Journal articles: 'Conservation and restoration of art objects'

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Vernez, David, Barthélémy Wognin, Catherine Tomicic, Gregory Plateel, Nicole Charrière, and Stefanie Bruhin. "Cyclododecane exposure in the field of conservation and restoration of art objects." International Archives of Occupational and Environmental Health 84, no. 4 (November 17, 2010): 371–74. http://dx.doi.org/10.1007/s00420-010-0596-1.

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Gómez Manzanares, Ángela, Anto J. Benítez, and Juan Carlos Martínez Antón. "Virtual Restoration and Visualization Changes through Light: A Review." Heritage 3, no. 4 (November 17, 2020): 1373–84. http://dx.doi.org/10.3390/heritage3040076.

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The virtual modification of the appearance of an object using lighting technologies has become very important in recent years, since the projection of light on an object allows us to alter its appearance in a virtual and reversible way. Considering the limitation of non-contact when analysing a work of art, these optical techniques have been used in fields of restoration of cultural heritage, allowing us to visualize the work as it was conceived by its author, after a process of acquisition and treatment of the image. Furthermore, the technique of altering the appearance of objects through the projection of light has been used in projects with artistic or even educational purposes. This review has treated the main studies of light projection as a technique to alter the appearance of objects, emphasizing the calibration methods used in each study, taking into account the importance of a correct calibration between devices to carry out this technology. In addition, since the described technique consists of projecting light, and one of the applications is related to cultural heritage, those studies that carry out the design and optimization of lighting systems will be described for a correct appreciation of the works of art, without altering its state of conservation.

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Baglioni, Michele, Giovanna Poggi, David Chelazzi, and Piero Baglioni. "Advanced Materials in Cultural Heritage Conservation." Molecules 26, no. 13 (June 29, 2021): 3967. http://dx.doi.org/10.3390/molecules26133967.

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Cultural Heritage is a crucial socioeconomic resource; yet, recurring degradation processes endanger its preservation. Serendipitous approaches in restoration practice need to be replaced by systematically addressing conservation issues through the development of advanced materials for the preservation of the artifacts. In the last few decades, materials and colloid science have provided valid solutions to counteract degradation, and we report here the main highlights in the formulation and application of materials and methodologies for the cleaning, protection and consolidation of works of art. Several types of artifacts are addressed, from murals to canvas paintings, metal objects, and paper artworks, comprising both classic and modern/contemporary art. Systems, such as nanoparticles, gels, nanostructured cleaning fluids, composites, and other functional materials, are reviewed. Future perspectives are also commented, outlining open issues and trends in this challenging and exciting field.

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Prati, Silvia, Francesca Volpi, Raffaella Fontana, Paola Galletti, Loris Giorgini, Rocco Mazzeo, Laura Mazzocchetti, Chiara Samorì, Giorgia Sciutto, and Emilio Tagliavini. "Sustainability in art conservation: a novel bio-based organogel for the cleaning of water sensitive works of art." Pure and Applied Chemistry 90, no. 2 (February 23, 2018): 239–51. http://dx.doi.org/10.1515/pac-2017-0507.

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Abstract Organo- and hydrogels have been proposed in the restoration field to treat different types of surfaces. The possibility to retain solvents and to have a controlled and superficial action allowed to use these materials for the removal of very thin layers applied on ancient historical objects, when the under paint layers are particularly delicate and water sensitive. In the last years, an increased attention has been devoted to the proposal of more healthy products to guarantee the safeguard of the operators. Few attention has been devoted to the development of green methods which foresee the use of renewable and biodegradable materials. The aim of this paper is to test a green organo-gel for the cleaning of water sensitive surfaces like varnished egg tempera paintings. The gel has been tested experimented on mock ups varnished with natural and synthetic materials and has been validated on a small portion of a Cimabue painting for the removal of two varnishes applied on two different test areas of the painting.

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Malik, Umair Shafqat, Liselore Tissen, and Arnold Vermeeren. "3D Reproductions of Cultural Heritage Artifacts: Evaluation of Significance and Experience." Studies in Digital Heritage 5, no. 1 (June 30, 2021): 1–29. http://dx.doi.org/10.14434/sdh.v5i1.32323.

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3D digitization of cultural heritage has long been used to preserve information about cultural heritage (CH) objects such as architecture, art, and artifacts. 3D dissemination of CH objects through technologies such as augmented reality, virtual reality, and 3D printing have impacted the fields of art history and cultural heritage and have become more common. Yet, studies that go beyond the technical aspects of 3D technology and treat such topics as their significance for restoration, conservation, engagement, education, research, and ethics hardly exist. The aim of this paper is twofold: on the one hand, it aims to get a better understanding of the applicability of each technology for different purposes (education, research, conservation/restoration, and museum presentation), and, on the other hand, it focuses on the perception of these technologies. This research was carried out by combining a literature review with quantitative and qualitative analyses of the data acquired through (1) a questionnaire of eleven questions and (2) a workshop with a group of specialists and non-specialists who were asked to brainstorm about the different uses of the 3D technologies and their applicability to their areas of work and research. Based on the analysis of these quantitative and qualitative data, we provide some criteria for using 3D digitized and printed reproductions to enhance cultural experiences. The results demonstrate the importance of carefully designing 3D interactions in the personal and cultural contexts of end-users and cultural institutions in order to create authentic cultural experiences.

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Albertin, Fauzia, Matteo Bettuzzi, Rosa Brancaccio, Maria Pia Morigi, and Franco Casali. "X-Ray Computed Tomography In Situ: An Opportunity for Museums and Restoration Laboratories." Heritage 2, no. 3 (July 19, 2019): 2028–38. http://dx.doi.org/10.3390/heritage2030122.

