Relevant bibliographies by topics / Restoration of art paintings

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Restoration of art paintings'

Author: Grafiati
Published: 4 June 2021
Last updated: 6 February 2022

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Journal articles on the topic "Restoration of art paintings"

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Di Tullio, Valeria, and Noemi Proietti. "New Insights to Characterize Paint Varnishes and to Study Water in Paintings by Nuclear Magnetic Resonance Spectroscopy (NMR)." Magnetochemistry 6, no. 2 (2020): 21. http://dx.doi.org/10.3390/magnetochemistry6020021.

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Paintings are complex multi-layered systems made of organic and inorganic materials. Several factors can affect the degradation of paintings, such as environmental conditions, past restoration works and, finally, the type of painting technique and the art materials used over the centuries. The chemical–physical characterization of paintings is a constant challenge that requires research into and the development of novel analytical methodologies and processes. In recent years, solvents and water-related issues in paintings are attracting more attention, and several studies have been focused on analyzing the interaction between water molecules and the constitutive materials. In this study, recent applications applying different NMR methodologies were shown, highlighting the weakness and the strength of the techniques in analyzing paintings. In particular, the study of water and its diffusive interactions within wall and oil paintings was performed to prove how the portable NMR can be used directly in museums for planning restoration work and to monitor the degradation processes. Furthermore, some preliminary results on the analysis of varnishes and binders, such us linseed oil, shellac, sandarac and colophony resins, were obtained by 1H HR-MAS NMR spectroscopy, highlighting the weakness and strengths of this technique in the field of conservation science.
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Unković, Nina. "Matej Sternen as a Restorer: Selected examples in Slovenia and Croatia." Ars & Humanitas 11, no. 1 (2017): 204–23. http://dx.doi.org/10.4312/ah.11.1.204-223.

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Matej Sternen (1870–1949) is better known as an impressionist painter rather than for his restoration work, even though in his impressive career he discovered and restored a considerable number of works, especially frescos in Slovenia and Dalmatia (Croatia). His strong interest in restoration can be seen in the numerous notes he wrote about painting technologies, restoration and conservation techniques. This enriched his entire opus, as it stimulated him to try numerous painting techniques and genres, such as frescoes. Sternen was a painter who constructed his paintings very carefully, and a master in the preparation of the painting’s surface, or “the ground,” and always considered the laws of colours and their relationships and proportions to the white painted surface.In his restoration practice, working together with his close colleagues the art historians France Stele (1886–1972) and Ljubo Karaman (1886–1971), Matej Sternen actualized the principle “conserve instead of restore” that was the rule in his day. This paper is based on fieldwork data and archive sources, kept in Ljubljana, Celje, Split and Zagreb, and focuses on two important monuments — the painted ceiling in the Old Manor House in Celje (Slovenia), and a wall painting in the church of St Michael in Ston (Croatia). These two cases, which are different from both technical and methodological approaches to monument protection, clearly show Sternen’s professional expertise and practical realization of “conserve instead of restore,” which speaks in favour of preserving the original work as opposed to aggressive restoration interventions.
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Unković, Nina. "Matej Sternen as a Restorer: Selected examples in Slovenia and Croatia." Ars & Humanitas 11, no. 1 (2017): 204–23. http://dx.doi.org/10.4312/ars.11.1.204-223.

