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Journal articles on the topic 'Restoration of art paintings'
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1
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.
Full textAbstract:
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.
4
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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Higuchi, Ryo, Tamaki Suzuki, Mina Shibata, Yoko Taniguchi, and Murat Gülyaz. "Digital non-metric image-based documentation for the preservation and restoration of mural paintings: the case of the Üzümlü Rock-hewn Church, Turkey." Virtual Archaeology Review 7, no. 14 (2016): 31. http://dx.doi.org/10.4995/var.2015.4241.
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<p class="VARKeywords">Digital photography is a valuable documentation technique for the preservation of a cultural heritage site because highresolution photography presents both general and detailed views of mural paintings and mural condition in a single image. Advanced digital technology is particularly helpful for preserving and restoring mural paintings given that the painting condition is recorded on high-resolution base maps shows how mural paintings are damaged by environmental stresses, mechanical damages and inappropriate treatments, among others. In addition, photogrammetric software technology is rapidly advancing and being applied to the digital documentation of mural paintings or rock art. Nevertheless, human experience and investigation of mural paintings is indispensable for recording the condition of mural paintings, and this highlights that every step of documentation conducted in situ is desirable. However, images by photogrammetric software do not show sufficient resolution because most normal portable computers used on-site are not usually sufficient. Based on our experience at the Üzümlü Church in Cappadocia, Turkey, we propose a new approach to document mural conditions in situ for preservation and restoration. Our method is based on a comparison of a non-metric but approximate high-resolution image with the actual mural paintings. The method does not require special instruments and enables digital documentation of the mural condition in situ at a low cost, in a short time frame and using minimal human resources.</p>
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Higuchi, Ryo, Tamaki Suzuki, Mina Shibata, Yoko Taniguchi, and Murat Gülyaz. "Digital non-metric image-based documentation for the preservation and restoration of mural paintings: the case of the Üzümlü Rock-hewn Church, Turkey." Virtual Archaeology Review 7, no. 14 (2016): 31. http://dx.doi.org/10.4995/var.2016.4241.
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<p class="VARKeywords">Digital photography is a valuable documentation technique for the preservation of a cultural heritage site because highresolution photography presents both general and detailed views of mural paintings and mural condition in a single image. Advanced digital technology is particularly helpful for preserving and restoring mural paintings given that the painting condition is recorded on high-resolution base maps shows how mural paintings are damaged by environmental stresses, mechanical damages and inappropriate treatments, among others. In addition, photogrammetric software technology is rapidly advancing and being applied to the digital documentation of mural paintings or rock art. Nevertheless, human experience and investigation of mural paintings is indispensable for recording the condition of mural paintings, and this highlights that every step of documentation conducted in situ is desirable. However, images by photogrammetric software do not show sufficient resolution because most normal portable computers used on-site are not usually sufficient. Based on our experience at the Üzümlü Church in Cappadocia, Turkey, we propose a new approach to document mural conditions in situ for preservation and restoration. Our method is based on a comparison of a non-metric but approximate high-resolution image with the actual mural paintings. The method does not require special instruments and enables digital documentation of the mural condition in situ at a low cost, in a short time frame and using minimal human resources.</p>
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Mouhoubi, Kamel, Vincent Detalle, Jean-Marc Vallet, and Jean-Luc Bodnar. "Improvement of the Non-Destructive Testing of Heritage Mural Paintings Using Stimulated Infrared Thermography and Frequency Image Processing." Journal of Imaging 5, no. 9 (2019): 72. http://dx.doi.org/10.3390/jimaging5090072.
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Within the framework of conservation and assistance for the restoration of cultural property, a method of analysis assistance has been developed to help in the restoration of cultural heritage. Several collaborations have already demonstrated the possibility of defects detection (delamination, salts) in murals paintings using stimulated infrared thermography. One of the difficulties encountered with infrared thermography applied to the analysis of works of art is the remanence of the pictorial layer. This difficulty can sometimes induce detection artifacts and false positives. A method of thermograms post-processing called PPT (pulse phase thermography) is described. The possibilities offered by the PPT in terms of reducing the optical effects associated with the pictorial layer are highlighted first with a simulation, and then through experiments. This approach can significantly improve the study of painted works of art such as wall paintings.
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Sucevic Miklin, Maja. "Overpaints and inpainting on the “Black flag” by Ljubo Babić." Ge-conservacion 18, no. 1 (2020): 291–97. http://dx.doi.org/10.37558/gec.v18i1.848.
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This paper will present the restoration carried out at the end of 2017 on an oil painting called the “Black flag”, by Ljubo Babić, that stands today as one of the five more important paintings in Croatian modern art history. The focus will be on previous interventions – retouches and overpaintings – that were found on such an important painting, as well as the complex process of inpainting.
 After a partial removal of the previous interventions, some particles of dirt were still left embedded in the texture. This condition and the artist's paint effects determined the inpainting process. A mimetic inpainting method was chosen, consisting into a two stages process, intermediated with a varnish application: gouache colours to reconstruct the image and pigments mixed with Canada balsam to finish the process. This method resulted in a good reintegration of the retouch and in the overall appearance of the painting.
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Ooi, Salvador, Martins, Pereira, Caldeira, and Ramalho. "Development of a Simple Method for Labeling and Identification of Protein Binders in Art." Heritage 2, no. 3 (2019): 2444–56. http://dx.doi.org/10.3390/heritage2030150.
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Easel paintings are assets with an important historic and cultural value. They usually possess a multi-tiered structure, composed of different layers some of which may present protein binders, making it important to identify these materials for restoration and conservation purposes. We propose the identification of different protein binders by a new fluorescent labeling method employing a coumarin based chromophore, C392STP (sodium(E/Z)-4-(4-(2-(6,7-dimethoxycoumarin-3-yl)vinyl)benzoyl)-2,3,5,6-tetrafluorobenzenesulfo-nate). The method was optimized using commercial proteins and was further tested on proteins extracted from hen’s egg yolk, white bovine milk, and rabbit skin glue. To model more realistic conditions, paint models of easel paintings were prepared. The paint models were made with hen’s egg yolk, white bovine milk, and rabbit skin glue, mixed with different pigments and submitted to artificial aging. Then the extracted proteins from the paint models were labeled with C392 which allowed a sensitive and selective identification by polyacrylamide gel electrophoresis (PAGE) of the different protein binders used. As a final test, three 19th century easel paintings, from the Italian painter Giorgio Marini, were analyzed. The results show the potential of the proposed method for the identification of protein binders present in easel paintings.
