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Journal articles on the topic 'Painting conservation'

Author: Grafiati

Published: 4 June 2021

Last updated: 11 February 2022

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1

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

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A Changing Art. Nineteenth-Century Painting Practice and Conservation Ed. Por Nicola Costaras, Kate Lowry, Helen Glanville, Pippa Balch, Victoria Sutcliffe y Polly Satlmarsh) Londres: Archetype (en asociación con The British Association of Paintings Conservator-Restorers, BAPCR), 2017. ISBN: 9781909492547 Dimensiones: 246 x 175 mmPáginas: 144Ilustraciones en color

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2

Suparma Netra, I. Made, and Nyoman Wardi. "Konservasi Koleksi Lukisan Museum Le Mayeur." Humanis 23, no. 3 (September 27, 2019): 216. http://dx.doi.org/10.24843/jh.2019.v23.i03.p08.

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As a result of human work, painting is a cultural heritage that has important values. The state of the structure of the paintings which is composed by organic materials makes the painting very vulnerable to the environmental influences and other causes of damage. This research aims to find out about the characteristics of the painting, the types of damage, the factors that cause damage, and its conservation techniques both preventive and and curative to painting collection of Le Mayeur Museum.The results of this research are expected to provide benefits and development of science in the field of archeology about the study of cultural heritage conservation. This study uses qualitative analysis, technology analysis, and comparative analysis. Data collection technique used are direct observation technique, interviews, and library reserach studies. The theories applied are Aesthetic Theory and Conservation Theory.The results obtained namely the characteristic of Le Mayeur’s paintings are representative with women’s theme and surroundings life, the coloring technique using plaque technique with oil paint, watercolor, traditional paint, and pastels color. Generally, there are several types of damage to the painting collection of Le Mayeur Museum, such as physical or mechanic damage, biotic damage, and chemical damage. Those types of damage are caused by physical factors,chemistry factors, biotic factors, and human factors. The conservation techniques carried out at the Le Mayeur Museum include preventive conservation and curative conservation. The preventive actions are carried out with control of temperature, air humidity, intensity of ultraviolet light, and control of air containing salt due to sea water vapor. The curative actions taken are semi-chemist medicine and painting restoration.

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Amura, Annamaria, Landi Luisa, Luigi Pisani, Maria Veronica Soro, Giorgia Zantedeschi, and Stefano Pagnotta. "Image analysis applied to the planning of a canvas painting restoration intervention." Ge-conservacion 18, no. 1 (December 10, 2020): 339–46. http://dx.doi.org/10.37558/gec.v18i1.822.

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This work proposes a methodology of digital analysis of the state of conservation of a canvas painting to solve difficulties related to the pictorial reintegration of paintings that present an excessive number of different lacunae in terms of size and extent. The case study is related to the small-size oil on canvas painting executed by an unknown artist, where the lacunae were challenging to analyze and localize graphically. Therefore, it required a careful evaluation of the approach to be used during the pictorial reintegration intervention. Using an image analysis method, based on the semi-automatic extraction approach, the state of conservation’s graphic relief outlining different virtual operating proposals was obtained.

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Wong, L., W. Rose, A. Dhanda, A. Flavin, L. Barazzetti, C. Ouimet, and M. Santana Quintero. "MAXIMIZING THE VALUE OF PHOTOGRAMMETRIC SURVEYS IN THE CONSERVATION OF WALL PAINTINGS." International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLVI-M-1-2021 (August 28, 2021): 851–57. http://dx.doi.org/10.5194/isprs-archives-xlvi-m-1-2021-851-2021.

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Abstract. In the field of wall painting conservation, photogrammetric surveys are an increasingly common documentation tool. The outputs from these surveys, including captured images, orthophotos, and three-dimensional models, are used by conservators to monitor and record condition phenomena and conservation treatments. To serve these conservation needs, the outputs should have visual fidelity, meaning they are a close representation of the subject based on their spatial resolution, overall focus, even lighting and color accuracy. However, wall paintings present unique technical challenges for photogrammetry considering their often large scale, irregular topography, range of surface attributes, and access issues. As a documentation technique more commonly applied to capture the geometry of buildings and objects, using photogrammetry to record both the topography and fine surface details of a wall painting requires thorough planning. This paper examines specific challenges in documenting wall paintings and how collaboration between conservators and heritage-recording specialists has improved practice and maximized the value of photogrammetric surveys for conservation.

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Hamm, James F., Paula Mora, Laura Mora, and Paul Philippot. "The Conservation of Wall Painting." Bulletin of the Association for Preservation Technology 18, no. 3 (1986): 69. http://dx.doi.org/10.2307/1494123.

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

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AbstractElectron backscatter diffraction (EBSD) was used in Conservation Science for characterization of ancient materials collected from works of art. The results demonstrate the feasibility of EBSD analysis on heterogeneous matrices as very small samples of paint layers collected from paintings. Two reference pigments were selected from those used by artists to investigate the relationship existing between EBSD pattern quality and properties of the investigated material (i.e., average atomic number, density, and Mohs hardness). The technique was also tested to investigate the pigment phases on two real samples collected from Romanino's Santa Giustina altarpiece, an oil on wood painting dated 1514 (Civic Museum, Padova, Italy). Results show for the first time the acquisition of EBSD patterns from painting samples mounted in resin, i.e., painting cross sections, opening a new powerful tool to elucidate the pigment phases avoiding large sampling on works of arts and to further study the complex mechanisms of pigment deterioration.

