Thèses sur le sujet « Of easel painting »

Magistro baigiamajame darbe „Molbertinės tapybos darbai Lietuvos visuomeninių pastatų architektūroje“ nagrinėjami XX-XXI a. pr. Lietuvos visuomenių pastatų interjerai, kurių svarbi meninės raiškos priemonė yra molbertinės tapybos paveikslai. Išsamiai analizuojamos paveikslų naudojimo visuomeniniuose interjeruose prasmės, tapybos integravimo architektūroje istorinės raidos ir dabarties tendencijos. Išryškinami tapybos ir interjero architektūros sąveikos kompoziciniai principai ir dermės dėsningumai. Daroma išvada, kad tiek estetiniu, tiek semantiniu požiūriu tapybos kūriniai gali būti svarbūs architektūrinės erdvės formantai ir, nepaisant daiktinės aplinkos formavimo tendencijų XX a. pabaigoje - XXI a. pr. pokyčių, molbertinės tapybos naudojimas architektūroje išlieka tvarus. Darbo apimtis - 94 psl. 97 iliustracios, 1 lentelė, 94 bibliografiniai šaltiniai.
In master's thesis final paper work “Easel painting in the architecture of Lithuanian public buildings” interiors of public buildings at the period of XX and the beginning of XXI century in Lithuania are considered. Easel paintings have a very important mean of art expression in these interiors. Meanings of use of paintings in interiors of public buildings, historical developments and tendencies of paintings integration in nowadays architecture are analyzed at length. Fundamentals and consistent pattern of harmony of interaction between painting and architecture of interior are highlighted. The conclusion is done that painting works could be important formants of architectural space in esthetical and semantic points of view. Moreover, the usage of easel painting remains stable despite the tendency changes in formation of materialistic surrounding at the end of XX century and at the beginning of XXI century. Size of the paper work - 94 pages, 97 figures, 1 table, 94 bibliographical sources.

[ES] Aunque el empapelado es una técnica ampliamente utilizada en restauración con diversos propósitos, todavía no se dispone de mucha información técnica sobre la misma. A primera vista, acarrea consecuencias complejas, incluyendo cambios en lascapas pictoricas, pudiendo tener también potenciales repercusiones en la propia conservación de la obra. En la mayoría de casos, sería más adecuado recurrir a otras técnicas alternativas y menos intrusivas. Por este motivo, a lo largo de esta tesis doctoral se ha desarrollado un protocolo de investigación orientado al diseño de soportes temporales rehumectables (remoistenable temporary supports: RTS) para la protección de pinturas sobre lienzos, un método alternativo que permite un mayor control de la penetración de adhesivo en el sustrato, y por tanto una remoción de residuos más sencilla y eficaz. Durante este estudio se prestó especial atención a las necesidades de los restauradores, no solo en términos de disponibilidad y eficiencia económica, sino también en lo concerniente a la salud de los operadores y el cuidado del medio ambiente. En la primera sección de esta tesis se ha realizado una revisión histórica, comenzando por las primeras fuentes indirectas del Siglo XVIII hasta la actualidad. A continuación, se analizan los mecanismos adhesivos y de penetración del empapelado, focalizándose en aspectos relacionados con la conservación, relacionados con los materiales empleados y metodologías de aplicación. En la segunda sección se describe el estudio de la metodología innovadora de los RTS, ensayada de acuerdo a un meticuloso proyecto de investigación adaptando tecnologías analíticas avanzadas a las necesidades específicas del estudio realizado. Durante la primera etapa experimental, se realizaron análisis químicos, físicos y mecánicos de las diferentes clases de materiales (adhesivos y soportes temporales) y su compatibilidad para la preparación de tejidos rehumectables. La segunda etapa de la investigación se centró en la evaluación de la aplicación de soportes temporales rehumectables en maquetas simuladoras de pinturas en lienzo, con el fin de ensayar aquellos factores considerados más relevantes. Se realizaron observaciones con Microscopía Óptica empleando luz visible y UV, Microscopía electrónica de barrido de emisión de campo (FESEM) para evaluar la permanencia de residuos y el estudio de posibles modificaciones que podrían darse en la superficie de la pintura. Se empleó micro-espectroscopía Raman asociada a un microscopio de alta resolución para determinar la penetración del adhesivo en las grietas de las maquetas. Finalmente, se realizaron pruebas de desprendimiento (peeling test) en diferentes condiciones ambientales para estudiar la fuerza adhesiva de los RTS seleccionados.
