6th International Meeting on Retouching of Cultural Heritage. RECH6最新文献

{"title":"Retouching a Retouched Painting: Evaluation and re-treatment of historic retouchings in the conservation of a painting by Lavinia Fontana","authors":"Letizia Marcattili, M. Canavan","doi":"10.4995/rech6.2021.13544","DOIUrl":"https://doi.org/10.4995/rech6.2021.13544","url":null,"abstract":"A major conservation and research project on The Visit of the Queen of Sheba to King Solomon by Lavinia Fontana was completed at the National Gallery of Ireland in Dublin in 2021. The painting, a large-scale oil on canvas (256 x 325 cm), was one of a number of pictures restored in the late 1960s by a team of conservators from the Istituto Centrale del Restauro in Rome, who came to Dublin during the establishment of the first conservation studio at the Gallery. The visiting restorers brought novel ideas and materials with them from the Istituto that would shape the Irish approach to conservation for decades to come. The prevailing ethos at the time in Italy was based on a minimal intervention approach with the use of novel, synthetic materials that had not yet been introduced to the collection of the National Gallery of Ireland.  The painting, after treatment by the Istituto team, recorded material evidence of a particular moment in the development of conservation in Italy and Ireland. Large areas of historic loss and damage across the surface of the painting had been reintegrated by the Italian restorers with the application of retouchings in the tratteggio style, also known as rigatino, using a Paraloid-based medium. In some cases, portraits and other significant details in the image were fully reconstructed by the retouchings. Underlying instability required the removal of some of these retouchings during the most recent treatment, but others could be retained if desired. With the help of archival images and documentation, a decision-making model was developed to evaluate the quality and historic value of these retouchings and to determine which to preserve, which to modify and which to remove. Reduction of retouchings often necessitates replacement, and the partial preservation of the historic retouchings brought further factors to bear on the decision-making model for the chromatic reintegration of the painting. A return to the tratteggio technique was chosen for the larger instances of loss compensation in the treatment, albeit with a finer hatching so that the newer reintegration remains distinguishable from the historic one. This was complemented with a pointillist technique over textured fillings for smaller and shallower losses.  Furthermore, where blistering and heat damage in the paint layers resulted in uneven topography, a third auxiliary technique was used. The desired texture was found when testing Paraloid-based gels on a mock-up and applied to bring continuity the surface texture in these areas of the painting. With this approach we intend to meet the conservation needs of the object, restore the legibility of the image and retain the evidence of the historic intervention of this founding team of Italian restorers at the National Gallery of Ireland.","PeriodicalId":115079,"journal":{"name":"6th International Meeting on Retouching of Cultural Heritage. RECH6","volume":"16 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127810306","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"RETOUCHES WITH HISTORY – CONSERVATION OF THE SACRED HEART OF JESUS BY ADOLF HERMAN DUSZEK AND ITS AUTHORIAL POST-WWII RESTORATION","authors":"Paula Karina Śwituszak, Alina Tomaszewska -Szewczyk","doi":"10.4995/rech6.2021.13508","DOIUrl":"https://doi.org/10.4995/rech6.2021.13508","url":null,"abstract":"WWII left a great proportion of cultural heritage in Middle-Eastern Europe damaged. In the immediate aftermath of the war, there was neither necessary expertise, manpower nor resources to deal with such complex and total conservational challenges. Artists and craftsmen took to preserving and repairing the most darling objects of local heritage, leaving to us not only their original works, but also visible marks of the struggle to preserve them. Today, we are facing the task to preserve the multilinear story hidden behind those objects - their original body, wounds, and bandages, showing both the art of creation as well as the art of restoration to next generations. A great example of such a conservation effort is the story of The Sacred Heart of Jesus, painted by Adolf Herman Duszek in 1924 and restored by him after the war, in 1950. Over 70 years later, the painting required another intervention – mainly because of the bad state of preservation of the paint layer. The main challenge of this restoration was to find the balance between leaving the visible traces of the history of the object, the conservation ethics as well as the aesthetics and expectations of the recent owners. As it turns out, the impact of a private context is a significant aspect during the formation of the conservation programme. This paper discusses the need for compromises which had to be reached during the conservation