Science and Art The Painted Surface 1st Edition by Antonio Sgamellotti 1782625322 9781782625322

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ISBN-10 :  1782625322 

ISBN-13 :  9781782625322

Author:  Antonio Sgamellotti 

Science and art are increasingly interconnected in the activities of the study and conservation of works of art. Science plays a key role in cultural heritage, from developing new analytical techniques for studying the art, to investigating new ways of preserving the materials for the future. For example, high resolution multispectral examination of paintings allows art historians to view underdrawings barely visible before, while the use of non-invasive and micro-sampling analytical techniques allow scientists to identify pigments and binders that help art conservators in their work. It also allows curators to understand more about how the artwork was originally painted. Through a series of case studies written by scientists together with art historians, archaeologists and conservators, Science and Art: The Painted Surface demonstrates how the cooperation between science and humanities can lead to an increased understanding of the history of art and to better techniques in conservation. The examples used in the book cover paintings from ancient history, Renaissance, modern, and contemporary art, belonging to the artistic expressions of world regions from the Far East to America and Europe. Topics covered include the study of polychrome surfaces from pre-Columbian and medieval manuscripts, the revelation of hidden images below the surface of Van Gogh paintings and conservation of acrylic paints in contemporary art. Presented in an easily readable form for a large audience, the book guides readers into new areas uncovered by the link between science and art. The book features contributions from leading institutions across the globe including the Metropolitan Museum of Art, New York; Art Institute of Chicago; Getty Conservation Institute; Opificio delle Pietre Dure, Firenze; National Gallery of London; Tate Britain; Warsaw Academy of Fine Art and the National Gallery of Denmark as well as a chapter covering the Thangka paintings by Nobel Prize winner Richard Ernst.

Science and Art The Painted Surface 1st Table of contents:

Chapter 1 Science and Art—My Two Passions
1.1 My Pathway Into Science
1.2 My Adventures in Tibetan Painting Art
1.3 Scientific Tools for the Analysis of Ancient Paintings
1.3.1 Age Determination of Paintings
1.3.2 Methods of Pigment Analysis
1.3.3 Infrared Reflectography
1.3.4 Raman Spectroscopy
1.4 Exploring Four Thangka Paintings of Different Kinds
1.4.1 Thangka Painting with Four Arhats, ET1
1.4.2 Thangka Painting of Two Abbots from Taglung Monastery
1.4.3 Kalacakra Mandala from Ngor Monastery
1.4.4 A Fascinating Glimpse into the Life at Derge Gonchen Monastery
1.5 Concluding Remark
References
Chapter 2 Study and Laser Uncovering of Hypogean Early Christian Wall Painting of Roma’s Catacombs of Santa Tecla and Domitilla
2.1 Introduction
2.2 State of Conservation
2.2.1 Remarks on the Painting Techniques and Deterioration Phenomena
2.3 Optimisation of the Laser Ablation Treatments
2.3.1 Interpretation of the Ablation Processes
2.4 Conclusions
References
Chapter 3 Scientific Examination for the Investigation and Conservation of Far East Asian Mural Paintings
3.1 Introduction
3.2 Analytical Approach
3.2.1 Non-invasive Techniques
3.2.2 Micro-invasive Techniques
3.2.3 Bulk Analyses of Organic Substances
3.3 Classification of Architectural Painting Decorations
3.4 Painting Techniques
3.4.1 Plaster Layer
3.4.2 Preparation Layer
3.4.3 Paint Layer
3.5 Conservation
3.6 Closing Remarks
References
Chapter 4 Maya Mural Paintings in Calakmul: Pictorial Technique and Conservation
4.1 Introduction
4.1.1 The Conservation Issues in the Southern Mesoamerican Area
4.1.2 The Acropolis Chiik Nahb in Calakmul
4.2 On the Maya Mural Painting Technique
4.2.1 Sub-group 1–4 of Building 1
4.2.2 Sub-groups A3, A5, and A6 of the “Banqueta”
4.3 In Situ Consolidation of Wall Paintings with the use of Inorganic Hydroxide Nanoparticles
Acknowledgements
Further Reading
References
Chapter 5 The Colours of Indigenous Memory: Non-invasive Analyses of Pre-Hispanic Mesoamerican Codices
5.1 Pre-Hispanic Mesoamerican Codices
5.2 The Investigated Manuscripts
5.3 Methods of Analysis
5.3.1 Measurement Set-up
5.4 Results and Comparisons
5.4.1 White
5.4.2 Black
5.4.3 Red
5.4.4 Yellow
5.4.5 Blue
5.5 Cultural and Historical Implications of the Analytical Results
Acknowledgements
References
Chapter 6 Material Study of the Codex Colombino
6.1 The Codex Colombino
6.2 Methods and Instrumentation
6.3 Structure of the Leather Support
6.4 Painting Process
6.5 Colorimetric Study
6.6 Analytical Results
6.7 Use of Color
6.8 Alterations. The Life of the Codex
6.9 Conclusions
Acknowledgements
References
Chapter 7 Unveiling the Artistic Technique of the Florentine Codex: When the Old World and the New World Met
7.1 Introduction
7.2 The Analysis of the Florentine Codex
7.3 Conclusions
Acknowledgements
References
Chapter 8 Colour in Medieval Portuguese Manuscripts: Between Beauty and Meaning
8.1 Preamble
8.2 The Art of Romanesque Portuguese Illuminations
8.3 The Colours of Romanesque Illuminations: a Molecular Approach
8.3.1 The Visible: The Colourants
8.3.2 The Invisible: Fillers
8.3.3 The Invisible: The Binding Medium
8.3.4 Concluding Remarks
8.4 Medieval Colours: Between Beauty and Meaning
8.4.1 Colour Systems
8.4.2 Colour Mapping
8.4.3 Outlook
8.5 Conservation Issues
8.5.1 Colour Degradation
8.5.2 Parchment
8.5.3 Bookbinding
8.6 Perspectives
Appendix
Acknowledgements
References
Chapter 9 The Wall Paintings of the Monumental Cemetery of Pisa: The War, the Restoration, the Conservation
9.1 Introduction
9.2 The Diagnosis of Materials
9.2.1 The State of Conservation of Casein
9.2.2 The Removal of Glues
9.3 Environmental Monitoring
9.3.1 Volatile Organic Compounds (VOCs)
9.3.2 Moisture Condensation
9.4 The Planned Conservation
Acknowledgements
References
Chapter 10 The Chemistry and Chemical Investigation of the Transition from Egg Tempera Painting to Oil in Italy in the 15th Century
10.1 Introduction
10.2 The Chemistry of Binders and the Significance for the Physical and Optical Properties of Paint
10.2.1 Egg Tempera
10.2.2 Drying oil
10.3 Identification of Paint Binders
