Conservation Perspectives - The GCI Newsletter, vol. 27, n.º 1, 2012

Já saiu há algumas semanas, mas ficou para aqui esquecida a notícia: a revista Conservation Perspectives - The GCI Newsletter, vol. 27, n.º 1, de 2012, publicada pelo The Getty Conservation Institute, já foi publicada e tem como tema: Photograph Conservation.

Está aqui, com acesso livre.

Índice:

• Debra Hess Norris, Martin Jürgens, Nora Kennedy, Bertrand Lavédrine, Paul Messier, From Russia to Laos: Building Global Partnerships To Preserve Photographic Heritage, p. 4

• Sean Charette, Tram Vo, MEPPI: Preserving the Photographic Heritage of the Middle East, p. 11

• Dusan C. Stulik, Art Kaplan, Collaborative Research: Working with the Alternative Photographic Processes Community, p. 14

• Dusan C. Stulik, Art Kaplan, Photographs Under the Loupe of Science, p. 16

• A Discussion about Photography in the Digital Age, "Technology: No Place for Wimps", p. 19

A obra, os materiais e as técnicas de Canaletto

O seguinte livro, que é o catálogo de uma exposição, está disponível na internet com acesso livre:

Katharine Baetjer Links, J. G. (ed.), Canaletto, New York, The Metropolitan Museum of Art, 1989.

Está aqui.

Índice dos ensaios que antecedem o catálogo:

• J. G. Links, Canaletto: a Biographical Sketch, p. 3

• Michael Levey, Canaletto as Artist of the Urban Scene, p. 17

• Francis Haskell, The Taste for Canaletto, p. 31

• Alessandro Bettagno, Fantasy and Reality in Canaletto's Drawings, p. 41

• Viola Pemberton-Pigott, The Development of Canaletto's Painting Technique, p. 53

Os materiais e as técnicas do pintor flamengo Maerten van Heemskerck (1498-1574)

O seguinte livro foi publicado recentemente:

Anne T. Woollett, Yvonne Szafran, Alan Phenix, Drama and Devotion. Heemskerck's Ecce Homo Altarpiece from Warsaw, Los Angeles, J. Paul Getty Museum, 2012.

Surgiu no contexto de uma exposição sobre a qual há mais informação aqui.

O livro pode ser parcialmente consultado aqui.

Índice:

• Anne T. Woollett, A Renaissance Altarpiece Revealed, pp. 1-27

• Yvonne Szafran, Alan Phenix, The Ecce Homo triptych: Heemskerck's materials and methods, pp. 29-81

As ciências aplicadas ao estudo de pinturas

Foi, há pouco, colocada online a seguinte tese de doutoramento, com acesso livre:

Alessandra Rosado,  História da Arte Técnica: Um Olhar Contemporâneo sobre a Práxis das Ciências Humanas e Naturais no Estudo de Pinturas sobre Tela e Madeira, Belo Horizonte, Universidade Federal de Minas Gerais, 2011.

Está aqui.

Resumo:

O presente trabalho busca caracterizar epistemologicamente o emergente campo de estudo no Brasil denominado História da Arte Técnica, que reúne métodos de investigação da História da Arte, das análises físico-químicas e da Ciência da Conservação aplicados aos objetos artísticos culturais. As teorias clássicas das Ciências Humanas (principalmente História da Arte) e Ciências Naturais (Física, Química e Biologia) são analisadas com o propósito de investigar através das contribuições dessas áreas nos processos de restauração, autenticação e estudo das técnicas e materiais de pinturas sobre tela e madeira os pontos de contato na conformação da prática interdisciplinar proposta pela História da Arte Técnica. Os estudos de caso apresentados referentes à pintura a óleo sobre tela de autoria de Poussin, à obra anônima O Lenhador e ao estudo preliminar dos materiais e técnicas das obras de Candido Portinari permitiram avaliar as linhas gerais da constituição dessa nova prática (onde diferentes fases da história da produção de uma obra de arte podem, muitas vezes, ser reveladas fornecendo informações importantes sobre o processo criativo do artista e de suas intenções) e avançar na proposição do estabelecimento de um diálogo, idealmente sem barreiras, entre as Ciências Humanas e Naturais.

A espectroscopia de Raman aplicada à arte e à arqueologia

A revista Journal of Raman Spectroscopy, volume 43, n.º 11, de 2012, é um número temático dedicado a: Raman spectroscopy in art and archaeology.

Está disponível aqui, com acesso condicionado.

Índice:

• Danilo Bersani, Juan Manuel Madariaga, Applications of Raman spectroscopy in art and archaeology, pp. 1523-1528

• Philippe Colomban, The on-site/remote Raman analysis with mobile instruments: a review of drawbacks and success in cultural heritage studies and other associated fields, pp. 1529-1535

• Wim Fremout, Steven Saverwyns, Identification of synthetic organic pigments: the role of a comprehensive digital Raman spectral library, pp. 1536-1544

• Peter Vandenabeele, Luc Moens, Some ideas on the definition of Raman spectroscopic detection limits for the analysis of art and archaeological objects, pp. 1545-1550

