New paint,new challenges: Conservation of Roy Lichtenstein's outdoor sculpture House I

This paper deals with the conservation of Roy Lichtenstein's outdoor sculpture House I, conducted at Leeum, Samsung Museum of Art, Seoul, Korea. Having suffered from direct sunlight for more than a decade, the work presented severe paint fading and chalking. The purpose of the project was to provide the best possible protection by applying a durable paint material, while simultaneously preserving the colored surface that Lichtenstein had intended. A marine paint, which is relatively durable and was also utilized by the artist himself, was selected for the repainting system. An absence of practical experience and knowledge in Korea in relation both to the marine paint and its application led to many difficulties. During the actual application of the new paint, numerous technical problems arose which had to be solved in order to carry out the conservation treatment. To meet this demand, a close adherence to technical practice and an interdisciplinary study were carried out to provide the necessary understanding and compromise.     

Jack Chambers’ mixed media paintings from the 1960s and 1970s: Painting technique and condition

Abstract

This study describes the examination and analysis of four mixed media paintings from the 1960s and 1970s by Canadian artist Jack Chambers (1931–1978). The documentary evidence about his materials and methods is summarized and compared with the results of analysis of multilayer paint samples. The combination of Fourier transform infrared spectroscopy (FTIR) and gas chromatography-mass spectrometry (GC-MS) allowed the components of the paint media to be characterized: ortho-phthalate alkyd resins, iso-phthalate alkyd resins, drying oils, dammar, Pinaceae resin, and turpentine were identified in varying proportions. Many pigments and fillers were identified by FTIR and Raman and are enumerated. The effect that Chambers’ complex technique has had on the aging and degradation of the paintings is discussed. The severe cracking of the paint layers in one of the four paintings may be the result of a high proportion of dammar and turpentine diluent mixed with the alkyd paint and may also be related to the type of alkyd resin medium. Different history and environmental conditions may also be factors.     

A SIMPLE METHOD FOR THE IDENTIFICATION OF INDIGO

Abstract

Before commencing the conservation treatment of a fifteenth-century coffered ceiling in the convent of Santa Fe, Toledo, the painting materials were analyzed. Elemental analysis of the pigments was carried out by XRF spectrometry. Cross-sections were made of the samples for optical microscopy. The binding media and the varnish were identified by gas chromatography, by analyzing the fatty acids, terpenes and amino acids. Once the painting had been studied, consolidation treatment was applied using different materials according to the solubility of the paint layers. Animal glue was mainly used, and Paraloid B-72 to a lesser extent, as a preliminary to the structural reinforcement of the support.     

Two of a Kind: Shining New Light on Bronze Spiritelli Attributed to Donatello

ABSTRACT

Two Spiritelli attributed to Donatello have been extensively studied from a technical point of view, including X-radiography, alloy analysis, characterization of the core, and visual observations on the interior and exterior of the statues. The results of this technical study reveal how the two statues were cast and document the artist’s technical choices. These new insights offer additional information to address questions regarding their attribution, production context, and conservation history. First, the technical study confirmed that the statues were made by the same workshop and argues against the prior proposal of different attributions for the two figures. Second, the results strongly suggest that the statues have never been separated since they were taken off Luca Della Robbia’s Cantoria. Finally, study of the two Spiritelli offers further evidence of the heterogeneity and ingeniousness of Donatellos bronze artistic production, and contributes to the ongoing debate whether the artist himself was involved in the technical aspects of his sculpture.     

