Os trabalhos dos pintores: 115

Florent Richard Delamarre, Portrait de Noël Coypel père.

Os trabalhos dos pintores: 114

Jacques Emile Blanche, Le peintre Thaulow et ses enfants, dit aussi la famille Thaulow, 1895.

Técnicas da pintura pré-histórica

Inés Domingo Sanz, Técnica y ejecución de la figura en el arte rupestre levantino. Hacia una definición actualizada del concepto de estilo: Validez y limitaciones, Tese de doutoramento, Universitat de Valencia, 2005, aqui.

Resumo:

Uno de los criterios básicos usados en la investigación arqueológica para la caracterización interna del registro material y gráfico ha sido el concepto de estilo, entendido como el modo de hacer o el carácter propio que infunde el autor a su obra, en el que combina su interpretación personal con las reglas que regulan la producción artística o artesana en una época y en un contexto determinado y condicionado por la técnica y el medio seleccionado.

Tradicionalmente la variabilidad estilística del Arte Levantino se ha medido en base a la variabilidad formal de los motivos individuales y se ha interpretado en términos estrictamente temporales, fruto de la idea preconcebida de que la unidad formal entre las representaciones revela sincronía y los cambios diacronía, y de que cada fase presenta una cierta homogeneidad formal y funcional. Esa concepción de la expresión artística ha dejado poco juego a la posible existencia de variaciones sincrónicas de procedimientos técnicos y estilísticos debidas a variaciones regionales relacionadas con mecanismos de identidad o a diferencias en la funcionalidad de las representaciones. Pero como hemos observado a lo largo de nuestra investigación, la evolución estilística del Arte Levantino no resulta lineal ni progresiva, sino que junto a la variación temporal existe una cierta variabilidad regional y una evolución discontinua, dinámica y variable que afecta tanto a los aspectos más puramente formales, como a los técnicos, temáticos y compositivos.

Con estas premisas procedemos a la individualización de diversos horizontes gráficos en base a nuestro estudio regional de la figura humana levantina, sin tratar de imponer a priori las pautas evolutivas observadas en otros núcleos. La entidad de los seis horizontes individualizados, con rasgos formales, temáticos, técnicos y compositivos propios, obliga a superar la tradicional consideración del Arte Levantino como una expresión gráfica uniforme y a profundizar, en futuros trabajos, en la distribución espacial de los diversos horizontes individualizados, fundamentalmente cuando procedemos a su comparación con el registro arqueológico.

A ciência e a arte da tecnologia do século XVIII

Uma preciosa fonte para o conhecimento da tecnologia do século XVIII é a seguinte obra:

Jean-Elie Bertrand (ed.), Descriptions des arts et métiers, faites ou approuvées par Messieurs de l'Académie royale des sciences de Paris. Nouvelle édition publiée avec des observations, & augmentée de tout ce qui a été écrit de mieux sur ces matières, an Allemagne, en Angleterre, en Suisse, en Italie, 20 volumes, Neuchâtel, Imprimerie de la Société typographique, 1771-1783; Paris chez calixte Volland, an VII [1798].

Os 20 volumes estão integralmente disponíveis aqui.

Conteúdo dos volumes :

• Tome I. L'art du meunier, du boulanger, du vermicellier

• Tome II. Les quatre premières sections sur les fers, et l'art du charbonnier

• Tome III. L'art du tanneur, du chamoiseur, du mégissier, du corroyeur, du parcheminier, de l'hongroyeur, du maroquinier, de travailler les cuirs dorés & argentés, du cordonnier, du paumier-raquetier & de la paume

• Tome IV. L'art du tuilier & du briquetier, l'art de tirer des carrières la pierre d'ardoise, de la fendre de la tailler, l'art du couvreur, l'art du chaufournier, l'art de faire le papier, l'art du cartonnier, et l'art du cartier

• Tome V. Les trois premières sections du traité des pêches & l'histoire des poissons

• Tome VI. L'art du serrurier, l'art du chandelier, & l'art d'exploiter les mines de charbon de terre

• Tome VII. L'art de la draperie, l'art de friser ou ratatiner les étoffes de laine, l'art de faire les tapis, façon de Turquie, l'art du chapelier, l'art du tonnelier, l'art de convertir le cuivre en laiton, & l'art de l'épinglier

• Tome VIII. L'art de l'indigotier, l'art de la porcelaine, l'art du potier de terre, l'art de faire les pipes, l'art de faire les colles, fabrique de l'amidon, l'art du savonnier, & l'art du relieur

• Tome IX. Les six premières parties de l'art du fabricant d'étoffes de soie

• Tome X. Les deux premières sections de la seconde partie du traité des pêches

• Tome XI. La troisième section de la seconde partie du traité des pêches

• Tome XII. L'art du distillateur d'eaux-fortes, l'art du distillateur liquoriste, & l'art du vinaigrier ; avec des notes & des additions

• Tome XIII. L'art de la peintures sur verre & de la vitrerie ; l'art du plombier & fontainier

• Tome XIV. L'art du perruquier ; l'art du tailleur, renfermant le tailleur d'habits d'hommes les culottes de peau, le tailleur de corps de femmes & enfans , la couturière & la marchande de mode ; l'art de la lingère, l'art du brodeur, l'art du cirier, l'art du criblier, l'art du coutelier en ouvrages communs, l'art du bourrelier & du sellier, & l'art du mouleur en plâtre

• Tome XV. La fabrique des ancres ; la forge des enclumes ; le nouvel art d'adoucir le fer fondu ; l'art du faiseur de peignes d'acier pour la fabrique des étoffes de soie ; l'art de réduire le fer en fil connu sous le nom de fil d'archal ; l'art de raffiner le sucre ; et l'art d'affiner l'argent

• Tome XVI. Les trois premières sections de la seconde partie de l'art d'exploiter les mines de charbon de terre

• Tome XVII. La quatrième section de la seconde partie de l'art d'exploiter les mines de charbon de terre