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Matej Sternen (1870–1949) is better known as an impressionist painter rather than for his restoration work, even though in his impressive career he discovered and restored a considerable number of works, especially frescos in Slovenia and Dalmatia (Croatia). His strong interest in restoration can be seen in the numerous notes he wrote about painting technologies, restoration and conservation techniques. This enriched his entire opus, as it stimulated him to try numerous painting techniques and genres, such as frescoes. Sternen was a painter who constructed his paintings very carefully, and a master in the preparation of the painting’s surface, or “the ground,” and always considered the laws of colours and their relationships and proportions to the white painted surface.In his restoration practice, working together with his close colleagues the art historians France Stele (1886–1972) and Ljubo Karaman (1886–1971), Matej Sternen actualized the principle “conserve instead of restore” that was the rule in his day. This paper is based on fieldwork data and archive sources, kept in Ljubljana, Celje, Split and Zagreb, and focuses on two important monuments — the painted ceiling in the Old Manor House in Celje (Slovenia), and a wall painting in the church of St Michael in Ston (Croatia). These two cases, which are different from both technical and methodological approaches to monument protection, clearly show Sternen’s professional expertise and practical realization of “conserve instead of restore,” which speaks in favour of preserving the original work as opposed to aggressive restoration interventions.
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Karimova, Rukhayyo. "Restoration of Murals of the National Museum of Antiquities of Tajikistan." SHS Web of Conferences 50 (2018): 01233. http://dx.doi.org/10.1051/shsconf/20185001233.

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The paper analyses traditional and modern methods and technologies for preservation and restoration of wall paintings found through archaeological excavations in the Republic of Tajikistan. Medieval monuments such as the ancient Panjekent, Bundzhikat, Adzhina-Tepa and others gave a variety of works of pictorial art, including unique monumental paintings, the preservation of which presents a priority task for scientists, restorers and art experts. These artefacts are exposed in the State Hermitage Museum (St. Petersburg), the National Museum of Antiquities of Tajikistan, the Republican Museum of History and Local Lore of Rudaki in Penjikent and the National Museum of Tajikistan. The paintings portray diverse and interrelated household, mythological, religious and epic plots, battle scenes, scenes of feasts and hunting, as well as geometrical, vegetable, and zoomorphic motives. The study of these paintings helps scientists to study in detail the medieval history of Tajik people. Therefore, their preservation is the primary task of the corresponding experts. The paper is based on personal experience of the author in preservation and restoration of monumental paintings within international projects on preservation of cultural heritage of Tajik people.
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Dolšina, Marjana. "Art history and its dialogue with the wider public: promotion and raising the awareness of cultural heritage." Journal of Education Culture and Society 4, no. 1 (2020): 221–27. http://dx.doi.org/10.15503/jecs20131.221.227.

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The paper is based on the results of the project All This Painting hasn’t Gone to Waste, 2011, which deals with early 16th century sacral wall paintings in southern Slovenia. It tries to resolve out some dilemmas in communication with the wider public and presents main objectives in regard to awareness-rising and promotion of art heritage, for example encouragement of insti-tutions and individual experts for more intensive study and/or conservation-restoration work.
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Titarenko, E. M. "Russian painting of the 19th century in the context of the projective aesthetics of N.F. Fyodorov." Solov’evskie issledovaniya, no. 4 (December 15, 2019): 114–27. http://dx.doi.org/10.17588/2076-9210.2019.4.114-127.

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The article is dedicated to the insufficiently studied problem of N.F. Fyodorov’s projective aesthetics research connected to his interpretation of Russian painting of the 19th century. The objects of the analysis are such works of the philosopher as “The Question of Restoration of Kinship among Mankind. The Means for the Restoration of Kinship (Sobor)” (1880s), “About the Kremlin Walls Paintings” (1893), “Kremlin Walls” (1893), “The brilliant robber. (About Ge’s Painting “The Crucifixion”)” (1894), “Moscow Rumyantsev’s Museum by the Kremlin and the Monument to the Founder of this Museum in the Kremlin” (1898) and other works. The article considers N.F. Fyodorov’s analysis of paintings by A.A. Ivanov, N.N. Ge, V.V. Vereschagin, and I.E. Repin. The comparative investigation of the aesthetic program and artistic ideas of Ivanov and Fyodorov is based on the analysis of the painting “The Apparition of Christ before the People” (1858). The article traces the influence of the artist’s works on the conceptual and compositional creation of the “pictorial demonstration” of Fyodorov’s aesthetic supramoralism. It uncovers the specificity of the philosopher’s religious-philosophical discourse, defined by the iconographic traditions and imaginary system of Christian art. The analysis of Fyodorov’s texts dedicated to the paintings by Ge and Repin, reveals that he does not accept the aesthetic program of realism. The article defines the meaning of projective ecphrasis in Fyodorov’s critical account of Ge’s “Biblical cycle” as a theurgical project. The reception of Vereschagin’s painting is considered in the context of the historiosophical ideas of Fyodorov, based on the principles of Christian eschatology.
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Kougemitrou, I., G. Economou, J. Giovanopoulos, I. Baziotis, G. Leontakianakos, and V. Stathopoulos. "A mineralogical study of pigments used in two Iakovidis paintings: Verification of artwork authenticity using Raman micro-spectroscopy method." Bulletin of the Geological Society of Greece 47, no. 1 (2013): 392. http://dx.doi.org/10.12681/bgsg.11014.

