Dissertations / Theses on the topic 'Conservation and restoration of art objects'

Thesis (M. Tech. Design technology) -- Central University of Technology, Free State, 2011
This dissertation outlines a procedural scanning process using the portable ZCorporation ZScanner® 700 and provides an overview of the developments surrounding 3D scanning technologies; specifically their application for archiving Cultural Heritage sites and projects. The procedural scanning process is structured around the identification of 3D data recording variables applicable to the digital archiving of an art museum’s collection of sculptures. The outlining of a procedural 3D scanning environment supports the developing technology of 3D digital archiving in view of artefact preservation and interactive digital accessibility. Presented in this paper are several case studies that record 3D scanning variables such as texture, scale, surface detail, light and data conversion applicable to varied sculptural surfaces and form. Emphasis is placed on the procedural documentation and the anomalies associated with the physical object, equipment used, and the scanning environment. In support of the above, the Cultural Heritage projects that are analyzed prove that 3D portable scanning could provide digital longevity and access to previously inaccessible arenas for a diverse range of digital data archiving infrastructures. The development of 3D data acquisition via scanning, CAD modelling and 2D to 3D data file conversion technologies as well as the aesthetic effect and standards of digital archiving in terms of the artwork – viewer relationship and international practices or criterions of 3D digitizing are analysed. These projects indicate the significant use of optical 3D scanning techniques and their employ on renowned historical artefacts thus emphasizing their importance, safety and effectiveness. The aim with this research is to establish that the innovation and future implications of 3D scanning could be instrumental to future technological advancement in an interdisciplinary capacity to further data capture and processing in various Cultural Heritage diagnostic applications.

For rare book collections, a considerable challenge is involved in evaluating collection materials in terms of their inherent value, which includes the textual and intangible information the materials provide for the collection's users. Preservation management in rare book collections is a complex and costly process. As digitization and other technological advances in surrogate technology have provided new forms representation, new dilemmas in weighing the rare book's inherently valuable characteristics against the possibly lesser financial costs of surrogates have arisen. No model has been in wide use to guide preservation management decisions. An initial iteration of such a model is developed, based on a Delphi-like iterative questioning of a group of experts in the field of rare books. The results are used to synthesize a preservation management framework for rare book collections, and a small-scale test of the framework has been completed through two independent analyses of five rare books in a functioning collection. Utilizing a standardized template for making preservation decisions offers a variety of benefits. Preservation decisions may include prioritizing action upon the authentic objects, or developing and maintaining surrogates in lieu of retaining costly original collection materials. The framework constructed in this study provides a method for reducing the subjectivity of preservation decision-making and facilitating the development of a standard of practice for preservation management within rare book collections.

Cada quadre conté diferents tipus d'informació. El missatge estètic és el que acostuma a centrar l'atenció dels analistes, però no és l'únic. Existeix tot un altre cúmul de dades que poden donar-nos coneixement. El suport de l'obra pictòrica n'és un, i el revers és la superfície d'aquesta matèria. Les diverses capes de preparació que fan de coixí a la pintura, les diferents tipologies de bastidor i de tela de suport, les inscripcions de l'artista al dors, el marc o els segells distintius que ha anat reunint l'obra d'art, constitueixen una font de coneixement essencial, una autèntica cara oculta de la pintura. Però de la mateixa manera que no hi ha cap revers idèntic, hi ha un fenomen d'envelliment col·lectiu que els iguala. També existeix una xarxa interna que relaciona les obres entre si quan es troben agrupades en una mateixa col·lecció i el temps hi va deixant la seva empremta. L'objectiu d'aquesta tesi és justament indagar sobre els indicis històrics, teòrics i físics d'aquestes traces en els reversos dels quadres, defensant la necessitat de preservar-les i també mostrar les tècniques que poden fer possible la seva conservació. La investigació d'aquesta tesi se centra en pintura catalana sobre tela cronològicament situada entre els inicis del segle XIX i la dècada dels anys trenta del segle XX a través de la col·lecció permanentment exposada del Museu Nacional d'Art de Catalunya. És especialment important resseguir la repercussió que té, des del punt de vista dels materials, l'evolució industrial catalana amb els consegüents efectes comercials. De la utilització del lli o el cànem es passa a la incorporació del cotó com a element innovador per l'abaratiment que comportava. Apareixerà una estandardització dels formats que trencara amb la tradició artesana dels pintors que havien emprat uns suports més rígids, tendint cap a materials més lleugers. Aquests i altres elements característics de la morfologia dels suports de les pintures mereixeran l'atenció de la primera part de la tesi. En el segon capítol procedirem a l'anàlisi detallada dels reversos d'obres concretes i de pintors representatius de l'època estudiada, a partir de la selecció establerta pel projecte museogràfic del MNAC. La informació bibliogràfica específica sobre reversos de pintures sobre tela i els materials artístics a Catalunya, així com sobre els procediments pictòrics, és relativament escassa, cosa que obliga a recollir la majoria de dades de primera ma directament del material analitzat. El treball de camp esdevé així una fase necessària, que sorprèn i satisfà pel que té d'inexplorat i per la voluntat que aquesta recerca documental esdevingui un marc de coneixement per a futures investigacions. La progressiva consciència dels conservadors-restauradors per trobar solucions idònies a la degradació de les obres, està creant un interessant camp d'investigació practica en el qual professionals de passos diversos experimenten noves tècniques que puguin harmonitzar una continuïtat física dels materials de suport tèxtils. És per això que aquesta part dedicada als criteris d'intervenció desenvolupara mètodes actuals com la sutura de fils amb adhesius termofusibles i la documentació sistemàtica dels reversos que enceten una via imprescindible per a resguardar íntegrament el patrimoni artístic sobre tela. L'última part d'aquesta tesi consisteix en el Catàleg de reversos de la col·lecció permanent d'art modern del MNAC. És un inventari visual i indexat dels objectius i l'abast d'aquesta tesi i resulta, en si mateix, una obra inèdita. Juntament amb la Galeria de reversos - que selecciona i mostra en detall els reversos més significatius, i més bells, de la col·lecció - fa visualitzar tot allò que, en ser documentat, proposa la necessitat ineludible de conservar-ho.

Shelters, as preventive conservation methods, have traditionally been considered a better option than leaving the site exposed. However, there has been limited research on their effect on the preservation of heritage materials and, as a result, there is no clear scientific evidence to support sheltering. This study aims to provide the first rigorous scientific assessment of the effect of lightweight, open shelters on limestone deterioration at archaeological sites. A method based on the use of low-cost environmental monitoring equipment and limestone blocks and tablets (as indicators of decay) has been developed to determine the degree of protection provided by the shelters at the Bishop' Palace (Witney, England) and Hagar Qim (Malta). Preliminary visual assessments of the field sites were followed by 12-18 month exposure trials. Temperature extremes and fluctuations, frost events, relative humidity extremes and fluctuations, NaCl crystallisation events, solar radiation, wetting events, salt content, atmospheric pollutants and dust deposition were monitored. In addition, stone decay was studied by analysing changes in weight, elasticity, surface hardness, ultrasonic pulse velocity, surface colour, moisture content and general appearance (microscopic and macroscopic pictures) in stone samples. An exhaustive assessment of the shelter at the Bishop's Palace was carried out using Chalk, Cotswold and Portland limestone blocks as well as Portland limestone tablets (specifically for studying dissolution, soiling and biological growth). Additionally, a comparative assessment of the effects of the two shelters in contrasting climatic environments, the Bishop's Palace (temperate maritime) and Hagar Qim (Mediterranean), was undertaken by monitoring Globigerina and Coralline limestone blocks simultaneously at both sites. The research has shown that lightweight, open shelters do not exclude decay completely but minimise it. However, there are some areas at higher risk of decay, i.e. top parts of the walls and the periphery. In addition, problems with the shelter design can enhance some decay mechanisms, such as biocolonisation on the periphery at the Bishop's Palace and dust deposition under the shelter at Hagar Qim. Therefore, the effectiveness of shelters should not be assumed.

La tesi doctoral que presentem a continuació és innovadora perquè és el primer estudi extens i rigorós sobre el llenguatge de la conservació-restauració d'obres d'art, no només analitzant els seus vocabularis, sinó també raonant-ne l'ús que en fa aquesta professió. Aquesta recerca és multidisciplinar, en aquest sentit la conservació-restauració d'obres d'art mai havia estat comparada i contextualitzada des del punt de vista de la lingüística i les ciències de la informació. Finalment, es tracta d'una investigació d'abast internacional poc freqüent en aquesta disciplina. L’interès d’aquest estudi es centra en la conservació-restauració dels béns mobles, l'arquitectura s'allunya del nostre camp de treball. La conservació-restauració és l'activitat que inclou les tasques de reconeixement, documentació, tractament i prevenció, recolzat per la recerca i l'educació (AIC, 1996), implica acció directa sobre el patrimoni cultural amb l'objectiu d'estabilitzar el seu estat i retardar el seu deteriorament (ICON, 2008). La història d'aquesta disciplina ens introdueix el tema del desenvolupament de la professió, el qual ens ajuda a començar a entendre el llenguatge de la conservació-restauració. Fins el segle XVIII no neix la professió del restaurador a França, però és l'excepció, a la resta d'Europa la distinció entre artesà, pintor i restaurador no es feu evident fins un segle més tard. Per un altre costat, a principis del segle XIX els científics comencen a investigar les obres d'art i fins el segle XX es creen laboratoris i departaments de conservació-restauració a dins dels museus occidentals. D'aquesta manera s'inicià el reconeixement d'aquesta professió i alhora l'ha convertí en interdisciplinar. És a dir, la conservació-restauració d'obres d'art amb una base eminentment artesanal creuava coneixements també amb la ciència i així esdevenia pluridisciplinar. Aquesta pluridisciplinarietat és un altre factor que ens permet entendre i analitzar el vocabulari de la conservació-restauració perquè aquesta manlleva el llenguatge tècnic de les disciplines amb les quals intercanvia coneixements. I precisament és en l'àmbit de l'educació on també s'evidencia aquesta multidisciplinarietat perquè en els programes educatius els estudiants tenen assignatures relacionades amb l'art i la ciència. La conservació-restauració d'obres d'art entrà en el món acadèmic a Europa després de la Segona Guerra Mundial quan a principis dels anys seixanta la United Nations Educational, Scientific and Cultural Organization (UNESCO) fundà a Roma l'International Centre for the Study of the Preservation and Restoration of Cultural Property (ICCROM) amb la finalitat de formar a professionals d'arreu del món i alhora que aquests entressin a treballar a la universitat o fundessin instituts de conservació-restauració. D'aquesta activitat formativa, educativa i acadèmica, en els anys seixanta a Europa començaren a publicar-se un corpus de textos especialitzat en conservació-restauració, els quals estaven escrits en anglès, francès i italià. En altres paraules, les publicacions especialitzades de la conservació-restauració apareixen en paral.lel a la creació d'estudis formatius i acadèmics, aquests textos contenen la terminologia d'aquesta disciplina, la qual té un abast temàtic molt extens. Per aquest motiu basant-nos en la base de dades dels llibres Glossary of art conservation i en l'anàlisi dels diccionaris sobre conservació-restauració publicats en vuit idiomes, vam arribar a la conclusió que la conservació-restauració només ha inventat dos termes: tratteggio i papetta AB-57. Tanmateix per entendre la relació que té aquesta professió amb el llenguatge ens hem de remetre a la documentació perquè els conservadors-restauradors només escriuen, i per tant utilitzen el llenguatge, quan documenten un procés de conservació-restauració. A diferència de la documentació en els museus, que empren tesaurus i un llenguatge artificial i controlat, els conservadors restauradors documenten utilitzant un llenguatge natural i aquest fet dificulta encara més el seu estudi. En les carreres d'humanitats la base és el pensament que s'estructura amb el llenguatge, en la conservació-restauració el llenguatge no és una prioritat; com ja hem dit, l'utilitza principalment en les tasques de documentació; sinó els materials i per això coopera amb els químics i els físics. Paradoxalment, els professionals d'aquesta disciplina necessiten diccionaris perquè els textos que els interessen no només s'han escrit en anglès, per això, diccionaris en general i multilingües en particular, són eines indispensables per traduir, documentar, recuperar informació i facilitar la comunicació. I des del nostre punt de vista, era necessari un estudi que analitzés aquest llenguatge, malgrat no haver estat mai una prioritat en aquesta professió. Finalment, aquesta disciplina té una llarga tradició històrica, però un recorregut acadèmic molt curt, per exemple, en comparació a la història de l'art. Aquest fet no li ha permès publicar suficients textos especialitzats i en conseqüència desenvolupar un vocabulari propi, potser en els propers anys des de les universitats, escoles i centres de formació se'n crearà de nou i genuí.
This Ph.D thesis explores and describes from a multidisciplinary, academic and international point of view the language of art conservation. It is striking the relationship between education and publications because as a result of the education and training activity, reference books are written and published. Consequently, technical language is created. It may be obvious or not, terminology is invented in the educational field, where teachers, trainers, professors and academicians use language; in general, and the technical vocabulary of their disciplines, in particular; to provide knowledge to their pupils. Moreover, the teaching task often entails the writing activity, and the publications contain the vocabulary of a discipline. In other words, the students learn the terminology of their profession when they are trained and educated, as well as, when they read books. The overriding consideration is that art conservation historical evolution has developed it as a multidisciplinary: between art and science. Since the 19th century, the works of art became an interesting topic for scientist, from then in western museums, they began to work in museums’ laboratories, and the scientific point of view of the materials became one of the most challenging topics. An earlier example in the United States was the book Painting Materials. A Short Encyclopaedia, published in 1942 and written by J. Rutherford Gettens and George L. Stout, who were pioneers in the investigation of art works in the Fogg Museum of Art, Harvard University and the Isabella Stewart Gardner Museum in Boston. Another remarkable step forward in the development and history of art conservation’s education occured in the early 1960s, when the United Nations Educational, Scientific and Cultural Organization (UNESCO) founded the International Centre for the Study of the Preservation and Restoration of Cultural Property (ICCROM). There, art conservation’s students had lectures about chemistry, biology, etc. and finally, the education programs reflected the interdisciplinary nature of art conservation, besides, in their publications and lexicon.

