Dissertations / Theses: '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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Oriola, Folch Marta. "Non-destructive condition assessment of painting canvases using NIR spectrometry." Doctoral thesis, Universitat de Barcelona, 2012. http://hdl.handle.net/10803/663091.

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El soporte de tela de los cuadros se compone mayoritariamente de celulosa. Una de las vias de degradación de la celulosa es la hidrólisis ácida, que implica que en un ambiente ácido (bajo pH), la degradación se produce a una velocidad mayor. La principal consecuencia de esta acidez es la ruptura de las cadenas del polímero de celulosa que se mide a través del grado de polimerización (DP). Una disminución del DP implica que las fibras y los tejidos tienen una resistencia mecánica menor, y consecuentemente este parámetro se puede utilizar para monitorizar el estado de conservación de estos materiales. Así pues, el conocimiento de estos dos parámetros, pH y DP puede ser muy útil para la mejor conservación del soporte textil de los cuadros. El objetivo principal de esta tesis ha sido determinar si el espectrómetro de infrarrojo cercano (NIR) Labspec 5000, se podría calibrar para que, de manera totalmente no destructiva, pudiera determinar el estado de conservación del soporte de tela de los cuadros a través de medir el pH y el DP. Esto efectivamente se consiguió utilizando la herramienta de quimiometría PLS (Partial Least Squares). Se obtuvieron errores de predicción de ±0.43 para el pH y de ±275 para el DP. La calibración para la identificación del tipo de fibra también se pudo hacer utilizando el Discriminant Analysis, otra herramienta de la quimiometría. Para poder construir el método NIR no destructivo, primero había que analizar de manera destructiva un número significativo de muestras que fueron tomadas de cuadros mayoritariamente de los siglos XIX y XX. El segundo objetivo principal de esta tesis ha sido conocer cuáles son los valores típicos de pH y DP y el tipo de fibra de los cuadros. Por lo que a esto se refiere, los resultados han sido que la tela de los cuadros tiene, la mayoría de las veces, un carácter ácido (la media de los resultados de todos los cuadros fue de pH 5.51, con una desviación estándar de 0.66). El estudio del pH ha permitido constatar que la tela de los reentelados realizados con pasta de harina, en general, es claramente más ácida que la tela de los cuadros no reentelados. En relación al tipo de fibra, se ha detectado que las telas de yute són más ácidas que las de lino y algodón. No se ha encontrado una relación directa entre la fecha de los cuadros y su valor de pH, y sólo una ligera relación entre la fecha y el DP. Se detectó que pH y DP están fuertemente correlacionados, aunque no de manera directa, cosa que implica que hay otros factores como el tipo de fibra, la fecha del cuadro u otros, que influyen en la correlación entre estos dos parámetros. El tercer objetivo principal de esta tesis ha sido establecer el significado de los varios valores de DP por lo que se refiere al estado de conservación de la pintura sobre tela. Esta información junto con el valor de pH, sirvió para diseñar una ¿Clasificación según el estado de conservación¿, cosa que habría de permitir establecer una organización de los cuadros según las acciones de conservación-restauración a emprender. Se realizó un test con la participación de un grupo de conservadores-restauradores especializados en pintura sobre tela y procedentes de distintos países que permitió ver que la apreciación subjetiva del conservador-restaurador sobre el estado de conservación de las muestras de tela, en general se corresponde con el grado de polimeración de éstas. A través de los resultados de este estudio se pudo establecer que el valor de ¿DP crítico¿ para un cuadro está en <400 y el valor de ¿DP seguro¿ está en >1400. La ¿Clasificación según el estado de conservación¿ se diseñó teniendo en cuenta toda esta nueva información y por eso se priorizó el tratamiento de aquellos cuadros con una tela más ácida pero con valores de DP todavía no muy bajos, puesto que los resultados indicaban que estos cuadros serían los que más se beneficiarían de algún tipo de tratamiento de desacidificación (activo o pasivo). El último objetivo de la tesis ha consistido en aplicar la técnica NIR no destructiva desarrollada, así como la ¿Clasificación según el estado de conservación¿ sobre un caso real de pinturas pertenecientes al Museu Nacional d¿Art de Catalunya (MNAC), fechadas alrededor del año 1900. También se ha estudiado un grupo menor de cuadros de Salvador Dalí de la Fundació Gala-Salvador Dalí. Los resultados han corroborado por un lado la buena aplicabilidad del método no destructivo dessarrollado y, por otro, la acidez (y la presencia de cierta degradación) de la tela de todos los cuadros. Habiendo confirmado, tanto que la tela de los cuadros es mayoritariamente ácida como la influencia que ésta tiene en la velocidad de su degradación, se considera que es de vital importancia empezar a tomar medidas para contrarrestar la acidez de las telas; especialmente si la intención es no aplicar operaciones tan intrusivas como el reentelado en los cuadros durante el máximo tiempo posible. Juntamente con esto, se detecta que es necesaria mucha más investigación sobre los efectos positivos y negativos de la desacidificación de la tela de los cuadros, así como también el estudio de los orígenes concretos de esta acidez (materiales originales, materiales de restauración, entorno de las obras, etc.).

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Genty, Anaïs. "Les chancis des vernis et des couches picturales des peintures de chevalet à l'huile : Contribution à la caractérisation physico-chimique, à la connaissance des mécanismes de formation et aux traitements de restauration." Thesis, Cergy-Pontoise, 2017. http://www.theses.fr/2017CERG0910/document.

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Le chanci est une altération récurrente des peintures de chevalet à l’huile, induite par l’humidité. Elle affecte les vernis et les couches picturales. Selon le degré d’altération, la couche picturale peut être partiellement ou totalement masquée par un voile blanchâtre. L’analyse d’environ 50 micro-prélèvements altérés et non altérés par microscopie électronique à effet de champ a révélé une structure poreuse dans les vernis et les couches picturales altérées, avec une taille de pores comprises entre 50 nm et 4 µm. Pour les chancis de couches picturales, des investigations complémentaires par nanotomographie X à contraste de phase ont démontré que les pores étaient localisés dans le liant. L’apparence visuelle des couches altérées est due à la diffusion de la lumière par les pores, ce qui a été corroboré par des simulations numériques. Un modèle physico-chimique a été proposé pour expliquer la formation des pores. Il repose sur le fait que les vernis et les liants lipidiques peuvent être assimilés à des ionomères dans lesquels les acides carboxyliques et les carboxylates métalliques ségrègent pour former des clusters ioniques. En présence d’humidité, les clusters s’hydratent entraînant la formation de régions aqueuses. Lors de la phase de déshydratation, les pores initialement remplis d’eau se vident mais subsistent. L’apparition des chancis de vernis et de couches picturales est donc directement liée à la quantité d’acides et à leur capacité à former des clusters.Les traitements de restauration seront efficaces et durables, si et seulement s’ils résorbent ou comblent durablement les pores, dans le but de réduire la diffusion de la lumière. Pour les chancis de couches picturales, les traitements actuels sont peu satisfaisants. Un nouveau traitement innovant a été développé et testé sur des échantillons modèles et des peintures anciennes chancies. Les résultats sont très prometteurs en termes de stabilité, d’efficacité, de durabilité et de réversibilité. Cette recherche aura incontestablement un impact majeur, puisqu’elle pourrait répondre à un véritable besoin pour la restauration et la conservation des peintures de chevalet chancies
Blanching of easel oil paintings is a recurrent alteration, induced by humidity. It affects varnish and paint layers. Depending on the degree of alteration, the paint composition can be partially or totally hidden by a whitish haze. The analysis of circa 50 altered and unaltered paint micro-samples by field-emission gun scanning electron microscopy revealed a highly porous structure in both varnish and paint altered layers, with pores ranging in size from 50 nm to 4 µm. Regarding the blanching of paint layer, in-depth investigation performed by X-ray phase contrast nanotomography highlighted that pores are located in the binder. The visual appearance of altered layers is due to the light scattering by the pores, which was corroborated by computational modeling.A physico-chemical model was proposed to explain the pores formation. It is based on the fact that the varnish and the lipidic binder can be assimilated to ionomers, where carboxylic acids and metal carboxylates segregate to form ionic clusters. In a humid environment, the clusters get hydrated inducing the formation of aqueous regions. During the dehydration, the water is drained out from them, but the pores remains. The blanching emergence is thus directly linked to the quantity of acids and their ability to form clusters. Conservation treatments will be efficient and sustainable only if they resorb or durably fill the pores, in order to reduce the light scattering. For the blanching of paint layers, current treatments are not very effective over time. A new innovative treatment has been developed and tested on mock-ups and ancient altered paintings. The results are very promising in terms of stability, efficiency, durability and reversibility. This research will undoubtedly have a major impact, fullfilling a real requirement for the conservation of blanched easel oil paintings

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Alcayde, Palanca Maria José. "Novel synthesis of calcium consolidants for the conservation of limestone in heritage." Doctoral thesis, Universitat Ramon Llull, 2015. http://hdl.handle.net/10803/298718.