[CA] Tot i que la protecció del color és una tècnica àmpliament utilitzada en restauració amb diversos propòsits, encara no s'hi disposa de molta informació tècnica. A primera vista, implica conseqüències complexes, incloent-hi canvis en les capes pictòriques, que poden tenir també potencials repercussions en la mateixa conservació de l'obra. En la majoria de casos, seria més adequat recórrer a altres tècniques alternatives i menys intrusives. Per aquest motiu, al llarg d'aquesta tesi doctoral s'ha desenvolupat un protocol d'investigació orientat al disseny de suports temporals rehumectables (Remoistenable Temporary Supports: RTS) per a la protecció de pintures sobre llenç, un mètode alternatiu que permet un major control de la penetració d'adhesiu en el substrat i, per tant, una eliminació de residus més senzilla i eficaç. Durant aquest estudi es va prestar especial atenció a les necessitats dels restauradors, no solament en termes de disponibilitat i eficiència econòmica, sinó també pel que fa a la salut dels operadors i la cura del medi ambient. En la primera secció d'aquesta tesi s'ha realitzat una revisió històrica, començant per les primeres fonts indirectes del segle XVIII fins a l'actualitat. A continuació, s'analitzen els mecanismes adhesius i de penetració de l'empaperat, i es focalitza en aspectes relacionats amb la conservació futura dels materials emprats i metodologies d'aplicació. En la segona secció es descriu l'estudi de la metodologia innovadora dels RTS, assajada d'acord amb un meticulós projecte d'investigació que adapta tecnologies analítiques avançades a les necessitats específiques de l'estudi realitzat. Durant la primera etapa experimental, es realitzaren anàlisis químiques, físiques i mecàniques de les diferents classes de materials (adhesius i suports temporals) i la seua compatibilitat per a la preparació de teixits rehumectables. La segona etapa de la investigació es va centrar en l'avaluació de l'aplicació de suports temporals rehumectables en maquetes simuladores de pintures en llenç, amb la finalitat d'assajar aquells factors considerats més rellevants. Es realitzaren observacions amb microscòpia òptica emprant llum visible i UV, Microscòpia electrònica d'escaneig d'emissió de camp (FESEM) per a avaluar la permanència de residus i l'estudi de possibles modificacions que podrien donarse en la superfície de la pintura. S'empraren microespectroscòpia Raman associada a un microscopi d'alta resolució per a determinar la penetració de l'adhesiu en les clivelles de les provetes. Finalment, es realitzaren proves de despreniment (peeling test) en diferents condicions ambientals per a estudiar la força adhesiva dels RTS seleccionats.
[EN] Although facing is widely used for multiple purposes, there is still little information about it. At first glance, facing seems to be an almost neutral and simple intervention. Its application, however, entails complex consequences including changes to a painting's strata, and it can have potential repercussions on the conservation of the paint itself. In most cases, it would be better to recur to alternative and less intrusive methods, but sometimes the use of facing is strictly necessary. For this reason, during this PhD a research protocol addressed the design of remoistenable temporary supports (RTS) for the facing of canvas paintings, an alternative method that enables a higher control of the adhesive penetration into the substrate, and thus the easier removal of residues. Great attention was given in this assessment to the needs of restorers, in terms of not only availability and the cost-effectiveness of materials, but also for the concerns of the safety of the operator as well as the environment. In the first section of this dissertation, a historical review is made starting from the first indirect sources of the 18th century up to the present day. Then facing's adhesive and penetrative mechanisms are analysed, focusing on conservative issues related to the used materials and application methodologies. The second section describes the assessment of the innovative RTS methodology, tested according to a meticulous research project adapting advanced analytical technologies to the specific needs. During the first experimental stage, chemical, physical and mechanical analyses of the different classes of materials (adhesives and temporary supports) and their compatibility for the preparation of remoistenable tissues were carried out. The second step of the investigation focused on the evaluation of the application of remoistenable temporary supports on mock-ups reproducing a canvas painting, in order to test those considered the most relevant factors. Observations with optical microscope in visible and ultraviolet (UV) light and analyses with fieldemission scanning electron microscopy (FESEM) were carried out to evaluate the permanence of residues and the assessment of the possible modifications that may have occurred on the painted surface. Micro-Raman spectroscopy associated with a high-resolution microscope was used to determine the penetration of the adhesive into the cracks of the mock-ups. Finally, peeling tests at different environmental conditions were carried out to assess the adhesion strength of the selected RTS.
An acknowledgment to the financial support from the Spanish “I+D+I” project CTQ2017-85317-C2-1-P, which is supported by the Ministerio de Ciencia, Innovación y Universidades, Fondo Europeo de Desarrollo Regional (ERDF) funds and Agencia Estatal de Investigación(AEI).
Alba, P. (2021). Remoistenable temporary supports for facing of canvas paintings [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/164901
TESIS

碩士
國立高雄師範大學
美術學系
97
William Dyce, one of the important painters of the Victorian era, was considered by his contemporaries as the representative figure of paintings, which conveyed doctrinal meanings. His works are so strongly fuelled by his devout beliefs in God as to centre on the issues of religious and moral education. Moreover, his peregrination and paintings are sometimes regarded as the epitome of the Victorian religious culture. This dissertation, looking into Dyce’s easel paintings, is divided into three parts. In order to investigate further into the contents and style of Dyce, the focus of chapter one will be placed on Dyce’s biographical and the then-current socio-cultural background. Chapter two consists of a number of themes: portrait, religious and landscape paintings. In chapter three, the artistic manner in the paintings of Dyce will be explored from the perspectives of his spirituality and aesthetics. Dyce life underwent a radical social change after the industrial revolution; his concerns regarding the cultural, religious values in the transitional society made his works significant when it comes to the Victorian paintings.

