International Journal of Conservation Science Interdisciplinary Studies of the "Vista Do Desterro" Painting: Historical Approach, Analysis of Materials and Preservation/Restoration Techniques (original) (raw)
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2015
Scientific methods of analysis are often used for investigation of artworks, and this is also the case of the painting entitled “Vista do Desterro”, by Joseph Bruggemann, (1886) which is being restored at the Conservation-Restoration Atelier for Movable Cultural Heritage ATECOR in Culture Foundation of Santa Catarina – FCC. This study used UV imaging methods, infrared spectroscopy (FTIR) analysis and energy-dispersive X-ray (SEM-EDS) analysis to identify the constituent materials of the referred artwork and previous interventions on it. All the analyses showed that drying oil was used as a binder, and a layer of terpenic varnish was also found. The possibly original pigments found were the following: lead white, natural sienna, brown ocher, synthetic ultramarine and yellow ocher. In addition, areas of at least two interventions were observed, where pigments barium sulfate (permanent white), titanium dioxide (titanium white) and traces of zinc oxide (zinc white) were detected; such p...
The scientific approach to conservation and monitoring of mural paintings executed in a historic house with an eclectic style of the twentieth century, located in Florianópolis, Santa Catarina, Brazil, is an example of interdisciplinary collaboration between conservators, historians, and scientists in planning and development actions for preventive maintenance as well as interventions of restoration. The mural paintings are recognized worldwide as an architectural element and property, which records the representations of the cultural landscape of an age. In this context, the painting technique found in this house and its state of conservation were investigated by evaluation of pigmented surfaces and then by optical and spectroscopic (IR and EDX) techniques. These results were crucial for the record of the characteristic painting present in this building, showing a period marked by intense urban renewal in Brazilian cities.
2013
The scientific approach to conservation and monitoring of mural paintings executed in a historic house with an eclectic style of the twentieth century, located in Florianópolis, Santa Catarina, Brazil, is an example of interdisciplinary collaboration between conservators, historians, and scientists in planning and development actions for preventive maintenance as well as interventions of restoration. The mural paintings are recognized worldwide as an architectural element and property, which records the representations of the cultural landscape of an age. In this context, the painting technique found in this house and its state of conservation were investigated by evaluation of pigmented surfaces and then by optical and spectroscopic (IR and EDX) techniques. These results were crucial for the record of the characteristic painting present in this building, showing a period marked by intense urban renewal in Brazilian cities.
Journal of Molecular Structure , 2016
Constituent materials of the painting “ Primeira Missa no Brasil ” by Sebastiao Vieira Fernandes, which belongs to the Historical Museum of Santa Catarina, were analyzed by using imaging through UV-induced visible luminescence, FTIR, μ-FTIR, EDX and GC-MS with the aim of characterizing the materials and correlating them with Victor Meirelles’ pigment elemental analysis reported in the literature. The images obtained under ultraviolet light showed alterations in the painting’s aging process and instances of possible repainting confirmed by μ-FTIR, where characteristic bands of barium sulfate were identified. EDS analyses showed that there is a correlation between the elemental composition of pigments used by Meirelles and Fernandes, especially for lead, associated with lead white and proven by FTIR, used for giving a light tone to the paint, and found in all the analyzed samples. The GC-MS results revealed the presence of the mixture of linseed and animal oil as the main binding components with the predominance of palmitic, stearic, oleic, and linolenic acids.
X-ray Spectrometry, 2008
This article describes a study carried out on a mural painting in the Convent of Santo António dos Capuchos in the town of Estremoz (southern Portugal). Experimental work was undertaken to identify pigments and to elicit hypothesis about their local origin. Another aim was to ascertain the painting technique (binders, stratigraphy) and to try to investigate the causes that led to the deterioration of the blue and green pigments.Elemental and mineralogical analyses of the pigments were performed by x-ray diffraction (µ-XRD), portable energy dispersive x-ray fluorescence (EDXRF) and scanning electron microscopy (SEM), complemented by microchemical tests and Fourier transform infrared spectroscopy (FTIR). These techniques have shown that a variety of pigments were used, namely earth pigments (red and yellow ochres, green earth and probably black earth and umber), copper pigments (azurite, malachite), probably from the Estremoz region, and smalt, used pure or in mixtures. The results also revealed the presence of salt veils, biological colonization and possibly secco applications with lime (lime painting), which may have contributed to the actual state of conservation of fresco. Copyright © 2008 John Wiley & Sons, Ltd.
2018
This work is focused on the materials study carried out on the mural painting Pentecostes executed by the Portuguese artist Julio Resende in 1955. The painting depicting Twelve Apostles is covering the altarpiece on the eastern wall of the Igreja da Nossa Senhora da Boa Esperança located in Canaviais, a small village near Évora. This study aimed to characterize the painting from a materials science perspective focusing on its execution techniques and pigment characterization. The investigation was carried out with the use of both in-situ non-destructive and laboratory micro-destructive techniques. In-situ examination included technical photography in visible (Vis), raking (Vis-RAK) and Infrared (IR) light, Ultraviolet induced visible fluorescence (UVF), portable optical microscopy, visible Spectro-photometry and Energy dispersive X-ray fluorescence spectroscopy (EDXRF). Further analysis of the collected powder and cross-section samples was undertaken by means of Dark field optical m...
