Nath Cano | UNAM Universidad Nacional Autónoma de México (original) (raw)
Papers by Nath Cano
Heritage science, Apr 2, 2024
Alegoría de la construcción and Alegoría del trabajo were the first mural paintings commissioned ... more Alegoría de la construcción and Alegoría del trabajo were the first mural paintings commissioned to Saturnino Herrán (1887-1918), and they occupied a significant place in one of the most important schools in Mexico. The non-invasive methodology employed included different documentation phases and in situ multi-technique analyses. Hyperspectral imaging and digital radiography were used for a general characterization of the materials and were complemented with localized analyses by portable microscopy, and XRF and FORS spectroscopies. A complete identification of the original and the restoration palettes was achieved. Results from this work allowed us to understand the production context, painting technique, and conservation state, thus providing insights for the proper conservation of these murals, while also unveiling a new perception of the artist and his historical place among the muralist movement.
Heritage Science, 2024
Alegoría de la construcción and Alegoría del trabajo were the first mural paintings commissioned ... more Alegoría de la construcción and Alegoría del trabajo were the first mural paintings commissioned to Saturnino Herrán (1887-1918), and they occupied a significant place in one of the most important schools in Mexico. The non-invasive methodology employed included different documentation phases and in situ multi-technique analyses. Hyperspectral imaging and digital radiography were used for a general characterization of the materials and were complemented with localized analyses by portable microscopy, and XRF and FORS spectroscopies. A complete identification of the original and the restoration palettes was achieved. Results from this work allowed us to understand the production context, painting technique, and conservation state, thus providing insights for the proper conservation of these murals, while also unveiling a new perception of the artist and his historical place among the muralist movement.
CR. Conservación y Restauración, 2022
La Purísima Concepción, una pintura sobre tabla de gran formato del siglo XVIII, resguarda entre ... more La Purísima Concepción, una pintura sobre tabla de gran formato del siglo XVIII, resguarda entre sus profundas capas dos versiones de la Tota Pulchra, dispositivos técnicos y heterocrónicos adecuados a las necesidades del imaginario novohispano. La pintura custodiada en el depósito de colecciones del Museo exconvento de San Agustín Acolman del Instituto Nacional de Antropología e Historia (INAH), con ausencia de registros y documentación que den cuenta de su historia y lejos del circuito de las exhibiciones y catálogos por más de 80 años, es un ejemplo inédito de eventos de renovación para un mismo cuadro en la misma época novohispana. Su estudio fue parte de un proyecto de investigación sobre la pintura atribuida al retablo principal del templo regular agustino y fue definido por una metodología distribuida en fases de estudio documental, registro de imagen y estudios no invasivos en colaboración con el Laboratorio
Nacional de Ciencias para la Investigación del Patrimonio Cultural (LANCIC) del Instituto de Física (IF) de la Universidad Nacional Autónoma de México (UNAM). En el presente texto se desarrolla la interpretación de tres pinturas registradas en la misma, a través de técnicas de imagen con luz visible y rayos X digital; además, la confrontación con fuentes visuales y documentales que posibilitan relacionar las soluciones formales y plásticas propias de una tradición visual de la Virgen María en la Nueva España entre los siglos XVI y XVIII.
Color Research & Application
In 1952, contemporary artist Federico Silva (Mexico City, 1923-2022) carried out the first outdoo... more In 1952, contemporary artist Federico Silva (Mexico City, 1923-2022) carried out the first outdoor mural painting: The technique at the service of peace. At the end of 2021, the project for the study and conservation of this mural began with a diagnosis of its conservation, which was done through a multitechnique study based on the experience acquired in research projects from other contemporary mural paintings. This included the proposal of an adequate conservation strategy to resolve the stability of the painting, since the behavior of the synthetic paints exposed to the different effects of the outdoor environment has altered the perception, form and meaning of the mural. Main results from this approach by documentation and global examination with Visible Imaging and Digital Microscopy, allowed us to describe the color palette and its alterations. Additional examination of cross sections acquired from this mural, allowed a material characterization by means of optical microscopy (OM), micro-hyperspectral imaging, Fourier transformed infrared spectroscopy and X-ray fluorescence spectroscopies.