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Mezzadri, Paola. "Contemporary Murals in the Street and Urban Art Field: Critical Reflections between Preventive Conservation and Restoration of Public Art." Heritage 4, no. 3 (2021): 2515–25. http://dx.doi.org/10.3390/heritage4030142.
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This paper focuses on the presentation of some of the main critical reflections concerning the current debate about conservation and restoration of contemporary murals in the Street and Urban Art field. More and more, the operations thought of for this kind of wall paintings are connected to the concept of preventive conservation or some actions with the aim of reducing the future deterioration linked to the outdoor context. The idea of protecting urban and street murals arises from two principal issues: on one hand, the (not yet) official, but social, recognition of them as works of art and beloved icons in the communities—or better “testimonies which spread the values of civilization” (definition of Cultural Heritage) from the last decades of the XX century to nowadays—and, on the other hand, the necessity of finding a way to preserve their artistic messages in the ephemeral urban context. In fact, developing a correct plan for the conservation and restoration of these works of art located in the outdoor context needs to consider—more than ever—the strict relationship between their materials, their environment, and even their viewer. This fragile axiom is strictly linked to the law of the street, where all the decay processes are, often, unpredictable. At the moment, the ICR’s (The Istituto Centrale per il Restauro) research in this field is focused on a work in progress project to develop some trials and tests with innovative materials for their preservation and a common glossary to outline particular forms of damaging in murals often based on “plastic on a wall”. The final aim could be to define institutional guidelines for the preservation of urban and street contemporary mural paintings in a perspective of a “share for care” conservative program.
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Amura, Annamaria, Landi Luisa, Luigi Pisani, Maria Veronica Soro, Giorgia Zantedeschi, and Stefano Pagnotta. "Image analysis applied to the planning of a canvas painting restoration intervention." Ge-conservacion 18, no. 1 (2020): 339–46. http://dx.doi.org/10.37558/gec.v18i1.822.
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This work proposes a methodology of digital analysis of the state of conservation of a canvas painting to solve difficulties related to the pictorial reintegration of paintings that present an excessive number of different lacunae in terms of size and extent. The case study is related to the small-size oil on canvas painting executed by an unknown artist, where the lacunae were challenging to analyze and localize graphically. Therefore, it required a careful evaluation of the approach to be used during the pictorial reintegration intervention. Using an image analysis method, based on the semi-automatic extraction approach, the state of conservation’s graphic relief outlining different virtual operating proposals was obtained.
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Higuchi, R., H. Sugawara, and M. E. Gülyaz. "PHOTOGRAMMETRY USING VIRTUAL RESTORATION OF WALL-PAINTINGS OF THE ROCK-HEWN CHURCHES IN THE GÖREME VALLEY, CAPPADOCIA AND ITS VALUE FOR THE MUSEUM’S CONTENTS." ISPRS Annals of Photogrammetry, Remote Sensing and Spatial Information Sciences IV-2/W6 (August 21, 2019): 83–89. http://dx.doi.org/10.5194/isprs-annals-iv-2-w6-83-2019.
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<p><strong>Abstract.</strong> Göreme Valley located in the center of Cappadocia, Turkey is famous for its spectacular landscape characterized by erosion. There are more than one hundred rock-hewn churches in Göreme Valley and some of them have distinct wall-paintings in the Byzantine style. Although a significant place for Byzantine art many of the churches here are at risk of collapse due to erosion. Furthermore there is no comprehensive documentation of the churches concerning both the wall-paintings and their three-dimensional shapes This paper aims: 1) to present two kinds of virtual restoration using 3D-modeling by photogrammetry, virtual toning and virtual restoration, based on Göreme Valley's special context, in which many churches were painted by the same painter/workshop; 2) to discuss the value of the use of 3D-modeled materials as a museum exhibition.</p>
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Monson, Craig. "Elena Malvezzi's keyboard manuscript: a new sixteenth-century source." Early Music History 9 (October 1990): 73–128. http://dx.doi.org/10.1017/s0261127900001005.
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It is safe to say that the collections of the Museo Comunale Bardini, situated in Piazza dei Mozzi on the oltrarno in Florence, remain comparatively little known. The museum's vast store of paintings, sculpture, architectural ornament, rugs and tapestries, armour, bronzes, furniture and musical instruments all belonged to Stefano Bardini, the nineteenth- and early twentieth-century collector and art dealer. Born in 1836 in the province of Arezzo, Bardini came to Florence to study painting at the Accademia delle Belle Arti. After the political turbulence of the 1860s, when Bardini fought with the Garibaldini, the young painter turned to restoration, connoisseurship and art dealing. By the age of forty-five he had established his reputation and an extraordinary personal collection. At the height of his career his patrons included the Rothschilds, the Vanderbilts, Isabella Gardiner and J. Pierpont Morgan. Many objects now in some of the world's best-known public collections passed through his hands.
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Van Duijn, Esther. "Head and Hands: Arthur van Schendel and Henricus Mertens, and Their Unique Role in the Development of the Rijksmuseum’s Paintings Restoration Studio (1930-70)." Rijksmuseum Bulletin 68, no. 3 (2020): 253–73. http://dx.doi.org/10.52476/trb.9675.
