Espectroscopia de infravermelho longínquo de reflectância total atenuada aplicada ao estudo do património cultural

A seguinte tese de doutoramento está disponível com acesso livre aqui:

Elsebeth Langholz Kendix, Trasmission and Reflection (ATR) Far-Infrared Spectroscopy Applied in the Analysis of Cultural Heritage Materials, Bollogna, Allma Matter Sttudiiorum, Uniiversiittà dii Bollogna, 2009.

Resumo:

FIR spectroscopy is an alternative way of collecting spectra of many inorganic pigments and corrosion products found on art objects, which is not normally observed in the MIR region. Most FIR spectra are traditionally collected in transmission mode but as a real novelty it is now also possible to record FIR spectra in ATR (Attenuated Total Reflectance) mode. In FIR transmission we employ polyethylene (PE) for preparation of pellets by embedding the sample in PE. Unfortunately, the preparation requires heating of the PE in order to produces at transparent pellet. This will affect compounds with low melting points, especially those with structurally incorporated water. Another option in FIR transmission is the use of thin films. We test the use of polyethylene thin film (PETF), both commercial and laboratory-made PETF. ATR collection of samples is possible in both the MIR and FIR region on solid, powdery or liquid samples. Changing from the MIR to the FIR region is easy as it simply requires the change of detector and beamsplitter (which can be performed within a few minutes). No preparation of the sample is necessary, which is a huge advantage over the PE transmission method. The most obvious difference, when comparing transmission with ATR, is the distortion of band shape (which appears asymmetrical in the lower wavenumber region) and intensity differences. However, the biggest difference can be the shift of strong absorbing bands moving to lower wavenumbers in ATR mode. The sometimes huge band shift necessitates the collection of standard library spectra in both FIR transmission and ATR modes, provided these two methods of collecting are to be employed for analyses of unknown samples. Standard samples of 150 pigment and corrosion compounds are thus collected in both FIR transmission and ATR mode in order to build up a digital library of spectra for comparison with unknown samples. XRD, XRF and Raman spectroscopy assists us in confirming the purity or impurity of our standard samples. 24 didactic test tables, with known pigment and binder painted on the surface of a limestone tablet, are used for testing the established library and different ways of collecting in ATR and transmission mode. In ATR, micro samples are scratched from the surface and examined in both the MIR and FIR region. Additionally, direct surface contact of the didactic tablets with the ATR crystal are tested together with water enhanced surface contact. In FIR transmission we compare the powder from our test tablet on the laboratory PETF and embedded in PE. We also compare the PE pellets collected using a 4x beam condenser, focusing the IR beam area from 8 mm to 2 mm. A few samples collected from a mural painting in a Nepalese temple, corrosion products collected from archaeological Chinese bronze objects and samples from a mural paintings in an Italian abbey, are examined by ATR or transmission spectroscopy.

Estudo através de métodos de espectroscopia de problemas de conservação de pinturas modernas e contemporâneas

Acabou de ser colocada online com acesso livre a seguinte tese de mestrado:

Joana Andreia Lameiras Domingues, Spectroscopy Studies on Conservation Issues in Modern and Contemporary Paintings, Lisboa, Faculdade de Ciências e Tecnologia da Universidade Nova de Lisboa, 2010.

Está aqui.

Resumo:

Modern and contemporary paintings are one of today’s grand challenges in conservation of cultural heritage. Particularly, these paintings have often been retouched using materials rather similar to originals, thus, compromising the reversibility of the overpainting. In this work, FTIR and Raman spectroscopies, assisted by optical microscopy, were used to evaluate the effectiveness and harmfulness of chemical and laser cleaning methods for the removal of overpaints. Representative mock-ups prepared with commercial paint formulations were used. The laser cleaning experiment was part of an interdisciplinary study which aims the evaluation of method’s limitations by using the most aggressive cleaning parameters. The combined use of FTIR and Raman spectroscopies could identify constituent materials of modern paints, controlling their behaviour under cleaning, while optical microscopy allowed the evaluation on surface morphology. In addition, equivalent portable equipments from MOLAB were covered as a preparation for in situ analysis. Several problems in the selective removal of overpaints were found with chemical cleaning. The laser cleaning showed better efficiency in removing them, although, some alterations occurred upon laser irradiation, for instance, binder degradation with carbon formation and titanium white alteration. The proposed spectroscopic protocol was considered useful for controlling different cleaning methods in modern and contemporary paintings.

Aplicação da microscopia de infravermelho ao estudo do património cultural

A seguinte tese de doutoramento está livremente disponível aqui:

Edith Michelle Maryse Joseph, Application of FTIR Microscopy to Cultural Heritage Materials, Bollogna, Allma Matter Sttudiiorum, Uniiversiittà dii Bollogna, 2009.

Resumo:

Research in art conservation has been developed from the early 1950s, giving a significant contribution to the conservation-restoration of cultural heritage artefacts. In fact, only through a profound knowledge about the nature and conditions of constituent materials, suitable decisions on the conservation and restoration measures can thus be adopted and preservation practices enhanced. The study of ancient artworks is particularly challenging as they can be considered as heterogeneous and multilayered systems where numerous interactions between the different components as well as degradation and ageing phenomena take place. However, difficulties to physically separate the different layers due to their thickness (1-200 µm) can result in the inaccurate attribution of the identified compounds to a specific layer. Therefore, details can only be analysed when the sample preparation method leaves the layer structure intact, as for example the preparation of embedding cross sections in synthetic resins. Hence, spatially resolved analytical techniques are required not only to exactly characterize the nature of the compounds but also to obtain precise chemical and physical information about ongoing changes. This thesis focuses on the application of FTIR microspectroscopic techniques for cultural heritage materials. The first section is aimed at introducing the use of FTIR microscopy in conservation science with a particular attention to the sampling criteria and sample preparation methods. The second section is aimed at evaluating and validating the use of different FTIR microscopic analytical methods applied to the study of different art conservation issues which may be encountered dealing with cultural heritage artefacts: the characterisation of the artistic execution technique (chapter II-1), the studies on degradation phenomena (chapter II-2) and finally the evaluation of protective treatments (chapter II-3). The third and last section is divided into three chapters which underline recent developments in FTIR spectroscopy for the characterisation of paint cross sections and in particular thin organic layers: a newly developed preparation method with embedding systems in infrared transparent salts (chapter III-1), the new opportunities offered by macro-ATR imaging spectroscopy (chapter III-2) and the possibilities achieved with the different FTIR microspectroscopic techniques nowadays available (chapter III-3). In chapter II-1, FTIR microspectroscopy as molecular analysis, is presented in an integrated approach with other analytical techniques. The proposed sequence is optimized in function of the limited quantity of sample available and this methodology permits to identify the painting materials and characterise the adopted execution technique and state of conservation. Chapter II-2 describes the characterisation of the degradation products with FTIR microscopy since the investigation on the ageing processes encountered in old artefacts represents one of the most important issues in conservation research. Metal carboxylates resulting from the interaction between pigments and binding media are characterized using synthesised metal palmitates and their production is detected on copper-, zinc-, manganese- and lead- (associated with lead carbonate) based pigments dispersed either in oil or egg tempera. Moreover, significant effects seem to be obtained with iron and cobalt (acceleration of the triglycerides hydrolysis). For the first time on sienna and umber paints, manganese carboxylates are also observed. Finally in chapter II-3, FTIR microscopy is combined with further elemental analyses to characterise and estimate the performances and stability of newly developed treatments, which should better fit conservation-restoration problems. In the second part, in chapter III-1, an innovative embedding system in potassium bromide is reported focusing on the characterisation and localisation of organic substances in cross sections. Not only the identification but also the distribution of proteinaceous, lipidic or resinaceous materials, are evidenced directly on different paint cross sections, especially in thin layers of the order of 10 µm. Chapter III-2 describes the use of a conventional diamond ATR accessory coupled with a focal plane array to obtain chemical images of multi-layered paint cross sections. A rapid and simple identification of the different compounds is achieved without the use of any infrared microscope objectives. Finally, the latest FTIR techniques available are highlighted in chapter III-3 in a comparative study for the characterisation of paint cross sections. Results in terms of spatial resolution, data quality and chemical information obtained are presented and in particular, a new FTIR microscope equipped with a linear array detector, which permits reducing the spatial resolution limit to approximately 5 µm, provides very promising results and may represent a good alternative to either mapping or imaging systems.

International Journal of Conservation Science, vol. 1, n.º 4, 2010

Acabou de ser publicada a revista International Journal of Conservation Science, vol. 1, n.º 4, de 2010.

Está livremente disponível aqui.

Índice:

• G. Bodi, An Analytical Framework for the Selection and Classification of Archaeological Pottery in Order to Create an Integrated Characteristics Record. I. Preliminary Field Analysis of the Cucuteni Pottery from Hoisesti (Iasi county), pp. 199-210

• Emandi, P. Budrugeac, I. Emandi, I. Stanculescu, P. Bugheanu, The Assesment of the Decayed Lime Wood Polymeric Components by TG and FT-IR Parameters Correlation, pp. 211-218

• A.A. Tuduce-Traistaru, M. Campean, M.C. Timar, Compatibility Indicators in Developing Consolidation Materials with Nanoparticle Insertions for Old Wooden Objects, pp. 219-226

• G. Romanescu, Dune Ecosystem Management of the Razim-Sinoie Littoral Bar (Romania), pp. 227-240

• I.G. Sandu, V. Vasilache, V. Cotiuga, Revaluation of Archaeological Ceramics Assets under Generally Accepted Principles of Integrated Scientific Conservation, pp. 241-247

A descoberta dos raios X e a sua influência na arte do início do século XX

Acabou de ser disponibilizada na internet a seguinte tese de doutoramento:

Ana Lamata Manuel, Superrealistas: De la Contribución de los Rayos-x a la Visión y Presentación de la Realidad en el Arte a Comienzos del Siglo XX, Madrid, Universidad Complutense, 2010.

Está aqui.

Resumo:

El presente trabajo se ocupa de la contribución de los rayos-x a la reconfiguración epistemológica y plástica de la realidad en el primer tercio del siglo XX. Desde el último cuarto del siglo XIX la realidad estaba siendo redefinida en términos de relaciones de fuerzas y se comenzaba a poner en cuestión la intemporalidad del conocimiento. En ese contexto, los rayos-x y su huella radiográfica contribuyeron al descrédito del paradigma de realidad positivista y ofrecieron a los artistas un modelo analógico de visión y de presentación de la realidad; esto es, un modelo tanto procesual como formal con el que ver y dar a ver sus visiones. Los rayos-x y la radiografía desplegaron el horizonte de visión de científicos, filósofos y artistas en un momento, 1895, en el cual el cinematógrafo, el psicoanálisis y, en poco tiempo, la aviación, comenzaron a revolucionar los modos de ver y de pensar la realidad, la visión y el conocimiento mismos. Se ha trabajado en torno a dos momentos esenciales: el del descubrimiento de los rayos-x y el de los ecos en pintura y en literatura que comenzó a tener una década más tarde. La bibliografía empleada gira en torno a los mismos núcleos.