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O’donnell, Eliza, and Nicole Tse. "Materiality, Making and Meaning: Building the Artist Record through Conservation in Indonesia." International Journal of Creative and Arts Studies 5, no. 2 (December 26, 2018): 11–25. http://dx.doi.org/10.24821/ijcas.v5i2.2408.

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Ways of knowing and understanding the artistic process are not fixed, and there are multiple perceptions that rely on the experience of the viewer and sources that inform them. this paper presents a case study of a conservation residency and collaborative treatment of indonesian artist Entang wiharso’s ‘landscaping My Brain’ (2001) oil on canvas triptych painting, to examine how we understand the artistic process from a conservation perspective and how this material knowledge contributes to the artist record. an interdisciplinary methodology for the conservation treatment of wiharso’s painting relied on technical and visual examination of the artwork in partnership with artist interviews and archival research. the residency concluded with an exhibition of the painting in an ‘active state of conservation’, highlighting the conservation decisionmaking process as value based and culturally grounded, leading to questions of authority, the role of technical-conservation expertise, what approaches work best, who should do the work and what knowledge informs it. in considering how we understand the artistic process, this paper will draw on the importance of practice-based interdisciplinary learning between conservator, artist, collector, curator and students, and the potential for collaboration and knowledge building at the intersection of these disciplines.

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Feller, C., E. R. Landa, A. Toland, and G. Wessolek. "From soil in art towards Soil Art." SOIL Discussions 2, no. 1 (February 9, 2015): 85–132. http://dx.doi.org/10.5194/soild-2-85-2015.

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Abstract. The range of art forms and genres dealing with soil is wide and diverse, spanning many centuries and artistic traditions, from prehistoric painting and ceramics to early Renaissance works in Western literature, poetry, paintings, and sculpture, to recent developments in cinema, architecture and contemporary art. Case studies focused on painting, installation, and cinema are presented with the view of encouraging further exploration of art about, in, with, or featuring soil or soil conservation issues, created by artists, and occasionally scientists, educators or collaborative efforts thereof.

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Reina Ortiz, M., C. Yang, A. Weigert, A. Dhanda, A. Min, M. Gyi, S. Su, S. Fai, and M. Santana Quintero. "INTEGRATING HETEROGENEOUS DATASETS IN HBIM OF DECORATED SURFACES." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-2/W15 (August 26, 2019): 981–88. http://dx.doi.org/10.5194/isprs-archives-xlii-2-w15-981-2019.

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<p><strong>Abstract.</strong> There are multiple conservation challenges related to decorated surfaces, the majority are intimately linked to its documentation. This paper draws on wall paintings as a representative of decorated surfaces, arguing the importance of considering its fourthdimensionality &ndash; space and time &ndash; in its conservation and documentation. To that end, we propose the use of Building Information Model (BIM) as a platform to consolidate this approach together with various documentation techniques used for the conservation and management of wall paintings. This paper exemplifies this method with a case study of Myin-pya-gu Temple in Old Bagan (Myanmar); firstly, reviewing the different techniques used to document the temple and wall painting (photography, photogrammetry, laser scanning, reflectance transformation imaging (RTI); and secondly, discussing the data integration within a BIM environment. This position proposes a transition from a two-dimensional to a four-dimensional approach in wall painting conservation, potentially opening up possibilities of documentation, monitoring, simulation, or dissemination. Ultimately, the case study of Myin-pya-gu has the objective to introduce the use of HBIM as a platform for consolidating the documentation of decorated surfaces.</p>

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Liu, Y., S. Lyu, M. Hou, and Q. Yin. "THE COMPARISON BETWEEN NMF AND ICA IN PIGMENT MIXTURE IDENTIFICATION OF ANCIENT CHINESE PAINTINGS." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-3 (April 30, 2018): 1169–72. http://dx.doi.org/10.5194/isprs-archives-xlii-3-1169-2018.

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

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11

Fragasso, Laura, and Nicola Masini. "Postprocessing of Infrared Reflectography to Support the Study of a Painting: The Case of Vivarini's Polyptych." International Journal of Geophysics 2011 (2011): 1–8. http://dx.doi.org/10.1155/2011/738279.

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Infrared (IR) reflectography is an imaging diagnostic technique widely used to study and evaluate the assessment of paintings' conservation state. The study case analyzed in this paper is related to a polyptych panel attributed to Vivarini's workshop conserved in the “Sigismondo Castromediano” Museum in Lecce. The painting's IR reflectography has been acquired through a CCD camera with spectral sensitivity ranging 400–1150 nm and manual positioning system. In order to offset the technological limits of the CCD camera, reflectograms have been processed through Principal Component Analysis and spectral indices. Postprocessing provided information related to the different pictorial drafting and restoration works, as well as emphasized graphic details and shadings, useful to improve the knowledge of the painting techniques.