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L’alteració dels materials constructius es deguda principalment a les condicions climàtiques i als contaminants ambientals. Dins dels diversos processos de degradació que poden afectar la pedra, emprada tant com material estructural com decoratiu, aquest treball es centra en la desintegració superficial. El tractament de conservació utilitzat per a la recuperació de la cohesió superficial de la pedra es la consolidació. L’objectiu d’aquest treball es sintetitzar i avaluar l’aplicació de consolidants efectius i compatibles amb la pedra calcària. La compatibilitat és actualment un concepte de gran importància en els tractaments de conservació, per tal de mantenir la màxima estabilitat i durabilitat del tractament i per evitar que es modifiquen les propietats hídriques del suport y la creació d’estrès i envelliment diferencial. Dos tipus de consolidants compatibles han estat proposats. El primer es basa en suspensions de nanopartícules de calç, en base alcohòlica i en base aquosa. La síntesi ha estat realitzada en microemulsions micel·lars inverses, millorant finalment la penetració del producte en la seva aplicació. La síntesi del segon consolidant consisteix en la formació de hidroxiapatatita mitjançant el procés de sol-gel. La investigació de nous precursors de reacció i la optimització del procés han portat a obtenir un producte amb resultats molt favorables en la seva aplicació. El tractament amb els consolidants sintetitzats ha estat avaluat en comparació amb altres dos consolidants comercials, sobre pedres envellides artificialment i sobre morters de calç pintats. En la valoració dels assajos realitzats, les propietats petrofísiques, mecàniques i estètiques de la pedra han estat considerades.
La alteración de los materiales constructivos se debe principalmente a las condiciones climáticas y a los contaminantes ambientales a los que se enfrenta. De entre las diversas formas de degradación que puede sufrir la piedra, empleada como material estructural o decorativo, este trabajo se centra en la desintegración superficial. El tratamiento de conservación recomendado para la recuperación de la cohesión superficial de la piedra es la consolidación. El objetivo de este trabajo es sintetizar y evaluar la aplicación de consolidantes efectivos y compatibles con la piedra calcárea. La compatibilidad es actualmente un concepto de gran importancia en los tratamientos de conservación. Con ello se pretende mantener la máxima estabilidad y durabilidad del tratamiento y evitar que se modifiquen las propiedades hídricas del soporte y la creación de stress y el envejecimiento diferencial. Se han propuesto dos tipos de consolidantes compatibles. El primero de ellos basado en suspensiones de nanopartículas de cal, en base alcohólica y en base acuosa. La síntesis se ha realizado en microemulsiones de micelas inversas, mejorando la penetración del producto en la aplicación final. La síntesis del segundo consolidante consiste en la formación de hidroxiapatita mediante el proceso de sol-gel. La investigación de nuevos precursores de reacción y la optimización del proceso han llevado a obtener un producto con resultados prometedores en su aplicación. El tratamiento con los consolidantes sintetizados ha sido evaluado en comparativa con otros dos consolidantes comerciales, sobre piedras envejecidas artificialmente y sobre morteros de cal pintados. En la valoración de los ensayos realizados se ha tenido en cuenta las propiedades petrofísicas, mecánicas y estéticas de la piedra.
The key factors in building material degradation are climatic conditions and atmospheric pollutants. Although there are the many processes which can alter stone in either a structural or decorative context, superficial disintegration is the process focused upon in this work. Consolidation is the recommended treatment for the recovery of the superficial cohesion of stone. The aim of this work is to synthetize and to evaluate the application of effective and compatible consolidants for limestone. Nowadays, conservation cures place significant importance upon compatibility in order to achieve the maximum stability and durability of the treatment, to avoid on one hand the modification of the stone’s hydric properties, and on the other, the creation of differential stress and ageing. Two types of compatible consolidants are proposed. The first consolidant is based in lime nanoparticles, in both alcohol and water suspensions. The synthesis has been conducted in inverse micelles microemulsions. The penetration depth in the final application of the product has been improved. The second consolidant synthesis consists in the formation of hydroxyapatite by sol-gel process. New reaction precursor research and the optimization of the process have led to the achievement of a product with promising results in its application. The assessment of the consolidation treatment performed with the synthetized product has been compared to commercial consolidants on artificially aged stones and on painted lime mortars. These test evaluations has been developed considering the petrophisic, mechanical, and esthetic properties of the stone.

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Marquès, Balagué Mercè Esther. "Sant Climent de Taüll: La restauració de les pintures murals i les aportacions a l’estudi del monument." Doctoral thesis, Universitat de Barcelona, 2016. http://hdl.handle.net/10803/399996.

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El projecte de la tesi doctoral sorgeix després de la realització de les campanyes de restauració de la pintura mural fetes a l’església de Sant Climent de Taüll. El treball d’investigació dut a terme en el marc de la tesi se centra en l’estudi de les pintures murals però també fa una aproximació a l’estudi de les fases de configuració constructiva de l’església. Es presenta un compendi dels models de les decoracions monocromes simples, associades al carreuat constructiu i es reclama l’atenció sobre la decoració cromàtica pintada a les façanes exteriors de la torre del campanar i dels absis. Es descriuen els conjunts murals pictòrics de l’interior de l’església i posteriorment s’inclou el seu estudi perceptiu i analític, tot associant aquesta investigació a l’observació de les pintures que van ser arrencades de l’església el segle passat i que actualment estan conservades i exposades en el Museu Nacional d’Art de Catalunya. S’inclouen les còpies de les memòries de les campanyes de restauració realitzades els anys 2000,2001, i 2013 com annex I i annex II.

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Lee, Eunji (Jubee). "After the big wind stops I see gentle waves." VCU Scholars Compass, 2018. https://scholarscompass.vcu.edu/etd/5367.

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This thesis covers my reflections on the inspirations and the motivations behind selected works including my candidacy exhibition; Resonance and my thesis exhibition; after the big wind stops I see gentle waves. It contains my life throughout my MFA studies and the development of my art practice. Through its story-within-a-story method of narration and my describing streams of my thoughts, I am attempting to explain the processes of my development and the discoveries I have made, the little things in my daily life, and the big turning points that inspired me. My work and this document have been strongly determined by my poetic imagination and the emotional events and experiences I have had.

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Jouves, Barbara. "La conservation et la restauration des tableaux des collections privées à Paris (1789-1870)." Thesis, Paris 1, 2019. http://www.theses.fr/2019PA01H070.

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Préoccupés par la conservation de leurs collections de peintures, les amateurs d’art parisiens font appel, entre 1789 et 1870, aux restaurateurs de tableaux, ces derniers relevant d’une profession qui, à la même époque, se définit indépendamment de celles du marchand, de l’expert ou même du peintre. Si le restaurateur intervient sur les œuvres du particulier, il joue, par ailleurs, pour l’amateur, un rôle de guide dans sa connaissance, voire dans son apprentissage, des procédés picturaux. Progressivement, cette prise en compte de la matérialité de l’œuvre contribue à intégrer le collectionneur au sein des commissions muséales en tant que conseiller, avant qu’il n’acquière un statut privilégié au musée à partir des années 1860 par le legs de ses œuvres
Concerned about the conservation of their art collections, in the years between 1789 and 1870, Parisian amateurs called upon the services of painting restorers, who, at that time, belonged to a profession considered quite separate from that of art dealer, expert or even painter. While the restorer worked on paintings belonging to private collectors, he also acted as a guide for the latter, broadening their knowledge of Ŕ or even teaching them about Ŕ pictorial techniques. This understanding of the materiality of artworks gradually contributed to collectors being invited into museum committees as advisors, before they acquired a privileged status in museums, from the 1860s onwards, by bequeathing their collections

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Mouhoubi, Kamel. "Thermographie infrarouge stimulée appliquée à la détection et à la caractérisation d'altérations structurales de peintures murales du patrimoine." Thesis, Reims, 2016. http://www.theses.fr/2016REIMS001/document.

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L’objectif de ce projet est de développer des méthodes d’analyse et de caractérisation des défauts structurels des matériaux s’appuyant sur la thermographie infrarouge stimulée. Nous pouvons à l’aide d’une excitation photothermique distante et d’un outil d’analyse que nous avons développé en laboratoire, déterminer la structure sous jacente d’un matériau, repérer précisément ses défauts et les mesurer. L’application qui nous intéresse ici porte sur la prévention, le diagnostique et la restauration des oeuvres d’art, nous avons démontré par de précédents travaux, la pertinence de cette approche et son potentiel important dans de nombreux domaines, qu’ils soient industriels, culturels, médicales ou autres. Nous avons fait la démonstration qu’il était possible d’analyse des matériaux fragiles de façon fiable et sans contact et nous comptons généraliser cette approche en l’étendant dans ses domaines d’intervention et dans sa précision
The objective of this project is to develop analysis and characterization of structural defects in material methods based on photothermal radiometry,We can by means of a remote photothermal excitation and an analysis tool that we have developed in the laboratory to determine the underlying structure of a material, precisely locate its flaws and measure. The application of interest here focuses on the prevention, diagnosis and restoration of works of art, we have demonstrated by previous work, the relevance of this approach and its significant potential in many areas, such as industrial cultural, medical or other. We have demonstrated that it was possible to analyze fragile materials reliably and without contact and we intend to generalize this approach by extending its focal areas and its accuracy

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Pedragosa, Garcia Núria. "La conservació del revers. Criteris de restauració del suport de tela de la pintura catalana moderna com a testimoni històric i artístic." Doctoral thesis, Universitat de Barcelona, 2005. http://hdl.handle.net/10803/672482.