A seventeenth century Japanese painting: Scientific identification of materials and techniques

A Japanese painting on paper, in the form of a horizontal scroll from the Stibbert Museum in Florence, is being treated at the ISCR Paper Conservation Laboratory. The scroll, entitled Bamo Dōi-zu represents 33 different types of horses. Although there is no author's seal, it has been attributed to the famous Japanese artist, Kanō Sansetsu (1589–1651). Before conservation treatment, the artefact underwent technical and scientific examination in order to identify its materials and determine its conservation condition. As sampling paint layers from paintings on paper is extremely invasive, non-destructive techniques such as X-ray fluorescence spectroscopy, Raman spectroscopy, Fourier transform infrared spectroscopy, and spectrophotometry were employed. Several points from the paper support were analysed: the metal-leaf decorations, the seals and calligraphy, as well as the painted horses. Results detected and revealed a very simple palette: cinnabar (or its synthetic equivalent vermillion), shell white, carbon black, and the organic yellow gamboge. Pure gold and silver leaves were used for decorating the frontispiece. Useful information was obtained from the paper support and on its conservation conditions. Micro-destructive analyses were also performed on a few paper fragments for microscopic and scanning electron microscope equipped with an X-ray probe analysis. Results showed that materials and techniques are consistent with the Kanō School period.     

General remarks on the painting technique of Velazquez and restoration carried out at the Museo del Prado

Abstract

The collection of paintings by Velázquez in the Museo del Prado is important both because of the number of works — about 50 — and because of their quality and significance. It includes the Feast of Bacchus (The Drunkards), the Forge of Vulcan, Christ on the Cross, the Surrender of Breda (The Lances), the Fable of Arachne (The Spinners), Las Meninas and various royal portraits. Most of these works are in very good condition, which is essential for a proper study of the painter's technique and his development; in addition, since their source is the royal collection, they are well documented. Since 1982 most of the works by Velázquez in the Museo del Prado have been submitted to technical examination and to restoration. The technical studies included X-radiography, infrared reflectography, and analysis of the supports and materials, allowing us to establish the characteristics of each painting (technique, changes in composition, condition, history) and the development ofthe artist through the changes in his technique. Restoration consisted basically of consolidating the paint layers, moderate cleaning and the inpainting oflacunae. The only exception to the general good condition of the paintings was The Spinners, which presented a serious problem of craquelure and lack of adhesion in the paint layer.     

Preserving the Open Form. The Oskar and Zofia Hansen House in Szumin: Between architecture and contemporary art

A wooden summer house in Szumin, built between 1969 and 1970, is a spatial manifesto for the Open Form — a theory formulated by Polish architect, artist, and educator Oskar Hansen (1922–05). Oriented towards participation, process, and change in the hierarchy between the architect and the user, or the artist and the spectator, Hansen's theory formed a strong conceptual basis for his architectural, artistic, and pedagogical practice. Being a faithful expression of these ideas, the house is a spatio-temporal, transitional object, defined by constant adaptation to the changing needs of its users. In 2014 the property came into the custody of the Museum of Modern Art in Warsaw, Poland. A conservation strategy was developed to preserve both the idea and the physical aspect of the site. With its dominance of concept and artist's intent, this house has a stronger resemblance with a work of art than with built heritage. Therefore, the procedures developed for the conservation of contemporary artworks have been applied. These tools help to evaluate the range of necessary interventions and to set up a conservation programme.     

The materials and techniques used in the paintings of Francis Bacon (1909–1992)

Abstract

Materials from 38 paintings by Francis Bacon (1909–1992), including 21 complete works and 17 partially destroyed canvases are investigated. Observations are made of the artist's technique and details are compiled of the supports used. Samples of paint and priming were taken for analysis using polarized light microscopy, Fourier transform infrared spectroscopy (FTIR), gas chromatography–mass spectrometry (GC–MS), pyrolysis–GC–MS (Py–GC–MS), and scanning electron microscopy coupled with energy dispersive X-ray analysis (SEM–EDX). Analysis of priming layers appears to show that the priming composition correlates well with particular ranges of dates. A fairly limited range of materials are found, with many of the same pigments found in works spanning Bacon's career, though other pigments were introduced at different stages in his career. Oil paints were used consistently for the painting of figures, but household paints were increasingly used in backgrounds from the 1960s onwards. A variety of different synthetic media are found in later works, including household acrylic paints and spray paints. Increased knowledge of Bacon’s materials is expected to be of great value to conservators caring for the work of this highly significant artist, and is already helping in the authentication of works attributed to him.     