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12

Porter, Jennifer Herrick, Chiara Pasian, Roberta De Angelis, and Nathalie Debono. "Cleaning of Oil-on-Stone Wall Paintings: Lessons Learned From Easel Painting Conservation." Studies in Conservation 65, sup1 (April 29, 2020): P254—P257. http://dx.doi.org/10.1080/00393630.2020.1753354.

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13

Hommes, Margriet van Eikema, and Emilie Froment. "'Een doek van geene beteekenis' De nachtelijke samenzwering van Claudius Civilis in het Schakerbos van Govert Flinck en Jürgen Ovens technisch onderzocht." Oud Holland - Quarterly for Dutch Art History 124, no. 2-3 (2011): 141–70. http://dx.doi.org/10.1163/187501711798264193.

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AbstractBecause of its extreme darkness, The nocturnal conspiracy of Claudius Civilis by Govert Flinck (16151660) and Jürgen Ovens (1623-1678) holds an isolated position within the decoration program with the Batavian revolt in the galleries of Amsterdam's former Town Hall. Of course the canvas depicts a nocturnal scene with light from only the fire and the moon, but in this painting the darkness dominates virtually everything. The rough, rather sketchy execution, whereby large parts of the canvas are left unpainted is also peculiar. Because of this appearance, some art historians have thought it an outrage that this 'painting with no value' should have replaced Rembrandt's masterpiece with the same subject. However, Flinck and Ovens – both pupils of Rembrandt – were painters of the first rank and there is nothing in the oeuvre of either master that is reminiscent of this rather unbalanced gallery painting. The question is therefore: to what does this piece owe its inaccessible appearance? This, of course, also relates to the manufacture-process and function of the canvas. Archival records and historical texts contain many relevant details on the paintings' genesis but have so far mainly given rise to confusion. The technical investigation, carried out during the 2007-2009 conservation campaign of the Batavian series, now demonstrates that the painting's extreme appearance traces back to both its peculiar genesis that is wholly different from that of the other gallery paintings and to its unfortunate conservation history. It was found that the piece was never intended to be a permanent decoration: the canvas is the one surviving remnant of a series of temporary festive decorations that Flinck had produced in the summer of 1659 in honour of the visit of Amalia van Solms and the Orange family to the Town Hall. Because of the painting's temporary nature, Flinck has modified his usual working procedures. Rather than taking sturdy, durable linen he chose a thin, fine canvas; and instead of applying to his canvas a reliable ground layer he painted on it directly. Flinck elected for fast-drying water-based paint (gum arabic) and worked with an extremely modest palette: he coloured his canvas with a thinned brown paint and on this base modelled his figures with only black contours and beige highlights. The original idea was that Flinck's temporary works would be replaced by permanent decorations from his hand, consisting of twelve paintings. But because of his untimely death in 1660, the commission was divided between Jordaens, Lievens and Rembrandt. Rembrandt's painting, to replace Flinck's work with the nocturnal conspiracy, was almost immediately removed, probably in the summer of 1662. When the Bishop of Cologne visited Amsterdam shortly afterwards, this empty space needed to be filled in a hurry and Flinck's old decoration was retrieved from storage. Jürgen Ovens was commissioned to 'work up [= finish] a sketch by Govert Flinck into a complete ordonnance'. Once again we seem to be dealing with a temporary decoration, for the modest sum of 48 guilders was all that Ovens was paid. The painter only did what was absolutely essential – after applying an isolating glue layer, he just added a few lines and touches of colour in oil paint here and there, all just enough to clarify Flinck's image, which was by then probably somewhat battered. The planned replacement of the Flinck/Ovens' canvas by a permanent painting never materialized; oppressed by a shortage of finance, the city governors decided in 1664 to postpone for five years all commissions or purchases of paintings for the Town Hall. This is why Flinck's canvas, dressed up a little by Ovens, has remained in the gallery to this day. Obviously, this painting, produced for a strictly temporary purpose, was never intended to have such a long 'life'. An ungrounded canvas painted with water-based paint is highly fragile and discolours as the fabric ages. But quite apart from this discolouration the dark and empty impression that the painting conveys today, is mainly due to earlier treatments by those who had no understanding of its unique characteristics. As archival records show, in the eighteenth century the canvas was lined twice using glue; a treatment that involved the use of considerable amounts of water. In addition, over the centuries the painting has been varnished several times and in the 1960's it was given a wax-resin lining. It is because these treatments, each of which is totally unsuitable for a water-based canvas, that the painting has acquired its present patchy and dark orange-brown appearance. Since nothing can be done to remedy the consequences of the lack of understanding of previous centuries - one cannot return to the painting's original appearance - the aim of the recent restoration was to achieve a balance between the aspects of the painting that stem from its unusual manufacture-process and the qualities that are the consequence of its conservation history.

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Sawyer, Carol W., Bruce H. Suffield, Adam C. Finnefrock, Harris M. Billings, Erich S. Uffelman, Joseph R. Zoeller, Mark S. Dombrowski, et al. "A John White Alexander painting: A comparison of imaging technologies for resolving a painting under another painting." Journal of the American Institute for Conservation 58, no. 1-2 (March 7, 2019): 37–53. http://dx.doi.org/10.1080/01971360.2018.1556542.