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Cada quadre conté diferents tipus d'informació. El missatge estètic és el que acostuma a centrar l'atenció dels analistes, però no és l'únic. Existeix tot un altre cúmul de dades que poden donar-nos coneixement. El suport de l'obra pictòrica n'és un, i el revers és la superfície d'aquesta matèria. Les diverses capes de preparació que fan de coixí a la pintura, les diferents tipologies de bastidor i de tela de suport, les inscripcions de l'artista al dors, el marc o els segells distintius que ha anat reunint l'obra d'art, constitueixen una font de coneixement essencial, una autèntica cara oculta de la pintura. Però de la mateixa manera que no hi ha cap revers idèntic, hi ha un fenomen d'envelliment col·lectiu que els iguala. També existeix una xarxa interna que relaciona les obres entre si quan es troben agrupades en una mateixa col·lecció i el temps hi va deixant la seva empremta. L'objectiu d'aquesta tesi és justament indagar sobre els indicis històrics, teòrics i físics d'aquestes traces en els reversos dels quadres, defensant la necessitat de preservar-les i també mostrar les tècniques que poden fer possible la seva conservació. La investigació d'aquesta tesi se centra en pintura catalana sobre tela cronològicament situada entre els inicis del segle XIX i la dècada dels anys trenta del segle XX a través de la col·lecció permanentment exposada del Museu Nacional d'Art de Catalunya. És especialment important resseguir la repercussió que té, des del punt de vista dels materials, l'evolució industrial catalana amb els consegüents efectes comercials. De la utilització del lli o el cànem es passa a la incorporació del cotó com a element innovador per l'abaratiment que comportava. Apareixerà una estandardització dels formats que trencara amb la tradició artesana dels pintors que havien emprat uns suports més rígids, tendint cap a materials més lleugers. Aquests i altres elements característics de la morfologia dels suports de les pintures mereixeran l'atenció de la primera part de la tesi. En el segon capítol procedirem a l'anàlisi detallada dels reversos d'obres concretes i de pintors representatius de l'època estudiada, a partir de la selecció establerta pel projecte museogràfic del MNAC. La informació bibliogràfica específica sobre reversos de pintures sobre tela i els materials artístics a Catalunya, així com sobre els procediments pictòrics, és relativament escassa, cosa que obliga a recollir la majoria de dades de primera ma directament del material analitzat. El treball de camp esdevé així una fase necessària, que sorprèn i satisfà pel que té d'inexplorat i per la voluntat que aquesta recerca documental esdevingui un marc de coneixement per a futures investigacions. La progressiva consciència dels conservadors-restauradors per trobar solucions idònies a la degradació de les obres, està creant un interessant camp d'investigació practica en el qual professionals de passos diversos experimenten noves tècniques que puguin harmonitzar una continuïtat física dels materials de suport tèxtils. És per això que aquesta part dedicada als criteris d'intervenció desenvolupara mètodes actuals com la sutura de fils amb adhesius termofusibles i la documentació sistemàtica dels reversos que enceten una via imprescindible per a resguardar íntegrament el patrimoni artístic sobre tela. L'última part d'aquesta tesi consisteix en el Catàleg de reversos de la col·lecció permanent d'art modern del MNAC. És un inventari visual i indexat dels objectius i l'abast d'aquesta tesi i resulta, en si mateix, una obra inèdita. Juntament amb la Galeria de reversos - que selecciona i mostra en detall els reversos més significatius, i més bells, de la col·lecció - fa visualitzar tot allò que, en ser documentat, proposa la necessitat ineludible de conservar-ho.

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Domingues, Joana Andreia Lameiras. "Spectroscopy studies on conservation issues in modern and contemporary paintings." Master's thesis, Faculdade de Ciências e Tecnologia, 2010. http://hdl.handle.net/10362/4480.

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Dissertation presented to the Faculty of Sciences and Technology of New University of Lisbon in fulfilment of the requirements for the Master’s degree in Conservation and Restoration Specialization in easel painting
Modern and contemporary paintings are one of today’s grand challenges in conservation of cultural heritage. Particularly, these paintings have often been retouched using materials rather similar to originals, thus, compromising the reversibility of the overpainting. In this work, FTIR and Raman spectroscopies, assisted by optical microscopy, were used to evaluate the effectiveness and harmfulness of chemical and laser cleaning methods for the removal of overpaints. Representative mock-ups prepared with commercial paint formulations were used. The laser cleaning experiment was part of an interdisciplinary study which aims the evaluation of method’s limitations by using the most aggressive cleaning parameters. The combined use of FTIR and Raman spectroscopies could identify constituent materials of modern paints, controlling their behaviour under cleaning, while optical microscopy allowed the evaluation on surface morphology. In addition, equivalent portable equipments from MOLAB were covered as a preparation for in situ analysis. Several problems in the selective removal of overpaints were found with chemical cleaning. The laser cleaning showed better efficiency in removing them, although, some alterations occurred upon laser irradiation, for instance, binder degradation with carbon formation and titanium white alteration. The proposed spectroscopic protocol was considered useful for controlling different cleaning methods in modern and contemporary paintings.

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Maor, Yonah. "Delamination of oil paints from acrylic grounds." Thesis, Kingston, Ont. : [s.n.], 2008. http://hdl.handle.net/1974/1487.

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Burgess, Erica Claire, and n/a. "A conservation study of the paintings of William Buelow Gould (1803-1853)." University of Canberra. Applied Science, 1989. http://erl.canberra.edu.au./public/adt-AUC20060622.104452.

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Cvetkovic, Mila. "Unveiling the mural art of Almada Negreiros at the Maritime Stations of Lisbon: diagnosis research of paint layers as a guide for its future." Master's thesis, Universidade de Évora, 2020. http://hdl.handle.net/10174/29079.

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Diagnostic research of the three mural paintings from Alcântara Maritime Station in Lisbon was conducted in order to understand the main decay phenomena and their dynamics, with respect for future conservation work. The analytical setup was composed of in-situ analyses by p-OM, spectro-colorimetry and h-EDXRF, followed by micro-sampling for a more profound analyses with OM, SEM-EDS, μ-XRD, FT-IR and py-GC-MS. Deterioration features identified include salts (salts efflorescence and sub efflorescence), flaking, lacunae, erosion and lack of cohesion of paint layers. Developed salts were classified as sulphates and their origin seems to be linked to polluted atmosphere and water infiltration into building materials. Greenish paint layer present in all three murals appears as the most deteriorated one, as it shows problems of severe flaking and lacunae; Resumo: Desvelando a arte mural de Almada Negreiros nas estações marítimas de Lisboa: Diagnóstico de pesquisa de camadas de pintura como guia para sua conservação futura Uma pesquisa diagnóstica das três pinturas murais da Estação Marítima de Alcântara, em Lisboa, foi realizada para entender os principais fenômenos de degradação e sua dinâmica com respeito a trabalhos futuros de conservação. A configuração analítica foi composta por análises in-situ com p-OM, espectro-colorimetria e h-EDXRF, seguida de micro-amostragem para análises mais profundas com OM, SEM-EDS, μ-XRD, FT-IR e py-GC-MS. As características de deterioração incluem sais (eflorescência e subflorescência), descamação, lacunas, erosão e falta de coesão. Os sais desenvolvidos foram classificados como sulfatos e sua origem parece estar ligada à atmosfera poluída e à infiltração de água em materiais de construção. A camada de tinta esverdeada presente nos três murais aparece como a mais deteriorada, pois apresenta severos problemas de descamação e lacunas.

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Carvalho, Zínia Maria Cavalheiro de. "Restauração de quadros e gravuras de Manuel de Macedo (1885): um manual técnico para promover o respeito pelas relíquias do passado." Pontifícia Universidade Católica de São Paulo, 2015. https://tede2.pucsp.br/handle/handle/13309.

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Made available in DSpace on 2016-04-28T14:16:22Z (GMT). No. of bitstreams: 1 Zinia Maria Cavalheiro de Carvalho.pdf: 8741930 bytes, checksum: 5a4508a568c224ca99029f95987a36dd (MD5) Previous issue date: 2015-03-06
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
This thesis studies the restoration and preservation of Works of Art, with focus on the volume 112 from the Bibliotheca do Povo e das Escolas collection, entitled Restauração de Quadros e Gravuras, which was written by Manuel de Macedo and published in 1885. The collection aimed to compile curiosities and interests in studies, raising the interest in Reading. The volumes were written in ways that nonintelectuals could make use of its content. The volume selected for analysis shines a light on the value and preservation of monuments and precious artefacts found in the ancient art , as the author states in the Preface. This manual raises questions like Originality, forgery, conservation and restoration procedures, used materials, techniques of paintings and prints, that up to today are still subject of discussion, without cleared and difined standards. The research arises in the history of Science interface and technical studies on conservation and restoration in the eighteenth and nineteenth centuries, which marked the beginning of the practical and theoretical discussions on the preservation of historical heritage
O estudo realizado nesta dissertação a respeito da restauração e da conservação foca o volume 112 da coleção Bibliotheca do Povo e das Escolas, intitulado Restauração de Quadros e Gravuras, o qual foi escrito por Manuel de Macedo e publicado em 1885. Essa coleção tinha como propósito suprir curiosidades e interesses em estudos e incentivar a leitura, sendo preparada de modo que o leigo pudesse usufruir do conteúdo. O volume selecionado para análise é destinado a tratar do valor e da conservação dos monumentos e artefatos preciosos da arte antiga , como diz o autor no prefácio. Esse manual traz questões como originalidade, falsificação, os procedimentos de conservação e restauração, tipos de materiais utilizados, técnicas de pintura e gravura, que ainda hoje são aspectos em discussão, os quais não possuem parâmetros totalmente definidos. Nossa pesquisa se coloca na interface da história da ciência e da técnica com estudos sobre conservação e restauro nos séculos XVIII e XIX, marcados pelo início das discussões práticas e teóricas sobre a preservação do patrimônio histórico

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Louw, Chloé. "La restauration des films muets en couleurs : le cas particulier des films dits "à trucs" réalisés entre 1900 et 1919." Thesis, Université Paris sciences et lettres, 2020. https://tel.archives-ouvertes.fr/tel-02868002.

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La restauration des films muets en couleurs apparaît dans les années 1970. Au départ effectuée grâce à la photochimie, elle se tourne vers le numérique dans les années 2000. A la naissance du cinématographe, les films étaient peints à la main. Petit à petit, d’autres techniques furent inventées, comme le pochoir, le teintage ou le virage. Ces méthodes, difficilement reproductibles aujourd’hui, sont les témoins d’un autre temps, celui du spectacle cinématographique. Ainsi, si le numérique permet de restaurer une version du film, il ne pourra pas reconstituer l’appareillage du cinématographe des années 1900. De la coloration manuelle à sa restauration actuelle, laboratoires et cinémathèques français et italiens tentent de transmettre un patrimoine
Restoring coloured silent films started in the 1970s. First achieved thanks to the photochemical method, it then became digitalized in the 2000s. The point is at the beginning of the cinematograph, films used to be hand-painted. Other methods were progressively invented such as stencils, tinting or toning. All these methods, difficult to handle nowadays, remain as the past witnesses of a bygone time, that of cinematography as a live show. Thus, even though digital devices allow some technicians to restore their versions of the films dealt with, they can't reconstruct the craftsmanship of the cinematograph in the 1900s. From yesterday's hand-painting to today's restoration, French and Italian laboratories and Film Archives try to pass on an heritage

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Athanassiou, Athanassia. "Physical effects in the UV-laser ablation of polymeric materials : implications for the laser cleaning of easel paintings." Thesis, University of Salford, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.366063.