• Tome XVIII. Une table analytique des matières de l'art d'exploiter les mines de charbon de terre. Un supplément à la notice des opérations tentées en Normandie et en Bourgogne, annoncées dans un troisième article de la dernière partie ; & plusieurs additions & corrections. Une nouvelle méthode pour diviser les instruments de mathématique et d'astronomie. La description d'un microscope & de différents micromètres, destinés à mesurer des parties circulaires ou droites, avec la plus grande précision

• Tome XIX. Supplément à l'art du serrurier, ou essai sur les combinaisons méchaniques employées particulièrement pour produire l'effet des meilleures serrures ordinaires. Ouvrage traduit du hollandais, & utile à tous les serruriers intelligens. Art de préparer et d'imprimer les étoffes en laines, suivi de l'art de fabriquer les pannes ou peluches, les velours façon d'Utrecht, et les moquettes, étoffes les plus susceptibles de l'impression & du gauffrage ; Art du fabricant de velours de coton, précédé d'une dissertation sur la nature, le choix, et la préparation des matières ; et suivi d'un traité de la teinture et de l'impression des étoffes de ces mêmes matières ; Art du fabricant d'étoffes en laines rases et sèches, unies et croisées ; [Avec trois planches sur l'art du tourbier]

• Tome XX. L'art de l'imprimeur

Artis - Revista do Instituto de História da Arte da Faculdade de Letras de Lisboa, n.º 6, 2007

Acabou de ser publicado o volume de 2007 da Artis, a Revista do Instituto de História da Arte da Faculdade de Letras da Universidade de Lisboa. Este contém um número muito significativo de artigos sobre os materiais das obras de arte e de artigos com interesse para a conservação e restauro.

Índice:

• Pedro de Abreu Malheiro, Subsídios para o estudo da escultura egípcia do Império Antigo: reinado de Netjerikhet / Djoser - início da III Dinastia, pp. 15-46

• Luís Manuel de Araújo, Duas estatuetas do "Império Antigo" na Colecção Egípcia do Museu Calouste Gulbenkian, pp. 47-60

• Nuno Simões Rodrigues, A donzela de marfim. A agalmatofilia como representação estética na Antiguidade Clássica, pp. 61-71

• Tatiana Kuznetsova-Resende, A Aventura da Alma (ou a inserção de um mosaico romano no seu contexto histórico), pp. 73-92

• Raquel Fraga, O painel quatrocentista da Sé do Funchal: novos dados para o estudo material, pp. 93-120

• Vitor Serrão, O retábulo quinhentista da igreja dos santos sapateiros Crispim e Crispiniano, patronos da conquista de Lisboa aos mouros, pp. 121-138

• António João Cruz, A cor e a substância: sobre alguns pigmentos mencionados em antigos tratados portugueses de pintura - pigmentos amarelos, pp. 139-160

• Patrícia Alexandra Monteiro, Luís Urbano Afonso, Fontes para o estudo dos pigmentos na tratadística portuguesa: da Idade Média a 1850, pp. 161-186

• Jorge Rodrigues Batista, O tecto seiscentista da igreja paroquial de São João das Lampas (Sintra), pp. 187-208

• Vanessa Fragoso, Théologie et mystique des fleurs et des fruits au Portugal du XVIIe siècle, pp. 209-224

• Ricardo J. Nunes Silva, A presença do escultor polaco, José da Pax, na vila da Covilhã, nos finais do reinado de D. João V (1742-1744). Documentos Inéditos, pp. 225-234

• Maria Helena Souto, Luigi Manini e as Artes Decorativas em Portugal na 2.ª metade de Oitocentos, pp. 235-248

• Alice Nogueira Alves, Inventariar para Salvar. Mousinho de Albuquerque e a Comissão incumbida de examinar os Edifícios dos Conventos Suprimidos (1836), pp. 249-267

• Clara Moura Soares, A galeria de pintura do Restaurante "Leão de Ouro": percursos de uma colecção, pp. 269-307

• João Medina, Eça e Rafael. Rafael Bordalo Pinheiro, modelo do pintor Camilo Serrão, personagem de Eça d'A Tragédia da Rua das Flores?, pp. 309-324

• Barbara Aniello, José de Almada Negreiros, do caos à estrela dançante, pp. 325-355

• Andrés Luque Teruel, Nueva propuesta de clasificación de las esculturas planas de Picasso en París, Vallauris, Cannes y Mouguins, en 1943 a 1951. Intimidad y colosalismo, pp. 357-402

• Maria João Baptista Neto, Coleccionadores e Connaisseurs de obras de arte: Francis Cook (1817-1901) e John Charles Robinson (1824-1913) em Portugal, pp. 403-442

• Luís Marques, Antropologia do Património e da Arte, pp. 443-465

• Luís Elias Casanovas, Garry Thomson, a serenidade da competência, pp. 467-471

Cenáculo, n.º 2, 2007

Foi há pouco publicado o 2.º número, de 2007, do Cenáculo, o boletim on-line do Museu de Évora. O boletim está disponível aqui.

Índice:

• Conceição Ribeiro, O oratório indo-português do Museu de Évora. Estudo, conservação e restauro

• Ana Pereira, O oratório indo-português do Museu de Évora. Análise dos materiais e técnicas

• Joaquim Oliveira Caetano, Sombras e alguma luz sobre o bispo D. Afonso de Portugal

• Celso Mangucci, Francisco Machado e a oficina de retábulos do Arcebispo de Évora

• Maria João Lança, Museus, comunidade e desenvolvimento: o caso do Museu de Évora

• Ana Luísa Santos, Cláudia Umbelino, Os militares da Reconquista Cristã. Dados antropológicos sobre o passado Medieval e muçulmano de Évora

• Joaquim Oliveira Caetano, O retábulo flamengo do Museu de Évora. Algumas reflexões sobre um processo de investigação em curso

• António Alegria, As estelas funerárias do Museu de Évora

e_conservation, n.º 2, 2007

Já está disponível o 2.º número do boletim e_conservation. Está acessível aqui.

Conservar Património, n.º 5, 2007

De acordo com o que tinha sido anunciado, já está em distribuição o n.º 5 da revista Conservar Património, correspondente ao 1.º semestre de 2007 (e não ao 2.º, como está na capa).