Os vidros antigos e os processos de opacificação com compostos de antimónio

Acabou de ser disponibilizada na internet a seguinte tese de doutoramento:

Sophia Lahlil, Redécouverte des Procédés d'Opacification des Verres à l'Antimoine à Travers l'Histoire. Étude des Antimoniates de Calcium, Paris, Université Pierre et Marie Curie, 2008.

Resumo :

L'objectif de ce travail de recherche est de retrouver les modes de fabrication des verres opacifiés aux antimoniates à travers l'Histoire depuis l'origine jusqu'à aujourd'hui par une approche conjointe de l'archéométrie et des sciences des matériaux. Pour ce faire, nous avons réalisé des synthèses de verres opaques en laboratoire et étudié des productions de verres opacifiés aux antimoniates de calcium allant de l'Antiquité à nos jours. En comparant les caractéristiques physico-chimiques de verres de référence synthétiques ou contemporains, dont le mode de fabrication est connu, avec celles d'échantillons de verres opaques anciens ou modernes, dont le mode de fabrication est inconnu, nous avons pu déterminer des critères permettant d'identifier les procédés d'opacification des trois productions de verre étudiées : - les verres décorés de la XVIIIème dynastie égyptienne (1570-1292 av. J.C.), - les tesselles de mosaïque romaines d'Aquilée et de Rome, datant du 1er s. av. au 4ème s. apr. J.C., - les verres filés dits « de Nevers » datant du 18ème s. apr. J.C..

A tese, com acesso livre, está aqui.

Ge-conservación, n.º 1, 2010

Acabou de ser publicada a revista digital Ge-conservación, n.º 1, de 2010, do grupo espanhol do International Institute for Conservation (GE-IIC).

Índice:

• Paolo Cremonesi, L'amaro caso del Dimetilsolfossido.... Ovvero, dove sta andando l'opera d'arte, la sua conservazione, la ricerca scientifica che la riguarda?, pp. 9-36

• Fernando dos Santos Antunes, Conservação e restauro: sector da actividade económica versus domínio científico-tecnológico - uma realidade, uma ficção ou uma utopia?, pp. 37-57

• Rocío Bruquetas, Marisa Gómez González, La ciencia-servicio del arte. Entrevista a Araceli Gabaldón, físico del IPCE, pp. 59-68

• Trinidad Pasíes Oviedo, El mosaico: historias de supervivencia, pp. 71-84

• Joana Salgueiro, Os regimentos das corporações dos ofícios mecânicos: O caso do Retábulo-mor da Sé de Lamego (1506-1511) do pintor português Vasco Fernandes, pp. 85-98

• Juan José Lupión Álvarez, María Arjonilla Álvarez, La cerámica aplicada en arquitectura: hacia una normalización de los criterios de intervención, pp. 99-126

• Ana Bailão, Frederico Henriques, Madalena Cabral, Alexandre Gonçalves, Primeiros passos de maturidade a caminho da reintegração cromática diferenciada em pintura de cavalete em Portugal, pp. 127-141

• Filipa Raposo Cordeiro, Problemas em intervenções de conservação e restauro. Como evitá-los?, pp. 143-161

• Francisca Diestro Ortega, Josemi Lorenzo Arribas, Conservación, devoción, documentación. Vírgenes con Niño medievales de la provincia de Soria, pp. 163-181

• Ana Bidarra, João Coroado, Fernando Rocha, Contributos para o estudo da folha de ouro de retábulos Barrocos por microscopia óptica e electrónica, pp. 183-191

• Enara Artetxe Sánchez, Marta Barandiaran Landin, Itxaso Maguregui Olabarria, Beatriz San Salvador Ageo, Carlos Venegas García, Fernando Bazeta Gobantes, Más allá del blanco y negro. Estudio histórico de fotografías coloreadas y su conservación, pp. 193-207

• Rita Machado Maltieira de Almeida Morais, Conservation of a silk map of "England & Wales": the challenge of using an adhesive technique and a padded support for preservation and study purposes, pp. 209-219

• Mariel Alejandra López, Laura Valeria Caramés, Verónica J. Acevedo, El uso de rayos X en la conservación de cerámica arqueológica. Casos de estudio en Quebrada de Humahuaca. República Argentina, pp. 221-234

• Néstor Barrio, Fernando Marte, Estudio material de la obra "Chacareros" de Antonio Berni. Problemáticas de un soporte atípico, pp. 235-257

A revista está livremente disponível aqui.

Conservação de sítios antigos ao longo da rota da seda

Acabou de ser livremente disponibilizado online o seguinte livro, que há pouco foi publicado em papel:

Neville Agnew (ed.), Conservation of Ancient Sites on the Silk Road. Proceedings of the Second International Conference on the Conservation of Grotto Sites, Mogao Grottoes, Dunhuang, People's Republic of China, June 28-July 3, 2004, Los Angeles, The Getty Conservation Institute, 2010.

Está aqui.

Índice:

• Fan Jinshi, Master Plan for the Conservation and Management of the Mogao Grottoes: Preparation and Achievements, p. 3

• Sharon Sullivan, Managing Cultural Heritage Sites: Some Parameters for Success, p. 8

• Zhang Wenbin, China's Policy in Relation to International Exchange and Cooperation in Cultural Heritage Conservation in China, p. 19

• Sharon Cather, Choices and Judgment: The Professional Conservator at the Interface, p. 22

• Du Xiaofan, UNESCO Support for Cultural Heritage Conservation in China, p. 35

• Huang Kezhong, International Cooperation for the Protection of China's Cultural Heritage, p. 41

• Li Zuixiong, Deterioration and Treatment of Wall Paintings in Grottoes along the Silk Road in China and Related Conservation Efforts, p. 46

• Laurent Lévi-Strauss, Roland Lin, Safeguarding Silk Road Sites in Central Asia, p. 56

• Ron van Oers, Nomination of the Silk Road in China to UNESCO's World Heritage List: Proposals for a Strategic Approach and Reference Framework for Heritage Routes, p. 62

• Jin Hongkui, The Content and Theoretical Significance of the Principles for the Conservation of Heritage Sites in China, p. 75

• Jean-Louis Luxen, The Principles for the Conservation of Heritage Sites in China-A Critique, p. 85

• Zhang Lizhu, The Role of Hebei Province in Developing and Implementing the China Principles, p. 88

• Susan Whitfield, A Place of Safekeeping? The Vicissitudes of the Bezeklik Murals, p. 95

• John Falconer, Perspectives on Photography's Contribution to Archaeology in Central Asia, p. 107

• Bo Lawergren, Harps on the Ancient Silk Road, p. 117

• Fred H. Martinson, Stein and Trinkler on the Rawak Vihara: A Mandala Style Moves East, p. 125

• Ludmila Akmatova, Jumamedel Imankulov, Conservation and Management of Cultural Heritage Sites on the Silk Road in Kyrgyzstan, p. 135

• Li Ping, Sharon Sullivan, Kirsty Altenburg, Peter Barker, Visitor Surveys at Mogao: Pioneering the Process, 2002-2004, p. 143

• Kirsty Altenburg, Sharon Sullivan, Li Ping, Peter Barker, The Challenge of Managing Visitors at the Mogao Grottoes, p. 152

• Martha Demas, Shin Maekawa, Jonathan Bell, Neville Agnew, Sustainable Visitation at the Mogao Grottoes: A Methodology for Visitor Carrying Capacity, p. 160

• Rickard Mackay, Social and Environmental Monitoring as a Tool for Managing Visitor Impact at Jenolan Caves, Australia, p. 170

• Henri Van Damme, Mokhtar Zabat, Jean-Paul Laurent, Patrick Dudoignon, Anne Pantet, David Gélard, Hugo Houben, Nature and Distribution of Cohesion Forces in Earthen Building Materials, p. 181

• Chikaosa Tanimoto, Chunze Piao, Keigo Koizumi, Shuichi Iwata, Tadashi Masuya, Li Zuixiong, Wang Xudong, Guo Qinglin, Geology and Hydrogeology at the Mogao Grottoes, Dunhuang, p. 189

• Huang Jizhong, The Influence of Water on the Stone Carvings of the Yungang Grottoes, p. 196

• Catharina Blaensdorf, Ma Tao, A Chinese-German Cooperative Project for the Preservation of the Cultural Heritage of Shaanxi Province: Conservation of the Polychrome Clay Sculpture and Investigation of Painting Materials in the Great Hall of the Shuilu'an Buddhist Temple, p. 203

• Daniela Bathelt, Heinz Langhals, Two Methods for the Conservation of the Polychromy of the Terracotta Army of Qin Shihuang: Electron Beam Polymerization of Methacrylic Monomers and Consolidation Using Polyethylene Glycol, p. 213

• Sandra Bucher, Xia Yin, The Stone Armor from the Burial Complex of Qin Shihuang in Lintong, China: Methodology for Excavation, Restoration, and Conservation, including the Use of Cyclododecane, a Volatile Temporary Consolidant, p. 218

• Heinz Berke, Armin Portmann, Soraya Bouherour, Ferdinand Wild, Ma Qinglin, Hans-Georg Wiedemann, The Development of Ancient Synthetic Copper-Based Blue and Purple Pigments, p. 225

• Pamela B. Vandiver, Amy Vandiver, Akbar Rakhimov, Alisher Rakhimov, Ishkor Glazes of Uzbekistan, p. 234

• Lu Dongming, Liu Gang, Liu Yang, Diao Changyu, Digital Acquisition, Reconstruction, and Virtual Interpretation of Dunhuang Murals, p. 251

• Harlan Wallach, High-Resolution Photography at the Dunhuang Grottoes: Northwestern University's Role in the Mellon International Dunhuang Archive, p. 259

• Pan Yunhe, Fan Jinshi, Li Zuixiong, Dunhuang Grottoes Conservation and Computer Technologies, p. 262

• Haida Liang, David Saunders, John Cupitt, Christian Lahanier, Multispectral Imaging for Easel and Wall Paintings, p. 267

• Rocco Mazzeo, Edith Joseph, Silvia Prati, Ma Tao, Gwénaelle Gautier, Lucien M. van Valen, Scientific Examination of the Traditional Materials and Techniques Used in Yuan Dynasty Wall Paintings, p. 275

• Sanjay Dhar, Documentation and Emergency Treatment of Wall Paintings in the Chamba Lakhang (Maitreya Temple): Developing a Methodology to Conserve Mural Paintings in India's Ladakh District, p. 286

• Kathleen M. Garland, Surveying Paradise: The Conservation Survey of a Yuan Dynasty Wall Painting on a Clay Base, p. 297

• Zhong Shihang, Huang Kezhong, Determining the Internal Condition of the Leshan Buddha Statue, p. 304

• Guo Hong, Han Rubin, Huang Huaiwu, Lan Riyong, Xie Riwan, Types of Weathering of the Huashan Rock Paintings, p. 311

• Ma Qinglin, Chen Genling, Lu Yanling, Li Zuixiong, A Study of Support Materials for Mural Paintings in Humid Environments, p. 316

• Du Xiaoli, Study and Conservation of the Dazhao Temple Wall Painting, Inner Mongolia, p. 324

• Yang Mangmang, Zhang Yongjian, Pigment Analysis and Environmental Monitoring of Murals in the Tang Dynasty Huiling Mausoleum, p. 331

• Sekhar Chandra Set, Indian Wall Paintings: Analysis of Materials and Techniques, p. 336