A defining feature of American abstract expressionist painting is its enormous size and scale. Heroic ambition, the vast American landscape, and the sense of "something big" happening in American painting are often cited as determining factors in this phenomenon. This dissertation examines how Jackson Pollock, Barnett Newman, and Mark Rothko not only painted large-scale canvases but, following trends in modern architecture, shifted their painting towards the construction of architectural environments, thus promoting the transformation of painting from a window in the wall to a wall without a window. The artist and architect Tony Smith, a close friend and colleague of these painters, played an active role in encouraging their interest in modern architecture. As a result of their investigations into the physical, as well as conceptual, limits of the canvas, these artists shifted the viewer’s experience from a perceptual experience of pictorial space to a physical encounter with actual space. In contradiction to the notion of the purely optical, one could describe this as a somatic viewing experience, tactile and active, which anticipated specific concerns of 1960s minimalism. This achievement redefines Pollock's, Newman's, and Rothko's legacy to the subsequent generation of artists and places their production into a broader historical framework.
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With the aim of finding less invasive and selective cleaning strategies for paintings restoration, this thesis provides novel insights and successful applications on the use of pulsed Nd:YAG lasers to safely remove aged varnish coatings and overpaint layers. The laser-material interaction under different irradiation conditions of several painting materials, such as terpenoid-based varnishes and oil paint layers, was extensively characterized using different analytical techniques. Laser ablation tests carried out on a large number of naturally and artificially aged varnish samples using the fifth (213 nm) and fourth (266 nm) harmonics of a QSwitch (15 ns) Nd:YAG laser evidence the fundamental importance of following a wavelength-based approach for the selective removal of painting varnishes. The promising results achieved on samples irradiated at 213 nm envisage very good prospects for the transfer of this laser cleaning approach in the field. Similarly, Long Q-Switching Nd:YAG (1064 nm) laser with a pulse duration of 120 ns was successfully tested for dealing the conservation problems of two female portraits dated around 1930 and 1910, respectively. The latter painting was found on the backside of a signed artwork by Giacomo Balla, one of the founding members of the Futurist Painters. These artworks were almost completely disguised by thick layers of oil overpaintings, which did not have any artistic relevance.Thorough characterization of the original pigments, binders, overpaintings and deterioration mechanisms allowed performing the complete restoration of the painting from Balla's studio, which returned an unknown Pre-Futurist artwork, and to plan that of the other female portrait by anonymous. At the same time, a systematic laboratory experimentation on prepared samples simulating the uncovering problems encountered in the real case has been carried out. This improved the knowledge of the laser induced-effects and ablation processes on different modern pigments and allowed to exploit such features for the selective removal of the undesired layers. The results reported disclose a significant application perspective for Nd:YAG laser ablation in conservation of modern easel paintings.

A presente tese aborda a tela como suporte para pintura em Portugal. Enquadrando-se na área da conservação e restauro, investiga este suporte pictórico do ponto de vista técnico e material, através de um conjunto de cem obras existentes em museus e outras instituições onde a pintura portuguesa se encontra bem representada. Abrangendo tanto a tipologia religiosa como a civil, a investigação foca a evolução do uso da tela, inicialmente com a técnica a têmpera, através de um exemplar de finais do século XV, e posteriormente com a pintura a óleo, através de pinturas de finais do século XVI até finais do século XVIII, quando a revolução industrial suscita uma nova fase da tela na pintura. Do ponto de vista técnico-material, a investigação privilegiou a observação in situ directa e pormenorizada do reverso das pinturas e pressupôs uma análise quantitativa e qualitativa das telas. Estas fizeram-se com o apoio de radiação visível, registo fotográfico digital das frentes e dos reversos das obras e uso de instrumentos de aumento como um conta-fios. Foram examinadas as características formais das telas e recolhidas e analisadas micro-amostras das telas por microscopia óptica, para a identificação dos materiais constituintes. Quanto à pintura a têmpera sobre tela, a oportunidade de analisar alguns dos materiais constituintes através de microscopia óptica, SEM-EDS e μ-FTIR permitiu identificar a matéria-prima da tela, assim como alguns dos pigmentos, cargas e aglutinante presentes. A abordagem confirmou a raridade da obra, cuja técnica pictórica antecedeu a de óleo nesse suporte. Para uma melhor compreensão sobre a tela, abordou-se o processo tradicional de tecelagem da tela em tear manual, relacionando-se as fibras e os padrões tecidos tradicionalmente utilizados na pintura com determinados períodos artísticos internacionais e nacionais. A informação reunida nesta abordagem interdisciplinar foi contextualizada através de tratadística coeva e do costume nacional e europeu sobre o uso da tela na pintura. Procurou-se, com isso, responder a questões sobre a escolha de certas matérias-primas e de estruturas tecidas, sobre medidas dos panos e dimensões das pinturas, sobre a existência de dimensões-padrão e de marcas e carimbos nas telas ao longo do período investigado e, com isso, relaciona-las com preferências de artistas nacionais e também inseri-los na prática pictórica europeia. A apresentação destes resultados permitiu esboçar uma primeira ideia das características distintivas das telas como elementos fundamentais para a pintura nacional, tema que importa aprofundar no futuro, atendendo à sua influência na técnica pictórica.