• Edgar Casanova-González, Angélica García-Bucio, José Luis Ruvalcaba-Sil, Víctor Santos-Vasquez, Baldomero Esquivel, Tatiana Falcón, Elsa Arroyo, Sandra Zetina, María Lorena Roldán, Concepción Domingo, Surface-enhanced Raman spectroscopy spectra of Mexican dyestuffs, pp. 1551-1559

• Alessandra Broggi, Elisabetta Petrucci, Maria Paola Bracciale, Maria Laura Santarelli, FT-Raman spectroscopy for quantitative analysis of salt efflorescences, pp. 1560-1566

• Mauro Prencipe, Simulation of vibrational spectra of crystals by ab initio calculations: an invaluable aid in the assignment and interpretation of the Raman signals. The case of jadeite (NaAlSi2O6), pp. 1567-1569

• Sanja Potgieter-Vermaak, Benjamin Horemans, Willemien Anaf, Carolina Cardell, René Van Grieken, Degradation potential of airborne particulate matter at the Alhambra monument: a Raman spectroscopic and electron probe X-ray microanalysis study, pp. 1570-1577

• Polonca Ropret, Tadeja Kosec, Raman investigation of artificial patinas on recent bronze – Part I: climatic chamber exposure, pp. 1578-1586

• Tadeja Kosec, Polonca Ropret, Andraž Legat, Raman investigation of artificial patinas on recent bronze - Part II: urban rain exposure, pp. 1587-1595

• Francesca Ospitali, Cristina Chiavari, Carla Martini, Elena Bernardi, Fabrizio Passarini, Luc Robbiola, The characterization of Sn-based corrosion products in ancient bronzes: a Raman approach, pp. 1596-1603

• C. Conti, I. Aliatis, C. Colombo, M. Greco, E. Possenti, M. Realini, C. Castiglioni, G. Zerbi, µ-Raman mapping to study calcium oxalate historical films, pp. 1604-1611

• Edith Joseph, Anaële Simon, Rocco Mazzeo, Daniel Job, Marie Wörle, Spectroscopic characterization of an innovative biological treatment for corroded metal artefacts, pp. 1612-1616

• Valeria Bongiorno, Serena Campodonico, Roberta Caffara, Paolo Piccardo, Maria Maddalena Carnasciali, Micro-Raman spectroscopy for the characterization of artistic patinas produced on copper-based alloys, pp. 1617-1622

• Maria Vega Cañamares, Santiago Sanchez-Cortes, Sagrario Martinez-Ramirez, Structural characterization of a third-generation commercial cement superplasticizer by Raman spectroscopy and DFT calculations, pp. 1623-1629

• Héctor Morillas, Maite Maguregui, Olivia Gómez-Laserna, Josu Trebolazabala, Juan Manuel Madariaga, Characterisation and diagnosis of the conservation state of cementitious materials exposed to the open air in XIX century lighthouses located on the coast of the Basque Country: ‘The case of Igueldo lighthouse, San Sebastian, North of Spain’, pp. 1630-1636

• Sophia Lahlil, Matthieu Lebon, Lucile Beck, Hélène Rousselière, Colette Vignaud, Ina Reiche, Michel Menu, Patrick Paillet, Frédéric Plassard, The first in situ micro-Raman spectroscopic analysis of prehistoric cave art of Rouffignac St-Cernin, France, pp. 1637-1643

• Antonio Hernanz, José M. Gavira-Vallejo, Juan F. Ruiz-López, Santiago Martin, Ángel Maroto-Valiente, Rodrigo de Balbín-Behrmann, Mario Menéndez, Jose J. Alcolea-González, Spectroscopy of Palaeolithic rock paintings from the Tito Bustillo and El Buxu Caves, Asturias, Spain, pp. 1644-1650

• V. Hernández, S. Jorge-Villar, C. Capel Ferrón, F. J. Medianero, J. Ramos, G. C. Weniger, S. Domínguez-Bella, J. Linstaedter, P. Cantalejo, M. Espejo, J. J. Durán Valsero, Raman spectroscopy analysis of Palaeolithic industry from Guadalteba terrace river, Campillos (Guadalteba county, Southern of Iberian Peninsula), pp. 1651-1657

• Howell G. M. Edwards, Esam M. A. Ali, Sonia O'Connor, The Heslington brain: a challenge for analytical Raman spectroscopy, pp. 1658-1662

• Angela Zoppi, Cristiana Lofrumento, Marilena Ricci, Emma Cantisani, Tiziana Fratini, Emilio Mario Castellucci, A novel piece of Minoan art in Italy: the first spectroscopic study of the wall paintings from Phaistos, pp. 1663-1670

• Eugenia P. Tomasini, Emilia B. Halac, María Reinoso, Emiliano J. Di Liscia, Marta S. Maier, Micro-Raman spectroscopy of carbon-based black pigments, pp. 1671-1675

• Mireia Irazola, Maitane Olivares, Kepa Castro, Maite Maguregui, Irantzu Martínez-Arkarazo, Juan Manuel Madariaga, In situ Raman spectroscopy analysis combined with Raman and SEM-EDS imaging to assess the conservation state of 16th century wall paintings, pp. 1676-1684

• Lidija Robeva Cukovska, Biljana Minceva – Šukarova, Anna Lluveras-Tenorio, Alessia Andreotti, Maria Perla Colombini, Irena Nastova, Micro-Raman and GC/MS analysis to characterize the wall painting technique of Dicho Zograph in churches from Republic of Macedonia, pp. 1685-1693

