32 results on '"retouching"'
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2. Analysis of Lacunae and Retouching Areas in Panel Paintings Using Landscape Metrics
- Author
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Henriques, Frederico, Gonçalves, Alexandre, Hutchison, David, Series editor, Kanade, Takeo, Series editor, Kittler, Josef, Series editor, Kleinberg, Jon M., Series editor, Mattern, Friedemann, Series editor, Mitchell, John C., Series editor, Naor, Moni, Series editor, Nierstrasz, Oscar, Series editor, Pandu Rangan, C., Series editor, Steffen, Bernhard, Series editor, Sudan, Madhu, Series editor, Terzopoulos, Demetri, Series editor, Tygar, Doug, Series editor, Vardi, Moshe Y., Series editor, Weikum, Gerhard, Series editor, Ioannides, Marinos, editor, Fellner, Dieter, editor, Georgopoulos, Andreas, editor, and Hadjimitsis, Diofantos G., editor
- Published
- 2010
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3. Terminology associated with the conservation and restoration of painting
- Author
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Ana Bailão
- Subjects
Terminology ,Painting ,Intervention ,Reintegration ,Integration ,Retouching ,Archaeology ,CC1-960 ,Social Sciences - Abstract
In Portugal, three terms are used to define the final phase of an intervention of conservation and restoration: reintegration or integration, pictorial or chromatic, and retouching. This article is a survey of some bibliographic reference sources, national and international, in order to understand which of the three terms is the most used.
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- 2013
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4. To retouch or not to retouch? – Reflections on the aesthetic completion of wall paintings
- Author
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Isabelle Brajer
- Subjects
aesthetic ,integration ,painting ,reconstruction ,retouching ,treatment ,Fine Arts ,Arts in general ,NX1-820 - Abstract
Decision-making regarding the aesthetic treatment of wall paintings can be a difficult and complex process due to the multifaceted issues that influence the choices. In addition, local views and national value assignations make it difficult to apply general guidelines for retouching. This paper describes general theoretical concerns presented on the backdrop of specific examples, illustrating a wide range of aesthetic solutions for wall paintings.
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- 2015
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5. Structurer à l’étape de la retouche
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Gaëlle Pentier
- Subjects
retouching ,b72 ,retouching gels ,painting ,copper ,structure ,Fine Arts ,Arts in general ,NX1-820 - Abstract
The pictorial creation is in constant mutation in its ways of expression and materials. This evolution gives rise to new problematic which can challenge the current retouching methods.The structural retouching consists in reintegrating the colors and the physical relief of a lacuna in one step. In this review we will evaluate if this technique can be used as an alternative to the current retouching techniques. Moreover we will identify the different materials which can be used to create a bodied retouching in agreement with the requirements of conservation.
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- 2014
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6. AN EVALUATION OF SELECTED RETOUCHING MEDIA FOR ACRYLIC EMULSION PAINT.
- Author
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Engel, Nina L. and Zumbühl, Stefan
- Abstract
In this study, polar and non-polar retouching media were analyzed to assess their applicability and reversibility on acrylic emulsion paint films (Golden and Schmincke acrylic paints). Acrylic emulsion paints are very sensitive to a variety of solvents. Only water, short-chain alcohols and aliphatic hydrocarbons are considered suitable for their treatment. Therefore, the retouching media used in this study were chosen for their solubility in each of these solvents. Distilled water and ethanol were used in order to test the reversibility of the polar retouching. Noctane, n-hexane and diethyl ether, which offer weak dispersive interactions but different vapor pressures, were employed for swab removal of the non-polar retouching. Extraction tests with different polar and non-polar solvents, showed which components were leached out of the acrylic paint film sample during swab removal of retouching media. Gloss measurements and photomicrographs taken of the paint film samples before and after the application of the retouching displayed variations when compared to untreated reference samples. Both measurements were taken again after reversibility tests in order to demonstrate any changes in morphology and gloss of the paint film samples. [ABSTRACT FROM AUTHOR]
- Published
- 2015
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7. Application of a methodology for retouching
- Author
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Ana Bailão
- Subjects
Gestalt ,methodology ,painting ,retouching ,art ,conservation ,Fine Arts ,Arts in general ,NX1-820 - Abstract
Between November 2006 and January 2010, an investigation into retouching methodologies was carried out. The aim of this paper is to describe, in four steps, the retouching methodology of a contemporary painting. The four steps are: chromatic and formal study, considering the use of Gestalt theory and the phenomena of contrast and assimilation; selection of the technique; choice of the materials and retouching practice.
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- 2010
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8. Matching colours in pictorial retouching: influence of the three colour dimensions and colour distortion phenomena.