The adoption of plastics and rubber to artist jewellers’ repertoire of materials in the late 1960s marks a significant and permanent alteration to the artist jewellery discipline. Since this time the physical and conceptual possibilities of plastics have fuelled and enabled developments in this artistic field. Since the early 1970s museums and private collections have continually acquired artist jewellery created from plastic. Some of these artworks are now exhibiting change or deterioration. Discussion and debate regarding their preservation is a pressing need. To date, whilst there has been recent research into the deterioration of plastic materials found in cultural heritage, almost no published work or debate has addressed artist jewellery specifically. This research positions plastic artist jewellery within the expanding discipline of modern materials conservation and aims to raise awareness of preserving plastic jewellery artworks. The prevalent plastics in use for artist jewellery, their properties and importantly application, to create artistic intent, are identified. Current attitudes of custodians and artists towards preservation, which has a bearing on the past and future prospects of the artworks, are analysed. Despite not having articulated their opinion previously, many jewellery artists have considered the long term prospects of their work as part of their artistic practice. As change and deterioration of the artworks is inevitable the impact of change to jewellery artworks is considered. Understanding how material properties are applied to create intent, as identified, is essential to comprehend meaning and any alterations as a result of change. Finally, having deliberately drawn artists into the preservation debate the nature of their input is considered. Should jewellery artists intervene in their own work when treatment is required? The research is from a humanities rather than scientific perspective and is concerned with objects and their interpretation in the context of preservation. The artworks are the starting point and their context as jewellery objects is the primary concern. Oral testimony of artists is also crucial to draw the artists into the preservation process as stakeholders and because jewellery artists are hitherto unrecorded in this context. What is demonstrated throughout the thesis is that the wearable function of jewellery has a bearing on their perception and interpretation as objects.

Dissertação Apresentada na Faculdade de Ciências e Tecnologia da Universidade Nova de Lisboa para obtenção do grau de Mestre em Ciências da Conservação, especialização em Pintura
A novel use of ionic liquids as alternative solvents for enzymes in cleaning treatments for the removal of proteinaceous materials from painted or gilded surfaces is presented. The ionic liquids are potentially green solvents to be applied in restoration treatments being also called designer solvents, because of their peculiar properties which can be adjusted by selecting different cationanion combinations. Two ionic liquids were selected: IL1)1-butyl-3-methylimidazolium tetrafluoroborate ([BMIM][BF4])and IL2) 1-ethyl-3-methylimidazolium ethylsulfate ([EMIM][EtSO4]). Formulations were prepared with these ionic liquids and two different proteases: one acid (pepsin) and one alkaline (from Aspergillus sojae). Additionally aqueous gel formulations were prepared with these enzymes for reference purpose. A third enzyme provided by the Bromatology Department at the Faculty of Pharmacy from the Porto University was tested only in gel formulation in order to assess its potential use in cleaning treatments. To understand the enzyme activity of these formulations and predict their ability as cleaning agents, analyses were performed with ultraviolet–visible (UV-Vis) spectroscopy and highperformance liquid chromatography (HPLC) prior cleaning; and with matrix-assisted laser desorption/ionization time of flight mass spectrometry (MALDI-TOF-MS) after cleaning. These formulations were tested on mock-up samples prepared in accordance with documented and historical sources of artistic techniques of egg tempera and oil painting, and gilding. A non-invasive non-destructive multi-scale analytical protocol was carried out for cleaning effectiveness evaluation and surface characterization before and after treatment. Different surface analytical techniques were adopted to this purpose: stereomicroscopy (SM), optical microscopy (OM) with visible and fluorescence light, atomic force microscopy (AFM), scanning electron microscopy (SEM) and electron dispersive spectroscopy (EDS) and colorimetry (CIE L*a*b* system). The surface analytical protocol proved to be adequate, not only, for monitoring the cleaning process but also for complete characterization of the surface, before and after treatment, including information on the presence of residues and possible surface deterioration. It was also proved that the formulations of enzymes combined with ILs can be used successfully for the removal of proteinaceous material as alternatives to gel formulations. More studies should be conducted to determine the most suitable IL or group of ILs, the main concern should focus on improving aspects such as compatibility with other surface materials, and possible long-term effects of residues after cleaning.

La tècnica de LA-ICP/MS presenta certs avantatges respecte altres tècniques d'anàlisi molt interessants per l'aplicació en el Camp de l'estudi del Patrimoni Cultural. Per una banda l'Ablació Laser aporta la possibilitat de la presa de mostra no manual, metodologia en moltes ocasions, més adequada en termes de destructivitat que els mètodes tradicionals. D'altra banda l'ús d'un ICP/MS com a detector aporta un nivell de sensibilitat per a la detecció de majoritaris i minoritaris però també de components en molt baixes concentracions que permet l'obtenció de resultats amb molt poca quantitat de mostra. Malgrat això, el seu ús per la caracterització materials d'objectes del Patrimoni Cultural està molt restringit i fins a dia d'avui només es troben estudis aplicats a objectes ceràmics, metàl·lics i algunes aproximacions a materials d'arxiu, però no en l'aplicació específica a obra pictòrica. Una de les restriccions més importants ve relacionada amb les dimensions dels objectes, en general massa grans per ser analitzats en equips comercials. Des d'un punt de vista analític existeixen dos aspectes importants a tenir present per la caracterització material d'aquest tipus d'objectes. Per una banda la heterogeneïtat intrínseca que presenten, fet que implica una complexitat important per la gran varietat de materials i estructures que es poden trobar. Per l'altre, la necessitat de conservar la integritat física, el que limita en molts casos la metodologia i procediments que es poden aplicar. En aquest context, l'objectiu d'aquesta tesi doctoral ha estat el desenvolupament d'un sistema de LA-ICP/MS per a la caracterització material no destructiva d'objectes del Patrimoni Cultural i la seva aplicació a diferents tipologies d'objectes, especialment a Pintura de Cavallet i Materials d'Arxiu. Dues de les aportacions més importants en el marc d'aquest treball han estat el desenvolupament d'un sistema òptic i la construcció d'una cel·la d'ablació. El sistema òptic permet dirigir el laser sobre un punt concret de l'objecte. A més permet també controlar tant el diàmetre del feix làser incident (diàmetre dels cràters d'ablació 100 µm) com la zona irradiada mitjançant una microcàmera de control. D'altra banda la cel·la d'ablació dissenyada és de fons obert i pot ser posicionada en qualsevol punt de l'objecte permetent l'anàlisi in situ sense restriccions en les seves mides, sense la necessitat d'extreure una mostra prèviament. Finalment l'aplicació de polsos successius sobre un mateix punt permet obtenir la informació estratigràfica, amb bona resolució espaial, tant en superfície com en profunditat. En l'aplicació a Pintura de Cavallet els objectius responen a l'avaluació del senyal obtingut, la capacitat d'identificar la composició tant de majoritaris com de minoritaris, així com la resolució en profunditat, per l'adquisició de la informació estratigràfica de capes pictòriques i de preparació, fent especial èmfasi en la capacitat de detectar capes primes com veladures. Aquesta fase es va dur a terme mitjançant l'anàlisi de pintures simulacre realitzades al laboratori i també amb obra real. En el cas d'obra real s'han analitzat dues pintures sobre taula, una amb tècnica al tremp Verge amb el nen i un àngel atribuïda a Jan Massys, i una a l'oli titulada Retrato de Piero de Medici 'il Gotoso', de Jacomo Pontormo. En ambdós casos s'ha determinat la composició tant de superfície com de capes subjacents i s'ha contribuït a la contextualització i atribució de les obres. En el cas de Material d'Arxiu, l'estudi s'ha centrat també en la caracterització material de manuscrits antics, fabricats a mà de draps i escrits amb tinta ferrogàl·lica. En aquest cas s'han estudiat les capacitats en termes de caracterització i distribució espaial en superfície, tant dels materials constitutius com dels efectes induïts per tractaments de conservació, en especial de desacidificació i laminació, avaluant els efectes de factors de corrosió i la seva influència en la conservació dels manuscrits. Per les dues aplicacions la tècnica ha aporta informació útil i es constitueix com una alternativa complementària a altres tècniques utilitzades en el camp com el SEM-EDX o FTIR.
Laser Ablation -ICP/MS is a technique which presents certain advantages regarding analysis of objects from Cultural Heritage field. In one hand the Laser Ablation device provides and alternative sampling procedure that may be more suitable for the analysis in this context. On the other hand the use of the ICP/MS as a detector, allows for the determination of the elemental composition in a wide range of concentrations with a minimum amount of material required. Nevertheless, its use for the material characterization of Cultural Heritage objects is highly restricted and only some experiences are published on the field of ceramic objects, metallic and some few cases study in manuscript analysis, but not on the analysis of paintings. One of the main drawbacks is the dimensions of the objects. As a consequence there are no commercially available instruments for LA-ICP/MS, including ablation cell, that permit the analysis of large objects like artworks neither Laser Ablation systems for “in situ” sampling had not been described until recently. From an analytical point of view, there are two primary concerns when characterizing works of art composition: the heterogeneity in the distribution of the components, at the macro and micro levels, and the need to preserve the physical integrity of each object In order to accomplish the analysis of objects regardless their size and material heterogenic composition, a specific optical system and ablation cell have been designed and coupled to the ICP/MS. The whole system has been applied on two different type of objects, easel Painting and Manuscripts, and some capabilities for each application evaluated. The capability of the developed LA-ICP/MS system for the analysis of paintings was evaluated in terms of damage produced on the artwork and its potential for stratigraphic composition determination by analyzing real painting such as the portrait of a member of the Medici Family attributed to Jacopo Pontormo, and a mannerist painting attributed to Jan Massys. Regarding the application to Manuscripts the main objective was the characterization of the original material composition and the effects of some restoration interventions in the pH, corrosion and degradation, evaluating the superficial resolution and the possibility to perform maps of the distribution. Results were compared with those obtained by SEM/EDX and FTIR.