• Tie Fude, Conservation of Mural Paintings Transferred from a Royal Mausoleum of the Western Han Dynasty at Shiyuan, Henan Province, p. 343

• Wang Xudong, Li Zuixiong, Zhang Lu, Condition, Conservation, and Reinforcement of the Yumen Pass and Hecang Earthen Ruins near Dunhuang, p. 351

• Wang Wanfu, Wang Tao, Zhang Weimin, Li Zuixiong, Wang Xudong, Zhang Guobing, Qiu Fei, Du Mingyuan, Research and Application Methods for Comprehensive Control of Wind-Borne Sand at the Mogao Grottoes, p. 358

• Sun Yihua, Wang Wanfu, Fu Qingyuan, Restoration and Consolidation of Historic Earthen Structures: The Upper and Middle Temple Complexes at the Mogao Grottoes, p. 365

• He Ling, Jiang Baolian, Zhou Weiqiang, Zhen Gang, Consolidation Studies on Sandstone in the Zhongshan Grotto, p. 370

• Zhou Shuanglin, Yuan Sixun, Guo Baofa, Xia Yin, Nonaqueous Dispersions and Their Antiweathering Performance for Earthen Buildings, Monuments, and Archaeological Sites, p. 380

• Zhang Zhijun, Consolidation Methods for Cracks at the Qin Terracotta Army Earthen Site, p. 385

• Wang Hui, The Conservation Program for the Castle Ruins of the Guge Kingdom in Ali, Tibet, p. 389

• Neville Agnew, Li Zuixiong, Objectives of the Cave 85 Project, p. 397

• Wang Jinyu, The Significance of Cave 85, p. 399

• Xu Shuqing, Wang Xiaowei, Sun Hongcai, Li Weitang, Francesca Piqué, Lorinda Wong, Leslie Rainer, Li Yunhe, Zheng Jun, Conservation History and Condition Survey of Cave 85, Mogao Grottoes, p. 406

• Neville Agnew, Shin Maekawa, Shuya Wei, Causes and Mechanisms of Deterioration and Damage in Cave 85, p. 412

• Francesca Piqué, Lorinda Wong, Su Bomin, Methodology for the Conservation of the Wall Paintings in Cave 85, p. 421

• Lisa Shekede, Fan Zaixuan, Francesca Piqué, Lorinda Wong, The Role of In Situ Examination in the Technical Investigation of the Cave 85 Paintings, p. 430

• Michael R. Schilling, Joy Mazurek, David Carson, Su Bomin, Fan Yuquan, Ma Zanfeng, Analytical Research in Cave 85, p. 438

• Cecily M. Grzywacz, Jan Wouters, Su Bomin, Fan Yuquan, Asian Organic Colorants: A Collaborative Research Project, p. 450

• James R. Druzik, Evaluating the Light Sensitivity of Paints in Selected Wall Paintings at the Mogao Grottoes: Caves 217, 98, and 85, p. 457

• Shin Maekawa, Liu Gang, Xue Ping, Guo Qinglin, Hou Wenfang, Origins of Moisture Affecting the Wall Paintings in Cave 85, p. 464

• Stephen Rickerby, Lisa Shekede, Fan Zaixuan, Tang Wei, Qiao Hai, Yang Jinjian, Francesca Piqué, Development and Testing of the Grouting and Soluble-Salts Reduction Treatments of Cave 85 Wall Paintings, p. 471

• Stephen Rickerby, Lisa Shekede, Fan Zaixuan, Tang Wei, Qiao Hai, Yang Jinjian, Implementation of Grouting and Salts-Reduction Treatments of Cave 85 Wall Paintings, p. 480

• Chen Gangquan, Michael R. Schilling, Li Yanfei, Joy Mazurek, Yu Zhongren, Lisa Shekede, A Rapid Means of Measuring Residual Salt after Grouting and Poulticing Wall Paintings, p. 488

• Lorinda Wong, Francesca Piqué, Wang Xiaowei, Xu Shuqing, The Information Management System for the Cave 85 Project, p. 494

O volume de actas do 1.º encontro já há algum tempo que está disponível aqui.

Análise, conservação e restauro de objectos medievais de metal dourados

Acabou de ser colocada online a seguinte tese de doutoramento:

Jorge Chamón Fernández, Arqueometría, Conservación y Restauración de los Metales Dorados Medievales, Madrid, Universidad Complutense, 2010.

Está livremente disponível aqui.

Índice:

• Introducción 13
• Arqueometría, conservación y restauración 14
• Objetivos 24
• Técnicas de recubrimiento con oro. 26
• Dorados sobre hierro y acero en objetos históricos 48
• Alquimia, oro y mercurio 50
• Dorados a través de la historia 55
• Fuentes escritas tecnológicas que recogen formas de dorar 63
• Corrosión 65
• Conceptos básicos de corrosión 66
• Conceptos básicos de corrosión de objetos arqueológicos 71
• Corrosión del cobre de origen arqueológico 76
• Corrosión de aleaciones base cobre de origen arqueológico 81
• Los latones. Descinficación 83
• Bronces con plomo 88
• Corrosión en objetos con recubrimiento 90
• Corrosión de objetos con recubrimiento de origen arqueológico 92
• Corrosión de los objetos dorados procedentes de Calatrava la Vieja 97
• Arqueometría de los dorados 107
• Elección de las técnicas de análisis 108
• Preparación de las muestras 118
• Composición de los dorados de Calatrava la Vieja, Ciudad Real 121
• Tecnología de los dorados al mercurio. Fuentes escritas 145
• Experimentos y réplicas 154
• Implicaciones arqueo-históricas 182
• Otra técnica decorativa en los objetos dorados de Calatrava: El esmaltado 193
• Instrumentación de análisis fluorescencia de rayos X 203
• Fluorescencia de rayos X 204
• Montaje del equipo portatil 220
• Seguridad en el trabajo de campo 222
• Calibración y análisis cualitativo 224
• Análisis de dorados arqueológicos 230
• Medición del espesor de la capa dorada 232
• Instrumentación de análisis LIBS 239
• Laser induced breakdown spectrometry LIBS 240
• Generación y extinción del plasma 249
• Generación y extinción de líneas características 257
• Calibración del sistema 262
• Estudio del cobre 264
• Estudio de los dorados 269
• Otros estudios de interés para el análisis de metales arqueológicos 270
• Estudio de un dorado de Calatrava la Vieja 274
• Conservación y restauración 279
• Historia de la conservación y Restauración 280
• La restauración del cobre arqueológico y sus aleaciones 285
• El oro arqueológico 294
• Tratamiento de Conservación y restauración de los dorados de
• Calatrava la Vieja 295
• Laser como herramienta de conservación y restauración 307
• Introducción 308
• El láser en Conservación y Restauración. Estado de la cuestión. 309
• La luz láser 318
• La herramienta: El láser 320
• Interacción láser materia 326
• Acotar los parámetros de trabajo 332
• Régimen de trabajo 339
• Intervención sobre distintos materiales arqueológicos y valoración del uso del láser 344
• Otros láseres de nueva generación: Fentosegundos 401
• Conclusiones y parámetros utilizados en las limpiezas láser superficiales 406
• Plasma como herramienta de conservación y restauración 411
• Fundamentos de la limpieza por plasma de hidrógeno 412
• Tiempo de vida del plasma 417
• Montaje de un horno de plasma 419
• Plasma de hidrógeno y los compuestos de cloro 425
• Plasmas de argón 428
• Parámetros experimentales utilizados en la limpieza 429
• Conclusiones 439
• Bibliografía 446
• Anexo 478

História, tecnologia, conservação e identificação dos plásticos usados em obras de arte até 1945

Foi agora livremente disponibilizada online a seguinte tese de doutoramento:

Silvia García Fernández-Villa, Los Plásticos en el Arte y el Diseño Hasta 1945: Historia, Tecnología, Conservación e Identificación, Madrid, Universidad Complutense, 2010.

Está aqui.

Índice:

• Introducción 8
• Objetivos 16
• Metodología 17
• El plástico como material artístico en el siglo XX 20
• Introducción 21
• Primeras aproximaciones artísticas a los nuevos materiales plásticos: el movimiento constructivista y la Bauhaus 28
• La eclosión de los materiales plásticos en el arte contemporáneo 39
• Los materiales plásticos: conceptos generales, naturaleza, componentes y procesos de moldeo 61
• Materiales plásticos y polímeros. Definiciones y origen etimológico 62
• Clasificaciones de los materiales plásticos de moldeo 71
• Polímeros, aditivos y cargas 81
• Técnicas históricas de moldeo de los materiales plásticos 101
• Las antiguas patentes como fuente de documentación de los plásticos de moldeo 134
• Introducción 135
• Antecedentes históricos de las patentes de invención 139
• Patentes de invención: consideraciones generales 142
• Patentes históricas 146
• Sistemas de búsqueda y recuperación de patentes 148
• Limitaciones de la investigación de patentes 153
• Estudio de antiguas patentes de plásticos de moldeo hasta 1945 155
• Historia y tecnología de los plásticos de origen natural 173
• Introducción 174
• Plásticos de origen animal 175
• Plásticos de origen vegetal 192
• Plásticos naturales mixtos 197
• Historia y tecnología de los plásticos semi-sintéticos 211
• Introducción 212
• Caucho vulcanizado 214
• Derivados celulósicos 221
• Plásticos de caseína 245
• Historia y tecnología de los plásticos sintéticos hasta 1945 250
• Introducción 251
• Polímeros de fenol-formaldehído 256
• Aminoplastos 274
• Poli(metil metacrilato) 289
• Poli(vinil cloruro) 299
• Poliestireno 307
• La conservación de los materiales plásticos de moldeo 311
• Introducción 312
• La degradación de los materiales plásticos 316
• La conservación de los materiales plásticos con más presencia en colecciones 336
• La identificación de materiales plásticos 370
• Introducción 371
• Estudio de las características de la pieza 377
• Ensayos con toma de muestra 395
• Técnicas analíticas 410
• Ejemplos prácticos de identificación de materiales plásticos 429
• Conclusiones 450
• Nuevas lineas de investigación abiertas 458
• Bibliografía 459

Estudo e caracterização dos materiais usados no património cultural

Acabou de ser disponibilizado online o seguinte relatório de “Habilitation à Diriger des Recherches”:

Ludovic Bellot-Gurlet, De la Source aux Techniques. Méthodologies d'Analyses Élémentaires et Structurales et Physico-chimie de Matériaux du Patrimoine Culturel, Paris, Université Pierre et Marie Curie, 2010.

Está aqui.