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Górecka, Katarzyna, Marek Sklodowski, Piotr Pawłowski, Joanna Szpor, and Henryk Arendarski. "XVIII Century Wooden Stretchers Structure Designed for Large Canvas and an Example of the Assessment Method." Advanced Materials Research 778 (September 2013): 113–18. http://dx.doi.org/10.4028/www.scientific.net/amr.778.113.

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Paper discusses large size canvas paintings stretching methods and deformations and damages specific for large canvas resulting from an incorrect stretching. Analysis of the preservation state of a wooden stretcher construction and its functionality was an important step in development of the program of conservation work. The case study of M. H Loders painting "Adoration of the Magi" (XVIII c.) from the cathedral Saint - Aubain in Namur (Belgium) is presented. The painting is exhibited 5,5 m above the floor and has a unique shape, as the wooden stretcher frame is adjusted to the round apse walls. Thus usual direct inspection was difficult due to poor access to the reverse side of the painting. Preliminary conclusions on the construction and preservation state of the stretcher frame were drawn on the basis of a thorough inspection of the painting surface. Actual shape of the painting and precise stretchers dimensions were measured with a laser scanner. More information concerning the stretcher frame construction was obtained from a simple micro-camera system combined with LED lighting introduced from the canvas reverse side.

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Helwig, Kate, Marie-Eve Thibeault, and Jennifer Poulin. "Jack Chambers’ mixed media paintings from the 1960s and 1970s: Painting technique and condition." Studies in Conservation 58, no. 3 (July 2013): 226–44. http://dx.doi.org/10.1179/2047058412y.0000000013.

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Hiiop, Hilkka, Andres Uueni, Anneli Randla, and Alar Läänelaid. "Still Life with Grapes and Nest." Baltic Journal of Art History 20 (December 27, 2020): 197–211. http://dx.doi.org/10.12697/bjah.2020.20.08.

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A complex conservation process revealed the layer of the painting inits original subtlety and delicate retouchings recreated the integralsurface of the painting. As a result, we can confirm that it is a paintingof high artistic quality dating most probably from the middle ofthe 17th century, painted on an oak panel of German origin. Weremain doubtful about the Internet auction suggested authorship,as the painting does not reach the artistic quality of Jan DavidszDé Heem, a top rank artist from the Netherlands. It is possible tocontinue with the art-historical analysis (and other investigations)of the painting, to find further proof for the hypothetical dating andmaybe even reach an attribution but we must not forget to ask thequestions whether and to whom it would be necessary. What matters for the owner of the painting is the fact that an artwork which decorates the wall of his home has both aesthetic and historical value – even without knowing its exact date or the painter.

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Sterle, Ana, and Lucija Močnik Ramovš. "The use of a virtual image as a step to the aesthetic presentation of an overpainted baroque painting." Ge-conservacion 18, no. 1 (December 10, 2020): 347–55. http://dx.doi.org/10.37558/gec.v18i1.819.

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Technology has become an important part of the conservator’s work, and we are still learning how to fully embrace it for a better practice. The main problem is lack of time for the treatment of cultural heritage and not enough knowledge in the field of technology. In this article we introduce the use of a virtual image to assist with the restoration of the painting Mater Dolorosa by a famous Slovene baroque painter Marko Layer. The painting’s complex conservation state indicated a need for a different approach when implementing procedures. Graphical documentation of the areas that needed to be removed and reintegrated was made for a transparent view of the upcoming work. To help with the removal and the reintegration process, a virtual image of the reintegrated painting and its options was made. The purpose was to get to know the painting’s specifications better. During the making of the virtual image, the painting was researched in detail in order to correctly apply the theory to practice.

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O'Donoghue, Elma, Rafael Romero, and loris Dik. "French eighteenth-century painting techniques." Studies in Conservation 43, sup1 (January 1, 1998): 185–89. http://dx.doi.org/10.1179/sic.1998.43.supplement-1.185.

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Pottasch, Carol. "The transformation of Adriaen Thomasz. Key’s Portrait of William of Orange." Ge-conservacion 18, no. 1 (December 10, 2020): 190–99. http://dx.doi.org/10.37558/gec.v18i1.827.

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When the iconic portrait of William of Orange by Adriaen Thomasz Key was brought to the conservation studio of the Mauritshuis, examination of the radiograph showed that part of the painting was not original. Prior to the painting’s arrival in the Mauritshuis, the left plank of the original oak support had been lost or removed, and replaced by another plank. Also, the whole painted surface, except for the face, was broadly overpainted. During the recent treatment, the conservators made the decision to remove most of the overpaint, and retouch the painting in an illusionistic way. Different options were considered for re-integrating the addition. This paper discusses the ethical and historical aspects that played an important role in the decisions to restore this painting.

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Kinseher, Kathrin. "PAINTINGS ARE MADE OF PAINT: THE EXHIBITION OF PAINTING TECHNIQUES IN THE MUNICH GLASPALAST, 1893." Studies in Conservation 51, sup2 (January 2006): 41–48. http://dx.doi.org/10.1179/sic.2006.51.supplement-2.41.

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Bordalo, Rui, Paulo J. Morais, Helena Gouveia, and Christina Young. "Laser Cleaning of Easel Paintings: An Overview." Laser Chemistry 2006 (January 11, 2006): 1–9. http://dx.doi.org/10.1155/2006/90279.

