4TH INTERNATIONAL MEETING ON RETOUCHING OF CULTURAL HERITAGE, RECH 4 POSTPRINTS RECH 4 | CROATIA
ACADEMY OF ARTS, UNIVERSITY OF SPLIT 20th | 21st OCTOBER 2017 ACKNOWLEDGEMENTS
4th International Meeting on Retouching of Cultural Heritage, RECH4 The Organizing Committee would like to acknowledge the contribution of the the contribution of the members of the Advisory and Scientific Committees Host Venue | Academy of Arts, University of Split who made the selection of the communications and posters for the Meeting. Title | POSTPRINTS RECH4 CROATIA We gratefully acknowledge the financial support and sponsorship of the Editorial Coordinators | Ana Bailão, Sandra Sustic Ministry of Science and Education of Croatia, the Ministry of Culture of the Graphic Design | INEDITAR | Cristina Dordio Republic of Croatia, the University of Split and the Split Student Centre. Special Abstracts Proofreading | Graham McMaster thanks goes to the Tourist board of Split, the City Museum of Split and the City Venue and Date | Split, Croatia, 2017 of Split for their support in organising the social program of the Meeting. We ISBN | 978-953-6617-42-5 express our gratitude to Split University Library and the Faculty of Chemical Engineering and Technology for enabling us with the conference venue. We would also like to thank the Split Department for Conservation for providing Organizing Commitees us with the workshop materials. Special thanks goes to RETES.HR print centre and OPG Mateo Curić. We also express our gratitude to Gabriela Rocha and Support FabLab Lisboa (Portugal) and to Escola Artística e Profissional Árvore (Porto, Portugal) for providing us with the conference badges.
2 3 COMMITTEES
ADVISORY COMMITTEE Visnja Bralic | Croatian Conservation Institute, Zagreb, Croatia Sagita Mirjam Sunara | Arts Academy of the University of Split, Croatia
ORGANIZING COMMITTEE (alphabetical order) Ana Bailão | CIEBA/ University of Lisbon | Catholic Portuguese University/ CITAR, Portugal Ana Bidarra | Cinábrio, Conservação e Restauro | GeoBioTec Research Centre, Aveiro University, Portugal Francisco Silva | Árvore | Escola Artística e Profissional Árvore, Portugal Frederico Henriques | Catholic Portuguese University/ CITAR, Portugal
LOCAL ORGANIZING COMMITTEE (alphabetical order) Jurica Matijevic | Arts Academy of the University of Split, Croatia Lana Kekez | Arts Academy of the University of Split, Croatia Sagita Mirjam Sunara | Arts Academy of the University of Split, Croatia Sandra Sústic | Arts Academy of the University of Split, Croatia Tina Tomsic | Arts Academy of the University of Split, Croatia
TECHNICAL COMMITTEE Krešimir Bosnić | Arts Academy of the University of Split, Croatia Nikola Radošević | Arts Academy of the University of Split, Croatia Stjepan Krešić | Arts Academy of the University of Split, Croatia Bernarda Đurić | Arts Academy of the University of Split, Croatia Mateo Curić | Freelancer, Croatia Josip Pašalić | Arts Academy of the University of Split, Croatia Nikolina Drlje | Arts Academy of the University of Split, Croatia Silvija Matas | Arts Academy of the University of Split, Croatia Katarina Strinić | Arts Academy of the University of Split, Croatia Marija Curić | Arts Academy of the University of Split, Croatia Lucija Jolić | Arts Academy of the University of Split, Croatia
4 5 SCIENTIFIC COMMITTEE (alphabetical order) Ana Bailão | CIEBA/ University of Lisbon | Catholic Portuguese University/ CITAR, Portugal REGISTERED AUTHORS ÍNDEX Ana Bidarra | Cinábrio, Conservação e Restauro | GeoBioTec Research Centre, Aveiro, Univ., Portugal Ana Calvo | Complutense University, Madrid, Spain Agnès Le Gac | FCT - New University of Lisbon/LIBPhys-UNL, Portugal Ana Martins | Museum of Modern Art, MoMa, New York, USA Arianne Vanrell | Museo Nacional Centro Reina Sofía, Madrid, Spain Alicia Sanchez Ortiz | Complutense University, Madrid, Spain Alice Nogueira Alves | Fine Arts Faculty of the University of Lisbon/CIEBA, ARTIS, Portugal Antonino Cosentino | Cultural Heritage Science Open Source, Italy Barbka Gosar Hirci | Institute for the Protection of Cultural Heritage of Slovenia Alba Guerrero Kristina Krivec Branko Pavazza | Croatian Conservation Institute, Croatia Amparo Escolano Mena Lana Kekez Cristina Montagner | Centre of Physics, Campus de Gualtar, University of Minho, Braga, Portugal Ana Bailão Leonardo Severini Emmanuelle Mercier | Institut Royal du Patrimoine Artistique, Bruxelles, Belgium Ana Bidarra Leonor Loureiro Estelle De Groote | Institut Royal du Patrimoine Artistique, Bruxelles, Belgium Ana Carolina Rodrigues Ferreira Liliana Querido Cardeira Élia Roldão | Universidade NOVA de Lisboa, Caparica, Portugal Ana Oblak Maja Sučević Miklin Francesca Tonini | Ca´Foscari University in Venice | University of Urbino, Italy Anita Klančar Kavčič Mara Kolić Pustić Fernando Costa | Polytechnic Institute of Tomar, Portugal Antonija Gluhan Marisol Valenzuela Frederico Henriques | Catholic Portuguese University/ CITAR, Portugal Bakonyi Tímea Martina Bagatin Helena Melo | Évora University/HERCULES Lab/Évora University, Portugal Beatriz Doménech García Martina Lesar Kikelj Isabel Argerich | InstItuto del Patrimonio Cultural de España, Madrid, Spain Eve Bouyer Martina Vuga Isabel Tissot | Archeofactu & LIBPhys-UNL, Portugal Branko Pavazza Mladen culic Ilaria Saccani | CESMAR7, Italy Brian Baade Paolo Roma José Manuel de la Roja | Complutense University, Madrid, Spain Clara M. Prieto Pedro Antunes Laura Fuster-López | Polytechnic University of Valencia, Spain Dorotea Krstić Rosa Senserrich-Espuñes Leonor Loureiro | Polytechnic Institute of Tomar, Portugal Nancy von Breska Ficovic Ruben Morales Lorraine Mailho | C2RMF, France Emmanuelle Mercier Sagita Mirjam Sunara Luís Pereira | Água de Cal - Conservação e Restauro, Portugal Erika Rabelo Sandra Šustić Lucija Močnik Ramovš | University of Ljubljana, Slovenia Filip Adrian Petcu Sanela Huzjak Mara Kolic Pustic | Croatian Conservation Institute, Croatia Francesca Tonini Sara Aničić Eterović Ricardo Triães | Polytechnic Institute of Tomar, Portugal Frederico Henriques Serena Francone Rocío Bruquetas | Museo de América, Spain Gabor Erdei Simona Pannuzi Rui Bordalo | Évora University/HERCULES Lab/Évora University, Portugal Ivana Letilović Simona Škorja Rubén Morales | Complutense University, Madrid, Spain Julija Baćak Stefano Scarpelli Silvia García Fernández-Villa | Complutense University, Madrid, Spain Jure Matijević Tina Tomšić Sandra Sústic | Arts Academy of the University of Split, Croatia Katarina Alamat Kusijanovic Vanessa Ubaldi Stefano Scarpelli | Private conservation-restoration studio, Florence Katarina Tomaš Visnja Bralic Kristin deGhetaldi
6 7 FOREWORD
The retouching process is one of the last steps of a conservation and restoration intervention. Expectations are normally high and conservators are continuously challenged to acquire innovative techniques and new materials to satisfy this need. One important part of retouching is to use and incorporate materials with long-term durability, but always based on the concept of minimal intervention. The accomplishment of these expectations entails a detailed diagnosis and planning of the treatment with attention to function, to aesthetics and to the stability of the materials. Communication is the key word for a good intervention. Proper communication will not only enhance the conservator– owner relationship but also provide greater acceptance of the treatment planning. The evolution of digital technology has created exciting opportunities for improving this communication process and to facilitate a smooth workflow, from diagnosis to the final treatment and maintenance phase. The International Meetings on Retouching of Cultural Heritage (RECH), initiated in 2013, have gained an international audience, bringing together conservation-restoration professionals, academic members, students and independent researchers from across the world. The conferences aim to promote the exchange of ideas, concepts, terminology, methods, techniques and materials applied during the retouching process in different areas of conservation. This postprints presents the articles of the fourth edition of RECH that took place in Split (Croatia) from October 20th to October 21st, 2017 and was jointly organised by members of the Escola Artística e Profissional Árvore, the Faculty of Fine Arts of the University of Lisbon, the Arts Academy of the University in Split, the Catholic University of Portugal, the Cinábrio and University of Aveiro. The Scientific Committee, consisting of renowned experts
8 9 in the conservation-restoration field, selected 24 abstracts for communications and 16 abstracts for poster sessions, not all publish here. The titles cover a ÍNDEX | COMMUNICATIONS wide range of topics - from digital options for documentation, diagnosis and treatment, to new solutions and materials for filling and retouching of losses. The organizers give their thanks to all the members of the RECH Committees for their diligent work in setting up the programme and to the sponsors for their generous support.
Ana Bailão on behalf of the Organizing Committee Sandra Šustić on behalf of the Local Organizing Committee
10 11 22 An opportunity to reflect on differentiated retouching techniques used in Italy: methods and materials. Problem solving in a private practice context.
Leonardo Severini
28 The bad reputation of neutral retouching
Eve Bouyer
38 Baroque Master Mattia Preti and his workshop: two series of four evangelists from Dubrovnik
Maja Kolić Pustić, Carlo Galliano Lalli, Nancy von Breska Ficović
46 “All Saints are in the detail“: Retouching of a painting by Girolamo da Santa Croce Katarina Alamat Kusjanović; Sandra Šustić
56 The suitability of powdered micro-cellulose for its use in paper conservation Rita Udina, Amparo Escolano
66 The use of Aquazol® 500 as a binder for retouching colours: analytical investigations and experiments
Vanessa Ubaldi, Roberto Bestetti, Roberto Franchi, Emanuela Grifoni, Pier Paolo Lottici, Francesca Modugno, Richard Wolbers, Daphne De Luca
80 PVAC Retouching Colors: a brief history and introduction to Goldens’s newly formulated PVA. Conservation Colors
Kristin deGhetaldi, Brian Baade, Joyce Hill Stoner, Jim Hayes, Samantha Alderson
88 Using watercolour markers in chromatic reintegration Liliana Cardeira, Ana Bailão, João Linhares, Sérgio Nascimento
98 Filling and colour reintegration in a single step Martina Vuga
106 Retouching methods on the albumen and coloddion photographic processes from the Croatian State Archives
Martina Bagatin
112 Dealing with unsuitable retouches: the steps toward successful reintegration Ana Oblak
120 Use of coloured synthetic fillers: the case of St Nicolas, a Baroque painting by Fortunat Bergant
Simona Škorja 12 C 13 130 Mapping lacunae for chromatic reintegration with computer graphics software Frederico Henriques, Ana Bailão, Rui Bordalo, Agnés Le Gac, Alexandre Gonçalves, Liliana ÍNDEX | POSTERS Cardeira, Eduarda Vieira, António Candeias
138 Gold and polychromy on stone: a proposal of retouching methodology that can apply on all tridimensional artworks
Simona Pannuzi, Marisol Valenzuela, Daria Montemaggiori, Giorgia Galanti
144 “The golden stain of time”: the inpainting of gildings on wooden sculpture
Emmanuelle Mercier, Erika Benati Rabelo
152 A case study on reconstruction of the faux marble paint layer on a baroque wooden tabernacle
Maja S. Miklin
160 Retouching approaches to artwork on paper in the laboratory for conservation and restoration at the Croatian State Archives. Retouching of a Watercolour Landscape and a Map of Zadar from the 19th Century
Sanela Huzjak
166 Approaches to the conservation treatment and chromatic reintegration on watercolours, charcoal drawings, and a lampshade handpainting
Leonor Loureiro
176 The photographic retouching as fundamental intervention Rubén Morales González
14 15 188 Influence of lighting sources in the processes of colour reintegration
Beatriz Doménech, Vicente Guerola Blay, María Castell Agustí
194 Chromatic reintegration in late 19th century albumen prints: analysing and testing different methodologies in Calouste Gulbenkian´s albums
Alba Guerrero
200 Selective removal of layers in layered systems of retouching: research project in progress
Sagita Mirjam Sunara, Dorotea Krstić
206 Reconstructing of The Sappho painting towards a better understanding in retouching
Marija Lena Bosković, Sandra Šustić
212 The issue of metamerism in Mario Agrifoglio’s paintings. Identification of fluorescent pigments through raman spectroscopy to define a methodology for retouching
Serena Francone, Silvia Bruni, Chiara Zaffino, Katia Galli, Vittoria Guglielmi, Maddalena Boscacci
218 Retouching religious paintings – examples from private practice Lana Kekez, Kristina Krivec, Julija Baćak
226 Calcium hydroxide nanoparticles for wall painting retouching. The chapel of Saint Michael in the Royal Monastery of Pedralbes, Barcelona
Rosa Senserrich-Espuñes, Lidia Font-Pagès
232 Retouching a double-sided 19th century processional flag-icon Filip Adrian Petcu
244 Selecting methods for retouching a polychrome and gilded altarpiece with elements dating from different periods
Sara Aničić Eterović, Ivana Letilović, Katarina Tomaš
248 Mixing and matching. A survey of retouching materials Ana Bailão, Liliana Cardeira
256 Fernando Mardel, a portuguese painter-restorer. Retrospective of his retouching work
Carolina Rodrigues Ferreira, Fernando António Baptista Pereira, António Candeias, Mercês Lorena 16 P 17 264 The reconstruction of three strongly damaged panel paintings of a 16th century Sienese predella
Ágnes Kuna, Tímea Bakonyi, Erdei Gábor
270 Inpainting in Exhibition
Clara M.Prieto
18 19 COMMUNICATIONS
20 Nome artigo 21 Keywords
chromatic compensation of paint losses; Differenciated retouching; Hatching treatments; AN OPPORTUNITY TO REFLECT Inpainting; Retouching techniques; close inspection, in such a way that it ON DIFFERENCIATED Selezione Cromatica; neither competes with the original nor conceals the traces of time. Visible retouching. The goal of these methods was RETOUCHING TECHNIQUES to obtain an objective, rational and 1. MAIN TEXT scientifically based inpainting tool USED IN ITALY: METHODS AND limiting the subjectivity of restorers [2]. The crucial subject of retouching of the materials to be used and the The techniques of differentiated and chromatic compensation of limitation of retouching only inside intervention on paint losses in Italy are MATERIALS. PROBLEM SOLVING paint losses has, over the centuries, the losses, but currently there are two: Roman tratteggio and Florentine received a great number of solutions, various methods to do that. selezione cromatica. IN A PRIVATE PRACTICE materials and techniques. Restorers The Italian position in this matter The reason why there are two are called to intervene on the face of was to propose an unusual choice of different techniques is because paintings with the risk of altering the re-integration using the differentiated there are two Italian public Institutes CONTEXT. original aspect of the artwork. [1] techniques, reflecting a specific rationale of conservation of paintings: ISCR The extents, limits and methods of systems in order to give as much in Rome (Istituto Superiore per of loss reintegration have been the visibility as possible of the autograph la Conservazione ed il Restauro; Leonardo Severini subject of international debates and parts of a painting with no later additions. founded in1939) and OPD in E-mail address: [email protected] attempts were made to impose They were originally conceived to Florence (Opificio delle Pietre Dure; regulations. In general conservators avoid the risk of falsification caused by founded in 1975). [3][4] are in agreement on the reversibility deceptive or cosmetic retouching, not These two institutes belong to Abstract considered a valid response to the aim the Ministry for Cultural Heritage of making original text distinguishable. A (MIBACT: Ministero dei Beni e delle Italy has made a specific choice in pictorial treatment of lacunas: Roman Vertical a cycle of seven large panels painted by tratteggio and Florentine selezione cromatica. Both methods are based on the same Giuseppe Valeriano and Scipione Pulzone position derived from Cesare Brandi’s Attività Culturali e del Turismo) and approach avoiding deceptive retouching in favor of visible techniques to make for the Chiesa del Gesù in Rome at the thinking who refused the notion they considerably affect the choices losses recognizable at a close range of view. Currently in Italy we continue to carry end of XVI century. of reconstructing the areas of loss of the officials who supervise the out recognizable retouching on public paintings. Nowadays, however, the choice of Removing opaque coatings, old retouching “by analogy” which he considered a conservation of public works. [5][6] intervention is made mostly by art historians who are responsible for and in charge and overlaid fills, the Superintendence falsification of history and an aesthetic The diffusion of the two methods of public conservation projects, so restorers run the risk of taking a secondary decided for a visible intervention in a offense. is linked to the areas of influence of role in the decision making concerning the presentations of artworks. Because large amount of losses. We therefore Visible retouching aims at reintegrating the two National Institutes along the of the lack of a unified approach in Italy, but also because of the significant costs decided to apply method of selezione [7] that differentiated intervention could represent, a private conservator working on cromatica carried out with hatching the image by reducing the visual impact Italian territory . public paintings has to find compromises in terms of time and costs, when resolving in varnish colors onto a flat chromatic of the losses while ensuring that the In any case these two methods evolved problems. The case presented in this paper concerns the retouching treatment of tempera base laid on the fillings. restoration is clearly recognizable upon over time with experimentations and panels in-wall shrines are jealously conserved. The need for intervention was due to the structural problems of stability of supports. Figure 1 • Walk-in of the Chapel of Madonna della Strada after treatment. Figure 2 • Orthophotography of the Chapel of Madonna della Strada after treatment. To obtain a correct intervention on variations [8][9] adapted to specific government ministry officials (most of to that adopted by Italian Divisionist the wooden panels and consolidation of cases. Nevertheless the differentiated whom are art historians) that should or Neo-Impressionist painters who paint layers we had to remove opaque techniques are presented and taught verify the quality and rightness of the tried to obtain an effect of maximum coatings, old retouching and overlaid fills. (frankly not always properly) by interventions but also often decide luminosity and brightness by taking Once the wooden supports were both the national schools (ISCR and which methods have to be used. advantage of the additive color mix stabilized, the situation after the OPD) as practically the only solution It’s a matter of fact that only in few phenomenon. conclusion of the cleaning operation to lacunae reintegration, without cases do directors of conservation The case presented in this paper is revealed on the painted side many Figure 3 • the paintings after cleaning with losses already filled with gesso and rabbit skin glue. acknowledging the possibility of treatments decide to choose the the retouching treatment of a cycle of extensive areas of losses. using the mimetic method, which is option of visible retouching, that is used large panels using selezione cromatica The question was which kind of considered as falsifying in the context less and less often, because it takes technique. The conservation retouching method should we adopt the job, and the amount of varnish- of public education. longer and therefore costs much treatment, that took more than three in this case? color retouching needed. At the same It must be considered however that more and is not always well executed. years to complete, was on seven large The Public official from time it preserves the infilled surface, restorers with their own private studios So it’s important to know the paintings (2,50 meters height each) Superintendence of Rome, an art by creating a protective “skin”, which is work both for public institutions and procedures perfectly in order to do a by Giuseppe Valeriano and Scipione historian, in charge of the intervention morphologically similar to the surface Figure 4 and 4bis • details with chromatic bases (left) and after private collectors, who never ask for a satisfactory job. Pulzone at the end of the XVI century decided in favor of differentiated way of oil paint and therefore reduces the hatching treatments with varnish colors differentiated treatment! Both methods are technically built for the Cappella della Madonna della of inpainting following the principle of porosity of the gesso fillings. (right). “Conservators became bilingual up by juxtaposition of fine brush Strada inside the Chiesa del Gesù, the visibility. The filling was texurized with liquid so to speak” [7], meaning that they strokes of pure transparent color mother church of Jesuits in Rome. Therefore I decided to apply putty. Texturing of the fills is important used differentiated inpainting for (usually watercolor) applied with an The cycle represents one of the most the method of selezione cromatica to obtain the optimal visual integration most public paintings and mimetic hatching technique. important example of pictures from not traditionally carried out with of the treated area, especially for treatment for everything else. Their differences mainly consist in the Counter-Reformation. [11] watercolors on white fills ground varnished objects. Therefore the overview of the the direction of brushstrokes: vertical The artists were called to decorate but through hatching treatment in The definite matching of the color situation in Italy is slightly complicated for the tratteggio and following forms an entire chapel with Stories of the varnish colors (Gamblin Conservation has been carried out with strokes of Figure 5 • detail with filled lacunas (left) and after hatching treatment (right). as you can find different retouching and pictorial ductus in selezione Virgin and they chose to use the oil on colors) onto a flat and even chromatic three-toned varnish color after a first solutions within the same museum, cromatica. [10] wood technique especially because base tempera gouache (Schmincke protective coating of varnish. collection or church. When looking at the painting in the panels, fitted with hinges, had gouache colors) laid on the fillings.[12] To obtain a vibrant effect it is important It depends on a lot of factors; the normal way, hatched colors to cover the greatly valued treasure The use of a chromatic base is that the brush is loaded in such a way generally decisions are taken by melt together producing a sense of of the church: the relics. In fact at a practical expedient that greatly as to produce a dense, sharp, distinct public conservation institutions and wholeness. The technique is similar the back side of each of the seven reduces the time needed to carry out stroke of color that is not rigid (as in
24 Leonardo Severini An opportunity to reflect on differenciated retouching techniques used in italy: methods and materials. Problem solving in a private practice context. 25 tratteggio) but short and fractionally also useful for any kind of retouching REFERENCES [3] Brandi C., Teoria del Restauro, Rome [6] Reifsnyder J.M., Cesare Brandi and techniques: a review. In PAINTING curved. Here it is important to select techniques. By choosing pure colours, 1963. Italian conservation theory: In and out of CONSERVATION CATALOGUE VOL.3. of paintbrush, solvents and quality of primary and secondary, splitting the Scientific article: [4] Baldini U., Teoria del Restauro e Unità di context. In Postprints: American Institute for INPAINTING The Painting Speciality Group palette and materials used carefully. tonality using subtractive synthesis we [1] LACUNA, Atti dei convegni 2002/3 al Metodologia, Nardini ed. Firenze 1988. Conservation – Paintings Speciality Group of the American Institute for Conservation Theory, methodology, and can match the colour in order to get Salone del Restauro di Ferrara. Edifir editore, [5] Bonsanti G., 16:23-32. 2003. of Historic and Artistic Works (AIC), C. A. practical applications – painting conservation [7] Olsson N., From mimetic to differentiated: Metzger (ed.), C. Maines (ed.), J. Dunn (ed.), 4. CONCLUSIONS the best result in terms of saturation, Firenze 2004. in Italy in the twentieth century. In: EARLY traditions and current practices in Italian 2011. brightness, depth and vibrancy of the [2] Muir K., Approaches to the reintegration of paint loss: theory and practice in the ITALIAN PAINTINGS: Approaches To inpainting. In Postprints: American Institute for [9] Ramsay L., An introduction to visible Italian This kind of hatching reintegration, inpainting in a reasonable time and conservation of easel paintings. In IIC Reviews Conservation. Proceeding of a Symposium at Conservation (AIC) - Speciality Group 16 retouching techniques. Postprints of the Image if not done well and subtly, can be corresponding to the budget planned. in Conservation n°10 2009. the Yale University Art Gallery (April 2002) (2003) 23-32. Re-integration Conference. 15-17 sept. 2003 perceived as an evident foreign edited by P. Sherwin Garland, YUAG 2003. [8] Betts P., Italian differentiated inpainting Northumbria University. Newcastle upon [13] element. Tyne, UK. Northumbria University press. 2007
Although the Italian differentiated Figure 8 • the seven panels after treatment [10] Ciatti M., Approaches to retouching and method appears to be very complex restoration: pictorial restoration in Italy, in Early and is rarely requested, It is Italian Paintings: approaches to conservation. important nevertheless to know the Proceeding of a Symposium at the Yale correct application methods not only University Art Gallery (April 2002) edited by to respect the principle of visibility P. Sherwin Garland, YUAG 2003. and recognisability of retouches from [11] Leone G., (a cura di) Le storie della Ver- original parts but also to acquire a gine nella Cappella della Madonna della Strada different perception of integration al Gesù - Il restauro. Gangemi editore 2017. [12] Christensen C., Inpainting binders and media: guache. In PAINTING CONSERVATION CATALOGUE VOL.3. INPAINTING The Painting Speciality Group Figure 6 • detail of selezione cromatica with distinct few brushstrokes of Figure 7 • detail of selezione cromatica with distinct few brushstrokes of pure color to match tonality pure color to match tonality of the American Institute for Conservation of Historic and Artistic Works (AIC), C. A. Metzger (ed.), C. Maines (ed.), J. Dunn (ed.), 2011. [13] Severini L., et al. An unusual case of integration and its solution, in: MIXING AND MATCHING Approaches to Retouching Paintings. Archetype Publications in association with ICON, BAPCR. 2010.