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X-ray Computed Tomography (X-ray CT) is a sophisticated non-destructive imaging technique to investigate structures and materials of complex objects, and its application can answer many conservation and restoration questions. However, for Cultural Heritage investigations, medical CT scanners are not optimized for many case-studies: These instruments are designed for the human body, are not flexible and are difficult to use in situ. To overcome these limitations and to safely investigate works of art on site—in a restoration laboratory or in a museum—the X-ray Tomography Laboratory of the University of Bologna designed several CT systems. Here we present two of these facilities and the results of important measurement campaigns performed in situ. The first instrument, light and flexible, is designed to investigate medium-size objects with a resolution of a few tens of microns and was used for the CT analysis of several Japanese theater masks belonging to the collection of the “L. Pigorini” Museum (Rome). The second is designed to analyze larger objects, up to 200 cm and was used to investigate the collection of the so-called “Statue Vestite” (devotional dressed statues) of the Diocesan Museum of Massa.

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Huth, Andreas, and Katharine Stahlbuhk. "AWARENESS OF MATERIALITY IN TIME AND CONDITION. THOUGHTS ON THE RELATION BETWEEN ART HISTORY AND CONSERVATION." Protection of Cultural Heritage, no. 8 (December 20, 2019): 123–38. http://dx.doi.org/10.35784/odk.1074.

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Art historical research needs to consider the materiality of artefacts, but the character of the material and the state of preservation of any object change over time. Today’s restoration and conservation sciences provide the basis for present research in the field of history of art and architecture. Following this premises and with some examples from current research projects our contribution tries to show how much the contemporary academic Art History can benefit from the material and technical knowledge of conservators.

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Bal, Mieke. "Guest Column: Exhibition Practices." PMLA/Publications of the Modern Language Association of America 125, no. 1 (January 2010): 9–23. http://dx.doi.org/10.1632/pmla.2010.125.1.9.

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What the public gets to see of museums is in the exhibitions in which their holdings are presented; beyond the archival functions of conservation, categorization, and restoration, this presentation is at the heart of museums as cultural institutions. Until a few decades ago, exhibitions were predictable in format and structure. Visitors attended monographic and period exhibitions to be instructed and to enjoy themselves according to the old adage of utile dulci. Every exhibition was an episode in a traditional conception of the management of art's relation to the public. Curators were also conservators; they studied, preserved, and categorized art objects and presented a selection of these according to the knowledge acquired. The space in which the objects were presented was kept as neutral as possible, so as not to disturb the viewer.

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Peers, Glenn. "Framing and Conserving Byzantine Art at the Menil Collection: Experiences of Relative Identity." Zeitschrift für Medien- und Kulturforschung 6, no. 2 (2015): 25–44. http://dx.doi.org/10.28937/1000106440.

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Die Erhaltung und Ausstellung von historischen Kunstwerken geht viele Risiken in Bezug auf die Darstellung des Lebens und der Bedeutungen von Objekten ein. Dieser Beitrag untersucht die Identitäten einiger besonders fesselnder Beispiele byzantinischer Kunst, die in der Menil Collection in Houston, Texas unter besonderen Umständen restauriert wurden. Eine Untersuchung der Wiederherstellung der Fresken und Ikonen sowie ihrer jeweiligen Ausstellungsgeschichten offenbart die Kontingenzen unserer Begegnungen mit und Erklärungen von historischer Kunst. Conservation and exhibition of historical works of art run many risks of misrepresentation of the life and meanings of objects. This paper explores the identities of some particularly compelling examples of Byzantine art restored under special circumstances at the Menil Collection in Houston, Texas. This examination of the restoration of frescos and icons, and their particular display histories, reveals the contingencies of our encounters with and explanations of historical art.

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Bouséé, Derek. "Restoring the Photographed Past." Public Historian 24, no. 2 (2002): 9–40. http://dx.doi.org/10.1525/tph.2002.24.2.9.

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This article points to cases around the world in which old photographs have been used as the basis for restoring damaged or destroyed public treasures to their "original" condition. The author asks, however, whether photographs can really be reliable historical documents of the past of some object or place that is much older than the art of photography itself. Among his conclusions is that in historical restoration efforts, photographic "evidence" often depicts an arbitrary point in history that is taken at face value and institutionalized as "official truth." He offers some tentative recommendations for future restoration efforts involving photographic evidence.

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Ryadova, M. "THE STAGES OF FORMATION (1710-1917) AND TRANSFORMATION (1918-PRESENT) OF THE ARCHITECTURAL LANDSCAPE OF THE TSARSKOYE SELO PALACES AND PARKS ENSEMBLE." Construction Materials and Products 3, no. 1 (July 8, 2020): 95–103. http://dx.doi.org/10.34031/2618-7183-2020-3-1-95-103.

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the article specifies the stages of the architectural landscape formation of the Tsarskoye Selo palaces and parks ensemble; the addition features of the Catherine, Alexander and Babolovsky parks and their transformation phases. The chronological period of the formation of the ensemble was completed in 1917, and after the October Revolution, the suburban imperial residence changed its functional purpose and status absolutely. The feature of the architectural landscape exploring in this article is that the style-forming objects of the volume-spatial composition are palaces and pavilions; the environment-forming objects are landscape gardening art. During all the history of the ensemble formation, all subsequent changes, despite of the variety of styles, supplemented and evolved the scenario specified in the first stage. The current stage of restoration and revitalization of the planning structure and volumetric-spatial composition and the evolution of its conservation methods was considered and analysed.

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Twydle, J. "New methods for art object conservation and restoration – practical experience in the field: the experience of The True Image Solution Ltd." Insight - Non-Destructive Testing and Condition Monitoring 62, no. 3 (March 1, 2020): 160–62. http://dx.doi.org/10.1784/insi.2020.62.3.160.