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The unique character of a present-day conservator lies in the rare combination of working at an academic level with your head and at a craftsman level with your hands. This has not always been the case. Historically the role of a restorer was that of a technician, craftsman and artist, while that of the museum curator was that of a thinker, writer and academic. This article focuses on the relationship between the curator and later director, Arthur François Emile van Schendel, and the paintings restorer Henricus Hubertus Mertens. Both started their careers in the museum in the early nineteen-thirties. Van Schendel’s interest in restoration and technical research may have been kindled at that time, but was fanned during the war, when he worked with the museum’s two paintings restorers – Mertens and his colleague Christiaan Jenner – to preserve the paintings collection under difficult circumstances. After the war, Van Schendel continued to develop in this field and quickly became an internationally recognised authority. He was closely involved in the treatment of Rembrandt’s Night Watch, carried out by Mertens in 1946 and 1947. It brought the museum international acclaim and Mertens became known as the specialist in the restoration of Rembrandt paintings. Although the relationship between Mertens and Van Schendel became more distant as the decades progressed, the post-war paintings restoration studio grew into a renowned department with three permanent restorers and many national and international students. While Van Schendel was a key figure in the international field of restoration and technical research, for example as one of the founders of ICC, ICOM Care of Paintings and ICCROM, Mertens played a more modest role. His legacy was the paintings he left behind. His expertise was disseminated at a national and international level through his students. And so both Van Schendel and Mertens played their own unique role in bringing the restoration department of the museum internationally into view.
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Van Duijn, Esther. "The Restoration of Rembrandt’s Syndics." Rijksmuseum Bulletin 66, no. 4 (2018): 346–61. http://dx.doi.org/10.52476/trb.9763.
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This article focuses on the reason why a cleaning controversy about the restoration of Rembrandt’s Syndics broke out nearly two and a half years after the work was completed in 1929 and how Rijksmuseum director Frederik Schmidt-Degener dealt with the challenges. Initiated by local artists from the Amsterdam artist society Arti et Amicitiae, the controversy was fuelled by provocative questionnaires circulated among artists and restorers by the daily De Telegraaf. A vindictive letter by Rijksmuseum restorer Pieter Bakker, who restored The Syndics in 1929, but left the museum on mental health grounds in 1930, fanned the flames still further, even though it was not published in the end. This cleaning controversy was not unique; arguments about the supposed dangers of cleaning paintings were fought out in public in European countries throughout the nineteenth and twentieth centuries. After a cleaning controversy about Frans Hals paintings in Haarlem – which dragged on between 1909 and 1927 – The Syndics cleaning controversy was the second in the Netherlands. It was also the last. This previously unexplored episode in the Rijksmuseum’s conservation history carries a lesson in open communication regarding the restoration of cultural heritage. It is a lesson that is still valid today.
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Riegl, Alois, Ittai Weinryb, and Max Koss. "On the Question of the Restoration of Wall Paintings." West 86th: A Journal of Decorative Arts, Design History, and Material Culture 27, no. 2 (2020): 250–69. http://dx.doi.org/10.1086/715377.
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Rabinovich, Daniel. "Cultural Heritage Chemistry." Chemistry International 40, no. 2 (2018): 58–59. http://dx.doi.org/10.1515/ci-2018-0234.
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Abstract The tools of analytical chemistry, and the expertise and enthusiasm of many of its practitioners, have had a profound influence in the field of cultural heritage [1, 2]. Analytical techniques, especially those involving non-destructive methods of examination, have played a key role in the characterization, restoration, and preservation of an incredible range of works of art and cultural heritage, including ceramics, textiles, paintings, books, drawings, sculptures, jewelry, and a myriad of artifacts made of glass, wood, or metal. In addition, modern analytical instrumentation has been successfully applied to study the techniques used to produce heritage materials, to verify the authorship or estimate the date of pieces of art, and to detect reproductions and forgeries.
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Cardeira, Liliana Querido, Ana Guerin, Ana Maria Dos Santos Bailão, António Estevão Candeias, and Fernando António Baptista Pereira. "Identification of crack models: case study on Adriano Sousa Lopes paintings." Ge-conservacion 12 (December 16, 2017): 111–25. http://dx.doi.org/10.37558/gec.v12i0.534.
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The study is being conducted within the framework of the conservation and restoration intervention on twelve paintings of the Portuguese artist Adriano de Sousa Lopes (1879-19). These artworks belongs to the painting collection of Faculty of Fine Arts, University of Lisbon (FBAUL). The aim of this study was to find a standard cracks pattern on these Sousa Lopes works. For that, it was carried out a mapping of existing cracks on this twelve paintings, through the open source software QGIS®. The cracks classification was based on Spike Bucklow and Knut Nicolaus methodologies. The outcome was compared with the technical documentation in an attempt to establish relationships between the materials and cracks. However, it was possible to find a typical cracks for the Lisbon period and another one for the Paris period. The prevailing cracks are from aging an drying, and their source derives from the low technique and poor quality of the material, excessive use of drying and negligence in preservation in the collection.
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Tomić, Radoslav. "Novi podaci o slici Teodora Matteinija u trogirskoj katedrali." Ars Adriatica, no. 1 (January 1, 2011): 159. http://dx.doi.org/10.15291/ars.435.
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The article presents new information about the altar painting “Blessed Augustin Kažotić, St John Evangelist and St James” in Trogir Cathedral. In the lower right corner, a previously unknown inscription was discovered during the restoration: Teodoro Matteini F. in Venezia 1805. Apart from the name of the distinguished Italian painter, Teodoro Matteini (Pistoia, 1754 - Venice, 1831), it states that it was made in Venice in 1805. This indisputably confirms the opinion published so far by Croatian and Italian art historians. Based on Italian and Croatian documents, it can be concluded that the key role in the commission of the painting was played by brothers Ivan Dominik (1761-1848) and Ivan Luka Garagnin (1764-1841), the noblemen of Trogir and respectable representatives of Dalmatian society in the early nineteenth century. They knew Matteini well because he was the painter who in 1798 painted a portrait of Ivan Dominik Garagnin who is mentioned in a letter as a steward of Trogir Cathedral. In the process of commissioning and designing the painting’s composition and details, an active part was played by the learned brothers’ friend and confidant, Giovanni de Lazara (Padua 1744-1833), a nobleman from Padua, knight of Malta, bibliophile, collector and inspector-conservationist of paintings in Padua and its environment from 1793 onwards.The painting shows St James, St John the Evangelist and a Trogir saint - blessed Augustin Kažotić (c. 1260-1323) - who was a bishop of Zagreb and Lucera. According to archival records, the citizens of Trogir provided Matteini with information about the saint and an older painting which served as a model for the new portrait. The painting was set in the new marble altar which had been installed by Nicolò and Zuane Degani in 1802.At Ca’ Pesaro (Galleria Internazionale d’Arte Moderna) in Venice, there is a drawing from 1805 signed by Matteini (pencil on paper, 431 x 283 mm) which depicts St James and is a preparatory sketch for his portrait on the Trogir painting.