Trata-se de um número especial dedicado a um relatório que o restaurador de pinturas Luciano Freire escreveu na década de 1930 onde descreve os tratamentos que fez a muitas das mais importantes pinturas antigas dos museus portugueses.

Índice:

• Apresentação, pp. 3-4

• José Alberto Seabra Carvalho, Os trabalhos de Luciano Freire por ele próprio: Nota introdutória à edição de um relatório de um restaurador de pintura do início do século XX, pp. 5-8

• Luciano Freire, Elementos para um relatorio acerca do tratamento da pintura antiga em Portugal segundo notas tomadas no periodo da execução desses trabalhos, pp. 9-65

• António João Cruz, Em busca da imagem original: Luciano Freire e a teoria e a prática do restauro de pintura em Portugal cerca de 1900, pp. 67-83

e-Preservation Science

e-Preservation Science é uma revista dedicada às ciências da conservação que começou a ser publicada em 2004. Com periodicidade anual, é distribuída através da internet. É de acesso livre e está disponível em

http://www.morana-rtd.com/e-preservationscience/

Segue o índice dos volumes já publicados:

• Volume 1, 2004
• Hannelore Römich, Evaluation of protective glazing systems, pp. 1-8
• Ivan De Ryck, Annemie Adriaens, Patrick Storme, Freddy Adams, The tin mercury inlay of a cabinet manufactured by Hendrik van Soest: A case study, pp. 9-14
• Vladan Desnica, Krešimir Furic, Manfred Schreiner, Multianalytical characterisation of a variety of ultramarine pigments, pp. 15-21
• Alex von Bohlen, Total reflection X-ray fluorescence spectrometry - A versatile tool for ultra-micro analysis of objects of cultural heritage, pp. 23-34
• Matija Strlic, Jana Kolar, Drago Kocar, Tjaša Drnovšek, Vid-Simon Šelih, Robert Susic, Boris Pihlar, What is the pH of alkaline paper?, p. 35

• Volume 2, 2005
• Joanna Lojewska, A. Lubanska, Tomasz Lojewski, Pavel Miskowiec, Leonard Marian Proniewicz, Kinetic approach to degradation of paper. In situ FTIR transmission studies on hydrolysis and oxidation, pp. 1-12
• Jasna Malešic, Jana Kolar, Matija Strlic, Slovenko Polanc, The use of halides for stabilisation of iron gall ink containing paper - the pronounced effect of cation, pp. 13-18
• Mihaela Carmen Popescu, Yusaku Sakata, Cristina Maria Popescu, Akioshi Osaka, Cornelia Vasile, Degradation of lime wood painting supports, pp. 19-29
• Craig J. Kennedy, Karin von Lerber, Tim J. Wess, Measuring crystallinity of laser-cleaned silk by X-ray diffraction, p. 31-37

• Volume 3, 2006
• Andrzej Baranski, J. M. Lagan, Tomasz Lojewski, The concept of mixed-control mechanisms and its applicability to paper degradation studies, pp. 1-4
• Yeghis Keheyan, L. Giulianelli, Identification of historical ink ingredients using pyrolysis-GC-MS. A model study, pp. 6-10
• Ulla Knuutinen, Paivi Kyllonen, Two case studies of unsaturated polyester composite art objects, pp. 11-19
• Laura Rampazzi, Roberto Bugini, St. Lorenzo basilica in Milan: Integral approach to characterization of historical mortars, pp. 21-26
• Y. Zidan, T. Handoussa, H. Hosni, Hadidi, N. M. N. El, The conservation of a wooden Graeco-Roman coffin box, pp. 27-33
• G. J. Brooke, The Historical Documents at the John Rylands University Library: The Reed Dead Sea Scrolls Collection, pp. 35-40
• Beatrice Marino, Jaap J. Boon, Ella Hendriks, François Horréard, François Hillion, Imaging TOF-SIMS and NANOSIMS studies of barite-celestite particles in grounds from paintings by Van Gogh, pp. 41-50
• Vivi Tornari, Optical and digital holographic interferometry applied in art conservation structural diagnosis, pp. 51-57
• V. Bukovský, M. Trnková, I. Kuka, A. Marková, M. Maršala, Paper puncture tester: a new instrument for facile evaluation of paper strength, pp. 58-62
• Worobiec, E. A. Stefaniak, V. Kontzova, L. Samek, P. Karaszkiewicz, K. Van Meel, R. Van Grieken, Characterisation of individual atmospheric particles within the royal museum of the Wawel castle in Cracow, Poland, pp. 63-68
• S. Katušcak, M. Polovka, M. Vrska, R. Tino, M. Jablonsky, The effect of paper degradation on uncertainty of determination of initial lignin content, p. 63-72

• Volume 4, 2007
• Paul Garside, Sonia O'Connor, Assessing the risks of radiographing culturally significant textiles, p. 1-8
• Ira Rabin, George Brooke, John Hodgson, Manolis Pantos, John Prag, The Ronald Reed archive at the John Rylands University Library, pp. 9-12
• Paolo Calvino, Stefano Vassalo, Computer-Assisted Infrared Analysis of Heterogeneous Works of Art, pp. 13-17

Criação do grupo de discussão Ciarte

No âmbito do projecto em que se insere este blogue e o site A Ciência e a Arte, foi criado o grupo de discussão Ciarte. Este grupo em parte continua a newsletter que em tempos esteve activa.

O grupo de discussão Ciarte é um espaço para a partilha de informações relacionadas com o estudo laboratorial, os aspectos materiais e a conservação e restauro de obras de arte. Qualquer e-mail enviado para o endereço do grupo (ciarte@googlegroups.com) é imediatamente enviado aos outros membros do grupo. A actividade do grupo dependerá da actividade de todos.

Todas as mensagens, e mais informações, podem ser visualizadas no site do grupo, com o endereço http://groups.google.com/group/ciarte/.

Um acesso mais completo ao site só é possível após inscrição no grupo, o qual pode facilmente ser feito no respectivo site.

Informações mais pormenorizadas sobre o grupo e sobre a forma de funcionamento estão disponíveis http://groups.google.com/group/ciarte/web/.

A infra-estrutura de hardware e de software é completamente mantida pelo Google.