This thesis addresses canvas as a support for painting in Portugal. Concerning the area of conservation, this pictorial support is investigated from a material and technical point of view, through a set of ninety and six existing works in museums and other institutions where the Portuguese painting is well represented. Covering both religious and civil typologies, this research focuses on the evolution of the use of canvas, initially with the distemper technique, through an exemplar of late fifteenth century, and then with the oil painting technique, through paintings from late sixteenth century to late eighteenth century, when the industrial revolution promotes a new period to painting on canvas. From the technical and material point of view, the investigation focused on direct and detailed in situ observation of the reverse of paintings and involved a quantitative and qualitative analysis of the canvas. These were carried out with the support of visible light, digital photography of the front and reverse of paintings and with the use of a thread-count. The formal characteristics of the canvas were examined and micro-samples of it were collected and analysed by optical microscopy, to identify the material present. In relation to the distemper painting on canvas, the opportunity to analyse some of the constituent materials by optical microscopy, SEM-EDS and μ-FTIR, allowed to identify the raw material of the canvas, as well as some of the pigments, grounds and binder present. The approach confirmed the uniqueness of this painting, whose pictorial technique preceded the use of oil in this weaved support. For a better understanding of canvas, the traditional process of weaving in a handloom was discussed and fibres and traditional fabrics used as paintings supports were related with specific international and national artistic periods. The information gathered in this interdisciplinary approach was contextualized through coeval treatises and national and European custom of the use of canvas in the painting. It sought, with that, answer to questions about the choice of certain materials and woven structures, about cloth sizes and paintings’ dimensions, about marks and stamps on canvas over the period investigated and, therefore, relate them with preferences of local artists and also insert them in European pictorial practice. The presentation of these results allowed outlining a first idea of the distinguishing features of the canvas as fundamental elements for national painting, a subject that matters to deepen in the future, given to its influence on pictorial technique.

Cristo diante do Sumo Sacerdote, de autoria desconhecida, é uma pintura tenebrista do século XVII, proveniente de Torre de Moncorvo, que sofreu um estudo aprofundado e um tratamento de Conservação e Restauro na Universidade Católica Portuguesa (Porto). Durante a pesquisa de contextualização desta obra, descobriu-se que se trata de uma cópia de uma pintura de Gerrit van Honthorst (1592-1656, Utrecht), importante pintor holandês da sua época, na medida da sua qualidade artística mas, principalmente, pelo modo como pintava cenas noturnas iluminadas pela luz de velas, criando um acentuado efeito dramático com fortes contrastes claro-escuro. Além desta pintura, foi encontrado o registo de outras três cópias em Estremoz, em Madrid e em Bordéus. A pintura em estudo foi analisada de modo a poder-se compreender a natureza dos materiais e técnicas utilizados, nomeadamente, a natureza do suporte têxtil, pigmentos, cargas e aglutinantes utilizados. Quanto à conservação, a correção das acentuadas deformações existentes (principalmente na zona inferior) ao longo de uma costura vertical levou à separação parcial da pintura. A fragilidade e o elevado teor de acidez do suporte têxtil, fruto dos mecanismos de oxidação e hidrólise da celulose, justificaram a opção pela reentelagem. O grave risco de destacamento das camadas de preparação e cromáticas levou à realização da sua consolidação. E ainda, a nível da superfície pictórica, foram preenchidas as lacunas e realizada a sua reintegração cromática. Os problemas colocados pela adesão de um suporte novo a telas com costuras têm sido solucionados de diversos modos pelos conservadores-restauradores ao longo dos tempos. Deste modo, e numa segunda parte deste estudo, pretendeu-se fazer um levantamento de várias propostas e avaliar a sua eficácia, realizando provetes com os vários sistemas e submetendo-os a ensaios de tração até à rutura. Para a entretelagem dos provetes foi utilizado o mesmo adesivo (BEVA 371 O. F.®) e quatro tipos de telas de reforço: linho, linho encolado, poliéster e poliéster impermeabilizado. Concluiu-se que é preferível utilizar um material intermédio para compensar a altura do relevo da costura e, ainda, que o tecido de poliéster utilizado tem pior performance quando comparado com o linho.
Christ before the High Priest, of unknown author, is a tenebrist seventeenth century painting, from Torre de Moncorvo (Bragança) which has been studied and has suffered a conservation and restoration treatment at the Portuguese Catholic University of Porto. During the research of the historic and artistic context of this work, we discovered that it was a copy of a painting by Gerrit van Honthorst (1592-1656, Utrecht), an important Dutch painter not just for his artistic quality but mostly for the way he painted night scenes illuminated by candlelight, creating a dramatic effect marked by strong chiaroscuro contrasts. Besides this copy, we have found three others at Estremoz (Portugal), Madrid (Spain) and Bordeaux (France). The painting in study has been analysed in terms of artistic materials and techniques, including textile fibres identification and pigments, fillers and binders characterization. In terms of conservation, the correction of significant deformations (mainly in the lower zone) along to a vertical seam led to the need of undoing part of the seam. The fragility and the high content of acidity in the textile support, due to hydrolysis and oxidation mechanisms, justified the lining choice. The high risk of detachment of the ground and chromatic layers led to its consolidation. Also, at the pictorial level, the lacunae were filled and retouching was made. The problems caused by de adhesion of a new support to canvas with seams have been solved in different ways by conservators over time. Thus, in a second part of this research we did a survey of several proposals and we evaluated their efficiency by making test models, and submitting them to tensile tests until rupture occur.For the lining of the test models, we used the same adhesive (BEVA 371 O. F.®) and four types of reinforcement fabric: linen, sized linen, polyester and sized polyester. We concluded that it is preferable to apply a mid-material to offset the seam’s relief and also that the used polyester textile has an inferior performance when compared to linen.