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Zalaffi, Maria Sole, Ines Agostinelli, Najmeh Karimian, and Paolo Ugo. "Ag-Nanostars for the Sensitive SERS Detection of Dyes in Artistic Cross-Sections—Madonna della Misericordia of the National Gallery of Parma: A Case Study." Heritage 3, no. 4 (2020): 1344–59. http://dx.doi.org/10.3390/heritage3040074.
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In historical paintings, the detection of low amounts of pigments and dyes by Raman spectroscopy can sometimes be challenging, in particular for fluorescent dyes. This issue can be overcome by using SERS (surface-enhanced Raman spectroscopy) which takes advantage of the properties of nanostructured metal surfaces to quench fluorescence and enhance Raman signals. In this work, silver nanostars (AgNSs) are applied for the first time to real art samples, in particular to painting cross-sections, exploiting their effective SERS properties for pigment identification. The case study is the Madonna della Misericordia of the National Gallery of Parma (Italy). Cross-sections were analyzed at first by optical microscopy, SEM-EDS, and micro-Raman spectroscopy. Unfortunately, in some cross-sections, the application of conventional Raman spectroscopy was hindered by an intense background fluorescence. Therefore, AgNSs were deposited and used as SERS-active agent. The experimentation was successful, allowing us to identify a modern dye, namely copper phthalocyanine. This result, together with the detection of other modern pigments (titanium white) and expert visual examination, allowed to reconstruct the painting history, postdating its realization from the 15th century (according to the Gallery inventory) to 19th century with a heavy role of recent (middle 20th century) restoration interventions.
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Psilodimitrakopoulos, Sotiris, Evaggelia Gavgiotaki, Kristallia Melessanaki, Vassilis Tsafas, and George Filippidis. "Polarization Second Harmonic Generation Discriminates Between Fresh and Aged Starch-Based Adhesives Used in Cultural Heritage." Microscopy and Microanalysis 22, no. 5 (2016): 1072–83. http://dx.doi.org/10.1017/s1431927616011570.
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AbstractIn this work, we report that polarization second harmonic generation (PSHG) microscopy, commonly used in biomedical imaging, can quantitatively discriminate naturally aged from fresh starch-based glues used for conservation or restoration of paintings, works of art on paper, and books. Several samples of fresh and aged (7 years) flour and starch pastes were investigated by use of PSHG. In these types of adhesives, widely used in cultural heritage conservation, second harmonic generation (SHG) contrast originates primarily from the starch granules. It was found that in aged glues, the starch SHG effective orientation (SHG angle, θ) shifts to significantly higher values in comparison to the fresh granules. This shift is attributed to the different degree of granule hydration between fresh and aged adhesives. Thus noninvasive high-resolution nonlinear scattering can be employed to detect and quantify the degree of deterioration of restoration adhesives and to provide guidance toward future conservation treatments.
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Guillet, Jean-Paul, M. Roux, K. Wang, et al. "Art Painting Diagnostic Before Restoration with Terahertz and Millimeter Waves." Journal of Infrared, Millimeter, and Terahertz Waves 38, no. 4 (2017): 369–79. http://dx.doi.org/10.1007/s10762-017-0358-1.
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Baglioni, Michele, Giovanna Poggi, David Chelazzi, and Piero Baglioni. "Advanced Materials in Cultural Heritage Conservation." Molecules 26, no. 13 (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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Gerov, Georgi. "La nouvelle-métropole (l’église Saint-Stephane) à Nessébar: Résultats d’une recherche." Zograf, no. 36 (2012): 75–81. http://dx.doi.org/10.2298/zog1236075g.
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This paper presents the most important conclusions regarding the architecture and wall paintings of the New Metropolis (Church of St. Stephen) in Nesebar, adopted during the recent restoration works in this church, which were financed by the Leventis Foundation.
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Hommes, Margriet van Eikema, and Emilie Froment. "'Een doek van geene beteekenis' De nachtelijke samenzwering van Claudius Civilis in het Schakerbos van Govert Flinck en Jürgen Ovens technisch onderzocht." Oud Holland - Quarterly for Dutch Art History 124, no. 2-3 (2011): 141–70. http://dx.doi.org/10.1163/187501711798264193.