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For the purpose of the current study, we examined two paintings, an original and a fake one, entitled “Still life with grapes”, and claimed both to be created from the Greek Painter G. Iakovidis. The current Research Project has been carried out at the Centre Nikias, an innovative Research Centre specialised on certification, maintenance and restoration of art works. Raman spectroscopic analysis has been carried to verify the authenticity of the used pigments and also the originality of the two paintings. The Raman spectra acquired confirmed four different colours in both painting`s pigments: red, blue, white and yellow. For the first painting Cinnabar for the red pigment, Ultramarine for the blue pigment, White earths for the white pigment and Yellow ochre for the yellow pigment. In the second painting the colours used verified as synthetic pigments. We identified the presence of Cadmium red for the red colour, Cobalt blue for the blue pigment, Zinc white for the white and Cadmium yellow for the yellow one.
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DRAGO, FRÉDÉRIC, and NORISHIGE CHIBA. "LOCALLY ADAPTIVE CHROMATIC RESTORATION OF DIGITALLY ACQUIRED PAINTINGS." International Journal of Image and Graphics 05, no. 03 (2005): 617–37. http://dx.doi.org/10.1142/s0219467805001914.

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This article presents a semi-automatic procedure to restore the visual appearance of aged paintings converted to a digital form. The innovative implementation of an image-processing algorithm based on the Retinex theory of human vision alleviates layers of yellowed varnish and dust, restores chromatic balance and contrast, and recovers some of the original painted details. This virtual cleaning of artwork is totally non-intrusive and can be applied automatically to color images of paintings or ancient illustrations. Cleaned virtual reproductions help art historians and restorers in their research and classification work, and also show the artwork in good condition to a wide audience while avoiding an always costly and dangerous manual restoration.
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Ye, Jian Hua. "Research on Protection and Restoration of Colored Paintings of Huixian Taoist Temple." Advanced Materials Research 598 (November 2012): 27–30. http://dx.doi.org/10.4028/www.scientific.net/amr.598.27.

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Huixian Taoist Temple is the Taoist architecture heritage of Quanzhen Religion during Jin and Yuan dynasties. The colored paintings kept in four main buildings possess history and art value. Based on the investigation and mapping of the existing paintings, the protection and restoration plan is determined according to the comparison, analysis and value estimation. Further discussion is forwarded on the protection method with advanced scientific concept and new technology.
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Prati, Silvia, Francesca Volpi, Raffaella Fontana, et al. "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 (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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Dissertations / Theses on the topic "Restoration of art paintings"

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Harkett, Daniel. "Exhibition culture in Restoration Paris." View online version; access limited to Brown University users, 2005. http://catalog.hathitrust.org/api/volumes/oclc/73488260.html.

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Thesis (Ph.D.)--Brown University, 2005.<br>Vita. Thesis advisor: Kermit S. Champa. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 271-289).
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Bayle, Beatrice. "Conserving mural paintings in Thailand and Sri Lanka : conservation policies and restoration practice in social and historical context /." Connect to thesis, 2009. http://repository.unimelb.edu.au/10187/7144.

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Jurnienė, Lina. "Dubliavimo metodų taikymas molbertinės tapybos restauracijoje: istorinės patirtys ir dabarties praktika." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2014. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2014~D_20140703_155632-74366.