Índice:

• Présentation des travaux et activités 1
• Introduction générale 33
• Physico-chimie d’un verre naturel: l’obsidienne, un marqueur des réseaux d’échange 37
• Introduction: matériau et contexte 37
• Caractérisation par la composition élémentaire 38
• Caractérisation structurale 78
• Produits de corrosion des métaux ferreux: de la caractérisation structurale des analogues aux mécanismes et à la prévision de l’altération 97
• Introduction: corrosion et analogues 97
• Spectroscopie Raman et produits de corrosion du fer 99
• Corrosion dans les sols 103
• Corrosion des armatures des bétons armés 117
• Corrosion atmosphérique 119
• Bilan et conclusions. 136
• Projets en développement: les substances naturelles organiques issues d’objets du patrimoine 141
• Introduction: matériaux et problématiques  141
• Les ingrédients des vernis sur bois: première approche. 142
• Les résines archéologiques: un premier exemple. 153
• Pigments et coloration de vernis d’instruments de musique 155
• Bilan et perspectives 156
• Conclusion générale et perspectives 161

Conservação de tapetes e tapeçarias

Acabou de ser publicado em papel e simultaneamente livremente disponibilizado online o seguinte livro:

Ana Cabrera Lafuente, Grial Ibáñez de la Peña, Ana Schoebel Orbea (ed.), Reflexiones Sobre Conservación de Alfombras y Tapices / Considerations on Conservation of Carpets and Tapestries, Madrid, Ministerio de Cultura, 2010.

Nele são apresentadas as conclusões das jornadas realizadas em Outubro de 2006 no Instituto del Patrimonio Cultural de España e no Museo Nacional de Artes Decorativas (Madrid).

O livro está aqui.

Métodos de tratamento de desenhos a pastel

Acabou de ser disponibilizada online a seguinte tese de mestrado:

Vera Pimenta Lory da Silva Pires, Avaliação de uma Metodologia de Tratamento de Desenhos a Pastel, Faculdade de Ciências e Tecnologia, Universidade Nova de Lisboa, 2010.

Está aqui.

Resumo:

Este estudo pretende avaliar o método de tratamento de desenhos a pastel, utilizado desde 1992, na Área de Papel do Departamento de Conservação e Restauro, do Instituto dos Museus e da Conservação (IMC), comparando-o com mais três tratamentos referenciados na literatura, nomeadamente lavagem por imersão, lavagem por sucção com vaporização de água e lavagem por humidificação ultra-sónica. Os tratamentos foram testados em provetes envelhecidos e não envelhecidos, em três tipos de papel (papel Arches Aquarelle, papel de desenho preto da Canson e papel de veludo), e quatro pastéis (preto, branco, azul e vermelho). Os resultados foram analisados à vista desarmada, com lupa binocular, microscópio óptico, e microscópio electrónico de varrimento(SEM). Concluiu-se que o método do IMC apenas deverá ser utilizado em desenhos a pastel envelhecidos, sobre papel de veludo.

CeROArt, n.º 6, 2010

Acabou de ser publicada a revista digital CeROArt, n.º 6, de 2010. Está acessível aqui.

O tema deste número é o seguinte: Premières publications des jeunes diplômés en conservation-restauration.

Índice:

• Muriel Verbeeck-Boutin, Editorial

• Muriel Verbeeck-Boutin, Introduction

• Willemien Anaf, Study on the formation of heterogeneous structures in leached layers during the corrosion process of glass

• Ana Bailão, Application of a methodology for retouching. A case study of a contemporary painting

• Ève Bouyer, Quelques pistes de réflexion sur la restauration perceptible des vases céramiques antiques

• Violaine Brard, Documentation et conservation-restauration d'un autel bouddhique en bois laqué et doré, provenant du Japon. De l'oubli à l'estime

• Coline Braye, La Création du Monde, Œuvre monumentale de Jean-Pierre Pincemin. Problématique théorique et scientifique de la conservation d'une œuvre contemporaine

• Stefanie Bruhin, Le processus de sublimation du cyclododécane

• Vinciane Bruttin, Les liants organiques présents dans les polychromies d'objets ethnographiques. Documentation, étude et détermination analytique

• Florence Carly, Une alternative à la sculpture en bois polychromé: les draperies de toiles apprêtées, façonnées et peintes. Étude et mise au point du traitementde " La Mise au Tombeau d'Espira-de-Conflent " (Pyrénées-Orientales, France)

• Jessica Crann, The conservation treatment of a contemporary collaged sculpture by Jirí Kolár (1914-2002)

• Catherine Defeyt, Influence des solvants aromatiques sur les propriétés optiques du bleu de phtalocyanine de cuivre en milieu pictural

• Stefanie De Winter, Conservation problems with paintings containing fluorescent layers of paint

• Sara Di Gregorio, Nanorestore® for the consolidation of wall paintings. Influence of the thermohygrometric parameters and the presence of saline contamination on the efficacy of the treatment

• François Duboisset, Etude, consolidation et protection de caoutchouc naturel. Modernisme américain, un fauteuil MAA de George Nelson, 1958

• Caroline Dupré, L'emploi du citrate de triammonium pour le nettoyage des couches picturales contemporaines. Description de l'action du citrate, étude des paramètres d'emploi et présentation des résultats issus des expérimentations sur échantillons

• Tatiana Gersten, La problématique des encres ferro-galliques à travers l'observation d'un manuscrit musical non autographe du 18es

• Marta Gomez Ubierna, Salvaging a cultural identity through reintegration. Restoration work on the pulpit of "San Leonardo in Arcetri", Florence

• Florence Gorel, Assessment of agar gel loaded with micro-emulsion for the cleaning of porous surfaces

• Magdalena Grenda, Tratteggio retouch and its derivatives as an image reintegration solution in the process of restoration. Case study : restoration of a 20th century lithograph film poster by Stefan Norblin

• Astrid Hammer, Sustainable housing for oversized works of art on paper

• Simon Lambert, Italy and the history of preventive conservation

• Gaëlle Leclercq, Métamérisme. La problématique des retouches dans les tons bleus

• Aurélie Lienhard, Étude et restauration d'une tête de Barong bangkal, élément de costume de danse cérémonielle balinais

• Aurélie Martin, Pyramide de Joël Hubaut, restauration d'une œuvre mixte

• Aurélie Minet, Les tüchlein et les succhi d'erba. Vers une compréhension sémantique, technique et technologique

• Fabiana Moro, Angelica Pujia, The newly applied mortars in mosaic restoration. The Dionysos mosaic in Cologne, a case study and an example to face the problems connected to the choice of mortars and how they can change the visual perception of mosaics

• Muriel Oiry, Le Trône de Grâce : étude et la restauration d'une Trinité lorraine du XVe siècle. Un cas complexe de dégagement de polychromie recouverte de croûtes noires

• Ana Ribeiro, Living and Growing Within a Museum: re-creating video art for preservation

• Stéphanie Ricordeau, La Madonna della Clemenza, l'incidence de la réintégration picturale sur le maintien des fonctions portées par l'œuvre restaurée

• Kristel Van Camp, Damage Atlas for Photographic materials. Analogue objects

• Ana Rita Veiga, Oil painting on tinplate by Francisco José Resende. Techniques, materials and degradation of three nineteenth century paintings

• Ingrid Wydler, Réflexions autour de la conservation-restauration d'une œuvre aux coléoptères de Jan Fabre, Vleesklomp

• Sophie Moreaux, Ouvrir le document - Enjeux pratiques de la documentation dans les arts visuels contemporains (Anne Bénichou, éd.). Les presses du réel, 2010

• Nico Broers, Scientific investigation of copies, fakes and forgeries (Paul Craddock,ed.). Oxford, Butterworth-Heinemann, 2009

• Marie-Hélène Breuil, Enjeux et pratiques documentaires en conservation-restauration, perspectives pour la recherche. Journées d'étude organisées par l'Association des restaurateurs d'art et d'archéologie de formation universitaire et le Centre de recherche en préservatio

• Paul Philippot, Finalement, c'est une question de conscience… Libre entretien, en forme de postface

Cem anos de história da preservação do património em Portugal

Índice:

Realizou-se ontem a sessão de lançamento do livro seguinte:

Jorge Custódio (ed.), 100 Anos de Património. Memória e Identidade. Portugal, 1910-1920, Lisboa, IGESPAR, 2010.

O livro acompanha a exposição com o mesmo nome que, até 21 de Dezembro, actualmente decorre na Galeria do Rei D. Luís I, no Palácio da Ajuda, em Lisboa.

Índice:

• Paulo Simões Rodrigues, O longo tempo do Património. Os antecedentes da República (1721-1910), pp. 19-30

• João Carlos Brigola, Fundamentos: antiguidades, coleccionismo e museus antes da Primeira República, pp. 31-34

• José Alberto Seabra, "A recolta devia fazer-se estugadamente e por completo". Patrimónios em trânsito: extinguir conventos e criar museus, pp. 35-39

• Lúcia Rosas, A génese dos monumentos nacionais, pp. 41-46

• Luís Raposo, As origens da arqueologia científica portuguesa no século XIX, pp. 47-56

• Jorge Custódio, Os "Amigos dos Monumentos" e o elitismo patrimonial, pp. 57-62

• Maria Helena Maia, Vandalismo e abandono dos bens culturais (1875-1910), pp. 63-64

• Sandra Leandro, Academias de belas-artes e reformas do ensino em Portugal, pp. 65-66

• Luís Raposo, Classificação dos monumentos nacionais, pp. 66-67

• Jorge Custódio, Classificação dos monumentos: entre a intenção e realidade, p. 68

• Jorge Custódio, Mosteiro da Batalha e restauro, pp. 68-69

• Maria João Neto, Lucas José dos Santos Pereira (?-l 884), p. 70

• Maria Helena Maia, Joaquim Possldónio Narciso da Silva (1806-1896), pp. 71-72

• Maria Helena Maia, Luciano Batista Cordeiro de Sousa (1844-1900), pp. 72-73

• Pedro Oliveira Ramos, José Duarte Ramalho Ortigão (1836-1915), pp. 73-75

• Sandra Leandro, Gabriel Pereira (1847-1911), pp. 75-76

• Paulo Almeida Fernandes, Augusto Maria Fuschini (1843-1911), pp. 77-78

• Jorge Custódio, Júlio Carlos Mardel de Arriaga Velho Cabral da Cunha (1855-1928), pp. 78-80

• Sandra Leandro, Joaquim de Vasconcelos (1849-1936), pp. 80-82

• Jorge Custódio, A obra patrimonial da Primeira República (1910-1932), pp. 85-104

• Henrique Coutinho Gouveia, Museus da Primeira República: inovação e continuidade, pp. 105-110

• Maria de Jesus Monge, A República e os Paços Reais, pp. 111-116

• António João Cruz, O restauro de pintura em Portugal no tempo de Luciano Freire, pp. 117-122

• Jorge Custódio, Ministério de Instrução Pública: valor educativo e tutela do património artístico, pp. 123-125

• Jorge Custódio, Administração Geral dos Edifícios e Monumentos Nacionais (1920-1926) e a organização da conservação e restauro dos monumentos classificados, pp. 125-128

• Jorge Custódio, A Terceira Repartição da Direcçâo-Geral de Belas-Artes e o arquitecto Adães Bermudes, pp. 129-131

• Jorge Custódio, Sociedade das Nações, Portugal e a Carta de Atenas (1931), pp. 131-135