Website: [14] www.leonardoseverini.it
26 Leonardo Severini An opportunity to reflect on differenciated retouching techniques used in italy: methods and materials. Problem solving in a private practice context. 27 Keywords
Neutral; Visible restoration; Aesthetics; THE BAD REPUTATION OF Ethics; Terminology. Other restorers such as Filippo Fiscali NEUTRAL RETOUCHING completely aligned with Cavalcaselle’s recommendations. Fiscali is responsible for an interesting example of neutral integration made around 1890 on 1. INTRODUCTION Benozzo Gozzoli’s frescoes at San Eve Bouyer Francesco Church in Montefalco [4]. A neutral restoration can be done textual reference to neutral retouching In The Death of the Knight of Celano, Centre de Recherches en Archéologie et Patrimoine, Université libre de Bruxelles; CP 133/01, Avenue F.D. Roosevelt, 50, B-1050 Brussels; Eve. [email protected] on any multicolour object: paintings, to the Italian art historian Giovanni an extensive lacuna was filled with a polychrome sculptures, decorated Battista Cavalcaselle (1819-1897) [2], single brown colour matching the ceramics, posters, etc. who stated that restorations should predominant colour of the scene but in The term “neutral” can be be recognisable to the naked eye in a duller version (a colour photograph understood in different – even order for scholars not to be deceived. can be seen on the Wikiart website [5]). contradictory – ways, as will be Directly influenced by Cavalcaselle’s The ministerial guidelines were shown in the third part of this paper. ideas, the first neutral integration mentioned in Conservare o restaurare?, Broadly, “neutralising” means reducing on a painting was made in 1858- the famous 1893 essay by Camillo the inconvenience caused by lacunas 1861 by Gaetano Bianchi, on Piero Boito written in the form of a dialogue: without reconstructing them. della Francesca’s frescoes depicting “Veda, per i quadri e per i dipinti a the legend of the true cross, in the buon fresco un ordine circolare del 2. HISTORICAL PERSPECTIVE San Francesco Church in Arezzo [3; 4]. Ministero impone che le lacune ed i ON THE USE AND REPUTATION Once he had attained a ministerial buchi si riempiano di tinta neutra tutta OF NEUTRAL RETOUCHING post, Cavalcaselle imposed neutral uguale, sicché il riguardante non possa toning throughout the recently united venire menato per il naso dall’abile Abstract Although the term “neutral” was most Italian Kingdom via a circular published restauratore” [6]. likely used first in the field of painting 30 January 1877, which states lacunas (You see, for panels and frescoes, This paper reviews the notion of neutral retouching in conservation. restoration, neutral interventions were to be filled with a colour a ministerial circular requires that This approach, since its first use in the 19th century, has always had proponents were realised earlier in other fields. matching but less intense than the lacunae and holes are filled with and detractors. Today, the distrust of the notion is such that we could say it suffers A red-figured vase restored around surrounding colour(s) [2; 4]. uniform neutral tint, so the viewer from a bad reputation. 1830-40 is evidence of this: it still has a Neutral toning quickly became the cannot be led by the nose by the The meaning ascribed to the term “neutral” can differ from one author to another. subject of controversy and some skilled restorer). The terminological validity of the word is problematic in itself: conservators need lacuna filled with a flat uniform colour to be cautious when using it. matching the underlying reddish restorers, such as Cosimo Conti, The lines following this quote For ethically conscious conservators, it is important to overcome the lack of colour [1]. clearly expressed their disagreement indicate the existence of an early popularity of neutral retouching and to give it the attention it deserves. Marco Ciatti attributes the first explicit with the ministerial guidelines [4]. debate about neutral restoration. One protagonist in Boito’s dialogue claims Even if quite popular, neutral toning the original ones. Influenced by the Neutral toning embodies a purist suggests that neutrality is a myth in in 2017 by Rita Udina, a book and that it disrupts aesthetic pleasure, and coexisted with more reconstructive Gestalt theory of visual perception, tendency in conservation that restoration. paper conservator from Spain. She is unjustified where completion is non- approaches [2], and kept being he believed that such colours do not flourished over a few decades of the Critique might have reached wrote that it can be a “good solution” conjectural. The other responds that, criticised: German publications in 1928 blend in, but on the contrary impose 20th century. Brandi can be seen as a paroxysm in a book by Knut and provided a link to her personal to him, having doubts concerning the reflected a profound debate between themselves and thus transform a starting point for a reaction against Nicolaus published at the end of the weblog showing an example of painting’s authenticity is much more proponents and detractors of neutral lacunas into figures that interfere with this purism. The famous painting 1990s in several languages. Nicolaus neutral retouching on a poster, with disruptive [6; 7]. retouching [10]. The same publications the painting’s legibility. conservator Helmut Ruhemann is associates neutral toning with a form a flat uniform blue colour closely Another early critique of neutral show that neutral restoration was He prescribed the use of colours a prime example of this change in of dogmatism, which is a severe matching the one surrounding the retouching was formulated in 1903 often executed using grey [10]. that force the lacunas to look like they attitude. Initially, he promoted neutral accusation. And even more extreme, he large lacuna [19] (figure 1). by the architect Giuseppe Sacconi, Cesare Brandi reacted to the success are on another level than the painting: retouching: in a 1931 paper, he states that he observed its use mainly Sheila Landi, a textile conservator who was in charge of the restoration of neutral retouching by promoting a in the foreground or – preferably explained that in order to “neutralise” among conservators who struggle with in the UK, strongly reacted to the work in the upper Basilica of Assisi. new compromise – the tratteggio. For – in the background [11]. One could the effect of paint losses, he used mimetic or normal retouching [17]. LinkedIn post, writing, “There is Commenting on Giotto’s St Francis the sake of the artwork’s “potential consider this as some kind of neutral flat colours similar to either those no such thing. As far as textiles are mourned by St Clare, he wrote that unity”, he advocated for a more restoration, since it was intended to surrounding the lacunas or the 3. WHAT IS REALLY MEANT BY concerned trying to dye a ‘neutral the choice of a single neutral colour reconstructive but still recognisable reduce the inconvenience caused brownish underpainting [14]. But in “NEUTRAL” ? colour’ it always ends up too green, for a painting can be wrong: “In many approach. However, he thought by non-reconstructible lacunas (in 1968, he declared himself against “too too pink or too yellow. If used as a areas, it will appear dark against light, that “where conjecture begins” (to the broad sense mentioned at the visible” retouchings, acknowledging Meanings ascribed to the term background for other colours all the and vice versa…and will be more quote Article 9 of the 1964 Venice beginning of this paper). reconstructive ones, tratteggio “neutral” can be contradictory and so called neutral colour does is kill the disturbing to the eye than a simple Charter), the lacunas were not to be Similarly, Laura and Paolo Mora and included [15]. lead to misunderstandings. This is object stone dead.” loss of paint from the intonaco” [4]. reconstructed, even with recognisable Paul Philippot considered some losses Conservators used to worry mainly well illustrated by a short LinkedIn A first observation is that “neutral” Neutral retouching had a lot of retouching techniques. For these non- non-reconstructible and wrote that about the material authenticity of discussion entitled “The Diplomatic might not be as “diplomatic” as the title success in Germany in the 1920s and reconstructible losses, he proposed “neutral tint” is “a totally inadequate artworks, in reaction to past excesses Neutral Colour” [18]. It was launched of Udina’s post suggests. Secondly, Landi in Europe in the mid-20th century [8; 9]. some kind of neutral restoration. term and a wrong notion, the misuse of deceptive and unethical restoration. This can be linked to a purist tendency Connoisseurs of Brandi’s work might of which is usually nothing more than But with the consolidation of ethical called “archaeological” or “analytical – rightly – disagree that he did so, an excuse for avoiding the critical guidelines in conservation practice restoration” that strongly rejected as he famously criticised the idea of problem”. They recommended filling (reversibility and no overpainting of illusionism [3]. Artworks were perceived neutral colour. these losses in with the natural texture the original), attention to aesthetics merely as historical documents, and On one hand, Brandi highlighted and colour of the arriccio [12]. regained its original importance. their aesthetic value was put aside. a terminological nonsense: neutral In the same vein, Umberto Baldini This helps explaining why neutral In the name of authenticity, later colours do not really exist, because considered that some lacunas are retouching increasingly earned a bad additions were systematically removed any colour will always alter the reconstructible, while others are reputation. This is made obvious by and all losses were treated with a perception of the artwork. On the not. For the former, he devised the the fact that today the term “neutral” minimal, “archaeological” approach, other hand, he disagreed with how selezione cromatica and for the latter, a is frequently used within quotation
where neutral integrations were the those around him executed neutral new and very elaborate form of neutral marks and/or preceded by the Figure 1 • Paper poster, «In the name of peace and progress!», Valentin Viktorov, 1959 © Rita Udina logical choice. retouching: with colours resembling retouching: the astrazione cromatica [13]. locution “so-called” [3; 9; 16]. This clearly (http://ritaudina.com/
The bad reputation of neutral retouching 30 Eve Bouyer 31 Figure 2 • Bowl with the Martyrdom of St Lorenzo, majolica from Urbino by the Painter of the basin of Apollo, ca 1521–1532; International Museum of Ceramics in Faenza, ac. n° 4974 (A. Orombelli donation, 1952) © Faenza, Museo Internazionale delle Ceramiche
surrounding colour. clay body etc.) or of another layer It was mentioned (coloured preparation, intonaco, by Helmut ceramic’s white glaze etc.). This Ruhemann [14] option was mentioned by Paolo and and in the 1940 Laura Mora and Paul Phillipot [12] Manual on the and by Helmut Ruhemann [14]. It is conservation of sometimes called “natural neutral” [8] Figure 4 • Mina’i jar, polychrome stonepaste from Iran, 12th–13th century; The Figure 5 • Bowl with Griffin, luster-painted earthenware from Egypt, paintings [20]. or “background colour” [22]. Metropolitan Museum of Art, ac. n° 17.120.183 (Bequest of Isaac D. 11th century; The Metropolitan Museum of Art, ac. n° 1970.23 Fletcher, 1917) © The Metropolitan Museum of Art (www.metmuseum. (Louis E. Seley gift, 1970) © The Metropolitan Museum of Art A second option is In most instances, there is a drastic org) (www.metmuseum.org) choosing the colour that difference between the predominant visually inappropriate, it is possible to Annunciation, both conserved in the show an undertone, such as beige, predominates on the whole and the underlying options, but with select a new one that resembles a National Gallery and showing grey taupe, off-white etc. object (figure 2). The author of this some artworks, they can be the same “blend” of the colours surrounding neutral integrations [9]. Neutral grey is frequently mentioned and Udina most likely have a completely paper proposes calling this option the colour (figure 4). the lacuna (figure 5). The author of • The 1990 restoration of Piero in the literature, and apparently had a different understanding of the term predominant colour. This corresponds Aside from these three options, this paper proposes calling this an della Francesca’s frescoes in Arezzo, great success in Germany as early as “neutral”. Indeed: a neutral colour might to the definition of neutral tint one can otherwise choose colours intermediate colour, term used in a particularly the scene depicting the the 1920s [8; 10]. It was devised with the mean either matching a colour that provided by Ségolène Bergeon, who extraneous to the original. paper by Meg Loew Craft [23]. An alien victory of Constantine, which shows good intention of being unobtrusive: appears on the original or choosing gives a good example: Pietro Perugino’s Indeed, when choosing one of the colour is applied to the object, but it grey and beige neutral integrations because grey is supposed to be the one extraneous to the original. Resurrection from a predella with original colours seems difficult or still somewhat ressembles the original (colour photographs can be seen on result one would obtain by mixing all The 1940 Manual for the scenes of the life of St Jerome, in the colours. In some cases, especially when an interactive online feature [25]). colours together, it was thought to be Conservation of Paintings proves Louvre, where grey was chosen for its the object shows a high contrast ratio, • The 2000s restoration of a compatible with all original colours [21] that this terminological ambiguity predominance in the scene . it might result in a dirty-looking colour, fresco cycle in the Neues Museum [10]. This usage was however soon is not new. The adjective “neutral” A third option is choosing a colour which is not very pleasing to the eye [24]. of Berlin: Aus dem Sagenkreis criticised. Already in 1940, the Manual was indeed used twice in the book: that lies under the original surface, The fifth and last option the author der Edda, by Gustav Heidenreich, on the Conservation of Paintings first, it mentioned a “neutral tint that and that was not necessarily identified is an extraneous colour Gustav Richter and Robert Müller; called it “a fiction: it will always assume matches the surrounding colour”, visible when the object was which is not chosen for having a devastated during the Second the complementary tones of the then referred to “neutral grey” [20]. in pristine condition (figure resemblance to the original colours World War, it shows today grey neighbouring colours, thus introducing When matching (more or less 3). The author of this paper but because it is supposed not neutral integrations. an alien element into the painting” [20]. closely) a colour that appears on proposes calling this an to influence their perception. We Here, we approach the definition of The same observation was made in the original, there are at least three underlying colour. This colour propose to call this an unrelated neutral colour from fields other than 1968 by Ruhemann: “However grey a options. can be that of the support colour. In practice, it is often a grey conservation. To colour specialists, tinge may be in itself, the neighbouring First, matching the main colour that medium (wood, canvas, arriccio, or beige colour. Some interesting neutral precisely means achromatic or surrounding colour will give it, by surrounds a lacuna (figures 1 and 6). examples are: colours: pure black, pure white and contrast, a more colourful hue; and Figure 3 • Basin with the Presentation of the Head Because of the multiple meanings of of Pompeo to Caesar, majolica from • The 1940 restoration of Lorenzo pure greys. Interior designers generally the most important rule is not to Casteldurante, ca 1535–1540; International Monaco’s Coronation of the Virgin, include as well colours similar to introduce any alien shade into the the word “neutral”, the author of this Museum of Ceramics in Faenza, ac. n° 10570 paper proposes calling this option the (M. Pedicini donation, 1960) © Faenza, Museo and the 1982 restoration of Duccio’s achromatics but that nevertheless painting; if grey is not in it, none must Internazionale delle Ceramiche
32 Eve Bouyer The bad reputation of neutral retouching 33 Not everyone considers this option Conservators tend to understand the 4. CONCLUSIONS potential. Even if as a conservator you as neutral; Jilleen Nadolny calls it term as it is used in chemistry, where find it aesthetically unpleasant, there “suggestive differentiated retouching” neutral has a completely objective Many problems regarding the will always be cases where it is required [8]. Indeed, it is partially – but still not sense (neither basic nor acidic) terminology of conservation remain because a reconstructive retouching fully – reconstructive. and implies something completely to be solved: the word “neutral” would be deeply conjectural and thus Finally, a neutral retouching does innocuous, without any effect. This is is one example among many. This unethical. In cases of deep conjecture, not necessarily mean a flat uniform of course completely impossible with paper highlights the term’s range any attempt at reconstruction would colour. Some authors acknowledge reintegration issues: any choice will of meanings and proposes specific necessarily be a personal, and thus that neutral can correspond to always affect perception of the artwork. terms for distinguishing the various partial, reinterpretation, liable to heterogeneous colours, notably those But if we consider the term’s other neutral options. It also provides deceive the general public and obtained with divisionist retouching uses – in geopolitics, law or sociology suggestions for using and interpreting misguide art historians in their stylistic techniques [8; 21]. It might be tratteggio, for instance – neutrality does not the adjective more accurately, but or iconographic analyses. chromatic abstraction, pointillism necessarily mean having no impact at the author believes reaching a Because of its aesthetic implications,
Figure 6 • Bowl with Susanna and the Elders, majolica from the Fontana workshop in Urbino, ca 1545– (figure 6) or other means of making all but rather “not taking sides”, staying terminological consensus will require neutral retouching is not an easy 1550; International Museum of Ceramics in Faenza, ac. n° 6156 © Faenza, Museo Internazionale colours less flat (figure 4), such as the as impartial as humanly possible. much more critical thinking. Maybe it exercise. Choosing a solution that is delle Ceramiche sponge technique. In this sense, the term “neutral” might would be best to simply banish the the least disruptive requires either be added” [15]. These comments have integration with several colours in the “Neutral” can mean almost anything be valid. Indeed, any neutral retouching term? But what should replace it? natural talent or real effort to evaluate something in common with those same lacuna include: to conservators (table 1). Should the will strongly influence the appearance of “Non-reconstructive”? examples and assess possible options. written by Sheila Landi; the author of • The 1958 restoration of the term, which is often criticised and placed the artwork: it is not neutral as a visual Aesthetic displeasure is not an To sum up, neutral retouching is this paper thinks that she might have main panel of Giovanni da Milano’s within quotation marks, be banished fact. But it can be considered neutral as argument against neutral retouching. sometimes required from an ethical had this understanding of the term polyptych conserved in the Museo from the field of conservation? At the a human action, in that it expresses the Certainly, it should not be used point of view, but is a challenging “neutral” in mind when she reacted civico del Prato, qualified as “matching very least, it should be used with caution. desire to avoid influencing the viewer’s systematically for all types of losses, exercise. It is therefore essential for to Rita Udina’s post. neutral” by Marco Ciatti [2]. Its use might be especially problematic opinion on what used to occupy the as was the case at certain points in conservators to get past prejudices Apart from these purely chromatic • The 1972 restoration of two when qualifying nouns that imply a lacunas and, in the meantime, to simply the history of conservation: doing so against neutral retouching in order to issues, executing a neutral retouching panels by Ugolino di Nerio (Isaiah concrete visual fact, such as colour, tone admit that the truth is unknown. would neglect the artwork’s aesthetic give it the attention it deserves. does not necessarily mean filling in all and a diptych with Saints Simon and or tint. Indeed, as claimed by several the lacunas of a given object with the Thaddeus), both conserved in the authors, no colour/tone/tint can really same colour. It can also correspond National Gallery: they are considered be neutral. Even if a pure grey is neutral Table 1 • Summary of neutral options
to using several colours depending neutral by some authors because of in isolation, it will not remain so when APPLICATION OF TYPE OF COLOUR NUMBER OF COLOUR(S) on the areas. It can be one colour per their flat unmodulated colours[9; 17]. placed in a colourful context, which will COLOUR(S) surrounding lacuna (figure 6) or several colours in Other examples can be seen in induce chromatic interactions. Thus, it the same colour matching the original predominant flat uniform the same lacuna that indicate the lost the European Illustrated Glossary of might be best to avoid such a wording. everywhere shapes without reconstructing details, Conservation Terms for Wall Paintings But maybe the adjective could keep being underlying [26] [16] intermediate several as suggeted by Dimitrios Doumas . and Architectural Surfaces and in a used when describing a human action, extraneous to the original heterogeneous depending on the areas Good examples of neutral paper by Dimitrios Doumas [26]. such as retouching or reintegration? unrelated
34 Eve Bouyer The bad reputation of neutral retouching 35 REFERENCES [1] Bourgeois, Brigitte – La fabrique du vase [5] Wikiart – Death of the Knight of Celano. 21 (2000), pp. 43-57. [15] Ruhemann, Helmut – Technique and [20] Manual on the conservation of paintings. Vol. 2, Washington DC: The American Institute grec. Connaître et restaurer l’antique dans Available at: https://www.wikiart.org/en/ [10] von der Goltz, Michael – Is it useful to Ethics of Retouching. In RUHEMANN, Helmut Paris: International Institute of intellectual Co- for Conservation of Historic & Artistic Works, l’Europe des lumières. Technè. N° 32 (2010), benozzo-gozzoli/death-of-the-knight-of-celano restore paintings? Aspects of a 1928 discussion – The Cleaning of Paintings, 1968, pp. 240-263. operation, 1940, pp. 22 and 107. 1994, pp. 73-88. pp. 5-10. [17 Nov. 2017]. on restoration in Germany and Austria. In [16] Weyer, Angela; Roig Picazo, Pilar; [21] Bergeon, Ségolène – «Science et [24] Giboteau, Yvonne; Zumstein, Isabelle; [2] Ciatti, Marco – Approaches to Retouching [6] Boito, Camillo – I restauri in architettura. ICOM Committee for Conservation. 12th Pop, Daniel; Cassar, Jo Ann; Özköse, Aysun; patience» ou la restauration des peintures. Paris: Vinçotte, Armand – Considérations sur la and Restoration: Pictorial Restoration in In CRIPPA, Maria Antonietta, ed. – Camillo Triennial Meeting. Lyon, 29 Augustus-3 Vallet, Jean-Marc; Srša, Ivan, ed. – EwaGlos. Editions de la Réunion des musées nationaux, restauration de céramiques archéologiques, Italy. In Early Italian Paintings: Approaches to Boito, II nuovo e l’antico in architettura. Milan: September 1999. Vol. I, London: James & James, European ILLUSTRATED GLOSSARY 1990, pp. 194 and 224-225. notamment sur la restitution de la couleur. Conservation. Proceedings of a Symposium at Jaca Book, 1989, pp. 122-123. 1999, pp. 200-205. of CONSERVATION TERMS for WALL [22] de Lapérouse, Jean-François; Stamm, Conservation-restauration des biens culturels. the Yale University Art Gallery (April 2002). New [7] Boito, Camillo – Conserver ou restaurer? [11] Brandi, Cesare – Théorie de la PAINTINGS and ARCHITECTURAL Karen; Parry, Vicki – Re-examination and N° 4 (1992), pp. 12-14. Haven: Yale University Press, 2003, pp.191-207. (1893), translated from the Italian by Mandosio Restauration, translated from the Italian by SURFACES. Petersberg: Michael Imhof Verlag, Treatment of Mina’i Ceramics at The [25] Institute for Advanced Study – Interactive [3] Schädler-Saub, Ursula – Teoria e Jean-Marc. Saint-Front-sur-Nizonne: Editions de Déroche, Colette. Paris: Editions du patrimoine, 2015, p. 330. Metropolitan Museum of Art. In Glass and model: The Legend of the True Cross (Piero della metodologia del restauro. Italian contributions l’Encyclopédie des Nuisances, 2013, pp. 46-47. 2001. [17] Nicolaus, Knut – Manuel de Restauration Ceramics Conservation 2007: Interim Meeting Francesca). Available at: http://projects.ias.edu/ to conservation in theory and practice. In [8] Nadolny, Jilleen – History of Visual [12] Mora, Laura; Mora, Paolo; Phillipot, Paul des Tableaux. Köln: Könemann, 1999, p. 291. of the ICOM-CC Working Group, August 27– pierotruecross/pieroimages.html [17 Nov. 2017]. Conservation and Preservation. Interactions Compensation for Paintings. In Hill Stoner, – Conservation of Wall Paintings. London: [18]LinkedIn’s Conservator-Restorer group 30, 2007, Nova Gorica, Slovenia, Nova Gorica: [26] Doumas, Dimitrios – Reconstructing between Theory and Practice. In memoriam Joyce; Rushfield, Rebecca, ed. – Conservation Butterworths, 1984, pp. 310-312. – The Diplomatic Neutral Colour. Available at: Goriški muzej Kromberk, 2007, pp. 112–119. the Image: A discussion on the Effectiveness Alois Riegl (1858-1905). Firenze: ICOMOS, of Easel Paintings. Oxon: Routledge, 2012, pp. [13] Baldini, Umberto – Teoria del restauro https://www.linkedin.com/groups/94889/9 48 [23] Loew Craft, Meg – A visual review of Restoration Methods for Painted Surfaces. 2010, pp. 81-94. 573-585. e unità di metodologia. Firenze: Nardini 89-6223512192315064322 [17 Nov. 2017]. of compensation philosophies for Islamic Theory and Practice at the Benaki Museum [4] Conti, Alessandro – A history of the [9] Ackroyd, Paul; Keith, Larry; Gordon, Editore,2001. [19] Udina, Rita – The Diplomatic Neutral ceramics. In Loss Compensation: Technical Conservation Department. Mouseio Benaki. restoration and conservation of works of art. Dillian – The Restoration of Lorenzo Monaco’s [14] Ruhemann, Helmut – La technique de la Colour. Available at: http://ritaudina.com/ and Philosophical Issues. Proceedings of the Vol. 10 (2010), pp. 83-103 . Also available at: Oxford: Butterworth-Heinemann, 2007, pp. ‘Coronation of the Virgin’: Retouching and conservation des tableaux. Mouseion. Vol. 15, n° en/2017/01/02/retouching-inpainting-paper- Objects Specialty Group Session, 22nd Annual https://www.benaki.gr/images/researches/pdf/ 313-344. Display. National Gallery Technical Bulletin. Vol. III (1931), pp. 19-21. conservation-neutral-colour-field/ [17 Nov. 2017]. Meeting in Nashville, Tennessee. June 10, 1994. Anatypo_Doumas.pdf (17 Nov. 2017].