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Previously, scientific examination of works of art was almost exclusively carried out in a specialist laboratory, major gallery or institution. Moving the artwork nearly always involved associated risks and transportation and insurance costs. Founded in 2009, The True Image Solution (TIS) had a vision to bring non-destructive technology to the artwork and to extend the possible range of evaluation by applying other imaging techniques, including ultrasound, flash thermography, X-ray spectroscopy and microwave imaging. In conjunction with English Heritage, these techniques were applied to a wide variety of objects. The results demonstrated that all of these techniques could be successfully carried out in situ and the risk of transportation damage, as well as associated transport and insurance costs, could be eliminated.

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Inzerillo, L., and F. Di Paola. "FROM SFM TO 3D PRINT: AUTOMATED WORKFLOW ADDRESSED TO PRACTITIONER AIMED AT THE CONSERVATION AND RESTAURATION." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-2/W5 (August 11, 2017): 375–82. http://dx.doi.org/10.5194/isprs-archives-xlii-2-w5-375-2017.

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In In the last years there has been an increasing use of digital techniques for conservation and restoration purposes. Among these, a very dominant rule is played by the use of digital photogrammetry packages (Agisoft Photoscan, 3D Zephir) which allow to obtain in few steps 3D textured models of real objects. Combined with digital documentation technologies digital fabrication technologies can be employed in a variety of ways to assist in heritage documentation, conservation and dissemination. This paper will give to practitioners an overview on the state of the art available technologies and a feasible workflow for optimizing point cloud and polygon mesh datasets for the purpose of fabrication using 3D printing. The goal is to give an important contribute to confer an automation aspect at the whole processing. We tried to individuate a workflow that should be applicable to several types of cases apart from small precautions. In our experimentation we used a DELTA WASP 2040 printer with PLA easyfil.

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TAHA, Rasha. "Restoration and Conservation of a Model of Archaeological Glass Objects Used for Medical Purposes. Museum of Islamic Art in Cairo: (Applied Study)." SHEDET, ANNUAL PEER-REVIEWED JOURNAL ISSUED BY THE FACULTY OF ARCHAEOLOGY, FAYOUM UNIVERSITY 1, no. 1 (December 15, 2014): 51–58. http://dx.doi.org/10.36816/shedet.001.04.

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DUAN, Shenghua, and Ruoyi ZHAO. "A Study of the Influence of Campus Ecological Environment Integrated Art Education on Learning Attitudes and Effectiveness." Revista de Cercetare si Interventie Sociala 73 (June 15, 2021): 57–68. http://dx.doi.org/10.33788/rcis.73.4.

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Natural ecology is the basis of social development. The destruction of natural ecological environment would limit the development of society. Environmental issues have become the commonly concerned problems internationally and globally. Promoting the public knowledge and awareness of environmental problems as well as understanding of the correlations among living environment, resources, and humans through education would absolutely be urgent for educators. Campus environment is the best place for students’ ecological education and learning; therefore, a campus with good ecological environment would to-some-degree assist in the overall campus ecology. To maintain the overall balance between campus ecological environment and biological conservation, build natural landscape, and create aquatic and terrestrial habitats, traditional ecological environment engineering should be regulated to suit the sustainable development of ecological campus environment with biological conservation and ecological restoration environment. With college students in Guangxi as the research objects, total 288 students from two classes each in universities, as the experimental research objects, are preceded the 16-week (3 hours per week for total 48 hours) experimental teaching research. The research results conclude that 1.campus ecological environment integrated art education would affect learning motivation, 2.campus ecological environment integrated art education would affect learning effectiveness, 3.learning motivation presents significantly positive effects on learning effect in learning effectiveness, and 4.learning motivation shows remarkably positive effects on learning gain in learning effectiveness. According to the results to propose suggestions, it is expected to establish students’ identification and the successive belongingness through environmental integrated art education to assist students in overcoming the personality development stage for the positive psychological development.

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I., Ivanova, and Titinov V. "THE ARCHITECTURAL HERITAGE. ODESSA MODERN." Problems of theory and history of architecture of Ukraine, no. 20 (May 12, 2020): 210–20. http://dx.doi.org/10.31650/2519-4208-2020-20-210-220.

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The article presents material that briefly highlights the historical, socio-political, technological prerequisites for the emergence and development of modern architecture of the late 19th and early 20th centuries.Its features, basic characteristics and originality are considered, taking into account the development of Odessa.The presence in the urban environment of Odessa of large-scale monuments of architecture of the late 19th, early 20th centuries is obvious.They play a large role in the formation of urban identity.Tourists visiting the city pay tribute to the wealth of impressions that the natural environment of the city gives, its historical architectural environment, an integral part of which is Odessa Art Nouveau.The current state of buildings of this period of construction requires special attention not only of specialists in the field of construction, architecture, protection of monuments, but also the need to attract the public to preserve the architectural heritage of this period.It is important for modern man to feel that the city has a history, a continuity.Of particular value and status as guardians of memory are preserved cultural heritage sites.As foreign experience shows, sometimes the most hopeless, from the point of view of restoration, objects can be revived using a variety of approaches.In many European cities there are examples of excellent solutions in the field of renovation of historical buildings and districts. The conservation of historic buildingsshould be a priority in our urban planning policy.An integrated approach to the popularization of architectural heritage is required, including a wide range of forms of interaction with the scientific and civil society. It is necessary to enlist the support of the public in taking measures to protect heritage objects, to awaken the activity of citizens and the professional public in collecting and transmitting information, support initiatives to register new objects.International cooperation in heritage conservation should be seen as a particularly important strategic resource.It is necessary to exchange scientific and technical information with international organizations active in the field of monument conservation, exchange of experience in the legislative sphere, in the theory and practice of conservation and restoration, development of youth programs in the field of heritage conservation and popularization.We are involved in pan-European identity in culture, first of all. The most clearly preserved evidence of this is the preserved architectural monuments. The architectural heritage of Art Nouveau, bright, original and interesting in its diversity, loudly testifies that we are involved in all historical events taking place on the European continent.The most vividly evidence of this is the preserved architectural monuments. The architectural heritage of Art Nouveau, bright, original and interesting in its diversity, loudly testifies that we are involved in all historical events taking place on the European continent.

