Dicionário ilustrado das formas de alteração da pedra

O ICOMOS acabou de disponibilizar online um dicionário inglês francês das formas de alteração da pedra:

V. Vergès-Belmin (ed.), Illustrated glossary on stone deterioration patterns. Glossaire illustré sur les formes d'altération de la pierre. English-French version - Version Anglais-Français, vol. 15, Paris, ICOMOS-ISCS, 2008.

Está livremente disponível aqui.

A arte renascentista do Norte da Europa

Numa prestigiada colecção de história da arte – a Oxford History of Art – acabou de ser publicado um volume para o qual contribuem significativamente os aspectos materiais das obras de arte, designadamente os obtidos através de estudos laboratoriais. Trata-se de:

Susie Nash, Northern Renaissance Art, Oxford University Press, Oxford, 2008.

O volume encontra-se à venda com desconto em várias livrarias online, nomeadamente em The Book Depository, que não cobra os custos dos portes.

Índice:

• Introduction
• Problems and Perspectives
• Dispersal and destruction
• Italian perspectives
• Sources and documents
• Physical evidence and technical examination
• Markets for art: centres, products, and patrons
• Centres
• Products
• Patrons: importing art and artists
• Marketing art: artists and the contexts of creation
• The de Limbourgs in the service of jean de Berry
• Hans Memling painting panels in Bruges
• Printmakers in the Rhine Valley: inventing, marketing, and distributing images
• Declaring authorship and expertise: signatures and self-portraits
• Making images: equipment, materials, methods
• Workspace and equipment
• The workforce
• Materials, methods, and technical virtuosity
• Using and viewing
• Moving images
• Settings, vistas, and accoutrements for mass and prayer
• Meditation and imagination

Glass Science in Art and Conservation

Em Março deste ano realizou-se em Valencia, Espanha, o Second Glass Science in Art and Conservation Congress. 29 das comunicações apresentadas acabaram de ser agora publicadas num número especial da revista Journal of Cultural Heritage (volume 9, suplemento 1, 2008).

 

As comunicações, agora na forma de artigos, estão disponíveis aqui [acesso condicionado].

Índice:

• Sonia Murcia-Mascarós, Glass science in art and conservation, pp. 1-4

• Paula Fernandes, Márcia Vilarigues, Luís C. Alves, Rui C. da Silva, Stained glasses from Monastery of Batalha: Non-destructive characterisation of glasses and glass paintings, pp. 5-9

• Domingo Gimeno, Maite Garcia-Valles, José Luis Fernandez-Turiel, Flavia Bazzocchi, Meritxell Aulinas, Montserrat Pugès, Camillo Tarozzi, Maria Pia Riccardi, Elena Basso, Consuelo Fortina, Marja Mendera, Bruno Messiga, From Siena to Barcelona: Deciphering colour recipes of Na-rich Mediterranean stained glass windows at the XIII-XIV century transition, pp. 10-15

• Marco Verità, Maria Stella Arena, Anna Maria Carruba, Paola Santopadre, Roman glass: Art and technology in a 4th century A.D. opus sectile in Ostia (Rome), pp. 16-20

• Cristina Boschetti, Cristina Leonelli, Michele Macchiarola, Paolo Veronesi, Anna Corradi, Cinzia Sada, Early evidences of vitreous materials in Roman mosaics from Italy: An archaeological and archaeometric integrated study, pp. 21-26

• Susanne Greiff, Jan Schuster, Technological study of enamelling on Roman glass: The nature of opacifying, decolourizing and fining agents used with the glass beakers from Lübsow (Lubieszewo, Poland), pp. 27-32

• Cristina Boschetti, Cristina Leonelli, Anna Corradi, Paola Iacumin, Marco Martini, Emanuela Sibilia, Sara Santoro, Barbara Sassi, Glass-working evidences at Dürres, Albania: An archaeological and archaeometric study, pp. 33-36

• Carlo Stefano Salerno, Cesare Moretti, Teresa Medici, Teresa Morna, Marco Verità, Glass weathering in eighteenth century mosaics: The São João Chapel in the São Roque Church in Lisbon, pp. 37-40

• L. K. Herrera, A. Duran, M. L. Franquelo, M. C. Jimenez de Haro, A. Justo Erbez, J. L. Perez-Rodriguez, Studies of deterioration of the tin-mercury alloy within ancient Spanish mirrors, pp. 41-46

• Patrick Degryse, Jens Schneider, Veerle Lauwers, Dieter Brems, Sr-Nd isotopic analysis of glass from Sagalassos (SW Turkey), pp. 47-49

• María Teresa Doménech-Carbó, Antonio Doménech-Carbó, Dolores Julia Yusá-Marco, Hossein Ahmadi, Characterization of Iranian Moarraque glazes by light microscopy, SEM-EDX and voltammetry of microparticles, pp. 50-54

• Philippe Colomban, On-site Raman identification and dating of ancient glasses: A review of procedures and tools, pp. 55-60

• David Martlew, Glass defects and the conservation of glazed buildings, pp. 61-63