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AbstractBecause of its extreme darkness, The nocturnal conspiracy of Claudius Civilis by Govert Flinck (16151660) and Jürgen Ovens (1623-1678) holds an isolated position within the decoration program with the Batavian revolt in the galleries of Amsterdam's former Town Hall. Of course the canvas depicts a nocturnal scene with light from only the fire and the moon, but in this painting the darkness dominates virtually everything. The rough, rather sketchy execution, whereby large parts of the canvas are left unpainted is also peculiar. Because of this appearance, some art historians have thought it an outrage that this 'painting with no value' should have replaced Rembrandt's masterpiece with the same subject. However, Flinck and Ovens – both pupils of Rembrandt – were painters of the first rank and there is nothing in the oeuvre of either master that is reminiscent of this rather unbalanced gallery painting. The question is therefore: to what does this piece owe its inaccessible appearance? This, of course, also relates to the manufacture-process and function of the canvas. Archival records and historical texts contain many relevant details on the paintings' genesis but have so far mainly given rise to confusion. The technical investigation, carried out during the 2007-2009 conservation campaign of the Batavian series, now demonstrates that the painting's extreme appearance traces back to both its peculiar genesis that is wholly different from that of the other gallery paintings and to its unfortunate conservation history. It was found that the piece was never intended to be a permanent decoration: the canvas is the one surviving remnant of a series of temporary festive decorations that Flinck had produced in the summer of 1659 in honour of the visit of Amalia van Solms and the Orange family to the Town Hall. Because of the painting's temporary nature, Flinck has modified his usual working procedures. Rather than taking sturdy, durable linen he chose a thin, fine canvas; and instead of applying to his canvas a reliable ground layer he painted on it directly. Flinck elected for fast-drying water-based paint (gum arabic) and worked with an extremely modest palette: he coloured his canvas with a thinned brown paint and on this base modelled his figures with only black contours and beige highlights. The original idea was that Flinck's temporary works would be replaced by permanent decorations from his hand, consisting of twelve paintings. But because of his untimely death in 1660, the commission was divided between Jordaens, Lievens and Rembrandt. Rembrandt's painting, to replace Flinck's work with the nocturnal conspiracy, was almost immediately removed, probably in the summer of 1662. When the Bishop of Cologne visited Amsterdam shortly afterwards, this empty space needed to be filled in a hurry and Flinck's old decoration was retrieved from storage. Jürgen Ovens was commissioned to 'work up [= finish] a sketch by Govert Flinck into a complete ordonnance'. Once again we seem to be dealing with a temporary decoration, for the modest sum of 48 guilders was all that Ovens was paid. The painter only did what was absolutely essential – after applying an isolating glue layer, he just added a few lines and touches of colour in oil paint here and there, all just enough to clarify Flinck's image, which was by then probably somewhat battered. The planned replacement of the Flinck/Ovens' canvas by a permanent painting never materialized; oppressed by a shortage of finance, the city governors decided in 1664 to postpone for five years all commissions or purchases of paintings for the Town Hall. This is why Flinck's canvas, dressed up a little by Ovens, has remained in the gallery to this day. Obviously, this painting, produced for a strictly temporary purpose, was never intended to have such a long 'life'. An ungrounded canvas painted with water-based paint is highly fragile and discolours as the fabric ages. But quite apart from this discolouration the dark and empty impression that the painting conveys today, is mainly due to earlier treatments by those who had no understanding of its unique characteristics. As archival records show, in the eighteenth century the canvas was lined twice using glue; a treatment that involved the use of considerable amounts of water. In addition, over the centuries the painting has been varnished several times and in the 1960's it was given a wax-resin lining. It is because these treatments, each of which is totally unsuitable for a water-based canvas, that the painting has acquired its present patchy and dark orange-brown appearance. Since nothing can be done to remedy the consequences of the lack of understanding of previous centuries - one cannot return to the painting's original appearance - the aim of the recent restoration was to achieve a balance between the aspects of the painting that stem from its unusual manufacture-process and the qualities that are the consequence of its conservation history.
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Ali, Mona, Hanaa Shawki, and Hussein Marey Mahmoud. "Material characterization and restoration of mural paintings of El-Muzzawaka Tombs, Dakhla Oases, Egypt." Ge-conservacion 18, no. 1 (2020): 92–107. http://dx.doi.org/10.37558/gec.v18i1.773.
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The present study demonstrates scientific procedures applied to study mural paintings in two Graeco-Roman tombs of El-Muzzawaka, Dakhla Oases, Egypt. First, a series of analytical methods was applied to determine the chemical and mineralogical composition of pigment and plaster samples collected from the studied tombs. The analyses were performed by means of digitalized optical microscopy (OM), polarized light microscopy (PLM), scanning electron microscopy attached with X-ray microanalysis detector (SEM−EDS), X−ray diffraction analysis (XRD), and Fourier transform infrared spectroscopy (FT−IR). Analyses of the pigment samples revealed Egyptian blue, Egyptian green, green earth, black magnetite, and red/yellow ochres. The paintings were applied on a coarse plaster layer made of gypsum, anhydrite, calcite, and quartz. The preparation layer was made of two phases of calcium sulphate (gypsum and anhydrite). Further, the detection of an organic binder, of gum Arabic, confirms the application of tempera technique. The results showed that the bed rock samples contain variable amounts of quartz, anhydrite, montmorillonite, kaolinite, gypsum, and sodium chloride (halite). In situ observations showed several deterioration forms on the studied mural paintings. The destructive climatic condition of the region and the defects of the rock structure have contributed seriously in the deterioration process. Based on experimental tests, multi restoration procedures were applied in form of cleaning, reattaching paint flakes, applying injection grouts to detached layers, reconstruction of missing parts in the plaster, repair of wide-open cracks, and final protective consolidation of the painted surfaces. Further, recommendations to minimize any future damage were discussed.
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Holden, Wendy. "Photography as an Aid in Restoration: The Wall Paintings at Hōryū-ji." Visual Resources 3, no. 4 (1987): 273–85. http://dx.doi.org/10.1080/01973762.1987.9659096.
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Bann, Stephen. "Two Kinds of Historicism: Resurrection and Restoration in French Historical Painting." Journal of the Philosophy of History 4, no. 2 (2010): 154–71. http://dx.doi.org/10.1163/187226310x509501.
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AbstractThe historicist approach is rarely challenged by art historians, who draw a clear distinction between art history and the present-centred pursuit of art criticism. The notion of the ‘period eye’ offers a relevant methodology. Bearing this in mind, I examine the nineteenth-century phase in the development of history painting, when artists started to take trouble over the accuracy of historical detail, instead of repeating conventions for portraying classical and biblical subjects. This created an unprecedented situation at the Paris Salon, where such representations of history could be experienced as a collective ‘dream-work’, in Freud’s sense. In France, this new pictorial language dates back to the aftermath of the Revolution, and the activities of the ‘Lyon School’. Two artists, Richard and Révoil, were its leading proponents. However their initial closeness has obscured the differences in their approach to the past. Substituting for Freud’s ‘condensation’ and ‘displacement’ the concepts of ‘Resurrection’ and ‘Restoration’, I analyse the pictorial language of the two painters, taking two works as examples. The conclusion is that Révoil, also a collector, was a precursor of the historical museum, which convinces through accumulating objects. Richard, however, employs technical and rhetorical devices to evoke empathetic reactions, and anticipates the illusionism of cinema.