EXPLORATORY ANALYTICAL STUDY OF A 20TH CENTURY PORTUGUESE MURAL PAINTING BY JULIO RESENDE (1917-2011
International Journal of Conservation Science, 2020
This paper unveils for the first time the technical and material features of the mural painting entitled Pentecost's, executed by the Portuguese artist Julio Resende in 1955. The painting depicting twelve Apostles covers the altarpiece of a small church in the countryside of Évora (southern Portugal) and it was rediscovered in 2013 by art historians. The research was carried out with both non-invasive and micro-destructive techniques. In situ examination included technical photography in visible (Vis/Vis-RAK) and in infrared (NIR) light range, ultraviolet induced visible fluorescence (UVF), portable optical microscopy, visible spectrophotometry and handheld energy dispersive X-ray fluorescence spectroscopy (hXRF). Further analysis on paint layers micro-samples were undertaken by dark field optical microscopy (OM), scanning electron microscopy coupled with energy dispersive X-ray spectrometry (SEM-EDS) and micro-Fourier transform infrared spectroscopy (µ-FTIR). According to the acquired data, the mural was executed in a fresco technique (true and most likely lime fresco). Full size cartoons and handmade sketches were used for transferring the composition to the wall. No traces of organic binder were found with the analytical setup and the analysis of paint layers revealed the use of cobalt blue, a wide range of ochres, chromium green, green earth and barium white. The use of chrome orange and cadmium-based pigments are hypothesized.
Colours 2015 (Bridging Science with Art) UÉvora, 2015
This paper describes a study carried out on late 16th century mural paintings from Évora Cathedral, one of the prominent monuments that has influenced the culture, history and urban fabric of Évora (Portugal). Arranged in five panels, these paintings were laid out to decorate the vault of the cathedral ́s northern chapel and are artistically attributed to the Portuguese artist José de Escovar, whose painting workshop has been remarkably active in Alentejo (the southern-central part of Portugal) at the time. As the mural paintings in question are yet to be systematically investigated to date, this study aims to reconstruct their life story through a materials science perspective by focusing on their execution techniques (stratigraphy, binders, etc.), pigment characterization and later alterations that they are likely to have undergone. The investigation was carried out through a multi analytical methodology that consisted of both in- situ and laboratory work. The in-situ and non-invasive examination was carried out through a setup consisting of technical photography in visible (Vis), racking (Vis-RAK), Infrared (IR), Ultraviolet reflectance and visible induced fluorescence (UVR and UVF) ; visible spectrophotometry and portable X-ray fluorescence (EDXRF). Further detailed investigation of collected samples was undertaken in the laboratory with an analytical setup comprising dark field optical microscopy (OM), scanning electron microscopy coupled with energy dispersive X-ray spectrometry (SEM- EDS), micro X-ray diffraction (μ-XRD) and micro Fourier transform infrared spectroscopy (μ-FT-IR). The preliminary results point out that, the paintings were mainly executed with a fresco technique, using a chromatic palette consisting of red and yellow ochre’s, cinnabar and copper green pigments. Finger nails to control the right moment to start painting are clearly seen by racking light. The analytical setup, in situ and in vitro, also allowed to identify several later mimetic retouches with earth pigments and extensive repaints in the sky backgrounds with white zinc, white lead and Prussian blue. Another discovery was in the lime stuccos that frame the paintings. Analysis of cross sections revealed that the first decorative campaign of these stuccos was made with a gold and silver allow which have been later covered with layers of lead white, white zinc and lead-chrome yellow.
Ge-conservacion, 2021
This paper reports the diagnostic research of deteriorated paint layers from three mural panels made by Almada Negreiros found in the Alcântara Maritime Station in Lisbon. The aim was to understand the main decay phenomena to aid future conservation works. The methodology comprised in-situ analyses by technical photography in Vis, Vis-RaK and UVF, p-OM and h-EDXRF; micro sampling; OM, SEM-EDS, μ-XRD, μ-Raman, µ-FT-IR and Py-GC/MS. Preliminary results show that all the paint layers analyzed are affected by salts (alkali sulphates) that over time have caused flacking, lack of cohesion, erosion, and lacunae. The light greenish/greenish bluish paint layers in all three panels are the most affected. No organic binders were identified, only the presence of vinyl polymer in glossy paint surfaces.
A Portuguese painting of the 18 th century, from the collection of the National Library of Portugal, restored in 1864, was studied with the aim of better understanding the practice of restoration in Portugal in the late 19 th and early 20 th centuries. Initial observations suggested that it had been subjected to significant changes, due to the existence of an extensive decorative bar at the bottom of the painting and an inscription with calligraphy that seemed to suggest being of the 19 th century. However, the scientific study carried out with the use of a set of analytical techniques leads to the conclusion that, essentially, the current image is consistent with the original image, although a thick layer of varnish and several localized repaints were observed. However, the inscription does not seem to be original.