• Filipa Lopes, Andreia Ruivo, Vânia S.F. Muralha, Augusta Lima, Pedro Duarte, Isabel Paiva, Romão Trindade, António Pires de Matos, Uranium glass in museum collections, pp. 64-68

• Jordi Bonet, Conservation-restoration of cloisonné windows: A case study, pp. 69-72

• Sonia Murcia-Mascarós, Paola Foglia, M. Laura Santarelli, Clodoaldo Roldán, Rafael Ibañez, Alfonso Muñoz, Pablo Muñoz, A new cleaning method for historic stained glass windows, pp. 73-80

• Joaquín Pérez-Pariente, Ana Belén Martín Rojo, Glass technology in Spain in XVIIIth century according to printed sources: the Spanish annotated translation of L'Arte Vetraria, pp. 81-84

• Domínguez Rodés, Maria del Carme, Sílvia Cañellas Martínez, Materials for stained glass windows in catalonian documentation (14th and 15th centuries), pp. 85-88

• Maria Schultz Loup, Salvador Villagrasa, Celso Figueiredo Gomes, The manufacture of glass pot furnaces in Marinha Grande (Portugal) during the last decades of the 19th century, pp. 89-92

• Carmen Belmonte, Carlo Stefano Salerno, Mosaic glass made in Rome between the sixteenth and seventeenth centuries: Rome glassmakers for the Fabrica di San Pietro, pp. 93-96

• José Luís Jiménez, Enrique Ruiz, Josep M. Burriel, A Late Roman industrial complex with glass furnaces in the northern area of Valencia, pp. 97-100

• Hilde Wouters, Harry van Royen, Karin Nys, Archaeological window glass from Cistercian Abbeys: Developing a new method from a selection of relevant excavations throughout Europe, pp. 101-106

• Aldo Renato Daniele Accardi, Architectures "on ruins" and ambiguous transparency: The glass in preservation and communication of archaeology, pp. 107-112

• Salvatore La Delfa, Veronica Formisano, Enrico Ciliberto, Laboratory production of Egyptian faiences and their characterization, pp. 113-116

• Salvatore La Delfa, Enrico Ciliberto, Lucia Pirri, Behaviour of copper and lead as chromophore elements in sodium silicate glasses, pp. 117-122

• Trinitat Pradell, Judit Molera, Andrew D. Smith, Aurelio Climent-Font, Michael S. Tite, Technology of Islamic lustre, pp. 123-128

• Abel Puche-Roig, Vicent Primo Martín, Sonia Murcia-Mascarós, Rafael Ibáñez Puchades, Float glass colouring by ion exchange, pp. 129-133

• Andreia Ruivo, Cristina Gomes, Augusta Lima, Maria Luísa Botelho, Rita Melo, Ana Belchior, António Pires de Matos, Gold nanoparticles in ancient and contemporary ruby glass, pp. 134-137

• Teresa Almeida, Andreia Ruivo, António Pires de Matos, Rosa Maria de Oliveira, Aquino Antunes, Luminescent glasses in art, pp. 138-142

• Matteo Monti, Barbara Dal Bianco, Renzo Bertoncello, Stefano Voltolina, New protective coatings for ancient glass: Silica thin-films from perhydropolysilazane, pp. 143-145

O restauro dos mosaicos da basílica de Santa Sofia, em Istambul

O livro

Natalia B. Teteriatnikov, Mosaics of Hagia Sophia, Istanbul: The Fossati Restoration and the Work of the Byzantine Institute, Washington, Dumbarton Oaks, 1998

Está livremente disponível aqui.

Índice:

• Introduction 1
• The Fossati Restoration 3
• The Byzantine Institute: Revealing the Past 26
• Background 26
• Conservation 29
• Cleaning the Mosaics 39
• Mosaic Techniques 44
• Preservation through Imaging 59
• Conclusion 63

Journal of Cultural Heritage, vol. 9, n.º 4, 2008

Acabou de ser publicado o volume 9, n.º 4, de 2008, do Journal of Cultural Heritage.

Os artigos estão disponíveis aqui [acesso condicionado].

Índice:

• S. Castellaro, S. Imposa, F. Barone, F. Chiavetta, S. Gresta, F. Mulargia, Georadar and passive seismic survey in the Roman Amphitheatre of Catania (Sicily), pp. 357-366

• Irit Amit-Cohen, Silicatescape - preserving building materials in the old urban center landscape: The case of the silicate brick and urban planning in Tel Aviv-Jaffa, pp. 367-375

• Luca Bertolini, Maddalena Carsana, Elena Redaelli, Conservation of historical reinforced concrete structures damaged by carbonation induced corrosion by means of electrochemical realkalisation, pp. 376-385

• Emiliano Carretti, Luigi Dei, Richard G. Weiss, Piero Baglioni, A new class of gels for the conservation of painted surfaces, pp. 386-393

• Claire Moreau, Véronique Vergès-Belmin, Lise Leroux, Geneviève Orial, Gilles Fronteau, Vincent Barbin, Water-repellent and biocide treatments: Assessment of the potential combinations, pp. 394-400