• E. Cazzanelli, E. Platania, G. De Santo, A. Fasanella, M. Castriota, Micro-spectroscopic Raman investigation on the canvas oil painting ‘Rebecca at the well’ of Neapolitan anonymous, pp. 1694-1698

• Sofia Pessanha, Agnès Le Gac, Teresa Isabel Madeira, Jean-Luc Bruneel, Stéphane Longelin, Maria Luisa Carvalho, Evaluation of the intervention of a folding screen belonging to the Momoyama period by Raman spectroscopy using different wavelengths, pp. 1699-1706

• J. J. González-Vidal, R. Perez-Pueyo, M. J. Soneira, S. Ruiz-Moreno, Automatic identification system of Raman spectra in binary mixtures of pigments, pp. 1707-1712

• Lucia Burgio, Anna Cesaratto, Alan Derbyshire, Comparison of English portrait miniatures using Raman microscopy and other techniques, pp. 1713-1721

• Paolo Zannini, Pietro Baraldi, Maurizio Aceto, Angelo Agostino, Gaia Fenoglio, Danilo Bersani, Eleonora Canobbio, Elisabetta Schiavon, Giusi Zanichelli, Andrea De Pasquale, Identification of colorants on XVIII century scientific hand-coloured print volumes, pp. 1722-1728

• Irena Nastova, Orhideja Grupce, Biljana Minceva-Šukarova, Servet Turan, Merve Yaygingol, Melih Ozcatal, Violeta Martinovska, Zorica Jakovlevska-Spirovska, Micro-Raman spectroscopic analysis of inks and pigments in illuminated medieval old-Slavonic manuscripts, pp. 1729-1736

• Vânia S. F. Muralha, Catarina Miguel, Maria João Melo, Micro-Raman study of Medieval Cistercian 12–13th century manuscripts: Santa Maria de Alcobaça, Portugal, pp. 1737-1746

• Maite Maguregui, Ulla Knuutinen, Irantzu Martínez-Arkarazo, Anastasia Giakoumaki, Kepa Castro, Juan M. Madariaga, Field Raman analysis to diagnose the conservation state of excavated walls and wall paintings in the archaeological site of Pompeii (Italy), pp. 1747-1753

• Maurizio Aceto, Giorgio Gatti, Angelo Agostino, Gaia Fenoglio, Valentina Giordano, Michelangelo Varetto, Giorgio Castagneri, The mural paintings of Ala di Stura (Piedmont, Italy): a hidden treasure investigated, pp. 1754-1760

• F. Casadio, A. Bezúr, I. Fiedler, K. Muir, T. Trad, S. Maccagnola, Pablo Picasso to Jasper Johns: a Raman study of cobalt-based synthetic inorganic pigments, pp. 1761-1771

• C. Defeyt, P. Vandenabeele, B. Gilbert, J. Van Pevenage, R. Cloots, D. Strivay, Contribution to the identification of a-, ß- and e-copper phthalocyanine blue pigments in modern artists' paints by X-ray powder diffraction, attenuated total reflectance micro-fourier transform infrared spectroscopy and micro-Raman spectroscopy, pp. 1772-1780

• Sodo, M. Bicchieri, M. Guiso, M. A. Ricci, G. Ricci, Raman investigations on marker pen inks, pp. 1781-1787

• Alberto Sánchez, José Tuñón, Manuel Montejo, David Parras, Micro Raman spectroscopy (MRS) and energy dispersive x-ray microfluorescence (µEDXRF) analysis of pigments in the Iberian cemetery of Tutugi (from the fourth to the third century bc, Galera, Granada, Spain), pp. 1788-1795

• Krisztian Fintor, Zsófia Gyalai, Petrographical and micro-Raman analysis of Terra Sigillata shatters from a Vandalic settlement in North-Eastern Hungary, pp. 1796-1804

• P. Ferrer, S. Ruiz-Moreno, A. López-Gil, M. C. Chillón, C. Sandalinas, New results in the characterization by Raman spectroscopy of yellow pigments used in ceramic artworks of the 16th and 17th centuries, pp. 1805-1810

• Maria Cruz Zuluaga, Ainhoa Alonso-Olazabal, Maitane Olivares, Luis Ortega, Xabier Murelaga, Juan Jose Bienes, Alfredo Sarmiento, Nestor Etxebarria, Classification of glazed potteries from Christian and Muslim territories (Late Medieval Ages, IX–XIII centuries) by micro-Raman spectroscopy, pp. 1811-1816

• L. de Ferri, D. Bersani, Ph. Colomban, P. P. Lottici, G. Simon, G. Vezzalini, Raman study of model glass with medieval compositions: artificial weathering and comparison with ancient samples, pp. 1817-1823

• Daniela Di Martino, Anna Galli, Marco Martini, The intriguing case of silicon crystals unveiled in ancient mosaic tesserae, pp. 1824-1827

• Marco Giarola, Gino Mariotto, Marianna Barberio, David Ajò, Raman spectroscopy in gemmology as seen from a ‘jeweller's’ point of view, pp. 1828-1832

• Stefanos Karampelas, Marie Wörle, Katja Hunger, Hanspeter Lanz, Micro-Raman spectroscopy on two chalices from the Benedictine Abbey of Einsiedeln: Identification of gemstones, pp. 1833-1838

• Barbara I. Lydzba-Kopczynska, Boguslaw Gediga, Jan Chojcan, Michal Sachanbinski, Provenance investigations of amber jewelry excavated in Lower Silesia (Poland) and dated back to Early Iron Age, pp. 1839-1844

Argamassas Tradicionais de Cal

Um outro livro sobre argamassas de cal disponível online com acesso livre é o seguinte:

Cybèle Celestino Santiago, Argamassas Tradicionais de Cal, Salvador, EDUFBA, 2007.