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Siegel, Jonah. "Owning Art after Napoléon: Destiny or Destination at the Birth of the Museum." PMLA/Publications of the Modern Language Association of America 125, no. 1 (2010): 142–51. http://dx.doi.org/10.1632/pmla.2010.125.1.142.
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A set of major old-master paintings looted from Spanish Royal Collections, including important canvases by Velázquez (fig. 1), Correggio, and others, was discovered in Joseph Bonaparte's baggage, abandoned along with the rest of his property as he fled from the Battle of Vitoria, which ended his tumultuous five-year reign as king of Spain in 1813. Years later the duke of Wellington offered to return the collection to the restored monarch. But Ferdinand VII—who owed his throne to the duke's victories—refused to take it. What in its day would have been called the return to legitimacy, the restoration of the Bourbon line after the defeat of Napoléon, did not result in the restitution of Napoleonic loot. The works remain at Apsley House, the duke's home in London, where they have been on display in the Waterloo Gallery since 1819, a usurper's booty transformed by its history into an emblem of royal generosity, gratitude, and military prowess (fig. 2). The collection is now part of the museum officially established at the duke's residence in 1947, following another European military cataclysm in which Britain prevailed.
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Ouizemann, Rachel. "Between conservation and restoration: the wall paintings in the church of the Crusaders in Abu Gosh and the authentication of the site as Emmaus." Byzantinische Zeitschrift 112, no. 3 (2019): 935–58. http://dx.doi.org/10.1515/bz-2019-0038.
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Abstract The wall paintings in the Crusader church in Abu Gosh were conserved and restored in two different operations in the last thirty years. While the conservation revealed new iconographies of the original wall paintings, the restoration added and changed details. The discernment between the two allows us once again to discuss the meaning of the original Crusader decoration program as a whole. This article argues that the frescoes decorating the church reference a set of prominent sacred places in the Holy Land, and suggests an interpretation of the murals in regard to the holy place to which it is linked and to the edifice it adorns.
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Ferrucci, Fabiano, Maria Rita Ciardi, and Annamaria Amura. "Conservation and virtual reconstruction of the Lucanian Paintings from the National Archaeological Museum of Paestum (ITALY)." Ge-conservacion 18, no. 1 (2020): 275–82. http://dx.doi.org/10.37558/gec.v18i1.852.
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This contribution presents the restoration and virtual reconstruction of a painted tomb from the Lucan period (4th century BC), now dismounted and kept in the deposits of the National Archaeological Museum of Paestum. The virtual reconstruction that was carried out is based on several elements: identification of traces of the original color on the surfaces; pigment analysis; study of the execution technique; iconographic comparison with other painted pieces of the same corpus and reconstruction by levels (colored backgrounds, decorative elements; figurative elements). The video, which illustrates both the restoration intervention of the tomb and the virtual reconstruction, was presented at the RECH5 conference and it can be seen at: https://www.facebook.com/officinabeniculturali.info/videos/200967307895086. It shows the different phases of the restoration work, such as cleaning and consolidation, and the subsequent reintegration of the virtual models, presenting how the intervention was carried out in a way that respects the authenticity of the work.
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Romanowska-Zadrożna, Maria. "A KNIGHT IN THE SERVICE OF ART. HANNA BENESZ IN MEMORIAM (1947–2019)." Muzealnictwo 62 (March 17, 2021): 13–22. http://dx.doi.org/10.5604/01.3001.0014.8096.
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Hanna Benesz graduated from the Institutes: of Art History and of Applied Linguistics at the University of Warsaw. Her whole career launched in 1975 remained inseparably connected with the National Museum in Warsaw, where she worked at the Gallery of European Art curating the Flemish and Dutch collections. She followed all the promotion steps: from assistant to curator. Benesz strongly believed that museum curator’s job was grounded in a perfect knowledge of the collection. Thanks to her research conducted into the paintings amassed in National Museum’s storerooms, she successfully attributed a substantial number of works and identified provenance of many. She studied iconography applying research methods worked out by iconology. Moreover, she focused on the paintings’ technical condition, this occasionally leading to spectacular ‘restorations’, e.g. the identification of a genuine work by Abraham Janssens (ca 1575–1632) the Lamentation of Christ in a forgotten work, previously considered to be a copy. Author and co-author of many exhibitions, she cooperated with museum curators around the world. Her exhibition on Baroque art reached as far as Japan. Benesz’s intention was not only to present the paintings from the National Museum’s collections through a direct contact of visitors with the works, but also in publications, mainly in English and online. As soon as she became curator, together with Maria Kluk she focused on working out the reasoned catalogue Early Netherlandish, Dutch, Flemish and Belgian Paintings 1494–1983 in the Collections of the National Museum in Warsaw and the Palace at Nieborów. Complete Illustrated Summary Catalogue, published in 2016. A year later, the Catalogue was honoured with the main prize in the Sybilla Competition in the category for publications, while the King of the Netherlands awarded Hanna Benesz with the chivalric Order of Orange-Nassau (Oranje-Nassau) of the 5th grade; she was decorated with it by the Ambassador of the Kingdom of the Netherlands during the 20th CODART Congress held at the Warsaw Łazienki Palace. Not only was Hanna Benesz an outstanding museum curator and scholar, but also a trusted friend and a warm empathetic person, sensitive to other people’s misfortunes.
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Markovic, Marijana, and Bojana Stevanovic. "The painted program in the dome of the Church of St. George in Dobrilovina." Zograf, no. 42 (2018): 209–29. http://dx.doi.org/10.2298/zog1842209m.
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The fairly well-preserved fresco paintings in the dome of the Church of St. George at the Dobrilovina Monastery feature some rather unusual programmatic and iconographical solutions. The depiction of the Presanctified Liturgy and the figures of some Old Testament characters represented in the drum of the dome have no known parallels in the dome programs of Post-Byzantine monuments in the area of the Patriarchate of Pec. A troparion dedicated to the patron saint of the church was inscribed in the ring of the dome, which also bears evidence to the learnedness of the creator of this fresco ensemble, an important source for the research of Serbian wall paintings from the period after the restoration of the Patriarchate of Pec.