Color. Research & Application, 2023
In 1952, contemporary artist Federico Silva (Mexico City, 1923-2022) carried out the first outdoo... more In 1952, contemporary artist Federico Silva (Mexico City, 1923-2022) carried out the first outdoor mural painting: The technique at the service of peace. At the end of 2021, the project for the study and conservation of this mural began with a diagnosis of its conservation, which was done through a multitechnique study based on the experience acquired in research projects from other contemporary mural paintings. This included the proposal of an adequate conservation strategy to resolve the stability of the painting, since the behavior of the synthetic paints exposed to the different effects of the outdoor environment has altered the perception, form and meaning of the mural. Main results from this approach by documentation and global examination with Visible Imaging and Digital Microscopy, allowed us to describe the color palette and its alterations. Additional examination of cross sections acquired from this mural, allowed a material characterization by means of optical microscopy (OM), micro-hyperspectral imaging, Fourier transformed infrared spectroscopy and X-ray fluorescence spectroscopies.
The research on easel paintings from New Spain through scientific techniques began in the twentie... more The research on easel paintings from New Spain through scientific techniques began in the twentieth century thank to the efforts of professionals in conservation and applied science to cultural heritage. From the access of the archives of the Coordinacion Nacional de Conservacion del Patrimonio Cultural of Instituto Nacional de Antropologia e Historia and Instituto de Investigaciones Esteticas de la Universidad Nacional Autonoma de Mexico, the first practices of canvas and panel paintings studies with X-rays, made between 1950 and 1975 at INAH could be reconstructed with the agents involved, the theoretical, practical considerations and scope of their application and utility.
Heritage
Purísima Concepción, a large-format and unusual panel painting attributed to the 18th century, ba... more Purísima Concepción, a large-format and unusual panel painting attributed to the 18th century, based on style and the common aspect of the visual tradition of the Virgin Mary found in the Viceroyalty of New Spain, is sheltered at the Museo Ex-convento San Agustín Acolman-INAH, México, an institution opened in late 1920, and one of the oldest museums in México. In this work, we present the material characterization of the surface layer of the painting by means of a non-invasive methodology, resulting from the combination of imaging and spectroscopic techniques. Analysis of hyperspectral images employing methods such as spectral angle mapper and principal component analysis allowed us to describe spatial distribution of the pigments and manufacturing methods, while XRF and FORS allowed us to record the complex and diverse color palette employed to achieve effects such as brightness, hue, saturation, and even the covering power of this painting.
Heritage, Oct 19, 2021
Purísima Concepción, a large-format and unusual panel painting attributed to the 18th century bas... more Purísima Concepción, a large-format and unusual panel painting attributed to the 18th century based on style and the common aspect of the visual tradition of the Virgin Mary found in the Viceroyalty of New Spain, is sheltered at the Museo Ex-convento San Agustín Acolman-INAH, Mexico, an institution opened in late 1920 and one of the oldest museums in the country.
In this work, we present the material characterization of the surface layer of the painting by means of a non-invasive methodology, resulting from the combination of imaging and spectroscopic techniques. Analysis of hyperspectral images employing methods such as spectral angle mapper and principal component analysis allowed us to describe spatial distribution of the pigments and manufacturing methods, while XRF and FORS allowed us to record the complex and diverse color palette employed to achieve effects such as brightness, hue, saturation, and even the covering power of this painting.
C&R, 2020
The training in conservation of easel painting in Mexico has a long history. The historiography h... more The training in conservation of easel painting in Mexico has a long history. The historiography has been focused on the restoration of canvas, explains that the technical processes aimed at preserving the structure and appearance come from the New Spain era and maintains that professional development was consolidated until the 20th century. However, panel painting is also subject to an independent conservation approach. Based on the research, the conservation and education of the technology and conservation of panel paintings between 2013 and 2020 in various Mexican institutions such as the Escuela de Conservación y Restauración de Occidente (ECRO), Centro Nacional de Conservación y Registro del Patrimonio Artístico (CENCROPAM) and the Museo Nacional de Arte (MUNAL) of the Instituto Nacional de Bellas Artes y Literatura (INBAL); the Coordinación Nacional de Conservación del Patrimonio Cultural (CNCPC), the Museo Regional de Guadalajara (MRG) and the Museo Regional de Tlaxcala (MRT) of the Instituto Nacional de Antropología e Historia (INAH), a review and reflection about the study of these works from its technology; its damages; as well as the conservation strategies developed in the country, is presented.
CR. Conservación-Restauración, 2020
La investigación de pintura de caballete novohispana mediante técnicas científicas comenzó en el ... more La investigación de pintura de caballete novohispana mediante técnicas científicas comenzó en el siglo XX gracias a los esfuerzos de profesionales en conservación, historia del arte y ciencia aplicada al patrimonio cultural. A partir de la consulta de los archivos históricos de la Coordinación Nacional de Conservación del Patrimonio Cultural del Instituto Nacional de Antropología e Historia y del Instituto de Investigaciones Estéticas de la Universidad Nacional Autónoma de México, se pudieron reconstruir las primeras prácticas de estudio de rayos X de pintura sobre lienzo y tabla entre 1950 y 1975 en el INAH, los agentes involucrados, las consideraciones teóricas, prácticas y los alcances de su aplicación y utilidad.
