Tratados de restauro de pinturas: 7

J. F. L. Mérimée, De la Peinture à l'Huile, Paris, 1830, 323 pp., aqui.

Chapitre VI. De la conservation des tableaux et de leur restauration, pp. 252-268

Extracto:

De tout ce qui précède, on doit conclure que ce serait trop risquer que d'entreprendre de nettoyer ou de restaurer un tableau, si on n'avait aucune expérience dans cette partie. Il serait mieux, sans doute, qu'un peintre habile ne s'en rapportât qu'à lui seul du soin de nettoyer un tableau, dont mieux que personne il peut apprécier le mérite; mais, avant de l'entreprendre, il faut, qu'il fasse des essais sur des tableaux qu'il peut gâter sans regret, et quelques succès qu'il ait obtenus dans ses expériences, il ne doit pas croire qu'il réussira constamment. Celui qui s'est occupé toute sa vie de la restauration des tableaux ne peut pas encore se flatter d'avoir rencontré toutes les difficultés; il doit toujours, par précaution, essayer sur quelques parties les moins importantes du tableau le procédé de nettoyage qui convient le mieux.

Os trabalhos dos pintores: 113

Michael Sweerts, O atelier do pintor, c. 1650.

Archaeological Chemistry

Acabou de ser publicado o livro seguinte:

Zvi Goffer, James D. Winefordner, Archaeological Chemistry, 2nd Edition, John Wiley & Sons, Hoboken, 2007, 623 pp.

Embora seja descrito como a 2.ª edição do livro com o mesmo título publicado em 1980, edição era que era assinada apenas pelo primeiro autor, trata-se praticamente de um novo livro sobre o mesmo tema. Além de actualizado, tem uma nova organização, trata de novos assuntos, outros foram retirados e tem um segundo autor.

Índice:

• Minerals: rock and stone; pigments, abrasives, gemstones.
• The chemical elements.
• Minerals and mineraloids.
• Rock and stone.
• The study of archaeological stone.
• The chemical analysis of archaeological materials.
• The provenance of archaeological materials.
• The chronology of archaeological materials.
• Pigments.
• Abrasives.
• Gemstones.
• Cutting and polishing gemstones.
• Lithics: Flint and obsidian.
• Quartz and flint.
• Obsidian.
• Use wear analysis.
• Sand: glass, glaze, enamel.
• Glass, glaze and enamel.
• Glass.
• Glassmaking.
• Ancient glass studies.
• The decay of glass.
• Secondary rocks: building stone, brick, cement, mortar.
• Building stone.
• Cement.
• The study of ancient cements.
• Ores: metals and alloys.
• Native metals.
• Metalliferous ores.
• Mining.
• Ore dressing.
• Smelting.
• Metal refining.
• Alloys.
• The metals and alloys of antiquity.
• The deterioration of metals and alloys - Corrosion.
• The study of archaeological metals and alloys.
• Sediments and soils.
• Sediments, oxygen isotopes and ancient temperatures.
• Soil.
• Clay: Pottery and other ceramic materials.
• Primary clay.
• Secondary clay.
• Clay and ceramic materials.
• Ceramic materials.
• Making ceramics.
• Common ceramic materials       .
• The study of ancient pottery.
• The biosphere: Organic and biological substances.
• Living organisms and cells.
• Biological matter: organic and bioinorganic substances.
• Ancient biological materials.
• Dating organic materials.
• Carbohydrates: wood, gums, resins.
• Wood.
• Gums.
• Resins.
• Carbohydrates, isotopes and the study of ancient diets.
• Lipids: oils, fats and waxes.
• Oils.
• Fats.
• Waxes.
• Soap.
• Ancient lipids.
• Proteins:   skin and hide, leather, glue.
• Animal skin.
• Skin and hide.
• Leather.
• Glue.
• Dating ancient proteins - amino acid racemization dating.
• The nucleic acids: Human traits; genetics and evolution.
• DNA after death.
• The polymerase chain reaction (PCR).
• Ancient DNA studies.
• Fibers: yarn, textiles and cordage; writing materials.
• Fibers.
• Textile and cordage fibers.
• Vegetable fibers.
• Animal fibers.
• Inorganic   fibers.
• The study of archaeological fibers.
• Writing materials.
• Dyes and dyeing.
• Stains and staining.
• The dyeing process.
• Mordants.
• The nature of dyes.
• Ancient dyes.
• The identification and characterization of ancient dyes and mordants.
• Bioinorganic materials;   bone, ivory, shell, phytoliths.
• Bone.
• Teeth.
• Ivory.
• Horn.
• Antler.
• Shell.
• Archaeological bone.
• Bone, stable isotopes and ancient diets.
• Some ancient   remains: mummies, fossils, coprolites.
• Mummies and mummification.
• Embalming.
• Fossils and fossilization.
• Animal excretions, coprolites.
• The environment and the decay of archaeological materials.
• Air and the atmosphere.
• The composition of the atmosphere.
• Water and the hydrosphere.
• Pollution.
• Air pollutants.
• Water pollutants.
• The interaction of materials with the environment.
• Temperature effects.
• Sunlight.
• Oxygen and ozone.
• Water.
• Air pollutants.
• The deterioration of some archaeological materials.
• The authentication of antiquities.
• Technical and scientific and methods of authentication.
• Some authentication studies.
• Appendix I. The Chemical Elements.
• Appendix II. Chronometric Dating Methods: Selection criteria.
• Appendix III. Symbols, constants, units and equivalencies.

