animal as heroic protagonist and dead game still life paintings, a pictorial type that represented the lifestyle of sportsmen and their concern for conservative catches and adherence to game law. Developments in conservation during the period were significantly tied to class and elitist aspirations, and artist-sportsmen merged these social prejudices with their agenda for game conservation. Their representations of hunting art both responded to and promoted the conservationist cause.
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Books on the topic "Painting conservation"

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Conservation of paintings. London: National Gallery Publications, 1998.

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Burnstock, Aviva. Blanching painting. [Surrey?: Association of British Picture Restorers, 1990.

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Institute of Conservation. Paintings Group, ed. Adhesives and consolidants in painting conservation. London: Archetype Publications, in association with the ICON Paintings Group, 2012.

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Mrinalini, Mani, and National Museum of India, eds. Thanjavur paintings: Materials, techniques & conservation. New Delhi: National Museum, 2005.

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The conservation of easel paintings. Abingdon, Oxon [England]: Routledge, 2012.

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Aoki, Shigeo, Yoko Taniguchi, Stephen Rickerby, Michiyo Mori, Takayasu Kijima, Su Bomin, and Fumiyoshi Kirino, eds. Conservation and Painting Techniques of Wall Paintings on the Ancient Silk Road. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-33-4161-6.

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Alwis, Lakshman. Conservation and development of Dambulla caves: First conservation report. Colombo, Sri Lanka: Central Cultural Fund, Ministry of Education, Cultural Affairs, and Information, 1989.

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Chase, Sara B. Painting historic interiors. [Washington, D.C.]: U.S. Dept. of the Interior, National Park Service, Cultural Resources, Preservation Assistance, 1992.

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Chase, Sara B. Painting historic interiors. [Washington, D.C.]: U.S. Dept. of the Interior, National Park Service, Cultural Resources, Preservation Assistance, 1992.

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Chase, Sara B. Painting historic interiors. [Washington, D.C.]: U.S. Dept. of the Interior, National Park Service, Cultural Resources, Preservation Assistance, 1992.

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Book chapters on the topic "Painting conservation"

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Shimadzu, Yoshiko. "Painting Materials and Techniques of the Ajanta Wall Paintings." In Conservation and Painting Techniques of Wall Paintings on the Ancient Silk Road, 137–56. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-33-4161-6_8.

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Gülyaz, Murat Ertugrul. "Deterioration and Conservation of Cappadocian Wall Paintings." In Conservation and Painting Techniques of Wall Paintings on the Ancient Silk Road, 23–42. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-33-4161-6_3.

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Aripdjanov, Otabek. "Deterioration and Conservation of Wall Paintings in Uzbekistan." In Conservation and Painting Techniques of Wall Paintings on the Ancient Silk Road, 223–34. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-33-4161-6_12.

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Taniguchi, Yoko, and Michiyo Mori. "On Painting Materials, Techniques, and the Conservation of Wall Paintings Across Eurasia." In Conservation and Painting Techniques of Wall Paintings on the Ancient Silk Road, 17–22. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-33-4161-6_2.

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Zhou, Zhibo, Ling Shen, and Hui Zhang. "The Wall Painting Techniques and Materials of Kizil Grottoes." In Conservation and Painting Techniques of Wall Paintings on the Ancient Silk Road, 235–51. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-33-4161-6_13.

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Bomin, Su. "Wall Painting Materials and Techniques of the Mogao Grottoes." In Conservation and Painting Techniques of Wall Paintings on the Ancient Silk Road, 253–63. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-33-4161-6_14.

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Hayakawa, Noriko. "Conservation of Wall Paintings on Plaster in the Tumuli of Japan." In Conservation and Painting Techniques of Wall Paintings on the Ancient Silk Road, 287–304. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-33-4161-6_16.

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Hidaka, Midori, and Junichi Miyata. "Study on Painting Technique of Mediaeval Mural Painting: Case Study in Sopocani Monastery, Serbia." In 10th International Symposium on the Conservation of Monuments in the Mediterranean Basin, 467–75. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-78093-1_50.

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Krämer, Thomas. "Aspects of Lovis Corinth’s Painting Technique in His Late Work: Working Process and Colour Structure Captured in Paint and on Film." In Conservation of Modern Oil Paintings, 219–27. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-19254-9_16.

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Rickerby, Stephen. "Rethinking Our Models of Wall Painting Conservation: Are We Doing the Right Thing?" In Conservation and Painting Techniques of Wall Paintings on the Ancient Silk Road, 1–16. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-33-4161-6_1.

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Conference papers on the topic "Painting conservation"

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Fontana, Raffaella, Marco Bellini, Chiara Corsi, Maria Mastroianni, Marzia Materazzi, Luca Pezzati, and Alessandra Tortora. "Optical coherence diagnostics for painting conservation." In Optical Metrology, edited by Costas Fotakis, Luca Pezzati, and Renzo Salimbeni. SPIE, 2007. http://dx.doi.org/10.1117/12.726127.