Developing appropriate treatments for easel paintings can be complex, as many works are composed of various materials that respond in different ways. When selecting a filling material for these artworks, several properties are investigated including: the need for the infill to react to environmental conditions in a similar manner as the original material; the need for the infill to have good handling properties, adhesion to the original support, and cohesion within the filling material; the ability for the infill to withstand the stress of the surrounding material and; be as flexible as the original material to not cause further damage. Also, changes in colour or mechanical properties should not occur as part of the ageing process. Studies are needed on acrylic-based materials used as infills in conservation treatments. This research examines some of the chemical, physical, and optical changes of eleven filling materials before and after ageing, with the aim to evaluate the overall appropriateness of these materials as infills for easel paintings. The materials examined were three rabbit skin glue (RSG) gessoes, and seven commercially prepared acrylic materials, all easily acquired in North America. Chemical analysis was carried out with Fourier transform infrared (FTIR) spectroscopy and X-ray fluorescence (XRF), pyrolysis gas chromatography-mass spectroscopy (Py-GC/MS), and differential scanning calorimetry (DSC). Overall the compositions of the various materials examined were found to be in agreement with the available literature and previous research. This study also examined characteristics of these materials not described in previous works and, additionally, presented the compositions and behaviour of several commonly used materials with little literature description. After application of an ageing regimen, most naturally aged and artificially aged samples displayed small changes in gloss, colour, thickness, and diffusive behaviour; however, to evaluate these materials fully mechanical testing and environmental studies should be carried out.
Thesis (Master, Art Conservation) -- Queen's University, 2013-09-30 23:24:52.475

Este trabalho teve como objetivos desenvolver duas vertentes: por um lado, o estudo histórico, artístico, técnico e material de duas pinturas sobre tela, assim como realizar as intervenções de conservação e restauro, previamente planeadas, proceder a uma revisão das metodologias usadas para o tratamento de rasgões e a realização de ensaios para a comparação de diferentes adesivos e a sua aplicação em telas de algodão e de linho. No que se refere às duas obras, provenientes da ilha Terceira, do Arquipélago dos Açores, uma refere-se a um retrato equestre de D. Miguel I, executada a óleo sobre tela, provavelmente após 1802-1866. A segunda consiste numa pintura que retrata São José com o menino ao colo, realizada provavelmente com um aglutinante aquoso, assinada por Valentina e datada de 1926. Ambas foram estudadas do ponto de vista histórico, estilístico, formal e iconográfico. Tendo em vista o estudo material e técnico das obras, procedeu-se à sua documentação fotográfica e observação das suas características organoléticas, tendo sido este complementado, apenas no caso do retrato equestre de D. Miguel I, com um estudo analítico. O estudo laboratorial teve por objetivo a identificação de pigmentos, cargas e aglutinantes, recorrendo a diversas técnicas analíticas; microscopia ótica (MO), microscopia eletrónica de varrimento com espectroscopia dispersiva de energia de raios X (SEM-EDX) e microespectroscopia de infravermelho com transformada de Fourier (μ-FTIR). Após recolhida a informação analítica, que permitiu um melhor conhecimento dos materiais constituintes, foi planeada a estratégia de conservação e restauro mais adequada a cada caso, a qual foi levada a cabo, conforme se encontra exposta na presente dissertação. Relativamente ao tratamento de rasgões, que constituiu o caso de estudo deste trabalho, este teve como objetivos, compreender as técnicas mais adequadas para o sucesso deste tipo de procedimentos, tendo como ponto de partida as telas de algodão, que constituem o suporte das obras em estudo. Para tal, prepararam-se provetes em algodão e em linho, que foram submetidos a testes com vários adesivos, aquosos e não aquosos, cujos resultados foram comparados com a informação disponível em estudos anteriores.
This dissertation had as objectives to develop two aspects: on the one hand, the study historical, artistic, technical and material of two paintings on canvas, as well as performing an intervention of conservation and restoration, planned in advance, undertake a review of the methodology used for the treatment of tear mending and testing for the comparison of different adhesives and its application in cotton and linen canvas. As regards the two paintings, from Terceira Island, in the Azores islands, the first one refers to an equestrian representation of D. Miguel I, oil on canvas, probably painted around 1802-1866. The second painting portrays St Joseph with the child at his breast, painted probably with a binder aqueous medium, signed Valentina and dated 1926. Both were studied from a historical, stylistic, formal and iconographic point of view. In view of the material and technical study of the works of art, began a photographic documentation and observation of their organoleptic characteristics, having been this complemented, only in the case of the equestrian portrait of D. Miguel I, with an analytical study. The laboratorial study had as objective the identification of pigments, loads and binders, using a variety of analytical techniques; optical microscopy (OM), scanning electron microscopy with energy dispersive X-ray spectroscopy (SEM-EDX) and Fourier transform infrared spectroscopy (μ-FTIR). After the analytical information collected that enabled a better knowledge of the constituent materials, a strategy of conservation and restoration was planned, appropriate to each case, which has been carried out, as it is exposed in this dissertation. Relating to the treatment of tear mending, which is the case of study of this paper, had as objectives to understand the most suitable techniques for the success of this kind of procedures, taking as a starting point the cotton canvas, which constitutes the support of the two paintings. For such, there were prepared test pieces in cotton and linen, which were submitted to tests with several adhesives, aqueous non aqueous, whose results were compared with the information available in previous studies.