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Šiame diplominiame darbe autorė apžvelgia buvusius ir dabartyje taikomus molbertinės tapybos dubliavimo metodus bei naudojamas medžiagas. Aprašomi žinomi paveikslų dubliavimo būdai Europoje.Nagrinėjami molbertinės tapybos paveikslų dubliavimo metodai LDM Prano Gudymo restauraimo centre, taikyti nuo įsikūrimo iki šių dienų. Lyginami įvairūs, skirtingų kūrinių konservavimo, dubliavimo atvejai. Detaliai aprašomas paveikslo "Biblijinė scena" konservavimo, dubliavimo procesas. Šiame darbe senieji žinomi molbertinės tapybos dubliavimo būdai bei panaudotos medžiagos lyginami su dabarties praktika ir metodais. Tyrimas atskleidė, jog kiekvienam darbui reikalingas kūrybiškas, metodiškas, mokslinis paveikslų konservavimo, dubliavimo metodas bei taikomos medžiagos.<br>Author of this Master’s Thesis reviews former and present methods and techniques of the lining of canvas paintings. Furthermore, all known European lining methods are described. Lining methods of the canv-as painting applied in Pranas Gudynas Center for Restoration since its foundation until present days are reviewed. Author reviews various cases of conservation and lining of the canvas paintings in Lithuania. Thesis describes in details conservation and lining process of the painting “Biblical Scene”. Old canvas paintings methods of lining, including the material used for lining, are compared in this Master’s Thesis. Research made reveals the fact that each piece of art needs creative, methodological, scientific approach to the conservation and lining methods and the materials used.
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Theodorakopoulos, Charalampos. "The excimer laser ablation of picture varnishes : an evaluation with reference to light-induced deterioration." Thesis, Royal College of Art, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.602333.

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Zhou, Yang. ""Sposalizio di S. Caterina" of Adriaen Isenbrant: diagnostic analyses of the painting with the aid of restoration." Master's thesis, Universidade de Évora, 2019. http://hdl.handle.net/10174/27682.

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Abstract: This study investigates the conservation status, previous intervention, executive techniques and pigment materials of the painting “SPOSALIZIO DI S. CATERINA”, attributed to Adriaen Isenbrant back to 16th century. The analysis was carried out based on the combination of scientific examination and restoration exploration. The scientific examination includes both in-situ non-invasive techniques and laboratory micro-destructive techniques. Non-invasive examination consists of the application of ultraviolet fluorescence (UVF), infrared reflectography (IRR), infrared false color (IRFC) and energy dispersive X-ray fluorescence (ED-XRF), whereas micro-destructive analysis comprises optical microscope (OM). The obtained results revealed that the painting was in a relatively good condition with several times of previous restoration, it was painted with typical Flemish painting techniques and materials in 16th century: a panel made of chestnut wood, a preparation layer composed of lead white colored in pale grey and brownish-orange, few of underdrawings and some pentimenti, with the palette composed of cinnabar and red ochre for red, verdigris or malachite for green, azurite for blue and yellow ocher for yellow. Moreover, this study provides an evidence that restoration, in particular during the cleaning of the painted surface and panel restoration process, is also acting as a very useful tool for painting investigation, being complementary with scientific examination, therefore it is of necessity to correctly and timely gather the information during the restoration process.
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Blažiūnas, Juozapas. "VILNIAUS SAKRALINĖS MOLBERTINĖS TAPYBOS KŪRINIŲ TVARKYBOS ISTORIJA NUO XVI A. IKI 1939 M." Doctoral thesis, Lithuanian Academic Libraries Network (LABT), 2013. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2013~D_20130627_103124-18418.