- Author
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Bailao, Ana and Sustić, Sandra
- Subjects
VISUAL perception ,PAINTING ,LIGHTING ,PIGMENTS ,PHOTORECEPTORS - Abstract
Copyright of ECR- Studies in Conservation & Restoration / Estudos de Conservação e Restauro is the property of ECR- Studies in Conservation & Restoration and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)
- Published
- 2012
9. The theatre of ethics and memory: intervention problems in the 'Triptych of Life of Christ', belonging to the church of Saint John, the Baptist, Tomar, attributed to the workshop of Quentin Metsys
- Author
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António João Cruz, Erica Eires, and Carla Rego
- Subjects
media_common.quotation_subject ,Art history ,Intervention ,Conservation ,01 natural sciences ,050105 experimental psychology ,lcsh:Social Sciences ,010309 optics ,Painting ,Intervention (counseling) ,0103 physical sciences ,0501 psychology and cognitive sciences ,lcsh:CC1-960 ,media_common ,05 social sciences ,Museology ,SAINT ,Art ,lcsh:H ,Memory Intervention ,Retouching ,lcsh:Archaeology ,Performance art ,Alteration ,Removal - Abstract
The "Triptych of the Life of Christ", belonging to the church of Saint John, the Baptist, in Tomar (Portugal), is dated from the early 16th century and attributed to the workshop of Quentin Metsys. When the current intervention of conservation and restoration started, it featured large retouching, significantly altered, which posed several ethical questions. What to do with these retouchings was the main problem, for which a solution was not evident. They must be assumed as part of the triptych's history and kept, despite the problems? Or should they be removed? All or just some of them? Ultimately, how to respect the authenticity, memory and profession's ethics? This is what we intend to discuss.
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- 2016
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10. Terminology associated with the conservation and restoration of painting
- Subjects
Terminologia ,Painting ,Reintegration ,Integração ,Integration ,Retouching ,Intervention ,Pintura ,Retoque ,Intervenção ,Terminology ,Reintegração - Abstract
Em Portugal utilizam-se três termos para definir a fase final de uma intervenção de conservação e restauro: reintegração ou integração, pictórica ou cromática, e retoque. Neste artigo é feito um levantamento de algumas fontes bibliográficas de referência, nacionais e internacionais, de forma a se perceber qual dos três termos é o mais utilizado., In Portugal, three terms are used to define the final phase of an intervention of conservation and restoration: reintegration or integration, pictorial or chromatic, and retouching. This article is a survey of some bibliographic reference sources, national and international, in order to understand which of the three terms is the most used.
- Published
- 2013
11. Terminology associated with the conservation and restoration of painting
- Author
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Bailão, Ana and Veritati - Repositório Institucional da Universidade Católica Portuguesa
- Subjects
Terminologia ,Painting ,Reintegration ,Integração ,Integration ,Retouching ,Intervention ,Pintura ,Retoque ,Intervenção ,Terminology ,Reintegração - Abstract
Em Portugal utilizam-se três termos para definir a fase final de uma intervenção de conservação e restauro: reintegração ou integração, pictórica ou cromática, e retoque. Neste artigo é feito um levantamento de algumas fontes bibliográficas de referência, nacionais e internacionais, de forma a se perceber qual dos três termos é o mais utilizado., In Portugal, three terms are used to define the final phase of an intervention of conservation and restoration: reintegration or integration, pictorial or chromatic, and retouching. This article is a survey of some bibliographic reference sources, national and international, in order to understand which of the three terms is the most used.
- Published
- 2013
12. Mural Painting Retouching Challenges; A Ghanaian Professional Painter’s Experience
- Author
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G.Y. Annum
- Subjects
Painting ,Mural Paintings ,Defacement ,Conservators ,Preservation ,Retouching ,Life span ,media_common.quotation_subject ,Mural ,Art ,Visual arts ,Neglect ,media_common ,Test (assessment) - Abstract
Art works especially mural paintings, like all othe r scientific, historical and educational products of importance must enjoy a prolonged lifetime of ae sthetic and functional benefit to society. Unfortunately, the life span of outdoor murals displa yed on public buildings in Ghana have been shortened by the ravages of weather, public interac tion with them as well as deterioration over years of neglect. Many of such works especially tho se embedded in the walls of buildings come under severe defacement in the hands of building contractors who either smear them with wall paints or rip them off completely as irrelevant thi ngs when such edifices come under extensive renovation. Those that survive the test of time sad ly end up with cracks. There seem to be the general lack of professional conservators with the right acumen for addressing the conservation needs of the country. This paper therefore throws a searchlight on preservation and retouching challenges and employs the descriptive method to discuss the researcher’s experience in retouching five mural paintings at the Great Hall of KNUST, which had deteriorated and lost their aesthetic values over years of neglect.
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- 2013
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13. Self-destruction of three-dimensional modern paintings caused by untypical materials – finding conservation solutions
- Author
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Katarzyna Mikstal
- Subjects
restoration ,lcsh:Fine Arts ,peinture murale ,three-dimensional paintings ,acrylic paint ,déontologie ,contemporary art ,materials ,retouche ,matériaux ,adhésif ,restauration ,science ,art ,degradation ,support ,lcsh:NX1-820 ,ephemeral art ,deontology ,art éphémère ,conservation ,peinture acrylique ,retouching ,lcsh:Arts in general ,matter painting ,peinture ,painting ,altération ,lcsh:N ,adhesives ,science de la conservation ,art contemporain ,3D - Abstract
The aim of this article is to indicate the relation between matter and an idea within a work of art – three-dimensional painting which involves untypical and undurable techniques. The essay introduces the problem of retaining the idea throughout the proper preserving of the substance while taking considerable care of its authenticity and complying with the rules of restoration ethical code. The author suggests solutions for working with non-standard objects which are exposed to destruction to a much bigger extent than traditional, flateasel painting.Le but de cet article est de souligner la relation entre la matière et l’idée dans une oeuvre d'art – en particulier la peinture tridimensionnelle qui implique des techniques atypiques et non durables. L'étude met en évidence le problème de conserver l'idée lors de la préservation de la substance, en prenant veillant à l’authenticité et en respectant les règles déontologiques de la restauration. L'auteur suggère des solutions pour travailler sur ces objets échappant aux standards traditionnels, et exposés dans une plus grande mesure à la destruction qu’une peinture de chevalet bi-dimensionnelle.