36 Eve Bouyer The bad reputation of neutral retouching 37 Keywords
Pigments; Painting technique; Mattia Preti; BAROQUE MASTER MATTIA Original-replica-copy; Four Evangelists; PRETI AND HIS WORKSHOP- Inpainting TWO SERIES OF FOUR 1. INTRODUCTION EVANGELISTS FROM DUBROVNIK This project focuses on two series
of paintings representing the four Figure 1. • Four Evangelists, Our Lady of Carmel Church, before and after conservation Evangelists. These sets of four paintings were located in two Baroque ecclesiastic decades. Prijatelj made some analogies of the series of Evangelists from Our (1) (2) Mara Kolić Pustić | Carlo Galliano Lalli | Nancy von buildings in the inner city of Dubrovnik: to Mattia Preti’s work and suggested an Lady of Carmel and their excellent Breska Ficović (3) the confraternity church Our Lady of attribution to his workshop. quality was revealed. A year later, the 1. Croatian Conservation Institute (HRZ), Conservation Department Dubrovnik, Batahovina bb, 20 000 Dubrovnik, Croatia; [email protected] Carmel (Karmen), and St Blaise (Sv. paintings from St Blaise church were 2. Opificio delle Pietre Dure e Laboratori di Restauro di Firenze, viale Filippo Strozzi 1 – Fortezza da Basso, 50129 Firenze, Italy; Vlaho), the church honoring the patron 1.1 Mattia Preti also included into the project with [email protected] 3. Senior Art Historian, Avenue des Cèdres 6, 1640 Rhode Saint Genèse, Belgium; [email protected] saint of the city. Beside the article by Mattia Preti (Taverna, Italy, 1613 - the intention of a simultaneous work Croatian art historian Kruno Prijatelj1 Valetta, Malta, 1699) was a renowned and research. It was clear from the from 1981, there was not much more Italian baroque artist and Knight of beginning that there was some kind to be found about these paintings for the Maltese Order. His elder brother of a connection, but at the same time, Gregorio was also a painter active in there were significant differences ABSTRACT Rome. Mattia joined him and they between the two series that needed worked together, but very quickly to be clarified. Two series of Four evangelists, eight canvasses, formerly belonging to two Baroque The importance of each and every step churches (St Blaise and Our Lady of Carmel), attributed to the Baroque artist Mattia of the conservation process leading to he became more popular and was Preti, have been restored by the HRZ, Croatian Conservation Department Dubrovnik the final phase, the retouching, and the commissioned to execute prestigious 1.3 Evangelist paintings by Preti in in cooperation with Opificio delle pietre dure (Florence). choice of the retouching method was artworks. In 1653 he moved to Italy and Malta The international interdisciplinary restoration and research project determined demonstrated. It was proved that the city of Naples until 1661, when he The art historian Prijatelj was familiar the original prototype, explored the question of copies-replicas as well as possible two series of paintings were following transferred to Malta, where he spent with the painting Four Evangelists origins within the same workshop. The stratigrafic analysis was performed and the same prototype/drawing. This the rest of his long and very active life. from the Galleria Abatelis in Palermo. subsequently compared to the vast data base of Mattia Preti paintings (from contributed in the execution of a mimetic However, in the meantime other, Taverna) in the laboratory of the Opifico delle Pietre Dure. kind of inpainting. Details of the paintings 1.2 Croatian Conservation Institute almost identical paintings to the The results of the research and the conclusions regarding the copy-replica-original photographed in different phases of the topic were presented as well as the specific characteristics of the pigments used for restoration work were presented and project Dubrovnik Evangelists emerged in the 2 creating the Evangelist-paintings. The retouching from the former 19th and mid- the chosen retouching technique was In 2005 the Croatian Conservation Catalogo Reggionato by John T. Spike . 20th century restorations was presented and discussed. explained and substantiated in detail. Institute (HRZ) began the restoration At the beginning, only one painting of Mattia Preti’s Evangelists-series first intervention, the linen support found on all Preti’s paintings from that was known: a St Mark, in Cosenza, was mended with patches and in period (1661-1699). Italy. It seemed to be identical as the 1950-ies a wax and resin lining was It was discovered that the one from the Our Lady of Carmel. executed. preparations of all eight paintings from Spike suggested that the painting Two different interventions were Dubrovnik consist of similar, almost belonged to the early Maltese period also confirmed by two different sorts identical materials: earth pigments, of the painter. Besides that, he also of fillings. In the Austro-Hungarian ochre, calcium carbonate, some iron mentioned, two copies of Preti’s intervention a brown toned varnish oxide, carbon black and tiny chips of Evangelists St Mark and St Luke, from was applied. In 1950-ies, that varnish glass in an oily binder applied in two Malta. At that point, although he was was removed only in some, mostly layers. not familiar with the existence of the brighter areas and in some areas, it Differences between the Dubrovnik two complete series in Dubrovnik, he was not removed at all. The fillings series have been found only in rightly came to a conclusion that the were applied in all damaged areas quantity and granulometry. The St Mark in Cosenza was a part of a and the retouching was executed Dubrovnik paintings, however, do not series of four paintings representing accordingly to the level of cleaning. contain any microfossils. Therefore, it the four evangelists. As to that date, Some filling and retouching was was concluded, despite the previous there was no trace of St Matthew and spreading over the original. assumption, that Maltese materials St John, the Dubrovnik paintings were were not used in the execution of the 2.2 Stratigrafic analysis fundamental for a reconstruction of Figure 2. • Four Evangelists, St Blaise’s Church, before and after conservation Dubrovnik series. the iconography of the series. The comparative analysis of the As for the pigments in paint layer, two Dubrovnik series, making them in Italy, have the same dimensions and, 2.1 Earlier interventions materials used by Mattia Preti was the situation was similar. For example, 1.4 New discoveries/originals-copies part of a quite popular original set of besides that, they have the same sort The research has shown that there executed in the Opificio delle Pietre the flash colour consisted of: lead context paintings by Mattia Preti. of support as the Carmel series: the had been two earlier interventions on Dure in Florence, by Carlo Lalli. white, with some green earth and During the project, more paintings one with a 10 cm stitched addition. If both series of paintings. An Austro- According to the previous carbon black, red lake, earth pigment belonging to the evangelists’ topic 2. MATERIALS AND METHODS we compare the 2 Dubrovnik series Hungarian, around the beginning of assumptions, Maltese materials were and vermilion particles. The presence were discovered. Beside St Marc in and the Italian one, they seem to be 20th century and a second one, done to be expected. Earth pigments from of cerussite and hydrocerussite Cosenza, the existence of another During restoration works it was exactly the same up to the smallest in Zagreb in the 1950-ies. During the Malta are rich in microfossils and were crystals in lead white was particularly original by Preti, a St John, also in established that the original dimensions detail. The only difference has been Figure 3. • Detail of the forehead, St Mark the Evangelist, Our Lady of Carmel Church: a) during cleaning in visible light; b) x-ray during cleaning; c) during cleaning Italy, was confirmed. An information of all eight paintings were the same. In detected in the fringe on the forehead in UV light; d) after conservation about a sold St Luke in Munich, case of the Carmel-series the linen of the saint. As the UV fluorescence pictured only in a black and white support has a 10 cm broad, stitched and x-rays suggested, and the different photo, was also found. Furthermore, addition along the right border. In character of material has confirmed, the remaining two copies from Malta comparison, the St Blaise series has originally that difference did not exist were traced. These discoveries shed been painted just on one wider piece of at all. It was a consequence of a later new light on the importance of the canvas. Interestingly, the two paintings intervention.
40 Mara Kolić Pustić | Carlo Galliano Lalli | Nancy von Breska Ficović Baroque master mattia preti and his workshop- Two series of four evangelists from dubrovnik 41 3. RETOUCHING the original one, the inpainting process the complete integration of missing high quality stable pigments, Canada will be burdened by issues that should areas into the original as a concept balsam and - optionally - a small quantity
Figure 4. • Taverna, the microfossils are visible; c) St Mark the Evangelist, St Blaise’s Church, Dubrovnik; d) It is important to stress that all have been resolved in earlier phases of a retouching. A good example of of varnish is needed. If the granulation St Mark the Evangelist, Carmel Church, Dubrovnik previous phases of conservation- of work and the conservator will a potentially puzzling situation could of a pigment is not fine enough, it is interesting. The very same ingredients in preparation and in the paint layer. restoration work are the ones that be confronted with the challenge to be the area of the St Luke painting. necessary to grind it until it is. Earlier, were actually found in the flesh colour In that case the art historians and contribute and define the final “cover” and “mask” those issues with The forehead of the Child could be shellsol T was used to wet the pigments on all paintings of both series. painting conservators are unanimous inpainting phase. Each and every phase colour in final phase of work. Even if interpreted as either damaged or left during the grinding procedure, but The black pigments appeared to be in conclusion that the St Blaise series of work, when done properly, reduces we are brilliant in that skill, the result as unfinished on purpose - because St distilled water and/or ethanol instead, interesting too. The presence of a rare was painted by another hand and can and simplifies the final retouching will never be as good as the one when Luke, the painter, has not yet finished his seem to be more efficient and easier carbon black with high percentage of be considered as a workshop replica. process. If we do not manage to do all phases are done thoroughly. work. In this case, with more paintings to control. It’s interesting to notice how Sulphur was detected in both series. In respect to that - the paintings the uniformed and thorough cleaning As for the choice of a retouching to compare, it was quite certain that much the tone sometimes changes in However, in case of the blue colour, from Malta can be considered as later up to a chosen point and leave some method to be done, the decision was we were not dealing with a superficial respect to a different granulometry. It’s another black pigment was used - the copies with different proportions, “problems” to be resolved by the final quite simple. The missing areas were damage, but with an intentional good to keep that in mind for some bone black. It was added to indigo absence of architectural elements inpainting phase or if we do not blend not too big or hard to define, and “unfinished” area of a painting. certain cases when we do not need along with the lead white. Again, the and completely different painting skill. in the character of the filled area into having more paintings with the same The filling was based on plextol binder the transparency, but do need a darker same pigment mixture was found on motive made it even easier to choose and brown earth, pigment filler close to tone. For example, on these paintings, Figure 5. • Detail of St Luke’s eyes, St Luke the Evangelist, Our Lady of Carmel Church: a) after filling; b) 3 both series of Dubrovnik paintings. after filling in raking light; c) after conservation the original preparation in tone. in some situations the blacks were simply not black enough. 2.3 Analysis conclusions 3.1 Underpainting For preparation of colours, a In respect of all the findings – the The procedure of working with maximum possible quantity of pigment following conclusion could be made: gouache4 can be described in several up to a saturation of the binder is The measures of all Dubrovnik as well steps: needed. If there is too much binder, the as the Italian paintings are the same. 1. We start with a middle tone for colours tend to be less soluble with The linen support with the stitched a certain zone; 2. It is applied to the time and to transparent and shiny. The addition on the right side is the same whole area of the same colour; 3. The Canada balsam tends to get denser for Carmel Dubrovnik series as well next step is building up the shadows with time. Because its consistency is as for the two Italian paintings. These or lights in a way that a similar crucial for getting the right ratio of two series can be considered as work transparent layer will be needed for pigment and balsam, it’s good to know of Mattia Preti and his assistants and the whole area to blend it in into that Canada balsam can be successfully therefore, one could be a replica of the original; 4. After completing the diluted with some ethyl-l-lactate. the other. The St Blaise series was gouache underpainting, the first layer Once made, the colours are positioned created on base of the same drawing, of varnish is applied with a brush. on a plexiglas palette where they dry probably in the same workshop but and can be resolved by different sorts not in the same time, but consisting of 3.2 “Colori a vernice”- glazing of mediums (for example ethyl-l-lactate Figure 6. • Detail of the forehead of the Child, St Luke the Evangelist: a) Our Lady of Carmel Church, very similar if not identical materials gouache underpainting; b) Our Lady of Carmel Church, after conservation; c) St Blaise’s Church As for the final glazes, a selection of and acetone mixture).
42 Mara Kolić Pustić | Carlo Galliano Lalli | Nancy von Breska Ficović Baroque master mattia preti and his workshop- Two series of four evangelists from dubrovnik 43 REFERENCES Evangelists in the Oeuvre of Mattia Preti, The difficile, un ritorno trionfale” a cura di [1] LALLI, Carlo Galliano; VON BRESKA- Croatian Conservation Institute, 2009. Caterina Caneva, ed Edifir Firenze, giugno FICOVIĆ, Nancy; INNOCENTI, Federica; [4] T. SPIKE, John – Catalogo ragionato dei di- 2006, pp. 48,49 KOLIĆ PUSTIĆ, Mara – Le due serie pinti, Centro Di, 1999. [8] Museo degli Uffizi, “La Medusa di Ca- dei quattro Evangelisti di Mattia Preti a [5] PRIJATELJ, Kruno – Prilog odjeku ravaggio restaurata” a cura di Caterina Dubrovnik: un progetto multidisciplinare e di Caravaggia u Dalmaciji, Peristil. Vol. 24 Caneva. Saggio restauro ed retablo, Roma
Figure 7. • Detail of the parchment, St John the Evangelist, Our Lady of Carmel Church: a) after filling; b) after underpainting; c) after conservation collaborazione tra il Laboratoria Scientifico (1981), pp. 72-76 2002 dell’Opificio e l’Istituto croato di Restauro. [6]Croatian Conservation Institute. [9] Kermes rivista, “Una tempestiva rispo- The role of the more volatile solvent motivated by some particular situation, same drawing was used as a base OPD Restauro. Vol. 26 (2014), pp. 231-248 Official website sta per la salvaguardia del patrimonio ar- is to control the speed of drying it is important to stress that presenting for the paintings, the same materials [2] KOLIĆ PUSTIĆ Mara – Tragom dubro- http://www.h-r-z.hr/en/index.php/spotli- tistico di Dubrovnik” which becomes important in applying and discussing the “common”, “simple” were applied and yet, the result is vačkih naručitelja slika s područja južne Italije ght/vijesti/1090-presentation-of-the-con- [10] Gli Uffizi, Studi e ricerche, No 14 of every next layer to avoid dissolving situations can sometimes be left in a not slightly, but obviously different. u baroknom razdoblju. Umjetnost i naručitelji, servation-project-qthe-four-evangeli- “Nota di restauro” Cena con sposali di the previous one. It is also important shadow and can be taken for granted. However, much a conservator tries Zbornik Dana Cvita Fiskovića. Vol 3 (2010), sts-in-the-oeuvre-of mattia-pretiq Gerardo delle Notti. I restauri dell’atten- [7] SCARPELLI, Stefano”Il Restauro” to have patience, to let each layer dry In fact, the “classical”, “usual” procedures to be “invisible” and to let the work pp.101-109 tato, construtivo 1993-1995, ed Centro The Four ghirladnaio di Vallombrosa, “un restauro Di, Firenze 1995, pp.21-22 completely before proceeding. need to be shared more. They are of art be dominant, his contribution is [3] KOLIĆ PUSTIĆ, Mara, ed. - Furthermore, some brown colours common and simple for those who always present and it is always a kind tend to be less soluble once they know how to perform them, but not of an interpretation that had been are dry on the palette. For such that simple for those who do not yet chosen. The retouching intervention cases, sometimes it helps if a drop of have the knowledge and the skill. becomes a part of a “life” of a work varnish is added to the mixture while The best way to learn, beside all the of art. We need to be aware of that preparing the colours. explanations and conferences, is simply and try to make the best of it. These colours do not darken with to watch someone more experienced time. If they do change, they get a bit doing it. On the other hand, however Figure 8. • Detail of the eagle, St John the Evangelist: brighter, and, if necessary, it is quite experienced we are, there is always a) Our Lady of Carmel Church, after filling; NOTES b) Our Lady of Carmel Church, after simple to darken them some more. some space left for improvement and 1 Prijatelj Kruno Prijatelj, - Prilog odjeku Caravaggia u Dalmaciji, Peristil 24, underpainting; c) Our Lady of Carmel modifications. It can always get better. Church, after conservation; d) private Zagreb (1981), p. 73 4. CONCLUSIONS Finally, it is not only important to make property, Italy 2 John T. Spike, Catalogo ragionato dei dipinti, Centro Di, 1999 a right choice of the materials that we 3 Filling: 10g binder (Lascaux Akrylkleber 498HV) + 40g water + 40g filler The described retouching method are going to use. We also need to know (pigment Iseo Braun - Kremer) was introduced to Conservation how to use them and that can make a 4 W&N selection of gouache colours with good stability characteristics is the department Dubrovnik by the huge difference. There is no guarantee one that was used Florentine colleague Stefano Scarpelli. of doing a good job just because having It’s not a revolutionary method, on used some suggested quality materials. the contrary, it is a classic. The two Dubrovnik series are a perfect Although, it is quite obvious that this was example to make that point: not the case of some specific approach, As elaborated, the same composition,
44 Mara Kolić Pustić | Carlo Galliano Lalli | Nancy von Breska Ficović Baroque master mattia preti and his workshop- Two series of four evangelists from dubrovnik 45 Keywords
Girolamo da Santa Croce, Panel painting, Mimetic retouching, Age-related craquelure, “ALL SAINTS ARE IN THE surrounded by St. Jerome and St. John Reconstruction, the Baptist with three musician angels DETAIL“: RETOUCHING A Canada balsam below his feet. The side parts of the composition display a group of 36 figures which PAINTING BY GIROLAMO DA includes apostles, evangelists, 1. INTRODUCTION prophets, patriarchs, female and male SANTA CROCE saints, among others. The whole is The All Saints is a tempera painting It was painted on a relatively large topped by three arches and the Holy by Girolamo da Santa Croce wooden support (219 × 187 cm), Spirit represented by a white dove. commissioned in 1540 as the consisting of six horizontal boards. Horizontal and vertical accents of altarpiece for the Church of All Saints Saint Peter, depicted as the Pope, the composition give an effect of on the Island of Korčula (Croatia). stands in the composition’s center orderliness and repose (figure 1).[1] Katarina Alamat Kusjanović (1) | Sandra Šustić (2) 1. Croatian Conservation Institute (HRZ), Dubrovnik Department for Conservation, Batahovina bb, 20 000 Dubrovnik - Croatia; katarina.ak@gmail. Figure 1 • The All Saints by Girolamo da Santa Croce (1540) before and after restoration. Photo © Vlaho Pustić / Ljubo Gamulin com 2. Arts Academy of the University of Split, Zagrebačka 3, 21000 Split - Croatia; [email protected]
Abstract
A project concerning the conservation and restoration of Girolamo da Santa Croce’s All Saints (All Saints’ Church, Korčula, Croatia) was carried out by the Dubrovnik Department of the Croatian Conservation Institute (HRZ) from 2013 to 2016. The treatment was primarily undertaken because of structural problems, since the original painting materials had become increasingly unstable. Moreover, the materials applied in previous interventions had aged poorly, resulting in overall degradation of the paint layer and thus compromising the proper reading of the artwork. Along with the stabilization of the panel and the paint layer, the inpainting (retouching) process turned 1.1. Physical history of the painting out to be the most complex part of the restoration treatment. While relatively small lacunae were and its influence on the decisions in distributed over the entire surface of the painting, the lower area of the composition - depicting in the pavement area but also in all the painting’s bright parts. Furthermore, bicoloured floor tiles (pavement) – had sustained major material loss. The visual impact created by retouching the smooth texture of the panel and the consequent colour reflection required the pronounced cracks turned out to have a crucial effect on the viewer’s colour perception, not only outstanding precision in the retouching process as well as the use of the finest Historical records found at the
1 Head of the project: Katarina Alamat Kusjanović ; contributors: Antonio Blašković, Ivana Ćustović, Elio Karamatić, Mara Kolić Pustić, Sanja Pujo, and Sandra Šustić materials in order to achieve credibility for the reconstructed areas. Archive of the Conservation materials in uncontrolled and varying dark residues in the cupped paint 2. MATERIALS AND METHODS cross contrasting paint passages climate in the church along with the fragments as a consequence of the of the underlying image. Simple inadequate cradle mounted on the consolidation and cleaning performed 2.1. The effect of craquelure on the contrasting paint areas are used by Figure 2 • Details of the painting before treatment. Note the severe flaking of the paint layer. Photo © [3] Vlaho Pustić back of the panel, have contributed in previous interventions. visual perception of All Saints Santa Croce to depict the floor on to the development of particularly The perceptual effect of craquelure The pattern of cracks is a visible the All Saints – the decorative tile Department in Split made evident A detailed technical study of the dense age-related cracks in the paint turned out to be of the outmost record of the physical tensions pattern was painted with two colours that the painting has undergone support and the paint layer indicated and primer layers. importance in forming a retouching within the structure of the painting of different values – lighter (white) and significant restoration treatments in that the artist’s original technology The visual impact of the cracking is strategy. While relatively small lacunae [4] dependent upon the choice darker (orange). The simplicity of the the past, specifically due to the severe was quite poor. The impregnation of highly pronounced - especially in the were distributed over the entire of materials and methods of geometrical forms – lacking any figural flaking of the paint layer. the wooden support had lost most bright areas of the composition. This surface of the painting, the brightest construction employed by the artist elements – has contributed even Condition report from 1959 of its adhesive power. The aging of the is due to the build-up of particularly area of the composition - depicting [5]. The literature explaining the more to the pronounced perception describes the presence of a cradle on dichromatic pavement – had importance and characterization of of all irregularities of the paint layer, the back of the panel “probably made sustained major losses (figure 3). cracks was reviewed by Keck (1969) especially the cracks on the white tiles. Figure 3 • The painting after cleaning and filling of the lacuna. Photo © Vlaho Pustić in the time of Austro-Hungarian Empire” The aim of this paper is to examine and Bucklow (1997). Namely, the However, the contrast between the and excessive damages in the paint the degree of finishing necessary to first records are due to artificial cracks and the underlying image (the layer: “The condition of the painting is create an overall balance that will craquelure created by the art forgers floor) interferes with the perception very bad (…) the paint detaches from appreciate the condition of the paint (William Sanderson, Friedlander), of the contrasts between the tiles. the wood and slides down.“ Despite the layer and the age of the painting. while the general descriptions of the This leads to the conclusion that consolidation treatment performed in Correspondingly, the applicability shape of the patterns were recorded the formation of the craquelure has 1959, the dossier from 1977 reported of mimetic retouching in such a by Stout (1977). More studious gradually compromised the intention another extensive consolidation of the demanding appearance of the original observations are of Marijnissen in of the artist. Yet, on the other hand, it paint layer. [2] paint layer will be discussed as well. judging the authenticity of the artwork brings out the role of the craquelure as Due to identical structural problems (1985), and of Bucklow (1994, 1997, substantive element for achieving the the painting was transported to 1998, 1999, 2000) in analysing the precise tonality in mimetic retouching. Dubrovnik Department of the Figure 4 • Detail of the original paint layer. Note association of cracks with the artist’s Thus a close inspection of the the size and shape of the crack network. Croatian Conservation Institute in Photo © Sandra Šustić practice and their perceptual effect shape and the characteristics of the 2013 – severe flaking and increasing on pictorial image. [6] The result of this craquelure has been made. It was instability of the paint layer were study made evident that the crack manifest that the direction of the crack again evident on the entire surface. network - although subconsciously lines has approximated right angles In addition, the materials applied filtered out as irrelevant - has a large typical of age-related cracks. The in the 1977 intervention had aged effect on the apparent tonality, i.e. shape of the cracks is quadrangular - considerably, resulting in overall it visually darkens and flattens the very usual in the paintings from the degradation of the paint layer and image. renaissance period – constituting a thus compromising the proper According to Bucklow [7], the cracks fairly fine mesh, with no predominant reading of the artwork (figure 2). will have a large effect where they orientation, composed of vertical
48 Katarina Alamat Kusjanović | Sandra Šustić “All saints are in the detail“: retouching a painting by girolamo da santa croce 49 and horizontal grooves. Assessment Although the artist used only two gradually softened the edges of the of cracks using a small pointed brush. brightness of the tiles and flattened paint was carefully splattered onto the of this system reveals a distribution colours to depict the floor - white glaze, thereby producing blurred An attempt was made to imitate the the affected areas to the desired level reconstructed tiles giving the surface a linked to paint constitution. It occurs and orange - it was noticed that each effects of shading. Each tile was variety of tones, forms and orientation (figure 6). certain antique character (figure 7). predominantly in areas rich in lead- preserved tile contains subtle tone treated separately, while others were of the lines present in the original Clearly, this kind of approach required It is important to note that during white, such as the flesh tones and, of gradations within its surface. Thus, completely covered, in order to craquelure. This helped to achieve a lot of preparation and thus the the reconstruction of the tiled floor, course, the tiled floor (figure 4).[8] along with the basic shape of the avoid unnecessary splattering of the the persuasiveness and vividness of retouching could not be executed the applied layers of paint (especially tiles, the delicate volume was built surrounded area. the entire reconstructed surface, but rapidly. The splatter technique was used those from the splatter technique) 2.2. Reconstructing the major loss in as well. This helped to establish the The most important step in most importantly, it decreased the in the final step as well - pure white were not piled up, but rather evenly underpainting liveliness of the ambience found in achieving mimetic retouching was to Descriptive data on the preserved the preserved paint layer. emulate the quadrangular network Figure 7 • Detail of the painting after retouching. Photo © Ljubo Gamulin
paint layer beneath the figures Figure 6 • Reconstruction of the white tile. Note showed that Santa Croce employed 2.3. Emulating the appearance the artificial craquelure. Photo © Sandra Šustić a geometrical representation of the of naturally aged paint in glaze floor with square tiles, similar to technique pavement. [9] The square grids are In order to achieve the illusion of foreshortened as the lines of the grid depth, luminosity and patina, evident get farther away from the viewer. In on the preserved tiles, the paints addition, horizontal lines above the agglutinated with Canada balsam - with background arches and the lines of a refractive index approaching that of an the paved floor are parallel to the aged oil medium - were chosen for final picture plan. By tracing the lines of the retouching. To match the colour of the floor around the loss - perpendicular tiles, the pigments such as umber, yellow to the picture plane - the vanishing ochre and blacks were indispensable. point was easily localized and the set The first step was to spread a of missing parallel and horizontal lines highly transparent dark glaze over was set up in underpainting using the reconstructed tiles. Due to Winsor & Newton Designers’ Gouache the relatively rapid evaporation of (figure 5). the solvents used (butanol, ethyl This initial inpainting was made lactate) it was not easy to achieve several shades brighter than the uniform horizontal strokes. There original paint layer. White tiles were undesirable brush marks and were painted with almost pure uneven glaze accumulation on the white colour in order to retain the surface, hence the same glaze was maximum intensity of the surface gently splattered over the surface for the upcoming glaze technique. with a brush. This treatment has Figure 5 • The All Saints after underpainting. Photo © Croatian Conservation Institute
50 Katarina Alamat Kusjanović | Sandra Šustić Nome artigo 51 distributed on the surfaces. In this easier to see the potential formal unity to create the atmosphere proper to a attempt to misrepresent the artist’s craquelure could have resulted in The challenge was imposed by the manner the final tone contained the of the work - the operation should stop Flemish primitive painting will demand intent in respect to the physical misrepresentation of the genuine specific physical characteristics of the information of all the previous layers where hypothesis begins. [10] The concept for the realization of an equivalent characteristics of the painting. [15] As condition of the paint layer and the paint layer – such as the extremely which contributed to the effect of for the reconstruction of the lower part integration, an infinitely more elaborate previously elaborated, the formation actual age of the painting. subtle texture, the luminosity effect high luminosity. of the All Saints was strongly supported retouching.“ [14] of the highly pronounced craquelure and the highly pronounced age- It was very interesting to observe by the evidence from the preserved Of course, Santa Croce’s painting of the All Saints paint layer has 4. CONCLUSION related craquelure that the panel has how the network of artificial cracks paint layer. As explained in the previous style is hardly comparable to Flemish compromised the intention of the acquired through time. This called has created a darker tone of the chapter, the hue reconstruction of the primitives, but the delicate texture artist by flattening and darkening the One of the conservator’s essential for an infinitely more elaborate pavement but at the same time tiles was a straightforward task, while the of the cracked paint layer and image. Thus, with respect to the artist task is to acknowledge the artist’s retouching, as described by Philippot. it didn’t corrupt the hue and the artist’s use of linear perspective enabled consequent luminosity, required an intention, the alternative approach intentions with respect to the In order to mimic the unique look intensity of the colour. This helped to an accurate arrangement of the missing outstanding precision in retouching could have been to selectively reduce overall condition of the artwork. of a dense textured surface, a careful “push back“the lacunae and assimilate form. and the use of the finest materials in the visual disruption of the cracks However, the complexity of the All selection of the retouching tools, them into the original paint layer as order to achieve the credibility of the on the preserved tiles and exclude Saints retouching demonstrates that materials and techniques needed to much as possible. 3.2. The degree of finishing reconstructed area. the emulation of the craquelure on achieving a balance between the be made. Besides the use of glazes Both invisible and visible inpainting One of the basic tenets of retouching the reconstructed area. However, artist’s intentions and the condition and splatter techniques to produce 3. RESULTS AND DISCUSSION techniques were at times subjected is that it must be performed with no the concealment of the authentic of the painting is not an easy task. smooth transition of tones, a crucial to criticism. [11, 12] According to Brajer factor in obtaining the desired tonality 3.1. Reconstruction as a critical differences of opinion seem to occur was the rendering of the artificial Figure 8 • Detail of the floor before and after the retouching. Photo © Vlaho Pustić, Ljubo Gamulin interpretation when we enter into the domain of craquelure. This helped to harmonize The integration of major aesthetics and the choices we made the retouching with the condition of compositional losses is considered as can have a profound effect on the the painting as a whole. one of the fundamental issues of the perception of authenticity of a given restoration process, highly dependent object. [13] The high degree of finishing on the type, placement and function shown in the retouching phase of of an object. Due to the liturgical the All Saints project depended importance of the All Saints painting, primarily on the style and physical the complex damage of the lower characteristics of the painting. part of the composition corrupted In order to further elaborate this REFERENCES the meaning of the artwork and argument it is necessary to recall the [1] FISKOVIĆ, Cvito - Neobjavljena djela degraded its value. Thus the executed broad view of Philippot: “If the rupture Girolama i Francesca da Santa Croce na Visu, reconstruction was a preferable part caused in a medieval fresco can often be Lopudu i Korčuli. Peristil. Vol. 6–7 (1963), pp. of the intervention course. filed in by a simple hue – as long as its 57–66. According to Mora, Mora and Philippot, value and density places it as the proper [2] ŠUSTIĆ, Sandra - Djelovanje Cvite Fiskovića na zaštiti i restauraciji povijesnog the reconstruction is aesthetically constructive level – the importance of a slikarstva i skulpture na hrvatskoj obali. justifiable as long as it aims in making it detail, finish, and enamel-like appearance Unpublished PhD dissertation: University of
52 Katarina Alamat Kusjanović | Sandra Šustić “All saints are in the detail“: retouching a painting by girolamo da santa croce 53 Zagreb, 2016., p. 308-309. the Hamilton Kerr Institute. Available at: https:// Getty Conservation Institute. pp. 331–8 [A [3] BOMFORD, David - Picture cleaning: www.hki.fitzmuseum.cam.ac.uk/projects/ translation of the 1866 text.] positivism and metaphysics. In: HILL cracks [10 October 2017]. [13] BRAJER, Isabelle - Authenticity and STONER, Joyce; RUSHFIELD, Rebecca, eds. - [8] MOHEN, J. P., et al. - Mona Lisa, Inside restoration of wall paintings: issues of truth Conservation of Easel Paintings. London and the painting, Harry N. Abrams inc, New York, and beauty. In: HERMENS E. and FISKE T. New York: Routlege, 2013, pp. 481-491, p. 486. 2006. eds. - Art, Conservation and Authenticities: [4] BUCKLOW, Spike - The description of [9] ALBERTI, L.B. - On Painting and Material, Concept, Context. London: Archetype craquelure patterns, Studies in Conservation. on Sculpture. Penguin Classics, London Publications, 2009, pp. 22-32. Vol. 42, (1997), pp. 129–140. Greenwood Press,1991. [14] PHILIPPOT, A.; PHILIPPOT P. – The [5] ABAS, Fazly Salleh - Analysis of [10] MORA, Paolo et al. – Problems of Problem of Integration of Lacunae in the Craquelure Patterns for Content-Based Retrieval. presentation. In: STANLEY PRICE, Nicholas et Restoration of Paintings. In: STANLEY PRICE, Unpublished thesis submitted in partial al., eds. - Historical and Philosophical Issues in the Nicholas et al., eds. - Historical and Philosophical fulfillment for the degree of Doctor of Conservation of Cultural Heritage. Los Angeles: Issues in the Conservation of Cultural Heritage. Philosophy: University of Southampton, 2004. Getty Publications, 1996, pp. 343–354, p. 345. Los Angeles: Getty Publications, 1996, pp. 335- pp. 15-18. [11] BRANDI, Cesare - Il fondamento teori- 342, p. 337. [6] Bucklow, Spike - The Effect of co del restauro, Bollettiono dell’ instituto Centra- [15] DIGNEY-PEER, Shawn - The imitative Craquelure on the Perception of the Pictorial le del Restauro. 1, (1950), pp. 5–12. retouching of easel paintings. In: HILL Image, Zeitschrift für Kunsttechnologie und [12] SECCO-SUARDO, Giovanni - The STONER, Joyce; RUSHFIELD, Rebecca, eds. - Konservierung, Vol. 8, n.º 1, (1994), pp. 104-111. idea of the perfect restorer. In: BOMFORD Conservation of Easel Paintings. London and [7] Bucklow, Spike - The Effect of Cracks on David and LEONARD Mark, eds. - Issues New York: Routlege, 2013, pp. 607-635, p. 608, the Perception of Paintings. Official web site of in the Conservation of Paintings. Los Angeles: 612.