O 1.º capítulo, num total de 91 páginas, está livremente disponível aqui.

Os trabalhos dos pintores: 112

Michael Sweerts, Auto-retrato, c. 1656-1660.

Os trabalhos dos pintores: 111

Michael Sweerts, Auto-retrato, c. 1656-1660.

Os trabalhos dos pintores: 110

Michiel Sweerts, O Atelier do Pintor.

CeROArt – Uma nova revista de conservação

Acabou de ser publicado, com data de Novembro de 2007, o primeiro número de CeROArt, uma nova revista de conservação.

A revista é editada apenas em formato electrónico e está livremente acessível aqui.

Do texto de apresentação:

Revue et plateforme interactive, CeROArt consacre ses pages à une approche pluridisciplinaire de la problématique de la Conservation, exposition et Restauration d’Objets d’Art. Elle se veut espace de réflexion et d’interactions entre historiens et historiens de l’art, philosophes et muséologues, scientifiques intéressés par le patrimoine, conservateurs, restaurateurs, autant que représentants du monde muséal ou étudiants en l’une de ces disciplines.

Synchrotron Radiation in Art and Archaeology

A revista Applied Physics A: Materials Science & Processing, vol. 90, n.º 1, 2008, tem uma secção temática intitulada sobre o uso da radiação de sincrotão em arte e arqueologia.

Os artigos podem ser acedidos integralmente aqui (acesso reservado).

Índice:

• Wolfgang Eberhardt, Birgit Kanngießer, Ina Reiche, Synchrotron Radiation in Art and Archaeology 2006 – a truly interdisciplinary event, p. 1-1

• G. Chiari, R. Giustetto, J. Druzik, E. Doehne, G. Ricchiardi, Pre-columbian nanotechnology: reconciling the mysteries of the maya blue pigment, pp. 3-7

• R. Arletti, L. Cartechini, R. Rinaldi, S. Giovannini, W. Kockelmann, A. Cardarelli, Texture analysis of bronze age axes by neutron diffraction, pp. 9-14

• V. Kokla, A. Psarrou, V. Konstantinou, Computational models for pigments analysis, pp. 15-22

• Lluveras, S. Boularand, J. Roqué, M. Cotte, P. Giráldez, M. Vendrell-Saz, Weathering of gilding decorations investigated by SR: development and distribution of calcium oxalates in the case of Sant Benet de Bages (Barcelona, Spain), pp. 23-33

• T. Broekmans, A. Adriaens, E. Pantos, Insights into the production technology of north-Mesopotamian Bronze Age pottery, pp. 35-42

• M. Manso, M. Costa, M. L. Carvalho, Comparison of elemental content on modern and ancient papers by EDXRF, pp. 43-48