The evolution of Lucio Fontana's painting materials

Abstract

The study focuses on the range of pigments and media that the Italian artist Lucio Fontana (1899–1968) employed for selected works dating between 1949 and 1968. Samples were taken from ten groups of works, all on canvas support, as well as from painting equipment that survived in the artist's former two studios. Techniques of analysis used were pyrolysis-gas chromatography–mass spectrometry for media identification, and laser desorption ionization time-of-flight mass spectrometry and Raman microspectroscopy for pigment identification. Fontana's reputation as a daring and experimental artist, best known for his group of slashed paintings called tagli, is seen to correspond with certain unusual material choices he made. The study also points to several links that exist between seemingly unrelated cycles. These links are, among others, based on experiences with in part novel media such as oil, alkyd, polyvinyl acetate, acrylic, acrylic–vinyl, and mixtures of them. With regard to pigments, the selection of samples showed that they were mostly of a synthetic organic nature.     

Material characterization,stratigraphy, textures,and painting techniques of the mural painting The Allegory of the Industrial Development of São Paulo by Fulvio Pennacchi

ABSTRACT

This work presents a study of samples of the mural painting The Allegory of the Industrial Development of São Paulo (Alegoria ao Desenvolvimento Industrial Paulista), made in the city of São Paulo, Brazil, by the artist Fulvio Pennacchi. Using transmitted light petrographic microscopy, scanning electron microscopy coupled with energy dispersive X-ray spectrometry, and X-ray fluorescence, the stratigraphy, the textures, the mineralogy, and the chemical compositions of the mural were established; therefore the painting techniques, pigments, and materials applied by the artist were identified. The mural was painted with the fresco technique and variations. This technique involves the use of materials of mineral origin, both in the support and for the pigments. About the artist’s relevance, Fulvio Pennacchi is considered an important muralist of his time, being one of the pioneers in the production of frescoes in Brazil. The mural, measuring approximately 11?×?6?m, painted in 1954, was removed from where it was originally made, in consequence of a fire that affected the place. Specialized engineers transported it, and today it is stored awaiting restoration. The data presented here can support the process of restoration of the mural, as well as contribute to the improvement of protocols for the analysis of works of art, and to the historical record of mural painting techniques over time.     

A case study of the conservation of the polychromed wooden choirloft of the seventeenth-century church at Carabuco,Bolivia

Abstract

The restoration of the seventeenth-century adobe church at Carabuco, Bolivia, offers a model of how to conduct the preservation of the Latin American cultural heritage at remote sites. This paper details the conservation of the church's polychromed wooden choirloft, which had previously been restored in 1765-66 after this and other portions of the church collapsed. The choirloft is made oflocally grown eucalyptus wood painted all over with a tempera-based medium. It was executed by a local artist whose style draws on local folk-art traditions while reinterpreting European Renaissance decorative schemes. The choirloft conservation project had two goals: to guarantee its structural integrity and to stabilize the decorative paint layers. These goals were accomplished in a four-month conservation project which formed part of a larger effort to restore the church.     

This is so contemporary? Mediums of exchange and conservation

What conservation strategies can be used for Tino Sehgal's 2005 work This Is So Contemporary, and what are their relations to oral traditions? Sehgal's art leaves no material traces, as the artist resists the use of photos and videos acting as a documentary surrogate for his work. This paper will explore how Sehgal's non-written documentation strategies connect to the work of Yumutjin Wunungmurra, a contemporary artist and ceremonial leader from Northeast Arnhem Land, Australia. The connection will be tracked through the role of caretaker and custodian that features in the workflow of both artists. The paper asks whether the performance-based strategies discussed can support the notion of conservation as a social process with multiple stakeholders.     