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Dal Fovo, Alice, Raffaella Fontana, Jana Striova, Enrico Pampaloni, Marco Barucci, Marco Raffaelli, Raffaella Mercatelli, Luca Pezzati, and Riccardo Cicchi. "Nonlinear optical imaging techniques (NLO) for painting investigation." In Lasers in the Conservation of Artworks XI. Nicolaus Copernicus University Press, 2017. http://dx.doi.org/10.12775/3875-4.10.

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Castellini, Paolo, Enrico Esposito, Barbara Marchetti, Nicola Paone, and Enrico P. Tomasini. "New applications of scanning laser Doppler vibrometry (SLDV) to nondestructive diagnosis of artwork: mosaics, ceramics, inlaid wood, and easel painting." In Lasers in Metrology and Art Conservation, edited by Renzo Salimbeni. SPIE, 2001. http://dx.doi.org/10.1117/12.445659.

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Fontana, Raffaella, Maria Chiara Gambino, Marinella Greco, Luciano Marras, Enrico M. Pampaloni, Anna Pelagotti, Luca Pezzati, and Pasquale Poggi. "2D imaging and 3D sensing data acquisition and mutual registration for painting conservation." In Electronic Imaging 2005, edited by J. Angelo Beraldin, Sabry F. El-Hakim, Armin Gruen, and James S. Walton. SPIE, 2005. http://dx.doi.org/10.1117/12.587703.

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Cordova, Karen. "CONSERVATION OF CONTEMPORARY PAINTING: A COMPARTATIVE STUDY OF THE EFFECT OF DRY CLEANING TECHNIQUES." In 4th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS Proceedings. STEF92 Technology, 2017. http://dx.doi.org/10.5593/sgemsocial2017/62/s24.014.

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Romani, Martina, Marco Marinelli, Alessandra Pasqualucci, and Gianluca Verona-Rinati. "A preliminary study of contemporary binders by Time Resolved Laser Induced Fluorescence (TR-LIF) spectroscopy: characterization of the painting Nascita Della Forma by Nato Frascà." In Lasers in the Conservation of Artworks XI. Nicolaus Copernicus University Press, 2017. http://dx.doi.org/10.12775/3875-4.12.

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Brunet-Gaston, Véronique, and Christophe Gaston. "Painting and Sculpture Conservation in Two Gallo-Roman Temples in Picardy (France): Champlieu and Pont-Sainte-Maxence." In XI International Conference of ASMOSIA. University of Split, Arts Academy in Split; University of Split, Faculty of Civil Engineering, Architecture and Geodesy, 2018. http://dx.doi.org/10.31534/xi.asmosia.2015/07.01.

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Feng, Lujia, and Laine Mears. "Analysis of HVAC Energy in Automotive Paint Shop." In ASME 2015 International Manufacturing Science and Engineering Conference. American Society of Mechanical Engineers, 2015. http://dx.doi.org/10.1115/msec2015-9281.

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Paint shop is the biggest energy consumer in automotive manufacturing plant. Large amount of conditioned air, which leads to a high energy demand, is one of the basic demands in guaranteeing high quality product and a comfortable working environment. A good design of HVAC system in the paint shop is also crucial in energy conservation. This paper presents thermodynamic simulation models of the HVAC system for both painting booth and building. Key parameter effects of the energy consumption were analyzed; different air flow routes were compared. Finally, optimal operation strategies in terms of energy, cost, and emission were discussed.
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Blanco Pons, Silvia, and José Luis Lerma. "DIFUSIÓN DEL ARTE RUPESTRE A TRAVÉS DE APLICACIONES MÓVILES DE REALIDAD AUMENTADA: UN ENFOQUE PRÁCTICO." In 1st Congress in Geomatics Engineering. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/cigeo2017.2017.6598.

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Rock art of the Mediterranean Basin of the Iberian Peninsula was declared World Heritage Site by UNESCO, it has an outstanding cultural value hence its dissemination is essential. Over the years, rock art paintings have been deteriorated and even some have disappeared. Consequently, it is quite difficult to recognise them in situ without experts. At this point, non-invasive and novel techniques can offer great potential, on the one hand, avoiding direct contact with the surface promoting its conservation, and on the other hand, through dissemination and analysis of these elements. One of the most promising techniques is Augmented Reality (AR). By means of AR applications, the visitor can see any kind of virtual content related to cultural heritage, through its mobile or tablet screen. Thus, any virtual content that is considered of interest can be added, offering in this way additional information that complements the real element. In this study, two approaches are presented for the rock art dissemination of the Cova dels Cavalls. The first is based on a marker recognition, which launches the application that displays an image of the motif and a descriptive text about it. In the second proposal, the camera device recognises the real image of the painting and the virtual information is overlapped. The study aims at evaluating the use of these AR techniques applied to rock art dissemination and shows the methodology for its development.http://dx.doi.org/10.4995/CIGeo2017.2017.6598
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Scholten, Hans, and Dennis A. Schipper. "Advanced workstation for controlled laser cleaning of paintings." In Lasers in Metrology and Art Conservation, edited by Renzo Salimbeni. SPIE, 2001. http://dx.doi.org/10.1117/12.445653.

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