• M. Gil, M. L. Carvalho, A. Seruya, I. Ribeiro, I. Queralt, A. E. Candeias, J. Mirão, Limewashing paintings in Alentejo urban heritage: pigment characterization and differentiation by WDXRF and XRD, pp. 49-54

• M. Sánchez del Río, A. Gutiérrez-León, G. R. Castro, J. Rubio-Zuazo, C. Solís, R. Sánchez-Hernández, J. Robles-Camacho, J. Rojas-Gaytán, Synchrotron powder diffraction on Aztec blue pigments, pp. 55-60

• P. Sciau, S. Relaix, C. Mirguet, P. Goudeau, A. M.T. Bell, R. L. Jones, E. Pantos, Synchrotron X-ray diffraction study of phase transformations in illitic clays to extract information on sigillata manufacturing processes, pp. 61-66

• N. Salvadó, S. Butí, E. Pantos, F. Bahrami, A. Labrador, T. Pradell, The use of combined synchrotron radiation micro FT-IR and XRD for the characterization of Romanesque wall paintings, pp. 67-73

• Calza, M. J. Anjos, S. M.F. Mendonça de Souza, A. Brancaglion Jr., R. T. Lopes, X-ray microfluorescence with synchrotron radiation applied in the analysis of pigments from ancient Egypt, pp. 75-79

• T. Pradell, J. Molera, E. Pantos, A. D. Smith, C. M. Martin, A. Labrador, Temperature resolved reproduction of medieval luster, pp. 81-88

• M. Szczepaniak, D. Nawrocka, M. Mrozek-Wysocka, Applied geology in analytical characterization of stone materials from historical building, pp. 89-95

• M. Ferretti, S. Siano, The gilded bronze panels of the Porta del Paradiso by Lorenzo Ghiberti: non-destructive analyses using X-ray fluorescence, pp. 97-100

Molecular and Structural Archaeology

A revista Applied Physics A: Materials Science & Processing, vol. 89, n.º 4, 2007, tem uma secção temática intitulada sobre a arqueologia molecular e estrutural.

Os artigos podem ser acedidos integralmente aqui (acesso reservado).

Índice:

• J. L. Hodeau, R. Guinebretiere, Crystallography: past and present, pp. 813-823

• E. Welcomme, P. Walter, P. Bleuet, J. L. Hodeau, E. Dooryhee, P. Martinetto, M. Menu, Classification of lead white pigments using synchrotron radiation micro X-ray diffraction, pp. 825-832

• R. J.H. Clark, The scientific investigation of artwork and archaeological artefacts: Raman microscopy as a structural, analytical and forensic tool, pp. 833-840

• M. Cotte, E. Checroun, J. Susini, P. Walter, Micro-analytical study of interactions between oil and lead compounds in paintings, pp. 841-848

• C. Miliani, F. Rosi, A. Burnstock, B. G. Brunetti, A. Sgamellotti, Non-invasive in-situ investigations versus micro-sampling: a comparative study on a Renoirs painting, pp. 849-856

• Gianoncelli, G. Kourousias, Limitations of portable XRF implementations in evaluating depth information: an archaeometric perspective, pp. 857-863

• J. Castaing, P. Walter, P. Veyssière, Extended defects in crystals: examples in powder processing for ancient cosmetics, pp. 865-869

• P. Garside, P. Wyeth, Crystallinity and degradation of silk: correlations between analytical signatures and physical condition on ageing, pp. 871-876

• M. Müller, B. Murphy, M. Burghammer, C. Riekel, E. Pantos, J. Gunneweg, Ageing of native cellulose fibres under archaeological conditions: textiles from the Dead Sea region studied using synchrotron X-ray microdiffraction, pp. 877-881

• J. Lojewska, M. Missori, A. Lubanska, P. Grimaldi, K. Zi?ba, L. M. Proniewicz, A. Congiu Castellano, Carbonyl groups development on degraded cellulose. Correlation between spectroscopic and chemical results, pp. 883-887

• M. Hargittai, Symmetry, crystallography, and art, pp. 889-898

• G. Artioli, Crystallographic texture analysis of archaeological metals: interpretation of manufacturing techniques, pp. 899-908

Tratados de restauro de pinturas: 6

Anónimo, Advice to proprietors, on the care of valuable pictures painted in oil with instructions for preserving, cleaning, and restoring them, London, Sherwood, Gilbert, and Piper, 1835, 82 pp., aqui.