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Mori, Eva Kaiser. "Caracterização de pinturas do artista Alfredo Volpi por meio de métodos não destrutivos: espectrofotômetro, EDXRF, MEV e imageamento multiespectral." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/44/44144/tde-17112015-151200/.

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Alfredo Volpi (1896 - 1988) é um dos mais importantes pintores brasileiros contemporâneos. Sua extensa obra foi marcada, principalmente, por composições cromáticas e abstrações geométricas. Foi um artista que dava importância muito grande à técnica e aos materiais, tendo desenvolvido uma maneira própria e sistemática de trabalhar: confeccionava suas próprias telas, tintas e até pigmentos, com terras naturais. Analisou-se ao todo 11 pinturas a têmpera em diversos suportes (tela, aglomerado de madeira e mural), 10 delas realizadas na década de 1950, período em que a obra do artista passou por uma grande transformação, do figurativismo ao abstracionismo e do uso de tintas industriais à base de óleo para a técnica medieval da têmpera. As características de opacidade, saturação cromática e presença material do pigmento sobre a superfície da tela, inerentes a esta técnica pictórica, tornam-se elementos tão importantes em sua obra, quanto o uso da cor na formação do espaço. Foram realizados estudos de cor e composição química dos materiais e levantamentos de informações sobre seus procedimentos técnico-artísticos a partir de métodos analíticos complementares não destrutivos e pesquisa em diversas fontes, pois entende-se que estes elementos são chaves importantes para o entendimento mais profundo de sua obra. O espectrofotômetro foi utilizado para medição da cor com base em curvas espectrais e coordenadas numéricas de referência dentro de um espaço de cor uniforme. Técnicas de imageamento por luz visível, fluorescência visível por radiação ultravioleta e reflectografia de infravermelho próximo foram utilizadas para levantar informações sobre o processo criativo do artista, detectar locais de intervenções de restauro e observar o grau de fluorescência de cada área cromática das pinturas como auxiliar na identificação de pigmentos. A técnica de EDXRF (Espectroscopia de Fluorescência de Raios X por Energia Dispersiva) foi importante para caracterização química dos materiais. O MEV-EDS (Microscópio Eletrônico de Varredura com Espectroscopia por Dispersão de Energia de Raios X) forneceu informações sobre composição química e imagens da superfície dos materiais presentes nas pinturas murais. A partir da integração destas informações pôde-se identificar uma parte da rica paleta deste pintor, documentar as cores das pinturas no presente, identificar ou dar indicações da composição dos pigmentos e da base de preparação das pinturas e iluminar partes da história de cada uma das obras, como presença de esboços feitos à grafite, pinturas anteriores encobertas, pinceladas e maneiras de misturar a tinta e documentar seu estado atual de conservação. As ferramentas utilizadas se mostraram úteis na caracterização das pinturas, revelaram informações inéditas sobre a obra deste artista e levantaram novas indagações. As informações obtidas podem ser o início de um banco de dados sobre sua obra.
Painter Alfredo Volpi (1896 - 1988) is one of the most important contemporary Brazilian artists. His extensive work, mostly characterised by chromatic compositions and geometric abstractions, is technically unique. The artist attributed great importance to craft and materials, developing his own systematic way of working. Among the paintings analysed were 11 temperasin various supports (canvas, hardboard panel and mortar). Of the selection, 10 paintings were made around 1950, when the artist\'s work underwent a major transformation, from figuration to abstraction, from the use of industrial oil-based paints to the medieval technique of tempera. This technique, known for its opacity, colour saturation and material presence of pigments on the canvas,became as important as the colour itself in the shaping of the artist\'s new spatial relation. It is understood that these elements are important keys to a deeper understanding of his work, both technically and artistically. The present investigation was carried out making use of non-destructive complementary analytical techniques. The aim was to study the chromatic and chemical composition characteristics of his paintings and gather information on the technical procedures the artist may have used. The spectrophotometer was used to measure the colour based on the spectral curves and numerical reference coordinates within a uniform colour space. Techniques of visual examination with visible light, visible fluorescence by ultraviolet radiation and near-infrared reflectography were used to gather information about the artist\'s creative process. These techniques also helped detect restoration patches and identify pigments. The EDXRF (Energy Dispersive X-Ray Fluorescence) technique was important for chemical characterization of materials, while the SEM-EDS (Scanning Electron Microscope with Energy Dispersive X-Ray Spectroscopy) provided surface images and information on the chemical composition of the material present in the murals. From the integration of these techniques it was possible to identify a part of the rich palette of Volpi´s paintings; to document the present aspects of the colours; to recognize or give indications of pigment and ground compositions and to shed light on parts of each of the works background, such as the presence of graphite sketches, covered earlier paintings and brushstrokes as well as to document the current condition of the works under study. The tools used have proven useful in characterizing the paintings, revealing new information about the work of the artist and raising new questions. The information obtained may be the beginning of a database on his oeuvre.

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Meyers, Julia Isabell. "Prehistoric Wall Decoration in the American Southwest: A Behavioral Approach." Diss., The University of Arizona, 2007. http://hdl.handle.net/10150/194060.

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Major social and demographic changes occurred during the Pueblo IV Period (AD 1300-1600) in the American Southwest. Small scattered communities aggregated into large settlement centers with more complex social organization during this period. Mural paintings created at this time are dramatically different stylistically from murals created before the social and demographic shift. At Homol'ovi in northeastern Arizona, these mural changes were accompanied by changes in plastering behaviors, including the development of distinct pigment use patterns.The hypothesis of the present study is that the visual performance characteristics of Hopi wall decorations, such as pigment sources, wall plaster colors and mural painting motifs, were part of a complex communicative system that changed as social power relationships changed and new rituals were established to support and legitimize the new social organization.Using inexpensive optical plaster and mural analysis techniques and XRF analysis of pigment samples from the ancestral Hopi sites of Homol'ovi I, Homol'ovi II and Chevelon, this research demonstrates the significance of wall decorations as social and political indicators marking transitions that occurred during the Pueblo IV and contact periods.

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Shulman, Katharine. "Paintings in Transit: A New Means For Protection of Collections, Balancing Traditional and Modern Conservation Philosophies and Methods." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/697.

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This thesis examines the motives behind museum loan and exchange policies and how loans can act as a new avenue for protecting and preserving paintings. When borrowed artworks are transported from one museum to another, there are many variables that come into play and careful planning is necessary for the safety of the object. Specific case studies of several well-known and respected museums that engage in and encourage loans will explore the complex nature of lending policies, their effect on the condition of artworks and their significance and impact on the museum world. This thesis culminates in an analysis of the loan fitness and possibility for transport of Joachim Beich’s Untitled, a painting in the Scripps College collection.

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Fordred, Claire Louisa. "The management and conservation of rock art sites and paintings in the uKhahlamba-Drakensberg Park, KwaZulu-Natal, South Africa." Diss., University of Pretoria, 2011. http://hdl.handle.net/2263/23428.

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The uKhahlamba-Drakensberg Park (UDP) is a World Heritage Site known for its cultural San heritage and its natural beauty, which is advertised as a world tourist attraction. Tourism is a debatable issue with regards to its negative and/or positive impacts on rock art along with commodification aspects. Negatively, visitation of sites increased natural deterioration of the site, the art and challenges for cultural resource management. While increased awareness of rock art conservation is a positive aspect through tourism and developments, contributes optimistically. San heritage is unique, defining our cultural identity and has the power to encourage national unification. The aim of this project is to assess the complexities of tourism developments and its immediate impacts at different rock art sites in the UDP through an analysis of management and conservation methods. The monitoring of these mentioned methods applied is important as it evaluates the effectiveness of past techniques and provides suggestions for other rock art sites. The current conditions at nine study sites in the UDP were investigated under three main criteria; deterioration of the sites and paintings through natural and human impacts, tourism developments and management. Data collection followed principles such as; site mapping, narrative recording, graphic documentation, and is represented in evaluation tables. Results concluded that common management methods were implemented at sites to provide standard conservation practices, but every site had room for improvement. The results have led to the formulation of recommendations that can be applied at other rock art sites and can contribute to future management and conservation protocols. The study highlights the unique demands made on rock art sites by tourism and concludes with final comments and recommendations.
Dissertation (MA)--University of Pretoria, 2012.
Geography, Geoinformatics and Meteorology
MA
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Soltan, Mohamed Abdeldayem Ahmed. "An investigation into the history of the airbrush and the impact of the conservation treatment of airbrushed canvas paintings." Thesis, Northumbria University, 2015. http://nrl.northumbria.ac.uk/27304/.