54 Katarina Alamat Kusjanović | Sandra Šustić Nome artigo 55 Keywords
Microcrystalline powdered cellulose; artificial accelerated ageing; infilling;
THE SUITABILITY OF POWDERED light bleaching; 2. MATERIALS AND SAMPLES paper conservation PREPARATION MICRO-CELLULOSE FOR ITS USE There are several brands of cellulose powder, each one with its own IN PAPER CONSERVATION characteristics in relation to particle 1. INTRODUCTION size. For this study Solka-Floc 300 ® was chosen because its particle size Cellulose powder is being widely will allow the conservator to pick a -22 micron- enables a broad range used in paper conservation to colour as similar as possible to the of application methods, providing the Rita Udina (1) Amparo Escolano (2) conceal stains, fill small losses or gaps surface of the paper that needs to be conservator more versatility. | in tears, diminish abrasions, and repair matched. The samples prepared for the
1 Rita Udina - Paper & Books Conservation; C. Sant Pere, 24; Premià de Mar – 08330, SPAIN; [email protected] damages created by silverfish or tape Overall, cellulose is a very stable ageing tests intended to be as similar 2 South Florida Art Conservation; 500 Palm St. Ste 35, West Palm Beach, Florida 33401, USA; [email protected] [1][2][3]. Since micro-cellulose is a very product; but toasting it to give it a as possible to those that would be similar material to paper, the visual certain hue might seem quite a dramatic used in reality. results obtained using it are very method regarding its durability, especially There are three main methods pleasant. In order to match its colour when it comes to guaranteeing the when using powdered cellulose in to the support in which it is going best quality and stability of the products paper conservation: to be applied, it is common practice applied in conservation treatments. This • Tamper the dry powder on top to have it toasted on a pan or hot paper intends to look at the possible of a layer of adhesive previously plate. Different toasting times allow alteration of the cellulose after this applied to the support. various degrees of browning of the toasting, the possible side effects and • Mix the powdered cellulose powdered cellulose. Preparing the how to diminish or solve these issues, if with an adhesive and apply this cellulose powder at different tones at all necessary. mixture over the paper [4].
ABSTRACT Figure 1 • Un-aged samples, four toasting degrees, and three different mediums (12 samples).
Powdered micro-cellulose is commonly used in the paper conservation lab for filling determine the possible limitations of small losses, concealing stains and treating other damages on paper. Its neutral the use of micro-cellulose powder in pH, general chemical stability and low toxicity, makes powdered cellulose a very the long term, some artificially induced reliable and compatible material, and also proved to be suitable for conservation degradation tests have been performed. purposes, like infilling and colour matching of the paper support. However, the The test results presented in this paper ageing of this pure powdered cellulose, especially when modified by toasting to show that the changes occurred are not adjust its colour, is unknown. Obviously, this toasting gives room for some chemical significant enough to prevent its use in changes, that’s why conservators should look for possible caveats of its use. To paper conservation. • Prepare a diluted mixture of damages, but several factors might cellulosic hydrolysis processes that exposing the samples to a Light cellulose is used in paper conservation carried out with a Portable Spectro- powdered cellulose and adhesive interact in each context, and it is wouldn’t take place in dry conditions Emitting Plasma (LEP) source. LEP mostly as filler, or as a covering photometer CM-2600d Konica that will be sprayed in order to complex to isolate them and expect (unlike reality) [7]. Looking for this is a full spectrum light source that material, rather than a structure Minolta. The obtained data was obtain very thin films[5] . that the overall behaviour shall be similarity to reality the reference replicates sun light almost identically, provider. The possible change on the recorded in CIE L*a*b coordinates, the same by just summing up those ageing of 70ºC, at 70% HR for 15 with an intensity of 52,569 lux. mechanical endurance after ageing where L represents lightness, “a” For this study, the samples were separate factors [6]. days was chosen. The samples were exposed during would have a minor impact in terms corresponds to redness-greenness, prepared by spraying a mixture Even if far from reality, these tests As for the protocols regarding light 188 hours, with a distance of 25 cm of the conservation treatment. and “b” to blueness-yellowness. The of water, adhesive and powdered provide a general idea of material damage, the reference was the ASTM between light source and sampled On the other hand, chemical corresponding changes have been cellulose on polyethylene performance that is very useful, D6789-02 Standard Test Method for material. Under these conditions a total changes, do have importance evaluated with euclidean values (DL, terephthalate sheets. This material particularly for new materials with Accelerated Light Ageing of Printing exposure of 39,690 watts was achieved because they can alter the support’s Da and Db respectively, and DE as the was chosen because it is chemically somewhat unexpected behaviour. and Writing Paper by Xenon-Arc (almost like the standard, if it wasn’t for chemical context if they prove to overall change) [10]. inert and dimensionally stable. The artificially induced degradation Exposure Apparatus [9]. According 4 extra hours of exposure). No filter be meaningful enough. The study of Three different mediums (synthetic tests selected in this study in order to it, samples should be exposed was applied in this case, thinking that chemical changes has consisted of pH 4.1. Chemical changes: pH variation and organic) were selected: to anticipate the behaviour of for 48 hours under an 800 watt/m2 radiation under 320 nm would not measurements and the identification, pH variation is a good indicator of Methylcellulose, Aquazol® and microcrystalline cellulose consisted in: light source which has been filtered make relevant changes for this purpose if present, of reducing sugars. the paper (or cellulose) condition. isinglass, at the concentration of 1.5%; 1. Long exposure to controlled high to eliminate radiation under 320 nm. (visible range of wavelength). Colour changes are the main issue in The measurements were taken with 5.0% and 1.5% in water respectively. temperature at a stable relative This represents a total amount of terms of inpainting since the materials an XS series 8 ver1.0 01/25 surface Proportions of adhesive/water were humidity. 38,400 Watts exposure. 4. AGEING FACTORS BEING used are intended to be as stable as pHmeter. As expected, ageing involved established in relation with their 2. Long exposure to a full spectrum MEASURED possible regarding discolouration and an acidification of the samples. individual adhesive strengths. light source. 3.1. Controlled high temperature at fading, hence the importance of this Light ageing acidified cellulose more As for powdered cellulose, four 3. Combination of the two prece- a stable relative humidity Degradation occurs in several levels: study. than the heat ageing; and samples aged different tones were used: raw (white) -dents. Artificially induced ageing with photochemical, chemical and physical. The analysis for colour changes was with both light and heat, were the most cellulose; and toasted cellulose in 3 Each prepared sample was divided controlled high temperature at a stable These changes might show in diverse different degrees, the three of them in four pieces. One was kept as a relative humidity was performed in factors such as discolouration, acidity rinsed twice in tap water (pH 7.14). control and the other three were a Boekel Scientific incubator. The or mechanical endurance, for instance. Table 1 • pH (average per toasting degree) All in all, 12 different samples (four exposed to ageing as detailed above. samples were exposed during 15 The latter has not been examined types of cellulose, applied with 3 Literature offers a wide choice of days to a continuous temperature in the present study for two main different mediums), plus Whatman artificially induced ageing tests, each of 70º C with the relative humidity reasons: first because the shortness filter paper, are being studied. of them focused on specific issues conditioned to 70%. of the fibres (22 microns) would give regarding ageing conditions and no relevant values with the typical 3. ARTIFICIALLY INDUCED materials, and yet there is no unique 3.2. Light tests, such as folding endurance. And DEGRADATION protocol to follow [7][8]. Light can cause a variety of effects secondly, and as a result from the first, When it comes to high temperature on organic materials (yellowing because this fibre length prevents any Artificially induced degradation exposure, the presence of a certain discolouration, bleaching…). Artificial attempt to obtain tissues of significant tests intend to accelerate particular relative humidity enables some ageing with light was attained by structural function; actually micro-
58 Nome artigo Nome artigo 59 Table 3 • Benedict’s test results SAMPLE 1 2 3 4 5 GLUC.
Rinsed 2 2 2 2 -- -- Toasting -- -- ~10 gr SolkaFloc 0.08 0.10 0.09 0.08 0.08 acidic. Acidification has affected less, in drops reagent made it difficult to determine general, raw cellulose. The lower slope gr Benedict 1.00 1.52 1.22 1.44 1.40 0.67 whether the second had suffered some of its curve (pale blue) compared to Result - - - - + + discolouration or not. 500 the rest, indicates that no toasting mg/dL <500 <500 <500 <500 ~2000 To prevent the visual contamination makes cellulose more reluctant to -1000 of the reagent’s response, the cellulose suffer acidification after ageing, when samples were wrapped in filter paper, compared to toasted samples. Table 2 • Acidificaation rate (ph units) after ageing process, the expected outcome is a dL glucose), yellow (1000-1500 mg/ and the cluster was soaked in the reagent, Looking at non aged samples certain amount of glucose monomers dL), orange (1500-2000 mg/dL) and allowing it to react, yet not permitting (first column in table 1) slightly and rinsing had not been checked, but see table 1, 4th column), increasing or other carbohydrates formed by full positive is red or brick red (>2000 the cellulose to disperse in the liquid. medium toasted samples (yellow it seems likely that the acidification accordingly to the toasting degree glucose (such as cellobiose). mg/dL). A negative result implies that The results prove that there is no and orange, respectively) show an after this toasting was somehow (major toasting implies a more acidic In order to detect the presence the amount of by-products should be significant amount of glucose (or any unexpected increase of pH compared counteracted, or even surpassed, by outcome, table 2). Back to table 1, of this monomer Benedict’s analysis none or not higher than 500 mg/dL. other form of reducing sugar, such as to raw cellulose, and only the most the alkalinisation of the rinsing water medium toasted samples (yellow has been performed, which gives The empirical experiment has cellobiose) in samples 1 to 4. They all toasted hue results (in brown) were (at a pH of 7.14). and orange) are still, overall, slightly positive results for reducing sugars. consisted in analysing 5 different Solka- kept the reagent unchanged in colour. more acidic than raw cellulose. In order to analyse acidification less acidic than untoasted samples. Reducing sugars bear a free aldehyde Floc © samples with Benedict’s reagent: As for the fifth (most toasted and This difference shortens along the despite the possible interference However, the tendency seems to (-CHO) or ketonic (-CO) group in non-rinsed Solka-Floc ®) it shifted following ageing stages (2nd to 4th of tap water, let’s observe a table indicate that they would at some opposition to non reducing sugars, 1. Untreated. to a greenish hue, meaning that the columns). A possible explanation to considering the decrease of pH units point reach the same level and that lack these free groups in their 2. Toasted and rinsed twice in tap content of reducing sugars should be this anomaly is the fact that toasted along the different ageing stages surpass it, for they have the highest molecules. Reducing sugars include water. not higher than 1000 mg/dL. samples were rinsed twice in tap (table 2). rate of acidification (see in table all monosaccharides (i.e. glucose) 3. Further toasted, rinsed twice in This outcome should not be surprising, (slightly alkaline) water. pH before It can be stated that heat ageing 2: a major decrease of 1.44 units; and many disaccharides (such as tap water. because it is known that cellulose is (first group) is the least acidifying. compared to the maximum decrease cellobiose, which is formed by two 4. Further toasted, rinsed twice in an extremely difficult polysaccharide And, again, the possible interference of raw cellulose: 0.86; and besides the glucose monomers). Cellulose is a tap water. to break down [11] (human digestive of tap water alkalinisation is more starting point is higher too: 7.6). non reducing sugar. 5. Further toasted, unrinsed. system cannot do it either) and extreme evident among the toasting degrees Benedict’s analysis is not quantitative, conditions are required to do so within this 1st group. 4.2. Benedict’s analysis for reducing but qualitative. Nevertheless, the visual A sixth sample of pure glucose was (chemically, at high temperature, greater Raw cellulose has proved to keep sugars result indicates a range of magnitude, added in order to have a positive than 300 ºC, and high pressure, about its pH more stable than the toasted Cellulose is a polysaccharide, which is most useful for this purpose. result to compare with, and to know 25 MPa, or alternatively, enzymatically samples in the 2nd (light) and 3rd specifically a homo polysaccharide, A negative result implies no colour the boiling time needed to obtain a with cellulases). groups (light & heat aged). In the because it is formed by a long chain change (the reagent should remain reliable positive result (shifting colour The conclusion extracted from Figure 2 • From left to right, samples 1 to 5 (and at combination of both light and heat of a unique monomer: glucose. The pale blue), whereas positive results go occurs only after some boiling). these results is that the breaking the very left the one containing glucose) soaked in Benedict and after boiling them ageing, almost all toasted samples degradation of cellulose might involve from green, yellow, orange and brick- While checking the visual results, down of cellulose even after a high for several minutes. Only cellulose #5 gives turned out to be more acidic the breakdown of this long chain into red. The amount of reducing sugars specially toasted samples (2-5) arise the degree of toasting (sample #5 is dark a positive result (greenish), beside the full positive in an orange-red tone: pure than untoasted cellulose (with the its smaller constituents. Therefore according to colour should be in problem that the brownish hue of the brown) scarcely jeopardizes the main glucose (right). exception of sample #2, yellow, at some stage of this degradation these shifts: greenish (500-1000 mg/ toasted cellulose mixed with the blue chain. The by-products derived from
60 Nome artigo Nome artigo 61 this toasting are water soluble and Being the case that some colour fading very easily removed with a simple occurs, it might be easily corrected by the rinsing, or two for more assuredness, addition of some colouring (watercolour,
in order to avoid any interaction of Figure 4 • Untoasted SolkaFloc (sample #1) prepared with isinglass at different ageing stages. Lower Figure 5 • Toasted SolkaFloc (sample #4) prepared with isinglass. The target (in red) is now darker pastel, or whichever technique suits for these by-products with the original values involve darker colours. The major change occurs in the blueish wavelength (meaning compared to untoasted cellulose (previous image). Difference between ageing stages are bigger each particular case). And secondly but there is a yellowing/bleaching). too. #2 and #3 have curves accordingly to this evolution. support. In summary, toasted and not less important, fading will never be rinsed cellulose has no crucial by- stored artwork or even exhibitions. Samples with both ageing processes Whatman paper has a model in general terms it can be stated that perceived as a stain, unlike situations in products derived from the breakdown An exposure of 188 hours at 52,569 were even more faded than those behaviour at any ageing stage, with no toasting involves an acceptable which darkening happens. Also, In terms of the polysaccharide that can be an lux means almost 10 million lux hours exposed only to light. Although the imperceptible DL (: -0.19; : 0.07 discolouration at any ageing stage of criteria it is accepted that inpaintings issue for conservation treatments or (9,882,972 lux hours) which is like 392 difference within these two is not and : -0.02) and just noticeable DE (DE<1.78 in the worst case). Further be slightly paler than the original the treated objects. times an average exhibition of 25,200 remarkable, it can be striking that heat change at any stage (: 0.73; : 0.91 toasting increases these values, surrounding paint, so, unless the fading is lux hours (50 lux 7 hours a day, 6 days ageing darkens, light ageing causes and : 0.93). where some of the light and medium very pronounced, it might not always be 4.3 Colour Changes per week during 12 weeks). a strong lightening/brightening, and Heat ageing involved some yellowing toasted samples can be found still necessary to re-match a faded inpainting. Colour changes in light aged samples The results might seem anyway both -heat and light aging- fade even in all the samples (Db>0), whereas light in the acceptable change range, yet And last, but not least, a filling with micro- have quite dramatic results, with somehow contradictory, since more than the latter, not something ageing and both ageing methods implied noticeable (maximum values are for crystalline cellulose will not become evident bleaching of the toasted accelerated ageing induced by heat in between. It seems like already the contrary (negative Db, meaning #4 toasting, for both methyl cellulose darker than the original, as long as the samples. involved a slight darkening (not damaged fibres are more sensitive to some blueing, or less yellowing). and isinglass, with DE around 3.0). initial filling wasn’t. In order to evaluate the tests perceptible by the naked eye for the discolouration than fibres in better The observation of Da values (red/ Heat ageing is the least damaging, fairly it must be highlighted that this less toasted samples, and scarcely condition (let it be noted that heat green colour) is related to the variation whereas both heat and light ageing 5. CONCLUSIONS particular light ageing is far from perceptible for the more toasted ageing was done prior to light ageing in of the toasting hue. Their values are have the worst results. being a real situation, and it would ones), whereas light ageing implied a the samples aged with both processes). much smaller than Db, and they do Most of the samples with major Chemical changes after ageing in the never occur in normal conditions on notorious bleaching. Figures 4 and 5 correspond to the not provide relevant information to unacceptable colour change fall into tested material are minor and should evolution on isinglass samples along this study, or it is difficult to say, since light ageing and both ageings (#4 not discourage its use, as long as a Figure 3 • 3rd toasting degree samples. Rows from top to bottom: both aging methods, light ageing, heat ageing, not aged. Columns from left to right: Aquazol medium, methyl cellulose, isinglass. ageing and toasting, which is similar in the variations do not have such a direct isinglass, #2 MC and #3 Aquazol proper rinsing is made. The breaking other two mediums. In all of the samples relationship to ageing, like Db. provide the maximum rates, all of down of the cellulose chain even after light bleaching is more noticeable the As for mediums, their behaviour is them at light or heat & light ageing: a high degree of toasting is negligible, more toasted the samples are. quite similar. Methyl cellulose (MC) DE= 25, 26 and 27 respectively). and a slight decrease in the pH can be However, the main visual change has the best performance in terms of When placing into context the values easily corrected with the addition of a turned out to be fading and not stability, and Aquazol® goes last. But (being aware that the light exposure base such as calcium hydroxide. yellowing or darkening as expected. we cannot judge the latter in equal ageing was unfiltered, unlike most cases In relation to discolouration it is Analysing the obtained values of conditions to isinglass and MC, because in reality) it can be concluded that the good to know that shifting occurs CIE L*a*b it can be stated whether it had a concentration 3 times bigger. results are convenient for the case of in a way – fading – which is not the colour change is imperceptible When considering the total amount inpainting as long as some precautions perceived as a stain. In the worst case (DE<0.5), noticeable (0.5
62 Nome artigo Nome artigo 63 without replacing the whole infill. with proofreading and editing this article. However, it would be a smart precaution to prevent this undesired effect at any rate on the long term by using only slightly toasted hues, and adjust the darkest colours by other means, either adding pigments or dyeing raw cellulose. Ageing tests are thought to reveal unknown information, hence the impossibility to customize them REFERENCES previously to match the desired data. [1] FUTEMICK, Robert et al. 1987 Filling Photochemical and Thermal Aspects. BERLAND, Further studies should be made to Losses. Chap. 26 in Paper Conservation Dinah, ed. – Research in Conservation, 4. USA: obtain more specific results. Chemical Catalogue. Washington D.C.: American The Getty Conservation Institute, 1994, pp. degradation study could be improved Institute for Conservation Book and Paper 115. with viscosity analysis (not possible with Group https://goo.gl/Hk8Epv (accessed [7] GARCÍA HORTAL, José Antonio – Fibras 08/08/2017) papeleras the present samples because of their low . Barcelona: Ediciones UPC, 2007. pp. [2] SCHENCK, Kimberly et al. 1994 46 weight); pH measurements following the Inpainting. Chap. 30 in Paper Conservation [8] PORCK, Henk J. – Rate of Paper Tappi standard (cold or hot extraction), Catalogue. Washington D.C.: American Degradation. The Predictive Value of Artificial and light ageing at shorter exposure Institute for Conservation Book and Paper Aging Tests. Amsterdam: European Commission with the appropriate filter. Group https://goo.gl/5wWFYg (accessed on Preservation and Access, 2000. 08/07/2017) [9] Standard Test Method for Accelerated [3] POULSON, Tina Grette - Retouching Art Light Aging of Printing and Writing Paper by on Paper. London: Archetype, 2008. Xenon-Arc Exposure Apparatus ASTM D6789- ACKNOWLEDGEMENTS [4] BERNSTEIN, James; EVANS, Debra – 02 (2007). West Conshohocken, PA: ASTM Centre de Restauració de Béns Cellulose powder for fills and compensation. International, 2007 (withdrawn 2011). Mobles de Catalunya (Spain), In Mastering Inpainting. FAIC workshop manual. [10] MICHALSKY, Stefan; DIGNARD, Carole providing most useful resources for San Francisco, CA. 2010. – Ultrasonic misting. Part 1: Experiments on analysis (spectrophotometer and [5] O’LOUGHLIN, Elissa; JEWELL, appearance change and improvement in pHmeter). Special thanks to Ricardo Stephanie – Two New Techniques for Loss bonding. JAIC. Vol. 36, nº2 (1997) pp. 109-126. Ruiz, Maite Toneu and Ruth Sadurní. Compensation in Art on Paper: Integration [11] JIN, Xi – Breaking Down Cellulose. Dr. Ainhoa Nieto (Scripps Research of Surface Losses Using Textile Fibers and the In the course Physics 240: Introduction to Use of Sprayed Cellulose Powder to Minimize Institute) for her help with the heat the Physics of Energy. Stanford University, Foxing and Other Discoloration. The Book and November, 2010. ageing chamber. Paper Group Annual. Nº 32 (2013), pp. 52. https://goo.gl/Kb5kUi (accessed 05/25/2017) J. Jerónimo Perez-Escolano for his help [6] FELLER, Robert L. – Accelerated Aging: Postprints
64 Nome artigo Nome artigo 65 Keywords
Aquazol® 500; THE USE OF AQUAZOL® 500 AS A Retouching colours; Watercolours; of all water-sensitive surfaces such QoR®; BINDER FOR RETOUCHING as contemporary artworks, can be Artificial aging; overcome. Another reason that COLOURS: ANALYTICAL Stability. has lead to this new formulation of retouching colours is the fact that the composition of watercolours INVESTIGATIONS AND that are found on the market today, 1. INTRODUCTION and that are used in the conservation EXPERIMENTS field, is not always known. In fact, the The research consists of proposing various organic polar solvents, with manufacturing firms usually indicate a new material to be used for the relatively low toxicity, which make it an only in general terms the composition (1) (3) preparation of retouching colours for extremely versatile material especially of the colours sold, to protect patents. Vanessa Ubaldi | Roberto Bestetti | Roberto Franchi the retouching of artistic artefacts, when used as a binder for retouching Unfortunately, the lack of precise (1) (6) (4) | Emanuela Grifoni | Pier Paolo Lottici | Francesca experimenting with alternative colours. Its positive characteristics and information and the substitution or Modugno (5) Richard Wolbers (2) Daphne De Luca(1) colours to the common watercolours above all, its peculiarity of being soluble variation of the ingredients in the | | which are found on the market today, in many solvents, not only in water [6- composition of commercial colours 1. University of Urbino Carlo Bo, Department of Pure and Applied Sciences, Conservation and Restoration of Cultural Heritage; Via Aurelio Saffi 2, usually used for pictorial retouching 8], enable us to produce colours that means that in these colours there 61029 Urbino (PU), Italy: [email protected]; [email protected]; [email protected] [1-5] 2. University of Delaware, Department of Art Conservation; 303 Old College, Newark, DE 19716, USA: [email protected] of artworks . These colours differ can be used for the retouching of may be substances which are unstable 3. Association CESMAR7, Centre for the Study of Materials for Restoration; Viale Dei Mille 32, 42121 Reggio Emilia (RE), Italy: from the traditional Arabic gum any type of artistic artefact, including over time, of which the restorer is [email protected] 4. University of Parma, Department of Mathematical, Physical and Computer Sciences; Parco Area delle Scienze 7/A, 43124 Parma (PR), Italy: based watercolours precisely for those that are water sensitive. In unaware. These are the main causes of [email protected] 5. University of Pisa - Department of Chemistry and Industrial Chemistry; Via Giuseppe Moruzzi 13, 56124, Pisa (PI), Italy: [email protected] the use of a new synthetic binder: this way, a limitation of the usual chromatic alterations that commercial 6. Applied and Laser Spectroscopy Laboratory, Institute of Chemistry of Organometallic Compounds, Research Area of National Research Aquazol® 500. This polymer has watercolours made of gum Arabic, watercolours show. Moreover, the Council(CNR); Via G. Moruzzi, 1 – 56124, Pisa (PI), Italia: [email protected] good physical-chemical properties which are soluble solely in water and colours that we find on the market are and a wide spectrum of solubility in cannot be used for the retouching made with a precise balance between Abstract all their ingredients, and they cannot be changed, but if restorers are able