• Tomasz Sawoszczuk, Andrzej Baranski, Janusz Marek Lagan, Tomasz Lojewski, Katarzyna Zieba, On the use of ASTM closed vessel tests in accelerated ageing research, pp. 401-411

• Rebecca Ploeger, Dominique Scalarone, Oscar Chiantore, The characterization of commercial artists' alkyd paints, pp. 412-419

• Jean-Philippe Echard, Bertrand Lavédrine, Review on the characterisation of ancient stringed musical instruments varnishes and implementation of an analytical strategy, pp. 420-429

Archaeometry, vol. 50, n.º 6, 2008

A revista Archaeometry comemora este ano 50 anos de publicação. O número que acabou de sair, o volume 50, n.º 6, de 2008, inclui alguns artigos que comemoram o facto.

Esses artigos, bem como os outros, estão disponíveis aqui [acesso condicionado].

Índice:

• R. P. Evershed, Organic residue analysis in archaeology: The archaeological biomarker revolution, pp. 895-924

• J. A. Lee-Thorp, On isotopes and old bones, pp. 925-950

• M. F. Guerra, Archaeometry and museums: Fifty years of curiosity and wonder, pp. 951-967

• M. J. Baxter, Mathematics, statistics and archaeometry: The past 50 years or so, pp. 968-982

• R. S. Sternberg, Archaeomagnetism in Archaeometry; a semi-centennial review, pp. 983-998

• E. A. Reber, J. P. Hart, Pine resins and pottery sealing: Analysis of absorbed and visible pottery residues from central new york state, pp. 999-1017

• K. Kato, A. Miyao, J. Ito, N. Soga, M. Ogasawara, The search for the origin of bitumen excavated from archaeological sites in the northernmost island in japan by means of statistical analysis of fi-ms data, pp. 1018-1033

• J. Hall, E. Photos-Jones, Accessing past beliefs and practices: The case of lemnian earth, pp. 1034-1049

The British Museum Technical Research Bulletin online

A revista The British Museum Technical Research Bulletin está disponível livremente aqui. Neste momento está apenas disponível o n.º 1, de 2007, mas é suposto os próximos números irem sendo disponibilizados online alguns meses após a sua publicação em papel.

Cultural Heritage: Applications On Conservation-Restoration

O Centro de Física Atómica da Universidade de Lisboa (Av. Prof. Gama Pinto, 2, Lisboa) organiza um workshop intitulado Cultural Heritage: Applications On Conservation-Restoration, que decorrerá a 3 de Dezembro. A entrada é livre.

Comunicações:

• Maria Luisa Vitobello, AUTHENTICO Project and the lost arts of the ancient goldsmiths

• Maria João Melo, The colour of medieval Portuguese Illumination: between beauty and meaning

• Filomena Guerra, Tracking gold forgeries with X rays

• José Carlos Frade, Identification of Oriental lacquers by Py-GC/MS

• Agnés Le Gac, Two original polychromes in a masterpiece

• Judiciary Police, The Most Wanted Works of Art in Portugal

• Paulo Fiadeiro, Spectral Imaging systems in Art paintings: an overview

• Guy Demortier, Revisiting the construction of the Kheops pyramid

• Marta Manso, Application of Spectroscopic techniques in investigations of ancient manuscripts: a survey

• Pires de Matos, A Journey Through the World of Glass in Portugal

• Salvador Siano, Study and conservation of bronze artworks: the physical approach

• Fátima Araújo, Chemical investigations of archaeological Cu-based artefacts

• A. J. Candeias, J. Mirão, In-situ XRF, synchrotron µ-XRF, µ-FTIR and optical microscopy study of paintings attributed to Josefa d’Obidos and Baltazar Gomes Figueira: comparison of father and daughter’s palette

• Rui Borges, I. Tissot, Authenticity problems in the tomb of D. Afonso of Braga Cathedral

• Filomena Macedo, Antifungal effect of different methyl and propyl paraben mixtures on the treatment of paper biodeterioration

• J. Mendes, A. J. Cruz, Energy dispersive X-ray fluorescence spectrometry study of the paintings attributed to Nuno Gonçalves

• A. Guilherme, J. Coroado, Study by µ-EDXRF on lead-based glazes and surface decoration in Portuguese faiences

• Sofia Pessanha, Multianalytical spectroscopic analysis of coloured maps from the XVII and XVIII century

• Leonor Loureiro, European Decorative and Printing Coated Papers 1850-1975: Their Classification for Conservation Purposes

Studies in Conservation, vol. 53, n.º 2, 2008

Acabou de ser publicado mais um número do Studies in Conservation. Trata-se do volume 53, número 2, de 2008.