O texto não está dividido em capítulos.

Extracto (do início):

The uniform progress of civilized life is from things that are indispensably necessary; to those which may be considered as mere accommodations, from accommodations, to embellishments and ornaments; but as these embellishments are often of a perishable nature, and in the course of time require renovating, the following brief instructions are submitted to those who undertake the delicate and sometimes difficult operation of cleaning, preserving, and restoring Oil Paintings.

Tratados de restauro de pinturas: 5

François-Xavier de Burtin, Traité Théorique et Pratique des Connaissances qui sont Nécessaires a Tout Amateur de Tableaux, 2.ª ed., Valenciennes, Lemaitre, Libraire-Éditeur, 1846, cap. XV, aqui.

Índice do cap. XV :

• Des différentes méthodes qu'on peut mettre en usage pour nettoyer les tableaux, et des précautions qu'on doit prendre en les faisant rentoiler ou restaurer

• Nécessité pour tout amateur d'apprendre à nettoyer ses tableaux
• Des tableaux couverts d'un vernis au mastic, ou autres résines de cette nature
• Des tableaux qui sont couverts d’huile
• Des tableaux qui sont couverts d’un mauvais vernis
• Des tableaux qui sont couverts de blanc d’œuf, de colle, ou de vernis à l’eau
• Des tableaux qui sont couverts de fumée ou crasse de l'atmosphère, sans avoir été ni vernis ni huilés
• Des différentes espèces de chanci qui attaquent les tableaux
• Des cas où l’on peut employer le fer sur la peinture
• Précautions générales qu’on doit prendre en nettoyant des tableaux, ainsi que pour le rentoilage et leur restauration

As pinturas rupestres da gruta de Altamira

Matilde Muzquiz Pérez-Seoane, Análisis artístico de las pinturas rupestres del gran techo de la cueva de Altamira. Materiales y técnicas, Tese de Doutoramento, Universidad Complutense de Madrid, 1988, aqui

Embora esta tese tenha sido apresentada em 1988, só agora foi disponibilizada online.

Índice:

• Introduccion
• Investigaciones realizadas hasta la fecha
• Introduccion
• Dispersion de la pintura rupestre del paleolitico
• Primeras investigaciones
• Reconocimiento de la pintura rupestre como obra del hombre paleolitico
• Descubrimiento de cuevas con arte rupestre e investigaciones pictoricas correspondientes
• Investigaciones llevadas a cabo por Leroi-Gourhan, contribucion al conocimiento del arte paleolitico, de Laming-Emperaire y Alexander Marshack
• Aportacion de Sigfrid Giedion
• Investigaciones sobre materiales de pintura y tecnicas en la cueva de Lascaux
• Planteamiento del artista frente a su obra, por Leroi-Gourhan
• El arte rupestre paleolitico en el norte de España, principales yacimientos y caracteristicas
• Introduccion
• Caracteristicas geograficas
• Plano de la region cantabrica con situacion de los principales yacimientos con arte rupestre del paleolitico
• Caracteristicas
• Materiales
• Altamira
• Situacion geografica
• Historia del descubrimiento
• Investigaciones precedentes
• Plano del estado primitivo de la cueva
• Descripcion general de la cueva con aportacion de plano esquematico del arte contenido en sus paredes
• Sala de los grandes policromos
• Descripcion de dimensiones
• Distribucion de las figuras en el gran techo
• Datacion de las pinturas
• Aspectos generales de los grandes policromos
• Analisis de las figuras
• Comparacion con otras muestras de arte rupestre de la cornisa cantabrica
• Introduccion
• Cueva de el Castillo
• Distancia entre las cuevas de Altamira y el Castillo
• Periodos de habitacion en la cueva de Altamira y el Castillo
• Analisis de las figuras
• Analisis practico de procedimientos pictoricos del arte rupestre del paleolitico
• Introduccion
• Carbones
• Pintura
• Grabado
• Reproduccion de bisonte de Altamira
• Iluminacion
• Analisis de pigmentos
• Aportacion fotografica
• Conclusiones
• Autores de las pinturas del gran techo
• Iluminacion empleada
• Huesos hallados bajo los paneles de pintura
• Planteamiento respecto a la composicion de los grandes policromos
• Unidad de concepcion y procedimiento en la ejecucion de las figuras
• Comportamiento de los materiales
• Particularidades sobre algunas figuras de bisontes de la cueva de Altamira
• El pintor de los policromos de Altamira pinto previamente en la cueva del castillo
• Voluntad estetica