• Paulo Almeida Fernandes, António Augusto Gonçalves (1848-1932), pp. 136-137

• Alexandra Curvelo, José de Figueiredo (1872-1937), pp. 137-138

• António João Cruz, Luciano Freire (1864-1934), pp. 138-139

• Jorge Custódio, José Maria da Silva Pessanha (1865-1939), pp. 139-140

• Rui Afonso Santos, Miguel Ventura Terra (1866-1919), p. 141

• Paulo Almeida Fernandes, Rosendo Carvalheira (1863-1919), pp. 142-143

• Helena Alexandra Mantas, Arnaldo Adães Bermudes (1863-1948), pp. 143-145

• Maria João Neto, António do Couto Abreu (1874-1946), pp. 145-146

• Paulo Almeida Fernandes, José Marques da Silva (1869-1947), pp. 146-148

• Jorge Custódio, Abel Augusto Dias Urbano (?-1954), pp. 148-149

• Maria Genoveva Moreira Oliveira, Ernest Korrodi (1870-1944), pp. 150-151

• José Pedro de Aboim Borges, José Antunes Marques de Abreu (1879-1958), pp. 151-152

• Paulo Almeida Fernandes, António Garcia Ribeiro de Vasconcelos (1860-1941), pp. 152-153

• Maria João Neto, Restaurar os monumentos da Nação entre 1932 e 1964, pp. 157-166

• Miguel Tomé, Arquitectura: conservação e restauro no Estado Novo, pp. 167-174

• Alexandra Curvelo, Da oficina de restauro de Luciano Freire ao Instituto José de Figueiredo, pp. 175-180

• Luís Mata, O inventário artístico de Portugal (1943-1995) - consonantes e dissonantes de um "dicionário da língua plástica portuguesa", pp. 181-186

• Sérgio Lira, Museus no Estado Novo: continuidade ou mudança?, pp. 187-197

• Maria João Neto, A Direcção-Geral dos Edifícios e Monumentos Nacionais, pp. 199-200

• Cláudio Guiomar de Oliveira, As zonas de protecção dos monumentos no Estado Novo, pp. 200-201

• Luís Raposo, 1926 a 1936: a instalação da "ordem nova" e a arqueologia portuguesa, pp. 201-204

• Maria João Neto, Henrique Gomes da Silva (1890-1969), p. 205

• Miguel Tomé, Baltazar da Silva Castro (1891-1967), pp. 206-207

• Paulo Almeida Fernandes, Raul Lino (1879-1974), pp. 207-208

• Maria João Neto, Martinho Humberto dos Reis (1904-?), p. 209

• Susana Flor, João Filipe Vaz Martins (1910-1988), pp. 210-211

• Susana Flor, Fernando Mardel de Araújo (1884-1960), pp. 211-212

• Pedro Flor, João Couto (1892-1968), pp. 212-214

• Paulo Almeida Fernandes, Manuel Valadares (1904-1982), pp. 214-215

• José Aguiar, Após Veneza: do restauro estilístico para o restauro crítico, pp. 219-235

• José Manuel Fernandes, O impacte da Carta de Veneza na conservação e restauro do património arquitectónico, pp. 237-241

• Miguel Brito Correia, Convenções e recomendações internacionais, pp. 243-245

• Miguel Brito Correia, A UNESCO e o ICOMOS, pp. 245-247

• Miguel Brito Correia, Bens culturais, p. 248

• Jorge Custódio, Património urbano, p. 249

• Cláudio Guiomar de Oliveira, Luís Benavente (1902-1993), p. 250

• Miguel Tomé, Fernando Augusto Peres Guimarães (n. 1918), pp. 251-252

• Paulo Almeida Fernandes, José Miguel Caldeira de Castro Freire (n. 1921), pp. 252-253

• Vítor Serrão, João Miguel dos Santos Simões (1907-1972), pp. 253-255

• Vítor Serrão, Adriano de Gusmão (1908-1989), pp. 255-256

• Vítor Serrão, Jorge Henrique Pais da Silva (1929-1977), p. 256

• Jorge Custódio, Ernesto Veiga de Oliveira (1910-1990), p. 257

• Paulo Pereira, Sob o signo de Sísifo. Políticas do património edificado em Portugal, 1980-2010, pp. 261-280

• João Carlos Caninas, Associativismo e defesa do património (1980-2010), pp. 281-293

• Jorge Custódio, Rui Rasquilho, Campanha Nacional para a Defesa do Património: hora de mudança, pp. 295-302

• Ana Paula Amendoeira, O património de Portugal na Lista da UNESCO, pp. 303-311

• Mário Moutinho, Os museus portugueses perante a sociomuseologia, pp. 313-322

• Deolinda Folgado, Património inclusivo. Das expectativas aos desafios, pp. 323-335

• Joaquim Pais de Brito, Um exemplo de património rural: o trilho de Terras de Miranda, p. 336

• Guilherme d'Oliveira Martins, Património como valor humano, pp. 337-340

• Sílvia Leite, O Inventário do património imóvel em Portugal, pp. 341-343

• Elsa Pinho, Nem tudo o que reluz é tesouro nacional. A protecção jurídica do património artístico móvel em Portugal (1930-2010), pp. 344-345

• Jorge Custódio, Globalização e património cultural, pp. 346-348

• Ricardo Carvalho, Ordenamento do território em Portugal e os "não-lugares". Habitar a cidade subjectiva, p. 349

• José Aguiar, Reabilitação urbana em Portugal, pp. 350-352

• Rui Parreira, A conservação e o restauro do património arqueológico imóvel em Portugal, pp. 353-357

• Rita Gonçalves, Conservação de jardins e sítios com valor cultural no século XX em Portugal, pp. 358-359

• Luís Raposo, Intervenções de estudo. Reabilitação do património português no mundo ao longo do século XX (1910-2010), pp. 359-363

• Luís Raposo, Arqueologia e impactes ambientais: o beijo da aranha, pp. 364-367

• Manuel Lacerda, Património: técnicas, ciências e complexidade, pp. 369-370

• Jorge Custódio, Os Institutos do património cultural e os seus desafios, pp. 370-371

• Jorge Custódio, Margarida Ramalho, Cronologia histórica, pp. 373-377

• Jorge Custódio, Cronologia de congressos e organizações internacionais de relevância e das cartas, recomendações e normas Internacionais para a salvaguarda, conservação e valorização do património cultural, pp. 379-386

• Bibliografia, pp. 389-410

A espectrosocopia de Raman aplicada à arte e à arqueologia

A revista Journal of Raman Spectroscopy, volume 41, n.º 11, de 2010, que acabou de ser publicada, é integralmente dedicada ao tema: Raman spectroscopy in art and archaecology.

Está disponível aqui [acesso condicionado].

Índice:

• Juan Manuel Madariaga, Raman spectroscopy in art and archaeology, pp. 1099-1103

• Antonio Hernanz, Juan F. Ruiz-lópez, José M. Gavira-vallejo, Santiago Martin, Egor Gavrilenko, Raman microscopy of prehistoric rock paintings from the Hoz de Vicente, Minglanilla, Cuenca, Spain, pp. 1104-1109

• M. Maguregui, U. Knuutinen, K. Castro, J. M. Madariaga, Raman spectroscopy as a tool to diagnose the impact and conservation state of Pompeian second and fourth style wall paintings exposed to diverse environments (House of Marcus Lucretius), pp. 1110-1119

• Odile Cristini, Christophe Kinowski, Sylvia Turrell, A detailed micro-Raman spectroscopic study of wall paintings of the period AD 100–200: effect of atmospheric conditions on the alteration of samples, pp. 1120-1127

• Robin J. H. Clark, Richard R. Hark, Nati Salvadó, Salvador Butí, Trinitat Pradell, Spectroscopy study of mural paintings from the Pyrenean Church of Saint Eulàlia of Unha, pp. 1128-1134

• Céline Rémazeilles, Mandana Saheb, Delphine Neff, Elodie Guilminot, Khoi Tran, Jacques-andré Bourdoiseau, René Sabot, Marc Jeannin, Henning Matthiesen, Philippe Dillmann, Philippe Refait, Microbiologically influenced corrosion of archaeological artefacts: characterisation of iron(II) sulfides by Raman spectroscopy, pp. 1135-1143

• Maurizio Aceto, Angelo Agostino, Enrico Boccaleri, Fabrizio Crivello, Anna Cerutti Garlanda, Identification of copper carboxylates as degradation residues on an ancient manuscript, pp. 1144-1150

• Sabina Kramar, Maja Urosevic, Helmut Pristacz, Breda Mirtic, Assessment of limestone deterioration due to salt formation by micro-Raman spectroscopy: application to architectural heritage, pp. 1151-1158

• Pan, E. Rebollar, S. Chiussi, J. Serra, P. González, B. León, Optimisation of Raman analysis of walnut oil used as protective coating of Galician granite monuments, pp. 1159-1164

• Z. Jurasekova, E. Del Puerto, G. Bruno, J. V. García-ramos, S. Sanchez-cortes, C. Domingo, Extractionless non-hydrolysis surface-enhanced Raman spectroscopic detection of historical mordant dyes on textile fibers, pp. 1165-1171

• Polonca Ropret, Costanza Miliani, Silvia A. Centeno, Crtomir Tavzes, Francesca Rosi, Advances in Raman mapping of works of art, pp. 1172-1177

• M. San Andrés, De La Roja, J. M., V. G. Baonza, N. Sancho, Verdigris pigment: a mixture of compounds. Input from Raman spectroscopy, pp. 1178-1186

• Michel Bouchard, Alessa Gambardella, Raman microscopy study of synthetic cobalt blue spinels used in the field of art, pp. 1187-1195

• Natalia Navas, Julia Romero-pastor, Eloisa Manzano, Carolina Cardell, Raman spectroscopic discrimination of pigments and tempera paint model samples by principal component analysis on first-derivative spectra, pp. 1196-1203

• Céline Daher, Céline Paris, Anne-solenn Le Hô, Ludovic Bellot-gurlet, Jean-philippe Échard, A joint use of Raman and infrared spectroscopies for the identification of natural organic media used in ancient varnishes, pp. 1204-1209

• Deneckere, F.-ph. Hocquet, A. Born, P. Klein, S. Rakkaa, S. Lycke, K. De Langhe, M. P. J. Martens, D. Strivay, P. Vandenabeele, L. Moens, Direct analysis of the central panel of the so-called Wyts triptych after Jan van Eyck, pp. 1210-1219

• Sofia Pessanha, Maria Luisa Carvalho, Maria Isabel Cabaço, Sara Valadas, Jean-luc Bruneel, Marcel Besnard, Maria Isabel Ribeiro, Characterization of two pairs of 16th century Nanbam folding screens by Raman, EDXRF and FTIR spectroscopies, pp. 1220-1226

• Ainhoa Rodríguez, Katherine Eremin, Narayan Khandekar, Jens Stenger, Richard Newman, Fernando Bazeta, María Teresa Escohotado, Characterization of calcium sulfate grounds and fillings of applied tin-relief brocades by Raman spectroscopy, Fourier transform infrared spectroscopy, and scanning electron microscopy, pp. 1227-1234

• Steven Saverwyns, Russian avant-garde… or not? A micro-Raman spectroscopy study of six paintings attributed to Liubov Popova, pp. 1235-1242

• Howell G. M. Edwards, Janet Montgomery, Nigel D. Melton, Michael D. Hargreaves, Andrew S. Wilson, Elizabeth A. Carter, Gristhorpe Man: a Raman spectroscopic study of ‘mistletoe berries’ in a Bronze Age log coffin burial, pp. 1243-1246

• Irene Aliatis, Danilo Bersani, Elisa Campani, Antonella Casoli, Pier Paolo Lottici, Silvia Mantovan, Iari-gabriel Marino, Pigments used in Roman wall paintings in the Vesuvian area, pp. 1247-1252

• M. Olivares, M. C. Zuluaga, L. A. Ortega, X. Murelaga, A. Alonso-olazabal, M. Urteaga, L. Amundaray, I. Alonso-martin, N. Etxebarria, Characterisation of fine wall and eggshell Roman pottery by Raman spectroscopy, pp. 1253-1259

• Y. Leon, C. Lofrumento, A. Zoppi, R. Carles, E. M. Castellucci, Ph. Sciau, Micro-Raman investigation of terra sigillata slips: a comparative study of central Italian and southern Gaul productions, pp. 1260-1265

• D. Bersani, P. P. Lottici, S. Virgenti, A. Sodo, G. Malvestuto, A. Botti, E. Salvioli-mariani, M. Tribaudino, F. Ospitali, M. Catarsi, Multi-technique investigation of archaeological pottery from Parma (Italy), pp. 1266-1271

As ciências aplicadas ao estudo e conservação do património cultural II

Acabou de ser publicado e também livremente disponibilizado online o seguinte livro:

Marián del Egido, David Juanes (ed.), La Ciencia y el Arte II. Ciencias Experimentales y Conservación del Patrimonio Histórico, Madrid, Ministerio de Cultura, 2010.