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The research considers whether traditional approaches to easel paintings conservation are appropriate for the treatment of air brush paintings. The objectives were: -To investigate the aesthetic and technical history of the airbrush -To investigate surface changes in paint layers -To investigate the appropriateness of traditional conservation treatments for airbrush paintings and evaluate alternative approaches Although the first airbrush was introduced in 1883 it was initially rejected by many fine art circles as being too ‘mechanical’. Airbrush techniques have been little discussed in the field of fine art and the field of the conservation of fine art. A mixed methodology was followed for this research, qualitative through literature review carried out in line with the interdisciplinary nature of the research, and quantitative through various approaches including surveys. One survey was carried out in order to establish the use of air brush techniques by artists and its eventual acceptance as a fine art technique. A second survey was conducted to discover how well conservators understood the degradation characteristics of air brush paintings and their appropriate treatment. The research revealed that much of the eventual success of air brush painting resulted from the introduction of new types of paint in order to better manage the technique. It also revealed that there was a high level of uncertainty amongst practitioners in the field of paintings conservation with regard to the deterioration characteristics of air brush painting or their appropriate resolution. However the major concern with regard to conservation lay clearly within the field of image re-integration as a result of its characteristically smooth surface finish. Artificial light ageing was carried out on simulated mock ups in order to develop a clearer understanding of the type of surface changes that might be expected over time from a limited palette of colours. This was followed by technical visual examination and media analysis via FTIR and Py- GC-MS methods. It was found that there were changes in surface morphology in some colours, which appeared to further enhance the smooth surface finish of the paint layer. A range of approaches to image re-integration were trialled ranging from the traditional paint based approaches to the use of digital coloured light. The latter was of particular interest in offering a truly reversible none interventive approach to re-integration. The focus of the digital re-integration techniques was to evaluate the viability of its use in general practice. Due to the smooth surface as well as the build-up of multiple layers of colour the traditional approaches proved difficult to harmonise within the picture plain. The use of digital approaches using coloured light was more successful although further research is required in order to develop this approach for wide spread professional practice. The physical and chemical characteristics of the airbrushed paint layer present issues that are fundamentally different to those found in oil paintings. As yet these are not all fully understood and require further research. Until such time the use of none interventive, reversible image re-integration techniques such as coloured light would be recommended.

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Gonzales, Gil Patricia. "The world of art and archaeology: The ideal place for a chemist?" Revista de Química, 2013. http://repositorio.pucp.edu.pe/index/handle/123456789/100676.

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Si bien podemos creer que el estudio de objetos arqueológicos y artísticos es de carácter netamente estilístico o histórico, en realidad, una aproximación a ellos a través de la química puede brindar información importante también. En un país como el nuestro, con un amplio patrimonio cultural, es mucho lo que un químico puede hacer para ayudar a conocer mejor estos objetos y a saber conservarlos.
Although we may think that studies of archaeological and artistic objects are mainly historical or stylistic, a chemical approach can also provide important information about them. In a country like ours, with a vast cultural heritage, a chemist can do a lot to further our knowledge of these objects and to help in their conservation.

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Svahn, Garreau Hélène. "I originalets tjänst : Om framställandet och bevarandet av kalkmåleri i svenska kyrkorum mellan 1850 och 1980." Doctoral thesis, KTH, Arkitekturens historia och teori, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-171078.

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There are approximately 1300 completely or partially preserved medieval churches in Sweden. Many of these have remains of kalkmåleri (mural paintings at least partially created in lime) from the 12th throughout the 17th century. This dissertation discusses the enactments that formed the revival of this kalkmåleri between 1850 and 1980, with a focus on restoration and conservation. The decorative and monumental paintings that were created at the same time are also discussed. The study is divided into two sections: one concentrates on the mural paintings and the networks that made their (re-)enactment possible, and the second is a case study that examines kalkmåleri in four medieval churches; Vendel and Ed north of Stockholm, and Floda and Vadsbro south of Stockholm. To come close to the paintings, an eclectic methodology with analysis of written and depicted sources, interviews, and studies in situ of the paintings through mapping and analysis of taken samples was designed. The objectives were to investigate the formation of kalkmåleri as phenomena, significant concepts, and conservation practices throughout time and space. Theoretical inspiration was taken from Actor-Network-Theory, critical discourse analysis, and speculative realism. Throughout the study the kalkmåleri is thus seen to have agency. The weave of enactments stemming from different professions and thought collectives that formed the paintings was made visible by following the actors. Some of these enactments were analyzed: i.e. the aesthetic shaping of the room, as religious and iconographic images, historical documents, art, style, technical, or hybrid objects. The latter refers to conservation that did not entirely rely on science, humanist scholarship, craftsmanship, or artistic creativity. Thus conservation is seen as a hybrid activity. Three periods of conservation principles were explored: stylistic restoration, original conservation, and precautionary conservation, which were related to what was perceived as the authentic original. Furthermore some Swedish "traditions" are discussed: that no institute for technical studies of art was formed, the use of "Curman’s principles", restricted retouching from the 1960s onward, and the use of gomma pane for cleaning. Finally appendices are included containing terminology, an index of conservators, and a DVD with mapping, chemical analysis, and photographs.

Forskningsfinansiärer: FoU-medel: Riksantikvarieämbetet, Brandförsäkringsverkets stiftelse för bebyggelsehistorisk forskning, Elna Bengtsssons fond och Tyréns stiftelse.

Ett läsår på Columbia University kunde genomföras med stöd av Fulbright Commission. Erik & Lily Philipsons minnesfond och Axelson Johnsons stiftelse.

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Colmars, Julien. "Hygromécanique du matériau bois appliquée à la conservation du patrimoine culturel." Phd thesis, Université Montpellier II - Sciences et Techniques du Languedoc, 2011. http://tel.archives-ouvertes.fr/tel-00765961.

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Avant la généralisation des toiles vers le XVI-XVIIème siècle, le bois a servi de support à d'innombrables peintures qui constituent aujourd'hui une part importante, dans les musées et les églises notamment, de notre patrimoine culturel. Après plusieurs siècles d'existence, les planches servant de support aux panneaux peints sont très souvent courbées : cette courbure est généralement imputée à la présence unilatérale de la couche picturale, imposant des échanges asymétriques d'humidité entre le bois, matériau hygroscopique, et son environnement de conservation. Par ailleurs il existe dans ces déformations une forte contribution de l'orthotropie cylindrique du bois qui est une conséquence de la croissance des arbres. Enfin, l'historique des variations hygrométriques à proximité d'un panneau peint renvoie à l'étude plus générale du comportement thermo-hygro-mécanique différé du bois. Une compréhension d'ensemble de ces phénomènes doit permettre d'orienter des décisions difficiles de conservation, notamment celles relatives au déplacement des œuvres ou à la maîtrise des environnements dans les musées. Nous proposons dans ce travail une approche générale de mécanique du matériau et des structures bois appliquée aux panneaux peints. La méthode utilisée intègre des moyens expérimentaux en laboratoire et sur des œuvres in-situ, des méthodes numériques, et l'accent est mis sur le lien fort existant entre les aspects " comportement " propres au bois (anisotropie, couplages hygromécaniques, etc.) et les aspects de structure relatifs aux panneaux peints (débit des planches, efforts extérieurs dus à leur assemblage, etc.). Un outil de calcul basé sur la modélisation mécanique des plaques orthotropes est développé. Il prend appui sur un code préexistant de transfert de masse et de chaleur décrivant les mouvements d'eau dans le support. Ce code de calcul complet est utilisé notamment sur un cas d'étude : un panneau peint de 500 ans environ, en situation d'exposition dans une église.

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King, Taylor Z. "A Spectacle and Nothing Strange." VCU Scholars Compass, 2019. https://scholarscompass.vcu.edu/etd/5905.

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Working through methods of abstraction and comedic mimicry I choreograph awkwardly balanced sculpture with objects of adornment as a means to defuse personal sensitivities surrounding my experiences of gender, desire, and home. The research that follows is concerned with the adjacent, the in between, above and underneath, because I feel that this kind of looking means that you are, to some degree, aware of what lies at the edges. Maybe this is what Gertrude Stein means to act as though there is no use in a center—because this concerns a way of relating, though there are many things in the room. ‘A spectacle and nothing strange’ is an arrangement of gestures, of made difference, of kinships, of orientations and possible futures, sustained tension, coded adornment, big dyke energy, shifts in hardness, leaning softness, much more than flowers, ...and in any case there is sweetness and some of that.

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Baiza, Martínez Berenice. "Studies of the effect of nanoconsolidants on mural paint layers." Master's thesis, Universidade de Évora, 2020. http://hdl.handle.net/10174/29078.

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This research has been focused on the comparison of the effect and impact of three consolidants on mural paint layers with lack of cohesion. The experiments were carried out in vitro with a laboratory synthesized nanolime (HERCULES nanolime), a commercial nanolime (CaLoSiL® IP25), and with commercial acrylic resin (Primal ™ SF-016 ER®). Two sets of replicas of mural paint layers, buon fresco and lime fresco, were prepared with red and yellow ochre and smalt pigments. Both pictorial techniques and pigments are found in historical mural paintings in the Alentejo region of Portugal. The characterization and comparison analysis of the paint layers before and after treatment with the three consolidant materials at different time intervals (right before, in one week and in one moth) were carried out with photographic documentation in visible (Vis) and ultraviolet fluorescence induced in visible (UVF), Optical microscopy (OM-Vis), colorimetry and spectrometry and Scanning Electron Microscopy coupled with Energy Dispersive X-ray Spectroscopy (SEM-EDS). Experimental work also included synthesis of nanolime and its characterization by X-ray diffraction (XRD), Scanning Electron Microscopy (SEM), Fouriertransform infrared spectroscopy (FTIR), Thermogravimetry Analysis (TGA-DTG) and Dynamic light scattering (DLS). This study has indicated that the HERCULES nanolime has potential to be used effectively for consolidation of fresco paintings affected by lack of cohesion and it represent a viable alternative to organic consolidants; Estudos do efeito de aplicação de nanoconsolidantes em camadas cromáticas - RESUMO: O trabalho apresentado teve como principal objetivo o estudo comparativo do efeito da aplicação de três consolidantes em pintura mural com falta de coesão. Os ensaios foram realizados in vitro com uma nanocal sintetizada no laboratório (HERCULES nanolime), uma nanocal comercial (CaLoSiL® IP25) e uma resina acrílica comercial (Primal ™ SF-016 ER®). Foram preparados dois conjuntos de réplicas de pintura mural recorrendo às técnicas de buon fresco e fresco em cal, e utilizando, como pigmentos, os ocres vermelho e amarelo e o azul esmalte. Tanto as técnicas pictóricas como os pigmentos utilizados são frequentemente encontrados em pinturas murais históricas da região do Alentejo, em Portugal. A caracterização e análise comparativa das pinturas murais, após a aplicação dos três materiais consolidantes, realizou-se em três períodos de tempo distintos: imediatamente após a sua aplicação, ao final de uma semana e ao final de um mês. As técnicas de análise utilizadas foram a fotografia no visível (Vis) e a fluorescência de ultravioleta induzida no visível (UVF), a Microscopia Ótica (OM), a Colorimetria e Espectrometria, e a Microscopia eletrónica de varrimento acoplada a espectroscopia de raios X dispersiva de energia (MEV-EDS). O trabalho experimental incluiu a síntese de nanocal e sua caracterização por recurso às técnicas de difração de raios X (DRX), Microscopia eletrónica de varrimento acoplada a espectroscopia de raios X dispersiva de energia (MEV-EDS), Espectroscopia de infravermelho por transformada de Fourier (FTIR), Análise Termogravimétrica (TGA-DTG) e Espalhamento Dinâmico de Luz (DLS). Este estudo revelou que nanocais apresentam potencial para serem usadas na consolidação de pinturas murais a fresco afetadas pela falta de coesão e representam uma alternativa viável aos consolidantes orgânicos.