In this research project we propose a new material usable for the preparation of The results obtained from the study of the self-produced colours were then to self-produce colours for pictorial retouching colours as an alternative to the more common watercolours normally compared with those obtained from the same scientific investigations carried retouching, then they can change this used for the pictorial restoration of the artworks. Compared to traditional Arabic out on the only commercial watercolours based on Aquazol® currently on the balance according to their own needs, gum based watercolours, the self-produced colours here presented are made with market: QoR® by Golden Artist Colors (USA). and decide on the composition of the a new synthetic binder: Aquazol® 500. This polymer has good physical-chemical The results obtained from the study demonstrate that, thanks to its extreme colours to use. For these reasons, and properties and a wide spectrum of solubility in various organic polar solvents, stability, Aquazol® 500 can be considered a valid binder for retouching especially because the colours used for which also makes it suitable for the retouching of water sensitive artworks. These colours. In fact, the polymer does not degrade and does not show cross- new retouching colours with Aquazol® 500, prepared with two different recipes, linking phenomena. The self-produced colours are confirmed to be much pictorial retouching, like all materials were investigated with different scientific analyses both before and after artificial more stable over time and therefore much more suitable than the QoR® used for restoration, must be stable aging in a Solar Box, in order to evaluate their stability over time. watercolours for pictorial retouching of artistic artefacts. and reversible over time, it was decided to experiment with this new • Recipe A: composed of Aquazol® The results obtained from the study of with the artificial aging of the samples. The xanthan gum was purchased colours to avoid the formation of formulation of retouching colours. In 500 dissolved in demineralized the colours produced with these two from the Italian company “La microorganisms and in particular, this way, when restorers self-produce water, pigments, glycerin, xanthan Recipes A and B were then compared 2. MATERIALS AND METHODS Saponaria, cosmetica consapevole” moulds. colours using known ingredients, gum and 2-phenoxyethanol; with those obtained from the same that sells raw materials for the • Pigments: a limited number of of which the physical-chemical • Recipe B: composed of Aquazol® scientific investigation carried out on 2.1 Materials Used personal production of natural inorganic and organic pigments were composition and characteristics are 500 dissolved in demineralised water, the only commercial watercolours The materials used for preparing the cosmetics. This gum was chosen selected to be added to the binder known, because they have been pigments and 2-phenoxyethanol. based on Aquazol® currently on the self-produced colours were as following: because usually gum used in the prepared with Recipes A and B. Taking tested and studied especially for this The two recipes differ only in market: QoR®. These watercolours • Binder: Aquazol® 500, sold by cosmetics field for the preparation of as reference the twelve colours used aim, they can be sure they are using the addition of the two additives were introduced on the market in May Kremer Pigmente GmbH & Co. KG.; creams has a clear grade, an essential to perform pictorial retouching from colours which are stable and durable introduced in Recipe A: glycerine and 2014 by Golden Artist Colors (USA), of the four existing molecular weights, feature to consider when choosing the high school of Rome, the Institute over time, something not guaranteed xanthan gum. The idea of making these the company that today produces and it was chosen because it is composed this material. In fact, a gum with a for Conservation and Restoration by commercial colours. two recipes was inspired by the studies distributes these only in the United of larger molecules which remain yellowish colour could alter the tone (ISCR), ten pigments were selected The aim of the research was to conducted by R. Wolbers, who was States. They were included in the on the surface to which it is applied of the prepared colours, and for this in total, seven inorganic and three create self-produced colours based the first to use Aquazol® as a pigment study for two reasons. Firstly, because and do not penetrate the substrate, reason, is not recommended. The synthetic organic purchased from on Aquazol® 500, characterizing the binder [9]. He suggested adding xanthan they are based on Aquazol®, it is a feature that a retouching colour glycerol was purchased by Kremer two different companies: an Italian materials that make these and analysing gum to the colour preparation recipe, important to make a comparison with should have in view of its future Pigmente GmbH & Co. KG. company of Verona, Dolci Colori Srl, the chemical-physical characteristics which helps pigment dispersion in the self-produced colours that are made reversibility. • Preservative: 2-phenoxyethanol which provided the seven inorganic of the colour samples before and binder, and glycerin, which improves with the same binder. The second • Additives: xanthan gum and glycerin purchased from Sigma-Aldrich S.r.l.. pigments (Table 1), and a German after artificial ageing in a Solar Box, the workability of the colours. Wolbers reason is that the ingredients used to (glycerol), present only in Recipe A. This preservative was added to company, Kremer Pigmente GmbH to evaluate their stability over time. argues that to create a uniform and prepare the QoR® are not known, Table 1 • Seven inorganic pigments To characterize the materials used to homogeneous colour, it is necessary to because the manufacturer does not prepare the colours and to identify add a substance to help the dispersing specify the components present in the COLOUR INDEX PRODUCING PIGMENT PRODUCT INTERNATIONAL possible interactions between the of the pigment, because it is possible colours and does not even indicate COMPANY NAME CODE CONSTITUTION GENERIC NAME binder and the pigments combined that Aquazol® alone cannot disperse which of the four molecular weights NUMBER Titanium White with it, different scientific analyses it completely, creating lumpy and of Aquazol® was used to make them. Dolci Colori PB/0241 Pigment White 6 77891 7525/1 were used, chosen considering the non-homogeneous colours which, For these reasons, the self-produced Pure Ultramarine substances to be analysed and the over time, can undergo chromatic colours with the two Recipes A and Dolci Colori PA/0561 Pigment Blue 29 77007 Blue information to be obtained. These alterations, mechanical variations B were compared to the commercial Cadmium Red Dolci Colori PA/0554 Pigment Red 108 77202 were also used to observe any of the pictorial film, or in the worst colours QoR® to discover if there are Medium 3540 differences between the two recipes cases, the separation of the binder differences and similarities between Ocher icles Dolci Colori TR/0324 Pigment Yellow 43 77492 used to prepare the self-produced from the pigments. The comparison these two types of colours and to Lemon Green Chromium colours and to understand which of of these two recipes was investigated understand which are the best ones Dolci Colori PA/0601 Pigment Green 18 77289 Oxide Hydrate the two is the best one to use for to discover if the addition of these to use for pictorial retouching of Burnt Sienna the preparation of colours based on additives would affect workability and artworks, considering the stability and Dolci Colori TR/0262 Pigment Brown 7 77492 TOR/SA Aquazol® 500. The recipes used are: especially colour stability over time. durability parameters over time, tested Dolci Colori Ivory Black PA/0597 Pigment Black 9 77267
68 Vanessa Ubaldi | Roberto Bestetti | Roberto Franchi | Emanuela Grifoni | Pier Paolo Lottici | Francesca Modugno | Richard Wolbers | Daphne De Luca The use of Aquazol® 500 as a binder for retouching colours: analytical investigations and experiments 69 & Co. KG, which provided the three retouching, and if alizarin was found was the Colour Index ™ Generic Table 4 • Three organic QoR® be added to the binder, considering organic pigments (Table 2). to be unstable, then if one substitute Name, which describes a commercial COLOR INDEX SPECIFIED PRODUCING PRODUCT the physical and morphological The three synthetic organic was better than the other. product for its specific use class, its PIGMENT NAME BY THE COMPANY COMPANY CODE GENERIC NAME characteristics of the grains that make Table 2 • Three organic synthetic pigments tonality, and a serial number, referring to the ten pigments used to prepare Golden Artist Colors Permanent Alizarin Crimson 7000240 Pigment Red 177 up the pigment powder (Table 7). COLOR INDEX SPECIFIED BY THE 1. FIRST PHASE - PREPARATION COMPANY self-produced colours. Golden Artist Colors Pyrrole Red Deep 7000225 Pigment Red 264 PRODUCING PIGMENT PRODUCT OF AQUAZOL® 500 USING COMPANY NAME CODE CONSTITUTION Golden Artist Colors Quinacridone Red 7000235 Pigment Violet 19 GENERIC NAME NUMBER 2.2 Preparation of the samples RECIPES A AND B: five different Kremer Alizarine combined with pigment powder to choice of the percentage of binder binder solutions were prepared with 23610 Pigment Red 83 58000:1 The proportions of the ingredients Pigmente Crimson Dark create a homogeneous and uniform to be added to the five pigment used to prepare the colours with Recipe A (Table 5) and five with Kremer Irgazine® Ruby 23182 Pigment Red 264 561300 colour. Pigments with the same categories is based on the CPVC Recipe B (Table 6). Pigmente DPP TR the two Recipes A and B were characteristics and those composed parameter, Critical Pigment Volume Out of the five solutions prepared Kremer chosen taking into consideration the Quindo® Pink D 23402 Pigment Violet 19 73900 Pigmente material and guidelines provided by Table 5 • Recipe A: Preparation of the five solutions of Aquazol® 500 Professor Richard Wolbers during % AQUAZOL® 500 IN pigments are not present in the -Aquazol® based commercial the Workshop on Aquazol® in Turin PREPARED PIGMENT CATEGORIES TO QUANTITY OF QUANTITY OF QUANTITY OF GRANULAR FORM DISSOLVED SOLUTIONS ADD TO THE 5 SOLUTIONS GLYCERIN XANTHAN GUM 2-PHENOXYETHANOL colours used by the ISCR and are watercolours, the QoR®: ten in 2014 [10] and the indications and IN DEMINERALIZED WATER
usually excluded from the restorer’s QoR®, seven inorganic (Table 3) advice that the Professor provided. 1 1° Category 40%
palette because they are considered and three organic (Table 4) have Wolbers has divided different types 2 2° Category 35% 4 drops in a solution of 0,04 gr in a solution of 4 drops in a solution of unstable over time and therefore been selected to compare with self- of pigments into five categories and 3 3° Category 30% 100 ml 100 ml 100 ml not suitable for pictorial retouching. produced colours. The parameter for each of these, has identified the 4 4° Category 25%
Based on these considerations, it was used to choose the ten QoR® right percentage of binder to be 5 5° Category 20% decided to include these in the study, Table 3 • Seven inorganic QoR® to investigate their stability when Table 6 • Recipe B: Preparation of the five solutions of Aquazol® 500 exposed to accelerated aging. Since COLOR INDEX INTERNATIONAL % AQUAZOL® 500 IN alizarin is a very useful colour for PRODUCING PIGMENT PRODUCT PREPARED PIGMENT CATEGORIES QUANTITY OF GRANULAR FORM DISSOLVED COMPANY NAME CODE GENERIC NAME SOLUTIONS TO ADD TO THE 5 SOLUTIONS 2-PHENOXYETHANOL pictorial retouching, it was decided IN DEMINERALIZED WATER SPECIFIED BY THE to test the stability and durability of COMPANY 1 1° Category 40% Alizarine Crimson Dark, as well as Golden Artist Colors Titanium White 7000535 Pigment White 6 2 2° Category 35% 4 drops in a solution of two substitutes: Irgazine® Ruby DPP Golden Artist Colors Ultramarine Blue 7000310 Pigment Blue 29 3 3° Category 30% 100 ml TR can be considered an excellent Golden Artist Colors Cadmium Red Medium 7000215 Pigment Red 108 4 4° Category 25% substitute for dark alizarin, while Golden Artist Colors Yellow Ochre (Natural) 7000440 Pigment Yellow 43 5 5° Category 20% Quindo® Pink D is a valid alternative Golden Artist Colors Viridian Green 7000380 Pigment Green 18 to light alizarin. The objective was to Golden Artist Colors Burnt Sienna (Natural) 7000470 Pigment Brown 7 [11] discover whether the alternatives Golden Artist Colors Ivory Black 7000505 Pigment Black 9 of similar particles have been Concentration , which identifies the with Recipes A and B, only one could both be used for pictorial grouped into a single category. The optimum concentration of pigment to was selected, the one with the
70 Vanessa Ubaldi | Roberto Bestetti | Roberto Franchi | Emanuela Grifoni | Pier Paolo Lottici | Francesca Modugno | Richard Wolbers | Daphne De Luca The use of Aquazol® 500 as a binder for retouching colours: analytical investigations and experiments 71 20% Aquazol® 500 prepared with A and B with the ten selected pigments, The colours were prepared by 3. THIRD PHASE- Preparation of The experimentation is structured by Raman Spectroscopy, to obtain as both recipes. This was applied on a divided into the five categories mixing together the right amount commercial watercolours QoR®: in different phases that can be much information as possible on the microscope slide to then undergo identified by Wolbers (Table 7: the of binder and pigment and were these are sold in tubes that are ready summarized as follows: composition of the pigments used to scientific investigation. ten pigments used, corresponding to worked with a glass pestle to for use. They were only diluted with 1. Study of inorganic and organic prepare the self-produce colours; 2. SECOND PHASE - Preparation the pigments subdivided by Wolbers obtain a homogeneous compound demineralized water and applied on pigments; • Colorimetric investigation: to of the self-produced colours with into the five categories, are highlighted without clumps. Subsequently they microscope slides to then undergo to 2. Study of binder: Aquazol® 500 identify the relevant colorimetric Recipes A and B: The self-produced with the same colour). Twenty colours were applied on the microscope scientific investigations. granular form and in solution at 20% values for each colour and for binder colours were obtained by mixing the were prepared: ten with Recipe A and slides before undergoing scientific prepared with Recipes A and B; solutions, to highlight any changes due binder solutions prepared with Recipes ten with Recipe B. investigation. 2.3 Scientifics Investigations 3. Study of additives: xanthan gum to artificial aging; and glycerin; • Raman spectroscopy: to 4. Study of self-produced colours characterize pigments, binders,
Table 7 • Preparation of the twenty self-produced colours: Recipes A and B based on Aquazol® 500: Recipes A and additives and observe if the and B; self-produced colours and QoR® % PIGMENT TO TAKE INTO % OF AQUAZOL® 500 IN 10 PIGMENT USED WHICH PIGMENTS DIVIDED BY CONSIDERATION ON THE TOTAL SOLUTION PREPARED WITH 5. Study of commercial watercolours analysed before and after aging PIGMENT CORRESPOND TO THE WOLBERS IN 5 VOLUME OF THE RECIPE A AND B TO BE MIXED WITH CATEGORIES CATEGORIES INDICATED BY CATEGORIES CORRESPONDING BINDING THE CORRESPONDING based on Aquazol®: QoR®; presented any changes. Through WOLBERS SOLUTION PERCENTAGE OF PIGMENT 6. Comparison between QoR® and this technique it was also desired to Phthalocyanines self-produced colours with Recipes A assess whether the pigments mixed Red Quinacridones Aquazol® at 40% in solution (Recipes 1° Category Quindo® Pink D - 23402 15% and B. with Aquazol® 500 can interact with Dioxazine Violet A e B) Alizarin Crimson For each phase, different scientific it, and if the pigments present in the Prussian Blue investigations were used, aimed at self-produced colours are the same Carbon Black characterizing and studying Aquazol® used in the preparation of QoR®; Red Iron Oxides (uncalcinated) Titanium White 7525/1-PB/0241 Aquazol® at 35% in solution (Recipes 2° Category Zinc White Alizarine Crimson Dark - 23610 25% based colours and the materials • Attenuated total reflectance-Fourier A e B) Titanium White Irgazine® Ruby DPP - TR - 23182 that compose them. The scientific Transform-Infrared spectroscopy Yellow Quinacridones, Benzimidazolones (ATR-FT-IR) and Pyrolysis-Gas Synthetic organic pigments investigations used were as follows: • Stereo Microscope: to obtain Chromatography/Mass Spectrometry Yellow Iron Oxide Viridian Ocher icles lemon TR/0324 morphological information on (Py-GC/MS): to obtain qualitative Aquazol® at 30% in solution (Recipes 3° Category Ultramarine blue Green Chromium oxide hydrate PA/0601 35% A e B) samples colours before and after information on the organic pigments, Ultramarine violet Pure ultramarine blue PA/0561 Cobalt Pigments (blue, cerulean, turquoise, green) artificial aging, to see any changes on the binder, and additives. This was Cadmium Yellow the surface of the colours, such as also used to obtain information about Ivory Black PA/0597 Aquazol® at 25% in solution (Recipes 4° Category Cobalt Violet 45% Burnt Sienna TOR/SA-TR/0262 A e B) craquelures and lifting paint; the binder solutions, the organic self- Red and Yellow Iron Oxides (calcined) • X-ray Diffractometer (XRD): to produced colours and on equivalent Cadmium Orange Aquazol® at 20% in solution (Recipes have information on the crystalline QoR®, before and after aging, for two 5° Category Cadmium Red Cadmium red medium 3540 - PA/0554 50% A e B) Manganese Violet, Manganese Blue phases present in the analysed reasons. Firstly, to discover if there are inorganic pigments and to make a differences in ATR-FT-IR spectra caused comparison with the data obtained by deterioration processes: such as
72 Vanessa Ubaldi | Roberto Bestetti | Roberto Franchi | Emanuela Grifoni | Pier Paolo Lottici | Francesca Modugno | Richard Wolbers | Daphne De Luca The use of aquazol® 500 as a binder for retouching colours: analytical investigations and experiments 73 the formation of oxidation processes chromatography coupled to 3. RESULTS AND DISCUSSION The experimentation conducted the binder, giving rise to the formation alters less than that prepared with or other degradation processes. electrospray ionization and on Aquazol® 500 based colours of new substances, therefore are Recipe B. Therefore, the use of colour Secondly, to observe any changes in quadrupole time-of-flight (HPLC- The results concerning the confirmed the chemical stability of stable both chemically and physically prepared with Recipe A is suggested. the chromatographic profile of the ESI-Q-TOF): to characterise the characterization of the inorganic the polymer, which can then be used Even the colorimetric data suggest In the study carried out on the three samples that could indicate the cross- QoR® Permanent Alizarin Crimson pigments analyzed in XRD and with success as a binder of retouching that the self-produced colours after self-produced organic colours, it was linking phenomena of the polymer; which during the experimentation Raman Spectroscopy showed that colours. In fact, the results obtained by aging are stable and do not show found that Alizarine Crimson Dark • Thermogravimetry (TGA): to showed a different composition from the chemical composition of the TGA investigation carried out on the important chromatic alterations, prepared with both Recipes A and B investigate the physical-chemical the corresponding Alizarine Crimson pigments indicated in the technical binder in solution (Recipes A and B) therefore can be safely used for tends to darken with time, confirming properties of the solid binder and the Dark pigment used to prepare the and safety data sheet is not always indicate that there are no important pictorial retouching of artworks. the instability of this colour. For this organic pigments. This was also used homonymous self-produced colour fully accurate. In fact, the following increases of temperature of polymer The only inorganic colours that have reason, its use is not recommended. to analyse, before and after aging, the with Recipes A and B; pigments have shown the presence degradation as a consequence of aging, shown evident chromatic changes The use of the two substitute colours samples of the binder in solutions and • Laser Induced Breakdown of undeclared substances: which means that the polymer neither after aging are: tested is suggested because after only one of the organic self-produced Spectroscopy (LIBS): to characterise • Titanium White 7525 (PB/0241) degrades nor shows cross-linking • Pure Ultramarine Blue, prepared aging they remained stable and did colours, the Irgazine® Ruby DPP-TR, the possible presence of inorganic and Red Cadmium Medium 3540 phenomena. Furthermore, there are with both Recipes A and B that not undergo noticeable chromatic and the equivalent QoR®, Pyrrole substances used as complexing (PA/0054): both contain calcite which no substantial differences between darkened, confirming the data variations. As a substitute for light Red Deep, to observe the potential agents in the organic pigments usually does not characterize these the binders prepared with Recipes A reported from the recent scientific alizarin, Quindo® Pink D can be changes of temperature of the thermal and in the un-aged organic QoR®. two inorganic pigments; and B. For this reason, both can be studies regarding ultramarine used, prepared with both Recipes degradation of the mixtures of colour [12]; In fact, it is noted that organic • Burnt Sienna TOR/SA (TR/0262): used to prepare the self-produced watercolours [14]. For this reason, it A and B, whereas as a substitute for • High-performance liquid pigments, being neither mineral contains calcite, dolomite and anatase colours, since they are stable and would be preferable to find a valid dark alizarin, Irgazine® Ruby DPP TR chromatography with diode-array nor natural substances, are fixed (titanium dioxide), not declared by durable over time and the presence substitute, or at least to use the can be used, prepared with Recipe B, detection (HPLC-DAD): to obtain on semi-transparent inert matrices the company. of the additives does not influence colour made with Recipe A, which because it is observed that the one qualitative information on two organic of inorganic origin, usually made of Out of the three organic colours, the chemical-physical characteristics darkens less than the one prepared prepared with Recipe A, although pigments, Alizarine Crimson Dark and hydrated oxide of aluminium, to initially characterized in Raman of the polymer. Therefore, it will only with Recipe B. stable, is more subject to chromatic Quindo® Pink D to compare with become insoluble pigments in the Spectroscopy, and then in TGA, ATR- be at the discretion of the restorer • Burnt Sienna prepared with variations over time. those obtained from the study of medium in which they are dispersed; FT-IR and LIBS, only two present to decide which of the two recipes Recipe B that slightly blackened and The comparison between self- the two homonymous organic self- • Artificial aging: the samples were undeclared inorganic substances: must be used, bearing in mind that turned yellow, whilst the colour produced colours with QoR® has produced colours with the Recipes subjected to artificial aging in Solar • Alizarin Crimson Dark: contains Recipe A, which differs from B only prepared with Recipe A did not highlighted some discrepancies in A and B, and the two corresponding Box with irradiation in the visible titanium (chemical element) which is for the presence of the two additives, change. It is hypothesized that this composition between these two types organic QoR®, Permanent Alizarin spectrum to check their stability over not reported on either the technical produces colours which are easier different response to aging depends of colours and differences in their Crimson and Red Quinacridone, in time. Indoor aging was simulated, data sheet or the safety data sheet of to apply and in which the pigment on the dispersion of the pigment behaviour following aging. In fact, after order to assess whether the pigments and the samples were subjected to pigments. is better dispersed. After the aging in the binder and therefore the aging, two organic QOR® have shown used in the QoR® are effectively the just one cycle of aging with a total • Irgazine® Ruby DPP-TR: contains process, the self-produced colours one prepared with Recipe A, that differences in comparison to the same as those used for the preparation radiation exposure of 777 hours with an inorganic matrix not declared by do not show surface morphological contains xanthan gum which helps corresponding self-produced colours: of self-produced colours [13]; a light intensity equivalent to 1181 MJ/ the company, consisting of calcium, change. Moreover, the pigments which the dispersion of the pigment in the • QoR® Permanent Alizarin • High-performance liquid m2. magnesium and aluminium. constitute them, do not interact with binder, is more homogeneous and Crimson is made up of a pigment
