A comprehensive analytical approach for monitoring the physico-chemical changes of the paintings after exposure to environmental risks (original) (raw)
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The basic concept of this project is to identify and then use the changes which occur in the chemical and physical properties of traditional paint media both to indicate and integrate the effects of environmental conditions on paintings. To achieve this aim, test paint films are being prepared in accordance with traditional artists' recipes. Changes in material properties are monitored using a combination of non-invasive spectroscopy (Bacci), microsensors, thermoanalytical techniques (Odlyha), and microscale analytical mass spectrometry for molecular structure analysis (Boon). The test strips are calibrated by exposure to controlled environments (light, temperature, relative humidity and noxious gases) and alterations in their properties are quantified. This provides information on the nature and rate of change at the molecular level and a data base for evaluating the molecular monitoring strips after their exposure in the field. Field sites have been selected and include various locations in the Tate Gallery (UK), Sandham Chapel (Burghclere, UK), the Uffizi Gallery (I0 and the Rijksmuseum (NL). Environmental conditions of some of these locations are being evaluated at present using the glass sensors described in project EV5VCT92 0144. Small piezoelectric quartz crystal humidity sensors will be installed to determine localised variations in relative humidity and temperature on [1] Stanley Spencer paintings in Sandham Chapel and [2] Giotto's "Madonna di Ognissanti" in the Uffizi Gallery. In addition novel coatings using picture varnishes are being applied to similar piezoelectric quartz crystal sensors to evaluate the effects of environmental impact on the chemistry of varnishes on paintings. Data are also being collected on the nature of chemical and physical changes in varnishes and paint media in actual paintings at the molecular level. Keywords: conservation, environmental research for art * Paper presented at the European Commission Workshop in Wfirzburg (December, 1995) on the project EV5VCT94 0548.
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The St. Euthymius wall paintings, in the Cathedral of Thessaloniki, dated 1303 AD., are stylistically attributed to the School of Panselinos, one of the most important painters of Palaeologean Art. An in situ non-invasive study has been carried out as part of a MOLAB project (a mobile laboratory accessible through the Eu-ARTECH project, funded by the EC 6th FP) combining different analytical techniques such as XRF, mid-FTIR and UV-vis diffuse reflectance spectroscopy. It was during this comprehensive in situ study that certain scientific queries were raised about sensitive areas, where indications of the phenomena of decay requested further attention. A subsequent laboratory study of selected cross-sections using microscopic analysis with μFTIR, SEM-EDS and μRaman, further confirmed the identification of only the atypical in situ observations. The comparative interpretation of all respective results on the specific regions of interest permitted the identification of several degradation phenomena which justify certain aesthetic or stylistic incoherences in the representations. Namely, (i) thermal dehydration of the yellow ochre explaining the reddish appearance of the flesh tones and halos as an accidental effect of the fire; (ii) thermal degradation of azurite converted to tenorite explaining the atypical instance of dark lightings on the purple garments; (iii) degradation of red lead employed in the lightings of the red garments; (iv) widespread presence of oxalates in the paint surface.