Comparison of oil and egg tempera paint systems using time-of-flight secondary ion mass spectrometry

Time-of-flight secondary ion mass spectrometry (ToF-SIMS) is quickly becoming a critical tool in the field of art conservation. This technique provides high-resolution spatial maps of both inorganic and organic components located within cross-sectional samples collected from works of art. With recent advances in surface analysis, ToF-SIMS can now be used to identify specific amino acids present in protein-containing materials as well as fatty acids in drying oils. For example, the detection of the ion fragment associated with the amino acid hydroxyproline can be used to confirm the use of animal glue in a paint sample. As an analytical technique, ToF-SIMS avoids the need for derivatization/silylation reagents, with no interference by the presence of pigments. Furthermore, the layered systems that are often encountered in historical paint samples remain intact throughout the analytical procedure. This allows for the co-localization of organic and inorganic species in specific layers (e.g. egg yolk paint atop a glue ground). Because of this ability to localize the analytical signal to approximately 6?µm or less, the mass spectral information can be used to produce mass-resolved and spatially-resolve images which can be correlated to previous studies of the same samples. In this study, ToF-SIMS was used to analyze a paint cross section obtained from a painting attributed to Raphael, and another from a painting by the Sienese artist Matteo di Giovanni.     

A Preliminary Evaluation of the Surfaces of Acrylic Emulsion Paint Films and the Effects of Wet-Cleaning Treatment by Atomic Force Microscopy (AFM)

Abstract

The surfaces of acrylic emulsion (dispersion) paint films were investigated by atomic force microscopy (AFM), with supporting chemical information provided via infrared spectroscopy. The morphological and chemical features of the surfaces of a series of recently cast reference paint films were explored, including characterization of changes induced by exposure to water and mineral spirits. A portable in situ AFM system was also used to document the surfaces of acrylic emulsion paintings in Tate's collection. The complete and partial removal of migrated surfactant was successfully imaged alongside features arising from mechanical action. Differences in paint surfaces and migrated surfactant layers were observed in relation to pigment type, paint brand and exposure to accelerated ageing, in addition to applied wet surface cleaning treatments. The findings contribute to further understanding of the subtle changes occurring at acrylic emulsion paint film surfaces and are relevant to current debates on the removal/disturbance of original surface surfactant from these films through conservation treatment.     

Conservation of a contemporary lacquered screen: A collaborative,interdisciplinary, international project involving the artist,fabricators, and conservators from three different areas

This paper discusses issues surrounding the conservation of contemporary art within the private sector using a real example, a freestanding hinged and lacquered screen. The artwork developed severe damage whilst on display in a private collection when a section of the lacquer cracked and delaminated from the bottom of one of the panels, taking paint with it. This significantly compromised its pristine appearance, and preliminary observations suggested that restoration using traditional consolidation, retouching and varnishing techniques was highly unlikely to be successful. Initial contact with the artist led to negotiation with the original fabricator's studio. This highlighted the challenges involved in reinstating the badly damaged paint and resin using an approach that would still be acceptable within the code of ethics of the conservation profession, and the potential problems of sharing information with experts who are not conservators. Part painting, part sculpture and part furniture, the screen does not fall into the standard divisions of conservation practice. Its eventual treatment demanded collaboration between specialists in paintings, sculpture, lacquer work, and conservation science. The paper addresses three areas of importance to the conservation of contemporary art: the challenges of working as an interdisciplinary team to deal with complex (and sometimes conflicting) ethical approaches and material requirements; the difficulty in balancing the desire to preserve original materials with the need to produce a pristine result, and the importance of the artist's ratification of conservation to the market value of the work.     

NOTE ON THE TECHNIQUE AND CONSERVATION OF SOME THANG-KA PAINTINGS

Abstract

The article is a concise report on the art historical as well as technical aspects of thang-ka paintings. It also describes briefly the traditional methods and materials employed in the execution of these paintings. The artists’ materials described in the literature are compared with actual findings as a result of analysis of pigments, binding media and other materials involved in the execution of the thang-ka paintings. An outline of the causes of deterioration of thang-kas is also mentioned. Finally, an extensive account is given of the method of treatment carried out in the author's laboratory.     