74 Vanessa Ubaldi | Roberto Bestetti | Roberto Franchi | Emanuela Grifoni | Pier Paolo Lottici | Francesca Modugno | Richard Wolbers | Daphne De Luca The use of aquazol® 500 as a binder for retouching colours: analytical investigations and experiments 75 different to that identified in the and durable over time. In fact, they and pictorial layers of the samples ACKNOWLEDGMENTS corresponding self-produced colour undergo more chromatic variations, prepared in the laboratory, made with Alizarin Crimson Dark (Recipes since out of ten QoR® samples, five different painting techniques. The authors acknowledge: Prof. A and B): QoR® is composed of darkened and turned yellow as a The final scope is to create self- Danilo Bersani and Prof. Claudio dimer 1-amino-9,10-anthraquinone consequence of aging: QoR® Yellow produced colours with characteristics Oleari of the University of Parma and not alizarin, which is a Ocher Natural, Ultramarine Blue, suitable from an aesthetic and (Department of Mathematical, 1,2-dihydroxyanthraquinone, present Viridian Green, Quinacridone Red, conservation point of view, so that the Physical and Computer Sciences); in the corresponding self-produced and Pyrrole Red Deep have been in restorer can self-produce stable and Dr. Jacopo La Nasa, Dr. Sibilla Orsini, colour. fact altered. reversible retouching colours with Dr. Fiammetta Di Marco, Dr. Maria • QoR® Pyrrole Red Deep shows a known composition and chemical- Rosaria Tinè, Dr. Celia Duce, Dr. chemical transformation unobserved 4. CONCLUSIONS physical characteristics. Alessio Spepi, Dr. Ilaria Degano in the corresponding self-produced and Dr. Francesca Sabatini of the colour Irgazine® Ruby DPP-TR Based on the results obtained, University of Pisa (Department of (Recipes A and B). considering the terms of stability and Chemistry and Industrial Chemistry); It is hypothesized that these durability over time, one can conclude Dr. Stefano Legnaioli of the Institute differences also affected the that the self-produced colours of Chemistry of Organometallic stability of QoR® colours. In fact, are better than the commercial Compounds, National Research the colorimetric data indicate that colours and therefore more suitable Council (CNR) of Pisa (Applied and the use of QoR® Pyrrole Red for pictorial retouching of artistic Laser Spectroscopy Laboratory); Dr. Deep and of the other substitute artefacts. Valentina Emanuela Selva Bonino of tested, QoR® Quinacridone Red, It would be desirable to continue the Association CESMAR7 (Center REFERENCES is not recommended because this research on Aquazol® 500 based for the Study of Materials for [1] UBALDI, Vanessa - Self-produced analysis, Polymer Degradation and Stability. Vol. Colours Based on Aquazol® 500. In DE 144, Elsevier, (October 2017), pp. 508-519. they undergo obvious chromatic colours to study in more depth their Restoration). We are also grateful to LUCA, Daphne (Edited by) - Preservation Available at: DOI:https://doi.org/10.1016/j. alterations over time. For this reversibility, and their application on Prof. Maria Perla Colombini and Dr. and Conservation of Canvas Paintings. polymdegradstab.2017.09.007 [8 November reason, in contrast to organic self- various types of artefacts, including Emma Cantisani for having made the Collection of Fundamentals of Cultural 2017]. produced colours, it is preferable contemporary artworks such as Solar Box available at the Institute for Heritage Preservation and Conservation, 3rd [3] MODUGNO, Francesca; LA NASA, to use QoR® Permanent Alizarin alkyd, vinyl, and acrylic paints. the Conservation and Valorisation edition, Il Prato, 2018, in press. Jacopo; ORSINI, Sibilla; DUCE, Celia; SPEPI, Crimson, which is more stable than Developing an analytical protocol, it of Cultural Heritage (ICVBC) of the [2] LA NASA, Jacopo; DI MARCO, Alessio; TINÉ, Maria Rosaria; UBALDI, Vanessa; the two QoR® substitutes and would be possible to identify, based on National Research Council (CNR) of Fiammetta; BERNAZZANI, Luca; DUCE, DE LUCA, Daphne - Characterization and corresponding self-produced colour the surface to be retouched, the best Florence. Celia; SPEPI, Alessio; UBALDI, Vanessa; ageing studies of Aquazol retouching paints because it is not composed of alizarin solvent to be used for both application DEGANO, Ilaria; ORSINI, Sibilla; LEGNAIOLI, using techniques based on Pyrolysis, Poster (1,2-dihydroxyanthraquinone). and re-solubilization of the colours, Stefano; TINÉ, Maria Rosaria; DE LUCA, Session 2: Wednesday 11 May & Thursday Compared to self-produced and to investigate if, after their removal, Daphne; MODUGNO, Francesca - Aquazol 12 May. In Conference Guide and Abstracts, colours (Recipes A and B), QoR® there are any traces of residues on as binder for retouching paints. An evaluation 21st International Symposium on Analytical colours have proven to be less stable the surface, or within the preparatory through analytical pyrolysis and thermal and Applied Pyrolysis, Pyro 2016, Nancy,
76 Vanessa Ubaldi | Roberto Bestetti | Roberto Franchi | Emanuela Grifoni | Pier Paolo Lottici | Francesca Modugno | Richard Wolbers | Daphne De Luca The use of aquazol® 500 as a binder for retouching colours: analytical investigations and experiments 77 France, 9-12 May 2016, p. 82, (Conference- BIDARRA, Ana (Editorial coordinators), St. NW, Suite 320, Washington DC, 2011, pp. - Critical Pigment Volume Relationship, [14] PELOSI, Claudia; MARABELLI, Maurizio; Book). Available at: http://www.pyro2016. RECH2: PROCEEDINGS, 2nd International 114-129. Industrial & Engineering Chemistry. Vol. 41, FALCUCCI, Claudio; GIURLANDA, Flavio; com/_media/pyro2016-conference-book.pdf Meeting on Retouching of Cultural Heritage, [8] WOLBERS, Richard C.; MCGYNN, Isseu 7, ACS Publication, (July 1949), pp. 1470- ORTENZI, Floriana; PATRIZI, Francesca - Pro- [8 November 2017]. Escola Artística e Profissional Árvore, Casa Mary; DUERBECK, Deborah - Poly (2 Ethyl-2- 1475. blematiche conservative degli acquerelli nel [4] BESTETTI, Roberto; COLOMBO, das Artes and Casa Allen, Porto, Portugal, Oxazoline): a new conservation consolidant. [12] Out of the three organic self-produced restauro. Archeomatica, numero 0, Novembre Annalisa; DE LUCA, Daphne; SELVA 24-25 October 2014. Available at: https:// In Painted Wood: History and Conservation, colours and the equivalents QoR®, TGA was 2009, pp. 24 -27. BONINO, Valentina E.; UBALDI, Vanessa - www.academia.edu/15993459/RECH2_ Proceedings of the Symposium, Williamsburg, performed on only one organic colour, as L’impiego dell’Aquazol per il ritocco pittorico Proceedings [8 November 2017]. Virginia, 11-14 November 1994, pp. 514-527. indicated in the text, because this technique in in Italia: prove preliminari e avanzamento di [6] CHIU, Thomas T.; THILL, Bruce P.; [9] LEWIS, Mark; WOLBERS, Richard - comparison to the others requires a greater una sperimentazione, Sessione Poster. In FAIRCHOK, William J. - Poly (2-ethyl-2- Evaluation of the Suitability of Poly (2-ethyl-2- amount of material, which is not available for Giornata di Studio e Workshop sull’utilizzo oxazoline): A new water and organic soluble oxazoline) as a Potential Retouching Medium all the samples, since they were used for other dell’AQUAZOL - AQUAZOL: esperienze ed adhesive. In GLASS, J. E. - Water Soluble for Easel Paintings. Paper presented at the investigations. applicazione nel panorama Italiano, La Venaria Polymers, Advances in Chemistry. Vol. 213, American Institute of Conservation at the [13] The third organic pigment Irgazine® Reale (Torino), Italia, 4 giugno 2014. American Chemical Society, Washington D.C., Twenty Third Annual Meeting, June 4-11, St. Ruby DPP-TR, used to prepare the same self- [5] BESTETTI, Roberto; COLOMBO, 1986, pp. 425-433. Paul, Minnesota, 1995, p.76. produced colour with the Recipes A and B Annalisa; DE LUCA, Daphne; SELVA BONINO, [7] VAN GELDER, Mark – Aquazol. [10] WOLBERS, Richard - Giornata di Studio and its corresponding organic colour QoR®, Valentina E.; UBALDI, Vanessa - Aquazol In METZGER, Catherine A.; MAINES, e Workshop sull’utilizzo dell’AQUAZOL, La Pyrrole Red Deep, were not analysed with based retouching colors: Preliminary Tests Christopher; DUNN, Joanna - Painting Venaria Reale (Torino), Italia, 4-5-6 giugno this technique since the colour samples taken and Advancement of an Experiment, Poster. Conservation Catalog Volume III: Inpainting, 2014. were insoluble in the solvents used in liquid In BAILÃO, Ana; HENRIQUES, Frederico; Paintings Speciality Group, AIC, 1156 15th [11] ASBECK, W. K.; VAN LOO, Maurice chromatography.
78 Nome artigo Nome artigo 79 Keywords
PVAC; Golden Artists Colors, Polyvinyl acetate resin; Inc.; Inpainting; AYAA; PVAC RETOUCHING COLORS: Retouching; AYAC Golden PVA colors; characteristics of the retouching paints A BRIEF HISTORY AND will be summarized based on the treatment of a 17th-century oil on canvas painting attributed to Pietro da INTRODUCTION TO GOLDEN’S Cortona and his workshop. 1. INTRODUCTION NEWLY FORMULATED PVA 1.1. Historical Use of PVAC PVAC resins have been used as While conservators have continued Conservation Paints a retouching medium in the field to use leftover reserves of the AY In 1935, PVAC homopolymer CONSERVATION COLORS of conservation since 1935[1]. resin line for retouching purposes, the resins were first tested as a In 1991, Golden Artists Colors, pre-made PVA Conservation Colors potential medium for retouching by Inc. introduced a line of specially offered some distinct benefits. In conservation scientist Rutherford [1] Kristin deGhetaldi (1) Brian Baade (1) Joyce Hill Stoner (1) formulated PVAC conservation paints 2013, a renewed collaboration began John Gettens . These initial tests, | | based on a mixture of AYAA and between conservators, scientists, performed at the Fogg Art Museum, (2) (3) | Jim Hayes | Samantha Alderson AYAC manufactured by the Union and Golden Artists Colors, Inc. to were presumably inspired in part by Carbide Corporation[2]. However, re-create the PVAC retouching an article published in a conservation 1. University of Delaware, 18 E. Main St. Old College room 302, Newark, DE, 19716; [email protected]; [email protected]; [email protected] 2. Golden Artists Colors, Inc.188 Bell Road New Berlin, NY 13411; [email protected] nearly a decade later, the Union paints. Thanks to ongoing research journal earlier that year which focused 3. American Museum of Natural History, 79th St. and Central Park West, New York, NY 10024; [email protected] Carbide discontinued the production spearheaded by objects conservator on the use of polyvinyl acetate in of the PVAC AY resins and Golden Samantha Alderson, efforts were artists’ paints [3]. By the 1950s, PVAC ultimately halted production of their already underway to identify and resin was being used routinely as a PVA Conservation Colors by 2010. evaluate viable replacements for retouching medium, both as a water- Abstract some of the discontinued AY resins. miscible emulsion as well as a simple Paintings conservators from the solution binder that could be thinned The field of art conservation has used Polyvinyl acetate PVAC for consolidation and retouching since a new conservation paint line three [4] the 1930s. Its use as a retouching medium was first mentioned in a 1935 journal, Technical Studies in years later. After much testing, the University of Delaware contacted with organic solvents . In 1959, the Field of the Fine Arts, published from 1932-42 by the Fogg Art Museum. PVAC paints were found company was once again able to Alderson and subsequently reached conservation scientist Robert L. Feller to exhibit little or no discoloration upon aging, could be dissolved in a range of solvents including provide conservators with pre-made out to Golden Artists Colors to and paintings conservator Mario alcohols, glycol ethers, acetone, and toluene, and could maintain both clarity and reversibility. Hoescht PVAC conservation paints in 2017. This explore the possibility of re-creating Modestini began testing a range of Mowilith 20 and Union Carbide AYAB were the typical PVAC resins used for inpainting. Collaboration talk will briefly outline the history of a new line of PVAC retouching PVAC resins at the National Gallery between Golden Artists Colors and painting conservators led to the introduction of Golden’s pre-made PVAC retouching paints and discuss paints for the art conservation field. of Art in Washington, ultimately PVAC conservation paints based on a blend of Union Carbide AYAA and AYAC in 1991. Mark Golden also some of the specific properties of the This paper will outline some of the identifying Union Carbide’s AYAB created custom-made retouching paints for the 1988-1992 treatment of Whistler’s Peacock Room in new Golden line including molecular the Freer Gallery of Art. Unfortunately, both the Mowilith and Union Carbide resins were discontinued weight, gloss, solubility, and practical preliminary analytical results from tests resin as possessing the most desirable [5, 6, 7] causing Golden to cease production of the line in 2010. Continued interest in PVAC retouching application tips with examples from performed on the replacement PVAC working properties . As the glass paints inspired Golden to collaborate with conservators and conservation scientists to reformulate the authors’ personal conservation resin. In addition, practical working transition temperature of AYAB was treatments. fairly low (remaining somewhat tacky AYAB) and the mixture was found to resins from Union Carbide’s AY original 50/50 mixture of two PVAC at 340 nm for a period of 405 hours. samples using a 220 nm filter. 5 µl at room temperature), Modestini possess satisfactory working and aging line have also become popular for resins of different molecular weight, To assess changes in gloss, a BYK of each samples was then injected would often interlayer resins with properties. A set of colors bound in other uses in conservation (e.g. as Alderson suggested initially testing Micro-TRI-Gloss Meter was used into a Waters Alliance® System higher glass transition temperatures this mixture was provided to paintings surface coatings, consolidants, etc.), single resins as replacements. She on all paint samples (readings were 2695 Separations Module equipped (e.g. Paraloid B-72) throughout the conservators Wendy Samet and Dr. a collaborative project was begun provided Jim Hayes, the technical obtained at 60 degrees). Resolubility with a Waters 2414 Refractive inpainting process to effectively seal Joyce Hill Stoner for their treatment by Alderson and her colleagues to director at Golden Artists Colors, was assessed by applying cotton Index Detector using a 300x7.8mm areas containing PVA retouching of James McNeil Whistler’s Peacock identify potential substitutes for these Inc., with five samples of resins that swabs saturated in denatured alcohol High Speed GPC Column (25 and prevent the accumulation of Room at the Smithsonian Institution’s resins, the results of which will be seemed to be promising substitutes to the surface of the aged paints, and minutes @ 35 deg C). Results were dust [6, 7]. In subsequent decades Freer Gallery of Art in Washington presented in a forthcoming publication for the original mixture as well as the number of circles were recorded interpreted using Millenium® 32 PVAC resin gained popularity as a DC (the treatment occurred between [11]. They began by collecting samples old samples of AYAA and AYAC for before the swabs effectively broke Chromatography Manager Software. retouching medium throughout the 1988-1992) and in 1991, Golden of PVAC resin in a wide range of comparative testing. through the surface of the paint conservation community. By the PVA Conservation Colors became molecular weights from several samples. Flexibility was assessed by 3. RESULTS AND DISCUSSION 1980s, however, Union Carbide was officially available for purchase [2]. current manufacturers. These were 2. MATERIALS AND METHODS manually manipulating the substrate no longer producing AYAB, prompting Nearly a decade later, Samantha evaluated and compared to samples (acrylic-primed canvas) in order to Golden prepared all five of the scientists and conservators to identify Alderson, objects conservator at the of the discontinued Union Carbide 2.1 Mechanical, Solubility, and observe any potential cracking, flaking, samples and sent them to painting a replacement material. Conservation American Museum of Natural History, and Hoescht resins. The team used Color/Gloss Testing or delamination. Finally, a Xrite CI7800 conservators deGhetaldi, Baade, and scientist René de la Rie, then head of learned that the Union Carbide AY a variety of analytical instruments to Golden’s technical staff produced Benchtop Color Spectrophotometer Stoner to perform a series of blind the Scientific Research Department at resins (AYAC, AYAA, AYAF, AYAT) evaluate and test the potential resins five paint samples based on the was used to monitor any potential tests to determine which had the the National Gallery of Art, suggested had been discontinued and that including Fourier Transform Infrared potential resin replacements identified shifts in color (calculated using the most appropriate working properties that conservators consider using a Hoechst’s Mowilith 20 was no longer Spectroscopy (FTIR) to characterize by Alderson and her colleagues in CIELab delta E masstones). (the paints were labelled with a code PVAC resin manufactured by the being manufactured. Additionally, chemical composition and Gel addition to re-creating the original 1:1 so that the conservators would not German company Hoechst. Mowilith she learned that that some PVAC Permeation Chromotagraphy (GPC) AYAA/AYAC mixture for comparison. 2.2 Gel Permeation know which resin they were using). 20 possessed a viscosity and refractive substitutes available through certain to measure the molecular weight. Each of the five resins as well as the Chromatography (GPC) The conservators unanimously index close to that of AYAB (RI=1.467) art conservation suppliers were In 2013, Alderson was contacted 1:1 AYAA/AYAC mixture (designated Gel Permeation Chromatography concluded that they could not tell the [7, 8]. While some conservators mislabeled [9, 10]. Consequently, Golden by Kristin deGhetaldi, a paintings as the control) were mixed with (GPC) was performed on four difference between the workability continued to mix dry pigments discontinued their PVA Conservation conservator, about possible three pigments: titanium white pigmented samples bound in the and re-solubility of the five samples with Mowilith 20 or with leftover colors by 2010 as a replacement resin replacement resins for the re- (PW6), quinacridone red (mixture of final selected resin: Prussian Blue (PB from that of the original Golden PVA reserves of the discontinued AYAB had not yet been identified. formulation of the Golden PVA PR 206 and PR 202), and raw umber 15:1/PV 23/PBk 9), Titanium White Conservation Colors (1:1 AYAA/ resin, other paintings conservators Conservation Colors. DeGhetaldi (PBr7). Paint drawdowns (10 mL) (PW6), Yellow Ochre (PY43), and AYAC). With the analytical and expressed interest in obtaining pre- 1.2 Recent Developments in PVAC had been contracted to conserve were created and then subjected to a Burnt Umber (PBr7). All four samples empirical testing completed, Alderson made retouching colors bound in Paints Used in Conservation a large 12-by-20 foot oil-on-canvas series of tests before and after short- were prepared by adding 1.5 mL of suggested that Golden select Vinavil PVAC resin. Golden began testing The PVAC resins that have been painting attributed to Pietro da term light aging. Artificial aging was tetrahydrofuran to approximately 10- Raviflex BL5S as their PVAC binder a 50/50 mixture of AYAC (lower commonly used for retouching Cortona in collaboration with fellow performed under ambient conditions 20 mg of paint. After centrifuging the as her research found that this resin molecular weight than AYAB) and purposes have not been produced paintings conservator Brian Baade. using a filtered Xenon arc-source samples for 30 seconds, the dissolved possessed physical properties that AYAA (higher molecular weight than for nearly a decade. As other PVAC Rather than trying to replicate the with a radiant exposure of 510 kJ/m2 resin was obtained from each of the were most like Mowilith 20 [11].
82 Nome artigo Nome artigo 83 3.1 Mechanical, Solubility, and Color/ the human eye). Very minimal changes two resins were used as the primary amu. When comparing this value to Gloss Test Results in re-solubliity were also observed, an binders for Golden’s previous PVA line. the reported molecular weight range Golden’s initial tests on Vinavil Raviflex expected outcome as PVAC resins have Two paint samples were also run: burnt (22,000-30,000 amu), this falls in line BL5S have yielded promising results when shown little to no signs of cross-linking umber (PBr7) bound in 1:1 AYAA/ with the trend observed for all three compared to the control (1:1 AYAA/ over time. AYAC and cadmium red light (PR AY resins, as AYAF, AYAA, and AYAC AYAC). It showed minimal differences 108) bound in Vinavil Raviflex BL5S. As all possess weight average molecular Figure 1 • Comparison of chromatograms collected using GPC associated with AYAF, AYAA, AYAC and original and new PVA paint samples. from the control when subjected to 3.2 GPC Molecular Weight Results some of the samples did not generate values that are greater than their the same series of tests (see Tables 1A Five samples were subjected to narrow distributed single peaks, only an number average molecular values be achieved by increasing the amount resins are polar by nature and therefore and 1B) both before and after short- GPC analysis in order to confirm the approximation of Vinvavil’s molecular [8, 12]. Additional testing using GPC of ethylene glycol/ propylene glycol do not wet well onto pigments that term aging. The Vinvavil Raviflex BL5S molecular weight distribution that has weight could be calculated. Based on the and Size Exclusion Chromatography monomethyl ether. Additions of the are non-polar such as carbon black even slightly outperformed the control been reported in the literature and by logarithmic relationship between the (SEC) will likely reveal more precise pure resin (Vinavil Raviflex BL5S) pre- [13]. One solution to counteract this on some tests. For example, the delta the relevant manufacturer (see Figure elution time and molecular weight, the approximations for both the weight dissolved in an alcohol, a mixture of problem is to add minute amounts E values measured for each of the new 1). Samples of AYAF, AYAA, and AYAC weight average molecular (as opposed average molecular and number average alcohol and ethylene glycol/propylene of alcohol soluble dyes (e.g. Orasol® PVAC colors before and after light aging were chosen as they span a wide to the number average molecular) was molecular values. glycol monomethyl ether, or pure Dyes) that have satisfactory lightfast were all below one (not discernible to molecular weight range and the latter calculated to be approximately 33,000 ethylene glycol/ propylene glycol ratings; however, the dyes should be 3.3 Working Properties of PVAC monomethyl ether can be added to used sparingly and preventive measures Retouching Paints the paint. All of these factors can be (e.g. coating with a varnish containing GLOSS GLOSS FLEXIBILITY PIGMENT BINDER INITIAL FLEXIBILITY (BEFORE XENON AGING) (AFTER XENON AGING) (AFTER XENON AGING) Like the earlier PVAC AY resins, the controlled to achieve the desired level UV Light Stabilizers, employing Control (1:1 AYAA/AYAC) 26 24 control 0.4 new line of Golden PVA Conservation of gloss and open working time. appropriate lighting conditions) should Titanium White Vinavil Raviflex BL5S 48 46 Slightly less 0.57 colors (made with the replacement One advantage of using the pre-made be considered if dyes are added to the Quina-cridone Control (1:1 AYAA/AYAC) 24 34 control 1.05 resin Vinavil Raviflex BL5S) can be PVAC conservation paints is that the paints. This particular method (using Crimson Vinavil Raviflex BL5S 32 34 Slightly more flexible 0.97 dissolved for retouching purposes using colors are well and evenly dispersed. the newly formulated PVA paints) was Raw Control (1:1 AYAA/AYAC) 5 5.4 control 0.5 alcohols. To slow down the evaporation One challenge that faces conservators used to reintegrate large sections of Umber Vinavil Raviflex BL5S 8.1 10.3 Slightly more flexible 0.76 rate (allowing for more blending who hand-mixing dry pigments into paint loss on The Triumph of David in and richer glazes), a small amount of a fast-setting resinous medium is to order to achieve a satisfactory degree Table 1A • Chart summarizing test results relating to gloss and flexibility of PVA paints before and after short-term aging. ethylene glycol or propylene glycol create a paint that will not “sink” over of saturation in darker passages (Figure RESOLUBILITY CIELAB, ∆E, MASSTONES PIGMENT BINDER INITIAL RESOLUBILITY monomethyl ether (e.g. Arcosolv PM) time, a phenomenon due in part to 2). Like some of the AY resins, the glass (AFTER XENON AGING) (AFTER XENON AGING) transition temperature of the resin Control (1:1 AYAA/AYAC) 27 45 0.4 can be added to the alcohol diluent. poor pigment dispersion. One potential Titanium White in the new PVAC paints is close to Vinavil Raviflex BL5S 22 29 0.57 To achieve a more matte appearance, drawback to all PVA retouching paints room temperature (the manufacturer Quinacri Control (1:1 AYAA/AYAC) 40 54 1.05 the PVA colors can be further thinned is the low refractive index of the resin (1.4665). This is easily remedied by the recommends storing the pure resin at -done Crimson Vinavil Raviflex BL5S 25 28 0.97 with alcohols (e.g. ethanol) or mixed with additions of dry pigment and/ superimposition of a glaze containing a temperature above 20 degrees C). Raw Control (1:1 AYAA/AYAC) 42 45 0.5 or matting agents (e.g. glass micro- a higher refractive index (e.g. Laropal Consequently, it is advisable to coat the Umber Vinavil Raviflex BL5S 37 39 0.76 balloons). Conversely, a thicker and/ A81) or the application of a surface retouching paints with an appropriate Table 1B • Chart summarizing test results relating to resolubility and color change of PVA paints before and after short-term aging. or more glossy paint consistency can varnish with similar properties. PVAC varnish layer possessing a higher glass
84 Nome artigo Nome artigo 85 PVA samples at the Microscopy and Mechanical Testing (MMT) Center at the University of Delaware.