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Dumitrescu, Raluca Marilena, and Bogdan Ungurean. "Problematica degradărilor lemnului policrom în stil Umling. Studiu de caz." Anuarul Muzeului Etnograif al Transilvaniei 30 (December 20, 2016): 316–31. http://dx.doi.org/10.47802/amet.2016.30.18.

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The article presents a case study, referred to issues connected to the conservation state of a painted cupboard, which is the work of one member of the Umling family. The specimen is dated 1776, and it derives from the former museum in Sângeorgiu de Pădure, Mureș County, now being part of the collection of Ethnography and Popular Art department of County Museum in Târgu Mureș. Representative for the painted furniture of XVIII century, the piece turned into attention of the restorers in 2013 at the initiative of the Conservation Restoration Lab and Ethnography and Popular Art department, occasion with were done first steps for the conservation. In the content of the article are analyzed both technical, esthetical and style features. Besides a general reference of Umling style, at the same time are shown the particular features defined in this case. There are references about the chromatic and ornament, as well as the wooden structure. The part of the conservation state in the presentation includes researches and investigations undergone upon the object, in order to do as good and advised interventions in restoration process. The obtained results – UV, IR, XRF and microscopic, revealed important details about the graphic appearance, the nature and composition of pigments, the condition of paint layer and even the structure underneath, them being described and illustrated in pictures. Also the cleaning tests that were held, brought valuable information about the nature of deposits of dirt that were met, about the composition and structure of paint layer. The conservation state of the object is presented extensively. The degradation is analyzed overall at the structure, painted layer, metallic parts level only from theoretical reason, this being in fact a plurality of the direct influence of decaying agents that acted simultaneously. Thus, the careful analysis of the damages that intervened is offering relevant conclusions about the history of the object and circumstances in which it gone. The presentation constitutes just a first part of a bigger work that will comprise also a second part about the restoration process that will be presented in a future article. In conclusion, besides thanks, there are mentioned the participants that contributed to these results.

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Sabatini, Francesca, Jacopo La Nasa, Camilla Guerrini, Francesca Modugno, Sara Bonadio, Federica Ursino, Isetta Tosini, Maria Perla Colombini, and Ilaria Degano. "On the Set of Fellini’s Movies: Investigating and Preserving Multi-Material Stage Costumes Exploiting Spectroscopic and Mass Spectrometric Techniques." Applied Sciences 11, no. 7 (March 25, 2021): 2954. http://dx.doi.org/10.3390/app11072954.

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Since the second half of the 19th century, the world of textile production was radically changed both in terms of esthetics and of the performances leading to industrial products whose chemical properties were totally unknown and unexplored. Stage costumes are typical examples of multi-material art objects where different natural and synthetic materials were used to fulfil specific purposes. This research was performed in the framework of a diagnostic and restoration campaign of dresses of two Federico Fellini’s movies (“Il Casanova” and “Roma”). For the characterization of the textile fibers, Attenuated Total Reflection Fourier Transform Infrared Spectroscopy (ATR-FTIR) and Pyrolysis Gas Chromatography coupled with Mass Spectrometry (Py-GC/MS) were employed. The structure of the metallic threads was investigated by Scanning Electron Microscopy coupled with Energy-Dispersive X-ray Spectroscopy (SEM-EDX). Dye identification was carried out by High Performance Liquid Chromatography coupled with Diode Array Detector and mass spectrometry (HPLC-DAD, HPLC-ESI-Q-ToF). The analytical approach adopted allowed us to fully characterize the costumes composed of natural, synthetic and artificial fibers dyed with complex mixtures of last generation synthetic dyes. The results collected were fundamental to fine-tune an effective restoration aimed at minimizing the damages due to ageing, inaccurate home-made restoration interventions, or poor conservation conditions.

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Srećković, Milesa, Suzana Polić, Milivoje Ivković, Zoran Karastojković, Milica Vinić, Aleksander Kovačević, and Slobodan Bojanić. "Contemporary laser techniques, general application in heritology and case of building in 7 Balkanska street, Belgrade." Zastita materijala 61, no. 4 (2020): 275–85. http://dx.doi.org/10.5937/zasmat2004275s.

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It seems that the role of lasers in heritology and art has grown more and more since the end of the 20h century; the early attempts of cleaning artistic objects, old monuments / artifacts during the times of Hedy Lamarr and the first unsuccessful nuclear tests as well as of thinking of holographic records. After the first series of circumstances linked to laser applications in restoration and conservation, it seems the coupling of words serendipity-zemblanity-bahramdipity has been activated. A long time has passed since the first works linked to the Porta della carte of the Palazzo Ducale (Doge's Palace) in Venice (marble relief and ruby laser). Nowadays, this type of work can be treated as standardized and it is implemented in great number of countries [1, 2]. In the case of Florence Cathedral, the conservation of artworks was proposed by J. F. Fonatello, panels of the Giotto's tower of the Florence Cathedral by Andrea Pisano. The unique roles of quantum generators - lasers - exist both in restoration and diagnostics. Besides that, the question of source existence - a source that provides completely new artistic impression with respect to its ideal characteristic of coherency - introduced new tools and techniques and could be (and was) implemented in many new processes and effects. New artistic directions were performed, where the source of the coherence became a part of a new artistic object, a hologram slide provokes the impression of the train entering the crowd, etc. [1-5] the laser role by using LIBS method in diagnostics in the case of the building in 7 Balkanska street, Belgrade, was presented in this paper.