The research on easel paintings from New Spain through scientific techniques began in the twentieth century thank to the efforts of professionals in conservation and applied science to cultural heritage. From the access of the archives of the Coordinación Nacional de Conservación del Patrimonio Cultural of Instituto Nacional de Antropología e Historia and Instituto de Investigaciones Estéticas de la Universidad Nacional Autónoma de México, the first practices of canvas and panel paintings studies with X-rays, made between 1950 and 1975 at INAH could be reconstructed with the agents involved, the theoretical, practical considerations and scope of their application and utility.
Intervención. Revista Internacional de Conservación, Restauración y Museología, 2019
La presente investigación expone la recuperación de tres fragmentos de pintura sobre tabla del es... more La presente investigación expone la recuperación de tres fragmentos de pintura sobre tabla del estado de Tlaxcala que, a finales del siglo XX, supuso un planteamiento teórico de estudio y aplicación de una metodología interdisciplinaria e interinstitucional de análisis historiográfico y técnico de las obras para conocer su significado, materialidad y alteración.
El testimonio documental que aportó el análisis histórico-formal, complementado con la interpretación de los resultados sobre la tecnología y el deterioro del conjunto en ruinas, permitió relacionarlo con un corpus pictórico que posiblemente se insertó en el retablo principal del templo conventual franciscano de Tepeyanco en la "Noble y Leal República de Naturales de Tlaxcala" en el último cuarto del siglo XVI.
This research presents the recovery of three fragments of panel painting in the state of Tlaxcala, Mexico. At the end of the twentieth century, these fragments were subject to a theoretical study, applying an interdisciplin- ary and inter-institutional methodology of historiographic and technical analysis in order to understand their meaning, technique, and alteration.
The documentary testimony provided by the formal historical analy- sis, and the interpretation of the results on the technology and deteriora- tion of the ruined complex helped relate these to a pictorial corpus that was likely inserted in the main altarpiece of the Franciscan conventual temple of Tepeyanco in the Noble and Loyal Republic of Indians of Tlaxcala in the 16th century.
Heritage science, Apr 2, 2024
Alegoría de la construcción and Alegoría del trabajo were the first mural paintings commissioned ... more Alegoría de la construcción and Alegoría del trabajo were the first mural paintings commissioned to Saturnino Herrán (1887-1918), and they occupied a significant place in one of the most important schools in Mexico. The non-invasive methodology employed included different documentation phases and in situ multi-technique analyses. Hyperspectral imaging and digital radiography were used for a general characterization of the materials and were complemented with localized analyses by portable microscopy, and XRF and FORS spectroscopies. A complete identification of the original and the restoration palettes was achieved. Results from this work allowed us to understand the production context, painting technique, and conservation state, thus providing insights for the proper conservation of these murals, while also unveiling a new perception of the artist and his historical place among the muralist movement.
Heritage Science, 2024
Alegoría de la construcción and Alegoría del trabajo were the first mural paintings commissioned ... more Alegoría de la construcción and Alegoría del trabajo were the first mural paintings commissioned to Saturnino Herrán (1887-1918), and they occupied a significant place in one of the most important schools in Mexico. The non-invasive methodology employed included different documentation phases and in situ multi-technique analyses. Hyperspectral imaging and digital radiography were used for a general characterization of the materials and were complemented with localized analyses by portable microscopy, and XRF and FORS spectroscopies. A complete identification of the original and the restoration palettes was achieved. Results from this work allowed us to understand the production context, painting technique, and conservation state, thus providing insights for the proper conservation of these murals, while also unveiling a new perception of the artist and his historical place among the muralist movement.