Os trabalhos dos pintores: 109

Giovanni Francesco Barbieri, Autoportrait devant une peinture de l'"Amor Fedele", 1650.

Os trabalhos dos pintores: 108

Francesco Bartolozzi, 1724.

Tratados de restauro de pinturas: 4

Maurice James Gunn, Print Restoration and Picture Cleaning, London, L. Upcott Gill, 1911, 172 pp., aqui

Índice:

• Introduction

• Preliminaries
• Materials Required
• Ascertaining the Chances of a Print Cleaning
• Failures and How to Avoid Them

• Defective Prints
• Oil and Grease
• Ink-stains
• Mending a Hole
• Fly-marks
• Removing Creases
• Inlaying
• Varnished Prints
• Toning a Bleached Print
• Worm-holes
• More about Damaged Prints
• "Foxing"

• Laid-Down Prints. India-Paper Prints. Torn Mounted Prints
• Prints Laid Down on Canvas
• India-paper Prints
• How to Deal with a Damaged Mounted Print
• Mountants
• Mounting a Print on Millboard
• Mounting a Print on Paper

• Spurious Prints
• The "Faker" at Work
• Reprints from Original Plates
• Reproductions
• Prints Posing as Paintings
• False Proofs
• Strengthened Prints
• Some Clever Imitations
• Difference between Fakes, Reprints, and Reproductions
• Reproductions of Original Drawings, &c

• Anomalies In Print Values - Prints To Collect - Oval Mounts
• Anomalies in Print Values
• What Prints to Collect
• English Mezzotints
• Safeguarding Prints, Drawings, and Paintings
• Oval Mount-Cutting

• Water-Colour Drawings
• Removing Varnish
• Detaching Drawing from Mount
• "Foxing"

• Cleaning And Repairing Oil-Paintings
• Watchwords
• What May be Done
• Washing a Painting
• Potato as a Cleaner
• Soap and Water
• "Anadeiktine"
• Removing Varnish
• Repainting
• Repairs to Canvases
• Re-lining
• An Assumed Case. Routine Work
• Protecting Pictures
• Useful Renovators

Tratados de restauro de pinturas: 3

T. H. Fielding, The Knowledge and Restoration of Old Paintings: The Modes of Judging Between Copies and Originals, London, Ackermann and Co., 1847, 217 pp., aqui

Índice:

• The different modes of distinguishing copies from originals
• Comparisons of pictures with others
• To compare the best with the best in order to make a high scale of merit the test
• To study the best engravings
• To judge an artist’s works by his mode of designing
• Greatest originality to be found in colouring
• Peculiarity of touch and finish
• Number of pictures imported
• How disposed of
• The arguments against or in favour of originality
• Rules for the construction of a good picture, as effect, drawing, &c., &c.
• Necessity of understanding linear and aerial perspective
• The greatest colourists
• The value of different works
• Not safe to buy a picture much obscured
• Improvement of public taste indebted to lithography
• Modern antiques manufactured in Italy
• Manufactories of ancient coins. &c.
• Good copies of paintings valuable
• Hints to the collectors of modern pictures
• List of prices paid for the pictures in the National Gallery
• Restoration of old paintings
• A valuable picture discovered
• Remarkable discovery of Titian's pictures at Blenheim
• Their subjects - eight in number
• Method of commencing to clean an old painting
• To remove varnish. &c.
• Cracked pictures
• On lining pictures
• The mode of removing a picture from wood to cloth, &c.
• Operations after the transfer
• Old paintings sometimes best restored by water colours as the works of P . Veronese, the Bassanos, &c., &c.
• Alkalies to be used seldom
• Spirits of wine, &c., to be preferred
• Fuller's earth, sulphuric ether, volatile alkali, &c
• Vehicles best used to obtain the transparency of Van Goyen, Bega, Ostade, Teniers, &c.
• Shell lac varnish
• To take away the colour from shell lac
• Shell lac as a water varnish
• Painting in distemper
• A ground used by Correggio
• Invention or discovery of oil painting
• Wax used by the ancients in painting
• Best modes of proceeding in restorations and copying
• Lives of artists belonging to the Italian, Spanish, and French schools