Índice:

• Emmanuelle Bidaud, Erich Halwax, Emmanuel Pantos, Beate Sipek, Analyses of a green copper pigment used in a thirteenth-century wall painting, pp. 81-92

• Arthur R. Woll, Jennifer Mass, Christina Bisulca, Matt Cushman, Carol Griggs, Tomasz Wazny, Noelle Ocon, The unique history of The Armorer's Shop: an application of confocal x-ray fluorescence microscopy, pp. 93-109

• Céline Rémazeilles, Egle Conforto, A buried Roman bronze inkwell: chemical interactions with agricultural fertilizers, pp. 110-117

• Anna Schönemann, Manfried Eisbein, Achim Unger, Madeleine Dell'mour, Wolfgang Frenzel, Ernst Kenndler, Historic consolidants for wooden works of art in Saxony: an investigation by GC-MS and FTIR analysis, pp. 118-130

• Hazuko Hioki, From Japanese tradition. Is kura a model for a sustainable preservation environment?, pp. 131-135

• David A. Scott, Editing for 25 years. Some personal reflections, pp. 136-140

• Sarah Staniforth, David Saunders, In memoriam. Garry Thomson. 1925-2007, pp. 141-142

• Sharon Cather, Thomas Danzl, Monica Garcia Robles, Monica Martelli Castaldi, Ulrich Schießl, Paul Schwartzbaum, In memoriam. Heinz Leitner. 1953-2007, pp. 143-144

Biodeterioração de pinturas murais

Jeroen Heyrman, Polyphasic characterisation of the bacterial community asociated with biodeterioration of mural paintings, Tese de doutoramento, Universiteit Gent, 2002.

A tese está livremente disponível aqui.

Sobre as preparações dos suportes de pintura

Foi há pouco publicado o seguinte livro:

Joyce H. Townsend, Tiarna Doherty, Gunnar Heydenreich, Jacqueline Ridge (ed.), Preparation for Painting. The Artist's Choice and its Consequences, London, Archetype, 2008.

Índice:

• Jilleen Nadolny, European Documentary Sources Before c.1550 Relating to Painting Grounds Applied to Wooden Supports: translation and terminology, pp. 1-13

• Lynne Harrison, Robin Cormack, Caroline Cartwright, Janet Ambers, An Icon of St. George: preparation for a portrait of a saint, pp. 14-21

• Erling Skaug, Not Just Panel and Ground, pp. 22-29

• Gunnar Heydenreich, The Colour of Canvas: historical practices for bleaching artists' linen, pp. 30-41

• Jaap J. Boon, Jerre van der Horst, Remarkably Improved Spatial Resolution in Scanning Electron Microscope Images of Paint Cross-sections After Argon Ion Polishing, pp. 42-49

• Ester S.B. Ferreira, Rachel Morrison, Jaap J. Boon, Imaging Chemical Characterisation of Preparatory Layers in Fifteenth and Sixteenth-century Northern European Panel Paintings, pp. 50-58

• Elisabeth Martin, Grounds on Canvas 1600-1640 in Various European Artistic Centres, pp. 59-67

• Petria Noble, Annelies van Loon, Jaap Boon, Selective Darkening of Ground Layers Associated with the Wood Structure in Seventeenth-century Panel Paintings, pp. 68-78

• Maartje Witlox, Tiarna Doherty, Barbara Schoonhoven, Reconstructing Seventeenth-century Streaky Imprimatura Layers used on Panel Paintings, pp. 79-91

• Sara De Bernardis, Not Preparation but Impregnation: transparent paintings of the late eighteenth century painted by Giovan Battista Bagutti (1742-1823), pp. 92-99

• Inken Maria Holubec, 'The Whole World is Angelikamad': preparatory layers on canvas used by Angelika Kauffmann, pp. 100-109

• Sarah Morgan, Joyce H. Townsend, Stephen Hackney, Roy Perry, Canvas and its Preparation in Early Twentieth-century British Paintings, pp. 110-122

• Leslie Carlyle, Jaap J. Boon, Ralph Haswell, Maartje Stols-Witlox, Historically Accurate Ground Reconstructions for Oil Paint, pp. 123-131

• Leslie Carlyle, Christina Young, Suzanne Jardine, The Mechanical Response of Flour Paste Grounds, pp. 132-140

• Kathrine Segel, Mikkel Scharff, Flocked Canvases: a special fabric for pastel paintings, pp. 141-146

• Nicole Tse, Robyn Sloggett, Southeast Asian Oil Paintings: supports and preparatory layers, pp. 147-155

• Bronwyn A. Ormsby, Eric Hagan, Patricia Smithen, Thomas J. S. Learner, Comparing Current Titanium White Acrylic Emulsion Grounds and Paints: characterisation, properties and conservation, pp. 156-162

• Christina Young, Eric Hagan, Effects of Cold Temperatures on Modern Paints used for Priming Flexible Supports, pp. 163-171

• Pauline Hélou-de la Grandière, Anne-Solenn Le Hô, François Mirambet, Delaminating Paint Films at the end of 1950s: a case study on Pierre Soulages, pp. 172-179

• L. Fuster-Lopez, M F. Mecklenburg, M. Castell-Agusti, V Guerola Blay, Filling Materials for Easel Paintings: when the ground reintegration becomes a structural concern, pp. 180-186

Dyes in History and Archaeology, vol. 21, 2008

Foi há pouco publicado o volume 21 da revista Dyes in History and Archaeology. Ainda que com data de 2008, contém as comunicações apresentadas num encontro que decorreu em 2002.