Está aqui.

Resumo:

Neste livro, é apresentada uma retrospectiva histórica e conceitual das argamassas de cal e alguns de seus constituintes ao longo dos séculos. Prospecta informações úteis para subsidiar obras de restauração através da análise de textos italianos, franceses, portugueses, espanhóis e brasileiros. Examina, por fim, à luz da ciência contemporânea, aspectos ligados à composição, ao preparo e às propriedades das argamassas elaboradas com este aglomerante.

Índice:

• Introdução
• Argamassas
• Caracterização
• Argamassas com solo
• Argamassas refratárias
• Argamassas hidrófugas
• Outras argamassas especiais
• Traços recomendados
• Cal
• Noções genéricas
• Matérias-primas tradicionalmente usadas
• Rochas calcárias
• Calcários marinhos
• Calcinação
• Extinção (hidratação)
• Variação de massa e volume
• Caracterização das matérias-primas e das cais
• Índice de hidraulicidade
• Areia
• Formação das areias
• Caracterização
• Cuidados de utilização
• Outros constituintes das argamassas
• Pozolanas italianas
• Pó cerâmico
• Terraços fluviais do Baixo Reno
• Cinzas de Tournai
• Considerações finais

Manual de conservação de argamassas de cal

O seguinte livro está disponível na internet com acesso livre:

Maria Isabel Kanan, Manual de Conservação e Intervenção em Argamassas e Revestimentos à Base de Cal, Brasília, Instituto do Patrimônio Histórico e Artístico Nacional, 2008.

Está aqui.

Pinturas atribuídas a Bosch e a Bruegel sob olhares cruzados

Durante estas semanas em que não dei notícias, foi publicado o seguinte livro:

Erma Hermens (ed.), On the Trail of Bosch and Bruegel. Four Paintings United under Cross-examination, London, Archetype Publications, 2012.

O volume resultou de um projecto de investigação da autoria de quatro pinturas com o mesmo tema, projecto esse que incluiu também um sítio na internet que contém, entre outra documentação, reflectografias de infravermelho, radiografias e cortes estratigráficos.

Índice:

• Provenance history of Christ Driving the Traders from the Temple, p. 3

• Bernard Vermet, On the genealogy of a composition: tracing the roots of Christ Driving the Traders from the Temple, p. 11

• Anne Haack Christensen, Erma Hermens, Greta Koppel, Alar Nurkse, Polly Smith, Hannah Tempest, Jørgen Wadum, Christ Driving the Traders from the Temple: painting materials and techniques in the context of 16th-century Antwerp studio practice, p. 23

• Aoife Daly, Alar Läänelaid, The dendrochronological dating of three paintings in the style of Bosch/Bruegel, p. 47

• Jørgen Wadum, Mikkel Scharff, Tracing the individual 'handwriting' of four 16th-century artists through their underdrawings, p. 59

• Erma Hermens, Greta Koppel, Copying for the art market in 16th-century Antwerp: a tale of Bosch and Bruegel, p. 85

• Paul Vandenbroeck, The people's vengeance on perfection: on the iconography of Hieronymus Bosch's lost composition Christ Driving the Traders from the Temple, p. 103

• Hannah Tempest, Alar Nurske, Polly Smith, The conservation and restoration of the Copenhagen, Tallinn and Glasgow paintings: past and present, p. 123

Estudo da alteração de painéis de azulejo

A seguinte tese de doutoramento foi hoje disponibilizada na internet, com acesso livre.

José Manuel Simón Cortés, Caracterización Físico-química de las Alteraciones de los Paneles Devocionales y Via Crucis del Siglo XVIII en la Comunidad Valenciana, València, Universitat Politècnica de València, 2012.

Está aqui.

Resumo:

De finales del XVII a medidados del XIX la Comunidad Valenciana se enriquecía con retablos cerámicos y paneles devocionales colocadas en fachadas de las casas y en lugares estratégicos de las calles. No se conocía iglesia, barrio o gremmio que no tuviese una imagen del patrón en una hornacina donde los files del pueblo se reunisen en fiestas, dedicando rezo o admiración. La fluctuación considerable de los cambios meteorológicos, y las modificaciones urbanísticas, hacian necesario una revisión de la cerámica tradicional religiosa, en concreto los paneles devocionales y Via Crucis. La finalidad de la presente tesis consiste en estudiar la creación y evolución de dichos paneles devocionales, para ello ha sido necesario conocer en profundidad su composición, las técnicas de manofactura y la elaboración de este tipo de cerámicas en el siglo XVIII, así como la realización de una catálogo fotografico con diferentes obras de diversos lugares en la Comunidad Valenciana. Tras los diferentes ensayos de envejecimiento (hielo-deshielo, radiación lumínica, T/HR, corrosión, erosión) a los que fueron sometidas las diveras probetas, tanto cerámicas como aquellos materiales empleados en la reconstrucción volumétrica de los soportes, se evalúan sus efectos mediante Microscopia Optica, análisis colorimétrisoc, FTIR, SEM/EDX y DRX, estableciéndose finalmente las conclusiones.