Tratados de restauro de pinturas: 2

Horsin Déon, De la conservation et de la restauration des tableaux, Paris, Chez Hector Bossange, 1851, 234 pp., aqui

Índice:

• Rentoilage, enlevage
• Rentoilage
• Enlevage et restauration
• Enlevage
• Restauration
• Préparations
• Huile et siccatif

• Le nettoyage des tableaux
• Des restaurateurs
• Restaurateur
• Vernis ordinaires
• Repeints
• Classes du temps

• Peintures de restauration
• Des musées
• Le restaurateur
• Restauration
• École française
• École italienne
• École française
• Maitres
• Académie
• 3e époque
• École des Pays-Bas

Simpósio Internacional sobre Consolidação da Pedra do Património Cultural

The Laboratório Nacional de Engenharia Civil (LNEC) is organising in Lisbon, on May 6-7, 2008, the International Symposium on "Stone Consolidation in Cultural Heritage - Research and Practice".

Consolidation is one of the most complex and controversial actions in stone conservation. Different lithologies and distinct void/ microstructural relationships show different behaviours towards consolidation. The frequent presence of soluble salts also induces variability and complexity in the consolidation process.
Effectiveness is not within reach for all stone types and harmful effects are too often found. Research is currently being carried out around the world and new products and new knowledge are being produced for the benefit of conservation practice. This Symposium will focus on the present state of the art and state of the practice as regards consolidation mechanisms, degradation of consolidated stones, novel products for consolidation and long term monitoring of consolidation interventions on monuments aiming at discussing both research and practical issues.

The Symposium will include invited lectures and paper or poster presentations by symposium attendants. Lectures will be followed by discussion. The lecturers are international experts in the field, coming from well-known institutions in Europe and the United States.

The major topics of consolidation (basic research on products, lab and field testing, effectiveness, application, harmfulness, durability and long term behaviour) will be addressed from different points of view. The Symposium will conclude with a panel session that will provide an opportunity of interaction between experts and audience. Contributions from practicing conservators will be an essential dialogue of the Symposium and therefore they are more than welcome.

The Symposium will deal with the following main themes:

• Basic principles in stone consolidation;
• Consolidation products: research and practice;
• Inorganic consolidants;
• Consolidation of very porous limestones;
• Consolidation in the presence of salts;
• Durability and long term harmful behaviour;
• Application techniques;
• Parameters, technology and methods for performance assessment;
• Are there successful past treatments?
• Novel products and experimental setups;
• From the laboratory to the site: the practitioners view;
• Case-studies;
• Any other relevant issues.

More information: http://eu-artech.lnec.pt.

A ciência do vidro na Arte e na Conservação

The second “Glass Science in Art and Conservation” (GLASSAC) congress will take place in Valencia (Spain) on March 5-7, 2008. The congress explores a wide spectrum of issues in this field. On the one hand, the conference will examine significant developments in the science of glass that can show the art and conservation communities about innovative possibilities, and on the other hand, to provide an opportunity to discuss practical problems and the ethical dilemmas of intervention facing conservators.

GLASSAC is an international meeting that tries to involve the chemical, physical and biological sciences with art, archaeology and history of glass artefacts. The scope of the congress includes all aspects of the history, the technology and the manufacture of glass and glass artefacts.