O grupo fica à espera da inscrição e participação de quem se interessa pelo tema que lhe está subjacente.

Conservação e investigação científica de obras antigas em metal

Ontem ficou ontem integralmente disponível online o livro seguinte:

David A. Scott; Jerry Podany; Brian B. Considine (ed.), Ancient & Historic Metals. Conservation and Scientific Research, Los Angeles, The Getty Conservation Institute, 1994.

Está aqui.

Índice:

• Maurizio Marabelli, The Monument of Marcus Aurelius: Research and Conservation, p. 1

• Paola Fiorentino, Restoration of the Monument of Marcus Aurelius: Facts and Comments, p. 21

• François Schweizer, Bronze Objects from Lake Sites: From Patina to "Biography", p. 33

• Janet L. Schrenk, The Royal Art of Benin: Surfaces, Past and Present, p. 51

• Jane Bassett, W. T. Chase, Considerations in the Cleaning of Ancient Chinese Bronze Vessels, p. 63

• Stephen D. Bonadies, Tomography of Ancient Bronzes, p. 75

• W. T. Chase, Chinese Bronzes: Casting, Finishing, Patination, and Corrosion, p. 85

• Andrew Lins, Tracy Power, The Corrosion of Bronze Monuments in Polluted Urban Sites: A Report on the Stability of Copper Mineral Species at Different pH Levels, p. 119

• Jack Ogden, The Technology of Medieval Jewelry, p. 153

• Andrew Oddy, Gold Foil, Strip, and Wire in the Iron Age of Southern Africa, p. 183

• Frank G. Matero, Conservation of Architectural Metalwork: Historical Approaches to the Surface Treatment of Iron, p. 197

• Martin Chapman, Techniques of Mercury Gilding in the Eighteenth Century, p. 229

• Knud Holm, Production and Restoration of Nineteenth-century Zinc Sculpture in Denmark, p. 239

• Suzanne Keene, Real-time Survival Rates for Treatments of Archaeological, p. 249

• Ian Donald Macleod, Conservation of Corroded Metals: A Study of Ships' Fastenings from the Wreck of HMS Sirius (1790), p. 265

• Carol A. Grissom, The Conservation of Outdoor Zinc Sculpture, p. 279

Os materiais e as técnicas da pintura mural chinesa do século VIII

Lucien van Valen, The Matter of Chinese Painting. Case studies of 8th century murals, Tese de doutoramento, Universiteit Leiden, 2005.

A tese está integralmente disponível aqui.

Índice:

• Introduction 1
• Searching for its real substance 1
• Questions on material aspects 2
• The Location of the Paintings 2
• Classical Chinese sources on the matter of painting 3
• Secondary Western sources on the matter of Chinese painting 5
• The use of original samples 7
• The need for information 7

• Chapter 1. The Present Location of the Tang-murals 9
• The artworks in the Museum 12
• Walking perspective 12
• The re-assembly of the wall paintings 15
• New contexts and the original structure of the tombs 20

• Chapter 2. From Xie He to Shen Gua 45
• Xie He, Criticism on Painters, 490 CE 45
• A 6th century sequel by Yao Cui (500 – 552?) 58
• Xiao Yi, The secret of painting. 59
• Zhang Yanyuan, Famous Painters of all Dynasties, 847 CE 61
• Shen Gua and his Brush notes from the Dreamstream 66

• Chapter 3. The composition of paint 71
• Mineral paint 71
• Vegetable Dyes and other organic materials 102
• The fabrication of brushes and ink 124

• Chapter 4. The technique of the murals 127
• The Samples 127
• Layers for testing 133

• Chapter 5. The Sample Analysis 151
• Sample ZQX1 158
• Overview of the results of the samples 166
• Modern reference materials 180

• Concluding Observations 183

Lançamento da revista Conservar Património, n.º 5, 2007

No próximo dia 18 de Dezembro, pelas 18h00, no Museu Nacional de Arte Antiga, Lisboa, será feito o lançamento do 5.º número da revista Conservar Património, publicada pela ARP - Associação Profissional de Conservadores-Restauradores de Portugal. Intervirão na sessão Manuel Bairrão Oleiro, Paulo Henriques, António João Cruz e Alexandrina Barreiro.

Journal of Cultural Heritage, vol. 8, n.º 4, 2007

Foi publicado o último número de 2007 do Journal of Cultural Heritage.

Índice:

• Veerle Cnudde, Manuel Dierick, Jelle Vlassenbroeck, Bert Masschaele, Eberhard Lehmann, Patric Jacobs, Luc Van Hoorebeke, Determination of the impregnation depth of siloxanes and ethylsilicates in porous material by neutron radiography, pp. 331-338

• Klementina Mozina, Marjeta Cernic, Andrej Demsar, Non-destructive methods for chemical, optical, colorimetric and typographic characterisation of a reprint, pp. 339-349

• Maria Pia Riccardi, Marco Lezzerini, Federico Caro, Marco Franzini, Bruno Messiga, Microtextural and microchemical studies of hydraulic ancient mortars: Two analytical approaches to understand pre-industrial technology processes, pp. 350-360

• Lucyna Samek, Anna De Maeyer-Worobiec, Zoya Spolnik, Laszlo Bencs, Velichka Kontozova, Lukasz Bratasz, Roman Kozlowski, Rene Van Grieken, The impact of electric overhead radiant heating on the indoor environment of historic churches, pp. 361-369

• Carla Balocco, Daily natural heat convection in a historical hall, pp. 370-376

• David Hradil, Tomas Grygar, Janka Hradilova, Petr Bezdicka, Veronika Grunwaldova, Igor Fogas, Costanza Miliani, Microanalytical identification of Pb-Sb-Sn yellow pigment in historical European paintings and its differentiation from lead tin and Naples yellows, pp. 377-386

• Camilla Ricci, Simon Bloxham, Sergei G. Kazarian, ATR-FTIR imaging of albumen photographic prints, pp. 387-395

• Elise Meyer, Pierre Grussenmeyer, Jean-Pierre Perrin, Anne Durand, Pierre Drap, A web information system for the management and the dissemination of Cultural Heritage data, pp. 396-411