Índice:

• Jan Wouters, Ina Vanden Berghe, Ghislaine Richard, René Breniaux, Dominique Cardon, Dye Analyses of Selected Textiles from Three Roman Sites in the Eastern Desert of Egypt - A Hypothesis on the Dyeing Technology in Roman and Coptic Egypt, pp. 1-16

• Regina Hofmann-de Keijzer, Maarten R. van Bommel, Dyestuff Analysis of Two Textile Fragments from Late Antiquity, pp. 17-25

• Zvi C. Koren, A New HPLC-PDA Method for the Analysis of Tyrian Purple Components, pp. 26-35

• Irving Ziderman, The Biblical Dye Tekhelet and its Use in Jewish Textiles, pp. 36-44

• Philip John, Stylianos Arghyros, Sonja Nicholson, Indigo-Reducing Bacteria from the Medieval Woad (Isatis tinctoria L.) Vat: Some Aspects of their Interaction with Indigo, pp. 45-50

• Anthony Pinto, Woad Production in Catalonia and Roussillon at the End of the Middle Ages, pp. 51-58

• Cheryl Porter, The Identification of Purple in Manuscripts, pp. 59-64

• Maria João Melo, Missal Blue: Anthocyanins in Nature and Art, pp. 65-74

• Arie Wallert, Maarten R. van Bommel, Sanguis draconis, Dragonsblood: The Use and Analysis of a Manuscript Illuminators' Colorant, pp. 75-88

• Jo Kirby, Some Aspects of Medieval and Renaissance Lake Pigment Technology, pp. 89-108

• Anita Quye, Monitoring of Damage to Historic Tapestries (MODHT): A Newly Initiated EU project, pp. 109-118

• Yoshiko Sasaki, Masanori Sato, Mari Omura, Ken Sasaki, Dye Analysis of Braids used for Japanese Armour dating from the 14th to the 16th Centuries, pp. 119-126

• Jennifer Giaccai, Chromatographic and Spectroscopic Differentiation of Insect Dyes on East Asian Paintings, pp. 127-133

• Salts Valery Golikov, Zoë Zharikova, A Study of Model Carmine Lakes on the Basis of Cochineal, Collagen and Mordant, pp. 134-147

• Katarzyna Schmidt-Przewozna, Natural Dyes used in Polish Workshops in the 17th-18th Centuries, pp. 148-153

• Marie Marquet, Archaeology and Dyeing Traditions in West Africa, pp. 154-166

• Christopher J. Cooksey, Alan T. Dronsfield, Jo Kirby, Chinese Green: Experimental Investigations, pp. 167-179

• Brian H. Davies, Logwood under the Microscope, pp. 180-188

• Christopher J. Cooksey, Alan T. Dronsfield, Edward Schunck - Forgotten Dyestuffs Chemist?, pp. 189-207

• Jana Sanyova, Spectroscopic Studies (FTIR, SIMS, ES-MS) on the Structure of Anthraquinone-Aluminium Complexes, pp. 208-213

• François Delamare, Bernard Monasse, Computation of a Visible Light Absorption Spectrum, a Semi-Empirical Quantum Mechanical Approach: Application to the Colour Determination of Alizarin Complexes whether in Solution or Chemisorbed onto Cellulose, pp. 214-223

• Rangi Te Kanawa, Gerald J. Smith, Glenn A. Fenton, Ian J. Miller, Cara L. Dunford, Evaluation of Consolidants for Black Iron Tannate-Dyed Maori Textiles, pp. 224-229

• Katarzyna Schmidt-Przewozna, Witold Przewozny, In the Circle of Colour - Natural Dyeing of Flax, Silk and Wool, pp. 230-232

e_Conservation, n.º 7, 2008

Acabou de ser publicado mais um número da revista e_Conservation, o número 7, de 2008.

A revista, com 4 artigos e as habituais secções de notícias e recensões, está livremente disponível aqui.

Índice dos artigos:

• Carolina Barata, António João Cruz, Marta Ferro, The Visible Image Is Not Always Correct. The differentiation of layers by optical microscopy in samples' cross sections, pp. 21-25

• Ioan Istudor, The Church of Voronet Monastery. Technical Considerations of the Mural Paintings, pp. 26-40

• Boris Zilbergleyt, Forecast of Chemical Aging and Related Color Changes in Paintings, pp. 41-48

• Anca Nicolaescu, André Alexander, Red Maitreya Temple - Leh, Ladakh. Mural Conservation Project (Part 2), pp. 50-72

A câmara obscura e a arte

O livro

Wolfgang Lefèvre (ed.), Inside the Camera Obscura – Optics and Art under the Spell of the Projected Image, Berlin, Max Planck Institute for the History of Science, 2007.

está livremente disponível aqui.