Este trabalho de pesquisa é sobre a prática da preservação da arte mural, desenvolvida na cidade de São Paulo e tem como objetivo identificar as bases do pensamento preservacionista da arte mural através da análise das intervenções de profissionais atuantes na área de conservação e restauração de obras murais, que se encontram remanescentes na arquitetura paulistana. O recorte escolhido para objeto de estudo corresponde aos trabalhos de arte mural realizados no período entre 1930 e 1960, período no qual houve uma intensa produção dessa arte na cidade de São Paulo, por artistas que estiveram vinculados ao Grupo Santa Helena. Foi considerado, também, o período correspondente ao final do século XX e início do século XXI como sendo o marco das intervenções nas obras murais que coincidem com o crescimento e incentivo das atividades de conservação e restauração e da preservação da arquitetura moderna. Através desta reflexão são considerados os conceitos que orientam a preservação da arte mural do ponto de vista teórico e a sua implantação na prática da conservação e restauração. A partir das intervenções de restauro sofridas pelas obras buscou-se desenvolver uma análise e também reunir elementos que permitissem criar subsídios para diretrizes de conservação e para estabelecimento de uma futura política de preservação integrada e preventiva das obras de arte mural, que fossem adequadas à nossa realidade.
This research is related to the practice of preservation of mural art developed in the city of São Paulo and the objective of this study is to identify the foundations of mural art preservation thought, through the professionals interventions works in the field of conservation and restoration of mural art, which are remains in architecture of São Paulo city. The cut-off chosen for this study corresponds to works of mural art made in the period between 1930 and 1960, during which there was an intense production of this type of art in São Paulo city, by artists who were linked to the Grupo Santa Helena. It was considered also the period corresponding to the late 20th and early 21st century, as an important period of the interventions in mural artworks that coincide with growth and encouraging the activities of conservation and restoration and the preservation of modern architecture. Through this reflection are considered the concepts that guide the preservation of this art from the theoretical point of view and its implementation in practice of conservation and restoration. From the restoration intervention experienced by artworks the research has involved the search for development of an analysis and also gather elements which allows creating subsidies to conservation guidelines and to establish a future policy of integrated and preventive preservation of mural artworks, which were suitable for our reality.

Au niveau international, la conservation du patrimoine a fait l’objet de discussions philosophiques et pratiques considérables au cours des dernières années. La question du lien entre patrimoine et développement est abondamment évoquée, fait l’objet de convictions largement partagées mais les mécanismes qui entrent en action dans ce lien sont très mal identifiés. Etroitement intégrée aux questions environnementales, à l’aménagement rural et aux processus de régénération urbaine, la relation entre patrimoine et développement appartient tant à l’économique qu’au social et au politique. Notre recherche fait entrer les préoccupations patrimoniales dans le champ de la gouvernance locale et régionale elle s’intéresse à leur rôle dans les stratégies d’identité et dans la construction du capital social.

Où se situe le patrimoine dans les politiques de la cohésion européenne? Quels sont les objectifs de la politique de cohésion? Quelles sont les interactions entre développement, cohésion et patrimoine? Les politiques en faveur du patrimoine, actuellement appliquées, sont elles classiques? C’est-à-dire :sont-elles focalisées sur la protection et la restauration du patrimoine ;ou bien sont-elles plus complexe, en ce sens qu’elles impliquent la valorisation et l’insertion du patrimoine parmi les ressources d’un territoire, permettant à la fois d’y greffer des politiques d’emploi, des politiques commerciales et des politiques de cohésion sociale ?Actuellement quelles sont les limites d’une mise en œuvre performante? Au final, le patrimoine a-t-il vraiment la signification et la place qu’on veut lui attribuer? Outre ce qu’ils postulent en matière de développement, les textes produits par l’UE indiquent que le patrimoine et sa valorisation sont d’habitude considérés comme éléments qui contribuent positivement à l’amélioration de la qualité de vie. Mais quelles sont les définitions qui sont actuellement disponibles? Quels sont vraiment les rapports entre toutes ses notions et leur concrétisation sur le terrain? La thèse ambitionne de contribuer à une réponse à ses questions.

Les instruments fournis dans le cadre de la politique européenne, sont extrêmement nombreux et multiformes. Une analyse est tentée afin d’évaluer l’efficacité de divers instruments disponibles de la politique de cohésion, en termes de valorisation du patrimoine et de son intégration, dans un contexte de développement local et régional. L’analyse s’effectue au travers d’études de cas. Les études de cas proposées (deux études de cas dans deux pays européens différents, la ville de Nicosie à Chypre et la ville de Xanthi en Grèce) traitent de l’espace du sud-est méditerranéen de l’U.E. La Grèce et Chypre ont été choisis en tant qu’exemples tout à fait représentatifs d’un point de vue géographique mais également d’un point de vue Européen. (Grèce:U.E 3 et Chypre: UE 12)

Le cas de Xanthi, Grèce, est le plus développé. Notre étude le présente comme un résultat globalement positif du rôle des politiques et des programmes de l’ U.E. Les mécanismes locaux d’utilisation des opportunités offertes par les financements européens sont expliqués. On montre comment l’identification, la réhabilitation, la valorisation d’un patrimoine spécifique à la région et la polarisation des politiques de développement sur ce patrimoine ont entraîné d’importants changements dans le comportement de la population vis-à-vis de son territoire. Outre un réinvestissement massif des groupes sociaux moyens et supérieurs dans le cœur urbain, on a pu constater une forte croissance de toutes les activités tertiaires et l’émergence d’une vie locale extrêmement dynamique. Tant la démographie que le nombre d’emplois montrent une courbe ascendante. Si l’on ne peut pas faire abstraction de phénomènes qui se rapprochent de la gentrification, on doit admettre que l’évolution des prix des immeubles et du foncier, n’a pas eu des conséquences identiques à celles qui sont observées en Europe occidentale. On peut semble–t-il dans ce cas (proche d’autres cas voisins dans les petites villes grecques) parler d’amélioration de la qualité de la vie.
Doctorat en Sciences
info:eu-repo/semantics/nonPublished

Disertacijoje remiantis šiuolaikinėmis paveldotvarkos teorijomis, ištyrinėjami ir įvertinami Lietuvos mūrinės architektūros paveldotvarkos darbai sovietmečiu. Siekiant atskleisti kuo platesnį kontekstą, nemažas dėmesys skiriamas Europos paveldotvarkos raidos bei tarptautinių dokumentų, reglamentuojančių paveldotvarkos darbus apžvalgai ir įvertinimui. Europiniame kontekste pateikiamas Lietuvoje sovietmečiu paskelbtų paveldotvarkos darbų metodikų vertinimas. Tyrinėjant sovietmečiu atliktus paveldotvarkos darbus išskiriami jų tipai: rekonstravimas, restauravimas: a) visiškas pastato restauravimas, b) dalinis pastato restauravimas: atkuriamas dažniausiai vieno, rečiau – kelių (bet ne visų) pastato fasadų vaizdas; c) fragmentinis restauravimas: viename ar keliuose fasaduose atidengiamos, restauruojamos ir eksponuojamos ankstyvųjų architektūros elementų kompozicijos. 3) konservavimas. Nustatyta, kad trūkstamų dalių atstatymas buvo atliekamas remiantis: a) mokslinių tyrimų informacija; b) mokslinių tyrimų inspiruotomis loginėmis interpretacijomis; c) mokslinių tyrimų ir kūrybinio interpretavimo deriniu; d) kūrybine interpretacija. Tyrimas parodė, kad sovietmečiu rekonstruojant ir restauruojant pastatus beveik visada stengtasi atkurti kuo senesnę architektūros kompoziciją neatsižvelgiant į informacijos trūkumą. Viena vertus, tai vertinama neigiamai, nes atkuriant pirminį architektūrinį vaizdą buvo suardyti autentiški XVIII a. pab. – XIX a. sluoksniai, tačiau, kita vertus... [toliau žr. visą tekstą]
The present dissertation, building on the contemporary heritage conservation theories, presents the investigation and assessment of the Lithuanian heritage conservation work on masonry architecture during the Soviet period. Seeking to reveal the widest context possible, a fair amount of attention has been paid to the survey and assessment of the development of the European heritage conservation and international documents regulating heritage conservation work. Within the European context, the given study introduces the assessment of the methodologies for heritage conservation works announced in Lithuania during the period of Soviet times. Analysing the heritage conservation operations that were carried out at that time the following types of the given work have been distinguished: reconstruction, restoration: a) the complete restoration of a building; b) the partial restoration of a building: the prospect of, most frequently, one or, more rarely, several (but not of all) facades of a building is being recreated and c) fragmentary restoration: in one or several facades compositions of the early architectural elements are being exposed, restored and displayed; and 3) preservation. It has been established that the recreation of missing architectural parts was carried out using several methods: 1) information of scientific research; 2) logical interpretations inspired by scientific research; 3) the combination of scientific research and creative interpretation; and 4) creative... [to full text]