- Published
- 2012
14. La retouche des peintures acryliques en émulsion non vernies : Aquazol 200. Étude des capacités physiques, chimiques et optiques d’un liant
- Author
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Alice Sautois
- Subjects
restoration ,Environmental Engineering ,lcsh:Fine Arts ,peinture murale ,acrylic paint ,Aquazol 200 ,contemporary art ,glossiness ,retouche ,adhésif ,restauration ,science ,degradation ,art ,support ,lcsh:NX1-820 ,conservation ,peinture acrylique ,retouching ,lcsh:Arts in general ,painting ,altération ,brillance ,lcsh:N ,adhesives ,science de la conservation - Abstract
L’exécution de retouches satinées à brillantes est une problématique de restauration que pose les peintures acryliques en émulsion non vernies. Ces dernières sont sensibles à de nombreux solvants organiques réduisant fortement le panel d’interventions de restauration envisageable et disqualifiant tous les liants de retouche brillant nécessitant leur emploi. Cette étude évalue les capacités optiques de plusieurs polymères hydrosolubles en vue de leur utilisation pour ces cas spécifiques de retouche. Les capacités optiques, la stabilité et la compatibilité de l’Aquazol 200 avec les peintures acryliques font l’objet de recherches plus poussées.Glossy retouching is one of the restoration problems which occur with unvarnished acrylic emulsion paintings. Due to the sensitivity to many solvents, every glossy retouching technique has to be avoided because they are not compatible. These investigations have compared the optical abilities of a few water-soluble polymers mixed with water and pigments. The optical feature, the stability and the compatibility of Aquazol 200 have been more deeply evaluated in a scientific way.
- Published
- 2012
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15. Les peintures mates d’Antoine Wiertz (1806-1865)
- Author
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Karine Janssen
- Subjects
reconstruction ,restoration ,lcsh:Fine Arts ,peinture murale ,alteration ,acrylic paint ,contemporary art ,retouche ,pigment ,adhésif ,restauration ,science ,art ,degradation ,support ,lcsh:NX1-820 ,conservation ,peinture acrylique ,retouching ,Wiertz ,lcsh:Arts in general ,technique ,technic ,peinture ,painting ,altération ,reconstitution ,lcsh:N ,adhesives ,science de la conservation - Abstract
Pour le spectateur confronté aux œuvres d’Antoine Wiertz, une question se pose : l’aspect délavé et terne de certaines de ses peintures est-il une volonté esthétique de l’artiste ou la conséquence de l’altération des matériaux de mise en oeuvre. Réalisées avec une technique de peinture mate développée par l’artiste, ces œuvres sont, en fait, sujettes à un lent processus de dégradation. L’analyse des écrits du peintre ainsi que l’analyse scientifique des reconstitutions de ces procédés de peinture mate ont permis de conclure que cet aspect non intentionnel des œuvres est causé par l’action conjuguée des différentes altérations inhérentes à une mauvaise mise en œuvre des matériaux.Faced with the works of Antoine Wiertz, a question arises: Is the washed-out and mat appearance of some of his paintings an artistic intent, or a consequence of alteration. Painted with a technique developed by the artist to achieve a matt appearance, these works are in fact subject to a slow degradation process. Based on the artist’s writings, his particular painting process was reproduced and analysed scientifically. This study concludes that the appearance of those artworks is not a result of the artist’s intent but caused by the combined action of various changes inherent to the painter’s technique.
- Published
- 2012
16. La conservation-restauration des photographies couleur montées par la face sur PMMA
- Author
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Sabine Squoquart
- Subjects
polymethyl methacrylate ,Environmental Engineering ,restoration ,lcsh:Fine Arts ,Diasec® ,peinture murale ,filling ,acrylic paint ,contemporary art ,polishing ,retouche ,adhésif ,restauration ,science ,art ,degradation ,support ,lcsh:NX1-820 ,polissage ,conservation ,peinture acrylique ,retouching ,lcsh:Arts in general ,painting ,altération ,lcsh:N ,photograhie en couleurs ,adhesives ,color photography ,polyméthacrylate de méthyle ,science de la conservation ,comblement - Abstract
À partir des années 1970, différentes méthodes de montage de photographies grand format voient le jour et notamment le Diasec®. Cette technique présente de nombreux avantages de manipulation, d’exposition et de recherches esthétiques pour les photographes. Cependant, ce procédé de montage pose également des problèmes de conservation et de restauration liés principalement à la fragilité du PMMA aux altérations physiques et chimiques. L’étude de ces matériaux nous a amené à envisager différentes solutions et techniques pour leur restauration et leur conservation dans le futur.Since the 1970’s, various methods of mounting large photographs have emerged. They have many advantages for handling; display and aesthetic research for photographers. However, these mounting methods have many problems of conservation and restoration related to physical fragility of PMMA. This study of these materials has given us different solutions and techniques for their restoration and conservation in future.