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Cardeira, Liliana Querido, Frederico Henriques, Ana Bailão, Alexandre Gonçalves, António Candeias, and Fernando António Pereira. "Implementation of a documentation system for the tecnical study of the Adriano de Sousa Lopes Academic paintings at the Faculty of Fine Arts of the University of Lisbon (Fbaul)." Ge-conservacion 12 (December 19, 2017): 159–71. http://dx.doi.org/10.37558/gec.v12i0.555.
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The present article intends to present a model for the documentation and registry used in the diagnosis and intervention stages in conservation and restoration (C&R) of a set of twelve works by Adriano de Sousa Lopes, from the collection of the Faculty of Fine Arts, University of Lisbon (FBAUL). To this end, a free and open access geographic information system (GIS) software called QGIS® was used. During the analysis, several vector maps were produced, both for diagnosis and for conservation and restoration treatments (CR), namely the microcracks network, areas of loss, consolidation areas, textile microsurgery and chemical cleaning. The quantitative results obtained from the spatial analyses of the pictorial surfaces were recorded in the GIS database. Finally, it was verified that the technical study of works with the QGIS(R) program contemplates a spatial perception of the works of art for evidencing, in a systematic and integrated way, the phenomena of alteration of the pieces under analysis.
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Aswatha, Shashaank M., Jayanta Mukherjee, and Partha Bhowmick. "An Integrated Repainting System for Digital Restoration of Vijayanagara Murals." International Journal of Image and Graphics 16, no. 01 (2016): 1650005. http://dx.doi.org/10.1142/s0219467816500054.
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An integrated repainting system is proposed in this paper for digital restoration of images of heritage murals, which have historical significance in their painting styles and ritualistic contents. The repainting system uses an ensemble of conventional image processing tools, in tandem with some state-of-the-art image rendition techniques, such as scaled bilateral filtering, source-constrained inpainting, tonal processing, and texture mapping based on gradient fusion. Murals that are old by nearly four centuries, have been imaged in situ from the walls of temples under a controlled environment, and then they have been fed to our repainting system. As the work of mural art is highly subjective, and so is its interpretation, a battery of tests for subjective evaluation has been performed to compare the different stages of restoration. Three different tournament strategies have been followed to make the test result devoid of any subjective bias as far as possible. The overall evaluation result is quite encouraging, as the restored images exhibit a gradually improving quality through the different stages of restoration.
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Canepa, Marie-Claire, Michela Cardinali, Marianna Ferrero, Alessandro Gatti, and Cristina Quattrini. "A new aesthetic proposal for “Men at arms” by Donato Bramante." Ge-conservacion 18, no. 1 (2020): 375–83. http://dx.doi.org/10.37558/gec.v18i1.857.
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During the refurbishing of the “Lombard Art of the XV-XVI century” department at the Pinacoteca di Brera (Milan), concluded in 2018, the Conservation and Restoration Center “La Venaria Reale” had the opportunity to study and restore the famous pictorial cycle of Men at Arms by Donato Bramante (1488-89). The paper aims to present the methodological approach and the results obtained with the last conservation treatment, aimed at a new and updated aesthetic proposal for the pictorial cycle. The main objective was to re-establish the unity of the images, compromised by the numerous lacunae left visible by previous treatments, respecting at the same time the material features of the paintings and the evidence of their particular conservative history.The interdisciplinary work group* has reconstructed the complex conservative history of the detached wall paintings, thanks to the technical observation of the surfaces and the scientific characterization of the constituent materials. The results were compared with the available historical documentation, in particular with historical photographs. The project allowed us to retrace the profound changes that the concept of pictorial integration has encountered over time, from the beginning of the twentieth century to the present day. The conservation treatment also originated from the need of the Pinacoteca di Brera to update the aesthetic presentation of the works, facilitating the reading of the fragmented images due to numerous lacunae. d images due to numerous lacunae.
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Ciortan, Irina-Mihaela, Sony George, and Jon Yngve Hardeberg. "Colour-Balanced Edge-Guided Digital Inpainting: Applications on Artworks." Sensors 21, no. 6 (2021): 2091. http://dx.doi.org/10.3390/s21062091.
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The virtual inpainting of artworks provides a nondestructive mode of hypothesis visualization, and it is especially attractive when physical restoration raises too many methodological and ethical concerns. At the same time, in Cultural Heritage applications, the level of details in virtual reconstruction and their accuracy are crucial. We propose an inpainting algorithm that is based on generative adversarial network, with two generators: one for edges and another one for colors. The color generator rebalances chromatically the result by enforcing a loss in the discretized gamut space of the dataset. This way, our method follows the modus operandi of an artist: edges first, then color palette, and, at last, color tones. Moreover, we simulate the stochasticity of the lacunae in artworks with morphological variations of a random walk mask that recreate various degradations, including craquelure. We showcase the performance of our model on a dataset of digital images of wall paintings from the Dunhuang UNESCO heritage site. Our proposals of restored images are visually satisfactory and they are quantitatively comparable to state-of-the-art approaches.
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Benkara, Dana. "Restaurarea unei picturi pe pânză de Aurél Náray (1883–1948)." Anuarul Muzeului Etnograif al Transilvaniei 34 (December 20, 2020): 317–30. http://dx.doi.org/10.47802/amet.2020.34.17.
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"The restoration of a painted canvas by Aurél Náray (1883-1948) This study shows the restoration work made on the painted canvas of the Hungarian artist Aurél Náray (1883-1948), depicting an ecclesiastic subject (Saint Joseph with the infant Jesus). This oil painting comes from a private art collector and has the following dimensions: 42x57.5 cm, being sustained by a wooden stretcher. The painting is signed and dated by the artist himself on the lower left corner (“Aurél Náray 909”). The canvas is fixed on the underframe with metallic nails; as a result of the wood having dried, the frame shows slight distortions. The face of the painting displays small portions of missing white primer and/ or colour, erosions of the paint layer, two little punctures in the canvas, and a small area of distorted canvas placed toward the lower edge of the painting. Adherence of thin dirt can be observed on the surface of the painting while the back of the canvas bears heavy traces of dust and dirt, especially on its margins. The actual restoration process of the painted canvas referred to the following: drawing up the initial photograhic documentation, superficial dust cleaning on the back of the canvas, detachment of the painting from its old underframe and the building of a new and proper wooden stretcher. After the plainness of the painting was restored and the two small pricked points on the canvas were consolidated (with the use of Beva 371 adhesive), a strip lining on the margins of the canvas was carried out, in order to be able to fix the canvas on the new underframe. Cleaning of the surface came next, followed by the filling of the missing primer layer with putty. The chromatic integration of the painting was accomplished (after having sealed the original paint with a thin layer of intermediary varnish) with the use of low oil content colours and the final protection of a second satin varnish layer. Keywords: painted canvas, restoration, stretcher, strip lining, varnish "
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Reid, Susan E. "All Stalin's Women: Gender and Power in Soviet Art of the 1930s." Slavic Review 57, no. 1 (1998): 133–73. http://dx.doi.org/10.2307/2502056.