Recent observations have shown that many sandstone buildings, including important components of the UK's cultural heritage, are becoming covered with green algal growths. This is likely to result from recent changes in air quality and the impacts of a changing climate. The northern regions of the UK in particular have an abundance of sandstone heritage and, given the likelihood of warmer, wetter winters here, algal growth on vulnerable monuments is likely to become a primary conservation concern over the next 50 years. Observations of sandstone monuments in the northern regions of the UK, in particular in Belfast (Northern Ireland), Sheffield and Edinburgh have highlighted that algal greening is notably patchy. This is likely due to the array of factors which affect the bioreceptivity of host substrates such as sandstone. The bioreceptivity of a substrate (its ability to become colonised by microbes such as green algae) is dependent on inherent, external and architectural factors. The role of these factors and the interrelationships between them requires further study. This thesis aims to investigate the inherent, external and architectural factors which encourage colonisation of sandstone by green algae through an integrated programme of laboratory and field experimentation. The primary objectives of this study are: to develop improved laboratory experimental methods to control and monitor algal growth, to investigate the role of external, inherent and architectural factors and to explore the fundamental role of moisture in the development of algal greening. In order to address these objectives, laboratory and field experiments have been linked within an integrated overall methodology. Short-term laboratory experiments have investigated the bioreceptivity of four British sandstones (Peak Moor, Dungannon, St Bees and 'baluster stone') to single and mixed green algal treatment with Stichococcus bacillaris, Chlorella vulgaris and Desmococcus olivaceus, under controlled conditions. Two field experiments have also been conducted. The first exposed unweathered blocks of Dungannon sandstone in the wet environment of Derrygonnelly, Northern Ireland for 30 months. The second exposed reclaimed sandstone balusters in a shaded and exposed site in central Oxford for 12 months. The laboratory and field experiments presented utlilise a range of simple and accessible methods to monitor biofilm development (for example novel methods to map biomass) and changes in substrate condition (such as monitoring surface moisture movements with weight change and hand-held moisture meters, and using light microscopy to help visualise the impact of green algal biofilms). The results presented in this thesis confirm that moisture plays a fundamental role in the development of green algal biofilms. In laboratory experiments, colonisation often occurred within a consistent moisture zone and preferential greening in field experiments was observed in areas of frequent moisture movement. External factors have been shown to have a strong influence, in laboratory experiments where marine salts were applied, these were found to delay colonisation by around seven days. Furthermore, salts resulted in inhomogeneous patterns of colonisation, similar to those observed in scoping studies conducted in Sheffield. Laboratory experiments have also demonstrated that inherent substrate factors such as high porosity and presence of certain minerals (such as clay laminations in Dungannon) can increase the primary bioreceptivity of sandstone surfaces. Field experiments have demonstrated that architectural factors such as aspect and geometry can increase the bioreceptivity of exposed samples. In particular, preferential greening was observed on the dynamically wetted south west facing blocks in Derrygonnelly and on exposed compared with shaded balusters in Oxford. Greening was also concentrated in areas of rainwater flows and stores. Investigation of the role of external, inherent and architectural factors in the development of algal greening as provided by this project, supplies useful information for those managing our sandstone cultural heritage. This will enable more informed decisions to be made over appropriate management and conservation strategies for the future.

This thesis project examines the history, provenance, and contemporary treatment of a rare Imperial Edition of Frederick Sander’s print collection Reichenbachia, Orchids Illustrated and Described, a high-quality orchid compendium dating to the late-nineteenth century. A local philanthropist loaned the Imperial Edition Reichenbachia, number 86 of 100 to Lewis Ginter Botanical Garden in 2011 on a long-term basis as a promised donation. Research into the origins of this collection involves several disparate historical topics, including the Victorian period of “orchid mania,” imperialist business practices, and chromolithographic printmaking. Discussion of the transition of this collection into a museum art collection covers its consequent registration, conservation, and exhibition. Finally, this thesis project considers the advantages and disadvantages of managing an art collection at a botanical garden.

The goals of this report were: 1) to present a comparison between historic and present day landscape plantings in the Ravine Garden of the Lilly Pavilion at the Indianapolis Museum of Art; and 2) to develop and establish a vegetation management study that would provide guidelines for the vegetation management of the Ravine Garden. The study and guidelines were developed in order to: a) remove inappropriate present day plantings; b) protect the historic landscape plantings; c) eventually replant the historic plants currently missing; and d) manage the vegetation of the Ravine Garden as in an important historic designed landscape.
Department of Landscape Architecture

Protective coatings are commonly used to protect culturally significant works, such as outdoor sculptures and architectural elements. Given the valuable nature of such metalworks, there is a surprising lack of environmentally sustainable coatings available for their conservation. High performance clear coatings are not developed or thoroughly tested for compatibility and longevity on outdoor sculptures. This can make the implementation of both methods and materials, no matter how promising in a lab, a significant hurdle for the conservation science community. This dissertation work initially aims to replace high-VOC formulations such as acrylic lacquers and waxes currently used as protective coatings for bronze with a waterborne coating by investigating the film formation differences between coating types. Such differences likely have implications for initial film barrier properties as well as long-term performance. For coating any large-scale metal object, cost-effectiveness limits applicable coatings to commercially available resins with some minor adjustments. Additional requirements for protective coatings for artwork require they must also be transparent, reversible, easily applied and environmentally sustainable. The chemical and physical properties of polymeric coatings with nanoclays modifiers were investigated as they may offer superior weatherability and act as better barriers to water absorption than commonly used lacquers and waxes. This work ultimately finds that nanocomposites with poly(vinylidene fluoride) latex and chemically stabilized nanoclays significantly improved performance and may be a viable option in the protection of material cultural heritage. Protection of high value objects where aesthetics is also important, such as airplanes, buildings, and sculptures are among the possible applications for this research.

Préoccupés par la conservation de leurs collections de peintures, les amateurs d’art parisiens font appel, entre 1789 et 1870, aux restaurateurs de tableaux, ces derniers relevant d’une profession qui, à la même époque, se définit indépendamment de celles du marchand, de l’expert ou même du peintre. Si le restaurateur intervient sur les œuvres du particulier, il joue, par ailleurs, pour l’amateur, un rôle de guide dans sa connaissance, voire dans son apprentissage, des procédés picturaux. Progressivement, cette prise en compte de la matérialité de l’œuvre contribue à intégrer le collectionneur au sein des commissions muséales en tant que conseiller, avant qu’il n’acquière un statut privilégié au musée à partir des années 1860 par le legs de ses œuvres
Concerned about the conservation of their art collections, in the years between 1789 and 1870, Parisian amateurs called upon the services of painting restorers, who, at that time, belonged to a profession considered quite separate from that of art dealer, expert or even painter. While the restorer worked on paintings belonging to private collectors, he also acted as a guide for the latter, broadening their knowledge of Ŕ or even teaching them about Ŕ pictorial techniques. This understanding of the materiality of artworks gradually contributed to collectors being invited into museum committees as advisors, before they acquired a privileged status in museums, from the 1860s onwards, by bequeathing their collections

En prenant acte des transformations induites par les technologies numériques au sein des institutions patrimoniales, cette thèse propose d’analyser l’impact de ces technologies dans le domaine particulier de la conservation-restauration des collections muséales. Ce travail part de l’hypothèse selon laquelle la discipline de la conservation-restauration, loin d’être neutre, construit notre compréhension et notre perception de la matérialité des objets du patrimoine. Aussi, l’objectif de cette thèse est de montrer en quoi les technologies de l’information et de la communication utilisées au sein de la discipline participent à l’élaboration de cette compréhension et de cette perception et orientent ainsi notre rapport cognitif et sensoriel à la matérialité des objets du patrimoine. Il s’agit également, dans la perspective des humanités numériques, de voir comment le numérique est susceptible de s’adapter aux objectifs de la conservation-restauration tout en reconfigurant aussi les conceptions mêmes des notions de conservation, de restauration, de matérialité, de transmission et de patrimoine. À ce titre, cette thèse s’intéresse aussi à la façon dont les technologies numériques contribuent au partage des savoirs et d’une nouvelle appréhension sensorielle relatifs à la matérialité des objets pour un public plus large que le seul public des spécialistes de la conservation-restauration
Whilst acknowledging the mutations induced by digital technologies within cultural institutions, this thesis proposes to analyse the impact of these technologies in the particular field of conservation and restoration of museum collections. This work assumes that the discipline of conservation-restoration, far from being neutral, builds our understanding and perception of the materiality of cultural heritage objects. As a result, this thesis aims at demonstrating how communication and information technologies, used within the field of conservation-restoration, have a crucial role in the development of that understanding and perception, and how they guide our cognitive and sensory relation to the materiality of cultural objects. Moreover, in the framework of digital humanities, this work also aims at studying how digital tools can adapt to conservation-restoration purposes on the one hand, while reconfiguring how we conceive the very notions of conservation, restoration, materiality, transmission and cultural heritage on the other hand. In this perspective, this thesis also deals with the way digital technologies contribute to the sharing of knowledge and to a new sensory apprehension of the materiality of cultural objects for a wider public than that of conservation-restoration specialists alone

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The conservation and restoration of mural painting conceived in this investigation from Carlos Paez Vilaró s painting restoration study, suggests reflections on intervention criteria and methods. The cutting out of the research tried to understand not just the theoretical material and multidisciplinary investigation, but the complexity inherent to the restoration of the artistic object in what refers to the challenges assumed by the restorer and all those that that have the custody of cultural assets. This research has been guided, in order to consolidate the relevant criteria, by selecting a mural painting offering discussions around the complexity of its implications in the choice of intervention criteria. Restoration was carried successfully, being subsequently redone under request of the painting owner. Such an event opened the discussion as for the criteria and concepts of restoration.
A conservação e o restauro da pintura mural concebida nesta investigação a partir do estudo do restauro da pintura de Carlos Paez Vilaró, sugere reflexões sobre critérios e métodos de intervenção. O recorte da pesquisa procurou compreender não apenas a investigação material e teórica multidisciplinar, mas a complexidade inerente à restauração do objeto artístico no que se refere aos desafios por parte do restaurador e de todos aqueles que possuem a custódia de bens culturais. Esta pesquisa orientou-se, a fim de consolidar os critérios pertinentes, selecionando uma pintura mural que oferecesse discussões em torno da complexidade de suas implicações na escolha dos critérios de intervenção. O restauro foi realizado com sucesso, sendo posteriormente refeito a pedido do proprietário da pintura. Tal acontecimento abriu a discussão a respeito dos critérios e conceitos de restauro.

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The aim of this work is to investigate how the National Library responds to the challenge of preserving and providing access to its extensive archives, taking the Piranesi collection as the case study here. The collection has 1,600 prints that make up 26 works by the Italian artist Giovanni Battista Piranesi (1720-1778). This study examines the history of the field of conservation-restoration of cultural property, the development of the preservation department at the National Library for paper collections and the formal procedures to access the institute. The analysis of conservation-restoration interventions carried out during the exhibitions of the Piranesi collection raised questions concerning the role of the conservator-restorer, the ethics of the profession and the policies of the National Library for the preservation of the collection. Keywords: conservation-restoration; works of art; Piranesi; preservation; access.
O objetivo desse estudo é investigar de que maneira a Biblioteca Nacional responde ao desafio de preservar e dar acesso ao seu monumental acervo, tendo como estudo de caso o acervo Piranesi. Trata-se de um conjunto de 1.600 gravuras reunidas em 26 obras do artista italiano Giovanni Battista Piranesi (1720-1778). O estudo examina a trajetória histórica da área da conservação-restauração de bens culturais, o desenvolvimento do setor de preservação de acervos em papel na Biblioteca Nacional e os processos de acesso da instituição. A análise das intervenções de conservação-restauração realizadas no acervo Piranesi no decurso das suas exposições suscitou questões relacionadas à atuação do conservador-restaurador, à ética da profissão e às políticas institucionais de preservação de acervo. Palavras-chave: conservação-restauração; obras de arte; Piranesi; preservação; acesso.