REFERENCES [1] GETTENS, Rutherford J. - Polymerized vinyl Proprietary Painting Media. AIC Preprints, no. 2 (2009), pp. 16–17. acetate and related compounds in the restoration Fourth Annual Meeting, Dearborn, Michigan, [10] ALDERSON, S. - Response to Supplier for of objects of art. Technical Studies in the Field of 1976, p. 126. AYAA Sought, Conservation DistList. Available Fine Arts. Vol. 4, no. 1 (1935), pp. 15–27. [6] BERGER, Gustav Adolf. - Inpainting using at: http://www.cool.conservation-us.org/ [2] STONER, Joyce Hill. - America’s colormen: PVA medium. In Cleaning, Retouching and byform/mailing-lists/cdl/2013/0918.html
Figure 2 • Before (left) and after (right) retouching large area of loss in The Triumph of David attributed to Pietro da Cortona using the newly formulated Golden Bocour, Levison, Gamblin, and Golden. In Coatings: Technology and Practice for Easel (12 July, 2017). PVA Paints combined with Orasol Dyes (photo courtesy of Villanova University). Modern Art, New Museums: Contributions Paintings and Polychrome Sculpture, Preprints [11] ALDERSON, S., DOWN, J.L., MAINES, to the Bilbao Congress, 13–17 September of the Contributions to the Brussels Congress, C.S., WILLIAMS, R.S., and YOUNG, G.R. - transition temperature in order to appropriate option for making paints resulted in the selection of Vinvavil 2004. London: International Institute for 3–7 September 1990. London: International Substitutes for discontinued poly(vinyl acetate) avoid the potential accumulation of for use in inpainting. PVAC resins have Raviflex BL5S as a replacement resin. Conservation, 2004. pp. 189–192. Institute for Conservation, 1990, pp. 150-155. resins used in conservation (forthcoming dust/grime (although this is likely only been shown to exhibit little or no Golden Artists Colors has relaunched [3] CLARKE, William J.; IVES, Herbet Eugene [7] BERGER, Gustav Adolf. - Inpainting using publication in the Journal of the American to affect areas that are covered with discoloration upon aging, are soluble in their PVA Conservation Colors and - The use of polymerized vinyl acetate as an PVA medium – Inpainting using PVA Medium: Institute for Conservation). [12] thick applications of the paints) . a wide range of solvents, and maintain they are now available to conservators. artist’s medium. Technical Studies in the Field of Mario Modestini’s Pioneering Research – In [12] VINAVIL - Technical data sheet. Raviflex For removal of the paints, ethanol can both clarity and reversibility. The loss of Fine Arts. Vol. 4, no. 2 (1935), p.4. BERGER, Gustav Adolf; RUSSELL, William H. BL 5S. Available at: http://www.vinavil.com/ be used; however, if the artwork is earlier sources of such a resin prompted ACKNOWLEDGMENTS [4] DIGNEY-PEER, Shawn, et al. The imitative ed. - Conservation of Paintings: Research and public/1/SchedeTecniche/raviflex%20bl%20 sensitive to alcohols, toluene has been the discontinuation of Golden PVA retouching of easel paintings. In STONER, Innovations. London: Archetype Publications., 5s%20-%20a%20(engl).pdf (12 July, 2017). successfully used to remove PVAC Conservation Colors. Research began The authors would like to Joyce H.; RUSHFIELD, Rebecca A., eds. – The Ltd., 2000. pp. 191–216. [13] DIGNEY-PEER, S., THOMAS, K., PERRY, resins after short and long-term aging. to find a new replacement resin, which acknowledge Rachel Modrovsky for Conservation of Easel Paintings. London: [8] UNION CARBIDE. - Polyvinyl acetate R., TOWNSEND, J., and GRITT, S. - The imitative retouching of easel paintings. In STONER, would possess similar or superior her assistance with the preliminary Routledge, Taylor & Francis Group, 2012. pp. resins for coatings and adhesives. Danbury, 607-634. CT: Union Carbide Chemicals and Plastics Joyce H.; RUSHFIELD, Rebecca A., eds. – The 4. CONCLUSIONS properties and allow Golden to tests performed on the Vinavil Raviflex [5] FELLER, R. - Exposure Tests on Traditional Company Inc., 1989. Conservation of Easel Paintings. London: resume the production of pre-made BL5S paints. We are also indebted to and Polyvinylacetate Retouching Systems [9] ALDERSON, S. - Union Carbide no longer Routledge, Taylor & Francis Group, 2012. pp. Previous research and studies have PVAC conservations paints. Extensive Dr. Shuang Liu for performing Gel and Characterization of Certain Modern manufacturing PVAC resins. AIC News Vol. 34, 607-634. shown that PVAC resins are an testing by scientists and conservators Permeation Chromatography on the
86 Nome artigo Nome artigo 87 Keywords
Watercolour markers; Fillers; Varnish;
Chromatic reintegration techniques. USING WATERCOLOUR The purpose of this work was to MARKERS IN CHROMATIC assess the usage of watercolour markers in the context of the conservation and restoration of art REINTEGRATION paintings and systematically assess its 1. INTRODUCTION behaviour under different fillers and varnishes. (1, 4) (1, 2, 3) (3) The use of colour markers is well Liliana Cardeira Ana Bailão João Linhares Figure 1 • Watercolours in pens –form from the | | | known in the field of the artistic Winsor & Newton Company. Liliana 2. MATERIALS AND METHODS Sérgio Nascimento (3) materials, but their use in the context Cardeira©. of the chromatic reintegration on The study is being conducted within To assess the use of watercolour [5] 1. Faculty of Fine Arts, University of Lisbon; Largo da Academia Nacional de Belas Artes nº 14, 1200-005, Lisboa; conservation and restoration is the framework of the conservation markers of W&N (Figure 1) in E-mail address: [email protected]; 2. Research Center for Science and technology of the Arts - Portuguese Catholic University, Centre Regional of Porto, CITAR, Portugal; Rua Diogo still unknown. The purpose of this and restoration of a set of paintings by the chromatic reintegration of art de Botelho 1327, 4169-005, Porto; E-mail address: [email protected]; project was to present preliminary Adriano de Sousa Lopes (1879-1944) paintings, watercolour markers were 3. Centre of Physics, University of Minho, Gualtar Campus, Gualtar, 4710-057, Braga, Portugal; E-mail address: [email protected]; 4. HERCULES Lab and Chemistry Department, Evora University, Portugal ;Palácio do Vimioso Largo Marquês de Marialva, nº8, 7000-809, Évora; results of the assessment of the use [3]. This artwork belongs to the painting tested on three different types of smcn@[email protected] of watercolour markers in chromatic collection of the Faculty of Fine Arts, fillers using different reintegration reintegration. The watercolour University of Lisbon (FBAUL), Portugal. techniques. This assessment was done markers were tested under several Researching the sustainability of use of two-fold. Under visual inspection of conditions of technique of use onto retouching materials remains a priority the chromatic properties, enlarged several surfaces to ascertain whether in the 21th century in the context by the usage of a digital microscope, they can be used on the retouching of restoration. The watercolour is a and by the means of a hyperspectral practice [1, 2]. widely used and studied material in imaging system. The chromatic [4] Abstract chromatic reintegration . There are properties of the object under several watercolour brands available, analysis were compared.
The aim of this work is to present preliminary results of the use of watercolour produces a non-neglected visual used by professional conservators that Recently, watercolours in the markers in chromatic reintegration. The behaviour of 15 watercolours of Winsor & difference in the obtained can be found in common retailer, and form of a pen became available. Newton® markers were tested to ascertain whether these are useful for use in the colours, when markers are used it is possible to find watercolours in To conduct the experiments the retouching practice. Three different types of reintegration techniques were used to to reintegrate art paintings. a wide variety of forms: pans, tubes, Winsor and Newton® watercolour test the two brush tips: mimetic, pointillist and tratteggio, and three testing surfaces These findings seem to indicate crayons, coloured pencils, even stones. markers (Table 1) were used. They were created by applying four fillers over a wooden board covered by calcium that the watercolour markers Nevertheless the wide availability of are much cheaper than their alcohol carbonate and rabbit glue, Modostuc® and Gesso Primer. To examine the process of can be used during the process the reintegration of the markers on the surfaces an USB digital microscope was used of reintegration, but the fillers watercolours, their usage as an option based version but non-refillable. to visually assess its details and a hyperspectral imaging system was used to assess and varnish in use has to be of chromatic integration in restoration Nevertheless, these watercolour its chromatic properties. It was found that the used fillers and accompanying varnish taken into account. is yet to be assessed systematically. markers enable the spread of its colours without the need of a brush or Mock-ups with different fillers were the watercolours four varnishes were brush tips, namely, mimetic, pointillist, water. According to the manufacturer created to compare the behaviour applied: Paraloid B72®, Laropal 81®, Tratteggio and Selezione cromatica the colour blending varies depending of 15 colours from the watercolour Retouching varnish of Talens® and [4]. Figure 2 represents the different on the paper or substrate used so markers of Winsor & Newton® (as retouching varnish of W&N®. Each reintegration techniques over different it is paramount to test the markers described in Table1). The fillers were one of the 15 watercolour markers fillers. No varnish was used in this case. over different fillers to assess their applied over a wooden board with were tested on each one of the three Care was taken to reproduce the behaviour. It was decided to test the dimensions of 30cm x 23cm, and were fillers, each one under one of the four same pattern and painting technique markers with three fillers and four made from: calcium carbonate and varnish used, on a combination of 12 over the different fillers. varnishes to check is functionality and rabbit glue from CTS; Modostuc® conditions per colour. Understanding now the colours to test their influence on the final from Plasveroi International; and Each colour combination was then react and interact on the distinct colour saturation. Gesso Primer from Talens®. Over assessed under a visual inspection and reintegration technique is key to the hyperspectral system. To extend the validate the process of the selection Figure 2 • Tests of markers in three types of fillers with different reintegration techniques. Liliana Cardeira and Ana Bailão®. analysis of the chromatic reintegration, of the proper chromatic reintegration Table 1 • Pigments, references of watercolour markers and American Society for Testing Material (ASTM) [6]. Liliana Cardeira®. three different reintegration techniques technique in each case. To asses this were used and evaluated. reaction and interaction of the colours LIGHTFASTNESS COLOUR NUMBER PIGMENT ASTM 4303 over the fillers a visual inspection was
119 – Cadmium yellow pale hue PY74 ------2.1. Visual inspection of the made. 266 – Gamboge hue PY83 ------chromatic reintegration techniques The behaviour of the watercolour with the watercolour markers. 552 – Raw Sienna PY42, PY83, PR179 ------markers over three fillers using 554 – Raw Umber PY83, PV23 ------The markers in pen-form have the different reintegration techniques
074 – Burnt Sienna PR101 I advantage of having a fine point at was made by using an USB digital one end and a flexible brush tip on microscope Dino-Lite Pro brand - 076 – Burnt umber PY83, PR122, PBk7, PBr7 ------the other for fine or thick strokes, AM4013-FVW model with 1.3 Mpixel 061 – Burnt red PR188, PY83, PV23 I respectively. The fine tip has a more resolution. This microscope is portable, 95 – Cadmium red hue PR188 II Figure 3 • Markers under different fillers and distinct varnishes. Anabela Cardeira, Carina Carvalho and accurate trace but thicker and the equipped with one switchable LED 545 – Quinacridrone Magenta PR122 ------Liliana Cardeira®. brush tip allows the application UV light and enabled an augmentation 522 – Phthalo green PG7 I of colour layers. Some of these of the image viewed by 200x times. the substrate material were observed and as such the results should be 312 – Hooker’s green Dark PB15:3, PY83 ------materials have a lightfast and are highly This technique was used to verify in and analysed in order to estimate the accepted, even if small differences are 514 – Phthalo blue (red shade) PB15:2 II pigmented such as Burnt Sienna, Burnt detail the behaviour of the material best reintegration technique over the to be assumed. 515 - Phthalo blue (Green shade) PB15:3 II red, Cadmium red hue, Phthalo green, in the distinct types of fillers, as the better ground layer. 337 – Lamp black PBk7 I Phthalo blue (red shade), Phthalo blue magnification using the USB microscope About the methodology, it was only 2.2. Inspection hyperspectral of the 331 – Ivory black PBk7, PY83, PBk9 ------(Green shade) and Lamp black. In the enable a better visual comparison. used the digital microscope Dino-Lite chromatic reintegration technique context of this research, different types The easy of the colour spread, the for observation of the samples, but in with the watercolour markers. of reintegration techniques were used simple of colour application, and the this case all samples were assessed To understand the chromatic to test the fine tip and the flexible adsorption of the watercolour paint by by the same experienced observer properties of the watercolour markers
90 Liliana Cardeira | Ana Bailão | João Linhares | Sergio Nascimento Using watercolour markers in chomatic reintegration 91 under different varnishes (Paraloid about the system can be found markers, different fillers and varnishes, such wide areas. Figure 4 represents B72®, Laropal 81®, using retouching elsewhere [8]. The hyperspectral data and then compared. By taking mock- the process of image acquisition using varnish of Talens® and retouching was calibrated using the spectrum of up 1 as represented in Figure 3 as an the hyperspectral imaging system. varnish of W&N®) and fillers the light reflected from a flat uniform example, using the first yellow marker (calcium carbonate, Modostuc® and reference present in the scene during under Paraloid B72 as reference, the 3. RESULTS AND DISCUSSION Gesso Primary) (as represented in the process of image acquisition. The colour difference was estimated Figure 3 and Table 1) the mock-ups spectral reflectance of each pixel of against the other three varnishes As shown in Table 2, the watercolour were digitized with a hyperspectral the image was corrected for dark and averaged. In all cases, the colours markers can be used in all the imaging system to obtain their noise, spatial non-uniformities and under Paraloid B72 were used as tested reintegration techniques, but spectral information combined with stray light. The spectral radiance of reference. The averaged area included sometimes the fillers do not produce their spatial information. [7] each image pixel was then estimated 45 pixels horizontally and 10 pixels the desired outcome. The hyperspectral imaging system from the reflectance data assuming vertically, with an approximated area According with the observations 2 was comprised by a fast-tuneable the CIE D65 standard illuminant of 7813 mm . The standard deviation with the digital microscope Dino-Lite, Figure 5 • Images of mimetic, pontilhism, tratteggio technique obtained with a USB digital microscope liquid-crystal filter coupled with a [9] and converted into the CIELAB was also estimated as a measure of about the colour spread, the colour Dino-Lite Pro brand - AM4013-FVW model with 1.3 Mpixel resolution. Ana Bailão®. monochromatic digital camera and a colour space coordinates assuming the computed uncertainty. To estimate application, the adsorption of the zoom lens. The acquisition was carried the CIE 1931 standard colorimetric the variations in colour induced by watercolour paint by the substrate reintegration technique was the the three reintegration techniques from 400 nm to 720 nm in 10 nm steps, observer [10,11]. the three fillers and varnishes for material and the capability of gradually pointillism. The filler with best results over the three fillers. with a spatial resolution of 1344 (H) The CIELAB coordinates [11] were the same watercolour marker, the building up the colour using multiple was the calcium carbonate. The dots, when observed with the x 1024(V) pixels with a field of view averaged across a fixed area over colour difference between one of layers, with the last layer not affecting Table 2 presents a summary of the Dino-Lite microscope, were only of about 7º x 5º. More information all the combinations of watercolour the possible combinations onto the the bottom layer, the most suitable authors findings when experimenting uniform and round over calcium others was estimated by computing the Euclidean Distance between the MIMETIC POINTILLISM TRATTEGGIO
two pairs of colours in the CIELAB In the application of colour, this Easy application Easy control spreads colour space by: Uniform points in the 1st and 2nd Less saturation and less porous Gesso Primer Easy application in 1st and 2nd layer layer Traces become thinner In the application of the 3rd and 4th CIELAB colour space provides a layer begins to create textures numerical representation of the visual In the application of colour, this Easy application spreads It allows you to create burnish It allows you to create fine traits chromatic perception. As such, by Calcium carbonate Easy application in 1st and 2nd layer Uniform points in the 1st and 2nd estimating a numerical distance in such In the application of the 3rd layer layer begins to create textures three-dimensional space by using the Thick strokes and difficult to be former equation, a visual chromatic Easy application controlled It is stained due to the porosity of Figure 4 • Spectral imaging setup for the mock-up acquisition (Left) and the hyperspectral imaging system difference is directly related [9, 12]. Modostuc Colour application, very difficult Features spread the mass (right), João Linhares and Sérgio Nascimento®. Greater absorption, influencing trace Only using hyperspectral images is it In the 2nd tier points are spreading and colour saturation possible to have access to both the spatial and spectral information over Table 2 • Results found between different types of fillers with different types of chromatic reintegration techniques. Liliana Cardeira and Ana Bailão®.