- Published
- 2012
17. Introduction
- Author
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Verbeeck-Boutin, Muriel
- Subjects
support ,restoration ,conservation ,peinture acrylique ,peinture murale ,acrylic paint ,retouching ,contemporary art ,painting ,retouche ,altération ,adhésif ,adhesives ,restauration ,science de la conservation ,science ,art ,degradation - Abstract
Version française Un livre c'est la naissance d'un voyage, le tracé d'un itinéraire. Tahar Ben Jelloun Deuxième numéro hors série réservé aux diplômés en conservation-restauration, EGG-2011 rassemble les primo-articles d’une vingtaine de jeunes auteurs. Leurs contributions reflètent la diversité des travaux de fin d’études entrepris dans nombre de Hautes Écoles et Universités européennes: cas pratiques, réflexions théoriques, recherches et expérimentations scientifiques se côtoient et s’int...
- Published
- 2012
18. Le laser comme moyen de dégagement de produits de corrosion sur un objet archéologique : le cas de la dorure sur alliage cuivreux
- Author
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Valentine Brodard
- Subjects
Environmental Engineering ,Materials science ,restoration ,lcsh:Fine Arts ,dorure ,peinture murale ,acrylic paint ,contemporary art ,copper alloy ,YAG [Nd] ,retouche ,adhésif ,cuprite ,restauration ,gilding ,science ,art ,degradation ,objet archéologique ,support ,alliage cuivreux ,lcsh:NX1-820 ,archaeological object ,conservation ,peinture acrylique ,retouching ,Nd:YAG ,lcsh:Arts in general ,laser ,painting ,altération ,Copper alloy ,lcsh:N ,adhesives ,Humanities ,science de la conservation - Abstract
Le dégagement des produits de corrosion présents sur les objets archéologiques en alliage cuivreux dorés comporte d’importants risques d’altération. Lors d’un dégagement mécanique se pose le problème de la rayure de la surface dorée. Lors d’un traitement chimique, une accélération des processus de corrosion des alliages en présence risque de se produire.Dans ce travail, nous avons testé l’utilisation du laser comme méthode alternative de dégagement des produits de corrosion sur ce type d’objets. Trois lasers Nd:YAG ont été utilisés lors de cette étude : un laser Short free running, un laser long Q-switch et un laser Q-switch. Les tests ont été effectués sur des coupons en cuivre dorés fabriqués d’après deux masques précolombiens. Nos résultats montrent que ces lasers ne permettent pas un dégagement des produits de corrosion sans altérer la surface dorée. Par contre, il existe la possibilité de tester des lasers offrant une vitesse d’impulsion plus rapide comme le laser femtoseconde.The removal of corrosion products from archaeological gilded copper alloys lead to high risks of damage. A mechanical cleaning may induce abrasions of the gilding when a chemical cleaning might increase the corrosion processes.In this thesis, we have tested the use of laser as an alternative for the removal of corrosion products on gilded copper alloy. Three lasers Nd:YAG were used during our tests : a laser Short free running, a laser Long Q-switch and a laser Q-switch. The tests have been done on gilded copper samples prepared after two pre-Columbian masks. The results prove that lasers don’t permit the removal of corrosion products without damage on the gilded surface. However a laser with a faster pulse like a femtosecond laser may allow the cleaning of gilded copper without any damage
- Published
- 2012
19. Le moulage pour la reconstitution des lacunes en restauration de la céramique et du verre
- Author
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Hélène Blanpain
- Subjects
detachable fills ,restoration ,Environmental Engineering ,lcsh:Fine Arts ,media_common.quotation_subject ,peinture murale ,acrylic paint ,contemporary art ,epoxy ,retouche ,plâtre ,moulage ,adhésif ,restauration ,science ,art ,degradation ,media_common ,Gap filling ,support ,résine ,lcsh:NX1-820 ,conservation ,peinture acrylique ,silicon ,retouching ,Art ,lcsh:Arts in general ,plaster ,painting ,resins ,altération ,époxy ,reconstitution ,tesson ,silicone ,lcsh:N ,adhesives ,molding ,Humanities ,science de la conservation ,gap-filling - Abstract
La technique de reconstitution des lacunes par moulage est très vaste. Elle présente une large gamme de produits et de procédés susceptibles d’être employés dans le domaine de la restauration de la céramique et du verre. Leur choix et leur bonne mise en œuvre dépendront de plusieurs facteurs comme la nature de l’élément à mouler, sa forme et la nature du matériau de comblement choisi.The technique of gap-filling by molding is very vast. It presents a wide range of products and processes than can be used in the field of the restoration of ceramic and glass objects. Their choice depends on several factors : the material of the object, its shape, and the choice of the filling product.