Índice:

• Wolfgang Lefèvre, The Optical Camera Obscura. A Short Exposition, p. 5

• Norma Wenczel, The Optical Camera Obscura. Images and Texts, p. 13

• Michael John Gorman, Projecting Nature in Early-Modern Europe, p. 31

• Abdelhamid I. Sabra, Alhazen's Optics in Europe: Some Notes on What It Said and What It Did Not Say, p. 53

• Sven Dupré, Playing with Images in a Dark Room Kepler's Ludi inside the Camera Obscura, p. 59

• Alan E. Shapiro, Images: Real and Virtual, Projected and Perceived, from Kepler to Dechales, p. 75

• Isabelle Pantin, "Res Aspectabilis Cujus Forma Luminis Beneficio per Foramen Transparet" - Simulachrum, Species, Forma, Imago: What was Transported by Light through the Pinhole?, p. 95

• Fokko Jan Dijksterhuis, Clair & Distinct. Seventeenth-Century Conceptualizations of the Quality of Images, p. 105

• Giuseppe Molesini, The Optical Quality of Seventeenth-Century Lenses, p. 117

• Tiemen Cocquyt, The Camera Obscura and the Availibility of Seventeenth Century Optics - Some Notes and an Account of a Test, p. 129

• Klaus Staubermann, Comments on 17th-Century Lenses and Projection, p. 141

• Carsten Wirth, The Camera Obscura as a Model of a New Concept of Mimesis in Seventeenth-Century Painting, p. 149

• Karin Groen, Painting Technique in the Seventeenth Century in Holland and the Possible Use of the Camera Obscura by Vermeer, p. 195

• Claudia Laurenze-Landsberg, Neutron-Autoradiography of two Paintings by Jan Vermeer in the Gemäldegalerie Berlin, p. 211

• Philip Steadman, Gerrit Dou and the Concave Mirror, p. 227

• Martin Kemp, Imitation, Optics and Photography. Some Gross Hypotheses, p. 243

Um universo de pedra

Foi há pouco publicado o livro seguinte:

Philip Ball, Universe of Stone. A biography of Chartres Cathedral, New York, Harper Collins, 2008.

Apresentação:

Chartres Cathedral, south of Paris, is revered as one of the most beautiful and profound works of art in the Western canon. But what did it mean to those who constructed it in the twelfth and thirteenth centuries? And why, during this time, did Europeans begin to build churches in a new style, at such immense height and with such glorious play of light, in the soaring manner we now call Gothic?

Universe of Stone shows that the Gothic cathedrals encode a far-reaching shift in the way medieval thinkers perceived their relationship with their world. For the first time, they began to believe in an orderly, rational world that could be investigated and understood. This change marked the beginning of Western science and also the start of a long and, indeed, unfinished struggle to reconcile faith and reason.

By embedding the cathedral in the culture of the twelfth century—its schools of philosophy and science, its trades and technologies, its politics and religious debates—Philip Ball makes sense of the visual and emotional power of Chartres. Beautifully illustrated and written, filled with astonishing insight, Universe of Stone argues that Chartres is a sublime expression of the originality and vitality of a true "first renaissance," one that occurred long before the birth of Leonardo da Vinci, Michelangelo, or Francis Bacon.

Índice:

• Introduction, 10
• The Isle Rises: Chartres in the Kingdom of France, 17
• A Change of Style: The Invention of Gothic, 32
• Heaven on Earth: What is a Cathedral?, 61
• Seek Not to Know High Things: Faith and Reason in the Middle Ages, 78
• Building by Numbers: Science and Geometry at the School of Chartres, 109
• Masters of Works: The Men Who Planned the Cathedrals, 145
• Hammer and Stone: Medieval Masons, 179
• Underneath the Arches: House of Forces, 218
• Holy Radiance: The Metaphysics of Light, 258
• Hard Labour: How the Cathedral Rose, 281
• A New Beginning: The First Renaissance, 306

O livro pode ser livremente consultado aqui.

 

A Arte Efémera e a Conservação

Nos dias 6 e 7 de Novembro realiza-se no Museu do Oriente, Lisboa, um encontro sobre A Arte Efémera e a Conservação. O paradigma da arte contemporânea e dos bens etnográficos. A organização é da Fundação Oriente, do Instituto dos Museus e da Conservação, do Museu Colecção Berardo e da Universidade Nova de Lisboa.

Na arte contemporânea a esperança de vida da obra de arte encurta-se radicalmente a partir do início do século XX, com a utilização de materiais de todos os tipos. Os artistas são seduzidos pelas suas capacidades expressivas e potencialidades comunicativas e já não pela sua garantia de durabilidade. Os bens etnográficos, com funções rituais ou simbólicas, colocam o problema desde o início das primeiras colecções. Contudo, em ambos os casos, a fragilidade das obras ou mesmo a sua pretendida efemeridade conflituam com a actual vontade de tudo preservar, característica dos tempos que vivemos. Os problemas práticos e éticos que daí resultam para o museólogo, o conservador-restaurador ou o historiador de arte constituem um enorme manancial de reflexão.