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Herasymenko, I., and S. Maksymov. "PROBLEMATIC ISSUES OF CULTURAL HERITAGE VALUATION OF MONUMENTS." Criminalistics and Forensics, no. 65 (May 18, 2020): 477–85. http://dx.doi.org/10.33994/kndise.2020.65.47.

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The article analyzes the current state of the regulatory framework governing the valuation of cultural monuments, in particular, the Monetary Valuation of Monuments approved by the Cabinet of Ministers of Ukraine dated September 26, 2002 No. 1447. The classification of conservation categories by a monument (national and local significance) and types of monuments (archeology, history, monumental art, architecture and urban planning, landscape gardening art, historical landscape, science and technology) is given. The main problem in determining the value of monuments is to take into account not only the material factors of the monuments and its degree of wear, but also the consideration of its intangible factors, such as its historical, social, artistic value, the presence of objects of decorative art. That is, the cost of buildings-monuments of cultural heritage is formed: – due to the cost of the material “carrier” (land with improvements in the form of buildings, structures, small forms, etc.); – due to the value of the contribution of the intangible asset to the carrier. The article also describes the main problems that arise when assessing such objects (the presence of a monument’s status, the lack of an information base on market transactions, high operating costs, the need for restoration work, and high investment risks). The factors raising and lowering the value of a cultural heritage monument are characterized. Based on the analysis of the current regulatory framework, it was decided to develop practical recommendations for determining the value of real estate – monuments of architecture and urban planning, in particular built-in premises.

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Mitran, Elena Cornelia, Irina Mariana Sandulache, Lucia Oana Secareanu, Mihaela Cristina Lite, Ovidiu George Iordache, Elena Perdum, and Gabriel Lucian Radu. "Assessing the presence of pesticides in modern and contemporary textile artifacts using advanced analysis techniques." Industria Textila 72, no. 02 (April 22, 2021): 138–43. http://dx.doi.org/10.35530/it.072.02.1828.

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The examination of contemporary textiles continuously offers amazing perspectives of the past for anyone who explores them. The ethnographic textile pieces are complex, both from the perspective of the component materials and regarding the techniques used for their manufacture. The action of conserving the cultural and artistic patrimony is firstly a matter of scientific research and then of technical execution. However, the possible health effects on the personnel, which are directly involved in the actions of sampling, conservation or restoration of the textile art objects, must always be taken into consideration. Textile objects can be contaminated with various toxic residues (e.g., pesticides). When investigating archaeological, modern and contemporary textiles it is very important to maintain the integrity of the artifacts, as they cannot be replaced, and the consumption or damage of even a small part of them for analytical purposes should be undertaken only if the data cannot be obtained differently. For determining the presence of pesticides in the samples they must be subjected to processes such as: extraction, enrichment of samples, isolation, identification, and quantification. Given the above, the most common methods of extraction and determination of pesticides present in textile artifacts were briefly discussed. Punctually, the analytical techniques used in the case of three selected pesticides (malathion, methoxychlor and permethrin) were evaluated

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Gagliolo, S., E. Ausonio, B. Federici, I. Ferrando, D. Passoni, and D. Sguerso. "3D CULTURAL HERITAGE DOCUMENTATION: A COMPARISON BETWEEN DIFFERENT PHOTOGRAMMETRIC SOFTWARE AND THEIR PRODUCTS." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-2 (May 30, 2018): 347–54. http://dx.doi.org/10.5194/isprs-archives-xlii-2-347-2018.

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The conservation of Cultural Heritage depends on the availability of means and resources and, consequently, on the possibility to make effective operations of data acquisition. In facts, on the one hand the creation of data repositories allows the description of the present state-of-art, in order to preserve the testimonial value and to permit the fruition. On the other hand, data acquisition grants a metrical knowledge, which is particularly useful for a direct restoration of the surveyed objects, through the analysis of their 3D digital models. In the last decades, the continuous increase and improvement of 3D survey techniques and of tools for the geometric and digital data management have represented a great support to the development of documentary activities. In particular, Photogrammetry is a survey technique highly appropriate in the creation of data repositories in the field of Cultural Heritage, thanks to its advantages of cheapness, flexibility, speed, and the opportunity to ensure the operators’ safety in hazardous areas too. In order to obtain a complete documentation, the high precision of the on-site operations must be coupled with an effective post-processing phase. Hence, a comparison among some of the photogrammetric software currently available was performed by the authors, with a particular attention to the workflow completeness and the final products quality.

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Akhmedov, Jasurbek Zokirzhonovich. "Ahsikent – A Unique Site of Fergana Valley." Ethnic Culture, no. 1 (2) (March 20, 2020): 6–8. http://dx.doi.org/10.31483/r-75065.

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The article is devoted to the issues of Ahsikent’s archaeological sites museumification. The aim of the article is to consider Ahsikent, which is the only thoroughly explored historical city of Ferghana, where as a result of archeological studies pottery in which iron and copper from Shakhristan were melted, as well as metal furnaces from artisans’ trade shops were found. Methods of study. The archaeological study of the site, which is described as "Fergana Afrosiyob", began in 1885. The results of the research. Excavations have shown that in the trade shops of Ahsikent various objects made with simplest metal and used for building and housekeeping, as well as swords and kargases that are capable to cut stones and not break when bending. The author also outlines that items found on the territory of Ahsikent indicate a high level of development of various crafts: pottery, metallurgy of bronze, contexture, jewelry, etc. The article also describes the methods of chemical conservation of sites, in particular, specific steps to restore the historical site of the The article also describes methods of chemical preservation of sites, specific steps to restore the historical site are proposed, among them: restoration of the ancient medieval appearance of Ahsikent with drawings and reliefs that depict the landscapes of Ahsikent; demonstration of the political, social and economic state of Ahsikent (writing, medical articles, coins); publication of decorative and applied art created by artisans (ceramics, glassware, jewelry), items related to military art (weapons of soldiers, arrows, bows), architectural structures (fragments of architectural decoration, foundations, stone products, ceramic pipes, wall paintings). It is concluded that it would be advisable to organize a multi-sided, deep and thorough study of the site of Ahsikent by attracting appropriate different specialists, turn Ahsikent into an open-air museum and introduce this area to international tourist destinations.

