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Copyright of GeSec: Revista de Gestao e Secretariado is the property of Sindicato das Secretarias e Secretarios do Estado de Sao Paulo (SINSESP) 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.)

Initially, a brief historical review related to the discovery of iron is made. Studies of artifacts such as tools blades and weapons from more than 1000 years BC, allowed us to conclude that the knowledge already existed to increase the hardness of metals, both due to the increase in carbon content and sudden cooling from high temperatures (a process called tempering or hardening). This suggests that there was a considerable degree of sophistication on the part of these early blacksmiths. Next, the basics of materials theory and formation of the crystalline structure of iron- carbide iron (Fe-Fe3C) based on the phase diagram are presented. Modernly, materials science has shown that increasing temperature changes the atomic structure of ferrite (pure iron with BCC structure) to austenite (FCC), which allows the inclusion of other elements, such as carbon, for example. The quenching process, on the other hand, abruptly changes the atomic structure from austenite to martensite (BCT), keeping the carbon attached to the final structure, giving the new material a significant increase in hardness. Although the context of the article is, at first glance, historical, the controlled heat treatment of steel is essential for the modern world and is used to ensure that it has the desired properties in industry in general. [ABSTRACT FROM AUTHOR]

Abstract Panel paintings are multi-layer structures composed of humidity-sensitive materials. Preventing or limiting stresses in these structures, generated by the loss or gain of moisture, requires an understanding of the relevant processes and risks. A three-dimensional elastic model of a panel painting was used to analyse surface stresses and understand how crack patterns are developed in the two-layer structure of the pictorial layer—the gesso and the paints. Two historically important paint types were considered—egg tempera and oil paints, laid on a gesso produced following historical procedures. Two scenarios of stress development were analysed: permanent cumulative drying shrinkage of paints or gesso, owing to gradual loss of water or evolution of the molecular composition of the binders, and moisture-induced cyclic swelling of the wood substrate. Ratios of distances between cracks in the tangential and longitudinal directions of a wood panel to the layer thickness were estimated for increasing magnitudes of materials’ dimensional change in the two scenarios. The critical values of the ratios for which stress in the midpoint between the cracks dropped below the value inducing strain at break in the materials and saturation of the crack patterns occurred, was approximately 3–4 or 5–6 for the paints and the gesso, respectively. The critical distance normalized to the gesso thickness between cracks parallel to the wood grain induced by cyclic swelling of the wood substrate due to relative humidity variation in the range of 50–70% was 6. The study demonstrated that crack spacings in the fully developed crack systems remain sensitive only to the thicknesses of paint or gesso layers which, therefore, can be derived from the crack pattern geometry. Existing flaws in gesso were found not to increase the risk of new crack development.

The possibility of using materials from the waste of agricultural products for the conservation of cultural and artistic heritage has led to important technological developments on mortars, plasters, colors, and other applications. In this experimental work, we investigated the binding properties of mucilage obtained from two different species of the genus Opuntia, both collected in Sicily, Italy: Opuntia ficus-indica (L.) Mill. and Opuntia stricta (Haw.) Haw. Through chemical acid hydrolysis, and subsequent spectroscopic analysis conducted at 13C-NMR, the main monosaccharide composition of both mucilage was studied, identifying considerable compositional differences. In fact, the mucilage of O. ficus indica had similar total amounts of arabinose (23.65%), galactose (20.87%), and glucose isomers (23.89%), while that of O. stricta was characterized by significant amounts of arabinose (36.48%) and galactose (32.31%) units. The samples were obtained by dispersing pigments on the mucilage and applying the obtained tempera by a brush onto both paper and chalk supports, in order to observe if the colors changed with different substrates. Colorimetric analysis, measuring ΔE, showed how the same pigment modifies its aspect depending on the binder used. After a two-week UV ageing process, pigments that had dispersed in O. stricta changed their aspect more than those dispersed in O. ficus-indica. Overall, it is also evident how ΔE data for organic pigments are higher than those for inorganic ones. [ABSTRACT FROM AUTHOR]

The research carried out on the wall paintings of Hernán Pérez del Pulgar's Palace chapel in Granada (Spain) was aimed at determining its historical–artistic, stylistic, technical, and compositional aspects. For this, a 16th century frieze and an 18th century pendentive were studied. The mineralogical, chemical, and textural characterization of the constituent materials and the study of the state of conservation of the paintings have helped to determine the pictorial technique used, identify the nature of the salts present in the paintings, and other pathologies including a dormant fungal attack. To this end, optical microscopy (OM), X-ray diffraction (XRD), Field emission scanning electron microscopy with microanalysis (FESEM-EDS), and micro-Raman spectroscopy (MRS) were used. The information obtained helps clarify important aspects of the painting technique used, laying a basis to ensure effective and suitable conservation and restoration measures on the paintings that will ensure their durability over time. [ABSTRACT FROM AUTHOR]