• Umberto Casellato, Federica Fenzi, Maria Pia Riccardi, Gabriele Rossi Osmida, Pietro Alessandro Vigato, Physico-chemical and mineralogical study of ceramic findings from Mary City - Turkmenistan, pp. 412-422

• Naci Yastikli, Documentation of cultural heritage using digital photogrammetry and laser scanning, pp. 423-427

• H. M. Yilmaz, M. Yakar, S. A. Gulec, O. N. Dulgerler, Importance of digital close-range photogrammetry in documentation of cultural heritage, pp. 428-433

• Mirco Vantaggi, Angela Baldanza, Alberto Renzulli, Patrizia Santi, Mario Luni, Laura Bonomi, Archaeometric and geological constraints for the provenance of carbonatic breccias used in monumental works along the Flaminia Consular Road (Umbria-Marche, Central Italy), pp. 434-444

Os artigos estão disponíveis online aqui (acesso reservado).

Colour 2008 - Bridging Science with Art

De 10 a 12 de Julho de 2008 realiza-se na Universidade de Évora um congresso intitulado Colour 2008 - Bridging Science with Art.

Colour 2008 intends to approach colours from different perspectives: physics, chemistry,history, geology, archaeology, psychology, religiosity, symbolism and Conservation Restoration.

Colour can be taken either as a sensitive perception or as a physical phenomenon. But undoubtedly, colour is directly related to the chemical and structural properties of the materials. A coloured painting layer is a mixture of materials - pigments and binding media - their stability and hiding power being strongly influenced by the interactions of the chemical species within the mixture and their interactions with the surrounding environment. On the other hand, the use of colour in art is determined at least as much by personal inclinations and cultural context as by the pictorial materials at hand. And which were those materials? Where were they extracted and how were they prepared and applied? How do they deteriorate with time? How can they be studied and measured? Which are the advances in technology and analytical techniques concerning colour studies?

These are some of the questions that Colour 2008 wants to discuss.

Mais informações em http://www.ciul.ul.pt/~colour/.

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.

Os trabalhos dos pintores: 106

Elisabeth Vigée Le Brun, Self-Portrait with Straw Hat, 1783.

Os trabalhos dos pintores: 105

Renoir, Portrait of Claude Renoir Painting, 1907.

Os trabalhos dos pintores: 104

Louis Berou, The Joys Of The Flooding, 1910.

Os trabalhos dos pintores: 103

Jacques-Louis David, Self-Portrait, 1794.

Studies in Conservation, vol. 52, n.º 3, 2007

Está em distribuição o 3.º fascículo de 2007 dos Studies in Conservation.

Índice:

• Katrien Keune, Jaap J. Boon, Analytical Imaging Studies of Cross-Sections of Paintings Affected by Lead Soap Aggregate Formation, pp. 161-176

• Clare Richardson, David Saunders, Acceptable Light Damage: a Preliminary Investigation, pp. 177-187

• W. Juan, Pau L. Leung, L. Jiazhi, A Study of the Composition of Chinese Blue and White Porcelain, pp. 188-198

• Lukasz Bratasz, Roman Kozlowski, Dario Camuffo, Emanuela Pagan, Impact of Indoor Heating on Painted Wood: Monitoring the Altarpiece in the Church of Santa Maria Maddalena in Rocca Pietore, Italy, pp. 199-210

• Xian Zhang, Karina Corrigan, Bruce MacLaren, Mimi Leveque, Richard Laursen, Characterization of Yellow Dyes in Nineteenth-Century Chinese Textiles, pp. 211-220

• Noriko Hayakawa, Rika Kigawa, Tomoyuki Nishimoto, Kurara Sakamoto, Shigeharu Fukuda, Takayuki Kimishima, Yasuhiro Oka, Wataru Kawanobe, Characterization of Furunori (Aged Paste) and Preparation of a Polysaccharide Similar to Furunori, pp. 221-232

Os trabalhos dos pintores: 102

Elisabetta Sirani, Self-portrait, cerca de 1660.

Os pigmentos usados por Henrique Pousão (1859-1884)

Andreia M. Correia; Robin J. H. Clark; Maria I. M. Ribeiro; Maria L. T. S. Duarte, "Pigment study by Raman microscopy of 23 paintings by the Portuguese artist Henrique Pousão (1859-1884)", Journal of Raman Spectroscopy, 38(11), 2007, pp. 1390-1405.

Resumo:

Twenty-three paintings by Henrique Pousão - a 19th century Portuguese painter - belonging to the collection of Museu Nacional Soares dos Reis, Porto, Portugal, were analysed by Raman microscopy. The fine focus of a 100× objective allowed the visualisation and individual identification of small grains. As a result, thirty-seven compounds, namely, anatase, barium white, basic lead sulfate, brochantite, cadmium red, cadmium yellow, calcium carbonate, carbon-based black, celadonite, chrome green, chrome orange, chrome yellow, cobalt blue, cochineal lake, copper sulfide, emerald green, iron(III) oxyhydroxide, iron(III) oxide, kaolinite, lead antimonate yellow, lead carbonate, lead white, lead sulfate, madder lake, malachite, Prussian blue, quartz, realgar/pararealgar, red lead, rutile, Scheele's green, strontium yellow, ultramarine blue, vermilion, viridian, zinc white and zinc yellow, were identified. Not all these compounds are pigments; some are extenders, others trace components and others probably products of reactions between pigments. Special attention was given to the Raman characterisation of celadonite, chrome orange, basic lead sulfate and lead antimonate yellow. Complementary techniques were used to confirm the identities of certain pigments and to characterise reference samples. Pousão, whose work has not previously been studied spectroscopically, was found to have used a remarkably wide range of pigments over his painting periods, without showing significant preference for any particular set of pigments.

Disponível em http://dx.doi.org/10.1002/jrs.1786.

Os trabalhos dos pintores: 101

Artemisia Gentileschi, Self-Portrait as the Allegory of Painting, 1630.

e_conservation Magazine, n.º 1, 2007

Saiu o primeiro número de e_conservation Magazine, uma publicação já estava anunciada há algum tempo.