Trata-se da continuação do livro já aqui mencionado. Está aqui.

Índice:

• Carmen Pérez, David Juanes, Marián del Egido, Las ciencias experimentales en los institutos de conservación, p. 9

• José Manuel Lodeiro, La documentación geométrica del Patrimonio en el IPCE del Ministerio de Cultura, p. 18

• David Juanes, La tomografía axial computerizada. Estudio de escultura de madera, p. 32

• Estrella Sanz, Mª Antonia García, Ruth Chércoles, Métodos analíticos desarrollados en el IPCE para el estudio de bienes culturales basados en la Espectroscopia de Infrarrojos por Transformada de Fourier y Técnicas Cromatográficas, p. 44

• Carmen Pérez, Livio Ferrazza, Margarita Doménech, Fanny Sarrió, Albert V. Ribera, Las pinturas murales de la Casa de Ariadna en Pompeya: Un ejemplo de estudios e investigaciones científicas aplicados en el proyecto de conservación y restauración, p. 59

• Pilar Nieva, Aplicación de los estudios físicos en el campo en la restauración, p. 71

• Guillermo Enríquez de Salamanca, Teresa Gil Muñoz, Estudio de las condiciones microclimáticas y lumínicas. Metodología y práctica en la Sede del Instituto del Patrimonio Cultural de España, p. 78

• Marisa Gómez, Margarita San Andrés, Metodología de análisis físico-químicos en obras policromadas de gran formato, p. 94

• José V. Navarro Gascón, Analizando residuos de limpieza. Potencial analítico de los materiales eliminados durante la restauración, p. 113

• Juan Torres Arjona, Técnicas de procesado de imagen y visión artificial en entornos artísticos, p. 126

• Pere M. Guillem Calatayud, Rafael Martínez Valle, Nuevas perspectivas metodológicas en la documentación y estudio y en la conservación del arte rupestre del Arco Mediterráneo, p. 138

• Livio Ferrazza, María Gertrudis Jaén Sánchez, Caracterización de elementos metálicos en textiles históricos y estudio de sus diversas alteraciones mediante técnicas microscópicas, p. 150

• Josep Gisbert Aguilar, Manuel Blanco Domínguez, Óscar Buj Fandos, Francesca Colucci, Josep Gisbert Aguilar, Pedro López Julián, Belén Franco López, Ignacio Mateos Royo, Pilar Navarro Echeverria, Estudio y cartografía de sales en paramentos pétreos: innovaciones tecnológicas con este propósito, p. 162

• Daniel Vázquez Moliní, Jesús Zoido Chamorro, Antonio Alvarez, Iluminación no invasiva de pinturas rupestres, p. 171

• Fernando Cortés Pizano, El plomo en las vidrieras históricas: características, deterioro y conservación, p. 181

• Elena Santos, José Miguel Carretero Díaz, Rebeca García González, Laura Juez Aparicio, Laura Rodríguez Aparicio, Reconstrucción 3D partiendo de imágenes TAC. El caso de Atapuerca, p. 196

• Salvador Giró, Sistemas digitales de adquisición de imágenes visibles, infrarrojos e hiperespectrales, p. 205

Uma introdução à química arqueológica

Acabou de ser publicado, mas já com data do próximo ano, o seguinte livro:

T. Douglas Price, James H. Burton, An Introduction to Archaeological Chemistry, New York, Springer, 2011.

Índice:

• Archaeological Chemistry 1
• Archaeological Chemistry 2
• Terms and Concepts 4
• A Brief History of Archaeological Chemistry 15
• Laboratories 19
• Summary 23
• What Archaeologists Want To Know 25
• Archaeological Cultures 26
• Time and Space 27
• Environment 28
• Technology 29
• Economy 30
• Organization 34
• Ideology 38
• Summary 39
• Archaeological Materials 41
• Introduction 41
• Archaeological Materials 41
• Rock 42
• Pottery 47
• Bone 49
• Sediment and Soil 51
• Metals 55
• Other Materials 58
• Summary 70
• Methods of Analysis 73
• Magnification 74
• Elemental Analysis 78
• Isotopic Analyses 90
• Organic Analysis 102
• Mineral and Inorganic Compounds 115
• Summary 122
• Identification and Authentication 127
• What Archaeological Chemistry Can Do 127
• Identification and Authentication 128
• Identification 129
• Authentication 142
• Technology, Function, and Human Activity 155
• Technology 156
• Function 164
• Human Activity 173
• Environment and Diet 187
• Environment 188
• Diet 199
• Provenience and Provenance 213
• Provenience and Provenance 213
• Conclusions 243
• Multiple Investigations 245
• Ethical Considerations 252
• What Does the Future Hold? 256
• In the End 257
• Appendix 259
• Glossary 263
• References 275
• Figure Credits 301
• Index 305

National Gallery Technical Bulletin, vol. 31, 2010

Contrariamente ao que tinha sido anunciado há cerca de um ano (ver aqui), a revista National Gallery Technical Bulletin continua a sua publicação em papel, tendo sido publicado agora o volume 31, de 2010.

Índice:

• Jill Dunkerton, Luke Syson, In Search of Verrocchio the Painter: The Cleaning and Examination of 'The Virgin and Child with Two Angels', pp. 4-41

• Jill Dunkerton, Giorgione and not Giorgione: The Conservation History and Technical Examination of 'Il Tramonto', pp. 42-63

• Ashok Roy, Giorgia Mancini, 'The Virgin and Child with an Angel', after Francia: A History of Error, pp. 64-77

• Helen Howard, Scott Nethersole, Two Copies of Perugino’s 'Baptism of Christ', pp. 78-98

• Marjorie E. Wieseman, Rembrandt's Portrait(s?) of Frederik Rihel, pp. 96-111

• Rachel Morrison, Mastic and Megilp in Reynold's Lord Heathfield of Gibraltar: A Challenge for Conservation, pp. 112-128

Como também já foi aqui noticiado, os quatro primeiros artigos estão livremente disponíveis online aqui.

Estudo de tratamentos anti-grafitti

Acabou de ser colocada online, com acesso livre, a seguinte tese de doutoramento:

Paula María Carmona Quiroga, Estudio del Comportamiento de dos Tratamientos Antigraffiti Como Protectores de Materiales de Construcción: Interacción Antigraffiti-substrato, Propiedades y Durabilidad, Madrid, Universidad Complutense de Madrid, 2010.

Está disponível aqui.

Resumo:

A los tradicionales agentes de deterioro de los materiales de construcción, agua, contaminantes atmosféricos, agentes biológicos, etc., hay que unir las pintadas y la suciedad con las que contribuye el hombre de forma directa. En las ciudades, los graffiti están sobre casi cualquier superficie, pero es en los edificios, especialmente en los históricos donde provocan un mayor impacto y deterioro. Para combatir este problema, han sido desarrollados los productos antigraffiti, que protegen las superficies de los materiales de construcción, impidiendo que la pintura penetre en sus sistemas porosos, o se adhiera a las superficies, facilitando de esta forma su posterior limpieza (con agua a presión, productos químicos, etc.). La memoria contenida en este volumen evalúa el comportamiento de dos de estos productos antigraffiti, un nuevo compuesto sintetizado en el Instituto de Cerámica y Vidrio (CSIC), Ormosil de Zr, y un producto comercial de naturaleza fluorada (Protectosil Antigraffiti® de Degussa), sobre la superficie de cinco materiales de construcción; mortero de cemento, mortero de cal, caliza, granito y ladrillo, en términos de compatibilidad (modificación de las propiedades petrofísicas), interacción (profundidad de penetración, formación de enlace químico y modificación de centros activos), eficacia (repelencia a las pintadas y al agua) y durabilidad (resistencia frente a ciclos hielodeshielo, radiación UV o atmósfera contaminada), dentro del proyecto “Tratamientos superficiales en la conservación de los materiales de construcción: bases científicas y diseño de nuevos productos polifuncionales” (MAT 2003-08343). Los resultados de cromatografía de gases inversa señalan que de los dos antigraffiti es el Protectosil (más concentrado) el que actúa más eficientemente en la reducción de la energía superficial del mortero de cal, la caliza y el granito. Este hecho explicaría los mejores resultados en la limpieza de los graffiti alcanzados en los materiales impregnados con este producto, claramente influenciados por la porosidad, cohesión y fundamentalmente rugosidad de los substratos.

The damage caused by the traditional agents of construction material decay, namely water, air pollutants, biological agents and so on, is accentuated by direct human action in the form of graffiti and soiling. While graffiti can be found on nearly any surface in cities, their effects – visual impact and deterioration – are especially pernicious in buildings, historic buildings in particular. Anti-graffiti coatings have been developed to combat this problem by protecting the surface of construction materials to prevent paint from penetrating their pore systems or from adhering to the surface, thereby facilitating subsequent cleaning operations (with pressurized water, chemical products and so on). The present report evaluates the behaviour of two such anti-graffiti coatings, a new compound synthesized at the Ceramics and Glass Institute (a Spanish National Research Council, CSIC, body), Zr Ormosil, and a commercial fluorinated product (Protectosil Antigraffiti®, manufactured by Degussa). They were tested on five construction material surfaces: cement mortar, lime mortar, limestone, granite and brick. The parameters studied were compatibility (modification of petrophysical properties), interaction (penetration depth, chemical bonding and modification of active centers, effectiveness (paint and water repellence) and durability (resistance to freeze-thaw cycles, UV radiation and polluted air) under the project “Surface treatments for the conservation of construction materials: scientific fundamentals and design of new multipurpose products” (MAT 2003-08343). The inverse gas chromatography findings showed that of the two coatings, Protectosil (more highly concentrated) reduced the surface energy in lime mortar, limestone and granite more effectively. This would explain the more thorough cleaning of graffiti attained in the materials impregnated with this product, a result that was clearly related to the porosity, cohesion and especially the roughness of the substrates.