The aim of this investigation was to analyze the materials and techniques of the paintings in the 16th‐century ce St Mary's Church, to evaluate deterioration of the paintings, and to propose a suitable conservation treatment for their preservation. The material analysis of ground, pigments, binders, and plasters was undertaken using binocular microscopy, field emission scanning electron microscopy (SEM)–energy dispersive X‐ray spectroscopy, X‐ray fluorescence, Fourier transform infrared spectroscopy in reflectance (KBr) and transmittance mode (attenuated total reflection), thin‐film X‐ray diffraction, and micro‐Raman spectroscopy. Gas chromatography–mass spectrometry (GC‐MS) was used for identifying proteinaceous and lipidic materials extracted from the micro‐samples. The study generated data on two different red and green pigments used as decorative materials. The red pigments were identified as cinnabar along with traces of hematite and clay minerals, and green as malachite and the minor presence of other minerals. SEM analysis identified cotton fiber embedded in the coarse plaster layer that provided better strength to the plaster. Plant oils and proteins found as the binder in the pigment samples suggested that the painting technique was executed as tempera. Lead white and gypsum materials were used in previous restoration works. [ABSTRACT FROM AUTHOR]

Although Gino Severini is recognised as a leading exponent of European avant-garde movements through the first half of the twentieth century, his work as a mural painter is little known. This article reports the technical study of Severini's wall paintings for the Swiss church of Saint Nicolas de Myre in Semsales (1924–1926), in the framework of a research project coordinated by the University of Applied Sciences and Arts of Southern Switzerland and financed by the Swiss National Science Foundation. Taking an interdisciplinary approach, the project investigates the wall paintings made by the artist in five churches in Switzerland and dating between 1924 and 1947, with the aim of clarifying the artist's mural painting techniques. Following research in the parish archives and in those of the Severini family, the project proceeded in the different churches with in situ examination (diffuse and raking visible light, UV radiation, digital microscopy) supported by non-invasive scientific investigation (technical photography and spectroscopic point analyses) and laboratory invasive analyses on micro-samples. Lastly, the data from all the various sources are collected and interrelated. The artist's first commission, in 1924 at Semsales, became the longest and most complex, given the artist's relative lack of mural experience, the extent of surfaces, and variety of techniques adopted. The investigation reveals a long process in which Severini mastered a secco procedures using organic binders, on plasters that had already been applied, flanked by works in the tradition of a fresco painting, enriched with a modern palette of colours. Underlying all this work was a long process of planning, in which the artist associated the differing techniques with variations in style, in an extremely personal language between cubism and classicism. [ABSTRACT FROM AUTHOR]

"A very curious series of paintings in tempera on leather... are to be found at Buckingham Palace." (Blunt 1946, 267). The 2017 Royal Collection Trust exhibition 'Canaletto and the Art of Venice' necessitated the examination and conservation treatment of eight paintings by the artist Marco Ricci (1676–1730). Marco's artworks were unusually catalogued as 'tempera on kidskin leather', however it became apparent that internationally widespread confusion and inconsistency existed in the cataloguing of these artworks, complicating the understanding of these 'curious' paintings and the development of a conservation treatment approach. As in-depth material analysis was not possible, multi-collection and art historical research were combined with close observation to better understand the material nature and condition of this unusual group of paintings. The Royal Collection's group of Marco Ricci paintings on leather is the largest in existence, with all 32 artworks presented in their original frames and it is suggested here that some exist in their original mounted format. This group is therefore the basis of much of the author's current understanding. Despite presenting a consistent framed visual appearance, the project unearthed surprising variation amongst the Royal Collection works, serving to significantly supplement previous understanding of these paintings. [ABSTRACT FROM AUTHOR]

Статья посвящена исследованию картины «Ригден-Джапо — Владыка Шамбалы» (1927) из собрания Музея изобразительных искусств имени Г. Дзанабадзара в Улан-Баторе. Автор дает анализ исторических предпосылок создания произведения Н.К. Рерихом, известным исследователем Центральной Азии, русским художником и ученым, представляет идею Шамбалы и замысел картины, подробности преподнесения картины в дар правительству Монголии того времени. Также приведены результаты спектрального и химического анализа, что подтвердило подлинность картины и одновременно внесло вклад в создание базы данных об использовании красок художником. Идея картины носит символический характер и воплощает мечты и чаяния народов Монголии и всего буддийского мира о приходе новой эпохи Справедливости, Братства и Счастья народов.