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Ioannidis, C., G. Piniotis, S. Soile, F. Bourexis, A. M. Boutsi, R. Chliverou, and M. Tsakiri. "LASER AND MULTI-IMAGE REVERSE ENGINEERING SYSTEMS FOR ACCURATE 3D MODELLING OF COMPLEX CULTURAL ARTEFACTS." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-2/W11 (May 4, 2019): 623–29. http://dx.doi.org/10.5194/isprs-archives-xlii-2-w11-623-2019.

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Abstract. The recent scientific and technical developments of reverse engineering methods and tools have broadened the possibilities of applications in the field of cultural heritage conservation. In this paper, two different non-contact reverse engineering systems were utilized for 3D data acquisition of a cultural heritage artefact. The object of interest is a 17th century wooden engraved ecclesiastical sanctuary ciborium. The requirement of the 3D model is to aid the art conservators for the preservation of the wooden material and the restoration of small damages and cracks in the engraved parts, thus requiring accuracy of the model in the order of sub-millimetre. In this work, a Faro Vantage laser tracker was employed along with the FARO Edge Arm. In addition, image-based modelling was also implemented with a large number of overlapping images acquired with a Canon EOS 6D camera and processed using the well-known Structure from Motion (SfM) method with an auto-calibration procedure. The digital data acquisition and processing procedures of the scanned geometry are described and compared to evaluate the performance of both systems in terms of data acquisition time, processing time, reconstruction precision and final model quality. Whilst models produced with laser scanning and image-based techniques is not a novel approach, the combination of laser tracking and photogrammetric data still presents limited documentation in the field of cultural artefact documentation mainly due to the extremely high cost of the laser tracking systems.

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Lambert, Amy M., and Maya R. Khosla. "Environmental Art and Restoration." Ecological Restoration 18, no. 2 (2000): 109–14. http://dx.doi.org/10.3368/er.18.2.109.

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Dawson, T. L. "Examination, conservation and restoration of painted art." Coloration Technology 123, no. 5 (October 2007): 281–92. http://dx.doi.org/10.1111/j.1478-4408.2007.00096.x.

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UEDA, Naomi. "Conservation and restoration of wooden cultural properties（2） Excavated objects." MOKUZAI HOZON (Wood Protection) 40, no. 4 (2014): 162–69. http://dx.doi.org/10.5990/jwpa.40.162.

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Villers, Caroline, James Beck, and Michael Daley. "Art Restoration: The Culture, the Business and the Scandal." Studies in Conservation 39, no. 1 (February 1994): 70. http://dx.doi.org/10.2307/1506492.

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Chernyshev, Denys, Yulia Ivashko, Dominika Kuśnierz-Krupa, and Andrii Dmytrenko. "Role of natural landscape in perception of Ukrainian sacral architecture monuments." Landscape architecture and art 17 (March 14, 2021): 13–21. http://dx.doi.org/10.22616/j.landarchart.2020.17.02.

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The article analyses the impact of natural environment on the creation of a Christian church design, as an example, reviews the Orthodox architecture of Ukraine – historical and contemporary one. From time immemorial, Orthodox churches were erected in the most picturesque places – on high hills, steep banks, near rivers and lakes – so that the temple was reflected in the water surface. A typical example is the historical silhouette of the steep right bank of Kyiv, formed by many churches, cathedrals and monasteries located along the edge of the hilly shore. If temples in the urban environment were constrained by the conditions of dense quarterly development (the principal cathedrals and monasteries were an exception), then the peculiarity of the remote suburban monasteries – the hermitages – was precisely the creation of nature and architecture picturesque combination. At the monasteries, parks, gardens and flower beds were created, artificial lakes were arranged. During the domination of the atheistic ideology, temple construction was in decline, most of the cathedrals, churches and monasteries were destroyed or redesigned under the socialist functions of clubs, museums of atheism, schools and storages. The contemporary course in the creation of new Orthodox churches is aimed at restoring the lost sequence in the church building. In this case, particular attention is paid to the natural environment: churches are built in park areas, in forest parks, on the banks of lakes, surrounded by flower beds. The relevance of the study is explained by the presence in Ukraine of a large number of Orthodox churches – both architectural monuments and newly built, which are traditionally surrounded by gardens, parks and flower gardens as symbols of their non-earthly purpose, the image of the Garden of Eden. Therefore, during the restoration and new construction of such objects, it is necessary to understand the features of the сhurch landscape design, which has been formed and improved over the centuries.

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Aoki, S. "CONSERVATION AND RESTORATION OF ARCHAEOLOGICAL OBJECTS EXCAVATED AT THE AZUMAZAKA TOMB." Studies in Conservation 33, sup1 (January 1988): 126–29. http://dx.doi.org/10.1179/sic.1988.33.s1.029.

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Doménech-Carbó, Antonio, and María Teresa Doménech-Carbó. "Electroanalytical techniques in archaeological and art conservation." Pure and Applied Chemistry 90, no. 3 (February 23, 2018): 447–61. http://dx.doi.org/10.1515/pac-2017-0508.

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AbstractThe application of electrochemical techniques for obtaining analytical information of interest in the fields of archaeometry, conservation and restoration of cultural heritage goods is reviewed. Focused on voltammetry of immobilised particles and electrochemical impedance spectroscopy techniques, electrochemical measurements offer valuable information for identifying and quantifying components, tracing provenances and manufacturing techniques and provide new tools for authentication and dating.

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Moncrieff, Anne, and Marjorie Shelley. "The Care and Handling of Art Objects: Practices in the Metropolitan Museum of Art." Studies in Conservation 36, no. 2 (May 1991): 125. http://dx.doi.org/10.2307/1506339.