碩士
國立臺北教育大學
藝術與造形設計學系碩士班
107
Painting for me, not just a skill or tools, but instead my language, ideas expressed inside said exports; idea is not only the concept of specific statements more abstract, ambiguous and unknown emotions the use paint-ing find themselves emotional exports. This paper use the method of the Mandala creation of the art therapy and witness the writing method, to guide the creation of a series of works, from the work of self-analysis form, content, and explore the meaning of self-works; understanding explicit personality and ideas from the active conduct of the painting then reverse by the works of image rendering dia-logue with the self, and tap the subconscious escape, re-representations camouflage the true idea in real life, and to face the trauma (hereinafter referred to as "traumatic"), to obtain self recognition.

Stone artworks and easel paintings are challenged by diverse degradations. In particularly, this thesis focuses on two restoration issues mainly induced by liquid water or moisture, which are stone degradation and blanching of easel paintings. From previous research, partially perfluorinated derivatives have been proved to provide promising restoration performance on those two restoration issues, by showing good water repellency as stone protective products and decreasing blanching in easel paintings. Inspired by those results, two families of partially perfluorinated derivatives with hydroxyl groups are proposed and designed as stone protection and blanching painting restoration products in this thesis. Those hydroxyl groups could give good adhesion on polar stone substrates by hydrogen bonding. Meanwhile, hydrophobicity of the compounds can be realized by the perfluorinated chains. The first compounds proposed and synthesized are partially perfluorinated C-glycosides. C-glycosides are carbon-linked analogues of naturally occurring sugars, which have high hydrophilic properties due to the polar hydroxyl groups. In addition to the hydrophilicity and water repellency, C-glycosides themselves possess an improved stability towards hydrolysis. Starting from the unprotected carbohydrate, the natural, renewable and cheap D-glucose, via Lubineau reaction and followed by the convenient one-pot reductive amination reaction, the target compound (partially perfluorinated C-glycoside) was successfully obtained. Moreover, partially perfluorinated C-glycoside with acetyl groups as protecting groups has been successfully synthesized as a control compound, in order to investigate if hydroxyl groups in C-glycoside can improve the restoration efficacy as expected. Then, those new partially perfluorinated C-glycosides have been tested on stone materials as protective products, and on blanching mock-up painting samples. The results indicated that different properties of those C-glycosides caused by the hydroxyls, like physical states, solubility, color and interaction with stone and painting substrates, have been influenced their behaviors as the restoration products. The other series of compounds proposed is partially perfluorinated hydroxylated oligoamides. In order to further improve the interaction between partially perfluorinated oligomers and polar substrates, new partially perfluorinated hydroxylated oligoamides derived from different monomers (dimethyl L-tartrate, diethyl succinate, diethylenetriamine or ethylenediamine) have been successfully synthesized. Those compounds have different structures and properties, i.e. solubility, hydrophilicity, chain length, molecular weight, and etc. Moreover, in order to understand the roles of hydroxyl group and amine in the applicative performance, new partially perfluorinated oligamides with no hydroxyl groups, but with the unchanged amine and succinate sources were successfully synthesized. Then, those new partially perfluorinated derivatives were tested on stone and mock-up blanching painting samples. The results showed that their efficacy for restoration was highly influenced by the structures and properties of the molecules. At the end, 4 promising new partially perfluorinated derivatives for stone protection and blanching painting restoration have been selected. Further optimization of the structures of molecules and their practical process for the application on stone artefacts and easel paintings worth being developed in the future to go deeper on this main cultural heritage approach.

碩士
國立臺灣藝術大學
書畫藝術學系
107
The nature of art is truth and beauty, the idea of which varies from individual to individual though. Beauty is everywhere, available in endless grand mountains and also in one unknown leaf that falls on the ground. We are amazed by nature’s creations, the changing mist and the evanescent blooming of flowers. Art comes from everyday life. Beauty brings joy, rather unintentionally, while art tends to create. Art has no boundaries, and is only confined to infinite perfection. Integrated with diverse cultures, aesthetic viewpoints, global trends, various techniques and mediums of expression, artistic creation is inexhaustible. The thesis includes six chapters. Chapter one introduces the main motif and purpose of the thesis, along with the scale and methodology of the research. Chapter two is a theoretical elaboration on colors. It also discusses different legends, myths, religions and literature about flowers. Chapter three explores the nature of glue painting in terms of possible mixture of traditional and contemporary elements, such as structure, material, and technique. Chapter four is the practical application of key concepts, laying out the execution Chapter five work interpretation .Chapter six concludes the thesis and reflects upon the process of creation.