The research carried out on the wall paintings of Hernán Pérez del Pulgar’s Palace chapel in Granada (Spain) was aimed at determining its historical–artistic, stylistic, technical, and compositional aspects. For this, a 16th century frieze and an 18th century pendentive were studied. The mineralogical, chemical, and textural characterization of the constituent materials and the study of the state of conservation of the paintings have helped to determine the pictorial technique used, identify the nature of the salts present in the paintings, and other pathologies including a dormant fungal attack. To this end, optical microscopy (OM), X-ray diffraction (XRD), Field emission scanning electron microscopy with microanalysis (FESEM-EDS), and micro-Raman spectroscopy (MRS) were used. The information obtained helps clarify important aspects of the painting technique used, laying a basis to ensure effective and suitable conservation and restoration measures on the paintings that will ensure their durability over time.

A têmpera é um procedimento térmico que busca a obtenção da microestrutura martensítica, visando melhoria nas propriedades dos materiais metálicos. O tratamento ocorre pelo aquecimento da peça, até que austenita seja obtida na sua composição, seguido de resfriamento, que deve ser rápido, impedindo que o carbono seja difundido no material. Esse resfriamento ocorre geralmente pela imersão do corpo sob alta temperatura em fluidos refrigerantes. Nesse sentido, existe a necessidade de taxas de resfriamento elevadas do corpo, provocadas pelo contato com o fluido, minimizando rapidamente sua temperatura. Atualmente, os fluidos poliméricos diluídos em água vêm sendo utilizados para esse tratamento, posto que apresentam avanços em relação às demais classes de fluidos. Esses fluidos variam de forma relevante os níveis de transferência de calor, conforme a concentração é alterada na solução. Neste trabalho, as variações de temperaturas e taxas de variação térmica entre corpo e fluido foram avaliadas, empregando quatro concentrações de solução polimérica de polivinilpirolidona (PVP), com percentuais entre 10 e 25%.

In view of the large field of industrial application of bronze alloys, it becomes essential to carry out detailed metallurgical studies seeking the development of these alloys, specifically nickel-aluminum bronze, and one of the main technological fronts in which bronze is inserted is in aerospace applications, which require specific mechanical properties for the engineering material to support the efforts involved. One of the possibilities of reaching the properties is through the imposition of the variables present in the heat treatment, which influences the microstructure, due to the fact that bronze has martensitic transformation represented by β phase, and, consequently, on the mechanical behavior of the material. The objective of this work is to show the relationship between hardening by quenching, with subsequent tempering, and the mechanical properties generated in the aerospace bronze UNS C63000. The results show that the score in the order of 785, 835 and 885 °C followed by sudden cooling in water promotes an increase in the mechanical results, however, it is noted a gradual reduction in the percentage of α phase. [ABSTRACT FROM AUTHOR]

The text considers oil technique as a specific Flemish manner of painting. The author traces how oil technique was transported in 1450 to Italy, where, at the time, the typical painting technique in use was tempera. Oil and tempera are defined as the respective characteristic features of the Northern and Southern Renaissance. And while Flemish oil painting is emblematic of color, the Italian tempera technique corresponds to form [ABSTRACT FROM AUTHOR]

Copyright of Acta Musei Brukenthal is the property of Brukenthal National Museum 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.)

This article presents results from a binding media survey of 61 Romano-Egyptian paintings. Most of the paintings (51) are the better-known funerary mummy portraits created using either encaustic or tempera paint medium. Samples from all the paintings (on wooden panels or linen shrouds) were analyzed with gas chromatography/mass spectrometry (GC/MS) to identify waxes, fatty acids, resins, oils, and proteins in one sample. Analytical protocols that utilized three separate derivatization techniques were developed. The first analysis identified free fatty acids, waxes, and fatty acid soaps, the second characterized oils and plant resins, and the third identified proteins. The identification of plant gums required a separate sample. Results showed that fatty acids in beeswax were present as lead soaps and dicarboxylic fatty acids in some samples was consistent with an oxidized oil. The tempera portraits were found to contain predominantly animal glue, revising the belief that egg was the primary binder used for ancient paintings. Degraded egg coatings were found on several portraits, as well as consolidation treatments using paraffin wax and animal glue. The unknown restoration history of the portraits caused uncertainty during interpretation of the findings and made the identification of ancient paint binders problematic. Also, deterioration of the wooden support, residues from mummification, biodegradation, beeswax alteration, metal soap formation, and environmental conditions before and after burial further complicated the analysis. The inherent problems encountered while characterizing ancient organic media in funerary portraits were addressed. The fourteen museums that participated in this study are members of APPEAR (Ancient Panel Paintings: Examination, Analysis, and Research), an international collaborative initiative at the J. Paul Getty Museum whose aim is to expand our understanding of ancient panel paintings through the examination of the materials and techniques used for their manufacture.