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This article will examine how the representation of gender in Soviet art during the second and third Five-Year Plans articulated relationships of domination in Stalinist society. Using female characters to stand for “the people” as a whole, painting and sculpture drew on conventional gender codes and hierarchy to naturalize the subordination of society to the Stalinist state and legitimate the sacrifice of women's needs to those of industrialization. The prevalence of female protagonists was closely connected with the promotion of the Stalin cult: women modeled the ideal attitude of “love, honor, and obedience.” As the triumph of conservative aesthetic hierarchies paralleled the restoration of traditional gender roles, I ask how women artists were to operate in these conditions.
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Gancarczyk, Joanna, and Joanna Sobczyk. "Data Mining Approach to Image Feature Extraction in Old Painting Restoration." Foundations of Computing and Decision Sciences 38, no. 3 (2013): 159–74. http://dx.doi.org/10.2478/fcds-2013-0007.
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Abstract In this paper a new approach to image segmentation was discussed. A model based on a data mining algorithm set on a pixel level of an image was introduced and implemented to solve the task of identification of craquelure and retouch traces in digital images of artworks. Both craquelure and retouch identification are important steps in art restoration process. Since the main goal is to classify and understand the cause of damage, as well as to forecast its further enlargement, a proper tool for a precise detection of the damaged area is needed. However, the complex nature of the pattern is a reason why a simple, universal detection algorithm is not always possible to be implemented. Algorithms presented in this work apply mining structures which depend of expandable set of attributes forming a feature vector, and thus offer an elastic structure for analysis. The result obtained by our method in craquelure segmentation was improved comparing to the results achieved by mathematical morphology methods, which was confirmed by a qualitative analysis.
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Mironova, Anna, Frederic Robache, Raphael Deltombe, Robin Guibert, Ludovic Nys, and Maxence Bigerelle. "Digital Cultural Heritage Preservation in Art Painting: A Surface Roughness Approach to the Brush Strokes." Sensors 20, no. 21 (2020): 6269. http://dx.doi.org/10.3390/s20216269.
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There is a growing interest in cultural heritage preservation. The notion of HyperHeritage highlights the creation of new means of communication for the perception and data processing in cultural heritage. This article presents the Digital Surface HyperHeritage approach, an academic project to identify the topography of art painting surfaces at the scale at which the elementary information of sensorial rendering is contained. High-resolution roughness and imaging measurement tools are then required. The high-resolution digital model of painted surfaces provides a solid foundation for artwork-related information and is a source of many potential opportunities in the fields of identification, conservation, and restoration. It can facilitate the determination of the operations used by the artist in the creative process and allow art historians to define, for instance, the meaning, provenance, or authorship of a masterpiece. The Digital Surface HyperHeritage approach also includes the development of a database for archiving and sharing the topographic signature of a painting.
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Candida Felici, Anna, Gabriele Fronterotta, Mario Piacentini, et al. "The wall paintings in the former Refectory of the Trinità dei Monti convent in Rome: relating observations from restoration and archaeometric analyses to Andrea Pozzo’s own treatise on the art of mural painting." Journal of Cultural Heritage 5, no. 1 (2004): 17–25. http://dx.doi.org/10.1016/j.culher.2003.07.001.
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Voderstrasse, Tasha. "Painted Churches of Medieval Lebanon: an Overview." Chronos 24 (March 28, 2019): 129–61. http://dx.doi.org/10.31377/chr.v24i0.433.
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The modern country of Lebanon preserves an important medieval and post-medieval legacy of standing churches and Christian religious art. After their discovery by western scholars in the 19th century, the art of the churches only attracted limited scholarly attention until about 100 years later, when they began to be studied in detail. Now a variety of studies have appeared on the churches and their art, including several books (Nordiguian and Voisin 1999 and subsequent new editions; Cruikshank Dodd 2004; Immerzeel 2009; Zibawi 2009) and numerous articles in both print and online. This article seeks to provide an overview of the studies of these monuments, first discussing the origins of the study of these churches and the viewpoints of the different scholars who have approached the material, and then examining some Of the surviving monuments. The churches discussed here date to what can be most accurately termed as a high medieval period of the 12th-13th centuries AD, when Lebanon was under the rule of the Crusaders. Nevertheless, while the region was under Crusader control, there is a growing recognition that the monuments that were produced were local art that was influenced from a variety of sources. Post-Crusader material will not be discussed, although it should be noted that the country also possesses important Christian art from the subsequent periods. The article will not only examine the standing architecture, but also the wall paintings, which have been the subject of considerable attention on the part of scholars in recent years. Further, other Christian religious items that would have been found or still can be found in the churches, such as icons, will also be treated here, particularly as a number of scholars have related the different art forms to each other. It is by examining all forms of Christian art surviving in Lebanon from this period that we can come to a better understanding of how and why this material was produced, as well as how the studies of this material has evolved through time. It can also help provide new ideas for further research, in addition to the valuable work of documentation, restoration, and interpretation that has been occurring since the end of the 20th century.
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Riegl, Alois. "The Restoration of the Wall Paintings in the Holy Cross Chapel of the Wawel Cathedral in Kraków." Grey Room 80 (August 2020): 50–67. http://dx.doi.org/10.1162/grey_a_00303.
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