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The application of laser cleaning to paintings is relatively recent despite its use on stone-based materials for over 30 years. The cleaning of paintings is of high importance, because it is the least reversible invasive intervention, as well as the most usual of all conservation treatments. Paintings are multilayer system of heterogeneous nature, often very sensitive and inherent difficult to clean. Being a noncontact method, laser cleaning has advantages compared to alternative techniques. Over the last decade, there have been important research studies and advances. However, they are far from sufficient to study the effects on painting materials and to establish the best parameters for each material under investigation. This paper presents a historical overview of the application of laser technology to the cleaning of paintings giving special emphasis on the research of the last decade. An overview of the current research into the interaction between the radiation and the different painting materials (varnish, pigments, and medium) is also given. The pigment's mechanisms of discoloration and the presence of media as a variable factor in the discoloration of pigments are discussed.

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Vallet, Jean-Marc, Livio De Luca, Marie Feillou, Odile Guillon, and Marc Pierrot-Deseilligny. "An Interactive 3-Dimensional Database Applied to the Conservation of a Painted Chapel." International Journal of Heritage in the Digital Era 1, no. 2 (June 2012): 233–50. http://dx.doi.org/10.1260/2047-4970.1.2.233.

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Matteo Giovannetti's frescoes (1355–1356) which decorate the Innocent VI chapel of La Chartreuse du Val des Bénédictins (Villeneuve-lez-Avignon, France) are very sensitive to the alteration. They need a new restoration campaign. Because of the geometrical complexity of the place, the environment and the involved degradation mechanisms, a good conservation management of these murals is essential. Therefore, an interactive 3- dimensional spatial database, including dated data was developped. Architectural measurements, digital scientific documentation were gathered. A historical documentation including restoration acts, used restoration products has been collected. Last, the paintings degradations, up-to-date deterioration patterns description and conservation state diagnosis of these wall paintings including a deterioration mapping are monitored. Results of the physical and chemical analyses of painting, restoration techniques and deterioration products are also integrated. The entire collected and interactive database will be available for conservation managers and researchers within the next three years.

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Unković, Nina. "Matej Sternen as a Restorer: Selected examples in Slovenia and Croatia." Ars & Humanitas 11, no. 1 (July 31, 2017): 204–23. http://dx.doi.org/10.4312/ah.11.1.204-223.

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Matej Sternen (1870–1949) is better known as an impressionist painter rather than for his restoration work, even though in his impressive career he discovered and restored a considerable number of works, especially frescos in Slovenia and Dalmatia (Croatia). His strong interest in restoration can be seen in the numerous notes he wrote about painting technologies, restoration and conservation techniques. This enriched his entire opus, as it stimulated him to try numerous painting techniques and genres, such as frescoes. Sternen was a painter who constructed his paintings very carefully, and a master in the preparation of the painting’s surface, or “the ground,” and always considered the laws of colours and their relationships and proportions to the white painted surface.In his restoration practice, working together with his close colleagues the art historians France Stele (1886–1972) and Ljubo Karaman (1886–1971), Matej Sternen actualized the principle “conserve instead of restore” that was the rule in his day. This paper is based on fieldwork data and archive sources, kept in Ljubljana, Celje, Split and Zagreb, and focuses on two important monuments — the painted ceiling in the Old Manor House in Celje (Slovenia), and a wall painting in the church of St Michael in Ston (Croatia). These two cases, which are different from both technical and methodological approaches to monument protection, clearly show Sternen’s professional expertise and practical realization of “conserve instead of restore,” which speaks in favour of preserving the original work as opposed to aggressive restoration interventions.

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Unković, Nina. "Matej Sternen as a Restorer: Selected examples in Slovenia and Croatia." Ars & Humanitas 11, no. 1 (July 31, 2017): 204–23. http://dx.doi.org/10.4312/ars.11.1.204-223.

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Matej Sternen (1870–1949) is better known as an impressionist painter rather than for his restoration work, even though in his impressive career he discovered and restored a considerable number of works, especially frescos in Slovenia and Dalmatia (Croatia). His strong interest in restoration can be seen in the numerous notes he wrote about painting technologies, restoration and conservation techniques. This enriched his entire opus, as it stimulated him to try numerous painting techniques and genres, such as frescoes. Sternen was a painter who constructed his paintings very carefully, and a master in the preparation of the painting’s surface, or “the ground,” and always considered the laws of colours and their relationships and proportions to the white painted surface.In his restoration practice, working together with his close colleagues the art historians France Stele (1886–1972) and Ljubo Karaman (1886–1971), Matej Sternen actualized the principle “conserve instead of restore” that was the rule in his day. This paper is based on fieldwork data and archive sources, kept in Ljubljana, Celje, Split and Zagreb, and focuses on two important monuments — the painted ceiling in the Old Manor House in Celje (Slovenia), and a wall painting in the church of St Michael in Ston (Croatia). These two cases, which are different from both technical and methodological approaches to monument protection, clearly show Sternen’s professional expertise and practical realization of “conserve instead of restore,” which speaks in favour of preserving the original work as opposed to aggressive restoration interventions.