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Disertaciją pradeda bendra visos Vakarų Europos tapybos kūrinių atnaujinimo istorijos apžvalga, pirmųjų žinomų faktų apie tapybos kūrinių priežiūrą ir atnaujinimus Lenkijos karalystėje ir Rusijoje, o pratęsia Vilniaus bažnyčių ir vienuolynų sakralinių bei privačiuose rinkiniuose buvusių paveikslų tvarkybos analizė, tikintis išsiaiškinti bendrus istorinius dėsningumus. Bendrųjų Vilniaus miesto paveikslų tvarkybos istorijos bruožų kontekste šioje disertacijoje kaip atskiras tyrimo objektas nagrinėjami Vilniaus Šv. Pranciškaus Asyžiečio ir Šv. Bernardino Sieniečio (Bernardinų) bažnyčios ir bernardinų vienuolyno aplinkoje sukurti paveikslai bei jų atnaujinimo darbai. Disertacijoje pateikti paveikslų tvarkybos faktai kultūros istorijos kontekste atskleidžia, kodėl buvo atnaujinami meno kūriniai, kaip tokių darbų metu keitėsi paveikslai, kokie veiksniai buvo lemiami parenkant kūrinius tvarkyti: ar darbus lėmė kūrinio autorystė, siužetas, istorija, „dieviška kilmė“, „stebuklų veikimo laukas“ ir gerbimas – o galbūt tiesiog kūrinio būklė. Vilniaus bažnyčių ir vienuolynų paveikslų tvarkybos istorija nagrinėjama platesniame kultūrinių reiškinių kontekste, apimančiame ir bendras paveikslų atnaujinimo tendencijas Vilniaus vyskupijoje bei įvairius istorinius ir kultūrinius įvykius, kurie irgi lėmė meno kūrinių išsaugojimą. Dėl didelės darbo apimties, tyrimo naujumo ir pobūdžio nesiekta surinkti visų įmanomų duomenų apie nagrinėjamu laikotarpiu atnaujintus tapybos kūrinius, o tik... [toliau žr. visą tekstą]<br>The dissertation starts with a general overview of painting restoration history in Western Europe, the analysis of the first known facts about care and maintenance of paintings in the Kingdom of Poland and Russia, and is followed by an analysis of management of sacral paintings those were located in Vilnius churches and monasteries or were a part of private collections, conducted in order to determine general historical regularities. Comprehensive research on paintings of Vilnius Bernardine Church and Monastery from the aspect of management history is a factor that reveals broader and more in-depth processes of the phenomenon under investigation. The facts of painting management in the historical context that are presented in this dissertation reveal why these pieces of art were restored, how did the paintings change in the process of such work, what were the key factors behind choosing the pieces for restoration: was the choice based on the artist, or painting’s content, history, “heavenly origin”, “field of its miraculous influence” and respect – or just the condition of the piece. This creates favourable conditions to examine the paintings from a chosen aspect, i.e. to analyse the history of painting restoration in a specific environment, and to compare the results of the analysis with general tendencies in Vilnius church and monastery painting management. Due to the large volume of work, the novelty of the research and its nature, there was no intention to gather all the... [to full text]
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Svahn, Garreau Hélène. "I originalets tjänst : Om framställandet och bevarandet av kalkmåleri i svenska kyrkorum mellan 1850 och 1980." Doctoral thesis, KTH, Arkitekturens historia och teori, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-171078.

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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.<br><p>Forskningsfinansiärer: FoU-medel: Riksantikvarieämbetet, Brandförsäkringsverkets stiftelse för bebyggelsehistorisk forskning, Elna Bengtsssons fond och Tyréns stiftelse.</p><p>Ett läsår på Columbia University kunde genomföras med stöd av Fulbright Commission. Erik &amp; Lily Philipsons minnesfond och Axelson Johnsons stiftelse.</p>
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Ferrari, Alessandra. "Conservação e restauro de pintura: um mural de Carlos Páez Vilaró de 1974." Universidade Presbiteriana Mackenzie, 2006. http://tede.mackenzie.br/jspui/handle/tede/2737.