There are approximately 1300 completely or partially preserved medieval churches in Sweden. Many of these have remains of kalkmåleri (mural paintings at least partially created in lime) from the 12th throughout the 17th century. This dissertation discusses the enactments that formed the revival of this kalkmåleri between 1850 and 1980, with a focus on restoration and conservation. The decorative and monumental paintings that were created at the same time are also discussed. The study is divided into two sections: one concentrates on the mural paintings and the networks that made their (re-)enactment possible, and the second is a case study that examines kalkmåleri in four medieval churches; Vendel and Ed north of Stockholm, and Floda and Vadsbro south of Stockholm. To come close to the paintings, an eclectic methodology with analysis of written and depicted sources, interviews, and studies in situ of the paintings through mapping and analysis of taken samples was designed. The objectives were to investigate the formation of kalkmåleri as phenomena, significant concepts, and conservation practices throughout time and space. Theoretical inspiration was taken from Actor-Network-Theory, critical discourse analysis, and speculative realism. Throughout the study the kalkmåleri is thus seen to have agency. The weave of enactments stemming from different professions and thought collectives that formed the paintings was made visible by following the actors. Some of these enactments were analyzed: i.e. the aesthetic shaping of the room, as religious and iconographic images, historical documents, art, style, technical, or hybrid objects. The latter refers to conservation that did not entirely rely on science, humanist scholarship, craftsmanship, or artistic creativity. Thus conservation is seen as a hybrid activity. Three periods of conservation principles were explored: stylistic restoration, original conservation, and precautionary conservation, which were related to what was perceived as the authentic original. Furthermore some Swedish "traditions" are discussed: that no institute for technical studies of art was formed, the use of "Curman’s principles", restricted retouching from the 1960s onward, and the use of gomma pane for cleaning. Finally appendices are included containing terminology, an index of conservators, and a DVD with mapping, chemical analysis, and photographs.

Forskningsfinansiärer: FoU-medel: Riksantikvarieämbetet, Brandförsäkringsverkets stiftelse för bebyggelsehistorisk forskning, Elna Bengtsssons fond och Tyréns stiftelse.

Ett läsår på Columbia University kunde genomföras med stöd av Fulbright Commission. Erik & Lily Philipsons minnesfond och Axelson Johnsons stiftelse.

Cada vez son más las colecciones de tejidos coptos estudiadas en el mundo. En el caso de Cataluña muchas de ellas proceden de colecciones particulares y se han incorporando tanto a museos de ámbito estatal como privados. El conjunto del Museo de Montserrat no es una excepción, su origen se remonta a la figura de Ramón Soler Vilabella, ingeniero textil y coleccionista de tejidos, y a su relación con el arqueólogo francés Albert Gayet, protagonista de las primeras campañas arqueológicas en Antinoë, Egipto. En la presente Tesis doctoral se presenta el resultado de la investigación dedicada al estudio sobre la formación de la misma, de cómo llegó hasta el Museo de Montserrat y sobre algunas de sus piezas más significativas que abar- can un arco cronológico desde el siglo III hasta el siglo VIII d.C. Así mismo, después de realizar un estado de la cuestión en relación a la investigación de los tejidos en la antigüedad, se ha realizado un estudio razonado de cada uno de los tejidos de la colección con los últimos avances en análisis de técnicos de cromatografía y de datación por 14C., completando de esta manera el objetivo principal de la Tesis, dotar a los tejidos de un contexto espacial, temporal y cronológico.
Research on Coptic fabric collections is getting increasingly common all over the world. In the case of Catalonia, many of them come from private collections, which have been included in both state and private museums. The Monserrat Museum array is no exception. It’s source tracks back to Ramón Soler Vilabella, textile engineer and collector and his relation with the French archeologist Albert Gayet, main character in the first archeological campaigns in Antinoë, Egypt. The present doctoral thesis presents findings regarding crafting, analysis of some of the most significant pieces and how they got to the Monserrat Museum covering a chronological period from century III until century VIII AD. In the same way, after examining the state of the matter regarding research on antique textile, a reasoned study has been carried out using the latest chromatography and carbon dating techniques, fulfilling the main objective of the thesis which was to provide a chronological and time-space context for the fabrics.

Orientador: Luciano Migliaccio
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Resumo: A pesquisa partiu da análise documental do exemplar pertencente Museu de Arte Sacra de São Paulo para promover o resgate das informações históricas que permitissem o traçado de diretrizes para sua conservação e preservação. Para tanto, o estudo tratou da revisão da documentação existente junto ao museu, que até o momento não havia sido sistematizada e organizada. Dado o volume de elementos a serem tratados em conjunto, e com a finalidade de facilitar posteriores acessos à coleção, o acervo ganhou um banco de dados. Este reúne as informações existentes nos diversos tombamentos e nas fichas catalográficas, fornecendo subsídios sobre trocas de acessórios e problemas de conservação, por quê a coleção passou ao longo dos anos, além de contar com registros fotográficos
Abstract: Based on the analyze of the documents about the Neapolitan crib that belongs to Museu de Arte Sacra de São Paulo, the research intended to put together its historical information to allow create policy for its conservation and preservation. To achieve it¿s proposed, during the study, all documents that exist in the museum was reviewed and organized. As lots of records must be treated together, and intending to improve access into the collection, it was designed one database to manage the collection. It puts together the information of the different inventory and cataloguing data, and offers elements of the change of the accessories, conservation problems and photographic records
Mestrado
Historia da Arte
Mestre em História

Ce travail doctoral se penche sur un groupe d’artistes et d’artisans actifs dans la seconde moitié du XIXe siècle dans le domaine de la sculpture, et plus précisément sur la façon dont ceux-ci ont à a fois restauré de nombreuses sculptures médiévales et réalisé des sculptures néo-gothiques. Le sujet a été circonscrit à la sculpture religieuse mobilière en bois, et plus spécifiquement aux statues et aux retables conservés dans des églises gothiques. Une approche multidisciplinaire, entre Moyen Âge et XIXe siècle, a été privilégiée. Les artistes et artisans étudiés (Jules Helbig, Adrien Hubert Bressers, les frères Blanchaert, Jean-Baptiste Bethune) posent les bases du style dit « des Écoles Saint-Luc » ou illustrent des travaux de la seconde génération (Léon Bressers). Ils sont membres de la Gilde de Saint-Thomas et de Saint-Luc et revendiquent, sous l’influence de l’architecte anglais A.W.N. Pugin, un lien exclusif avec l’art médiéval dans leurs réalisations. Au sein de la Gilde, l'étude de l'art médiéval et les discussions sur le mobilier religieux à créer se doublent d'une recherche sur les règles liturgiques (au sujet des autels principalement), de manière à retrouver, autant que possible, les formes et usages anciens tout en restant conforme avec les prescriptions en vigueur. Les membres, et en particulier les personnalités étudiées, participent ainsi au renouveau chrétien de la seconde moitié du XIXe siècle.

Les sculpteurs-restaurateurs et les peintres-restaurateurs sélectionnés visent avant tout une présentation jugée digne des sculptures médiévales qui passent entre leurs mains. Ils sont, pour ce faire, imperméables à toute notion d’authenticité. Les aspects religieux primant et dans un contexte de forte pilarisation, ils adoptent sur cette question une position monolithique, alors même que la réflexion au sujet de la restauration de la sculpture polychromée se développe, notamment au sein de la Commission royale des Monuments. Dans les traitements de restauration, les Blanchaert, les Bressers et Jules Helbig font preuve d’un vrai souci archéologique mais rarement de réflexion critique sur l’opportunité ou pas de reconstituer des éléments lacunaires, sur le bien fondé de l’adjonction des attributs, ou sur les pratiques de décapage et de repolychromie. Ce travail doctoral démontre par ailleurs que les nouvelles polychromies néo-gothiques, en particulier celles confectionnées par les Bressers, sont souvent le reflet, voire des copies, des anciennes polychromies quand elles étaient bien conservées.

Les discussions menées au sein de la Gilde ont eu un impact non négligeable sur la question du démembrement des autels baroques et néo-classiques ainsi que sur la création du nouveau mobilier néo-gothique en Belgique.

L’étude d’une série de retables néo-gothiques apporte de nouvelles clefs de lecture sur la conception des programmes iconographiques globaux, la répartition des retables dans l'espace ecclésial, la typologie des œuvres, la conception des compositions et le style adopté pour les groupes sculptés. L'influence de Pugin a pu être montrée, notamment dans le caractère très hiérarchisé donné aux œuvres, et cela à tous les niveaux de la représentation.

Dans son ensemble, ce travail doctoral offre une contribution significative sur l’historicisme et l’histoire des mentalités.

Doctorat en Histoire, art et archéologie
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Conselho Nacional de Desenvolvimento Científico e Tecnológico
Based on the history of science, this research aimed to discover the materials used as pigment and the specificities of colonial Brazilian artistic production through literature related to decorative arts of the period. To achieve some of those materials we‟ve referred the treatises on painting of the italians Cennino Cennini‟s Trattato della Pittura (c. 1398) and Giorgio Vasari‟s Le Vite de più eccelenti architetti, pittori, et scultori italiani, da Cimabue, insino a tempi nostril (1550); of the portugueses Filipe Nunes‟s Arte da Pintura, Symetria e Perspectiva (1615); as well as the dictionary of terms of Rafael Bluteau‟s Vocabulario Portuguez e Latino (1712) and the text Segredos necessarios para os officios, artes e manufacturas, e para muitos objectos sobre a economia domestica (1794). We also observed artistic knowledge present in some of the books published by the Casa Literária do Arco do Cego and partner publishers (1799 to 1801). Several elements to the composition of this research came from contemporary studies in the areas of architecture and conservation restoration related to Jesuit constructions of art and colonial painting and scientific analyses of these materials
Com base na História da Ciência, esta pesquisa buscou conhecer os materiais usados como pigmento e as especificidades da produção artística colonial brasileira a partir da literatura referente às artes decorativas do período. Para conhecer um pouco sobre esses materiais, percorremos os tratados de pintura dos italianos Cenino Cennini, Trattato della pittura (c.1398), e Giorgio Vasari, Vida dos artistas (1550); dos portugueses Felipe Nunes, Arte da pintura, symetria e perspectiva (1615); assim como o dicionário de termos de Rafael Bluteau, Vocabulario portuguez e latino... (1712), e o texto Segredos necessarios para os officios, artes e manufacturas, e para muitos objetos sobre a economia doméstica (1794). Recorremos também aos conhecimentos artísticos presentes em alguns dos livros publicados pela Casa Literária do Arco do Cego e por editoras parceiras (1799 a 1801). Diversos elementos para a composição desta pesquisa vieram ainda dos estudos contemporâneos das áreas de arquitetura e conservação e restauração relacionados às construções jesuíticas, à arte e à pintura colonial e às análises científicas desses materiais

The rate of acceleration of the biologic and synthetic world has for a while now, been in the process of exponentially speeding up, maxing out servers and landfills, merging with each other, destroying each other. The last prehistoric relics on Earth are absorbing the same oxygen, carbon dioxide and electronic waves in our biosphere as us. A degraded .jpeg enlarged to full screen on a Samsung 4K UHD HU8550 Series Smart TV - 85” Class (84.5” diag.). Within this composite ecology, the ancient limestone of the grand canyon competes with the iMax movie of itself, the production of Mac pros, a YouTube clip from Jurassic park, and the super bowl halftime show. A search engines assistance with biographic memory helps our bodies survive new atmospheres and weigh the gravities that exist around the versions of an objects materiality. Communication has moved from our vocal chords, to swipes and taps of our thumbs on a screen that predicts the weather, accesses the hidden, invisible, and withdrawn information from the objects around us, and still ducks up what we are trying to say. This txt was written on a tablet returned to stock settings and embedded with content to mine the experience in which mediated technology creates, communicates and obscures new forms of language. Life in a new event horizon — a dimensional dualism that finds us competing for genetic and mimetic survival — we are now functioning as different types of humans.