of this particular painting. ","PeriodicalId":115079,"journal":{"name":"6th International Meeting on Retouching of Cultural Heritage. RECH6","volume":"48 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116364530","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"RECOVERY OF A SEVERELY DETERIORATED PAINTING: THE MARTYRDOM OF SAINT SEBASTIAN BY GIOVANNI SANTI (15TH CENTURY). INTEGRATIVE PROPOSAL","authors":"Melissa Ceriachi","doi":"10.4995/rech6.2021.13492","DOIUrl":"https://doi.org/10.4995/rech6.2021.13492","url":null,"abstract":"This contribution examines a painting on wood: The Martyrdom of Saint Sebastian, by Giovanni Santi. This work of art is the altarpiece of the chapel dedicated to the saint, located in Urbino's Church of San Bartolomeo. The history of this work of art is inextricably linked to that of its conservation: initially, the artwork was difficult to read due to the serious state of deterioration of the paint layer, with a loss of significant portions of the painting, including pictorial parts that played a decisive role in the rendering of the image. This had significant implications when it came to choosing the methodology for the pictorial reintegration of the painting. The aim was to reduce the negative effects caused by the state of deterioration as much as possible, to improve the readability of the work. Following a conservative restoration of the panel and of the polychromy, and after submitting it to art historian officer for a careful and close evaluation, a differentiated pictorial reintegration of the work was planned, applying the Florentine “selezione cromatica\" method for the main figure, Saint Sebastian, and for all lacuna treatments. This intervention was carried out using tempera colours, overlapping by hatching three pure colours, chosen from the primary and secondary colours. I continued the “selezione cromatica” on the integrations, using varnish colours until achieving the desired tone, maintaining a tone of brilliancy and chromatic vivacity similar to the painting by Santi. The other parts of the painting had been very seriously damaged due to irrecoverable losses and can no longer be reconstructed; these were treated by experimenting with the “chromatic abstraction” reintegration with tonal variations within the layers of abstraction. The method involves the application of a cross-hatching where no shape is reconstructed, in a four-colour scheme (yellow, red, green/blue, black), in tempera colours.","PeriodicalId":115079,"journal":{"name":"6th International Meeting on Retouching of Cultural Heritage. RECH6","volume":"67 ","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133970341","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"RYŪKYŪ ROUND LACQUERED BOX | CHROMATIC REINTEGRATION METHODOLOGY","authors":"Débora Sarmento, M. Cavaco, Maria da Conceição Borges de Sousa","doi":"10.4995/rech6.2021.13512","DOIUrl":"https://doi.org/10.4995/rech6.2021.13512","url":null,"abstract":"An exemplar from the Ryūkyū Islands (Japan), this red lacquer circular box dates from c.1590 and is part of the collection of the National Museum of Ancient Art (MNAA) - Lisbon, Portugal [1-2]. The conservation and restoration intervention carried out at the José de Figueiredo Laboratory (LJF), considering its state of conservation with a high risk of lacquer detachment and consequent loss of a large part of the decorative elements, allowed the study and definition of methodologies, including in the treatment of chromatic reintegration [3].  Its condition, the type of intervention, as well as its subsequent placement on display, motivated the reintegration method chooses and its application, which aimed to improve the reading and decorative understanding of the box. The use of extra-fine quality gouache in the mimetic reintegration executed ensured the necessary compatibility and stability with its constituent materials.","PeriodicalId":115079,"journal":{"name":"6th International Meeting on Retouching of Cultural Heritage. RECH6","volume":"28 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114523277","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"With a little help of my friends. A hopeful educational methodology on retouching for conservation-restoration students on wooden sculpture.","authors":"Francesca Tonini","doi":"10.4995/rech6.2021.13583","DOIUrl":"https://doi.org/10.4995/rech6.2021.13583","url":null,"abstract":"Is it possible to mix and match the theoretical foundations of Cesare Brandi - internationally recognized - with the new theories of Muñoz Viñas  for a new ethics of restoration, taking into account the suggestions of Paul Philippot, who was the first to deal with the restoration of wooden sculpture? For educational purposes in restoration schools, is not easy to cover all these aspects of retouching, but it is important to find a method that allows students to acquire a solid foundation, and then to deepen the different aspects of the question, hopefully simple but at the same time effective. The Author develops a proposal based on three basic cornerstones: 1. familiarity with the techniques of