The British Museum Technical Research Bulletin, vol. 5, 2011

A revista The British Museum Technical Research Bulletin, vol. 5, de 2011, acabou de ser disponibilizado online com acesso livre.

Está aqui.

Índice:

• Aude Mongiatti, Fahmida Suleman, Nigel Meeks, Beauty and belief: the endangered tradition of Omani silver jewellery, pp. 1-14

• Hayley Bullock, Alexandra Baldwin, Jamie Hood, Chris Fern, Caroline Cartwright, Janet Lang, Quanyu Wang, Evidence for shield construction from the early Anglo-Saxon cemetery site of Tranmer House, Bromeswell, SuffolkHayley, pp. 15-24

• Lynne Harrison, Janet Ambers, Rebecca Stacey, Caroline Cartwright, Angeliki Lymberopoulou, The Noli me Tangere: study and conservation of a Cretan icon, pp. 25-38

• Satoko Tanimoto, Rebecca Stacey, Gillian Varndell, Tracey Sweek, Grimes Graves revisited: a new light on chalk 'lamps', pp. 39-47

• Caroline Cartwright, Lin Rosa Spaabæk, Marie Svoboda, Portrait mummies from Roman Egypt: ongoing collaborative research on wood identification, pp. 49-58

• Quanyu Wang, Sascha Priewe, Kwang-tzuu Chen, Susan La Niece, A Chinese bronze gui vessel: genuine Western Zhou object or fake?, pp. 59-66

• Caroline Cartwright, Jon Taylor, Investigating technological and environmental evidence from plant remains and molluscs in cuneiform tablets, pp. 67-72

• Jamie Hood, Joanne Dyer, Janet Lang, Janet Ambers, Defence and decoration: new findings on a late fourteenth-century 'kettle-hat' helmet found in London, pp. 73-80

• Catherine Higgitt, Susanna Harris, Caroline Cartwright, Pippa Cruickshank, Assessing the potential of historic archaeological collections: a pilot study of the British Museum's Swiss lake dwelling textiles, pp. 81-94

• John Taylor, Bridget Leach, Helen Sharp, The history and conservation of the papyrus of Tuy, pp. 95-104

Cochinilha – A história de uma cor

O seguinte livro está disponível na internet com acesso livre:

Elena Phipps, Cochineal Red. The Art History of a Color, New York, The Metropolitan Museum of Art, 2010.

Está aqui.

Para a história do restauro de obras de arte

Foi há pouco publicado o seguinte livro:

Noémie Étienne, Léonie Hénaut (ed.), L'Histoire à l'Atelier - Restaurer les Oeuvres d'Art (XVIIIe-XXIe Siècles), Lyon, Presses Universitaires de Lyon, 2012.

Índice:

• Noémie Étienne, Léonie Hénaut, Introduction, p. 5

• Dominique Poulot, Prologue: La restauration, au contraire de l'histoire, p. 23

• Delphine Burlot, Le faux : une tentation d'expert? Le cas de Camillo Paderni (1715-1781), artiste, restaurateur et antiquaire napolitain, p. 41

• Aglaé Achechova, Restaurer, piller, falsifier. Le cas de Stépan Sabine-Gousse, un restaurateur indélicat dans l'Empire russe au tournant des xixe et xxe siècles, p. 63

• Capucine Lemaître, La maison de la mosaïque. Un atelier spécialisé dans la restauration des mosaïques à Nîmes au xixe siècle, p. 83

• Raphaële Delas, Sculpter ou restaurer? Les sculpteurs-restaurateurs d'édifices médiévaux en France, 1830-1870 :Théophile Caudron, les frères Duthoit et Victor Geoffroy-Dechaume, p. 111

• Juliette Tanré, Reproduire, restaurer et exposer les collections. Le rôle des restaurateurs d'antiquités égyptiennes en France aux xixe et xxe siècles, p. 135

• Fabrice Rubiella, Masquer ou restaurer? Réflexions sur les anciennes restaurations d'une amphore panathénaïque, p. 161

• Marie Frappat, "Réactiver " les œuvres. Histoire et pratiques des professionnels de la restauration des films, p. 181

• Chiara Piva, L'atelier du Pio-Clementino. Gestion et organisation du travail de restauration de la sculpture antique à Rome à la fin du xviiie siècle, p. 205

• Natalia Gustavson, Spoliation et restauration. Quelques remarques sur l'histoire de la restauration des saisies napoléoniennes en Autriche, p. 227

• Federica Giacomini, Les cultures de la restauration. Entre commande publique et collectionnisme privé dans l'Italie du xixe siècle, p. 247

• Maddalena Vazzoler, Chez les Brignole Sale. L'entretien et la restauration d'une collection privée à Gênes au xixe siècle, p. 267

• Noémie Étienne, Le restaurateur et l'espace public. Stratégies publicitaires et visibilité des restaurations à Paris entre 1775 et 1815, p. 303

• Manuel Charpy, Restaurer le passé. Marché des antiquités et pratiques de la restauration à Paris au xixe siècle, p. 329

• Gaspard Salatko, Restaurer des icônes. Reconfiguration ou restauration d'un dispositif liturgique à Paris au xxe siècle ?, p. 373

• Antoine Hennion, Conclusion : La restauration, un atelier de l'histoire, p. 399

A arte de um mestre flamengo

Para terminar por hoje, mais uma informação sobre um outro volume que está disponível na internet com acesso livre:

Maryan W. Ainsworth (ed.), Petrus Christus. Renaissance Master of Bruges, New York, The Metropolitan Museum of Art, 1994.