Easel paintings are important Cultural Heritage assets with significant historic and cultural value. They usually possess a multi-tiered structure, composed of different layers, some of which may present protein binders. Proteins have been commonly used as paintings medium, adhesives and coating layers in easel paintings. Hence, their recognition is a crucial step for easel painting’s conservation and restoration processes. The present work presents a novel fluorescent labelling methodology, using a coumarin derivative chromophore, C392STP (sodium (E/Z)-4-(4-(2-(6,7- dimethoxycoumarin-3-yl)vinyl)benzoyl)-2,3,5,6-tetrafluorobenzenesulfonate) as a fluorophore probe to bond proteinaceous binders used in paintings. The method was developed and optimized using commercial proteins and proteins extracted from hen’s egg yolk and white, bovine milk, and rabbit skin. In order to mimic the real conditions, paint models of easel paintings have been prepared by mixing proteins such as ovalbumin, casein and rabbit glue with different pigments (lead white, chrome yellow and black bone) and the fluorescent labelling method was miniaturized and tested. The results revealed that proteins in concentration as low as 6.0 μg/ml could be detected. Finally, for validation methodology, real micro samples of easel paintings were analyzed. The extracted proteins were submitted to the fluorescent labelling method developed and clearly identified in electrophoretic profiles. The results evidence the applicability of this methodology as an effective and useful analytical tool for the identification of protein binders obtained from easel paintings and, possibly in other art work. Additionally, theoretical quantum chemical calculations based on the Density Functional Theory (DFT) and Time Dependent Density Functional Theory (TD-DFT) have been performed in the C392STP coumarin and in a related coumarin derivative ((E/Z)-4-(2-(6,7- dimethoxycoumarin-3- yl)vinyl)-N-propylbenzamide), that mimics the coumarin bonded to lysine. The calculations confirm the experimental trends in absorption wavelengths and are in good agreement with the experimental absorption spectra, providing a comprehensive characterization of the main spectral features of the studied compounds; RESUMO: Identificação de ligantes proteicos em arte As pinturas de cavalete são um componente importante do Património Cultural, com um significativo valor histórico e cultural. Geralmente possuem uma estrutura composta por diferentes camadas, algumas das quais podem apresentar ligantes proteicos. As proteínas surgem geralmente em pinturas de cavalete como meio de suporte da pintura, adesivos e camadas de revestimento. A sua identificação é, portanto, um passo crucial para os processos de conservação e restauração da pintura de cavalete. O presente trabalho apresenta uma nova metodologia de marcação fluorescente, utilizando um cromóforo derivado da cumarina, C392STP ((E/Z)-4-(2-(6,7- dimetoxicoumarin-3-yl)vinil)-N-propilbenzamida) como sonda fluorescente para marcar os ligantes proteicos usados em pinturas. O método foi desenvolvido e otimizado utilizando proteínas comerciais e proteínas extraídas da gema e clara de ovo de galinha, de leite de bovino e de pele de coelho. Para simular as condições reais, foram preparados modelos de pintura de pinturas de cavalete, misturando-se proteínas como ovalbumina, caseína e cola de coelho, com diferentes pigmentos (branco de chumbo, amarelo de crómio e negro de osso) e o método de marcação fluorescente foi miniaturizado e testado. Com base nos resultados obtidos, o método revelou-se capaz de detetar proteínas a concentração tão baixa quanto 6,0 μg / ml. Finalmente, para validação do método, foram analisadas micro amostras reais de pinturas de cavalete. As proteínas extraídas foram submetidas ao método de marcação fluorescente desenvolvido, tendo sido claramente identificadas em perfis eletroforéticos. Os resultados evidenciam a aplicabilidade desta metodologia como uma ferramenta analítica eficaz e útil para a identificação de ligantes proteicos extraídos de pinturas de cavalete e, possivelmente, de outras obras de arte. Adicionalmente, foram realizados cálculos quânticos baseados na Teoria Funcional da Densidade (DFT) e na Teoria do Funcional da Densidade Dependente do Tempo (TD-DFT) da cumarina C392STP de um derivado desta cumarina, ((E/Z)-N-propyl-4-(2-(6,7-dimethoxy-2-oxo-2H-chromen-3-yl)vinyl)benzamide)), que modela a cumarina ligada a lisina. Os cálculos confirmam as tendências experimentais observadas nos comprimentos de onda de absorção e estão de acordo com os espectros de absorção experimentais, fornecendo uma caracterização abrangente das principais características espectrais dos compostos estudados.

Este estudo visa o desenvolvimento do conhecimento sobre radiografia-X aplicado a pintura, com enfoque em pintura de cavalete, sobre madeira e sobre tela. É traçada uma perspetiva histórica, desde a descoberta dos raios X por Wilhelm Röntgen, passando pelo impacto consequente em termos radiológicos e radiográficos, até à sua implementação no campo das obras de arte. Descrevem-se os fundamentos radiológicos implicados neste tipo de exame, naquilo que é a natureza da radiação eletromagnética, o modo como são produzidos os raios X e os fenómenos que decorrem da sua interação com a matéria. São avaliados todos os fatores radiográficos no que respeita à natureza da radiação, aos parâmetros instrumentais, aos geometrismos de posicionamentos ou à inclusão de estruturas adicionais, e a descrição sistematizada do seu impacto na qualidade da imagem, quer no suporte analógico de película, quer na sua vertente digital. Na componente de leitura dos dados obtidos, é delineada uma metodologia específica de interpretação de imagem, sendo descritos e explorados casos concretos de estudo que ilustram a capacidade de fornecimento de novas informações, em pintura de cavalete, deste exame de área não destrutivo.