execution of the work of art and the materials of which it is composed (study of technical art history, and laboratory practice from painting to gilding); 2. study of the basic principles of the restoration theory; 3. practical experiments with the different techniques of pictorial integration (tratteggio, selezione cromatica, selezione effetto oro, dots, mimetic retouching), of the different retouching materials (watercolors, tempera, varnish colors, micaceous), and with protective coatings. In all situations the basic theoretical principles are: 1. recognizability: the pictorial restoration must always be easily recognizable (also using modern technologies); 2. reversibility, i.e. the retouching must be easily reversible without endangering the original work. Thus, the proposed methodology will be a useful tool to contribute and work on the wooden cultural heritage by including not only tangible aspects but also emotional, ideological and above all identity meanings. ","PeriodicalId":115079,"journal":{"name":"6th International Meeting on Retouching of Cultural Heritage. RECH6","volume":"14 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125585106","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"THE USE OF 3D SCANNING AND PRINTING IN THE RESTORATION PROCESS OF THE EXPOSED CERAMIC PANELS OF JORGE BARRADAS (PALÁCIO DA JUSTIÇA DE LISBOA)","authors":"Adriana Anselmo Oliveira, Leonel Ribeiro, Nelson Ferreira","doi":"10.4995/rech6.2021.13611","DOIUrl":"https://doi.org/10.4995/rech6.2021.13611","url":null,"abstract":"The techniques applied to restore and conserve the 16 ceramic panels which are an integral part the façade of the Palácio da Justiça’s South Building, in Lisbon (authored by Jorge Barradas, Querubim Lapa and Júlio Resende), was marked by the adoption of disruptive technology as one of the main methods of approaching the pieces in need of intervention. Different materials and techniques, both digital and manual, either from physical or aesthetic perspectives, guaranteed their future preservation. Following principles of restoration ethics, photographic references of the compositions served as a goal to assimilate the original work as much as possible. Recurring missing parts were then to be reconstructed by means of 3D scanning and current object printing technology. Such technique allows a preview and manipulation through specific computer software. Once the file has been completed with all the information necessary to produce the object, it can be sent directly to a 3D printer. The main objective of intervening Jorge Barradas' panels with 3D printed objects, was to replace large key pieces in a non-intrusive way and without damaging the original work. Simultaneously, in addition to the durability of such printed materials, a \"life insurance\" is created in case of any damage or theft, since it can be replicated quickly from the thorough scan, stored in a digital file format. ","PeriodicalId":115079,"journal":{"name":"6th International Meeting on Retouching of Cultural Heritage. RECH6","volume":"14 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115349748","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"THE PERCEPTION OF THE CHROMATIC REINTEGRATION FROM THE ADJUSTMENT OF THE WORK CLOTHING. THE LAB COAT AND ITS COLOUR ALTERNATIVES","authors":"Beatriz Doménech, V. Guerola, M. Castell, Antoni Colomina","doi":"10.4995/rech6.2021.13482","DOIUrl":"https://doi.org/10.4995/rech6.2021.13482","url":null,"abstract":"The present study is focused on the revision of the work clothing of the conservator-restorer, specifically in the lab coat, analysing its colour and the interference it can create regarding the perception of the colours, both of the artwork and of the chromatic palette used to retouch. In this way, the study starts from the review of the corpuscular theory of light. Based on this theory, it is analysed the absorption-reflection process of the interaction of light with matter, as well as it is explained how the colour of the lab coat can hinder or favour the perception and adjustment of the colours in a chromatic reintegration. This investigation is reinforced by a process of experimentation in which the light reflected by both white and black lab coats, is analysed through measurements using a lux meter. The measurements have been made facing pictorial works characterized for a chromatic palette of dark colours or vivid colours, wearing a white lab coat and a black lab coat. Afterwards, the results obtained have been analysed and compared allowing to discover, in a more realistic way, the intensity of the light reflection according to the colour of the work clothing of the conservator-restorer. In addition, the present study is complemented with the realization of an opinion survey to international conservation-restoration professionals. Through this survey, the aim is to find out whether professionals take this factor into consideration during colour reintegration, as well as their general opinion on this issue.","PeriodicalId":115079,"journal":{"name":"6th International Meeting on Retouching of Cultural Heritage. RECH6","volume":"70 