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Abdel-Ghani, Mona H. "A Multi-instrument Investigation of Pigments, Binders and Varnishes from Egyptian Paintings (AD 1300-1900): Molecular and Elemental Analysis Using Raman, GC-MS and SEM-EDX Techniques." Thesis, University of Bradford, 2009. http://hdl.handle.net/10454/4315.

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The focus of this study was analytical investigations of Egyptian paintings, mainly Coptic icons and Islamic wooden ceilings, dating from 1300-1900 using multiinstrumental techniques. Twenty three Coptic icons and three wooden ceilings dated from different periods and painted by different painters in case of icons were examined. The materials used including pigments, media, varnishes, ground layers and gold layers. The surface stratigraphy of paint samples, their layered structured and the composition of materials used in each layer were analysed. Variations in painting techniques, pigments palettes, paint media and varnishes applied in Egyptian paintings according to painters, time and type of paintings were revealed. A total of twenty-eight organic and inorganic pigments were identified in this study, of which nine have never been previously included as a part of the Egyptian pigment palettes, namely; smalt, lapis lazuli, indigo, pararealgar, Prussian blue, chrome yellow, barium yellow, barium white and hydromagnesite. The identification of hydromagnesite, which has never been to date considered as a pigment either in Egypt or elsewhere and the identification of smalt from the mid-14th century, whose reported earliest large scale use was in the 16th century. Two types of resins were identified as a constituent of the oil/resin varnish applied on Coptic icons of which Venice turpentine has been identified for the first time as an ingredient of Egyptian varnishes. The identification of mosaic gold in an 18th C. icon, a novel usage of dammar resin and the multilayered structure of the white ground layers were revealed.
Egyptian Ministry of Higher Educations

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Abdel-Ghani, Mona Hussien. "A multi-instrument investigation of pigments, binders and varnishes from Egyptian paintings (AD 1300-1900) : molecular and elemental analysis using Raman, GC-MS and SEM-EDX techniques." Thesis, University of Bradford, 2009. http://hdl.handle.net/10454/4315.

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The focus of this study was analytical investigations of Egyptian paintings, mainly Coptic icons and Islamic wooden ceilings, dating from 1300-1900 using multi-instrumental techniques. Twenty three Coptic icons and three wooden ceilings dated from different periods and painted by different painters in case of icons were examined. The materials used including pigments, media, varnishes, ground layers and gold layers. The surface stratigraphy of paint samples, their layered structured and the composition of materials used in each layer were analysed. Variations in painting techniques, pigments palettes, paint media and varnishes applied in Egyptian paintings according to painters, time and type of paintings were revealed. A total of twenty-eight organic and inorganic pigments were identified in this study, of which nine have never been previously included as a part of the Egyptian pigment palettes, namely; smalt, lapis lazuli, indigo, pararealgar, Prussian blue, chrome yellow, barium yellow, barium white and hydromagnesite. The identification of hydromagnesite, which has never been to date considered as a pigment either in Egypt or elsewhere and the identification of smalt from the mid-14th century, whose reported earliest large scale use was in the 16th century. Two types of resins were identified as a constituent of the oil/resin varnish applied on Coptic icons of which Venice turpentine has been identified for the first time as an ingredient of Egyptian varnishes. The identification of mosaic gold in an 18th C. icon, a novel usage of dammar resin and the multilayered structure of the white ground layers were revealed.

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Gregoire, Sylvain. "Etude et optimisation de la méthode LIBS (Laser Induced Breakdown Spectroscopy) pour l'identification de matériaux organiques appliquée au recyclage des plastiques et à la conservation du patrimoine." Phd thesis, Université de Strasbourg, 2013. http://tel.archives-ouvertes.fr/tel-01062281.

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La LIBS est une technique d'analyse élémentaire dont la rapidité d'exécution et la portabilité en font une technique idéale pour l'analyse des matériaux sur site. Elle a déjà largement fait ses preuves dans le cadre de l'analyse de matériaux inorganiques. Mais les molécules organiques usuelles présentent des compositions atomiques similaires (C, O, H, N), rendant leur identiﬁcation en LIBS difficile. L'utilisation de traitements de données tels que les rapports de raies ou la chimiométrie est donc inéluctable pour séparer efficacement plusieurs types de molécules organiques en LIBS. Malgré le caractère élémentaire de cette technique, les spectres obtenus lors de l'analyse de matériaux organiques montrent la signature spectrale de molécules diatomiques C2 et CN. Longtemps considéré comme des recombinaisons aléatoires des atomes présents dans le plasma, le signal de ces molécules s'avère d'dépendant de la nature des liaisons moléculaires de la molécule d'origine. Ce travail de thèse s'oriente autour de trois grands axes d'études - L'utilisation de traitements de données tels que la chimiométrie pour établir un protocole de traitements optimal visant à la discrimination des polymères dans le cadre du tri des plastiques. Un protocole optimisé a pu être avancé en UV et en IR. - L'identiﬁcation des matières organiques utilisées en peinture murale (liants, adhésifs et consolidants) a pu être réalisée sur des échantillons de peinture de référence. Les traitements de données utilisés précédemment ont pu être appliqués sur ces échantillons présentant une matrice majoritairement inorganique. - La compréhension des procédés de formation des molécules diatomiques dans le plasma pour améliorer leur utilisation et ainsi optimiser la discrimination des matériaux organiques sur la base du signal moléculaire en LIBS. Le développement d'un système d'imagerie a permis de suivre le comportement spatio-temporel des espèces atomiques et moléculaires dans le plasma sous régimes UV et IR. Une hypothèse de formation des molécules sous ablation UV et IR a pu être établie.

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Ferrari, Alessandra. "Conservação e restauro de pintura: um mural de Carlos Páez Vilaró de 1974." Universidade Presbiteriana Mackenzie, 2006. http://tede.mackenzie.br/jspui/handle/tede/2737.

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Made available in DSpace on 2016-04-18T21:32:02Z (GMT). No. of bitstreams: 3 Alessandra Ferrari1.pdf: 842585 bytes, checksum: 7d1b75a548de27393c8bef0c7d65a862 (MD5) Alessandra Ferrari2.pdf: 376944 bytes, checksum: b908f74a72e594fe571ac830cf17beeb (MD5) Alessandra Ferrari3.pdf: 680077 bytes, checksum: 03328ef09daf62c0374f8928bf4b368b (MD5) Previous issue date: 2006-08-10
The conservation and restoration of mural painting conceived in this investigation from Carlos Paez Vilaró s painting restoration study, suggests reflections on intervention criteria and methods. The cutting out of the research tried to understand not just the theoretical material and multidisciplinary investigation, but the complexity inherent to the restoration of the artistic object in what refers to the challenges assumed by the restorer and all those that that have the custody of cultural assets. This research has been guided, in order to consolidate the relevant criteria, by selecting a mural painting offering discussions around the complexity of its implications in the choice of intervention criteria. Restoration was carried successfully, being subsequently redone under request of the painting owner. Such an event opened the discussion as for the criteria and concepts of restoration.
A conservação e o restauro da pintura mural concebida nesta investigação a partir do estudo do restauro da pintura de Carlos Paez Vilaró, sugere reflexões sobre critérios e métodos de intervenção. O recorte da pesquisa procurou compreender não apenas a investigação material e teórica multidisciplinar, mas a complexidade inerente à restauração do objeto artístico no que se refere aos desafios por parte do restaurador e de todos aqueles que possuem a custódia de bens culturais. Esta pesquisa orientou-se, a fim de consolidar os critérios pertinentes, selecionando uma pintura mural que oferecesse discussões em torno da complexidade de suas implicações na escolha dos critérios de intervenção. O restauro foi realizado com sucesso, sendo posteriormente refeito a pedido do proprietário da pintura. Tal acontecimento abriu a discussão a respeito dos critérios e conceitos de restauro.

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Detry, Nicolas. "Le patrimoine martyr et la restauration post bellica : théories et pratiques de la restauration des monuments historiques en Europe pendant et après la Seconde Guerre mondiale." Thesis, Lyon, 2016. http://www.theses.fr/2016LYSE2120/document.