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Ubierna, Marta Gómez, and Eleonora Vittorini Orgeas. "AbC Art blog Conservation Blog Magazine about conservation and restoration of cultural Heritage." IOP Conference Series: Materials Science and Engineering 364 (June 2018): 012046. http://dx.doi.org/10.1088/1757-899x/364/1/012046.

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Wanhill, Russell. "Embrittled Ancient Silver and Iron Objects and Their Conservation." Microscopy Today 17, no. 5 (September 2009): 34–39. http://dx.doi.org/10.1017/s1551929509000352.

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Embrittlement of ancient metals is often complex. The details of embrittlement should be investigated in order to select the best remedial measures for restoration and conservation. This article surveys the techniques used for investigating several ancient embrittled silver artifacts and an iron pile-shoe from a Roman bridge. The possibilities for preserving such objects are also discussed.

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Serain, Clément. "The Sensitive Perception of Cultural Heritage’s Materiality through Digital Technologies." Studies in Digital Heritage 2, no. 1 (September 26, 2018): 95–105. http://dx.doi.org/10.14434/sdh.v2i1.24606.

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This article focuses on the impact of digital technologies in the field of cultural heritage conservation and restoration (i.e., Conservation Science). It arises from thesis research I am currently preparing at Paris 8 University, in France. Having observed a renewal of our relationship to cultural heritage through information and communication technologies, I aim to explain how these technologies affect our sensitive perception and consequently our understanding of the materiality of virtually represented objects. In the double context of the museum institution and the conservation-restoration field, whose mission is not simply to transmit objects but also to transmit knowledge about the materiality of these objects, we will try to understand more precisely the effect of these digital technologies on sensory and temporal-spatial perception of objects important to cultural heritage.

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Krčma, F., L. Blahová, P. Fojtíková, W. G. Graham, H. Grossmannová, L. Hlochová, J. Horák, et al. "Application of low temperature plasmas for restoration/conservation of archaeological objects." Journal of Physics: Conference Series 565 (December 16, 2014): 012012. http://dx.doi.org/10.1088/1742-6596/565/1/012012.

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Aoki, S. "Conservation and restoration of archaeological objects excavated at the Azumazaka tomb." Studies in Conservation 33, no. 1 (January 1988): 126–29. http://dx.doi.org/10.1179/sic.1988.33.1.126.

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Pawłowska, Aneta. "African Art: The Journey from Ethnological Collection to the Museum of Art." Muzeológia a kultúrne dedičstvo 8, no. 4 (2020): 161–76. http://dx.doi.org/10.46284/mkd.2020.8.4.10.

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This article aims to show the transformation in the way African art is displayed in museums which has taken place over the last few decades. Over the last 70 years, from the second half of the twentieth century, the field of African Art studies, as well as the forms taken by art exhibitions, have changed considerably. Since W. Rubin’s controversial exhibition Primitivism in 20th Century Art at MoMA (1984), art originating from Africa has begun to be more widely presented in museums with a strictly artistic profile, in contrast to the previous exhibitions which were mostly located in ethnographical museums. This could be the result of the changes that have occurred in the perception of the role of museums in the vein of new museology and the concept of a “curatorial turn” within museology. But on the other hand, it seems that the recognition of the artistic values of old and contemporary art from the African continent allows art dealers to make large profits from selling such works. This article also considers the evolution of the idea of African art as a commodity and the modern form of presentations of African art objects. The current breakthrough exhibition at the Bode Museum in Berlin is thoroughly analysed. This exhibition, entitled Beyond compare, presents unexpected juxtapositions of old works of European art and African objects of worship. Thus, the major purpose of this article is to present various benefits of shifting meaning from “African artefacts” to “African objects of art,” and therefore to relocate them from ethnographic museums to art museums and galleries

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Faber, Katherine T., Francesca Casadio, Admir Masic, Luc Robbiola, and Marc Walton. "Looking Back, Looking Forward: Materials Science in Art, Archaeology, and Art Conservation." Annual Review of Materials Research 51, no. 1 (July 26, 2021): 435–60. http://dx.doi.org/10.1146/annurev-matsci-080819-013103.

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Cultural heritage materials, ranging from archaeological objects and sites to fine arts collections, are often characterized through their life cycle. In this review, the fundamentals and tools of materials science are used to explore such life cycles—first, via the origins of the materials and methods used to produce objects of function and artistry, and in some cases, examples of exceptional durability. The findings provide a window on our cultural heritage. Further, they inspire the design of sustainable materials for future generations. Also explored in this review are alteration phenomena over intervals as long as millennia or as brief as decades. Understanding the chemical processes that give rise to corrosion, passivation, or other degradation in chemical and physical properties can provide the foundation for conservation treatments. Finally, examples of characterization techniques that have been invented or enhanced to afford studies of cultural heritage materials, often nondestructively, are highlighted.

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Rjadova, М. N. "APPLICATION OF GIS TECHNOLOGIES FOR CONSERVATION OF LANDSCAPE ARCHITECTURE OBJECTS." Vestnik Tomskogo gosudarstvennogo arkhitekturno-stroitel'nogo universiteta. JOURNAL of Construction and Architecture, no. 6 (December 29, 2019): 70–78. http://dx.doi.org/10.31675/1607-1859-2019-21-6-70-78.