This study aims to develop the knowledge about the application of X-radiographs to easel painting, focusing on those with wood and canvas supports. An historical perspective is drawn, from the discovery of X-rays by Wilhelm Röntgen, through the following radiological and radiographic impact, to the implementation in the field of art works. It is described the radiological basis involved in this type of examination, concerning the nature of electromagnetic radiation, the way X-rays are produced and the resultant phenomena of its interaction with matter. Every radiographic factor is evaluated such as the nature of the radiation, the instrumental parameters, geometrical and placements issues or the inclusion of additional structures, and then proceed to the systematic description of its impact on image quality, whether in analogic film, as on digital support. In the reading component of the data, it is outlined a specific methodology of image interpretation, being described and explored specific case studies that illustrate the ability to supply new information on easel painting, by this non-destructive exam.

O presente trabalho é o resultado do estudo e da intervenção de conservação e restauro da pintura a óleo sobre tela, datada entre finais do século XVIII e inícios do século XIX, representando o bispo do Porto, D. Frei António de Sousa. Inserida num conjunto de pinturas de retratos de bispos da diocese do Porto, encontra-se exposta na Galeria dos Bispos, do Paço do Bispo do Porto, presentemente na sala Antecâmara da Capela. A obra apresentava patologias essencialmente associadas às constantes flutuações de humidade relativa (HR) do ar, como pasmados, estalados e deformações estruturais. Estas últimas estavam evidenciadas por desigualdades de tensão ao longo da pintura, marcas da grade e sistema inadequado de cravação. Durante a intervenção, com o processo de limpeza do verniz de protecção foi possível identificar elementos e cores da composição até então imperceptíveis ou mal interpretados e com a construção de uma câmara de humidade foi possível planificar o suporte têxtil, com o apoio de um bastidor temporário de trabalho. Desafiados pela dificuldade de controlo das condições ambientais, que propicia problemas de conservação comuns a todas as pinturas que se encontram neste edifício e em muitas outras instituições semelhantes pelas características arquitectónicas e/ou dificuldades orçamentais, propusemo-nos desenvolver um sistema de tensão de suportes têxteis, que minimizasse os efeitos negativos na obra. Idealizado para ser acessível a todos, de baixo custo e apto a ser usado em qualquer oficina de conservação e restauro, capaz de responder às necessidades de alterações das tensões dos têxteis, por acção da humidade e com apresentação permanente do valor real das forças exercidas na obra, em N (newtons). O protótipo final foi fruto de vários ensaios com diferentes modelos, que permitiram avaliar e melhorar o sistema que permite tensionar uma tela sem pontos de cravação fixos, com baixos valores de tensão e garantindo que esta é constante. Não obstante a contribuição desinteressada, a todos quantos queiram utilizar esta solução de construção em oficina, foi desenvolvido um desenho técnico para a produção em série de um modelo final, na expectativa de se obter financiamento para o registo da patente, produção de matrizes e comercialização do produto. Esta produção poderá ser concretizada com recurso à extrusão metalúrgica ou, numa nova abordagem que pretendemos continuar a desenvolver, através da impressão 3D. Procura-se, assim, dotar o mercado com alguma solução O Retrato de D. Frei António de Sousa, Bispo do Porto (1758 – 1766): Sistema de Tensão de Suporte Têxtil IV capaz de dar resposta à maior parte das obras e sem necessidade de o conservador-restaurador se submeter a pedidos e tempos de produção por encomenda.
The present work is the result of the study and intervention of conservation and restoration of an oil painting on canvas, dated between the end of the 18th century and the beginning of the 19th century, portraying the Bishop of Porto, D. Frei António de Sousa. Included in a collection of portraits of bishops from the diocese of Porto, it is exhibited in the Gallery of Bishops, in the Paço do Bispo do Porto, presently at the chapel antechamber. The painting presented pathologies essentially associated with constant fluctuations in relative humidity (HR) of the air, such as blooming varnish, cracking and structural deformations. The latter were defined by uneven tensions throughout the painting, stretcher marks and an inadequate setting system. During the process of varnish removal it was possible to identify elements and colours of the composition until then, imperceptible or misinterpreted and with the construction of a humidity chamber it was possible to flatten the painting structure, with the support of a temporary working stretcher. Challenged by the difficulty of controlling environmental conditions, which cause conservation problems common to all the paintings found in this building and in many others in similar institutions due to the architectural characteristics and/or budget constraints, we developed a textile support tension system that could minimize the negative effects on the canvas. Conceived to be accessible to all, at low cost and able to be used in any conservation and restoration workshop; capable of responding to the needs of tension changes, due to the action of humidity and with constant presentation of the real value of the forces exerted in the painting, in N (newtons). The final prototype was the result of several tests of different models, which allowed to evaluate and improve the system that allows tensioning a canvas without static attachment points, at low tension values and guaranteeing constant tension. Despite the disinterested contribution, to all those who want to use this construction solution in a workshop, a technical design was developed for mass production of a final model, hoping to obtain funding for patent registration, matrix production and commercialization of this product. This production can be carried out using metallurgical extrusion or, in a new approach that we intend to continue to develop, through 3D printing. Thus, the aim is to provide the market with a solution capable of responding to most works of art and without the need for the conservator-restorer to be limited to personalized orders and production times.