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La destruction des villes et des monuments historiques a connu une ampleur sans précédent durant la guerre 1939-1945. La reconstruction après 1945 s’inscrit dans un moment de profonde mutation pour l’histoire du monde. La restauration post bellica des monuments historiques s’inscrit dans le vaste chantier de la Reconstruction territoriale et politique de l’Europe ; il s’agit l’intervention architecturale sur la ruine produite par la guerre. Il existe "mille façons", de protéger, de détruire, puis de restaurer les œuvres d’art et d’architecture lors des conflits armés. Le sujet de cette thèse réside dans ces trois actions : protéger, détruire et restaurer. Elles sont un travail de l’homme. Deux actions, protéger et restaurer participent à des enjeux positifs pour les sociétés indépendamment du lieu ou du temps. L’action, "détruire", porte des signes négatifs, hier comme aujourd’hui, l’action de détruire dépend ou procède de conséquences géopolitiques très complexes. Le sujet de cette thèse concerne notamment deux aspects de la restauration des œuvres d’art et des œuvres d’architecture de 1945 à aujourd’hui. Le premier aspect peut être nommé "les théories", le second aspect "les pratiques". Les deux sont indissociables, dans un processus réflexif où la pratique vient valider ou invalider la théorie, tandis que la théorie se base sur la pratique dans son élaboration. De l’intention d’étudier ces deux aspects, découle la problématique à laquelle je me suis particulièrement attaché ; celle-ci consiste à comprendre en quoi les destructions de la Seconde Guerre mondiale ont contribué à renouveler les théories et les pratiques en matière de restauration des monuments historiques ? J’ai identifié ce renouvellement pour ensuite le définir et le documenter, dans différents contextes spatio-temporels, à travers les 5 chapitres de ce travail. La restauration des monuments historiques après 1945 en Europe, est à la fois le sujet, le terrain et le corpus de cette thèse. Pour rester réaliste j’ai choisi de travailler cette question principalement dans trois pays d’Europe : l’Allemagne, la France et l’Italie. Il s’agit de 3 pays qui ont une longue tradition dans ce domaine. La restauration des monuments historiques après 1945, s’appuie sur l’acceptation ou le refus du drame de la perte. En Europe elle se développe selon quatre périodes que j’ai identifiées comme suit: de 1939 à 1945 la période bellica ; de 1946-1972 la période chaude de la Reconstruction; de 1973 à 1989 la période intermédiaire ; de 1990 à 2015 la nouvelle période chaude ou "le patrimoine à l’état gazeux". Le long chantier de la restauration des monuments historiques après 1945 est un laboratoire européen ou un "collège invisible". Dans ce laboratoire et à partir de la pratique de la restauration, travail alors colossal, urgent et nécessaire, sont élaborées des techniques et des théories toujours valides aujourd’hui. J’ai ici organisé l’analyse de la restauration post bellica autour de la question des lacunes, d’abord analysée d’un point de vue théorique. Ensuite, j’ai imaginé, de façon nouvelle, une typologie des lacunes en architecture afin d’expliquer d’un point de vue pratique et constructif ce qui vient après : la réparation ou "la réintégration des lacunes". J’ai identifié différentes familles de lacunes qui affectent les édifices anciens pris dans la guerre. Il m’a alors semblé possible de parler de lacunes à différentes échelles et indépendamment du type d’artefact touché. J’ai voulu guider le lecteur, dans le labyrinthe de la restauration post bellica, avec la lacune comme fil d’Ariane. Le trou ou la chute d’un fragment d’enduit dans une peinture murale, l’impact de mitraillette dans une façade en pierre, la chute des voûtes et des charpentes d’une église, les cassures dans les travées rythmiques d’une façade, l’écroulement complet de la nef ou de l’abside d’une église, la destruction de tissus urbains autour d'un monument
Restoration of historical monuments after 1945 is based on the acceptance or the rejection of the drama of loss. I identified for major periods of restoration in Europe after WWII : 1939-1945; 1946-1972 ; 1973-1989 ; 1990-2015. In France, as opposed to Germany or Italy, historiography in architecture still does not deal much with the history of restoration post-bellica, ie with historical monuments destroyed during WWII and progressively restored afterwards. The historiographical task at hand is to study within different contexts (Germany, France, Italy, ex-Yugoslavia, etc) the practices of restoration once peace is back, ie the architectural intervention on the ruins produced by war. Although ferments of restoration (for both works of art and architecture) can be identified, in the current sense of the term, as early as the 1930’s, the discipline is going to mature under the impetus of the immense workshop of post-bellica restoration. Methods, techniques and theories, still valid today, are then produced and applied. My suggestion is that such a workshop can be considered as an European lab within which a kind of "invisible college" is at work, centered around a few major international experts. Architects, historians of art, superintendents, archeologists, natural and social scientists share their experiences and points of view. Research laboratories, universities, museums, churches, international organizations are involved from all over Europe. But Italy is at the heart of the « invisible college ». I have organized the analysis of the post bellica restoration around the question of "lacunes" (deficiency, gaps; shortcomings), first from a theoretical point of view. Then I imagined a new way, a typology of architectural shortcomings in order to explain a practical point of view and constructive comes after the repair or "reintegration of lacune (gap)". I identified different families of "lacune" (gaps) affecting older buildings caught in the war. It’s then possible to speak about "lacune" at different scales and regardless of the type of hit artefact. I wanted to guide the reader through the maze of post bellica restoration, with the "lacune" used as a red string. The hole or the fall of a fragment of plaster in a mural painting, the impact of machine gun in a stone facade, falling arches and a church structures, fractures in the rhythmic span of a facade the complete collapse of the nave and the apse of a church, the destruction of the urban fabric around a monument and the demolition of an old stone bridge are all shortcomings that make us react. That's faces these shortcomings, different each time, what post bellica restoration thought martyr heritage, subject of this thesis

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Labo, Nora. "Competing constructions of nature in early photographs of vegetation : negotiation, dissonance, subversion." Thesis, University of St Andrews, 2018. http://hdl.handle.net/10023/12807.

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While the role of photography in enforcing hegemonic ideologies has been amply studied, this thesis addresses the under-researched topic of how photography undermined dominant narratives in specific historical circumstances. I argue that, in the later part of the long nineteenth century, photographs were used to represent the natural world in contexts where their functions were uncertain and their capacities not clearly defined, and that these hesitations allowed for the expression of resistances to dominant social attitudes towards nature. I analyse how these divergences were articulated through three independent case studies, each addressing a corpus of photographs which has been marginalised in scholarly discourse. The case studies all concern photographs of vegetation. The first one discusses photographs produced around Fontainebleau during the Second French Empire, commonly understood as auxiliary materials for Barbizon painters, and argues that they were in fact autonomous representations, reflecting marginal modes of experiencing nature which resisted its prevailing construction as spectacle. The second case study examines a photographic series depicting Amazonian vegetation, published between 1900 and 1906, and shows how, in attempting to satisfy conflicting ideological demands, these photographs undermined the hierarchies enforced upon the natural world by colonial science. The third case study analyses photographs from an early twentieth-century environmentalist treatise, and demonstrates how, while the author's discourse seemingly complied with conventional attitudes towards nature, the photographs instituted an ethical stance opposed to early conservation's aesthetic focus and anthropocentrism. Throughout the case studies, I argue that the photographs were consubstantial to the emergence of these resistances; that dissenting representations stemmed from a tension between their producers' lived experience and the ideological frameworks which informed each context; and that this process engendered remarkable formal innovations, which are not usually associated to non-artistic images. I contend that radical renewals of visual expression occur in all representational contexts, as image producers adapt their tools or forge new ones according to circumstances, and that more attention must be paid to such visual innovations outside the field of artistic production.

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Leang, Marguerite. "Pénétration d'un solvant dans un gel poreux en consolidation : application à la restauration des oeuvres d'art." Thesis, Université Paris-Saclay (ComUE), 2017. http://www.theses.fr/2017SACLS469/document.

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La restauration des peintures d'art consiste à restaurer la lisibilité d'une œuvre d'art et à préserver son intégrité. La plupart des techniques consiste à déposer des solvants juste en surface afin de ne dissoudre que la couche de vernis. Cependant, les couches sous-jacentes risquent d'être endommagées par la pénétration de ces solvants, causant éventuellement un gonflement ou un craquèlement de ces dernières. Du fait de la complexité physico- chimique de la couche picturale, nous proposons d'étudier la pénétration de solvants dans un nanoporeux modèle issu du séchage contrôlé de dispersions aqueuses de nanoparticules de silice. Le séchage et la consolidation de ces dispersions colloïdales jusqu'à l'apparition de craquelures de séchage sont étudiés. La réflectivité de neutrons et la diffusion de neutrons aux petits angles permettent d'accéder à la structuration des systèmes en surface et en volume, respectivement, au cours du séchage. L’étude expérimentale des ouvertures de craquelures dues au séchage, associée à un modèle de poroélasticité que nous développons, renseigne sur les propriétés mécaniques des systèmes consolidés et du tableau « Jeanne d'Arc en prison » (1824) du peintre français Louis Crignier (1790-1824). La caractérisation du milieu poreux formé après la consolidation est réalisée par imagerie de neutrons et permet de déterminer la perméabilité et les porosités des milieux. Enfin, nous présentons la dynamique d'imprégnation d'une goutte sessile de solvant dans plusieurs milieux poreux, qui diffèrent de par leur taille de pores. Notre montage expérimental permet une quantification précise et directe des écoulements au-dessus et à l'intérieur du milieu poreux. Des mesures de propriétés mécaniques sont réalisées avant et après imprégnation par micro-indentation
Art painting restoration aims to restore the readability of a painting and to preserve its integrity. Most of the techniques consist of depositing solvents on the surface of the painting to dissolve the varnish layer. However, the sublayers can be damaged by the penetration of the solvent, possibly resulting in swelling or cracking processes. Due to the physical and chemical complexity of the pictorial layer, we propose to study solvent penetration in model nano porous media obtained by controlled drying of aqueous silica nanoparticles dispersions. Drying and the consolidation process of these colloidal dispersions are studied until drying cracks appear. Neutron reflectivity and small angle neutron scattering provide structural information on particles near the interface between the dispersion and the air and in the bulk, respectively, during drying. The experimental study of drying cracks, associated to a poroelastic model, inform on mechanical properties of consolidated model systems and of the painting “Jeanne d'Arc en prison” (1824) by the French painter Louis Crignier (1790-1824). Characterization of the porous media obtained after consolidation is carried out with neutron imaging to determine the permeability and the porosities of the porous media. Finally, we present the dynamics of imbibition of sessile solvent drops on several porous media with different pore sizes. Our experimental set-up provides a precise and a direct quantification of the different flows outside and through the porous media. Mechanical properties are performed before and after solvent imbibition, by micro-indentation testing

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Katsutani, Yuko. "Les peintures murales de Saint-Bonnet-le-Château : à la recherche de leur auteur (fin du XIVe-début du XVe s.)." Thesis, Strasbourg, 2019. http://www.theses.fr/2019STRAG044.