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26

Sucevic Miklin, Maja. "Overpaints and inpainting on the “Black flag” by Ljubo Babić." Ge-conservacion 18, no. 1 (December 10, 2020): 291–97. http://dx.doi.org/10.37558/gec.v18i1.848.

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This paper will present the restoration carried out at the end of 2017 on an oil painting called the “Black flag”, by Ljubo Babić, that stands today as one of the five more important paintings in Croatian modern art history. The focus will be on previous interventions – retouches and overpaintings – that were found on such an important painting, as well as the complex process of inpainting. After a partial removal of the previous interventions, some particles of dirt were still left embedded in the texture. This condition and the artist's paint effects determined the inpainting process. A mimetic inpainting method was chosen, consisting into a two stages process, intermediated with a varnish application: gouache colours to reconstruct the image and pigments mixed with Canada balsam to finish the process. This method resulted in a good reintegration of the retouch and in the overall appearance of the painting.

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Dolšina, Marjana. "Art history and its dialogue with the wider public: promotion and raising the awareness of cultural heritage." Journal of Education Culture and Society 4, no. 1 (January 12, 2020): 221–27. http://dx.doi.org/10.15503/jecs20131.221.227.

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The paper is based on the results of the project All This Painting hasn’t Gone to Waste, 2011, which deals with early 16th century sacral wall paintings in southern Slovenia. It tries to resolve out some dilemmas in communication with the wider public and presents main objectives in regard to awareness-rising and promotion of art heritage, for example encouragement of insti-tutions and individual experts for more intensive study and/or conservation-restoration work.

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Bianchin, Sara, Umberto Casellato, Monica Favaro, and Pietro Alessandro Vigato. "Painting technique and state of conservation of wall paintings at Qusayr Amra, Amman – Jordan." Journal of Cultural Heritage 8, no. 3 (July 2007): 289–93. http://dx.doi.org/10.1016/j.culher.2007.05.002.

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Benkara, Dana Maria. "Restaurarea picturii Peisaj cu biserică, de Ștefan Popescu." Anuarul Muzeului Etnograif al Transilvaniei 30 (December 20, 2016): 267–77. http://dx.doi.org/10.47802/amet.2016.30.14.

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The paper presents some important aspects of the restoration- conservation process of a painted canvas, belonging to Ştefan Popescu, a romanian painter, whose creation, at the beginning of the 20th century, was famous especially through its landscapes. Stylistic and technological aspects of the painting were analyzed. The painting depicts a realistic landscape, with a house and an imposing stone church. A detailed account of the conservation state of the painting prior the restoration was made. The actual restoration process started with the cleaning of the superficial dirt and dust from the back of the painting. After protecting the entire face of the painting (by applying the Japanese paper), the old patch on the back of the painting (covering a small area of torn canvas) was replaced with a new one. The cleaning process (the removal of the light dirt and the old varnish layer) was followed by the filling of all the gaps of the painted layer with putty. The chromatic integration and the final varnishing ended the restoration process of the painted canvas.

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Roy, Gillian. "THE CONSERVATION OF INDIAN POPULAR PAINTING IN BENGAL." Studies in Conservation 39, sup1 (September 1994): 28. http://dx.doi.org/10.1179/sic.1994.028.

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Zhang, Qing Liang. "Research on Key Energy Saving Techniques of Automobile Painting." Applied Mechanics and Materials 716-717 (December 2014): 694–97. http://dx.doi.org/10.4028/www.scientific.net/amm.716-717.694.

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Based on the domestic automobile body coating technique research, key energy saving techniques in 3 aspects, i.e. painting process, painting equipment and painting management were reviewed respectively. Existing energy conservation problems in Chinese automobile body painting lines were analyzed. The key energy saving of automobile body coating was stated. It was pointed out that energy saving technique of electromechanical system is one of the most potential research direction and development prospect.

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Staniforth, Sarah, Arie Wallert, Erma Hermens, Marja Peek, and Erma Hermens. "Historical Painting Techniques, Materials, and Studio Practice." Studies in Conservation 44, no. 2 (1999): 142. http://dx.doi.org/10.2307/1506726.

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Bellucci, Roberto, and Cecilia Frosinini. "Piero della Francesca's process: panel painting technique." Studies in Conservation 43, sup1 (January 1, 1998): 89–93. http://dx.doi.org/10.1179/sic.1998.43.supplement-1.89.

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Lizun, Damian, Teresa Kurkiewicz, and Bogusław Szczupak. "Exploring Liu Kang’s Paris Practice (1929–1932): Insight into Painting Materials and Technique." Heritage 4, no. 2 (May 19, 2021): 828–63. http://dx.doi.org/10.3390/heritage4020046.