CR. Conservación y Restauración, 2022
La Purísima Concepción, una pintura sobre tabla de gran formato del siglo XVIII, resguarda entre ... more La Purísima Concepción, una pintura sobre tabla de gran formato del siglo XVIII, resguarda entre sus profundas capas dos versiones de la Tota Pulchra, dispositivos técnicos y heterocrónicos adecuados a las necesidades del imaginario novohispano. La pintura custodiada en el depósito de colecciones del Museo exconvento de San Agustín Acolman del Instituto Nacional de Antropología e Historia (INAH), con ausencia de registros y documentación que den cuenta de su historia y lejos del circuito de las exhibiciones y catálogos por más de 80 años, es un ejemplo inédito de eventos de renovación para un mismo cuadro en la misma época novohispana. Su estudio fue parte de un proyecto de investigación sobre la pintura atribuida al retablo principal del templo regular agustino y fue definido por una metodología distribuida en fases de estudio documental, registro de imagen y estudios no invasivos en colaboración con el Laboratorio
Nacional de Ciencias para la Investigación del Patrimonio Cultural (LANCIC) del Instituto de Física (IF) de la Universidad Nacional Autónoma de México (UNAM). En el presente texto se desarrolla la interpretación de tres pinturas registradas en la misma, a través de técnicas de imagen con luz visible y rayos X digital; además, la confrontación con fuentes visuales y documentales que posibilitan relacionar las soluciones formales y plásticas propias de una tradición visual de la Virgen María en la Nueva España entre los siglos XVI y XVIII.
Color Research & Application
In 1952, contemporary artist Federico Silva (Mexico City, 1923-2022) carried out the first outdoo... more In 1952, contemporary artist Federico Silva (Mexico City, 1923-2022) carried out the first outdoor mural painting: The technique at the service of peace. At the end of 2021, the project for the study and conservation of this mural began with a diagnosis of its conservation, which was done through a multitechnique study based on the experience acquired in research projects from other contemporary mural paintings. This included the proposal of an adequate conservation strategy to resolve the stability of the painting, since the behavior of the synthetic paints exposed to the different effects of the outdoor environment has altered the perception, form and meaning of the mural. Main results from this approach by documentation and global examination with Visible Imaging and Digital Microscopy, allowed us to describe the color palette and its alterations. Additional examination of cross sections acquired from this mural, allowed a material characterization by means of optical microscopy (OM), micro-hyperspectral imaging, Fourier transformed infrared spectroscopy and X-ray fluorescence spectroscopies.
Color. Research & Application, 2023
In 1952, contemporary artist Federico Silva (Mexico City, 1923-2022) carried out the first outdoo... more In 1952, contemporary artist Federico Silva (Mexico City, 1923-2022) carried out the first outdoor mural painting: The technique at the service of peace. At the end of 2021, the project for the study and conservation of this mural began with a diagnosis of its conservation, which was done through a multitechnique study based on the experience acquired in research projects from other contemporary mural paintings. This included the proposal of an adequate conservation strategy to resolve the stability of the painting, since the behavior of the synthetic paints exposed to the different effects of the outdoor environment has altered the perception, form and meaning of the mural. Main results from this approach by documentation and global examination with Visible Imaging and Digital Microscopy, allowed us to describe the color palette and its alterations. Additional examination of cross sections acquired from this mural, allowed a material characterization by means of optical microscopy (OM), micro-hyperspectral imaging, Fourier transformed infrared spectroscopy and X-ray fluorescence spectroscopies.
The research on easel paintings from New Spain through scientific techniques began in the twentie... more The research on easel paintings from New Spain through scientific techniques began in the twentieth century thank to the efforts of professionals in conservation and applied science to cultural heritage. From the access of the archives of the Coordinacion Nacional de Conservacion del Patrimonio Cultural of Instituto Nacional de Antropologia e Historia and Instituto de Investigaciones Esteticas de la Universidad Nacional Autonoma de Mexico, the first practices of canvas and panel paintings studies with X-rays, made between 1950 and 1975 at INAH could be reconstructed with the agents involved, the theoretical, practical considerations and scope of their application and utility.
Heritage
Purísima Concepción, a large-format and unusual panel painting attributed to the 18th century, ba... more Purísima Concepción, a large-format and unusual panel painting attributed to the 18th century, based on style and the common aspect of the visual tradition of the Virgin Mary found in the Viceroyalty of New Spain, is sheltered at the Museo Ex-convento San Agustín Acolman-INAH, México, an institution opened in late 1920, and one of the oldest museums in México. In this work, we present the material characterization of the surface layer of the painting by means of a non-invasive methodology, resulting from the combination of imaging and spectroscopic techniques. Analysis of hyperspectral images employing methods such as spectral angle mapper and principal component analysis allowed us to describe spatial distribution of the pigments and manufacturing methods, while XRF and FORS allowed us to record the complex and diverse color palette employed to achieve effects such as brightness, hue, saturation, and even the covering power of this painting.
Heritage, Oct 19, 2021
Purísima Concepción, a large-format and unusual panel painting attributed to the 18th century bas... more Purísima Concepción, a large-format and unusual panel painting attributed to the 18th century based on style and the common aspect of the visual tradition of the Virgin Mary found in the Viceroyalty of New Spain, is sheltered at the Museo Ex-convento San Agustín Acolman-INAH, Mexico, an institution opened in late 1920 and one of the oldest museums in the country.