- Published
- 2012
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20. Multi-analytical study of paint and varnish on a 17th century wooden polychrome antependium
- Author
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Aida Grga
- Subjects
spectroscopy ,Environmental Engineering ,restoration ,lcsh:Fine Arts ,media_common.quotation_subject ,Varnish ,peinture murale ,acrylic paint ,Matej Otoni ,contemporary art ,spectroscopie ,Visual arts ,retouche ,Polychrome ,adhésif ,restauration ,science ,media_common ,degradation ,art ,chromatographie ,analyse microchimique ,support ,lcsh:NX1-820 ,thin-layer chromatography ,micro-chemical analysis ,conservation ,peinture acrylique ,SAINT ,retouching ,Art ,lcsh:Arts in general ,painting ,FTIR ,altération ,visual_art ,visual_art.visual_art_medium ,Altar ,antependium ,lcsh:N ,adhesives ,science de la conservation - Abstract
The antependium of Saint Michael's altar from the church of Saint Catherine in Osič, Croatia, is a work of the 17th century artist Matej Otoni. As a part of her Master's thesis, Aida Grga carried out a complex analysis of the paint layer (binding medium and pigments) and of the resinous varnish found on the object. Thin layer chromatography, Fourier transform infrared spectroscopy and micro-chemical analysis were used to identify the materials. The investigation was carried out in the Laboratory for Conservation Research at the Arts Academy of the University of Split, under the supervision of PhD Ivica Ljubenkov.L’antependium de Saint Michel provenant de l’église de Sainte Catherine à Osič, Croatie, est l’œuvre de l’artiste Matej Otoni (XVIIe siècle). Dans le cadre de sa thèse de maîtrise, Aida Grga a exécuté une analyse complexe de la couche picturale (liant et matières colorantes) et du vernis trouvés sur l’objet. La chromatographie sur couche mince, la spectroscopie infrarouge (FT-IR) et une analyse microchimique ont été utilisés pour identifier les matériaux. La recherche a été effectuée sous la supervision de Dr. Ivica Ljubenkov au Laboratoire de Recherche en Conservation auprès de l’Académie des Beaux Arts de l’Université de Split.
- Published
- 2012
21. Étude et restauration de deux sculptures de jardin en terre cuite
- Author
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Sabrina Vétillard
- Subjects
restoration ,lcsh:Fine Arts ,fillers ,peinture murale ,Terra-cotta ,cleaning ,acrylic paint ,contemporary art ,enduits ,retouche ,foliated material ,terre cuite ,adhésif ,restauration ,nettoyage ,science ,art ,degradation ,support ,lcsh:NX1-820 ,conservation ,peinture acrylique ,retouching ,lcsh:Arts in general ,matériau feuilleté ,painting ,altération ,bouchage ,lcsh:N ,adhesives ,consolidation ,science de la conservation - Abstract
L’étude et la restauration de deux sphynges en terre cuite, particulièrement dégradées par leur installation en extérieur, ont permis d’approfondir la connaissance des techniques d’estampage, de caractériser les propriétés des terres cuites et les mécanismes de dégradation liés au gel. Les différentes techniques mises en oeuvre ont été l’occasion de réfléchir aux limites d’intervention pour des sculptures de jardin.The study and the restoration of two sphynges in terra-cotta, particularly degraded by their outdoor installation, allowed to deepen the knowledge of stamping techniques, to characterize the properties of terra-cottas and mechanisms of degradation bound to the frost. The different techniques used were the opportunity to think about limits of intervention for garden installed sculptures.
- Published
- 2012
22. Restauration de Sapho ou Le Chant de Raoul Verlet
- Author
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Lucie Courtiade
- Subjects
restoration ,lcsh:Fine Arts ,alliage ferreux ,peinture murale ,acrylic paint ,steel reinforcements ,contemporary art ,retouche ,plâtre ,structure ,adhésif ,stainless steel ,restauration ,sculpture ,science ,art ,degradation ,corrosion ,support ,lcsh:NX1-820 ,acier inoxydable ,conservation ,peinture acrylique ,retouching ,lcsh:Arts in general ,plaster ,painting ,altération ,lcsh:N ,adhesives ,science de la conservation - Abstract
L'étude de Sapho ou Le Chant, modèle de fonderie en plâtre élaboré par Raoul Verlet et conservé au Musée d'Angoulême depuis 1926, a permis d'aborder un sujet courant, celui des plâtres fracturés par l'expansion de la corrosion d'armatures internes causée par l'humidité. La principale intervention s'est axée sur le remontage des fragments nécessitant la conception d'une structure de remontage en acier inoxydable. Les interventions structurelles ont été complétées par des collages simples ou renforcés des fragments de grandes dimensions.The study of Sapho ou Le Chant, a plaster cast foundry created by Raoul Verlet and preserved in the Angoulême Museum since 1926, has allowed to approach a common problematic, that one of split plaster cast by the expansion of steel reinforcements corrosion, caused by high humidity conservation conditions. The main intervention concerned the fragments reconstruction requiring the design and the execution of a stainless steel pedestal. The structural interventions was completed with simple and reinforced stickings of the larger fragments.
- Published
- 2012
23. Application of acoustic emission technique to limoges enamels for damage assessment
- Author
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Jenny Studer
- Subjects
Limoges ,Environmental Engineering ,restoration ,lcsh:Fine Arts ,lighting ,media_common.quotation_subject ,peinture murale ,acrylic paint ,tungsten-halide ,émission acoustique ,contemporary art ,retouche ,conservation préventive ,température ,adhésif ,restauration ,science ,media_common ,degradation ,art ,micro damages ,support ,lcsh:NX1-820 ,tungstène-halide ,conservation ,peinture acrylique ,temperature ,retouching ,Art ,éclairage ,preventive conservation ,lcsh:Arts in general ,painting ,altération ,microdommages ,Ethnology ,lcsh:N ,adhesives ,acoustic emission ,Humanities ,science de la conservation - Abstract
L'éclairage de tungstène-halide a été mis en cause quant à son impact dans les vitrines. Un tel risque n'est pas facile à évaluer : c’est la technique d'émission acoustique qui a été utilisée pour détecter de microdégâts sur des émaux de Limoges, puisque des recherches précédentes avaient mis en évidence la fragilité et vulnérabilité de ceux-ci. Avant d'appliquer la technique aux originaux, les échantillons d'émail ont été utilisés dans des tests et exposés aux variations de température pour évaluer leur réponse à la détérioration induite. La distribution d'humidité relative et de température dans deux vitrines a été mesurée afin d'évaluer le changement thermique. De plus, la performance de méthodes actuelles pour contrôler l'humidité relative, le taux de renouvellement de l’air et les risques de polluants carbonyl dans les vitrines a été aussi évaluée. Cette analyse a abouti à plusieurs modifications pour améliorer le microenvironnement lors de la présentation-exposition.Tungsten-halide lighting has been found to cause significant temperature distributions within showcases. The risk from such medium scale heating events is not easy to assess; therefore the acoustic emission technique was used to detect micro damage within Limoges enamels, as previous research has shown how vulnerable these enamels are. Prior to applying the technique to the originals, enamel samples were used in flexure tests and exposed to variations of temperature to assess their response to stress induced deterioration. The temperature and relative humidity distribution in two display cases were measured with data loggers at different points to assess the thermal loading. In addition, the performance of current methods to control relative humidity, the air exchange rate, and the risks from carbonyl pollutants within the showcases were also assessed. This analysis resulted in several changes to improve the display microenvironment.