Les peintures murales de la chapelle basse de la collégiale de Saint-Bonnet-le-Château présentent un riche programme iconographique, supposant la succession de commanditaires distincts au début du XVe s. La première phase fut dévotionnelle ; la seconde affecta le décor de la voûte, à l’initiative d’Anne Dauphine, et proposa avec les Anges musiciens une iconographie élaborée, inspirée mais adaptée de l’exemple du Mans, en hommage à son époux défunt, Louis II, duc de Bourbon. Le talent de l’artiste, Louis Vobis, fut de lier les parties les unes aux autres. L’étude iconographie et stylistique définit les modèles et l’esthétique du maître passé par Avignon et Paris, informé des expériences des enlumineurs du duc de Berry et de l’art savoyard
The murals paintings of the lower chapel in Saint-Bonnet-le-Château’s collegiate church present a rich iconographic program, assuming a succession of distinct sponsors at the beginning of the 15th century. The first phase was religious devotion from the wealthy bourgeoisie; the second one affected the decoration of the vault in Anne Dauphine’s initiative, and represented the Musician Angels, an elaborate iconography, inspired by the example of Le Mans, in the memory of the duchess’s late husband, Louis II duke of Bourbon. The talent of the artist, Louis Vobis, was to link the different artistic styles. The iconographic and stylistic study defines the models and the aesthetics of the master who had his training in Avignon and Paris. In Avignon he was influenced by the Italian style and in Paris studied under Duke of Berry in the miniaturist style. He had influenced by the Savoyard art too

La restauration des peintures d'art consiste à restaurer la lisibilité d'une œuvre d'art et à préserver son intégrité. La plupart des techniques consiste à déposer des solvants juste en surface afin de ne dissoudre que la couche de vernis. Cependant, les couches sous-jacentes risquent d'être endommagées par la pénétration de ces solvants, causant éventuellement un gonflement ou un craquèlement de ces dernières. Du fait de la complexité physico- chimique de la couche picturale, nous proposons d'étudier la pénétration de solvants dans un nanoporeux modèle issu du séchage contrôlé de dispersions aqueuses de nanoparticules de silice. Le séchage et la consolidation de ces dispersions colloïdales jusqu'à l'apparition de craquelures de séchage sont étudiés. La réflectivité de neutrons et la diffusion de neutrons aux petits angles permettent d'accéder à la structuration des systèmes en surface et en volume, respectivement, au cours du séchage. L’étude expérimentale des ouvertures de craquelures dues au séchage, associée à un modèle de poroélasticité que nous développons, renseigne sur les propriétés mécaniques des systèmes consolidés et du tableau « Jeanne d'Arc en prison » (1824) du peintre français Louis Crignier (1790-1824). La caractérisation du milieu poreux formé après la consolidation est réalisée par imagerie de neutrons et permet de déterminer la perméabilité et les porosités des milieux. Enfin, nous présentons la dynamique d'imprégnation d'une goutte sessile de solvant dans plusieurs milieux poreux, qui diffèrent de par leur taille de pores. Notre montage expérimental permet une quantification précise et directe des écoulements au-dessus et à l'intérieur du milieu poreux. Des mesures de propriétés mécaniques sont réalisées avant et après imprégnation par micro-indentation
Art painting restoration aims to restore the readability of a painting and to preserve its integrity. Most of the techniques consist of depositing solvents on the surface of the painting to dissolve the varnish layer. However, the sublayers can be damaged by the penetration of the solvent, possibly resulting in swelling or cracking processes. Due to the physical and chemical complexity of the pictorial layer, we propose to study solvent penetration in model nano porous media obtained by controlled drying of aqueous silica nanoparticles dispersions. Drying and the consolidation process of these colloidal dispersions are studied until drying cracks appear. Neutron reflectivity and small angle neutron scattering provide structural information on particles near the interface between the dispersion and the air and in the bulk, respectively, during drying. The experimental study of drying cracks, associated to a poroelastic model, inform on mechanical properties of consolidated model systems and of the painting “Jeanne d'Arc en prison” (1824) by the French painter Louis Crignier (1790-1824). Characterization of the porous media obtained after consolidation is carried out with neutron imaging to determine the permeability and the porosities of the porous media. Finally, we present the dynamics of imbibition of sessile solvent drops on several porous media with different pore sizes. Our experimental set-up provides a precise and a direct quantification of the different flows outside and through the porous media. Mechanical properties are performed before and after solvent imbibition, by micro-indentation testing

Indiana University-Purdue University Indianapolis (IUPUI)
Finely-tuned solvent mixtures are used by art conservators for the difficult task of safely and selectively removing yellowed varnish, disfiguring grime, and discolored overpaint from the surface of oil paintings. This process is often referred to as “picture cleaning” and depends on the different solubilities of the obfuscating surface materials and the underlying paint medium. However, differential evaporation rates for the solvents used in these carefully formulated cleaning mixtures can change the potency of the mixture over time, which could potentially lead to solutions having solubility characteristics that are ineffective at cleaning, or worse yet, are deleterious to artists’ oil paints. Azeotropic blends of solvents have been proposed as an alternative for maintaining consistent solvent composition throughout the evaporation process while benefiting from their high vapor pressure relative to the pure solvents. Azeotropes are specific combinations of two or more solvents at a precise concentration that behave as a single solvent, maintaining a constant composition in both the liquid and vapor phases. The use of purportedly azeotropic solvent blends has appeared in the art conservation literature for the cleaning of historic objects and paintings. However, these solvent mixtures are taken from tables of azeotropic compositions given at their boiling point. We have studied one of these solutions, a 19:81 vol% mixture of isopropanol and n-hexane. For the first time, the actual evaporation behavior of this purported azeotropic mixture was followed in detail at room temperature conditions. Through the use of rudimentary vapor pressure measurements, gravimetric analysis, as well as sophisticated compositional determinations of both the liquid phase and headspace of evaporating mixtures by gas chromatography, this particular cleaning solution has been shown to be zeotropic (i.e. NOT an azeotrope) under the conditions typical of conservation studios. The true room temperature azeotropic composition was found instead to contain half as much isopropanol at 9.5 vol%. Art conservators should therefore be dubious of purportedly azeotropic mixtures reported at boiling points well above room temperature. Individual azeotropic cleaning blends are best determined chemically prior to their use in art restoration. Furthermore, the introduction of a model paint film to the evaporating room temperature azeotrope was shown to further confound its behavior, calling into question whether solvent systems can be configured to evaporate with constant composition from the surface of an artwork.

This dissertation highlights the general problems of musealization and the ways of preservation of contemporary art. The object of research is contemporary art in the system of relations with museum institutions. The subject of the dissertation is methods of preserving such contemporary art practices as collage, object and installation. In the study of foreign and russianexperience in preservation of contemporary art objects, the author comes to the conclusion that, despite the wide variety of mediums and techniques used in the process of creation of contemporary art objects, three types of preservation activities can be distinguished. The first are aimed primarily at maintaining the physical state of the work –there are restoration and conservation. The second one is a specific way of archiving the maximum information about the work - the documentation. The third way depends on the conceptual solution laid by the artist - reinstallation, which is applicable to those objects whose representation requires their new reproduction.
Данная диссертация освещает общие проблемы музеефикации и способы сохранения современного искусства. Объектом исследования является современное искусство в системе отношений с музейными институциями. Предметом исследования диссертации стали методы сохранения таких современных практик, как коллаж, объект и инсталляция. В ходе исследования зарубежного и отечественного опыта сохранения объектов современного искусства автор приходит к выводу, что, несмотря на большое разнообразие используемых методов и технологий при создании современных произведений искусства, можно выделить три вида деятельности по их сохранению. Первые, прежде всего, направлены на поддержание физического состояния произведения – это реставрация и консервация. Второй – своеобразный способ архивации максимальной информации о произведении – документация. Третий способ зависит от заложенного художником концептуального решения – реинсталляция, которая применима к тем объектам, репрезентация которых требует их нового воспроизведения.

碩士
國立臺北藝術大學
文創產業國際藝術碩士學位學程
102
This report is a combination of the learning and working experiences gathered during my seven months as an assistant at Lee Conservation and Restoration Center. This was done as part of the Independent Study requested in order to obtain the International Master of Arts degree in Cultural and Creative Industries at the Taipei National University of the Arts. The report is divided into three different parts which, at the same time, complement each other: The first section introduces the host organization and highlights points in conservation treatments used for ceramics and the ethical issues that are carried out. The second section is a study on the criteria, processes and materials used in the restoration project during my internship. The third section is about the exhibition at The Yingge Museum with pictures that show the deteriorated state of the ceramic masks before the restoration and the accomplished result after the restoration. My main goal was to learn new techniques used in Taiwan for restoration and compare them with the methods used in Panama. Also one of my goals was to exhibit the work restored under their supervision and in this way, promote Lee Conservation and Restoration Center. For this propose I collaborated with another international student, who curated an exhibition with 60 pieces of contemporary ceramics, including the four ceramic masks restored at the studio. This exhibition was designed in collaboration with the Collection & Exhibition Department of the Yingee Museum.

M.Tech. (Fine Art)
The development of contemporary artistic practice, often termed ‘new media’ art, has bought about new challenges in the re-interpretation of conservational data for the curatorial re-presentation of such artworks. These challenges are intensified in artworks of a non-traditional, transient, intangible and / or ephemeral nature. As such, new media works embrace dynamism and fluidity as part of their intangibility and ephemerality. The conservation of such works now requires consideration of the various elements that make up the work, particularly those where the medium predicates meaning. In this study I investigate the institutions and systems which intervene in this conservation of intangible and ephemeral art for future re-presentation and exhibition. I argue that, by compiling notational data (as a work’s ‘score’) of culturally significant ephemeral and intangible artworks the curator is required to refer to the gathered notational data as a reliable guideline for the re-presentation of a work’s ‘true nature’. This raises questions about which parts of an artwork form its true nature and which components are considered variable allowing them to be altered, replaced or migrated. Any re-presentation of the work is therefore dependent on a thorough investigation of the artwork’s essential elements in terms of the artist’s intent, as well as an in-depth contemplation of external / environmental influences. The dynamic (and thus true) nature of specific ephemeral and intangible art objects in the work of Olafur Eliasson, James Webb as well as my own upon, re-presentation, is the focus of this research study.