Com edição apenas em formato electrónico, está livremente disponível para download em http://www.e-conservationline.com.

Os trabalhos dos pintores: 100

Sofonisba Anguissola, Self-portrait at the Easel Painting a Devotional Panel, 1556.

National Gallery Technical Bulletin, vol. 28, 2007

Já está em distribuição o volume de 2007 do National Gallery Technical Bulletin.

Índice:

• Simona Di Nepi, Ashok Roy, Rachel Billinge, Bernardo Daddi's Coronation of the Virgin: The Reunion of Two Long-Separated Panels, pp. 4-25

• Jill Dunkerton, Tintoretto's Underdrawing for Saint George and the Dragon, pp. 26-35

• Paul Joannides, Jill Dunkerton, A Boy with a Bird in the National Gallery: A Titian Puzzle, pp. 36-57

• Ashok Roy, Monet's Palette in the Twentieth Century: Water-Lilies and Irises, pp. 58-68

• Jo Kirby, Marika Spring, Catherine Higgitt, The Technology of Eighteenth- and Nineteenth-Century Red Lake Pigments, pp. 69-95

A imagem não visívelMétodos laboratoriais de exame de pinturas

A ARP - Associação Profissional de Conservadores-Restauradores de Portugal promove um curso sobre os métodos laboratoriais de exame de pinturas.

O curso pretende apresentar os fundamentos dos métodos de exame mais usados no estudo de pinturas – alguns dos quais facilmente acessíveis aos conservadores –, discutir o tipo de informações proporcionadas pelos mesmos e as suas limitações. Trata-se de métodos que podem ser úteis quer para o estudo das obras, quer para o esclarecimento de aspectos relacionados com o estado de conservação. Sempre que possível, os tópicos serão abordados a partir da discussão de casos reais. Entre estes poderão ser usados casos apresentados pelos formandos.

Com um total de 12 horas, decorrerá nos próximos dias 15 e 16 de Outubro no Centro Científico e Cultural de Macau, em Lisboa.

Mais informações aqui.

Manufactura de lacas para pintura

Estão disponíveis online dois livros sobre a manufactura de lacas para pintura, isto é, materiais obtidos pela deposição de um corante (orgânico) numa carga (inorgânica).

Os livros são os seguintes:

• Francis Jennison, The Manufacture of Lake Pigments from Artificial Colours, 1920, aqui

• B. Cronshaw, The Manufacture of Lakes and Precipitated Pigments, aqui

Os tratados de pintura publicados por Mrs. Merrifield: 2

A obra de Mary Merrifield intitulada Original Treatises, Dating from the XIIth to XVIIIth Centuries on the Arts of Painting, publicada pela primeira vez em 1849, ainda hoje é de consulta indispensável. Dos dois volumes, já aqui tinha dado conta de o primeiro estar disponível online.

Neste momento, o segundo volume também já está acessível aqui.

O primeiro volume, além de estar disponível no endereço já indicado, está também disponível, através de diferentes exemplares, aqui e aqui.

Livros da Winsor & Newton: 2

Diversos livros sobre técnicas artísticas publicadas pela firma Winsor & Newton durante o século XIX estão disponíveis integralmente online. Alguns desses livros já foram referidos aqui. Seguem mais alguns:

• The Art of Landscape Painting in Oil Colours, 8^th ed., 1853, aqui

• The Art of Landscape Painting in Oil Colours, 14^th ed., 1859, aqui

• Aaron Penley, A System of Water-Colour Painting, 1850, aqui

• Mrs. Merrifield, Pratical Directions for Portrait Painting in Water-Colours, 2^nd ed., 1851, aqui

• Thomas Rowbotham, Thomas L. Rowbotham, Jr., The Art of Landscape Painting in Water Colours, 1850, aqui

• W. Winsor, H. C. Newton, Practice of Fresco Painting, 1843, aqui

Reestruturação do website A Ciência e a Arte

Após seis anos sem qualquer actualização, o site A Ciência e a Arte, também conhecido como Ciarte, foi completamente reestrurado, quer em forma, quer em conteúdo.

É muito provável que, a partir de agora, passe novamente a ser periodicamente actualizado.

Journal of Cultural Heritage, vol. 8, n.º 3, 2007

Está em distribuição o número 3 do corrente ano do Journal of Cultural Heritage. De destacar o estudo de um manuscrito iluminado português.

Índice:

• Pierre Chassagne, Elias Bou-Said, Ario Ceccotti, Jean-Francois Jullien, Marco Togni, The contribution of numerical simulation for the diagnosis of the conservation of art objects: Application to Antonio Santucci's armillary sphere of the 16th century, pp. 215-222

• Barbara Lubelli, Rob P.J. van Hees, Effectiveness of crystallization inhibitors in preventing salt damage in building materials, pp. 223-234

• Mauro Bacci, Amerigo Corallini, Andrea Orlando, Marcello Picollo, Bruno Radicati, The ancient stained windows by Nicolo di Pietro Gerini in Florence. A novel diagnostic tool for non-invasive in situ diagnosis, pp. 235-241

• Philippe Colomban, Aurelie Tournie, On-site Raman identification and dating of ancient/modern stained glasses at the Sainte-Chapelle, Paris, pp. 242-256

• Frank Jakobus Ruhli, Thomas Boni, Juan Perlo, Federico Casanova, Maria Baias, Eduard Egarter, Bernhard Blumich, Non-invasive spatial tissue discrimination in ancient mummies and bones in situ by portable nuclear magnetic resonance, pp. 257-263

• Laszlo Bencs, Zoya Spolnik, Dionne Limpens-Neilen, Henk L. Schellen, Bernhard A.H.G. Jutte, Rene Van Grieken, Comparison of hot-air and low-radiant pew heating systems on the distribution and transport of gaseous air pollutants in the mountain church of Rocca Pietore from artwork conservation points of view, pp. 264-271

• Rosa Maria Cavalli, Francesca Colosi, Angelo Palombo, Stefano Pignatti, Maurizio Poscolieri, Remote hyperspectral imagery as a support to archaeological prospection, pp. 272-283