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The paper concern is preservation of the cultural heritage object and its adaptation for mod-ern use largely depending on completeness of its study and the amount of information availa-ble, including field studies. GIS technologies allow to analyze and update full-scale fixation. The purpose of the analytical method is to identify the possibility of GIS technologies of restoring cultural heritage of the Mount Parnassus in the Aleksandrovskii Park. The paper deals with the problems associated with the modern use of the Mount Parnassus. The analysis is given to publications in the field. The history of creation and previous restoration works are considered. In 2016, the Tsarskoye Selo Museum applied for the first time new 3D reconstruction technology for visualization and evaluation of the restoration projects in the Park. After the revival of the Catherine Park, the restoration of the Aleksandrovskii Park is one of the priorities. Preservation of cultural heritage requires a detailed scientific approach. Research and design documentation requires an accurate solutions of embedding and analyzing the existing landscapes. The applied advanced technologies have been developed in Russia over the past ten years by Geoscan to obtain high-precision orthophotographic charts of any territory. Unmanned aerial vehicles allow to work with various objects, from autonomous buildings to large air terminals. Photogrammetric software equips Museum workplaces with data processing and provides self-training in the data acquisition and processing. Aerial imagery data can be used for content, performance and quality control, DEMs, terrain models and 3D surfaces.

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Zambrzycki, Piotr, and Anna Selerowicz. "Marina el-Alamein Polish-Egyptian Conservation Mission. Conservation in 2017." Polish Archaeology in the Mediterranean 27, no. 1 (April 11, 2018): 85–92. http://dx.doi.org/10.5604/01.3001.0013.1967.

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The conservation program of the Polish–Egyptian Conservation Mission in Marina el-Alamein in 2017 included restoration of wall structures and architectural decoration elements damaged as a result of unfavorable climate conditions (Houses H9/H9a and H21, Rooms 10 and 11 in the Roman baths). Wall paintings exposed to weather conditions in situ were treated as part of another conservation project. Minor metal finds were also treated using both chemical and mechanical means in order to identify the objects.

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BUSS, Simon, and Vitaly A. SAMOGOROV. "TEN OBJECTS OF SAMARA CONSTRUCTIVISM: STRATEGY FOR PRESERVATION AND RESTORATION." Urban construction and architecture 9, no. 2 (June 15, 2019): 104–11. http://dx.doi.org/10.17673/vestnik.2019.02.14.

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The surviving examples of the architecture of ‘Samara Constructivism’ from the 1920s and 1930s are surveyed, from which ten of the most valuable buildings in acute need of restoration are identified. The basic principles of a conservation strategy are formulated, primarily: authenticity - favouring conservation of original materials and architectural arrangements wherever possible; due consideration of the immediate architectural and urban contexts; and reversibility - a presumption against interventions of a permanent nature which might harm the historical significance of the building. Concrete measures are described for restoring and adapting these buildings to modern use, including remedial works to building fabric, facade reconstruction and works to the adjacent streetscape and landscaping. Options for future use are discussed. These particular examples suggest the basis for a general approach to the restoration of Constructivist buildings of the 1920s and 1930s in Samara, in both functional and aesthetic terms, such that their authenticity and uniqueness is preserved.

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Bützer, Judith, and Katharina Klauke. "Integrating Art Conservation and Building Restoration in the Care of Organic Architecture." Studies in Conservation 65, sup1 (May 12, 2020): P31—P35. http://dx.doi.org/10.1080/00393630.2020.1758498.

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Rava, Antonio, Roberta Verteramo, and Oscar Chiantore. "THE RESTORATION OF A GROUP OF WORKS OF ART BY PIERO GILARDI." Studies in Conservation 49, sup2 (September 1, 2004): 160–64. http://dx.doi.org/10.1179/sic.2004.49.s2.035.

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Newman, Richard, Irene Konetal, Margaret Leveque, Elizabeth Lunning, Roy Perkinson, Brigitte Smith, Hermann Kühn, Alexandria Trone, and Hermann Kuhn. "Conservation and Restoration of Works of Art and Antiquities. Vol. 1." Journal of the American Institute for Conservation 27, no. 1 (1988): 41. http://dx.doi.org/10.2307/3179762.

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Peters-Klaphake, Katrin. "Collecting Art at Makerere Institute of Heritage Conservation and Restoration, Kampala." International Journal of the Inclusive Museum 4, no. 4 (2012): 1–14. http://dx.doi.org/10.18848/1835-2014/cgp/v04i04/44387.

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Crowley, Anne, and Debra F. Laefer. "Understanding Microcrystalline Waxes for the Seismic Protection of Art Objects." Journal of the American Institute for Conservation 47, no. 2 (January 2008): 119–38. http://dx.doi.org/10.1179/019713608806112133.

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Aldaz, A., T. España, V. Montiel, M. Lopez-Segura, and T. Espana. "A Simple Tool for the Electrolytic Restoration of Archaeological Metallic Objects with Localized Corrosion." Studies in Conservation 31, no. 4 (November 1986): 175. http://dx.doi.org/10.2307/1506249.

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Glanville, G. "Objects of Virtue: Art in Renaissance Italy." Journal of the History of Collections 15, no. 1 (May 1, 2003): 150–51. http://dx.doi.org/10.1093/jhc/15.1.150.

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Oddie, Graham. "What Do we See in Museums?" Royal Institute of Philosophy Supplement 79 (October 2016): 217–40. http://dx.doi.org/10.1017/s1358246116000151.

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AbstractI address two related questions. First: what value is there in visiting a museum and becoming acquainted with the objects on display? For art museums the answer seems obvious: we go to experience valuable works of art, and experiencing valuable works of art is itself valuable. In this paper I focus on non-art museums, and while these may house aesthetically valuable objects, that is not their primary purpose, and at least some of the objects they house might not be particularly aesthetically valuable at all. Second: to what ontological type or category do museum objects belong? What type of item should be featured on an inventory of a museum collection? I distinguish between typical objects and special objects. While these are different types of object, both, I argue, are abstracta, not concreta. The answer to the second question, concerning the ontological category of special objects, throws new light on various philosophical questions about museums and their collections, including the question about the value of museum experiences. But it also throws light on important questions concerning the preservation and restoration of museum objects.

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Journal articles on the topic 'Conservation and restoration of art objects'

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