In this work, we present the material characterization of the surface layer of the painting by means of a non-invasive methodology, resulting from the combination of imaging and spectroscopic techniques. Analysis of hyperspectral images employing methods such as spectral angle mapper and principal component analysis allowed us to describe spatial distribution of the pigments and manufacturing methods, while XRF and FORS allowed us to record the complex and diverse color palette employed to achieve effects such as brightness, hue, saturation, and even the covering power of this painting.
C&R, 2020
The training in conservation of easel painting in Mexico has a long history. The historiography h... more The training in conservation of easel painting in Mexico has a long history. The historiography has been focused on the restoration of canvas, explains that the technical processes aimed at preserving the structure and appearance come from the New Spain era and maintains that professional development was consolidated until the 20th century. However, panel painting is also subject to an independent conservation approach. Based on the research, the conservation and education of the technology and conservation of panel paintings between 2013 and 2020 in various Mexican institutions such as the Escuela de Conservación y Restauración de Occidente (ECRO), Centro Nacional de Conservación y Registro del Patrimonio Artístico (CENCROPAM) and the Museo Nacional de Arte (MUNAL) of the Instituto Nacional de Bellas Artes y Literatura (INBAL); the Coordinación Nacional de Conservación del Patrimonio Cultural (CNCPC), the Museo Regional de Guadalajara (MRG) and the Museo Regional de Tlaxcala (MRT) of the Instituto Nacional de Antropología e Historia (INAH), a review and reflection about the study of these works from its technology; its damages; as well as the conservation strategies developed in the country, is presented.
CR. Conservación-Restauración, 2020
La investigación de pintura de caballete novohispana mediante técnicas científicas comenzó en el ... more La investigación de pintura de caballete novohispana mediante técnicas científicas comenzó en el siglo XX gracias a los esfuerzos de profesionales en conservación, historia del arte y ciencia aplicada al patrimonio cultural. A partir de la consulta de los archivos históricos de la Coordinación Nacional de Conservación del Patrimonio Cultural del Instituto Nacional de Antropología e Historia y del Instituto de Investigaciones Estéticas de la Universidad Nacional Autónoma de México, se pudieron reconstruir las primeras prácticas de estudio de rayos X de pintura sobre lienzo y tabla entre 1950 y 1975 en el INAH, los agentes involucrados, las consideraciones teóricas, prácticas y los alcances de su aplicación y utilidad.
The research on easel paintings from New Spain through scientific techniques began in the twentieth century thank to the efforts of professionals in conservation and applied science to cultural heritage. From the access of the archives of the Coordinación Nacional de Conservación del Patrimonio Cultural of Instituto Nacional de Antropología e Historia and Instituto de Investigaciones Estéticas de la Universidad Nacional Autónoma de México, the first practices of canvas and panel paintings studies with X-rays, made between 1950 and 1975 at INAH could be reconstructed with the agents involved, the theoretical, practical considerations and scope of their application and utility.
Intervención. Revista Internacional de Conservación, Restauración y Museología, 2019
La presente investigación expone la recuperación de tres fragmentos de pintura sobre tabla del es... more La presente investigación expone la recuperación de tres fragmentos de pintura sobre tabla del estado de Tlaxcala que, a finales del siglo XX, supuso un planteamiento teórico de estudio y aplicación de una metodología interdisciplinaria e interinstitucional de análisis historiográfico y técnico de las obras para conocer su significado, materialidad y alteración.
El testimonio documental que aportó el análisis histórico-formal, complementado con la interpretación de los resultados sobre la tecnología y el deterioro del conjunto en ruinas, permitió relacionarlo con un corpus pictórico que posiblemente se insertó en el retablo principal del templo conventual franciscano de Tepeyanco en la "Noble y Leal República de Naturales de Tlaxcala" en el último cuarto del siglo XVI.
This research presents the recovery of three fragments of panel painting in the state of Tlaxcala, Mexico. At the end of the twentieth century, these fragments were subject to a theoretical study, applying an interdisciplin- ary and inter-institutional methodology of historiographic and technical analysis in order to understand their meaning, technique, and alteration.
The documentary testimony provided by the formal historical analy- sis, and the interpretation of the results on the technology and deteriora- tion of the ruined complex helped relate these to a pictorial corpus that was likely inserted in the main altarpiece of the Franciscan conventual temple of Tepeyanco in the Noble and Loyal Republic of Indians of Tlaxcala in the 16th century.