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Made available in DSpace on 2016-04-18T21:32:02Z (GMT). No. of bitstreams: 3 Alessandra Ferrari1.pdf: 842585 bytes, checksum: 7d1b75a548de27393c8bef0c7d65a862 (MD5) Alessandra Ferrari2.pdf: 376944 bytes, checksum: b908f74a72e594fe571ac830cf17beeb (MD5) Alessandra Ferrari3.pdf: 680077 bytes, checksum: 03328ef09daf62c0374f8928bf4b368b (MD5) Previous issue date: 2006-08-10<br>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.<br>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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Pedragosa, Garcia Núria. "La conservació del revers. Criteris de restauració del suport de tela de la pintura catalana moderna com a testimoni històric i artístic." Doctoral thesis, Universitat de Barcelona, 2005. http://hdl.handle.net/10803/672482.

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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.
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Leang, Marguerite. "Pénétration d'un solvant dans un gel poreux en consolidation : application à la restauration des oeuvres d'art." Thesis, Université Paris-Saclay (ComUE), 2017. http://www.theses.fr/2017SACLS469/document.

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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<br>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
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Books on the topic "Restoration of art paintings"

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Christine, Westphal, ed. The restauration [i.e. restoration] of paintings. Könemann, 1999.

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Emil Bosshard: Paintings conservator, 1945-2006 : essays by friends and colleagues. Centro Di, 2009.

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Ermitazh and State Hermitage Museum, eds. Hidden treasures revealed: Impressionist masterpieces and other important French paintings preserved by the State Hermitage Museum, St.Petersburg. The Ministry of Culture of the Russian Federation, The State Hermitage Museum in association with Weidenfeld & Nicolson, 1995.

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L' art rupestre en péril: Un patrimoine mondial à sauver. Pilote 24, 2001.

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Restoration: A novel. Doubleday, 2003.

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AURA Congress (1st 1988 Darwin, N.T.). Rock art and posterity: Conserving, managing and recording rock art : proceedings of symposium M, "Conservation and site management" and symposium E, "Recording and standardisation in rock art studies" of the First AURA Congress held in Darwin in 1988. Australian Rock Art Research Association, 1991.

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Rudner, Ione. The conservation of rock art in South Africa. National Monuments Council, 1989.

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Ornella, Casazza, ed. Primavera: The restoration of Botticelli's masterpiece. H.N. Abrams, 1986.

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France) Journées d'études de la S.F.I.I.C. (10th 2002 Paris. L'art avant l'histoire: La conservation de l'art préhistorique : 10es Journées d'études de la Section française de l'Institut international de conservation, Paris, 23-24 mai 2002. SFIIC, 2002.

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Rosenfeld, Andrée. Rock art conservation in Australia. 2nd ed. Australian Govt. Pub. Service, 1988.

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Book chapters on the topic "Restoration of art paintings"

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Andreotti, Alessia, Maria Perla Colombini, Mauro Matteini, and Antonio Paolucci. "CHAPTER 9. The Wall Paintings of the Monumental Cemetery of Pisa: The War, the Restoration, the Conservation." In Science and Art. Royal Society of Chemistry, 2020. http://dx.doi.org/10.1039/9781839161957-00193.

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Ranalli, Giancarlo, and Elisabetta Zanardini. "Advanced Biocleaning System for Historical Wall Paintings." In Microorganisms in the Deterioration and Preservation of Cultural Heritage. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-69411-1_10.

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AbstractThis chapter will focus on the potential role of safe microorganisms as biocleaning agents in the removal of altered or undesirable organic substances on historical wall paintings. Selected microbes can be adopted as biological cleaners to reduce and remove deterioration ageing phenomena, environmental pollutants and altered by-products of past intervention of restorations. The aim is to offer a comprehensive view on the role and potentiality of virtuous microorganisms pro- biocleaning of altered historical wall paintings. We also report four case studies in the CH restoration field, carried out in the last 25 years, with the innovative use of bacteria and different delivery systems, focusing the attention on the preliminary diagnosis and the monitoring of the whole process. The CH field represents a great challenge and Science and Art link together the work of conservator scientists and historians with researchers and scientists, sharing their diverse expertises and joining the knowledges to the preservation and the conservation of our artistic patrimony.
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Levinson, Jerrold. "Paintings, photographs, titles." In Figuring Out Figurative Art. Routledge, 2021. http://dx.doi.org/10.4324/9781315744179-13.