Está aqui.

Índice:

• Maximiliaan P. J. Martens, Bruges During Petrus Christus's Lifetime, p. 3

• Maximiliaan P. J. Martens, Petrus Christus: A Cultural Biography, p. 15

• Maryan W. Ainsworth, The Art of Petrus Christus, p. 25

• Maryan W. Ainsworth, Catalogue, p. 67

• Maximiliaan P. J. Martens, Archival Documents and Literary Sources, p. 195

• Peter Klein, Dendrochronological Analysis of Panels Attributed to Petrus Christus, p. 213

Journal of the Institute of Conservation, vol. 35, n.º 1, 2012

O volume 35, n.º 1, da revista Journal of the Institute of Conservation foi há pouco publicado.

Está aqui, com acesso condicionado.

Índice:

• Helen Ganiaris, Liz Barham, Liz Goodman, Great expectations: a review of iron from waterlogged contexts from London sites excavated in the 1980s and 1990s, pp. 3-13

• Mari Gravgaard, Jettie van Lanschot, Cysteine as a non-toxic corrosion inhibitor for copper alloys in conservation, pp. 14-24

• Jeremy Uden, Francesco Grazzi, Francesco Civita, Antonella Scherillo, Heather Richardson, Laura Bartoli, Marco Zoppi, Time-of-flight neutron diffraction: a new analytical technique for conservation?, pp. 25-39

• Paul Garside, Paul Wyeth, Xiaomei Zhang, Categorizing tin phosphate/silicate-weighted silks on site by near-infrared spectroscopy, pp. 40-49

• Anne-Claire de Poulpiquet, The conservation of a Hawaiian kapa: use of size-exclusion chromatography (SEC) for the evaluation of cellulose degradation caused by oil and sodium chloride, pp. 50-61

• Bettina Ebert, Brian Singer, Nicky Grimaldi, Aquazol as a consolidant for matte paint on Vietnamese paintings, pp. 62-76

• Verena Kotonski, The conservation of nineteenth-century leather-covered willow baskets from Franconia/Bavaria, pp. 77-91

• Eklund, Julie A., The possible effects of preparation and conservation treatments on DNA research, using treatments for basketry as a case study, pp. 92-102

• Gemma Aboe, Packaging and storage solutions for archaeological basketry: a selection of practical designs, pp. 103-111

Autorradiografia de pinturas

O seguinte livro, uma obra incontornável sobre autorradiografia de pinturas, está livremente disponível na internet.

Art and Autoradiography: Insights into the Genesis of Paintings by Rembrandt, Van Dyck, and Vermeer, New York, The Metropolitan Museum of Art, 1982.

Está aqui.

Índice:

• Maryan Wynn Ainsworth, John Brealey, Egbert Haverkamp-Begemann, Pieter Meyers, Paintings by Van Dyck, Vermeer, and Rembrandt Reconsidered Through Autoradiography, pp. 9-99

• Pieter Meyers, Maryan Wynn Ainsworth, Karin Groen, Pigments and Other Painting Materials, pp. 101-104

• Pieter Meyers, Maurice J. Cotter, Lambertus van Zelst, Edward V. Sayre, The Technical Procedures and the Effects of Radiation Exposure upon Paintings, pp. 105-110

A descoloração do azul ultramarino em pintura

A seguinte tese de doutoramento sobre a alteração do azul ultramarino em pintura antiga está disponível online:

Jörg Klaas, Die "Ultramarinkrankheit". Studien zu Veränderungen in Ultramarinhaltigen Farbschichten an Gemälden, München, Technischen Universität München, 2010.

Está aqui, com acesso livre.

Resumo:

The mineral pigment ultramarine is a sulphur-containing sodium aluminium silicate with the approximate formula Na₃Ca(Si₃Al₃O₁₂)S. Since the 6th century it is made by grinding lapis lazuli and was used in wall paintings, illuminated manuscripts and easel paintings. The term ‘ultramarine-sickness’ describes colour changes of ultramarine-containing paint layers. The blue colour turns lighter or becomes greyish in appearance. Two theories are discussed: destruction of the aluminosilicate lattice by acids which leads to dissociation of the colour carrying polysulphide anions or an apparent discolouration due to micro-cracks in the binding medium. Using the examples of 18 paintings from 1300–1720 of the Bayerische Staatsgemäldesammlungen a classification of the colour change phenomenons was carried out. Investigations on artificially altered samples and cross-sections of 14 paintings employing light microscopy, SEM/EDX and Raman-spectroscopy give no evidence for a decomposition of the pigment by acids. In the cross-sections a separation of pigment and binders could be observed. The micro-cracks cause a change of the refractive index that is responsible for the glaze pigment ultramarine becoming opaque and lighter.