Chau, Cheuk Ying.
Thesis (M.Phil.)--Chinese University of Hong Kong, 2010.
Includes bibliographical references (p. 265-275).
Abstracts in English and Chinese; includes Chinese.
List of Illustrations --- p.vi
Acknowledgements --- p.ix
Introduction： a Psychological Approach to the Art of Mounting --- p.1
The Significance of Mounting --- p.3
Classical Literature and Past Research on Chinese Mounting --- p.10
a psychological approach --- p.18
Dissertation Structure --- p.24
Chapter Chapter One： --- Scrolling' through History --- p.33
Desire to Display´ؤFrom the Warring States to the Tang Dynasty --- p.33
Splendid Adornment - The Song Dynasty --- p.40
Emergence of the Literati - The Ming Dynasty --- p.60
Subtlest of Pastels - The Qing Dynasty --- p.74
Virtual Invisibility - The Republican Period and After --- p.84
A Thousand Years of Hanging Scroll Mounting --- p.92
Chapter Chapter Two： --- Seeing through the Enchanting Borders --- p.97
Palette and Induction --- p.99
Depth and Window --- p.109
Oversized Outfit and Illusionary Size --- p.120
Stave Strips and Composition --- p.126
psychology and chinese hanging scroll mounting --- p.133
Chapter Chapter Three： --- Experiment on Aesthetic Quality of Mounting --- p.137
Method --- p.141
Results --- p.146
Discussion --- p.149
Limitations --- p.152
Conclusion： Subordination of Mounting --- p.153
Appendix A： Experiment Questions --- p.157
Appendix b： List of Artworks Included in the Experiment --- p.159
Appendix c: Artworks Presentation Sequence in Different Groups --- p.161
Appendix d： Aesthetic Quality Rating Sections of Different Groups --- p.162
Group k --- p.162
Group L --- p.168
Chapter 1.1 --- Group M --- p.174
Group n --- p.180
Appendix E： Means (Standard Deviations) for Aesthetic Quality Ratings --- p.186
Plates --- p.187
Bibliography --- p.265

Tese de Doutoramento em Biociências, na especialidade de Microbiologia, apresentada ao Departamento de Ciências da Vida da Faculdade de Ciências e Tecnologia da Universidade de Coimbra
Historical and cultural items of our cultural heritage are stored, gathered, studied and restored in archives and museums, with the main objective of their preservation and protection. Fungal contamination inside the repositories represents a great challenge for scientists and restorers once it compromises not only the affected objects, as well as the storage environments and consequently the health of these professionals. This multidisciplinary thesis addresses the risk assessment of fungal contamination in different affected objects, inside these repositories. The main objectives of this thesis were: 1) To determine the importance of fungi as biodeterioration agents in archive and museum environments; 2) To analyze different affected art objects and documents by implementing different methods for fungi identification; 3) To determine the possible consequences and risks associated with the identified fungal species; 4) To contribute to better preserve cultural heritage inside archives and museums’ indoor environments. This multitasked research begins with the study of the fungal diversity in eighty different parchment documents, belonging to five different collections, from the “Arquivo da Universidade de Coimbra”. Molecular methods complemented with morphological identification were applied to identify all fungal organisms. In total, 230 isolates, belonging to 22 different genera and 42 different species, were obtained. The most frequent species were Alternaria alternata, Aureobasidium pullulans, Cladosporium cladosporioides, Epicoccum nigrum, Penicillium citrinum, P. glabrum and P. spinulosum. The Shannon-Wiener index was calculated for fungal diversity. A low species diversity was found in all parchments collections. Also, a Linear Model Regression analysis was calculated between the age of the documents, the number of species and number of isolates, confirming that time is significantly associated with species diversity; older collections generally presented a higher number of fungal isolates. Art repositories are considered appropriate storage rooms for the preservation of artwork. Nevertheless, the presence of fungal colonies was unexpectedly detected on wooden sculptures and paintings that were deposited inside the repository of the “Museu Nacional de Machado de Castro”. In order to find a possible origin of the repository’s contamination, spoiled art objects were sampled for fungal isolation and identification, along with seasonal indoor air sampling, for a one-year period. Molecular biology and morphological observation methods were used for the identification of fungal organisms. The species Aspergillus versicolor, Chaetomium globosum, Penicillium copticola, P. citrinum, Phlebiopsis gigantea and Pithomyces chartarum were isolated from wooden sculptures and paintings, and were also found in air-sampling isolates. The co-occurrence of the same fungal species in artworks and in air samples is demonstrative of cross-contamination. Although the number of airborne CFU was considerably low in all seasons, some fungal species with known biodeterioration capability and adverse human health effects were found. In light of this study, preventive measures are advised and considerations are made to apply potentially more effective approaches. Fungal stains affecting paper documents and artwork represent a challenge to conservators worldwide and, to achieve effective cleaning treatments, the identification of the causative fungal species and respective colorants is paramount. An association between specific fungal stains and fungal species was intended. Twenty-three stains from three paper documents were sampled. In situ observation of fungal structures with optical and scanning electron microscopy was compared with the identification of collected samples by molecular biology tools. Correlations between the applied methodologies were achieved, varying from 13% to 64% of the samples within the three studied documents. Black and dark brown stains were associated with Chaetomium globosum, C. murorum, Penicillium chrysogenum, P. commune, Myxotrichum deflexum and Stachybotrys chartarum. Eurotium rubrum was isolated from a foxing stain and Penicillium citrinum was identified on light orange stains. As little information about the fungal communities was obtained in the former study with culture-based methods, next-generation sequencing (NGS) was for the first time applied in canvas artwork, to deeply evaluate the fungal biodiversity in a very famous painting by the artist Paula Rego. Optical and Scan Electron Microscopy were used to visualize suitable sampling points. In order to prevent any damage to the support, a non-invasive sampling method was developed to collect mycobiota by soft aspiration. Using NGS with Illumina platform, high values of fungal diversity were obtained, mainly in the points with greater contamination. The most representative orders were Capnodiales, Eurotiales, Hypocreales, Russulales and Sporidiobolalles. Genera such as Aspergillus, Candida, Cladosporium, Penicillium, Tolypocladium, Rhodotorula, Stereum or Tricholoma were identified in the DNA samples. High-throughput sequencing by Illumina coupled to non-invasive sampling allowed the identification of a complex fungal community. The information provided in this thesis contributes to overcome fungal contamination in archives and art repositories assets’, considering the development of appropriate preventive measures, and for future research on cultural heritage conservation.
Os objetos históricos e culturais do nosso património cultural são armazenados, reunidos, estudados e restaurados em arquivos e museus, com o principal objetivo da sua preservação e proteção. A contaminação por fungos dentro dos seus repositórios representa um grande desafio para cientistas e restauradores, uma vez que compromete não só os objetos afetados, como também os ambientes de armazenamento e consequentemente a saúde desses profissionais. Esta tese multidisciplinar aborda a avaliação de risco de contaminação fúngica em diferentes objetos afetados, dentro desses repositórios. Os principais objetivos desta tese foram: 1) Determinar a importância dos fungos como agentes de biodeterioração em ambientes de arquivo e museu; 2) Analisar diferentes objetos e documentos de arte afetados, implementando diferentes métodos para identificação de fungos; 3) Determinar as possíveis consequências e riscos associados às espécies fúngicas identificadas; 4) Contribuir para preservar melhor o património cultural dentro dos ambientes interiores dos arquivos e museus. Esta investigação multidisciplinar começa com o estudo da diversidade fúngica em oitenta documentos de pergaminho, pertencentes a cinco coleções, do Arquivo da Universidade de Coimbra. Foram aplicados métodos moleculares complementados com identificação morfológica, para identificar todos os organismos fúngicos. No total foram obtidos 230 isolados, pertencentes a 22 géneros e 42 espécies diferentes. As espécies mais frequentes foram Alternaria alternata, Aureobasidium pullulans, Cladosporium cladosporioides, Epicoccum nigrum, Penicillium citrinum, P. glabrum e P. spinulosum. Foi calculado o índice de Shannon-Wiener para a diversidade fúngica. Foi encontrada uma baixa diversidade de espécies em todas as coleções de pergaminhos. Além disso, foi calculada a Regressão Linear entre a idade dos documentos, o número de espécies e o número de isolados, confirmando assim que o tempo está significativamente associado à diversidade de espécies; coleções mais antigas apresentaram geralmente um maior número de isolados fúngicos. Os repositórios de arte são considerados salas de armazenamento adequadas para a preservação de obras de arte. No entanto, a presença de colónias de fungos foi inesperadamente detetada em esculturas de madeira e pinturas, depositadas na reserva do Museu Nacional de Machado de Castro. A fim de encontrar uma possível origem da contaminação, os objetos de arte danificados foram amostrados para isolamento e identificação de fungos, juntamente com a amostragem de ar sazonal em ambiente fechado, por um período de um ano. Métodos de biologia molecular e observação morfológica foram utilizados para a identificação de organismos fúngicos. As espécies Aspergillus versicolor, Chaetomium globosum, Penicillium copticola, P. citrinum, Phlebiopsis gigantea e Pithomyces chartarum foram identificadas em esculturas e pinturas de madeira e também em isolados do ar. A co-ocorrência de espécies de fungos em obras de arte e em amostras de ar é demonstrativa de contaminação cruzada. Embora o número de CFU no ar tenha sido consideravelmente baixo em todas as estações, foram encontradas algumas espécies com conhecida capacidade de biodeterioração e com efeitos adversos para a saúde humana. À luz deste estudo, são aconselhadas medidas preventivas e são feitas considerações para aplicar abordagens potencialmente mais eficazes. As manchas de fungos que afetam documentos em papel e obras de arte representam um desafio para conservadores em todo o mundo e, para obter tratamentos de limpeza eficazes, a identificação das espécies fúngicas e dos respetivos corantes é fundamental. O principal objetivo foi associar a cada mancha as respetivas espécies de fungos. Vinte e três manchas de três documentos em papel foram amostradas. A observação in situ das estruturas fúngicas, com recurso a microscópio ótico e microscópio eletrónico de varrimento, foi comparada com a identificação realizada por técnicas de biologia molecular nas amostras recolhidas. Foram obtidas correlações entre a observação in situ e os isolados fúngicos identificados para 13% a 64% das amostras. As manchas negras e de tom castanho-escuro foram associadas às espécies Chaetomium globosum, C. murorum, Penicillium chrysogenum, P. commune, Myxotrichum deflexum e Stachybotrys chartarum. A espécie Eurotium rubrum foi isolada de uma mancha de foxing e a espécie Penicillium citrinum foi identificada em manchas de tom laranja claro. Como foram obtidas poucas informações sobre as comunidades fúngicas no primeiro estudo com métodos de cultura, aplicou-se next-generation sequencing (NGS) pela primeira vez em pintura de tela, para avaliar a biodiversidade dos fungos numa obra da artista Paula Rego. Utilizou-se microscopia ótica e eletrónica de varrimento para visualizar pontos de amostragem adequados. A fim de evitar qualquer dano ao suporte, um método de amostragem não invasivo foi desenvolvido para recolher micobiota por aspiração suave. Usando NGS com a plataforma Illumina, foram obtidos valores elevados de diversidade fúngica, principalmente nos pontos com maior contaminação. As ordens mais representativas foram Capnodiales, Eurotiales, Hypocreales, Russulales e Sporidiobolalles. Géneros como Aspergillus, Candida, Cladosporium, Penicillium, Tolypocladium, Rhodotorula, Stereum ou Tricholoma foram identificados nas amostras de DNA. A sequenciação de alto rendimento com Illumina acoplado a amostragem não invasiva permitiu a identificação de uma comunidade fúngica complexa. As informações fornecidas nesta Tese contribuem para superar a contaminação fúngica em arquivos e repositórios de arte, considerando o desenvolvimento de medidas preventivas adequadas e para futuras pesquisas sobre conservação do património cultural.