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Gaskell, Ivan. "Why Paintings? Why Art?" In Paintings and the Past. Routledge, 2019. http://dx.doi.org/10.4324/9780429199349-1.

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Bellucci, Roberto, and Cecilia Frosinini. "CHAPTER 13. Underdrawing in Paintings." In Science and Art. Royal Society of Chemistry, 2020. http://dx.doi.org/10.1039/9781839161957-00269.

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Handberg, Kristian. "Cosmonaut Paintings as Contemporary Art." In New Histories of Art in the Global Postwar Era. Routledge, 2021. http://dx.doi.org/10.4324/9780367140854-20.

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Pesce, Laura. "Rock Paintings: Primordial Graffiti." In Close Encounters of Art and Physics. Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-22730-2_1.

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Romero, Pantaleón D., and Vicente F. Candela. "Mathematical Models for Restoration of Baroque Paintings." In Advanced Concepts for Intelligent Vision Systems. Springer Berlin Heidelberg, 2006. http://dx.doi.org/10.1007/11864349_3.

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Ramsay, Barbara A., and John K. Jacobs. "Art Conservation and Restoration." In Fine Art and High Finance. John Wiley & Sons, Inc., 2015. http://dx.doi.org/10.1002/9781119204688.ch11.

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Gaskell, Ivan. "Paintings That Might or Might Not Be Art." In Paintings and the Past. Routledge, 2019. http://dx.doi.org/10.4324/9780429199349-6.

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Conference papers on the topic "Restoration of art paintings"

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Braden, Paul, and Kaitlyn Gainer. "Application of the Shape Memory Effect to Restore Smoothness." In ASME 2015 Conference on Smart Materials, Adaptive Structures and Intelligent Systems. American Society of Mechanical Engineers, 2015. http://dx.doi.org/10.1115/smasis2015-8827.

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A major worldwide industry is the display and preservation of historical and rare documents, paintings, canvases, tapestries and other works of art. Many private collectors and museums pay large amounts, such as the $23 million for the U.S. National Gallery and $8 million for the U.S. National Archives. There is an even greater demand for many consumers who desire an affordable way to safely maintain their images in top condition for viewing and enjoyment. Another industry where the smoothness of the paper documents is important is in the shipping and delivery business. Here, many shipments are done with cylindrical tubes that cause the paper to appear bent and not flat. In some cases, this can pose a major problem for scanning and electronic devices which need a flat surface for optimal performance. A novel new alternative to traditional conservation methods is the use of Shape Memory Alloys (SMA’s) to remove wrinkles and other surface anomalies. SMA’s use a thermoelastic property called the Shape Memory Effect (SME) to recover large strains by phase transformation. In this process, the SMA is stretched until the polycrystalline microstructure is detwinned Martensite. Then, energy in the form of heat is applied to the SMA which causes the phase transformation to the more compact Austenite. Thus, a reverse method is the proposed solution for the complex problem faced by art preservation experts. Instead of using large clamps and having to wait for results, we demonstrate how embedded SMA wires in a robust picture frame can provide a continuous restorative force that maintains the picture’s smoothness. Using proper simple wiring from the SMA wires to the picture, it is possible to remove the strains in the paper and hold the picture to the proper smoothness long term. We provide experimental results and offer suggestions for the future use of SMA’s in this new field of art restoration.
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Lu, Yue, Chao Guo, Xingyuan Dai, and Fei-Yue Wang. "Image Captioning on Fine Art Paintings via Virtual Paintings." In 2021 IEEE 1st International Conference on Digital Twins and Parallel Intelligence (DTPI). IEEE, 2021. http://dx.doi.org/10.1109/dtpi52967.2021.9540081.