- Published
- 2012
24. Experimental research of crucible steel: a new insight and historical reflection
- Author
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Klaas Remmen
- Subjects
Engineering ,restoration ,Environmental Engineering ,Crucible steel ,lcsh:Fine Arts ,acier au creuset ,damas ,peinture murale ,acrylic paint ,Civil engineering ,contemporary art ,Visual arts ,experimental archaeo-metallurgy ,retouche ,adhésif ,wootz ,Reflection (computer graphics) ,restauration ,métallography ,science ,crucible steel ,art ,degradation ,métallurgie ,support ,business.industry ,metallurgy ,archéologie ,lcsh:NX1-820 ,conservation ,peinture acrylique ,retouching ,lcsh:Arts in general ,Experimental research ,Archaeological evidence ,language.human_language ,painting ,Georgian ,metallography ,archeology ,altération ,language ,lcsh:N ,adhesives ,business ,archéo-métallurgie expérimentale ,science de la conservation - Abstract
This paper describes experimental archaeo-metallurgical research on crucible steel, executed as a master project to obtain the master degree in conservation. After evaluating the results of different manufacturing techniques, the so-called Georgian crucible steel technique showed results that were remarkably similar to archaeological evidence from Merv, Turkmenistan. An objective historical reflection was made.Cet article décrit une étude expérimentale archéo-métallurgique sur l'acier creuset, menée en tant que projet maîtrise pour l’obtention du grade de master en conservation et restauration. Après avoir évalué les résultats des techniques différentes de fabrication, la technique de l’acier au creuset géorgien a montré des résultats similaires aux preuves archéologiques de Merv, au Turkménistan. Une réflexion historique a été menée à ce sujet.
- Published
- 2012
25. Étude de l’influence des couches de non-tissés intermédiaires dans la réversibilité du doublage thermoplastique au Plextol B500®
- Author
-
Virginie Le Poizat
- Subjects
restoration ,Environmental Engineering ,lcsh:Fine Arts ,non-woven ,peinture murale ,acrylic paint ,doublage ,contemporary art ,Plextol B500® ,retouche ,reversibility ,adhésif ,non-tissé ,restauration ,réversibilité ,science ,degradation ,art ,support ,peel ,lcsh:NX1-820 ,pelage ,conservation ,lining ,peinture acrylique ,retouching ,lcsh:Arts in general ,painting ,altération ,lcsh:N ,adhesives ,science de la conservation - Abstract
Les choix concernant les matériaux et la mise en œuvre d’un doublage du support original d’une peinture par un textile et des adhésifs synthétiques sont souvent pris de manière empirique par les restaurateurs, sans être précédés de tests précis. La réversibilité, qui est un principe de déontologie primordial est encore imprécise pour ce type de doublage. Nous avons étudié par des expérimentations comment celle-ci peut être déterminée par le choix des couches intermédiaires.Choices about materials and the elaboration of synthetic linings are often made by the conservator, without any precise experimentation. Reversibility is an important deontological principal, not well-known concerning synthetic lining. We studied thanks to experimentations, how it can be influenced by the choice of the intermediate layers.