A small box, hitherto described as white lacquerware, currently displayed at the Chinese Pavilion, Drottningholm, Sweden, is an unusual example of artefacts imported from the Far East during the era of the East India Companies. By using microscopy for cross- and thin sections, X−ray fluorescence microscopy, attenuated total reflection Fourier transform infrared spectroscopy, and pyrolysis-gas chromatography-mass spectrometry, some of the specific characteristics of the box are described, and it was possible to differentiate original from more recent restoration material. Among other findings, the results suggest that white glue tempera is a better description, based on indications of calcium carbonate and protein, and support an earlier attribution of the box to an Edo period doll maker in Kyoto. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Fuzhou University is the property of Journal of Fuzhou University, Editorial Department 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.)

Copyright of Revista Eletrônica em Gestão, Educação e Tecnologia Ambiental is the property of Revista Eletronica em Gestao, Educacao e Tecnologia Ambiental 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.)

The term “painted funerary portraits” used here encompasses a group of portraits painted on either wooden panels or on linen shrouds that were used to decorate portrait mummies from Roman Egypt (conventionally called “mummy portraits”). They have been found in cemeteries in almost all parts of Egypt, from the coastal city of Marina el-Alamein to Aswan in Upper Egypt, and originate from the early first century AD to the mid third century with the possible exception of a small number of later shrouds. Their patrons were a wealthy local elite influenced by Hellenistic and Roman culture but deeply rooted in Egyptian religious belief. To date, over 1000 portraits, but only a few complete mummies, are known and are dispersed among museums and collections on every continent.

Com a constante evolução tecnológica das indústrias, os materiais ferrosos, antes de sua utilização final, são submetidos a diferentes tratamentos térmicos para proporcionar melhores propriedades mecânicas e microestruturais que o material pode adquirir. Este procedimento pode ser verificado através de componentes mecânicos no qual a dureza é uma característica fundamental no projeto. Assim, para aumentar a dureza e a resistência do material, aplica-se o tratamento térmico de têmpera. Essa técnica consiste em aquecer o material acima da temperatura crítica do aço e resfriar em água ou óleo. O objetivo do presente estudo é analisar as propriedades mecânicas resultantes da realização do tratamento térmico de têmpera em corpos de prova de aço ABNT 8640 com o modo de resfriamento em água. Foram realizados ensaios de tração e de dureza em todas as amostras, além da análise microscópica. Comprovou-se que ocorreu o aumento da dureza nos corpos de prova, bem como a mudança estrutural dos tamanhos de grãos. Além disso, verificou-se que a têmpera, a partir de 1100°C, resulta na redução das propriedades mecânicas do aço ABNT 8640.

The energy that a material absorbs during its fracture is a very important parameter in the steels. In most parts of the applications in the Market, it is searched a kind of steel that can be resistant and in the same time can have tenacity so in that way, they can be able to avoid catastrophic and fragile failures. On this way, the heat treatment of hardening and tempering is one of the alternatives to be applied for changing the mechanical properties of a big variety of steels. Like this, it is very important that the influences of different conditions of heat treatment that are applied in the same alloy be studied, evaluating the mechanical and microstructural properties which were obtained after the heat treatment. This article has the aim to evaluate the behavior of tenacity of SAE 8640 steel, for that, fifteen pieces of tests were made, they were submitted to the same hardening process and separated in three categories of tempering process (200°C, 400°C e 600°C). It was performed metallographic analysis to get the images of the microstructure as stereomicroscope and electron microscope scanning to get the images of fractured surface together with a hardness test and rehearsal Charpy respecting the ASTM E-23 standard, after the analysis, it was possible to conclude that the material which was submitted to 600°C heat treatment had its hardness decreased and its tenacity increased together with a more ductile behavior than when it was submitted to the materials to200°C e 400°C which kept similar characteristics. [ABSTRACT FROM AUTHOR]

Copyright of Revista Eletrônica de Materiais e Processos is the property of Revista Eletronica de Materiaia e Processos 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.)