10.3.1 Instrumental Analysis of the Paint Binder
10.3.2 Refinement of Analytical Protocols and the Use of Multiple Techniques
10.4 Conclusion
References
Chapter 11 Multi-criterial Studies of the Masterpiece The Last Judgement, Attributed to Hans Memling, at the National Museum of Gdańsk (2010–2013)
11.1 Introduction: Hypothesis About the Revaluation of the Triptych Attribution
11.2 State of Knowledge on the Triptych
11.2.1 Revision of the Historical Background
11.2.2 The Intriguing History of the Triptych as a Pirates’ War Trophy
11.3 Hypotheses on the Origins
11.3.1 Preliminary Non-invasive Research
11.4 A New Scientific Approach to the Authorship of the Triptych
11.4.1 Dating the Triptych
11.4.2 New Insights into The Last Judgement by Analytical Investigations
11.5 New Approaches to the Heuristics of Proto-Northern Renaissance
11.6 Conclusion. Synergy in “Science and Art”: The Case of The Last Judgement
Acknowledgements
References
Chapter 12 Science and Conservation at the Florentine O. P. D. and Raphael’s Madonna of the Goldfinch
12.1
References
Chapter 13 Underdrawing in Paintings
13.1 Introduction
13.2 Three Case Studies
13.2.1 The First Case Study: Giotto’s Use of Templates for Panel Painting (Figures 13.1, 13.2, 13.3)
13.2.2 Second Case Study: Michelangelo Provides Drawings for Sebastiano del Piombo (Figures 13.4, 13.5, 13.6)
13.2.3 Third Case Study: Francesco Hayez, a Complete Set of Studio Materials (Figures 13.7, 13.8, 13.9)
13.3 Conclusion
References
Chapter 14 An Integrated Approach to the Study and Preservation of Paintings Using Laser Light Technology: Diagnosis, Analysis and Cleaning
14.1 Introduction
14.2 Holographic Interferometry Non-destructive Testing
14.2.1 Assessment of Structural Condition and Defects on Paintings: Priority Maps
14.2.2 Monitoring of Paintings’ Response to Environmental Changes
14.2.3 HINDT Monitoring and Control of Cleaning Interventions
14.3 Multiphoton Excitation Fluorescence and Third Harmonic Generation Imaging
14.4 Laser Ablation for Analysis and Cleaning
14.4.1 Laser Removal of Degraded Varnish
14.4.2 LIBS Monitoring of Laser Cleaning of Paintings
14.5 Prospects and Limitations
Acknowledgements
References
Chapter 15 Mens Agitat Molem: New Insights into Nicolas Poussin’s Painting Technique by X-ray Diffraction and Fluorescence Analyses
15.1 Introduction
15.2 The Paintings
15.3 Analytical Methods
15.3.1 Description of the XRD-XRF Portable Prototype
15.3.2 Description of the XRF Portable Prototype
15.3.3 Investigation of the Samples
15.4 Nature of the Ground
15.5 A Limited Number of Pigments
15.6 Coloured Reflection and Shadows
15.6.1 Venus’ Face
15.6.2 Æig;neas’ Arm
15.6.3 Eliezer’s Coat
15.7 Conclusion
Acknowledgements
References
Chapter 16 Designing Nature: Ogata Kōrin’s Technical Choices in Irises at Yatsuhashi
16.1 Introduction
16.2 The Metropolitan Museum Screens in Context: Kōrin and Yatsuhashi
16.3 Irises at Yatsuhashi: A Summary Discussion of Materials and Technique
16.4 The Evidence in Detail: Analytical Techniques and their Application to the Study of the Painted Surface
16.4.1 The Continuous Gold Leaf Layer: Terahertz Imaging and X-Ray Fluorescence Spectrometry Line-scanning
16.4.2 The White Ground and the Iris Flowers: Microscopic Examination, X-Ray Fluorescence Spectrometry, Raman and Surface-enhanced Raman Spectroscopy, Infrared Imaging, and Visible Reflectance Spectroscopy
16.4.3 Changes in Composition: Infrared Imaging
16.5 Conclusions
16.6 Examination Techniques and Instrumental Parameters
References
Chapter 17 As Time Passed by Came Sunset. Christen Købke’s View of Lake Sortedam, its Genesis and Colour Changes
17.1 Introduction
17.2 The Underdrawing
17.3 The Paint Layer
17.4 Pigment Analysis
17.5 Written Sources
17.6 Discussion and Conclusion
Acknowledgements
References
Chapter 18 Examination of Vincent van Gogh’s Paintings and Pigments by Means of State-of-the-art Analytical Methods
18.1 Introduction
18.2 Characterization of Pigments, Paints and Paintings by Spectroscopic and Imaging Methods
18.3 Spectroscopic Methods