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This paper presents the results of an extensive study of 14 paintings by the pioneering Singapore artist Liu Kang (1911–2004). The paintings are from the National Gallery Singapore and Liu family collections. The aim of the study is to elucidate the painting technique and materials from the artist’s early oeuvre, Paris, spanning the period from 1929 to 1932. The artworks were studied with a wide array of non- and micro-invasive analytical techniques, supplemented with the historical information derived from the Liu family archives and contemporary colourmen catalogues. The results showed that the artist was able to create compositions with a limited colour palette and had a preferential use of commercially available ultramarine, viridian, chrome yellow, iron oxides, organic reds, lead white, and bone black bound in oil that was highlighted. This study identified other minor pigments that appeared as hue modifications or were used sporadically, such as cobalt blue, Prussian blue, emerald green, cadmium yellow, cobalt yellow, and zinc white. With regard to the painting technique, the artist explored different styles and demonstrated a continuous development of his brushwork and was undoubtedly influenced by Modernists’ artworks. This comprehensive technical study of Liu Kang’s paintings from the Paris phase may assist art historians and conservators in the evaluation of the artist’s early career and aid conservation diagnostics and treatment of his artworks. Furthermore, the identified painting materials can be compared with those used by other artists active in Paris during the same period.

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Prati, Silvia, Francesca Volpi, Raffaella Fontana, Paola Galletti, Loris Giorgini, Rocco Mazzeo, Laura Mazzocchetti, Chiara Samorì, Giorgia Sciutto, and Emilio Tagliavini. "Sustainability in art conservation: a novel bio-based organogel for the cleaning of water sensitive works of art." Pure and Applied Chemistry 90, no. 2 (February 23, 2018): 239–51. http://dx.doi.org/10.1515/pac-2017-0507.

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Abstract Organo- and hydrogels have been proposed in the restoration field to treat different types of surfaces. The possibility to retain solvents and to have a controlled and superficial action allowed to use these materials for the removal of very thin layers applied on ancient historical objects, when the under paint layers are particularly delicate and water sensitive. In the last years, an increased attention has been devoted to the proposal of more healthy products to guarantee the safeguard of the operators. Few attention has been devoted to the development of green methods which foresee the use of renewable and biodegradable materials. The aim of this paper is to test a green organo-gel for the cleaning of water sensitive surfaces like varnished egg tempera paintings. The gel has been tested experimented on mock ups varnished with natural and synthetic materials and has been validated on a small portion of a Cimabue painting for the removal of two varnishes applied on two different test areas of the painting.

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Françoise, Séverine, Laurence Mugniot, and Laurence Mugniot. "“Grisaille reconstitution” as a colourless visible retouching method: the case of Les Puys d’Amiens, a set of paintings dating from the 16th century." Ge-conservacion 18, no. 1 (December 10, 2020): 207–15. http://dx.doi.org/10.37558/gec.v18i1.826.

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An innovative visible retouching method was successfully attempted on a set of seven paintings, the Puys d’Amiens, amongst which three of them presented large losses. The challenge was to find a retouching solution that would enable presenting all seven paintings together, improve understanding of the damaged paintings while maintaining discernibility of the retouching. After several digital simulations, the most promising ones were attempted on the loss of the Puy 1518. Based on archives, the agreed solution was baptised “grisaille reconstitution” and consists in reconstituting figures, outlines and values of the original painting whilst purposely omitting multi-colour restitution. This method has been carried out onto the three damaged paintings.

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Abate, D., F. Menna, F. Remondino, and M. G. Gattari. "3D painting documentation: evaluation of conservation conditions with 3D imaging and ranging techniques." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XL-5 (June 5, 2014): 1–8. http://dx.doi.org/10.5194/isprsarchives-xl-5-1-2014.

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The monitoring of paintings, both on canvas and wooden support, is a crucial issue for the preservation and conservation of this kind of artworks. Many environmental factors (e.g. humidity, temperature, illumination, etc.), as well as bad conservation practices (e.g. wrong restorations, inappropriate locations, etc.), can compromise the material conditions over time and deteriorate an artwork. The article presents an on-going project realized by a multidisciplinary team composed by the ENEA UTICT 3D GraphLab, the 3D Optical Metrology Unit of the Bruno Kessler Foundation and the Soprintendenza per i Beni Storico Artistici ed Etnoantropologici of Bologna (Italy). The goal of the project is the multi-temporal 3D documentation and monitoring of paintings – at the moment in bad conservation’s situation - and the provision of some metrics to quantify the deformations and damages.

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Bourached, Anthony, George H. Cann, Ryan-Rhys Griffths, and David G. Stork. "Recovery of underdrawings and ghost-paintings via style transfer by deep convolutional neural networks: A digital tool for art scholars." Electronic Imaging 2021, no. 14 (January 18, 2021): 42–1. http://dx.doi.org/10.2352/issn.2470-1173.2021.14.cvaa-042.

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We describe the application of convolutional neural network style transfer to the problem of improved visualization of underdrawings and ghost-paintings in fine art oil paintings. Such underdrawings and hidden paintings are typically revealed by x-ray or infrared techniques which yield images that are grayscale, and thus devoid of color and full style information. Past methods for inferring color in underdrawings have been based on physical x-ray uorescence spectral imaging of pigments in ghost-paintings and are thus expensive, time consuming, and require equipment not available in most conservation studios. Our algorithmic methods do not need such expensive physical imaging devices. Our proof-ofconcept system, applied to works by Pablo Picasso and Leonardo, reveal colors and designs that respect the natural segmentation in the ghost-painting. We believe the computed images provide insight into the artist and associated oeuvre not available by other means. Our results strongly suggest that future applications based on larger corpora of paintings for training will display color schemes and designs that even more closely resemble works of the artist. For these reasons refinements to our methods should find wide use in art conservation, connoisseurship, and art analysis.