Characterization of organic azo-pigments by pyrolysis–gas chromatography

Abstract

Pyrolysis–gas chromatography was applied to the characterization of synthetic organic pigments. On pyrolysis, azo pigments and phthalocyanine blue yield characteristic fragments. These pyrolysis products were identified, and the mechanism of decomposition was studied. In the case of paint samples, the main pyrolysis products derive from the medium, although the presence of additional peaks enables azo pigments and phthalocyanine blue to be characterized. Some examples of the analysis of artists' paints are given and the peaks are identified. The main limitation of this technique is that it is impossible to detect chemically and thermally stable pigments, or inorganic components.     

Materials and techniques: Early Buddhist wall paintings and sculptures at Sumda Chun,Ladakh

An assemblage of Buddhist wall paintings and sculptures dating to the twelfth/early thirteenth century are found distributed over the interiors of the temple complex at Sumda Chun, Ladakh. Detailed investigations carried out as part of a conservation project shed light on their antiquity and production technology. The sculptures are constructed with fine mud mortar applied over a wooden armature and affixed to the walls without any support from the ground. In both the sculptures and wall paintings, the paint layer is applied over a thin gypsum ground that functions as a white colourant where unpainted. For the paint layer, azurite, vermilion, and orpiment are the dominant mineral pigments utilized. Minium (red lead) has been used for preparatory drawings and as paint. Highlighting of special areas was achieved using a laminate of tin–lead alloy and gold on relief. Overall the material and techniques employed in the execution of the wall paintings and sculptures are consistent with those reported for other early sites in the region.     

The terracotta modelli of Palazzo Venezia in Rome: Investigation of the constituent materials for fundamental knowledge and to aid conservation decisions

This work presents the results of the investigation carried out on a group of terracotta sculptures (modelli) (sixteenth to eighteenth century) belonging to the extraordinary collection of Palazzo Venezia in Rome. The study, the diagnostic analysis, and the conservation work, were possible thanks to the grant supplied by the Getty Foundation of Los Angeles and by the bank Intesa San Paolo. The terracotta modelli had a practical function as they were of great use as sketches to the creation of the final masterpieces or as models for restoration. As a consequence, the terracotta models allow reconstructing the creative process of artists and restorers, fundamental to outlining the ancient workshop production. X-ray fluorescence spectroscopy, micro-stratigraphic investigation, Fourier transform infrared spectroscopy, and micro-Raman spectroscopy were chosen as useful techniques to study the morphology and composition of the surface-painted layers. Usually the surfaces were painted in order to simulate the materials of the sculpture for which the model was created, for example lead white was used to obtain a white surface simulating marble. But, often the models were re-painted to make them more attractive for the antique trade. So, several pigments have been found on the surfaces such as zinc white, Prussian blue, chrome yellow, and mono-azo pigment. In some cases, the characterization of the surface paintings was particularly important to the final decision about removing or leaving the surface paint in place.     

Investigation of the Painting Idyll Attributed to Henryk Siemiradzki: The Unusual Technology of a Canvas Painting Executed on an Enlarged Photograph

The subject of the research is an oil painting entitled Idyll created using an unusual technique. The painting layer was applied on canvas covered with photosensitive medium on which a photograph was developed. The results of the examination of Idyll in the context of its attribution to Henryk Siemiradzki (1843–1902) are discussed. Its atypical technology and the possibility of the artist having used the photographic technique are also considered. X-ray fluorescence spectroscopy, infrared spectroscopy, and scanning electron microscopy were performed to establish the technique and to characterize the pigments and materials used in the painting. The identified pigments and the information provided by analytical photography (UV, X-ray images) were compared with the results of the detailed examination of 56 of Siemiradzki’s oil paintings. Performed analyses revealed that the majority of the features identified in Idyll point to Henryk Siemiradski’s technique.