A non-exhaustive list of topics of interest includes:

• Bronze Age glass

• Hellenistic glass

• Islamic glass

• Roman glass

• Mould-blown glass

• Glass decoration and enamel

• Medieval stained glass window

• Façon-de-Venise glass

• Glass in the 18th and 19th century

• Contemporary glass

• Glass technology production

• Raw materials

• Dating and provenance of glass

• Restoration and conservation of glass

• Glass corrosion and weathering

• Archaeometry of glass

Coinciding with GLASSAC congress, a glass exhibition THE LANGUAGE OF THE MATTER - Carlos Muñoz de Pablos: glassworking painter by one of the best contemporary Spanish glass working master, will be inaugurated during the congress and will be displayed during the month of March.

Further information about the meeting is available at the conference web site http://www.uv.es/glassac/.

Os trabalhos dos pintores: 107

Elisabeth Vigée Le Brun, Self-portrait, 1800.

A Última Ceia, de Leonardo da Vinci, ao pormenor

A pintura mural A Última Ceia, de Leonardo da Vinci, pode ser observada através de uma fotografia com 16 gigapixels que está disponível na internet no endereço http://www.haltadefinizione.com.

Uma obra de Andrea Pozzo e outra de Gaudenzio Ferrari, através de fotografias de cerca de 8 gigapixels, podem igualmente ser visualizadas no mesmo endereço.

From October 27, 2007 the Last Supper by Leonardo da Vinci can be visited on-line, giving you the opportunity to closely observe and study every minimal detail captured in 1677 images then recomposed to form a world record size single image of more than 16 billion pixels by the HAL9000 team.

The image size is 16.118.035.591 pixels, 172181 pixels wide and 93611 pixels high.

To ensure absolute chromatic fidelity the image was generated with a color depth of 16 bit, twice that of conventional digital images. The image size on disk is greater than 96 Gbytes.

The image was shot using the panoramic photography technique, a sophisticated technology that allows the stitching, into a single image, of different photos shot using rigorous criteria. The final image has the characteristics of a single shot made with a camera which has much hìgher resolution than the initial images produced in this case by a 16000 Megapixel camera.

The shooting of a work of art of such inestimable value as the Last Supper by Leonardo da Vinci,a UNESCO heritage listed work, raises complex technical problems in order to ensure the absolute protection of the painting.

Contrary to common belief, The Last Supper by Leonardo da Vinci was not created using a fresco technique, it was in fact dry painted; due to this painting method the materials used in the creation of this work of art are some of the most fragile materials known today, comparable only to the fragility of a watercolor. The permanent soft lighting of this work of Leonardo da Vinci safeguards it from further degradation and allows an optimal viewing of the Last Supper for the few visitors admitted in the climatically controlled Cenacle.

The color characteristics of this permanent lighting, designed for live viewing, are inadequate for chromatically correct photo shootings; so the usage of an alternative light source suddenly became a major issue.

Mais detalhes em http://www.haltadefinizione.com.

Tratados de restauro de pinturas: 1

Henry Mogford, Hand-book for the Preservation of Pictures; Containing Practical Instructions for Cleaning, Lining, Repairing, and Restoring Oil Paintings, With Remarks on the Distribution of Works of Arts in Houses and Galleries, Their Care and Preservation, 3.ª ed., London, Winsor and Newton, 1851, 64 p., aqui

Índice:

• The distribution and care of works of art

• Repairing, restoring, and lining of pictures
• Transferring pictures from panel to canvas
• Lining of paintings
• Cleaning of paintings
• Restoration

Tratados de restauro de pinturas: 0

Actualmente estão livremente disponíveis na internet diversos tratados antigos sobre restauro de pinturas que, ainda que não tendo interesse prático, têm interesse histórico.

Alguns destes manuais são pouco conhecidos e, de uma forma geral, são de difícil acesso.

Esta série tem como objectivo divulgar esses tratados. Em primeiro lugar são apresentados os livros que já aqui foram referidos, mas que se encontram dispersos. Seguir-se-ão, sem outra ordem que não a do acaso, outros volumes entretanto identificados online.