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130478245","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Remove, repaint or retouch: should the community decided? The case of the outdoor murals of the Riachos village, Portugal.","authors":"Ânia Chasqueira, Ângela Ferraz, Ricardo Triães","doi":"10.4995/rech6.2021.13523","DOIUrl":"https://doi.org/10.4995/rech6.2021.13523","url":null,"abstract":"This paper discusses the conservation of murals in Riachos, Portugal. Created in 2012 and 2016 by amateur painters in the context of a religious and ethnographic festival called “Benção do Gado”, a cattle-blessing event. The condition of these murals has deteriorated due to their outdoor location, poor choice of materials used and lack of maintenance. Those murals give meaning to the village, a sense of identity and uniqueness to the local community. These are the reasons why the community should be considered in the process of preservation. This study was conducted using mixed methods, with data gathered from a community survey, interviews with stakeholders and documentation of the current state of the murals. This research argues for a close relationship between conservators and the murals’ authors and the local population. The preservation project should create a balance between current ethical and scientific conservation practices and the voices of the community from whom those cultural manifestations belong, using them as part of the conservation process.  ","PeriodicalId":115079,"journal":{"name":"6th International Meeting on Retouching of Cultural Heritage. RECH6","volume":"92 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131650317","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Skin matters. Conservation-restoration treatment of a 16th Century polychrome wooden sculpture","authors":"Martina Vuga","doi":"10.4995/rech6.2021.13509","DOIUrl":"https://doi.org/10.4995/rech6.2021.13509","url":null,"abstract":"This paper presents results of the preliminary examination and conservation-restoration treatment of polychrome wooden sculpture, Madonna and Child, dated around 1520 from the National Gallery of Slovenia. Extensive areas of paint loss, discoloration of old retouches and darkened coating on gildings disrupted the sculpture’s visual unity and balance. Overpaints have progressively and significantly changed its appearance. Prior to the intervention we conducted detailed technical examination. Treatment included surface cleaning and partial removal of materials. Decisions, methods, and materials regarding aesthetic reintegration are pointed out: various approaches used on different surfaces, of which faces, and other parts of the skin, received a comprehensive “skin care”. ","PeriodicalId":115079,"journal":{"name":"6th International Meeting on Retouching of Cultural Heritage. RECH6","volume":"44 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116508180","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"INDICATIONS FOR THE SELECTION OF RETOUCHING MATERIALS USED IN CONTEMPORARY PRACTICE","authors":"Elżbieta Szmit-Naud","doi":"10.4995/rech6.2021.13571","DOIUrl":"https://doi.org/10.4995/rech6.2021.13571","url":null,"abstract":"The materials used by restorers have to fulfil the criteria of stability and reversibility. For retouching we use artistic materials adopted for this purpose (for example watercolors) and paints specially produced or handmade with selected pigments and resins - acrylic, polyvinyl acetate, until recently also ketone replaced by urea-aldehyde. Producers’ positive assessment of the pigment or paint lightfastness and the estimation of the removability based on binder data and even on paint layers ageing test may not provide enough information for an infallible selection of materials to use. Sometimes unintended changes of appearance occur relatively shortly after the completion of the retouching process. Furthermore, in practice, we create the retouching layer-varnish system, more consistent than we assume, which has consequences not only for visual effect but for the removability of the retouchings themselves. It matters especially in the case of varnished retouching layers exposed to light. Selected results of the research on contemporarily used retouching materials and the examination of some changed retouchings are presented to illustrate the indicated issues and facilitate the choice. They come from wider research conducted since the end of the 1990s, which had been continued up to now within the framework of partial projects The investigation was based on accelerated light ageing accompanied by instrumental colour assessment and of structural changes imaging by SEM. The conclusions and hypotheses resulting from the removability tests and surface examination by OCT realized on varnished and unvarnished aged paint layers are included in this paper as well. ","PeriodicalId":115079,"journal":{"name":"6th International Meeting on Retouching of Cultural Heritage. RECH6","volume":"18 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116352716","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}