• Fulvio Baudo, Gian Antonio Mazzocchin, Warren Cairns, A pilgrim's ampulla from San Giacomo in Paludo (Venice). Provenance hypothesis through lead isotope ratio analysis, pp. 284-288

• Sara Bianchin, Umberto Casellato, Monica Favaro, Pietro Alessandro Vigato, Painting technique and state of conservation of wall paintings at Qusayr Amra, Amman - Jordan, pp. 289-293

• Ioannis Karapanagiotis, Lemonia Valianou, Sister Daniilia, Yannis Chryssoulakis, Organic dyes in Byzantine and post-Byzantine icons from Chalkidiki (Greece), pp. 294-298

• Laura Moura, Maria Joao Melo, Conceicao Casanova, Ana Claro, A study on Portuguese manuscript illumination: The Charter of Vila Flor (Flower town), 1512, pp. 299-306

• Alessandro Zucchiatti, Lucia Canonica, Paolo Prati, Aurora Cagnana, Stefano Roascio, Aurelio Climent Font, PIXE analysis of V-XVI century glasses from the archaeological site of San Martino di Ovaro (Italy), pp. 307-314

• Lorenzo Lazzarini, Ernesto Borrelli, Mohamed Bouabdelli, Fabrizio Antonelli, Insight into the conservation problems of the stone building "Bab Agnaou", a XII cent. monumental gate in Marrakech (Morocco), pp. 315-322

• Francesca Ospitali, Andrea Rattazzi, Maria Perla Colombini, Alessia Andreotti, Gianfranco di Lonardo, XVI century wall paintings in the "Messer Filippo" cell of the tower of Spilamberto: Microanalyses and monitoring, pp. 323-327

Materiais e métodos de pintura de Lucas Cranach, o Velho

Acabou de ser publicado:

Gunnar Heydenreich, Lucas Cranach the Elder. Painting materials, techniques and workshop practice, Amsterdam, Amsterdam University Press, 2007.

Índice

• Preface

• Biography of Lucas Cranach the Elder

• Cranach's practice of painting in the judgement of history

• Sixteenth-century commentators

• Seventeenth- to nineteenth-century commentators and biographers

• Twentieth-century research and analysis

• Panel painting

• The wooden support

• Frames

• The preparatory layers: ground, isolation and imprimatura

• Practices of underdrawing

• Applications of gold, silver and paper

• Paint, palette and brushes

• Techniques of painting

• Painting the reverse side, presentation and transport

• Canvas painting

• Documentary evidence and surviving canvases

• Subjects and function

• The linen: origin, formats and qualities

• Preparation of the linen and painting techniques

• Presentation and evaluation

• Painting on other supports

• Parchment

• Paper

• Metal

• Mural painting and architectural decoration

• Workshop organisation

• Contracts, commissions and marketing

• Studios

• Partnership and workshop members

• Artistic co-operation and exchange in panel painting

• Summary

• Notes

• Glossary

• Measurement and coinage

• Abbreviations

• Bibliography

• Photographic acknowledgements

• Appendices

• Investigated paintings

• Selected primary documents on materials, techniques and workshop organisation

• Index

Mestrado em Química Aplicada ao Património Cultural

Está aberta a 2.ª fase das candidaturas para o Mestrado em Química Aplicada ao Património Cultural, do Departamento de Química e Bioquímica da Faculdade de Ciências da Universidade de Lisboa em colaboração com o Departamento de Arte, Conservação e Restauro da Escola Superior de Tecnologia de Tomar.

Destina-se a licenciados na área na área da Química e licenciados na área da Conservação e Restauro.

Trata-se da 5.ª edição, agora com novo formato.

A 2.ª fase de candidaturas decorre entre 10 a 14 de Setembro.

Mais informações em http://www.dqb.fc.ul.pt/2ciclo/pcultural/.

Os trabalhos dos pintores: 99

Frans van Mieris, Pictura, 1661.

Os trabalhos dos pintores: 98

François Boucher, Painter in his Studio, 1753.

Dendrocronologia com base nos carvalhos europeus

K. Haneca, Tree-ring analyses of European oak: implementation and relevance in (pre-)historical research in Flanders, Tese de doutoramento, University Ghent, 2005.

A tese está livremente disponível aqui.

Resumo:

Throughout human history, forests and woodlands in Western Europe experienced a high anthropogenic influence. In densely populated areas forests were cleared and converted to arable land or were exploited for the supply of firewood and construction timber. In Flanders, it is estimated that the forest cover by the end of the 13th century was even lower than in the 19th century. To date, several assortments of timber, available on the local wood market during the Roman era and the Middle Ages, have become part of our cultural heritage. Archaeological remains, historical buildings, panel paintings and religious sculptures are only a few examples of constructions and objects that were created by processing wood. Especially European oak (Quercus robur L. and Q. petraea (Matt.) Liebl.) was highly esteemed by craftsmen. Tree-ring series of oak have the characteristic that they tend to crossdate. In other words, ring-width series display a certain element of synchronicity between remote sites. This feature allows to use dendrochronology, i.e. the scientific study of tree-ring patterns, as a dating tool. However, in Flanders tree-ring dating has seldom been applied and has often led to inconclusive results. Especially archaeological oak timbers or wood from historical buildings is often characterized by short (less than 50 years) and variable growth patterns. Therefore, it was assessed and demonstrated that such series have a potential for dating purposes and chronology building. It is believed that the high anthropogenic pressure on the original forest cover has stimulated the implementation of short rotation systems. Past forest management interventions and forest stand structure development are recorded in the growth patterns and the wood anatomical structure of archaeological and subfossil wood. By comparing them with growth patterns of contemporary trees from stands with well-known stand structure and management history it was noticed that the same patterns are encountered. Consequently, it is now possible to distinguish wood specimens that originate from, for instance, a coppice stand or a high forest by scrutinizing their growth patterns. Moreover, close observation of the wood anatomy, for instance, the size and distribution of earlywood vessels, provides an image of the variability in past hydrological conditions. Tree-ring series from wooden sculptures and panel paintings from 15th-16th century display a completely different nature. Since local timber sources mostly provided small sized and fast grown timber, craftsmen started to look for high-quality oak. Such assortments became available due to the establishment of an important timber trade. Especially oak timber from the Baltic region was imported. By studying the growth patterns on historical art objects it becomes clear that medieval woodworkers were well aware of the intrinsic variability and technological properties of the imported oak timber. Moreover, analysis of extensive datasets of tree-ring series from historical art objects provides more insights and information on the original timber source, wood processing activities and the creative process. It is obvious that dendrochronology has become more than a dating tool in (pre-) historical studies. This work demonstrates that it is highly valid to approach Flanders’ precious cultural heritage, created out of wood, from a multidisciplinary point-of-view, where archaeology, art-history, wood technology and biology should play an important and valuable role.