- Published
- 2012
26. Investigating effective support mounts for fans during display by exploring new technologies
- Author
-
Sarah Bright
- Subjects
Architectural engineering ,Environmental Engineering ,restoration ,3D fabrication technology ,lcsh:Fine Arts ,Process (engineering) ,Emerging technologies ,media_common.quotation_subject ,peinture murale ,acrylic paint ,contemporary art ,Visual arts ,éventail ,technologie de fabrication 3D ,mount ,conservation préventive ,retouche ,adhésif ,restauration ,Bespoke ,science ,media_common ,art ,degradation ,support ,textile ,lcsh:NX1-820 ,conservation ,peinture acrylique ,montage ,retouching ,Art ,preventive conservation ,lcsh:Arts in general ,écran ,Mount ,display ,painting ,3d fabrication ,fan support ,3d image ,altération ,lcsh:N ,adhesives ,science de la conservation - Abstract
Blaise Castle House Museum in Bristol (UK) houses a large and impressive collection of 130 European fans ranging from 1700-1950 with 60 brisé and 70 other fans in a generally good condition. This research project explored how to best support this sort of collection by using 3D fabrication technology to create bespoke mounts. At present making mounts for fans is complex and time consuming due to the layering and structure of fans, and the need for accuracy if the mount is to support the fan sufficiently. This project explored how creating a digital 3D image of a fan could enable 3D fabrication technologies to be used to produce an exact ‘imprint’ of the object ensuring that all areas were supported, allowing a more suitable fan display to be created. This paper outlines the process of exploring the principles of creating mounts for fans; narrates the process of selecting suitable objects for display, and the process of creating a digitally-produced fan mount.Blaise Castle House Museum à Bristol (Royaume-Uni) abrite une importante et impressionnante collection de 130 éventails européens, datés de 1700 à 1950, dont 60 brisés et 70 autres dans un bon état général. Ce projet de recherche consiste à présenter au mieux ce type de collection en utilisant la technologie de fabrication 3D pour créer des supports sur mesure. À l'heure actuelle la conception de présentoirs est complexe et prend du temps, en raison de la structure des objets, et d’un besoin extrême de précision lorsque l’objectif est d’apporter un soutien aux différentes composantes des éventails. Ce projet explore donc comment la création d'une image numérique 3D d'un éventail pourrait permettre à des technologies de fabrication en 3D d’être utilisées pour produire une exacte «empreinte» de l'objet et veiller à ce que toutes les composantes soient supportées, permettant ainsi de créer le présentoir. Ce document décrit le processus d'exploration des principes de la création de montages des éventails; il s’intéresse au processus de sélection des objets appropriés pour l'exposition, et enfin détaille le processus de création d'un support, grâce aux technologies numériques.
- Published
- 2012
27. Les solvants organiques neutres épaissis pour le nettoyage d’une couche picturale
- Author
-
Claire Dupuy
- Subjects
Acide polyacrylique ,restoration ,lcsh:Fine Arts ,peinture murale ,éthers de cellulose ,acrylic paint ,‘solvent gel’ ,contemporary art ,retouche ,cellulose ethers ,adhésif ,restauration ,Polyacrylic acid ,science ,thickened solvents ,art ,degradation ,solvants épaissis ,support ,lcsh:NX1-820 ,Acides polyacryliques ,conservation ,peinture acrylique ,retouching ,lcsh:Arts in general ,painting ,altération ,lcsh:N ,solvent gel ,adhesives ,science de la conservation - Abstract
L’évolution des techniques de restauration conduit à l’introduction de nouvelles méthodes et de nouvelles réflexions au service du nettoyage des couches picturales. Nous choisissons ici d’étudier l’une deces réflexions : l’épaississement des solvants organiques neutres liquides à l’aide d’éthers de cellulose et d’acides polyacryliques neutralisés.The evolution of restoration techniques led to the introduction of new methods and new research in the service of cleaning the pictorial layers. Here, we chose to consider one of these approaches: thickening of neutral organic liquid solvents using cellulose ethers and neutralized polyacrylic acid.
- Published
- 2012
28. La documentation des peintures murales de la Chapelle des fresques de Villeneuve-lès Avignon
- Author
-
Feillou, Marie
- Subjects
3D model ,peintures murales ,restoration ,lcsh:Fine Arts ,modèle 3D ,peinture murale ,acrylic paint ,documentation ,contemporary art ,retouche ,data base ,cartography ,adhésif ,restauration ,science ,mural paintings ,degradation ,art ,base de données ,support ,lcsh:NX1-820 ,conservation ,peinture acrylique ,retouching ,lcsh:Arts in general ,painting ,altération ,cartographie ,lcsh:N ,adhesives ,science de la conservation - Abstract
La documentation réalisée en vue de la conservation - restauration des peintures murales de la Chapelle des fresques de Villeneuve-lès-Avignon est liée à la constitution d’une base de données fondée sur la représentation 3D de l’intérieur peint de la chapelle. L’intégration et la spatialisation des données de la documentation dans cette base engendrent alors le questionnement des outils de réalisation de la documentation et la formulation d'une méthode de travail s'appuyant sur l'usage de nouvelles technologies numériques.The documentation led for the conservation restauration of the mural paintings of the Chaterhouse of Villeneuve lès Avignon is linked with the constitution of a data base based on the 3D representation of the painted interior’s chapel. Thus the integration and spatialisation of the documentation’s datas in this database engender the wondering about documentation tools and the establishment of a work’s methodology based on new digital technology’s.
- Published
- 2012
29. L’étude préalable et la conservation - restauration des graffitis des internés au camp de Drancy
- Author
-
Curdy, Mélanie
- Subjects
restoration ,lcsh:Fine Arts ,peinture murale ,acrylic paint ,contemporary art ,Drancy ,terahertz ,uncovering ,retouche ,térahertz ,recouvrement ,adhésif ,restauration ,science ,art ,degradation ,support ,lcsh:NX1-820 ,conservation ,peinture acrylique ,imaging ,imagerie ,retouching ,non-destructive examination ,dégagement ,lcsh:Arts in general ,covering ,painting ,graffiti ,altération ,lcsh:N ,adhesives ,science de la conservation ,examen non-destructif - Abstract
Pendant l’occupation de la France par le régime nazi, les Juifs internés au camp de transit de Drancy inscrivirent des messages sur les murs qui les retenaient prisonniers. Recouverts par des badigeons et des enduits, des graffitis furent ainsi conservés sur les cloisons des anciens espaces d’internement, reconvertis aujourd’hui en appartements. Dans le cadre d’un mémoire de l‘Institut national du patrimoine a été menée l’étude préalable de ces graffitis. Afin de visualiser les inscriptions recouvertes, une méthode d’examen non invasive innovante, mettant en œuvre les ondes térahertz, a été expérimentée. Les graffitis de Drancy ont été ensuite restaurés, pour leur rendre leur lisibilité et assurer leur conservation.During the Second World War, the Jewish prisoners of the transit camp in Drancy inscribed messages on the walls of their prison. Concealed under coats of whitewash and plasters, the graffiti have been preserved on the walls of the former camp that has been turned into apartments again. The preliminary study of the graffiti were conducted at the Institut national du patrimoine. A scientific study led to the implementation of non-invasive examination methods of the covered mural inscriptions through the testing of potential applications of terahertz imaging. The graffiti were then conserved in order to ensure their legibility and preservation.