Willem de Kooning - Os materiais do artista

Foi há pouco publicado o seguinte livro:

Susan F. Lake, Willem de Kooning. The Artist's Materials, Los Angeles, The Getty Conservation Institute, 2010.

Índice:

• De Kooning in Perspective, p. 5
• Biographical Overview
• De Kooning's Personal Statements and Interviews
• Critical Reception of de Kooning's Paintings
• Literature on de Kooning's Materials and Working Methods
• Paintings of the Late 1940s and 1950s, p. 19
• Early Representations of the Female Figure: Queen of Hearts (1943-46)
• Colored Abstractions: Special Delivery (1946) and Secretary (1948)
• Black-and-white Paintings: Zurich (1947)
• Women Paintings: Woman (1948), Woman (1953), and Two Women in the Country (1954)
• "Painting Situations"
• Paintings of the 1960s, p. 48
• Abstract Landscapes: Untitled (May 1962)
• Return to the Figure: Two Standing Women (1963-64), Woman (1964), and Sphinx (1964)
• The Door Paintings: Woman, Sag Harbor (1964), Woman (1964), and Woman (1965)
• De Kooning in Context
• Analysis of de Kooning's Media in Paintings from the 1960s and 1970s, p. 72
• Chemistry of Drying Oils
• Paint Mock-ups
• Solvent Extraction Studies
• Glycerol and Fatty Acid Measurements
• Effects of Pigments
• Conservation Implications of de Kooning's Painting Techniques
• Appendixes, p. 81
• Tables
• Methods of Sample Preparation
• Works of Art Examined

Uso da espectrometria de fluorescência de raios X em geoarqueologia

Acabou de ser publicado, ainda que com data já de 2011, o seguinte livro:

M. Steven Shackley (ed.), X-Ray Fluorescence Spectrometry (XRF) in Geoarchaeology, New York, Springer, 2011.

Índice:

• M. Steven Shackley, X-Ray Fluorescence Spectrometry in Twenty-First Century Archaeology, p. 1

• M. Steven Shackley, An Introduction to X-Ray Fluorescence (XRF) Analysis in Archaeology, p. 7

• M. Kathleen Davis, Thomas L. Jackson, M. Steven Shackley, Timothy Teague, Joachim H. Hampel, Factors Affecting the Energy-Dispersive X-Ray Fluorescence (EDXRF) Analysis of Archaeological Obsidian, p. 45

• Steven P. Lundblad, Peter R. Mills, Arian Drake-Raue, Scott Kekuewa Kikiloi, Non-destructive EDXRF Analyses of Archaeological Basalts, p. 65

• Annamaria De Francesco, M. Bocci, G. M. Crisci, Non-destructive Applications of Wavelength XRF in Obsidian Studies, p. 81

• Ioannis Liritzis, Nikolaos Zacharias, Portable XRF of Archaeological Artifacts: Current Research, Potentials and Limitations, p. 109

• Phillip R. Johnson, Elemental Analysis of Fine-Grained Basalt Sources from the Samoan Island of Tutuila: Applications of Energy Dispersive X-Ray Fluorescence (EDXRF) and Instrumental Neutron Activation Analysis (INAA). Toward an Intra-Island Provenance Study, p. 143

• Michael D. Glascock, Comparison and Contrast Between XRF and NAA: Used for Characterization Of Obsidian Sources in Central Mexico, p. 161

• Rosemary A. Joyce, Is There a Future for XRF in Twenty-First Century Archaeology?, p. 193

Conservar Património, n.º 11, 2010

Acabou de sair da tipografia e vai começar a ser distribuída a revista Conservar Património, n.º 11, com data de capa de Junho de 2010, editada pela ARP - Associação Profissional de Conservadores-Restauradores de Portugal.

Índice:

• Frederico Henriques, Alexandre Gonçalves, Ana Calvo, Caracterização da densidade das lacunas em superfícies pictóricas com recurso a Sistemas de Informação Geográfica (SIG), pp. 3-11

• António João Cruz, O início da radiografia de obras de arte em Portugal e a relação entre a radiografia, a conservação e a política, pp. 13-32

• Anabela Gomes Carvalho, Diego E. Angelucci, Mário Varela Gomes, João Paulo Pereira de Freitas Coroado, Maria Amélia Alves Rangel Dionísio, Sobre a autenticidade de um achado: O caso da "gravura rupestre" da Praia do Pedrógão, Leiria, Portugal, pp. 33-47

• Alice Ruano, Aníbal Costa, Humberto Varum, Evolução do sistema construtivo de adobe na Fábrica de Porcelanas da Vista Alegre (1937-1945), pp. 49-69

• Luís Filipe Raposo Pereira, Avaliação e Gestão de Riscos, reflexão: nova lógica conservativa e enquadramento nos modelos de Gestão das Organizações, pp. 71-75

Studies in Conservation, vol. 55, n.º 3, 2010

Acabou de ser publicada a revista Studies in Conservation, vol. 55, n.º 3, de 2010.

Índice:

• Joyce H. Townsend, Editorial, p. 149

• Brian Hayton, Sustainability and public museum buildings: The UK legislative perspective, p. 150

• Dervilla O'dwyer, The contribution of conservators to sustainability at the National Maritime Museum, UK, p. 155

• Patricia Silence, How are US conservators going green? Results of polling AIC members, p. 159

• Claire Gervais, Carol A. Grissom, Nicole Little, Melvin J. Wachowiak, Cleaning marble with ammonium citrate, p. 164

• Xian Zhang, Chika Mouri, Masayuki Mikage, Richard Laursen, Preliminary studies toward identification of sources of protoberberine alkaloids used as yellow dyes in Asian objects of historical interest, p. 177

• Jan Wouters, Cecily M. Grzywacz, Ana Claro, Markers for identification of faded safflower (Carthamus tinctorius L.) colorants by HPLC-PDA-MS: Ancient fibres, pigments, paints and cosmetics derived from antique recipes, p. 186

• Narayan Khandekar, Carol Mancusi-Ungaro, Harry Cooper, Christina Rosenberger, Katherine Eremin, Kate Smith, Jens Stenger, Dan Kirby, A technical analysis of three paintings attributed to Jackson Pollock, p. 204

• Olivier Schalm, Joost Caen, Koen Janssens, Homogeneity, composition and deterioration of window glass fragments and paint layers from two seventeenth-century stained glass windows created by Jan de Caumont (~1580-1659), p. 216

Sobre a pintura europeia sobre madeira dos séculos XV a XVII

Foi há pouco publicado e acabou de ser livremente disponibilizado online o seguinte livro:

La Pintura Europea Sobre Tabla. Siglos XV, XVI y XVII, Madrid, Ministerio de Cultura, 2010.

Está aqui.

Índice:

• Amadeo Serra, Modos de producción de retablos en la pintura gótica hispana: las fuentes documentales y su interpretación, p. 13

• Rocío Bruquetas, Los gremios, las ordenanzas, los obradores, p. 20

• Fernando Collar de Cáceres, Pintura y pintores del norte en la España del siglo XVI. Presencia e influencia, p. 32

• Jean-Albert Glatigny, Technique de construction des panneaux flamands, p. 42

• Carlo Lalli, Tecniche e metodi di indagine per la caratterizzazione dei materiali e della tecnica di esecuzione delle pitture su tavola e su tela dal XV° al XVII° Secolo, p. 48

• Ana Calvo, Avatares de las pinturas sobre tabla portuguesas y técnicas de elaboración, p. 62

• Fanny Sarrió, Estudio de la técnica pictórica y materiales en la obra de Pere Lembrí a través del proceso de restauración de su obra, p. 70

• Paloma Renard, La técnica pictórica vista por el restaurador, p. 81

• P. Klein, Dendrochronological analyses of Netherlandish panel paintings, p. 94

• Roger Van Schoute, Carmen Garrido, Le Retable du Jugement dernier de l'Ayuntamiento de Valencia et l'oeuvre de Vrancke van der Stockt. Considérations en vue d'un état de la question, p. 100

• Steven Saverwyns, Jana Sanyova, 50 Years of research At KIK/IRPA on the Flemish painting techniques between the 15th and 17th century, p. 105

• Maria Clelia Galassi, L'Underdrawing nella pittura italiana dei secolo XV e XVI: Aggiornamenti e nuove riflessioni sulla tecnica dei pittori fiorentini, p. 119

• Carmen Garrido, Las técnicas flamencas e italianas en relación con la pintura española de los siglos XV y XVI, p. 126

• Araceli Gabaldón, Tomás Antelo, Carmen Vega, Estudio radiográfico del soporte de obras de dos autores castellanos del siglo XV: Pedro Berruguete y Fernando Gallego, p. 134

• Tomás Antelo, Araceli Gabaldón, Carmen Vega, Técnicas de imagen aplicadas al estudio de pinturas sobre tabla, p. 139

• Marisa Gómez, Estudio analítico de la técnica pictórica. Aplicación a tablas y retablos españoles, p. 148

• Duilio Bertani, Riflettografia infrarossa digitale ad alta risoluzione, p. 160

• María Pía Timón, Tipología de los marcos españoles en los siglos XV y XVI, p. 166

Remoção de vernizes de pinturas utilizando líquidos iónicos

Acabou de ser livremente disponibilizada a seguinte tese de mestrado:

Maria Filipa Pacheco, Remoção de Vernizes de Pinturas Utilizando Líquidos Iónicos, Lisboa, Faculdade de Ciências e Tecnologia da Universidade Nova de Lisboa, 2010.

Está aqui.

Resumo:

A remoção de vernizes é um dos procedimentos mais frequentes efectuados em conservação e restauro de pintura. Neste trabalho, pretendeu-se testar a eficácia de líquidos iónicos (LIs) para remoção de vernizes, através da avaliação da acção de diversos LIs sobre diferentes vernizes. Foram utilizadas três tábuas, preparadas com diferentes pigmentos, aglutinantes e vernizes (dâmar,vernizes à base de policiclohexanonas, verniz à base de poli(acetato de vinilo) e verniz acrílico), de modo a simular diferentes situações encontradas em pinturas. A eficiência dos LIs na remoção dos vernizes foi avaliada com base na observação ao microscópio óptico, análises de FTIR-ATR, SEM e colorimetria. Foi possível identificar LIs para a remoção de um verniz específico e outros capazes de remover vários tipos de verniz. Concluiu-se que os LIs são promissores para a remoção de vernizes de pinturas.

e-Conservation, n.º 16, 2010

Acabou de ser publicada a revista e-Conservation, n.º 16, de 2010. Está livremente disponível aqui.

Além das notícias e recensões, contém os seguintes artigos:

• Josie Wornoff, Identification of Ivory Book Covers and Comparison to Ivory Portrait Miniatures, p. 24

• Abdelrazek Elnaggar, Ahmed Sahab, Siham Ismail, Gamal Mahgoub, Mohammed Abdelhady, Microbial Study of Egyptian Mummies. An Assessment of Enzyme Activity, Fungicides and Some Mummification Materials for the Inhibition of Microbial Deterioration, p. 39

• Miklós Szentkirályi, Study of the painting Virgin Mary and Child with the Infant St. John the Baptist. The Hidden Flora of Leonardo da Vinci's Painting Workshop, p. 50

• Ildikó Jeszeniczky, "The Annunciation" by Cola Petruccioli (1380). The Restoration of the Transferred Wall Painting, p. 60

Argamassas de cal galo-romanas

Acabou de ser disponibilizada online, com acesso livre, a seguinte tese de doutoramento:

Arnaud Coutelas, Pétroarcheologie du Mortier de Chaux Gallo-romain. Essai de Reconstitution et d'Interprétation des Chaînes Opératoires: du Matériau au Métier Antique, Paris, Université de Paris I - Panthéon-Sorbonne, 2003.