Neste encontro procuraremos reflectir e debater sobre os valores que dificilmente se equilibram na tarefa da preservação, de que são exemplo os valores materiais versus valores conceptuais, rituais ou estéticos. As questões da originalidade e autenticidade em relação com o valor histórico, cultural, a intenção do criador, a intangibilidade, a função social, entre outros. Haverá também espaço para pensar sobre processos alternativos de conservação e o perfil dos profissionais empenhados numa salvaguarda que ultrapassa o domínio da materialidade, que inclui novos meios, implica criatividade e especial atenção não apenas aos objectos, mas também às comunidades e contextos envolvidos.  

O programa e a ficha de inscrição estão aqui.

O restauro do templo romano de Évora

O seguinte artigo está livremente disponível aqui.

António Carlos Silva, "A 'restauração' do templo romano de Évora", A Cidade de Évora, 1, 1994-1995, pp. 63-71.

Resumo:

Este artigo é dedicado ao Templo Romano de Évora, mais precisamente ao seu "restauro" em meados do séc. XIX. O "restauro", incentivado pela intelectualidade eborense, foi informado pelas políticas patrimoniais vigentes na época, que preconizavam a remoção de todos os acrescentos à obra original, e levado acabo por Cinatti.

O autor faz ainda uma pequena resenha histórica acerca da "evolução arquitectónica" e utilização do templo.

Argamassas de revestimento para alvenarias antigas

A seguinte tese está integralmente disponível aqui.

Maria Paulina Santos Forte Faria Rodrigues, Argamassas de revestimento para alvenarias antigas. Contribuição para o estudo da influência dos ligantes, Tese de doutoramento, Lisboa, Universidade Nova de Lisboa, Faculdade de Ciências e Tecnologia, 2004.

Resumo:

O presente trabalho decorre da importância crescente que o conhecimento das argamassas para edifícios antigos tem vindo a assumir. Pretende-se com ele contribuir para o estudo da influência dos ligantes no comportamento das argamassas, em particular no caso da cal aérea e de componentes pozolânicos que com ela possam reagir directamente.

As funções exigidas às argamassas para aplicação em edifícios antigos dependem de várias condicionantes e implicam que estas possuam um conjunto de características nem sempre fáceis de atingir ou compatibilizar. Fundamentalmente estas argamassas têm de proporcionar uma eficiente protecção aos suportes em que são aplicadas, evitando o desenvolvimento de mecanismos que conduzam à sua degradação. Para tal devem registar uma boa compatibilidade mecânica, física e química com os referidos suportes. Simultaneamente, e dentro do possível, devem apresentar características que permitam prevenir a sua própria degradação, incrementando a sua durabilidade face a acções específicas inerentes a edifícios antigos, como seja o ataque por sais solúveis.

A tese foi dividida em duas partes organizadas em oito capítulos. Na primeira parte apresenta-se uma análise bibliográfica genérica sobre argamassas para edifícios antigos, enquanto na segunda parte é registado todo o desenvolvimento experimental desenvolvido.

Para além de serem descritos os procedimentos experimentais utilizados, são comparadas argamassas diversificadas (situadas entre as de cal aérea e as de cimento, bem como argamassas pré-doseadas), argamassas produzidas a partir de diferentes preparações e tipos de cais aéreas e ainda caracterizadas múltiplas argamassas de cal aérea com diferentes componentes pozolânicos, distintas proporções entre a cal e esses componentes e sujeitas a dois tipos de condições de cura.

Apresentam-se ainda uma análise crítica, as conclusões do estudo e propostas para desenvolvimentos futuros do trabalho de investigação realizado.

Desenvolvimento de uma base de dados espectral e colorimétrica para os materiais de pintura utilizados pelos artistas

A seguinte tese está integralmente disponível aqui:

Yoshio Okumura, Developing a Spectral and Colorimetric Database of Artist Paint Materials, Rochester, Rochester Institute of Technology, 2005.

Introdução:

As the project of the author’s Master’s thesis, the development of a spectral and colorimetric database of artist paint materials for acrylic paints was started. The goal of this research project was to:

- provide the academic resource of colorant spectral characteristics

- give scientific explanations on various paint-particular phenomena (paint mixing, gloss effects and color gamut expansion by varnishing)

 These tasks were planned to satisfy possible interests on paint research from not only conservators in museums but also color educators in schools and color reproduction engineers in imaging companies.

First of all, the coverage of this research was narrowed down to matte acrylic paints that are made from traditional organic and synthetic pigments. That is, the paints of relatively brand-new colorants, fluorescent, metallic, and pearlescent pigments, were not considered herein.

The first mission of the database development was to build up the optical properties of artist paint colors based on spectrophotomeric measurement. The contents of the artist paint database were represented by spectral light characteristics, reflectance, absorption, and scattering, so as to simulate specific paint mixtures with the dataset. Since it is derived by a different concept from some encyclopaedic databases that have been introduced to show basic physical and optical parameters such as pigments’ refractive indices and light reflectivities for pigment-binder combinations, our colorant database will be useful for color science researchers as an academic resource.