18.4 Spectroscopic Investigation of Van Gogh’s Paintings and Pigments
18.5 Innovative Ways of Imaging the Works of Van Gogh
18.6 Conclusions
References
Chapter 19 A Vibrant Surface: Investigating Color, Texture and Transparency in Winslow Homer’s Watercolors
19.1 Introduction
19.2 Analysis Strategy and Methodology
19.3 Results
19.3.1 Overview
19.3.2 Shift from Opaque to Transparent Watercolor Technique
19.3.3 Recurrent and Ubiquitous Pigments
19.3.4 Pigments Restricted to a Location or Short Time Period
19.3.5 Rarely Found Pigments
19.3.6 Use of Mixed Colors vs. Prepared Colors
19.4 Conclusions
Appendix 1: Instrumentation
Acknowledgements
References
Chapter 20 After the Fact: Evaluating our Interdisciplinary Study of Mondrian’s Victory Boogie Woogie
20.1 Introduction
20.2 The Project
20.3 The Findings
20.3.1 Composition in Lines
20.3.2 Composition of the Larger Colour Planes
20.3.3 The Unfinishing Touch
20.4 In Retrospect
References
Chapter 21 Argentinean Murals: Conservation and Characterization of Pictorial Techniques
21.1 Introduction
21.2 Ejercicio Plástico and Equipo Poligráfico
21.2.1 Identification of Materials and Pictorial Techniques
21.3 The Lunettes from Galerías Pacífico and the Taller de Arte Mural
21.3.1 Identification of Materials and Pictorial Techniques
21.4 Conclusions
References
Chapter 22 Material and Technical Studies of a Selected Group of Paintings by Candido Portinari, a Major Brazilian Modernist Painter
22.1 Introduction
22.2 The Artist and His Career
22.3 Results: Portinari’s Materials and Techniques
22.3.1 Supports, Grounds and Preliminary Drawings
22.3.2 Use of White Pigments
22.3.3 The Pigments
22.4 Panels Guerra e Paz
22.5 Conclusions
Acknowledgements
References
Chapter 23 Modern Painted Palimpsests. Deciphering the Artworks of Osvaldo Licini
23.1 Osvaldo Licini: an Introduction
23.1.1 Critical Success, Biographical Sketches, Dating Issues
23.1.2 The Contribution of Scientific Investigations in Disclosing Licini’s Work
23.2 Recent Scientific Examinations: Methodology and Employed Instruments
23.3 The Investigated Paintings
23.3.1 Paesaggio con l’uomo
23.3.2 Olandese volante su fondo grigio
23.3.3 Angelo ribelle su fondo rosso scuro
23.3.4 Amalassunta su fondo blu
23.4 Conclusions
Acknowledgements
References
Chapter 24 The Burri Project: Research for Technique and Conservation
24.1 The Project Structure
24.2 Conservative Historical Background of Burri’s Work
24.2.1 Palazzo Albizzini and Ex Seccatoi del Tabacco: Exhibition History
24.2.2 Burri’s Materials: Historical Background
24.3 Works, Technique and Decay
24.3.1 Canvas Group
24.3.2 Plastics Group
24.3.3 Cellotex Group
24.3.4 Theatrical Scenery Sketches
24.4 Case Studies: Scientific Investigations and Restoration
24.4.1 Non-invasive Scientific Investigation
24.4.2 Restoration and Conservation Issues
24.5 Conclusion
Acknowledgements
References
Chapter 25 John Hoyland: A British Master of Acrylic Painting
25.1 Introduction
25.2 Hoyland Acrylic Paints
25.3 The Evolution of Hoyland’s Painting Technique: Six Paintings in the Tate Collection
25.3.1 28.5.66 (1966) [Tate T00886]25.3.2 17.3.69 (1969) [Tate T01130]25.3.3 25.4.69 (1969) [Tate T01129]25.3.4 Saracen (1977) [Tate T02402]25.3.5 North Sound (1979) [Tate T02403]25.3.6 Gadal (1986) [Tate T04924]25.4 Painting Surfaces, Appearance and Condition
25.5 Case Study Surface Cleaning Conservation Treatment: 25.4.69
25.6 Conclusions
Appendix: Analytical Techniques
Acknowledgements
References
Chapter 26 Outdoor Painted Surfaces in Contemporary Art
26.1 Artworks in Outdoors Spaces
26.2 Materials for Contemporary Outdoor Paintings
26.3 What Can Be Found
26.4 A Keith Haring Mural in Pisa and its Conservation
26.5 Final Remarks
References
Chapter 27 The Elusive and Transitory Materials in Contemporary Drawings
27.1 Introduction
27.2 Scientific Analyses and Measurements
27.2.1 Stefano Arienti and the Opera Dedicated to Picasso
27.2.2 Sandra Vásquez de la Horra: Paper Impregnated with Wax and Drawing Mi Marioneta
27.2.3 Beatriz Milhazes and the Collage Manjary
27.3 Conclusions

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