- Published
- 2012
30. Application of a methodology for retouching
- Author
-
Bailão, Ana
- Subjects
restoration ,lcsh:Fine Arts ,lcsh:NX1-820 ,scientific analyses ,analyse ,conservation ,retouching ,methodology ,lcsh:Arts in general ,peinture ,méthodologie ,painting ,Gestalt ,retouche ,lcsh:N ,restauration ,science de la conservation ,science ,art - Abstract
Between November 2006 and January 2010, an investigation into retouching methodologies was carried out. The aim of this paper is to describe, in four steps, the retouching methodology of a contemporary painting. The four steps are: chromatic and formal study, considering the use of Gestalt theory and the phenomena of contrast and assimilation; selection of the technique; choice of the materials and retouching practice.Entre Novembre 2006 et Janvier 2010, nous avons fait une recherche dans le cadre du programme de Maitrise sur la méthodologie et les techniques de retouche. Le but de cet article est la description, en quatre étapes, de la méthodologie de retouche d’une peinture contemporaine. Les quatre étapes sont: étude chromatique et formelle, avec l’utilisation de la théorie de la Gestalt et des phénomènes de contraste et assimilation, la sélection de la technique, le choix des matériaux et la pratique de retouche.
- Published
- 2010
31. Analysis of Lacunae and Retouching Areas in Panel Paintings Using Landscape Metrics
- Author
-
Frederico Henriques and Alexandre Gonçalves
- Subjects
Painting ,Geographic information system ,Visual interpretation ,business.industry ,Orthophoto ,Conservation and restoration ,GIS ,Conservation ,Geography ,Documentation ,Landscape metrics ,Retouching ,Lacunae ,business ,Cartography - Abstract
This paper explores a novel use of Geographic Information Systems and Landscape Metrics in the characterization of lacunae and retouching areas on panel paintings. The aim is to understand some spatial properties of original and non-original areas and contribute to the documentation of conservation and restoration treatments with valuable information. The study uses an orthophoto of the analysed artwork in a GIS program to produce polygons with a direct visual interpretation, corresponding to the major colour zones, the lacunae and the retouching areas. Over these areas landscape metrics are applied and interpreted. The result is a useful set of values describing spatial properties and relations between lacunae, retouching areas and the unaffected zones in the painting. These quantified parameters extend the traditional qualitative diagnosis reports on the state of conservation of artworks and contribute to support the evaluation of conservation and restoration projects.
- Published
- 2010
- Full Text
- View/download PDF
32. Eigil Rothe, an early twentieth century wall paintings conservator in Denmark
- Author
-
Isabelle Brajer
- Subjects
Environmental Engineering ,lcsh:Fine Arts ,media_common.quotation_subject ,Denmark ,fresque ,aesthetic completion ,préparation Carlsberg ,wall paintings ,photographic documentation ,Art history ,peinture murale ,casein ,Conservation ,retouche ,documentation photographique ,imprégnation ,Historicism ,adhésif ,Danemark ,media_common ,Eigil Rothe ,surpeint ,Painting ,Eigil Roth ,caséine ,lcsh:NX1-820 ,cuir ,préparation ,retouching ,Art ,lcsh:Arts in general ,Carlsberg preparation ,over-painting ,fossile ,polyuréthanne ,muséographie ,historical treatments ,histoire de la restauration ,lcsh:N ,impregnation ,esthétique - Abstract
Eigil Rothe (active 1897-1929) is a central figure in the development of wall paintings conservation and restoration in Denmark, marking a clear departure from the practices of artist-restorers influenced by historicism. His ideas about retouching and impregnation were propelled by his sense of aesthetics, which rejected nineteenth century interpretations, and called for a respect for the passage of time. His experiments with surface treatments demonstrate unprecedented thoughts about the necessity of future treatments. His work was driven by an aspiration for the truth, as seen by his diligent photographs, such as his noteworthy documentation of the stage prior to aesthetic treatment.Eigil Rothe (actif 1897-1929) est une figure centrale dans le développement de la conservation de peintures murales et la restauration au Danemark, marquant clairement le début de pratiques nouvelles pour les restaurateurs-artiste qu’influencent l’historicisme. Ses idées relatives à la retouche et à l'imprégnation ont été soutenues par son sens esthétique, qui rejette les interprétations du dix-neuvième siècle et insiste sur le respect des marques du temps. Ses expériences relatives aux traitements de surface démontrent une conscience originale et sans précédent quant à la nécessité de traitements futurs. Son travail a toujours été motivé par une passion pour la vérité, comme le démontrent ses remarquables photographies et la documentation remarquable de l’état avant traitement.
- Published
- 2008
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