Metodologia para a Conservação de Retábulos de Madeira Policromada

Françoise Descamps (ed.), Metodología para la Conservación de Retablos de Madera Policromada, Sevilla - Los Angeles, Instituto Andaluz del Patrimonio Histórico - The Getty Conservation Institute, 2002.

O livro, correspondente às comunicações apresentadas num encontro, está integralmente disponível online. Em castelhano está aqui; em inglês está aqui.

Índice

• Jaime Cama Villafranca, Un patrimonio cultural que sigue vivo. La teoría de la restauración como marco de referencia para la definición de una metodología de intervención para retablos, p. 14

• Myriam Serck-Dewaide, Dos retablos amberinos del siglo XVI: el retablo de la Iglesia de San Nicolás en Enghien y el de la Iglesia de San Lamberto en Bouvignes, Bélgica, p. 20

• Carlos M. Rúa Landa, Retablo Mayor de la Basílica Menor de San Francisco, La Paz, Bolivia, p. 34

• Susana Cardoso Fernández, Retablo Mayor de la Iglesia de San Antonio de los Ángeles, Laguna, Santa Catarina, Brasil, p. 48

• Adriano Reis Ramos, Retablo Mayor de la Catedral de San Antonio de Santa Bárbara, Minas Gerais, Brasil, p. 54

• Héctor Oswaldo Prieto Gordillo, Retablo Mayor de la Iglesia de la Concepción, Bogotá, Colombia, p. 66

• Eugenia Serpa Isaza, El Retablo de San José de Tubará, Colombia, p. 78

• Diego Santander Gallardo, Restauración del retablo San Francisco Javier de la Iglesia de la Compañía de Jesús de Quito, Ecuador, p. 94

• Letona, Ana Carrassón López de, El Retablo de la Asunción de Nuestra Señora, Colmenar Viejo, Madrid, España, p. 110

• Rosaura García Ramos, El retablo de Santa Eulalia de la Iglesia Parroquial de Marquínez y el retablo de San Bartolomé de la Iglesia Parroquial de Olano, Álava, España, p. 126

• María José González López, Retablo Mayor de la Capilla Real de Granada: puesta a punto de una metodología de estudio para la intervención en retablos, p. 136

• Franco Del Zotto, Francesca Tonini, Retablo Mayor de Santa Maria del Giglio, Tarcento, Udine, Italia, p. 162

• Françoise Descamps, Blanca Noval Vilar, Irene Sen, Aspectos metodológicos para la elaboración del proyecto de conservación del Retablo Mayor de la Iglesia de Santo Domingo de Guzmán, Yanhuitlán, Estado de Oaxaca, México, p. 182

• Fanny Unikel Santoncini, El sistema constructivo del Retablo de San Cayetano, Guanajuato, México: investigación y docencia, p. 198

• Carmen Fortunata Huanay Herrera, Retablo Mayor del Palacio de Gobierno, Lima, Perú, p. 210

• Agnès Le Gac, El Retablo de la Sacristía del Santuario Nuestra Señora da Lapa, Quintela da Lapa, Sernancelhe, Portugal, p. 216

Os trabalhos dos pintores: 97

Salvador Dali, Auto-retrato, 1919.

Centraal Museum, Utrecht. Catalogue of Paintings. 1450-1600

O catálogo de pinturas datadas do período entre 1450 e 1600 do Centraal Museum, de Utrecht, vai ser publicado em papel em 2008. No entanto já está livremente disponível na internet, aqui.

Especialmente interessantes são os estudos introdutórios:

• Molly Faries, Peter Klein, Panels and dendrochronology

• Molly Faries, Jan van Scorel's drawing and painting technique

A manufactura do papel ao longo da história, segundo Dard Hunter

Dard Hunter (1883-1966) é o autor de várias obras clássicas sobre a história do papel e a sua manufactura. Algumas das suas obras estão integralmente disponíveis online:

• Old Papermaking, 1923: aqui.

• The Literature of Papermaking 1390-1800, 1925: aqui.

• Papermaking Through Eighteen Centuries, 1930: aqui.

Várias outras obras de Dard Hunter estão disponíveis aqui. O acesso é livre.

Para a história da conservação e restauro no Brasil

Isabel Cristina Nóbrega, Jair Afonso Inácio, um pioneiro na preservação do patrimônio artístico brasileiro, Tese de mestrado, Universidade Estadual Paulista, 1997.

Resumo:

Esta pesquisa tem como figura central Jair Afonso Inácio (1932-1982), restaurador/conservador que muito contribuiu na preservação dos “Bens Móveis e Integrados”, no Brasil. Juntamente com João José Rescála, Fernando Barreto, Ado Malagoli e Edson Motta, (que em 1949 fundou o “Setor de Recuperação” do SPHAN), Jair tornou científica a restauração no Brasil. Restaurou grande parte do acervo histórico e artístico de Minas Gerais, que estava com seu barroco descaracterizado. Ele usava técnicas aprendidas na Europa e nos Estados Unidos e, muitas vezes, teve que adaptá-las às condições brasileiras: clima diferenciado e precariedade de materiais e equipamentos. Criou também um curso de restauração em Ouro Preto. Lá, além de transmitir seus conhecimentos, consegue estimular muito bem seus alunos, e mais tarde alguns deles se destacarão na área. Jair Inácio atuou ainda como perito (expertise) em barroco, destacando-se nacionalmente.

A tese está livremente disponível na íntegra aqui. É necessário registo prévio, que é gratuito.