Uma história do ICCROM

Foi há pouco disponibilizado online, com acesso livre, o seguinte livro:

Jukka Jokilehto, ICCROM and the Conservation of Cultural Heritage A history of the Organization’s first 50 years, 1959-2009, Rome, ICCROM, 2011.

Está aqui.

Studies in Conservation, vol. 57, n.º 4, 2012

Já foi publicado o último numero de 2012 da revista Studies in Conservation, do IIC.

Índice:

• Joanna E. Russell, Brian W. Singer, Justin J. Perry, Anne Bacon, Investigation of the materials found in the studio of Francis Bacon (1909-1992), pp. 195-206

• Joanna E. Russell, Brian W. Singer, Justin J. Perry, Anne Bacon, The materials and techniques used in the paintings of Francis Bacon (1909-1992), pp. 207-217

• Lynn F. Lee, Narayan Khandekar, An analytical approach to detect non-original embellishments on Classic Mimbres vessels, pp. 218-226

• E. Guilminot, D. Neff, C. Rémazeilles, S. Reguer, F. Kergourlay, C. Pelé, P. Dillmann, P. Refait, F. Nicot, F. Mielcarek, N. Huet, J. Rebière, Influence of crucial parameters on the dechlorination treatments of ferrous objects from seawater, pp. 227-236

• Christina Young, Suzanne Jardine, Fabrics for the twenty-first century: As artist canvas and for the structural reinforcement of easel paintings on canvas, pp. 237-253

A conservação de pinturas de cavalete (e não só)

Outro volume igualmente há muito anunciado também agora foi publicado. É o seguinte:

Joyce Hill Stoner, Rebecca Rushfield (ed.), The Conservation of Easel Paintings, Abingdon, Routledge, 2012.

Este volume certamente que irá passar a ser a obra de referência sobre todo os aspectos materiais relacionados com a pintura de cavalete, desde as fontes documentais relevantes para o conhecimento dos materiais e das técnicas do passado, à história desses mesmos materiais e técnicas, às propriedades dos materiais usados pelos artistas e pelos conservadores, à identificação desses materiais, terminando nos vários problemas relacionados com a conservação.

O livro está disponível em pré-visualização aqui e aqui (um número limitado de páginas em cada um dos endereços).

Índice:

• Jilleen Nadolny, Mark Clarke, Erma Hermens, Ann Massing, Leslie Carlyle, Art technological source research: documentary sources on European painting to the twentieth century, p. 3

• Leslie Carlyle, Exploring the grammar of oil paint through the use of historically accurate reconstructions, p. 33

• Ysbrand Hummelen, Tatja Scholte, Collecting and archiving information from living artists for the conservation of contemporary art, p. 39

• Jørgen Wadum, Noëlle Streeton, History and use of panels or other rigid supports for easel paintings, p. 51

• Christina Young, Alexander W. Katlan, History of fabric supports, p. 116

• Barbara A. Buckley, Stretchers, tensioning, and attachments, p. 148

• Maartje Stols-Witlox, Grounds, 1400-1900, p. 161

• Bronwyn Ormsby, Mark Gottsegen, Grounds in the twentieth century and beyond, p. 185

• Nicholas Eastaugh, Jilleen Nadolny, Sarah Lowengard, Pigments in western easel painting, p. 189

• Erma Hermens, Joyce Townsend, Binding media, p. 207

• Annelies van Loon, Petria Noble, Aviva Burnstock, Ageing and deterioration of traditional oil and tempera paints, p. 214

• Tom Learner, Modern paints, p. 242

• Alan Phenix, Joyce Townsend, A brief survey of historical varnishes, p. 252

• Mark Golden, Varnishing of acrylic paintings by artists, p. 264

• Clare Finn, Written documentation for paintings conservation, p. 271

• David Saunders, Image documentation for paintings conservation, p. 277

• Morwenna Blewett, Notes on the history of conservation documentation: examples from the UK and USA, p. 281

• Spike Bucklow, The classification of craquelure patterns, p. 285

• Rhona MacBeth, The technical examination and documentation of easel paintings, p. 291

• Nicholas Eastaugh, Valentine Walsh, Optical microscopy, p. 306

• Debora D. Mayer, Identification of textile fibres found in common painting supports, p. 318

• Richard C. Wolbers, Susan L. Buck, Peggy Olley, Cross-section microscopy analysis and fluorescent staining, p. 326

• Jilleen Nadolny, A history of early scientific examination and analysis of painting materials ca. 1780 to the mid-twentieth century, p. 336

• Joyce Townsend, Jaap Boon, Research and instrumental analysis in the materials of easel paintings, p. 341

• Michael von der Goltz, Ina Birkenbeul, Isabel Horovitz, Morwenna Blewett, Irina Dolgikh, Consolidation of flaking paint and ground, p. 369

• Carolyn Tomkiewicz, Mikkel Scharff, Rustin Levenson, Tear mending and other structural treatments of canvas paintings, before or instead of lining, p. 384

• Stephen Hackney, Joan Reifsnyder, Mireille te Marvelde, Mikkel Scharff, Lining easel paintings, p. 453