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Villers, Caroline, David Bomford, Jill Dunkerton, Dillian Gordon, Ashok Roy, and Jo Kirby. "Art in the Making: Italian Painting before 1400." Studies in Conservation 35, no. 3 (August 1990): 163. http://dx.doi.org/10.2307/1506170.

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Staniforth, Sarah, and Ian C. Bristow. "Interior House-Painting Colours and Technology 1615-1840." Studies in Conservation 43, no. 1 (1998): 59. http://dx.doi.org/10.2307/1506637.

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Lithgow, Richard, Samuel Whittaker, Tom Bower, Katey Corda, Elizabeth Woolley, Catherine Higgitt, Constantina Vlachou-Mogire, and Caroline Babington. "Vibration Monitoring of Daniel Maclise’s Wall Painting Trafalgar." Studies in Conservation 65, sup1 (April 29, 2020): P180—P186. http://dx.doi.org/10.1080/00393630.2020.1753359.

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42

Hackney, Stephen, and Tarben Ernst. "The applicability of alkaline reserves to painting canvases." Studies in Conservation 39, sup2 (January 1994): 223–27. http://dx.doi.org/10.1179/sic.1994.39.supplement-2.223.

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43

Coli, M., A. L. Ciuffreda, and M. Micheloni. "AN INFORMATIVE CONTENT 3D MODEL FOR THE HALL HOLDING THE RESURRECTION OF CHRIST BY PIERO DELLA FRANCESCA MURAL PAINTING AT SANSEPOLCRO, ITALY." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-2/W11 (May 4, 2019): 435–42. http://dx.doi.org/10.5194/isprs-archives-xlii-2-w11-435-2019.

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<p><strong>Abstract.</strong> The Resurrection of Christ by Piero della Francesca (about 1460) at Sansepolcro (Italy) is a masterpiece in the development of painting. The painting is located in a hall of the city government building, which today holds the Civic Museum of Sansepolcro. This mural painting was realized on a brick wall (15&thinsp;cm thick) located in a different place as it is today. Shortly later, the painting was moved by means of a transport to solid-wall and placed against a pre-existing wall (60&thinsp;cm thick), where it is today, erecting against this wall a counter wall (15&thinsp;cm thick) where the mural painting wall-panel (225&thinsp;&times;&thinsp;200&thinsp;cm) had been inserted.</p><p>Within the studies aimed at restoration and conservation of the painting, the type and characteristics of the walls of the museum hall and of the wall where the painting is located have been defined through different types of diagnostic surveys. Geometric, physical, mechanical and material data from surveys are knowledge that must be archived and made accessible for future maintenance operations. Building Information Modeling (BIM) is a valid methodology that allows to build a three-dimensional database in which to collect information about diagnostics and conservation of the historical building. The aim of this paper is digitalization through the HBIM methodology of the hall of Resurrection, in order to create a “3D informative model” that describes the geometry with objects linking them the information related to knowledge of cultural heritage and it can represent a technical and organizational support for future conservation operations.</p>

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García Fernández-Villa, Silvia. "The Picture so Far: 50 Years of Painting Conservation." Ge-conservacion 13 (June 29, 2018): 96–97. http://dx.doi.org/10.37558/gec.v13i0.585.

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The Picture so Far: 50 Years of Painting Conservation Abigail Granville, Laura Hinde, Sophie Plender, Hayley Tomlinson, Nancy Wade (eds) London: Archetype Publications Ltd, 2017 ISBN: 9781909492240 Dimensiones: 6.3 x 0.5 x 9.3Páginas: 156Ilustraciones en color

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Scharff, Mikkel. "Insight into early nineteenth-century painting conservation in Denmark." Studies in Conservation 45, sup1 (January 1, 2000): 177–81. http://dx.doi.org/10.1179/sic.2000.45.supplement-1.177.

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46

Grădinar, Victoria. "Colour in Mural Painting: Virtue in Conservation and Restoration." Studia Universitatis Babeș-Bolyai Theologia Orthodoxa 64, no. 1 (June 30, 2019): 101–10. http://dx.doi.org/10.24193/subbto.2019.1.07.

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Webster, Adam. "The Picture So Far: 50 Years of Painting Conservation." Journal of the Institute of Conservation 42, no. 1 (October 3, 2018): 69–71. http://dx.doi.org/10.1080/19455224.2018.1522850.

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Jansson, Emma. "A Changing Art: Nineteenth-century Painting Practice and Conservation." Journal of the Institute of Conservation 42, no. 2 (May 4, 2019): 172–74. http://dx.doi.org/10.1080/19455224.2019.1617470.

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Bailão, Ana. "Terminology associated with the conservation and restoration of painting." Conservar Património 18 (2013): 55–62. http://dx.doi.org/10.14568/cp2013010.

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Gómez González, Marisa. "Painting in the Laboratory. Scientific examinationfor Art History and Conservation." Ge-conservacion 8 (December 4, 2015): 52–53. http://dx.doi.org/10.37558/gec.v8i0.332.

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