葡萄牙艺术收藏中的丙烯片材综述

IF 0.4 0 HUMANITIES, MULTIDISCIPLINARY

Conservar Patrimonio Pub Date : 2021-07-20 DOI:10.14568/CP2020075

Sara Babo, Joana Lia Ferreira

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引用次数: 1

摘要

丙烯酸片材，也称为Plexiglas或Perspex，由聚甲基丙烯酸甲酯（PMMA）组成。自20世纪30年代发展以来，它对艺术家很有吸引力，在20世纪60年代特别受欢迎。在葡萄牙，艺术家对它的使用及其状况知之甚少。在这项工作中，调查了葡萄牙的主要艺术收藏，目的是了解丙烯酸片材在葡萄牙艺术背景下的使用及其现状。本文描述了69位注册为含有丙烯酸的不同艺术家对137件艺术品所使用的方法和获得的结果。结果表明，至少自20世纪60年代以来，葡萄牙艺术家就一直在使用这种材料。它被用于多种艺术形式，从绘画和雕塑到摄影、装置、物体/浮雕和艺术家书籍。大多数艺术品状况良好或尚可。观察到的主要问题是灰尘和污垢沉积、磨损和划痕。

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A survey of acrylic sheet in Portuguese art collections

Acrylic sheet, also known by the commercial names Plexiglas or Perspex, consists of poly(methyl methacrylate) (PMMA). Attractive to artists since its development in the 1930s, it became especially popular during the 1960s. In Portugal, knowledge about its use by artists and its condition is scarce. In this work, the main Portuguese art collections were surveyed with the goal of gaining an overview of the use of acrylic sheet in the Portuguese art context and its current condition. The paper describes the methodology used and the results obtained regarding 137 artworks by 69 different artists registered as containing acrylic. Results show that this material is being used by Portuguese artists at least since the 1960s. It has been used in several artistic forms, from painting and sculpture to photography, installation, objects/reliefs, and artist books. Most of the artworks were in good or fair condition. The main problems observed were dust and dirt deposits, abrasion, and scratches.

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来源期刊

Conservar Patrimonio HUMANITIES, MULTIDISCIPLINARY-

CiteScore

0.80

自引率

0.00%

发文量

审稿时长

12 weeks

期刊介绍： Conservar Património is a journal, published three times a year, that intends to create a space for the diffusion of conservator-restorers’ studies and activities. However, at a time when Conservation-Restoration pretends to develop further through collaboration with other areas of knowledge, such as History of Art, Archaeology, Museum Studies, Chemistry, Physics, Biology and other related disciplines from the fields of the natural and social sciences, the journal also receives contributions from any other provenance as long as directed towards the multiple dimensions of the works that integrate our Cultural Heritage. Theoretical issues on the conservation activity may also be submitted.