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Les peintures murales de la chapelle basse de la collégiale de Saint-Bonnet-le-Château présentent un riche programme iconographique, supposant la succession de commanditaires distincts au début du XVe s. La première phase fut dévotionnelle ; la seconde affecta le décor de la voûte, à l’initiative d’Anne Dauphine, et proposa avec les Anges musiciens une iconographie élaborée, inspirée mais adaptée de l’exemple du Mans, en hommage à son époux défunt, Louis II, duc de Bourbon. Le talent de l’artiste, Louis Vobis, fut de lier les parties les unes aux autres. L’étude iconographie et stylistique définit les modèles et l’esthétique du maître passé par Avignon et Paris, informé des expériences des enlumineurs du duc de Berry et de l’art savoyard
The murals paintings of the lower chapel in Saint-Bonnet-le-Château’s collegiate church present a rich iconographic program, assuming a succession of distinct sponsors at the beginning of the 15th century. The first phase was religious devotion from the wealthy bourgeoisie; the second one affected the decoration of the vault in Anne Dauphine’s initiative, and represented the Musician Angels, an elaborate iconography, inspired by the example of Le Mans, in the memory of the duchess’s late husband, Louis II duke of Bourbon. The talent of the artist, Louis Vobis, was to link the different artistic styles. The iconographic and stylistic study defines the models and the aesthetics of the master who had his training in Avignon and Paris. In Avignon he was influenced by the Italian style and in Paris studied under Duke of Berry in the miniaturist style. He had influenced by the Savoyard art too

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Glaser, Greta Colleen. "An introduction to painting conservation /." 2009. http://hdl.handle.net/10288/1223.

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Chen, Chia-Hao, and 陳家豪. "Conservation of the Decorative Painting of Taipei Public Assembly Hall." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/62887547996861549902.

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碩士
國立雲林科技大學
文化資產維護系碩士班
101
“The Decorative Painting of Taipei Public Assembly Hall” had been found from the warehouse of the Taipei Zhongshan Hall in 2002, and moved to Taipei Fine Arts Museum (TFAM) in 2003, depends on the research, the paintings were bought for decorating the building which under construction, “the Taipei Public Assembly Hall.” The structure is quite simple then Wagaku, which is a designed production in quantitative and rapid manufacture, which can be described the Japanese style transition process with modern Western style. Different from other trsearch, to conserve the atmosphere of the times is the restoration principle in this study, the restoration princinple have to concern the value of cultural heritage. Retain the original structure and form, to use the old material and keep the traces, all the principles should respect for the life history of cultural heritage.

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46

Whyte, Ryan Lee. "Painting as social conservation: The petit sujet in the Ancien Regime." 2008. http://link.library.utoronto.ca/eir/EIRdetail.cfm?Resources__ID=742225&T=F.

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47

Chen, Yu-lin, and 陳郁琳. "The Conservation of Chen Cheng Po''s Painting and Document." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/23889686887428206762.

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Abstract:

碩士
國立雲林科技大學
文化資產維護系碩士班
100
Chen Cheng Po Cultural Foundation and Chen’s family will share his paintings and documents with our society through exhibitions and researches. Also, they began devote to spread Chen’s art works to the people and preserve them. Since I participated in the conservation program which Chen Cheng Po’s family offered. I found out the most difficult problem that artists’ families will face is how to make a systematic way of conservation and restoration for the artists’ legacy. This essay will talk about how the private collectors sort their collections and improve the conditions of them by frame with foam board and hollow plate instead of plywood which based on the experiences of conservation for 413 pieces of paintings and documents hold by Chen’s family. Furthermore in this essay, I will design a more appropriate “matting and framing package” way when dealing with a bigger amount of collections. This method will provide a more proper and complete protection in the procedures of historic relics’ conservation, package, transportation and exhibition.

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48

CHEN, WEN-TING, and 陳雯婷. "Talent Left Unrecognized - Research for Conservation of Oil Painting of Shiu Pao Lin." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/9v6tv2.

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Abstract:

碩士
國立臺南藝術大學
博物館學與古物維護研究所
104
Mr. Shiu Pao Lin was the first group's person to get the scholarship of government sponsorship overseas study in 1955, he enrolled to Academia de Bellas Artes de San Fernando of Spain form 1966 to 1959. The major type of his artworks is painting from life and nature; among them the culture landscape paintings were most unique. Mr. Shiu was suddenly dead in 1987 at Taipei; the paintings have been deteriorated over time and urgent to need the conservation treatment until today. This thesis consists of five chapters and basic on Mr. Shiu and his painting to discuss separately from art history, art conservation and scientific examination. The first chapter points out the problematics of this thesis: who is Shiu Pao Lin, what's the necessity to aware of him and conserve his painting. The reviewing studies from three directions, first is the Taiwanese art history of Post-War period and living background of Mr. Shiu, the second is the development of those painters who were the same time and also have similar experience with Mr. Shiu, the third is to overview the oil painting conservation in Taiwan could be compare with the conservation project of this thesis. The second chapter carded the life of Mr. Shiu, combined with the art style and characteristic of paintings. The third chapter turned to the conservation of oil paintings, classified the most common deterioration condition among Mr. Shiu's paintings is canvas deformation and flaking of paint layer. For further investigation, sampling the fibers of canvas and also paint layer to carry on the analysis. The relation between materials and conservation would be confirmed and discussed in chapter fourth, then summing up the research achievement in fifth chapter. Through the investigation and treatment, not only benefited to preserve those paintings in stable condition and also reveal the unknown detail in the conservation process. Retracing the position of Mr. Shiu in Taiwanese art history in this thesis and make more people re-knowing Mr. Shiu and his artworks.

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49

HO, YI-HSIEN, and 何羿嫺. "The Application of Reusing Mounting Materials for Conservation of Chinese Style Hanging Scrolls－A Conservation Treatment of 〝Jin Yang〞Landscape painting." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/87740318276724181700.

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Abstract:

碩士
國立臺南藝術大學
博物館學與古物維護研究所
100
This article is about “remounting the Chinese paintings with original mounting materials.” It means that painting and decorative accessories will be separated to several parts to progress conservation treatments and assemble them again. Through this way, it can retain the history of the Chinese painting, and provide more information for further study or identification. This research will be found out the threads of using original material to remount the objects by collecting data and doing a survey with oriental conservators. According to the earlier cases, they are chiefly concerned with mounting skills of conservators. However, most conservators will have been thinking about the value and the condition of those decorative parts of hanging scrolls in recent years. That is a question for conservators, how to keep the protective function and historical value by saving or abandoning the original accessories. Finally, the author will treat an old hanging scroll as a sample to show the thoughts and decisions of every step.

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50

Yeh, Hung-yi, and 葉竑毅. "The Study of Horizontally Oriented Cords of Conservation for Hanging Scrolls of Chinese Painting." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/71117167724086793816.

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Abstract:

碩士
雲林科技大學
文化資產維護系碩士班
96
Assessing the importance and applicability of the artificial deterioration procedure for the horizontally oriented cords: The mounting forms of a Chinese painting could be divided into three categories: hanging scrolls, hand scrolls, and albums. Selecting material is a difficult step in a traditional mounting process, which is especially true when dealing with the horizontally oriented cords and copper nails and they could be overlooked. If the material chosen is fragile, the painting can fall down and be damaged. This study focuses on the horizontally oriented cords and attempts to investigate the applicability of its artificial deterioration procedure. In this study, different samples of horizontally oriented cords and copper nails are exposed under different sets of artificial deterioration conditions including the treatment of UV light, analyzed and compared with the aid of the scientific instruments. In addition, the whole combination system of the horizontally oriented cords, copper nails, silk band, and upper stick is also analyzed. The protection combination of the silk band and the nylon horizontally oriented cord is most stable: In this thesis, several techniques of mounting the upper stick are experimented and compared with one another. These techniques include the traditional technique used in the National Palace Museum, the folk techniques, and the Japanese technique. The folk techniques use aluminum nail and nail of reversed “U” shape in mounting the upper stick. The samples being produced through the folk techniques and the traditional technique are put through the artificial deterioration procedures, and then analyzed their optical, physical and chemical characteristics and deterioration conditions via photographing, chromatic aberration test and tension tests. The results indicated that the durability of the samples being produced by the folk techniques is worse than that of those being produced by the traditional technique, and the protection combination of the silk band and the nylon horizontally oriented cord is most stable. According to the results of the above experiments, the traditional technique is chosen to mount the upper stick to simulate the aging and deteriorating of the horizontally oriented cords and copper nails of the hanging scroll. Based on this simulation, it is attempted to find the proper methods of conservation aiming to remove or reduce the yellowing of the horizontally oriented cords and copper nails, and lower the impact of the silk band on the horizontally oriented cords color, position and look-and-feel. This study suggests that using the traditional technique to mount the upper stick, combining with nylon horizontally oriented cords, treating silk band with a mixture of stable adhesive and handmade starch with a ratio of 9:4(starch: water) to increase the surface strength, have achieved the best stretching strength. Serving as a reference for the methods of conserving the fragile Chinese paintings: Besides establishing the conditions of the artificial deteriorations for horizontally oriented cord and copper nail, this thesis compares the applicability of different mounting techniques of the vertical rod to Chinese painting conservation. It may also provide the basis for the technicalities of producing the conservation materials domestically. In the meantime, the scientific analyses are useful to study the mechanism of the deterioration of horizontally oriented cords and copper nails, and serve as a reference for the methods of conserving the fragile Chinese paintings.

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Dissertations / Theses on the topic 'Painting conservation'

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