Painting in Tempera, c. 1900 Karoline Beltinger (SIK-ISEA), Zurich & Jillen Nadolny (Art Analysis & Research) London eds. Publicado por Schweizerisches Institut für Kunstwissenschaft (SIK-ISEA) y Archetype Publications Ltd 2016 ISBN: 9781909492448 Dimensiones: 297 x 210 Páginas: 264 Ilustraciones en color

With the constant technological evolution of the industries, the ferrous materials, before their final use, are submitted to different thermal treatments to provide better mechanical and microstructural properties that the material can acquire. This procedure can be verified through mechanical components in which hardness is a fundamental feature in the design. Thus, in order to increase the hardness and strength of the material, the quenching heat treatment is applied. This technique consists of heating the material above the critical temperature of the steel and cooling in water or oil. The aim of the present study is to analyze the mechanical properties resulting from the performance of the tempering heat treatment in ABNT 8640 steel test bodies with the cooling mode in water. Traction and hardness tests were performed in all samples, besides microscopic analysis. It was verified that the hardness increased in the specimens, as well as the structural change of the grain sizes. In addition, it has been found that annealing, starting at 1100°C, results in the reduction of the mechanical properties of ABNT 8640 steel. [ABSTRACT FROM AUTHOR]

In her recent book Women Writing Art History in the Nineteenth Century, Hilary Fraser observes that Nathaniel Hawthorne’s account of Hilda’s womanly sensibility in The Marble Faun subsumes her visual agency into the vision of the master painter. Hilda is widely regarded as being modelled on his wife, the painter and illustrator Sophia Peabody Hawthorne. Hawthorne’s reference to a ‘woman’s sympathy’ prompts a wider consideration of the gendering of aesthetic response. Indeed, The Marble Faun is one of numerous texts, most famously Ruskin’s Sesame and Lilies, which set out artistic roles for women in the Victorian period. How were women visitors to art museums and exhibitions represented visually? There are in fact numerous images of women in museums and galleries from this period. I begin with an exploration of some examples of these, and with recent scholarship that addresses how women ‘looked’ in museums, as a way of thinking about women ‘feeling through a picture’, whether by ‘intellectual effort’ or otherwise. How did these images relate to the association of the female viewer with a ‘woman’s sympathy’? Some of the women featured in museum spaces were at work copying the paintings visible on the walls. These women copyists echoed Hilda’s transformation at the end of Hawthorne’s chapter: ‘All that she would henceforth attempt — and that, most reverentially, not to say, religiously — was to catch and reflect some of the glory which had been shed upon canvas from the immortal pencils of old. So Hilda became a copyist.’ Were the women artists and viewers depicted in museum spaces similarly intent on utilizing their feminine ‘sympathy’ to admire the glory of Old Master paintings? The first section of this article argues that, on the contrary, it is possible to locate examples of a more engaged visual agency in female viewers. The second section asks how notions of Victorian temperament intersected with the modern revival of tempera painting. I pursue the question of female temperament through case studies of three women viewers who were writers and artists. Here, I examine the writings of Alice Meynell alongside the work of the artist Marianne Stokes, before moving on to briefly consider the artist and writer Christiana Herringham, who also published at the fin de siècle. For these women artists, copying and studying early Renaissance paintings was crucial to their artistic practice. Did these artists then fulfil, like Hilda, the role of the woman copyist? Stokes was, like Hilda, intent on studying canvases ‘of old’, but, as Meynell argued, this careful study was undertaken in order to produce her own reverential paintings through tempera, rather than to reflect on the ‘glory’ of Renaissance artists. Herringham similarly took up tempera painting, but as a method of examining and authentically reproducing ‘old’ paintings. The work of Meynell, Stokes, and Herringham can be mapped onto a point where contemporary and historical fine art collide or even collude. Will the revival of tempera instigate revival of ‘feeling’ in art? What will become clear is that their engagement with ‘feeling’ and ‘sentiment’ was not straightforward. Nor were they necessarily unified in their approach. While alert to the new possibilities the medium may offer, they were engaging with it in relation to spiritual, aesthetic, and intellectual judgement. In short, these women art critics felt ambivalent about feeling.

In this study a new experimental method using low closing pressure and a flat aluminum die was developed in order to investigate the hot stamping process of a 22MnB5 steel grade. Initially, an experimental set up was developed and validated. Next, experiments were carried out to evaluate the behavior of this steel when subjected to quenching, using this experimental set up and different cooling conditions such as water, oil and air. Results were assessed by cooling curves, as well as by mechanical tests and metallographic analyzes. Cooling rates close to 110oC/s, hardness up to 480HV and ultimate tensile strength up to 1600 MPa were achieved, which are considered acceptable values for this steel in normal conditions of hot stamping [ABSTRACT FROM AUTHOR]