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Lioret, Alain. "Being paintings." In the ACM SIGGRAPH 05 electronic art and animation catalog. ACM Press, 2005. http://dx.doi.org/10.1145/1086057.1086145.

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Abdel-Aziz, Omar A. A., and Essam E. Khalil. "Understanding Air Flow Patterns and Thermal Behaviour in “King Tutankhamen Tomb”." In ASME 2005 International Mechanical Engineering Congress and Exposition. ASMEDC, 2005. http://dx.doi.org/10.1115/imece2005-80465.

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The tombs of the Pharonic kings in “valley of the kings”, Thebes, Egypt are famous for their unique wall paintings and structure. KV62, King Tutankhamen tomb, is the most famous because of the treasures it held intact for over three thousand years. This tomb originally designed for a non-royal personage nevertheless was used for royal burial, and possessed a nearly intact set of burial equipment. The tomb was forgotten and a group of Rameside workmen’s huts were built over it later in antiquity. The walls of the tomb were smoother but, except for burial chamber, were left undecorated. The burial chamber is decorated with scenes from the Opening of the Mouth ritual, Book of the Dead, and representations of the king with various deities. The current status of the tomb is very critical as pink stain and black fungus spots have spread over decorated walls due to excessive moisture content in the air. Small portion of this moisture came from the ancient offerings placed in the tomb such as vegetation, and also from the gypsum plaster on which the decoration was painted, which may not have been fully dry when the tomb was sealed, visitors activities led to extra moisture production inside the tomb, this would naturally lead to an increase of those pink spots and fungus activities. For this purpose and in pursue of restoration operation it was suggested to design and install a special ventilation system that would reduce the relative humidity inside the tomb to normally acceptable environment for artifacts. Since this situation is novel and unique, the present work pursues a research plan to design and utilize a CFD model to numerically model the flow pattern, heat transfer and humidity in the tomb. A commercial CFD codes are also used in order to simulate the indoor air conditions, air flow velocities, temperatures and relative humidity patterns. In the present investigation, this technique is used in a parametric study to select the most suitable airside system design that doesn’t affect the archaeological theme of the tomb and that provides lower air velocities around the wall paintings as well as lower air humidity all over the tomb.
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Mol, V. Rakhi, and P. Uma Maheswari. "A Survey on Restoration of Paintings." In 2020 International Conference on Communication and Signal Processing (ICCSP). IEEE, 2020. http://dx.doi.org/10.1109/iccsp48568.2020.9182422.

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Gunsel, B., S. Sariel, and O. Icoglu. "Content-based access to art paintings." In rnational Conference on Image Processing. IEEE, 2005. http://dx.doi.org/10.1109/icip.2005.1530116.

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Smolka, Bogdan, Rastislav Lukac, Konstantinos N. Plataniotis, and Anastasios N. Venetsanopoulos. "Robust retrieval of fine art paintings." In Optical Metrology, edited by Renzo Salimbeni. SPIE, 2003. http://dx.doi.org/10.1117/12.504101.

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Bai, Rui, Huang Ling, Zhao Kai, Donglian Qi, and Qiao Wang. "Author recognition of Fine-Art paintings." In 2019 Chinese Control Conference (CCC). IEEE, 2019. http://dx.doi.org/10.23919/chicc.2019.8865492.

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Zhang, Kang, and Jinhui Yu. "Generating abstract paintings in Kandinsky style." In SIGGRAPH Asia 2013 Art Gallery. ACM Press, 2013. http://dx.doi.org/10.1145/2542256.2542257.

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Tominaga, Shoji, Mariko Nakagawa, and Norihiro Tanaka. "Perceptually-based image rendering of art paintings." In ACM SIGGRAPH 2005 Sketches. ACM Press, 2005. http://dx.doi.org/10.1145/1187112.1187265.

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Reports on the topic "Restoration of art paintings"

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Rajnovich, G. Reading rock art: interpreting the Indian rock paintings of the Canadian Shield. Natural Resources Canada/ESS/Scientific and Technical Publishing Services, 2002. http://dx.doi.org/10.4095/216231.

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