Está aqui.

Resumo:

La recherche pétroarchéologique sur les mortiers de chaux gallo-romains s'appuie sur une méthodologie analytique simple, fondée sur les observations en microscopie optique en transmission, apportant le maximum d'informations sur le matériau et les différentes étapes de sa chaîne opératoire. Ce travail nous a permis de tracer les traits généraux du métier (les pratiques communes des structores et tectores antiques), d'établir les relations entre les compositions des mortiers et leurs fonctions architecturales « primaires » et « secondaires », puis de percevoir quels sont les marqueurs et les motivations des adaptations de recettes. L'importance de l'environnement géologique est démontrée, puisqu'il induit des choix économiques et techniques, obligeant parfois au remplacement de matières premières. Il pose aussi les limites géographiques de « l'intérêt » de la propagation des « innovations », souvent liées à des problèmes locaux d'approvisionnement en matières premières. Les notions de propriétés « voulues », « manquées » et « involontaires » permettent toutefois de comprendre ce qui, dans le système complexe du métier du mortier de chaux, sera générateur de durabilité ou au contraire de variabilité des recettes, en réponse à la qualité apparente et immédiate du matériau. Actuellement, seule une étude des mortiers selon leur emploi et pour une « région » restreinte permet de percevoir des évolutions chronologiques à valeur de datation. L'étude des mortiers de construction des édifices de la ville d'Arles apparaît en ce sens exemplaire : des mortiers issus d'un même patrimoine local montrent des utilisations parfaitement circonscrites dans le temps, nous permettant d'avancer des hypothèses de datation pour des maçonneries mal datées ou à datation encore sujette à controverse.

O comércio dos materiais para artistas na Europa antes de 1700

Foi há pouco publicado o seguinte livro:

Jo Kirby, Susan Nash, Joanna Cannon (ed.), Trade in Artists' Materials. Markets and Commerce in Europe to 1700, London, Archetype Publications, 2010.

Índice:

• Catherine Reynolds, Introduction: The European Trade in Painters' Materials to 1700, p. 3

• Peter Spufford, Lapis, Indigo, Woad: Artists' Materials in the Context of International Trade before 1700, p. 10

• Wendy R. Childs, Painters' Materials and the Northern International Trade Routes of Late Medieval Europe, p. 29

• Ian Tyers, Aspects of the European Trade in Oak Boards to England 1200-1700, p. 42

• Per G. Norseng, The Trade in Painters' Materials in Norway in the Middle Ages. Part 1: The 'Silent' Trade in Painters' Materials in Norway in the High Middle Ages, p. 50

• Unn Plahter, The Trade in Painters' Materials in Norway in the Middle Ages. Part 2: Materials, Techniques and Trade from the Twelfth Century to the Mid-Fourteenth Century, p. 64

• Julia A. DeLancey, Shipping Colour: Valute, Pigments, Trade and Francesco di Marco Datini, p. 74

• Kim Woods, The Supply of Alabaster in Northern and Mediterranean Europe in the Later Middle Ages, p. 86

• Susie Nash, 'Pour couleurs et autres choses prise de lui …': The Supply, Acquisition, Cost and Employment of Painters' Materials at the Burgundian Court, c. 1375-1419, p. 97

• Lorne Campbell, Suppliers of Artists' Materials to the Burgundian Court, p. 183

• Doris Oltrogge, 'Pro lazurio auricalco et alii correquisitis pro illuminacione': The Werden Accounts and other Sources on the Trade in Manuscript Materials in the Lower Rhineland and Westphalia around 1500, p. 189

• Anna Melograni, Manuscript Materials: Cost and the Market for Parchment in Renaissance Italy, p. 199

• Susanne Kubersky-Piredda, The Market for Painters' Materials in Renaissance Florence, p. 223

• Louisa C. Matthew, Barbara H. Berrie, 'Memoria de colori che bisognino torre a vinetia': Venice as a Centre for the Purchase of Painters' Colours, p. 245

• Roland Krischel, The Inventory of the Venetian Vendecolori Jacopo de' Benedetti: The Non-Pigment Materials, p. 253

• Steve Wharton, The Materials of Production in Italian Renaissance Pottery: The Inventory of Francesco di Luca, Orciolaio, p. 267

• Richard E. Spear, A Century of Pigment Prices: Seventeenth-Century Italy, p. 275

• Gunnar Heydenreich, The Leipzig Trade Fairs as a Market for Painters' Materials in the Sixteenth Century, p. 297

• Andreas Burmester, Ursula Haller, Christoph Krekel, Pigmenta et Colores: The Artist's Palette in Pharmacy Price Lists from Liegnitz (Silesia), p. 314

• Ursula Haller, 'Administrator of Painting': The Purchase and Distribution Book of Wolf Pronner (1586-1590) as a Source for the History of Painting Materials, p. 325

• Jo Kirby, Trade in Painters' Materials in Sixteenth-Century London, p. 339

• Filip Vermeylen, The Colour of Money: Dealing in Pigments in Sixteenth-Century Antwerp, p. 356

• Ria Fabri, 'Eenen ramenant van verf ende pinselen': Some Aspects of the Materials used by Seventeenth-Century Cabinet Painters in Antwerp, p. 366

• Maria Hayward, The London Linen Trade, 1509-1641, and the Use of Linen by Painters in Royal Service, p. 375

• Zahira Véliz, In Quest of a Useful Blue in Early Modern Spain, p. 389

• Nicola Costaras, Early Modern Blues: The Smalt Patent in Context, p. 401

• Ad Stijnman, Frankfurt Black: 'Tryginon appelantes, faex vini arefacta et cocta in fornace', p. 415

• Daniel Fabian, Giuseppino Fortunato, Tracing White: A Study of Lead White Pigments found in Seventeenth-Century Paintings using High Precision Lead Isotope Abundance Ratios, p. 426

• Jo Kirby, Glossary, p. 447

Um século de restauro dos monumentos religiosos medievais em Portugal

Acabou de ser disponibilizada online, com acesso livre, a seguinte tese de doutoramento:

Lúcia Maria Cardoso Rosas, Monumentos Pátrios. A Arquitectura Religiosa Medieval - Património e Restauro (1835-1928), Porto, Faculdade de Letras da Universidade do Porto, 1995.

Está aqui.

Índice – volume 1:

• Os Monumentos: conceitos e valores
• Escrita e imagem 15
• Valor histórico, Valor de antiguidade e reencontro com a nação 29
• 0 prestígio da arquitectura 38
• O governo da nação: as leis 45
• Depois da guerra: as ruínas 54
• As viagens pitorescas: os estrangeiros 56
• A prática do gótico, os "estilos" e os monumentos eleitos 60
• O património: a solidez da arquitectura e da História 82
• Passado, progresso e desencanto 86
• História dos Monumentos e História de Arte 89
• A Real Associação dos Arquitectos Civis e Arqueólogos Portugueses 104
• O tempo das reformas: obras públicas, ensino artístico e património 111
• A classificação dos monumentos: critérios e categorias 125
• O restauro: teoria e prática
• O Mosteiro da Batalha: Mouzinho de Albuquerque e a unidade da arquitectura 192
• A Sé-Velha de Coimbra: A. A. Gonçalves e a inteireza do aspecto venerando 216
• A Sé da Guarda: Rosendo Carvalheira e o poder sugestivo da arquitectura 247
• A Sé de Lisboa: Augusto Fuschini e a representação da Idade Média 269
• O Convento da Madre de Deus: um exemplo ambíguo 288
• Exemplos de restauro (1835 e 1929): motivações e critérios 301

Índice – volume 2:

• Os edifícios
• Restauros e projectos de restauro
• Demolições e reutilizações
• Edifícios descritos antes dos restauros da D.G.E.M.N.
• Apêndice Documental

Sobre a técnica e a estética do retábulo-mor da Sé Velha de Coimbra e da policromia da época barroca

Foi hoje colocada online a seguinte tese de doutoramento:

Agnès Anne Françoise Le Gac Arinto, Le Retable Majeur de la Sé Velha de Coimbra et la Polychromie dans la Diocèse de Coimbra à l'èpoque Barroque. Aspects Techniques et Estétiques, 2 volumes, Lisboa, Universidade Nova de Lisboa, 2009.

Está aqui com acesso livre.

Resumo:

Depuis sa création en 1499-1502, le retable majeur de la Sé Velha de Coimbra, consacré à la Vierge Marie, commandité par l’évêque D. Jorge de Almeida et sculpté par Olivier de Gand,exhibe toujours le chromatisme propre au XVIe siècle, faisant un usage abondant d’or et de bleu. La «dichromie» de Jean d’Ypres, caractéristique du Gothique flamboyant, a systématiquement été reprise sur l’oeuvre par la suite mais à des fins différentes : en 1582-1583, lors d’un nettoyage,pour réaffirmer le style du retable et en rafraîchir les couleurs ; en 1685, lors de sa repolychromie par Manoel da Costa Pereira à la demande de l’évêque D. Joao de Mello – à l’encontre des retables entièrement dorés de l’époque baroque –, pour réactiver les messages politiques et spirituels que ce mobilier véhiculait avant la Réforme protestante ; en 1900, pendant sa restauration, pour perpétuer son expression colorée alors jugée d’origine, toujours en harmonie avec son expression formelle et iconographique quasiment inaltérée. La conservation curative de 1976 a préservé l’ensemble. L’étude des couches stratigraphiques par différentes méthodes d’examen et d’analyse a mis en évidence les matériaux et techniques appliqués au cours de ces interventions successives. En croisant les données de laboratoire avec les archives disponibles, traités et réceptaires, nous avons démontré l’importance des options faites pour maintenir la fameuse dichromie originale, à chaque réaménagement de la cathédrale. Les qualités de l’encollage, des blancs d’apprêt, des carnations, bol et feuilles métalliques,sgraffito et autres couleurs sont précisées. L’attention est attirée sur le recours inhabituel au smalt en si grande quantité sur un retable, à la fin du XVIIe siècle, ses nuances de bleu ainsi que son polissage exigé par contrat. Du bleu de Prusse les a recouverts au XIXe siècle. Ces nouvelles connaissances permettent de faire une distinction entre la polychromie originale gothique, qui jouait sur des contrastes de textures et de brillances avec les ors à l’eau, à l’huile et l’azurite mat, et la repolychromie baroque totalement resplendissante entre l’or et le smalt brunis. Notre recherche s’est également attachée aux décors en relief qui reproduisent les patrons de riches étoffes brochées. Leur épaisseur et leur rendu technique différencient les «brocarts-appliqués» du XVIe siècle des «brocarts d’application» du XVIIe. Ils introduisent de subtils changements esthétiques au Baroque, sans modifier profondément notre perception d’un retable gothique.Sa polychromie, comparée à quinze sculptures du diocèse, reste atypique et porte ce trésor national au rang de Chef-d’oeuvre.