The advantage of holding the spectral dataset in our database can help spectral im aging researchers in a couple of ways. According to the recent study on the spectral imaging camera system by Mohammadi and Berns, for example, it clarified that appropriate spectral-reflectance curves of a calibration target should be chosen rather than increasing the number of target paints for spectrally accurate calibration. For such a case, a colorant formulation using the spectral dataset will lead to determining the optimal recipes of acrylic paints providing appropriate reflectance curves to the development of a calibration paint target. Another possible usage of the spectral dataset is for pigment identification, the spectral matching technique of which is to find the recipes of paint mixtures, used in art, from a large amount of colorant spectral information.

The second mission was to simulate paint mixtures with mathematical calculations and verify the accuracy of the simulation performance. The simulation approach, based on the Kubelka-Munk theory, can be considered to have larger possible choices of paints and give better simulation results than gained by a traditional approach based on a look-up table method that characterizes a paint gradient in the L*a*b* coordinates. The spectral-based technique of paint mixing simulation is expected to reveal the contradiction of advocated paint-mixing theory, “yellow, red, and blue can make any colors because these colors are the primaries of the paint system”, to color educators because it is actually not. With regard to paint mixing theory, a professional artist, Michael Wilcox, experientially showed the contradiction by making a large amount of paint mixing palettes.

The third mission was to render paint color gamuts with selected primary paint mixtures and multiple paint mixtures based on the spectral database. Rendering a paint color gamut is an orthodox approach to visualize the possible color coverage of certain paint mixtures. In terms of color reproduction, additionally, it is interesting to compare color gamut volumes in the L*a*b* space among various coloration systems including the paint system. A general target for calibrating cameras such as the GretagMacbeth ColorChecker is expected to cover a wide gamut far beyond a paint system. Quantifying the color gamut volumes of the systems would be helpful not only estimate color reproduction accuracy but also to develop a paint-color rendering chart for spectral imaging camera.

The last mission was to formulate the gloss effects by varnishing. In conservation works in museums, applying, retouching, and removing a varnish coat are carried out with verifying the apperance of re-painted colors over or without a varnish coat by operators. In order to reproduce the original paint colors, it is necessary for conservators to understand how a new varnish coat makes paint colors changed and visually wet in advance. A scientific explanation on the mechanism of gloss by varnishing will guide conservators to take an appropriate step of choosing a varnish substance as well as an application method to produce their expected surface finishings.

Mapas de pigmentos usados numa pintura

A seguinte tese está integralmente disponível aqui:

Yonghui Zhao, Image Segmentation and Pigment Mapping of Cultural Heritage Based on Spectral Imaging, Tese de doutoramento, Rochester, Rochester Institute of Technology, 2008.

Resumo:

The goal of the work reported in this dissertation is to develop methods for image segmentation and pigment mapping of paintings based on spectral imaging. To reach this goal it is necessary to achieve sufficient spectral and colorimetric accuracies of both the spectral imaging system and pigment mapping. The output is a series of spatial distributions of pigments (or pigment maps) composing a painting. With these pigment maps, the change of the color appearance of the painting can be simulated when the optical properties of one or more pigments are altered. These pigment maps will also be beneficial for enriching the historical knowledge of the painting and aiding conservators in determining the best course for retouching damaged areas of the painting when metamerism is a factor.

First, a new spectral reconstruction algorithm was developed based on Wyszecki’s hypothesis and the matrix R theory developed by Cohen and Kappauf. The method achieved both high spectral and colorimetric accuracies for a certain combination of illuminant and observer. The method was successfully tested with a practical spectral imaging system that included a traditional color-filter-array camera coupled with two optimized filters, developed in the Munsell Color Science Laboratory. The spectral imaging system was used to image test paintings, and the method was used to retrieve spectral reflectance factors for these paintings.

Next, pigment mapping methods were brought forth, and these methods were based on Kubelka-Munk (K-M) turbid media theory that can predict spectral reflectance factor for a specimen from the optical properties of the specimen’s constituent pigments. The K-M theory has achieved practical success for opaque materials by reduction in mathematical complexity and elimination of controlling thickness. The use of the general K-M theory for the translucent samples was extensively studied, including determination of optical properties of pigments as functions of film thickness, and prediction of spectral reflectance factor of a specimen by selecting the right pigment combination. After that, an investigation was carried out to evaluate the impact of opacity and layer configuration of a specimen on pigment mapping. The conclusions were drawn from the comparisons of prediction accuracies of pigment mapping between opaque and translucent assumption, and between single and bi-layer assumptions.

Finally, spectral imaging and pigment mapping were applied to three paintings. Large images were first partitioned into several small images, and each small image was segmented into different clusters based on either an unsupervised or supervised classification method. For each cluster, pigment mapping was done pixel-wise with a limited number of pigments, or with a limited number of pixels and then extended to other pixels based on a similarity calculation. For the masterpiece The Starry Night, these pigment maps can provide historical knowledge about the painting, aid conservators for inpainting damaged areas, and digitally rejuvenate the original color appearance of the painting (e.g. when the lead white was not noticeably darkened).