Dadas as particularidades da arte actual, como a diversidade de materiais utilizados, manifestações artísticas e a integração de vertentes imateriais — dimensão conceptual — urge a necessidade de documentação adequada a esta realidade, nomeadamente no que se refere à conservação e restauro, pelo que se desenvolveu Desafios da Conservação e Restauro de Arte Contemporânea: a Importância da Documentação e o Caso da Obra de João Pedro Vale. Foram objectivos deste estudo a apresentação das problemáticas associadas a esta área profissional, a demonstração da importância do contacto com os artistas, implementação de modelos sistemáticos de documentação, elaboração de um modelo de documentação capaz de colmatar a falta de informações essenciais a intervenções, assim como a sua aplicação a um caso complexo sem qualquer estudo semelhante desenvolvido até à data. O modelo elaborado foi aplicado ao estudo de caso de um conjunto de seis obras de diferentes tipologias — escultura, fotografia, instalação, performance, pintura e vídeo — criadas por João Pedro Vale, pertencente a uma geração emergente de artistas nacionais. A sua utilização de diversos materiais pouco usuais e elevada conceptualização processual, capazes de caracterizar as problemáticas da arte contemporânea, são factores que devem também ser ponderados com vista à correcta conservação e fruição das obras. Através de entrevista foi possível a fixação da história das peças e intenções face a eventuais intervenções. Os resultados revêm-se na fundamentação teórica das problemáticas abordadas e na elaboração do modelo documental, capaz de responder à complexidade do trabalho do artista, e cuja aplicação é possível a outras obras e autorias com características semelhantes às identificadas. A multiplicidade de intenções registadas, assim como variantes de âmbito conceptual, únicas em cada peça, levam a concluir que a documentação e o contacto com os artistas são necessários ao completo entendimento das obras, essencial ao registo de indicações relevantes ao estabelecimento de metodologias de intervenção assim como para posteriores investigações acerca do trabalho do artista.
Due to the actual art particularities, as the diversity of materials used, artistic manifestations and immaterial issues integration – as the conceptual dimension – it becomes necessary adaptable documentation to this reality, namely on what refers to conservation and restoration, reason why it was developed Conservation and Restoration Challeges on Contemporary Art: the Documentation Importance and the Study-case of João Pedro Vale’s Work. The main goals of this study were to present contemporary art conservation and restoration related problematic, to proof the significance of the contact with artists, the need to apply for systematic documentation models, the development of a documental model capable to bridge the need of intervention essential information, as well as its’ application to a complex case with no anterior similar developed study. The documentation model was applied to a set of six works of art with different typologies — sculpture, photography, installation, performance, painting and video — created by João Pedro Vale, that belongs to an emergent generation of national artists. His utilization of unusual diverse materials and the high procedural conceptualization, capable to characterize contemporary art problematic, are shown as factors that must be weighted in order to the correct conservation and art fruition. Through interview it became possible the fixation of the works history and his intentions towards eventual interventions. The results are shown by the theoretical grounding of the approached problematic and by the documentation model developed, capable to respond to the artist’s work complexity, and which application is possible to other works and authorships with similar identified characteristics. The multiplicity of recorded intentions, as well as conceptual dimension variants, unique on every work of art, leads to conclude that the documentation and contact with artists are necessary to the total knowledge of works of art, and essential to the relevant intervention methodology indications registration, as well as to further investigations about the artist.

The purpose of this Master’s Report was to determine an appropriate preservation strategy for a particular set of buildings and their accompanying art from the Modern Architecture Movement. The research question was: What type of strategy is best suited for the preservation of installed art created for Modern style buildings? The study analyzed preservation strategies afforded to Modern art and architecture during rehabilitation of the buildings. The case studies are Modern Movement office or bank buildings with art commissioned for the space by the architects or owners. An analysis of the main case study’s preservation strategies looks at all the actions taken and proposed to protect, not only the material fabric of the art, but the primary interior space. The main case study was the American National Bank building in Austin, Texas designed by Kuehne, Brooks and Barr Architects with a mural by Seymour Fogel. The secondary case studies were: Harry Bertoia sculpture + Manufacturers Trust Building, New York City, Pietro Belluschi mural + Equitable Building, Portland, Oregon, Richard Lippold sculpture + Inland Steel Building, Chicago, and Roger Darricarrere dalle de verre + Columbia Savings Buildings, Los Angeles. After study and analysis, the preservation strategies were categorized in four categories: in situ conservation, removal, recreation/replacement and demolition/destruction. It was concluded that there is not a general approach for these projects, and each should be analyzed through various factors (Design Intent, Intrinsic Value, Collaboration and Context) to determine the appropriate intervention.
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Résumé Cet ouvrage examine les fondements du mouvement de conservation architecturale moderne. Dans ce contexte, la création de la « Society for the Protection of Ancient Buildings » par William Morris est considéré comme le point culminant d’un processus historique qui mena à l’apparition du mouvement. Sa genèse est présentée comme ayant été le résultat d’une confrontation entre deux visions utopiques du moyen-âge; celle de l’Église Anglicane et celle de William Morris. Un survol détaillé des origines, des résultats et des effets de la « Renaissance Gothique » ouvre tout grand sur les sources littéraires, idéologiques et religieuses qui y donnèrent sa force. Les grands programmes de restaurations qui ont vu le jour en Angleterre à l’ère victorienne sont examinés en relation avec l’Église Anglicane et caractérisés par les motivations idéologiques de celle-ci. Bien que ce memoire ne réussit pas à démontré de manière sans équivoque que la création du mouvement de conservation architectural moderne par Morris fut essentiellement en reaction au programme idéologique de l’Église Anglicane au dix-neuvième siècle, nous y retrouvons néanmoins une réévaluation des causes et de l’impact de la « Renaissance Gothique » qui, de manière significative, allaient à l’encontre des croyances et des principes les plus chers à Morris. Il existe une quantité admirable d’ouvrages examinant les travaux et l’impact de William Morris en littérature et en arts, ainsi que son activisme socialiste. Cependant, il serait juste de constater qu’en comparaison, la grande contribution qu’il apporta à la protection de l’architecture patrimoniale a certainement été négligée dans les publications à son sujet. Ce projet de recherche examine les éléments et les conditions qui ont motivé Morris à créer un mouvement qui encore aujourd’hui continue de croitre en importance et en influence.
Abstract This research seeks to examine and contextualize the origins of the modern architectural conservation movement. In this context, William Morris’ founding of the Society for the Protection of Ancient Buildings is considered to be the culmination of a complex history and process that lead to the movement’s creation. Its genesis is presented as having resulted from the confrontation between diverging views and idealizations of the middle ages, the Anglican Church, and William Morris. An extensive survey of the origins, results, and effects of Gothic Revival points to the literary, ideological, and religious components which gave it its main impetus. The widespread restoration programs carried out in Victorian England in the nineteenth century are largely examined in relation to the Anglican Church and presented as having been motivated by its ideological concerns. Although this research does not manage to demonstrate unequivocally that William Morris’ founding of the modern architectural conservation movement sprang from a direct reaction to the Anglican Church’s religious program in the nineteenth century, it does reevaluate the causes and impact of the Gothic Revival and demonstrates how these were at odds with some of Morris’ most fundamental beliefs and principles. While there is a sizeable body of scholarly work examining William Morris’ work as a poet, artist and socialist, his great contribution to the conservation of ancient buildings has clearly been minimized in comparison. This research project examines the factors and conditions that led Morris towards the creation of an organization which to this day remains highly pertinent and influential.

O projeto de estágio decorreu no Museu d’Art Contemporani de Barcelona, em Espanha, no âmbito do qual se acompanhou as problemáticas no dia-a-dia do museu. O trabalho de estágio incidiu na intervenção de conservação e restauro, sobretudo nas obras de pintura, da exposição Soc totes les que he sigut [Sou todas as que fui] da artista catalã Fina Miralles, cronologicamente datada entre 1973 e 2020. A intervenção prática enquadrou-se nos princípios do Código da Ética do conservador-restaurador, adotando se a intervenção mínima com respeito pelo original e em concordância com as indicações da artista. A intervenção permitiu devolver a leitura original à obra, restituindo a harmonia e o equilíbrio pretendidos. As problemáticas dominantes na exposição traduziram-se na necessidade de, em telas cruas sem preparação, adotar um tratamento de limpeza a seco, um método aquoso com gel de agar e um método por ação de impregnação, absorção e calor. Para além disso, a exposição permitiu entender a realidade da reprodução de uma obra artística, uma vez que em determinados casos foi necessário, substituir elementos originais devido ao seu estado de conservação. Desta forma, esta exposição revelou-se um exemplo de diversas problemáticas universais que pedem, indispensavelmente, critérios e ética de conservação e restauro.
This internship project was carried out at the Museu d’Art Contemporani de Barcelona, Spain, whence the day-to-day problem of the museum were monitored. The internship focused on the intervention of art conservation and restoration, especially in painting, in terms of the exhibition Soc totes les que he sigut [I am all those I was] of the Catalan artist Fina Miralles, chronologically dated between 1973 and 2020. The practical intervention followed the principles underlying the Code of Ethics of the conservative restorer, adopting minimum intervention so as to respect the original work of art, and in agreement with the indications of the artist. This intervention further enabled restoring the original reading to the work, and the intended harmony and balance. The main conservation and restoration problems identified for this exhibition led to the need to adopt a dry cleaning treatment, a aqueous method with agar gel and a method by the action of impregnation, absorption and heat. Furthermore, this exhibition allowed for the understanding of the reality involved in the overall production of the artistic work since it was sometimes necessary to replace original components because of their state of conservation. Thus, this exhibition proved to be an example of several widespread problems that unquestionably require conservation and restoration ethics and criteria.

O estágio desenvolvido no Museu Nacional do Azulejo (MNAz), entre 18 de Setembro de 2017 e 1 de Março de 2018, visou a aprendizagem dos métodos de conservação e restauro aplicados à azulejaria e o desenvolvimento da investigação histórica sobre um conjunto intervencionado – a série de Santo Estanislau Kostka da Companhia de Jesus. A série pertence ao revestimento produzido em meados do século XVIII para a capela doméstica do antigo Noviciado desta família religiosa e que fora depositada no Museu no ano 2000. Com efeito, o presente relatório dá conta da aprendizagem desses métodos e da investigação ali ocorrida durante os seis meses do estágio. A estrutura do relatório reflete, inclusive, não uma divisão linear de cada uma dessas fases, mas antes a integração de todas elas no resultado final do estudo. Procurouse assim, aliar a investigação histórica aos tratamentos de conservação e restauro segundo as metodologias inerentes aos respetivos domínios. A nossa organização temática resulta, portanto, dessa síntese, expondo, desta forma, as questões que a nosso ver se revelaram mais significantes para o conhecimento dos painéis de S. Estanislau Kostka.
The stage developed at the National Tile Museum (MNAz), between September 18, 2017 and March 1, 2018, aimed to learn the methods of conservation and restoration applied to tiles and the development of historical research on an intervened set - the series of St. Stanislaus Kostka of the Society of Jesus. The series belongs to the cladding produced in the middle of the eighteenth century for the domestic chapel of the former Novitiate of this religious family which had been deposited in the Museum in the year 2000. This report gives us an account of the learning of these methods and the research that took place during the six months of the internship. The report structure also reflects not a linear division of each of these phases, but rather the integration of all of them into the final outcome of the study. The aim was to combine historical research with conservation and restoration treatments according to the methodologies inherent to the respective domains. Our thematic organization results, therefore, from this synthesis, thus exposing the issues that in our view have proved most significant for the knowledge of S. Estanislau Kostka's tile panels.