• Paul Ackroyd, The structural conservation of paintings on wooden panel supports, p. 453

• David Bomford, Picture cleaning: positivism and metaphysics, p. 481

• Sibylle Schmitt, Research on the Pettenkofer method and the historical understanding of paint film swelling and interaction, p. 492

• Michael von der Goltz, Joyce Hill Stoner, Considerations on removing or retaining overpainted additions and alterations, p. 497

• Richard Wolbers, Christopher Stavroudis, Aqueous methods for the cleaning of paintings, p. 500

• Alan Phenix, Richard Wolbers, Removal of varnish: organic solvents as cleaning agents, p. 524

• Carol Stringari, Case study in the use of lasers to remove overpaint from AD Reinhardt's black painting, 1960-66, p. 555

• Tom Learner, Bronwyn Ormsby, Cleaning concerns for acrylic emulsion paints, p. 564

• Jilleen Nadolny, History of visual compensation for paintings, p. 573

• Laura Fuster-López, Filling, p. 586

• Shawn Digney-Peer, Karen Thomas, Roy Perry, Joyce Townsend, Stephen Gritt, The imitative retouching of easel paintings, p. 607

• Michael von der Goltz, Jr Proctor, Robert G., Jill Whitten, Lance Mayer, Gay Myers, Ann Hoenigswald, Michael Swicklik, Varnishing as part of the conservation treatment of easel paintings, p. 635

• Joyce Hill Stoner, Preventive conservation, health and safety, outreach, and professional organizations - introduction, p. 659

• Barbara A. Ramsay, Travelling exhibitions and transporting paintings, p. 661

• Tom Dixon, Storage of easel paintings, p. 672

• Jim Druzik, Stefan Michalski, The lighting of easel paintings, p. 678

• Karin Petersen, Jens Klocke, Understanding the deterioration of paintings by microorganisms and insects, p. 693

• Jeremy Hutchings, Sustainable conservation management of exhibitions, p. 710

• Rustin Levenson, Emergency preparedness and recovery, p. 718

• Tom Dixon, Framing, glazing, backing, and hanging of paintings on canvas, p. 727

• Ion McClure, Framing and microclimate enclosures for panel paintings, p. 733

• Monona Rossol, Mary McGinn, Joyce Townsend, Health and safety concerns in the paintings conservation studio, p. 740

• Joyce Hill Stoner, International public outreach projects, p. 750

• Mark Gottsegen, Recommending materials to artists, p. 755

• Rebecca Rushfield, Conservation organizations and professional standards, p. 759

• Rebecca Rushfield, Bibliography, p. 765

Feito por alquimia – os pigmentos artificiais e o seu uso em pintura

Depois de mais uma longa interrupção, aqui está a primeira de várias notas sobre algumas publicações que surgiram nas últimas semanas.

Um volume há muito anunciado está finalmente publicado. Trata-se de:

Marián del Egido, Stefanos Kroustallis (ed.), Fatto d'Archimia. Los Pigmentos Artificiales en las Técnicas Pictóricas, Madrid, Ministerio de Educación, Cultura y Deporte, 2012.

Índice:

• Stefanos Kroustallis, Marián del Egido, Artificio y artificial: una breve introducción, p. 9

• Mark Clarke, Fatto d'Archimia: alchemy and artificial pigments, p. 13

• Margarita San Andrés Moya, Química moderna y producción de nuevos pigmentos, p. 25

• Stefanos Kroustallis, El color de las palabras: problemas terminológicos e identificación de los pigmentos artificiales, p. 53

• Rocío Bruquetas, Colores de artificio: comercio y producción en España hasta 1800, p. 69

• Marisa Gómez, Las técnicas analíticas de estudio de los pigmentos artificiales: identificación e interpretación en obras reales, p. 83

• Leslie Carlyle, Practical considerations for creating historically accurate reconstructions, p. 105

• Günter Grundmann, Mark Richter, Types of dry-process artificial arsenic sulphide pigments in cultural heritage, p. 119

• Ulderico Santamaría, Giorgia Agresti, Claudia Pelosi, Memory and matter of cultural heritage: lead, tin and antimony based yellow pigments, p. 145

• Jo Kirby, Red Lake Pigments: Sources and Characterisation, p. 157

• Rocío Bruquetas Galán, El bermellón de Almadén: de Plinio a Goya, p. 171

• Maria Joao Melo, Catarina Miguel, The making of vermilion in medieval Europe: historically accurate reconstructions from The book on how to make colours, p. 181

• Margarita San Andrés, Natalia Sancho, Sonia Santos, José Manuel de la Roja, Verdigris. Terminología y recetas de preparación, p. 197

• Margarita San Andrés, José Manuel de la Roja, Sonia Santos, Natalia Sancho, Patrones de identificación del verdigris: elaboración a partir de la reproducción de recetas antiguas, p. 235

• Manuel Sánchez del Rio, Maya blue studies in relation to history and archeology, p. 259

• Marisa Gómez, Ruth Chércoles, Margarita San Andrés, Los azules de cobalto, p. 273

• Ad Stijnman, Artificial black pigment. The case of Frankfurter Schwarz / Frankfurt Black / Noir de Francfort / Frankfort Zwart / Negro de Frankfurt, p. 293