92 Liliana Cardeira | Ana Bailão | João Linhares | Sergio Nascimento Using watercolour markers in chomatic reintegration 93 assess the colour changes across change with the varnish Talens® while of the markers according to the different varnishes. It was found that, in sample 3, it is the varnish Laropal pigment, filler and varnish has to be the uniformity of the marker was 81® that it is more accentuated. done first, as the colour differences visually recognizable and quantified demonstrate, since the colour changes by the estimated colour differences 4. CONCLUSIONS between the same water marker with values higher than the expected colour, on the same filler but under threshold for complex images (DE of It was found that the used fillers and diverse varnish was greater than the 2.2 [13]). This was found by comparing accompanying varnish produces a threshold of the colour difference all the possible combinations of fillers non-neglected visual difference in the detection for complex scenes. This and varnishes and estimating the obtained colours, when markers are material doesn´t need watering in colour differences higher than the 2.2 used to reintegrate art paintings. pigment, and ends up generating a Figure 6 • Results with microscope Dino-Lite in various fillers with the pointillist technique, for threshold limit of discrimination. It was It was found that the fine point faster and cost-effective process. magnifications of 200X. Liliana Cardeira®. assumed that if the colour difference enabled conservators to achieve The hyperspectral system has the carbonate. With Modostuc® the dots 5.8 (±2.7) and 7.1 (±3.3) to mock-up was higher than the threshold, the more control when performing the advantage of good spatial resolution, adopt an irregular round shape. It was 1, 2 and 3, respectively, and considering samples were visibly different. With distinctive retouching, especially using as good as the human eye at the same also difficult to apply a flat and regular only the chromatic changes, discarding this technique it was possible to the pointillism technique. It was also distance of viewing, nevertheless the layer of colour over Modostuc® and the luminance information, the results register a very significant change in found that the fillers influenced the colour space used to perform the Gesso Primer. (Figure 5). obtained were 3.9 (±2.4), 5.3 (±3.0) sienna burnt, hooker’s green dark, blue brushstroke of the markers and the estimations of the colour differences The deformation of the points and 5.7 (±3.7), for mock-up 1, 2 and Phthalo (green shade) and raw sienna saturation of the colours. The flexible is known not to be perfectly uniform and the influence of the fillers were 3, respectively. This was estimated by in mock-ups 2 (Gesso Primer) and 3 brush likewise allowed for uniform (see reference [13]), nevertheless since examined at magnifications of 200X. averaging the chromatic coordinates of (Modostuc®). However, mock-up 1 underpainting, more saturated in this is a comparative study, the results As can be seen in Figure 6, the an area of equal size across each filler (Calcium carbonate) presents very porous fillers, like Modostuc®. These can be used and compared among pointillist technique had a different and varnish combination, and by using stable pigments: cadmium red hue, markers were highly pigmented and each other. behaviour depending on the fillers of the colour ∆Eab formula as described sienna burnt, burnt red and Phthalo since they were water-based they the ground layer. These results seems in the Materials and Methods Section. Blue (red shade). The change of varnish provided a permanent ink flow. This to support that the best reintegration Having the same filler and the depends on the fillers. In mock-ups 1 characteristic was good for pointillism technique is the pointillism over the same marker it was possible to and 2, it is possible to see the colour but did not allow blending or the calcium carbonate filler. creation of hues gradation when REFERENCES Using the hyperspectral imaging it more than one layer was needed. Scientific article: e estratégias para a avaliação da qualidade was found that there was a great visual COLOUR LUMINACE The tests proved that it was [1] Cardeira, L.; Bailão, A.; Baptista Pereira, da reintegração cromática em pintura. Por to, impact of the filler and varnish over the CALCIUM CARBONATE 4.8 3.9 possible to use watercolour markers F.; A ., Candeias, A.; Nascimento, S.; Linhares, Universidade Católica Portuguesa (2015): MODOSTUC® 7.1 5.7 during the process of reintegration, J. – Using watercolours markers in chromatic perceived colour of the watercolour pp.250-256. GESSO PRIMARY 5.8 5.3 reintegration: a case study. 5th International marker (Table 3). The average colour especially when working with small [3] CARDEIRA, Liliana - Conservação e Res- chromatic losses to be reintegrated Conference, YOuth in Conservation of difference estimated using the CIELAB Table 3 • Results of the average colour difference and luminace. João Linhares®. tauro das obras do pintor Adriano de Sousa Lo- Cultural Heritage, YOCOU 2016. Euclidian distance was of 4.8 (±2.6), with saturated colours. The selection pes da Colecção de Pintura da FBAUL. FBAUL, [2 (4)] BAILÃO, A. - Critérios de intervenção
94 Liliana Cardeira | Ana Bailão | João Linhares | Sergio Nascimento Using watercolour markers in chomatic reintegration 95 Dissertação de Mestrado, (2014). – Porto, Matrizes da Investigação em Conser- Optical Society of America A, 25(12), 2918. [4] BAILÃO, A. - As técnicas de Reintegra- vação e Restauro I (2014): pp. 13-41. [13] Aldaba, M. A. et al. “Visual sensitivity to ção Cromática na pintura: revisão historiográ- [11] LUO, M. R., CUI, G., RIGG, B.” The colour errors in images of natural scenes”. Vis fica. Espanha, Ge-conservacion, nº 2 (2011): pp. development of the CIE 2000 colour- Neurosci 23, 2006, pp. 555–559. 45-63. difference formula: CIEDE2000”. Color Res. [7] SÁNCHEZ ORTIZ, A. et all. “Investiga- Appl. (2001) 26: pp. 340–350. doi:10.1002/ ción sobre la estabilidad química y óptica de col.1049. Website: materiais contemporáneos para reintegración [5] WiNSOR & NEWTON, Water cromática”. In IV congreso del GEIIC, Cáceres, Book Chapter: colour markers. Available at: http://www. 2009. Cáceres: GEIIC (2010): pp. 195-205. [6] AA.VV. - Herramientas integradas de winsornewton.com/uk/shop/water-colour/ [8] PINTO, P.D., LINHARES, J.M.M., análisis espectrales y colourimétricos aplicadas water-colour-markers [10-07-2016]. NASCIMENTO, S.M.C. “Correlated Colour a la restauración de pintura. In Conservación [6] AMERICAN SOCIETY FOR TESTING temperature preferred by observers for de Arte Contemporáneo, 14ª Jornada. Spain: MATERIAL – ASTM – Methods for illumination of artistic paintings “, J. Opt. Soc. Museo Nacional Centro de Arte Reina Sofia, lightfastness of colourants used in artists Am. A. (2008), 25(3): p. 623-630. 2013, pp. 33-42. Materials (D4303) Specification for artists [10] BAILÃO, A. “Avaliação colorimétrica da [9] CIE, Colourimetry, in CIE. 2005. pp. 1-82. Watercolour paints (D5067). In http://www. alteração de cor de alguns guaches e agua- [12] Linhares, J. M. M., Pinto, P. D., & Nasci- astm.org/Standards/D4303.htm (2016/ 07/ relas utilizadas na reintegração cromática de mento, S. M. C. (2008). The number of discer- 20) bens culturais”, Universidade Católica Editora nible colors in natural scenes. Journal of the
96 Liliana Cardeira | Ana Bailão | João Linhares | Sergio Nascimento Nome artigo 97 Keywords
Filling; Colour re-integration; Sculpture; FILLING AND COLOUR Unfired clay; Plasticine; REINTEGRATION IN A SINGLE Plaster cast. STEP 1. INTRODUCTION
National Gallery of Slovenia
opened an exhibition of works by Figure 1 • Alojz Gangl | (© Bela Krajina Museum) Martina Vuga the sculptor Alojz Gangl (1859 – 1935) in 2010. He was the beginner national awakener Valentin Vodnik. [2] 2. MATERIALS AND METHODS National Gallery of Slovenia; Puharjeva 9, Ljubljana, Slovenia; [email protected] of the revival of sculpture in the Prior to being presented in the Slovene lands and the doyen to the exhibition, a number of selected After initial examination the condition first generation of Slovene early- sculptures from different collections of the sculptures was discussed, modern sculptors. (Fig. 1) and owners needed to be restored. and goals for the treatment were In the history of Slovene sculpture, When they were brought to the established. Conservation treatment he is known above all as the author conservation-restoration workshop should return them to visual and of the first Slovene public monument, in the National Gallery of Slovenia, physical state as close to “original” as which was erected, to poet and certain artworks were in a very poor possible and suitable for exhibiting. state of preservation because of the That meant that dirt needed to be Abstract fragility of the material itself and cleaned from the surfaces; losses frequent or inappropriate handling would be compensated; and finally Prior to the exhibition Alojz Gangl. A Sculptor on his Way to Modernism (2010) National with similar materials. Restoration- Gallery of Slovenia had to restore a large number of his sculptures. This paper presents conservation procedures, methods and/or storing in the past. The poor areas of restoration would be visually three case studies and focuses on the treatment of losses to decorated surfaces. and materials varied according to state of conservation made handling integrated with the original surfaces. Each described sculpture is made of a different material: unfired clay, plasticine the diversity of the constituent and exhibiting impossible. Because of the materials not so and plaster. The purpose of this article is to present the conservation treatments materials of the sculptures. It was Sculptures from Gangl’s oeuvre vary common in the restoration practice, of different materials, which share the same approach to aesthetic presentation. not possible in the three discussed in material, from traditional sculpture we had to choose the materials and When we considered damages aesthetically unacceptable, the chosen approach cases to fulfil every requirement materials as plaster, wood, terra cotta, methods on a case-by-case basis. to fillings and colour reintegration for all three sculptures was the same: to fill for the reversibility of the materials bronze and stone to more unusual, The paper describes three selected and retouch. In two cases, the procedures of filling and colour reintegration were and treatments. The principle of re- done literally in a single step. treatability (keeping open the options provisional and unstable materials case studies. The first discussed We would like to share the conservation treatments of some materials such as for future treatments) seemed more like unfired clay, plasticine and other sculpture is made of unfired clay, the unfired clay and plasticine which are rarely documented and we would also like to realistic in this situation. [1] mixed materials. next one is a plaster cast and the third present a few decisions that are in a certain way different from the past practice one is made of plasticine. All three was of prime consideration, and so The Head of Christ (40 x 29.5 x 15 cases share a certain decision: filling was the potential retreatability. cm), 1933, owned by the Archdiocese and colour re-integration (almost) in a Despite the various options of Ljubljana is a plaster cast. The single step. described previously, we decided on a most numerous among the treated different material, i.e. a coloured wax- sculptures by Gangl are plaster casts. 2.1 Conservation-restoration resin mixture. It is a system without Plaster is an extremely fragile and treatment of St. Agnes, unfired clay water, and the added material can be porous material, highly absorbent and
The first case study describes the Figure 2 • Alojz Gangl, St. Agnes, unfired clay, before Figure 3 • Alojz Gangl, St. Agnes, unfired clay, after treatment removed from the clay support by easily soiled. Because of its properties treatment of the sculpture of St. Agnes treatment; (© National Gallery of Slovenia, (© National Gallery of Slovenia, photo: M. Vuga). means of appropriate solvent. and inappropriate handling and photo: M. Vuga). (38.5 x 14 x 11.5 cm), c 1924, from the The wax-resin filling contains storing conditions, a plaster cast can Bela Krajina Museum (inv. no. U66). It is beeswax and dammar resin. To bulk suffer severe damage. made of unfired clay and coated with are listed in the following paragraphs. From described cases, we can out the fill, chalk (Ca carbonate) 2.2.1 Condition before treatment oil colours. The paint layer imitates the The first example is the intervention conclude there is no generally is used. By adding pigments to the When The Head of Christ was first surface of glazed terra cotta. of the 1990s on a clay Sarasvati statue accepted protocol to selecting mixture, we matched the colour examined, it was found to be in overall 2.1.1 Condition before treatment from the Todai-ji Buddhist temple in materials for interventions on and achieved the satin look of the poor condition. It was broken into Examination of the sculpture Nara, Japan. Traditional Japanese glue sculptures made of unfired clay. original surface of the paint layer. The four pieces and it had also suffered before the treatment revealed that made of seaweed or its mixture 2.1.3 Materials and methods use of this mixture renders possible damage from water (Fig. 4a). There clay core had suffered from multiple with synthetic resin was used for The conservation treatment remodelling and colour reintegration were three holes on the forehead mechanical injuries. Parts of it have consolidation of clay and paint layers. of St. Agnes encompassed local to be done in a single step. from water dripping, one reached been broken and lost, e.g. the tip of Moulded missing parts were adhered consolidation of the clay, cleaning of We softened the wax-resin mixture through the entire cast (Fig. 4b). the palm branch the Saint is holding with clay soil mixed with addition of the painted surface, filling of the cracks with the heated spatula. With the Next to the right side of Christ’s in her right hand (Fig. 2) and some different aggregates. [3] and remodelling of the missing parts. additional use of a scalpel, it was easily face, there was a cavity, also made by pieces at the back of the figure. The Paraloid B72 was used for the A damp cotton swab was used to levelled and modelled. The missing tip water flowing over the surface. 2.1.2 Survey of the described consolidation and bonding in the eliminate the soiling from the painted of the palm branch was modelled out in The surface was covered with interventions intervention on a Nodding Figure in surface. this manner (Fig. 3). There was no need heavy deposits of dirt, dust and other The rarity of sculptures in clay results 1996. [4] Remodelling of the missing elements for additional retouching or coating. pollution materials. from the nature of this material. Clay The Aquazol 500 was introduced in of the sculpture was possible because 2.2.2 Materials and methods is a material susceptible to humidity, the intervention on a Chinese Figure of the existence of a plaster cast and 2.2 CONSERVATION-RESTO- The conservation treatment RATION TREATMENT OF THE Figure 4a (upper) • Alojz Gangl, Head of Christ, plaster cast, and that is why most of the sculptures in 2001, where it served in various a bronze version of the same statue. encompassed reassembly of the before treatment; and made of clay are fired. stages of the treatment, also as a Before remodelling we used Paraloid HEAD OF CHRIST, PLASTER broken parts, consolidation of 4b (bottom) • Damaged support: holes on the forehead. (© National Gallery of Slovenia, photo: M. [5] Restorations performed on similar consolidant and filling medium. B72 to consolidate the clay and to CAST deteriorated areas, cleaning of the Vuga) objects are rarely documented and Ethyl silicate was used for the make a barrier coat. surface, filling of the cracks and a survey shows a very wide range of consolidation and epoxide resin In selecting materials for the loss The following two sculptures share remodelling of the missing parts. materials used. Some similar cases with glue for the bonding a sculpture by compensation and the filling, the the motif but they are made of two Some of the dirt was loosely held to the focus on binders and consolidants Mastroinanni in 2005. [6] specific, water sensitive nature of clay different materials. the surface and could be mechanically
100 Martina Vuga Filling and colour reintegration in a single step 101 Figure 6 • Alojz Gangl, Head of Christ, plasticine, before
Figure 5 • Alojz Gangl, Head of Christ, plaster cast, after treatment; piece of plaster supporting the treatment. (© National Gallery of Slovenia, plasticine modelling (© National Gallery of photo: M. Vuga) Slovenia, photo: M. Vuga)
removed with a soft brush and low In a complex procedure, the After the sculpture was treated at The plasticine taken from the back power vacuum cleaner. Some dirt reassembled head was flipped and the back, the face was finally put back was softened by adding white spirit could not be mechanically removed. the wooden board was temporarily between the plasticine parts on the and it was used to fill the missing The plaster was additionally cleaned removed, so we could reach the original wooden board. The patches parts and cracks on the front side of by using cotton swabs damped in sculpture from the back.The temporary of Japan paper were removed. the sculpture (Fig. 8). mixture of water and ethanol. support was then withdrawn. Firstly, we The Paraloid B72 was used as a added some plaster at the back of the Figure 8 • Alojz Gangl, Head of Christ, plasticine, after treatment. (© National Gallery of Slovenia, photo: B. Salaj) consolidant for the support and as a areas where the plasticine modelling barrier coat. prior to treatment and also due to would have begun to sag. A temporary was not supported, to enable later Procedures and materials for plasticine, the material that is not very support to these parts from the filling of the missing plasticine at the reattaching and filling followed the frequent in conservation-restoration underside enabled reassembling of front (Fig. 7b). traditional plaster sculpture technology. practice. the sculpture. Putting all the pieces A small amount of the plasticine The broken parts were glued 2.3.1 Condition before treatment together revealed that only a few which did not contribute to the together by means of PVAC emulsion When the head was first examined fragments were missing. There was form or stability of the sculpture and glue [7]. Losses to the plaster were prior to treatment, it was found to no need to glue the parts together as represented a certain surplus was compensated using plaster of Paris be in overall poor condition. It was they fitted nicely (Fig. 7a). removed from the back. (gypsum plaster), modified with the broken into 19 pieces and fragments. Damaged areas and larger cracks addition of animal glue to slow the Only the low part of the relief had a were temporarily covered with a layer Figure 7a (left) • Alojz Gangl, Head of Christ, plasticine, setting time. Inpainting of plaster tight grasp onto the wooden board. of Japanese paper and methylcellulose after reassembling, and 7b (right) • during fills was finally executed after the A piece of plaster of Paris supported in water solution. the making of a plaster support from the backside. (© National Gallery of Slovenia, cure by the application of Schminke the plasticine modelling underneath photo: M. Vuga) watercolours (Fig. 5). in the upper part of the head (Fig. 6), while the facial part was hollow and 2.3 Conservation-restoration without the support. As the plasticine treatment of The Head of Christ, with its slightly sticky character attracts plasticine and easily catches dust and other dirt The Head of Christ (40 x 28.5 x from the air, the surface was covered 13 cm), 1933, from the Bela Krajina with deposits of dirt. Museum (inv. no. U2) is made of 2.3.2 Materials and methods plasticine (undefined synthetic Regarding the conservation modelling material coming from treatment the first goal was to exploitation of petroleum products) reassemble the sculpture. Several on a wooden board. parts, e.g. the part of the eyes, did The treatment of this sculpture was not have any sturdy plaster support, more complex due to its condition so that during the reassembling they
102 Martina Vuga Filling and colour reintegration in a single step 103 Similarly, as in St. Agnes’s, also here time consume, it can be sometimes which would be further complicated Lorenzo Bernini’s Angels, preparatory balanced combination of knowledge, the filling and the colour reintegration easier and with better results. by the constituent material, plasticine. models made of unfired clay have experience and ingenuity. were done in a single step. In a single step procedure of filling and Single step method was successfully attracted my attention since the As it was already mentioned the colour reintegration the coloured wax applied in this case too. beginning in 2010 [9]. During the white spirit solubilizes the components resin mixture was used in the case of St. Because we dealt with so different treatment, different materials to be used of the plasticine. Its softness also does Agnes. The mixture is a system without materials, all requirements for the were also analysed. A specific cellulose- not permit the repeated action with water, colour of the mixture does not reversibility of the materials and based impasto was developed and used cotton swabs, so the surface cleaning change after hardening and the filling treatments were not always fulfilled. for the consolidation, adhesion and was limited to gentle and careful does not shrink. Applying and modelling We tried to follow the principle of structural reconstructions of unfired cleaning with water. method is very easy, working is faster. re-treatability, keeping the options for clay sculptures. It was not until 2016 REFERENCES Reassembling and filling were The final form, colour and shine future treatments open, which was by that the Vatican Museums published [1] APPELBAUM, Barbara – Conservation [8] Mavec in bron v kiparstvu. In: Likovni successfully applied and the sculpture blended well with the original surface. far more realistic in our case. [15] a short report on the restoration treatment methodology. Oxford: Butterworth odsevi (Kiparstvo), Ljubljana: Zveza kulturnih regained its integrity again (Fig. 8). In terms of the achieved aesthetics, treatment of Bernini’s Angels [10]. For Heineman, 2007. organizacij Slovenije,1990, pp. 106. A the result was very satisfactory in St. 4. CONCLUSIONS appropriate conservation interventions [2] BREŠČAK, Mateja – Alojz Gangl, [9] Personal communication with Sculptor On His Way to Modernism 3. RESULTS AND DISCUSSION Agnes’s case. on sculptures made of unfired clay in , Ljubljana: Fortunatina Cuozzo, conservator restorer National Gallery of Slovenia, 2010. from Vatican Museums in 2012 and Plaster and other water-based fillings In less than three years, about the future, we still hope for additional [3] Personal communication with Satoshi Information on exhibitions. Available at: http:// The main visual component of an for porous materials change the 40 sculptures were treated to be information on the newly developed Yamato, Agency for Cultural affairs, Tokyo, Japan www.museivaticani.va/content/museivaticani/ (achromatic) sculpture is its form. The colour when the water evaporates. In exhibited. The quantity of artworks, material. [4] dE VRIES Bouke, The Conservation of a en/eventi-e-novita/iniziative/mostre/2016/ colour of the constituent material the case of a plaster Head of Christ, the different constituent materials and Plaster objects also attract interest Vandalised Nodding Figure, Royal Pavillion, giovan-lorenzo-bernini-e-i-suoi-modelli.html usually determines the colour of the filling and the colour reintegration in a the fact the treatments would need again and are revalued after years of Brighton. In: ICOM Committee for Conservation, [10] Giovan Lorenzo Bernini e I suoi Mo- single step would be quite difficult, as sculpture. to be accomplished by the exhibition having been underestimated. With 11th triennial meeting in Edinburgh, Scotland, delli, Il restauro. Available at: http://www. The final appearance of such the final colour of plaster alters after deadline were challenging. the renewed interest, new studies are 1996: Preprints, London, James & James (Science museivaticani.va/content/dam/museivaticani/ sculptures and the effect of the texture cure so it is very difficult to predict Approaches presented in this focused on different conservation- Publishers), 1996, pp. 857-862. pdf/eventi_novita/iniziative/mostre/2016/09_ of the material itself, e.g. porosity of a it. Plaster casts can be filled with the paper were inspired on some similar restoration procedures for plaster [5] VENTIKOU Metaxia, A Chinese figure mostra_Bernini_modelli.pdf plaster or satin look of the plasticine similar materials, but they still need at documented interventions, but it was objects today. New cleaning methods in Unfired Clay: Technical Investigation and [11] ANZANI M., BERZIOLI M., CAGNA would be harder to achieve by least some minor retouching. quite difficult to find similar cases for have been developed [11]. There is Conservation Treatment. In V & A Conserva- M., CAMPANI E., CASOLI A., CREMONESI P., retouching with a brush and a paint. Single step procedure was also used the materials that are quite rare in some research work going on also on tion Journal, N. 38, (2001), pp. 10-13. FRATELLI M., RABBOLINI A., RIGGIARDI D. So in some cases, two (final) steps in the case of the Head of Christ made sculpture in the first place. We also proper consolidants [12]. [6] RAVA A., BERTONE V., Problemi di – Use of Rigid Agar Gels for Cleaning Plaster of the conservation restoration of plasticine. The original material taken did not always apply or consider the Dissemination of information on restauro della terra cruda: il caso della scultura Objects. Saonata: Il Prato, 2008. treatment, the filling and the colour from the back of the sculpture was past experience, but it is crucial to and for appropriate conservation di Mastroianni alla Galleria Civica d’Arte. In: Lo [12] TISLOVA, Renata; ZITKOVA, Petra; reintegration can be merged in one. used to fill minor missing fragments follow past and the new knowledge interventions on different materials Stato dell’Arte 3: III congresso nazionale IGIIC, DOUBAL, Jakub. – Consolidation treatments Nardini Editore, 2006, pp. 208-15 for gypsum plaster models. In: International Replacing the missing material by a in front. With the chosen material we in the conservation-restoration field. can improve the way conservation [7] HUDOKLIN ŠIMAGA Vera, Praktična Conference abstracts: Uniqueness and (coloured) fill composed of a similar also avoided the problematic visual Unfired clay objects are still a great interventions are carried out, but kiparska tehnologija, Navodila za vaje, Ljublja- multiplication: plaster as an art material. material or even using the original blending of the original and material conservation-restoration challenge. in practical work, decisions are not na: Akademija za likovno umetnost v Ljubljani, Bruxelles: KIK IRPAA, EPITAAF, 2017, p.16. one can be an advantage in terms of added in the restoration process, The restoration treatment of Giovanni simple and should be made in a 1973, p56.
104 Martina Vuga Filling and colour reintegration in a single step 105 Keywords
Albumen; Collodion; layers; ‘Fake Baryta’ support; RETOUCHING METHODS ON Photographic material. silver chloride printing-out papers THE ALBUMEN AND (POP) were devised in which a halogen absorber such as citrate was deliberately added to the emulsion.’[1]. COLODDION PHOTOGRAPHIC Collodion photographic prints 1. INTRODUCTION prevalent from 1855 to about 1881. PROCESSES FROM THE It is a three layer prints with binder Albumen photographic prints is a and Baryta layers; paper fibers are historical photographic processes partially or completely obscured CROATIAN STATE ARCHIVES that was created around 1850 (Table in highlights (Table 2). Collodion Figure 1 • Albumen prints, cross section 1). It is a two-layer photographic prints have a warm or purple image process that contains paper as a base, resolution, good reproduction of hue; paper fibers are invisible and Binder layer is present (egg white fine details, deep rich brown image sometimes partially visible, no image binder) without Baryta Layer; in tone. Over time or in bad storage fading, no mirroring. There are two Martina Bagatin these photographic processes paper conditions image will fading and types of collodion prints: matte Senior Paper and Photograph Conservator | Croatian State Archives – Zagreb, Croatia | [email protected] fibers are visible through binder binder will crack. ‘The albumen print, collodion and glossy collodion positive in highlights, and the photographs which superseded the salted paper sometimes with gold and platinum have some surface gloss (Figure 1). print in the mid-1850s, was a print- toning. Whether the mat or glossy Main characteristics on the albumen out process, and here the albumen depends on the amount of binder to prints are: thin paper support, high may itself act as a scavenger for the be applied. Mat collodion have less chlorine. Much later, around the turn binder while glossy collodion prints ABSTRACT of the century, commercial gelatin/ have more binder applied.
This paper describe the approach and challenging stages in the retouching methods ethanol/water in different ratios. This and treatments of albumen and collodion photographic prints associated with a collection represents some of the part of the collections of the Croatian State Archives, which dates from the early earliest published images in this region Table 1 • Composition Albumen print 19th century. Photographs where studied using microscopy analysis to assess and offers a lasting contribution to our SUPPORT BINDER IMAGE the layers in their painted surfaces, included photographic documentation. The understanding of Croatian cultural photographs exhibited image fading, surface scratches, tears, and cracks. They heritage. Purpose of the research is to Paper Albumen Silver suffered serious mechanical damage - abrasions, scratches, tiny cracks overall and determine the different approaches to sometimes missing sections. The materials could not be handled without damage retouching methods from the different Table 2 • Composition of Collodion print and conservation treatment was mandatory. The photographs were surface cleaned; photographic processes, constant stains were reduced with solvents. Damaged edges were consolidated and tears problem-solving and innovation SUPPORT PAPER COATING BINDER IMAGE mended using Japanese paper and wheat starch paste. For the both prints was used given their fragile condition, complex Paper Baryta Collodion Silver ‘fake Baryta’ support. Retouching is made using Schmincke water colors used with structure and enormous significance.
107 Figure 5 • Fake baryta coat and retoruching on the albumen print Figure 2 • Cleaning with solvents Figure 3 • Mending, using starch paste Figure 4 • Preparing Fake baryta support
1.1 Deteriorations on the includes the time of creation of of the photographic material. It was it must be resistant physically and approach for the retouch is made retouch was introduced. It is not photographs the photographic technique, the decided first to take the approach chemically to the chemical processing using Schmincke water colors, used easy to achieve a certain tone, Before selected photographs submitted dimensions, the historical passage, and methods in order to reduce and required to produce the silver image. with MC (metil cellulose) in water, and especially after the colour is dry. So to the Croatian State Archives and the description of the state of stabilize the resulting mechanical and The record obtained should keep ethanol/water in two different rations: it is important to do more tests, suffered several different types of the photographs, access is made to chemical damages. The photographs a long time if properly processed 1:1 and 2:1. Ethanol by its nature and and determine the right colour. damages: mechanical and chemical the identification of photographic were surface cleaned using wet and and then stored under optimum composition has a tendency of drying This is about monochrome colours damages. Mechanical damages where techniques to confirm the process. dry methods; stains were reduced conditions. This has been a concern of and evaporation. The ratio of ethanol because albumen and collodion are the secondary support was acid Identification is made by visual with solvents, applied locally. In the industry from the earliest days to to water depends on how much it monochromatic. Apart from colour, and brittle (prints that are mounted examination to view the surface of the that case, first step was cleaning. the present. Some knowledge of the wants to achieve the speed of drying it is important to achieve a matte on acid paperboards), the surface photographs: microscopic examination Photographs were dry cleaned from history of photographic paper making in the retouch. Sometimes due to the or glossy effect, with respect to the scratched, tears, cracks and folded which contains analysis of elements dust, and the wet cleaning of glue will be helpful to the photographic fragile and damaged structure of the original photographs. If missing a along the edge; Chemical damages (XRF) and organic analysis (ATR- residues by using the solvents (Figure conservator in caring for early photograph, it is necessary to quickly large part of the photography is – fading in the lightest image areas; FTIR). Both examinations consist 2). Soft fabrics were used and soft and contemporary photographic dry. Additionally, the composition necessary to tone the paper that is they were severely stained from identify the chemical elements brushes for dry cleaning and acetone artifacts.’[2] due to ethanol helps to achieve a later used as filler. Approach is the adhesive tapes and other materials. present in the layers of photographic and 1: 2 ethanol and water for solvent Fake Baryta layer was used for the matte effect on certain photographic same as in the original preparation of It was decided that is mandatory images in order to resolve the possible cleaning with cotton pads. After collodion photographic process: A processes. the photography: preparation of the that the photographs must be doubts remaining after the visual cleaning, a starch paste and Japanese glossy collodion print is a three-layer support (paper coating and binder/ conserved - restored before they are examination. Unlike XRF analysis, paper was used to repair the baryta print comprised of a paper support 3. RESULTS AND DISCUSSION or not), and the colour is applied stored in storage space, in order to the FTIR spectrometer determines layer on the paper support (Figure with a baryta layer, collodion binder, (Figure 5). Sometimes is really difficult preserve the stability of photographic the photosensitive layer (cellulose, 3). ‘It was recognized early in the and a silver image. The surface finish Retouching methods on the to strike the right tone because processes-the issue of stability and albumin, collodion, gelatin ...) and development of the photographic ranges from semi-glossy to glossy due albumen and collodion photographic photographs regardless of storage longevity. ‘This work includes an subsequent interventions such as process that there was a relationship to the thick baryta layer. Baryta layer processes are made due to provide conditions tend to change colour investigation of methods to restore toning, painting or applying different between the stability of the processed may be tinted, exhibiting an overall stability and long –term preservation. and tone colours. ‘Conservators photographs produced by historically coatings on the surface of the photographic image and that of the pink, blue, or green tint. A collodion Since the surface layer of the image do not have miraculous treatments early processes’[3]. Before any photographs. Due to identification, paper on which it was formed. For print may also have a glazed surface, has faded, it had to be fixed – that reverse the action of time and conservation treatment photographs an adequate method of conservation, this reason, the paper used in printing resulting in a high-gloss finish. Most stabilized. The use of methyl cellulose restore photographs to their original where studied using microscopy to restoration and retouching of the photographs and the material that glossy collodion prints exhibit a subtle helps to connect the final layer and conditions. Misguided efforts to do assess the layers in their surfaces, photographs is determined. comes in contact with them such as iridescent effect on their surface when image layer of the photographs, so can compromise the evidence of and includes documentation photo mounting board, negative enclosures, viewed under fluorescent lighting. especially if there are residual toning the age or the pattern of use of an documentation before, during and interleaving paper, etc, must be of the Image tones range from reddish- and coating, as in some photographs. object.’ [4] after treatment. 2.1 Cleaning of the photographs and appropriate content and quality. brown to purple or violet brown. It is always essential to use compatible Fake Baryta support Photographic paper support must For the preparation of Fake Baryta, and reversible materials. 4. CONCLUSIONS 2. MATERIALS AND METHODS Certain measures are taken on the be as durable and stable as possible. it was used: kaolin, barium sulphate basis of identification and testing to It cannot adversely affect the silver and ‘Aquazol 200’ (Figure 4). After 3.1. Retouching of the photographs The main goal was to present a After the detail documentation that increase the protection and durability halide emulsion coated upon it and the preparation of the Fake baryta, After the Fake Baryta was prepared, gradual approach to conservation
108 Martina Bagatin Retouching methods on the albumen and coloddion photographic processes from crotian state archives 109 and restoration of photographic damage, [8] improper handling causes material, including the retouching mechanical damage (is mandatory methods as the main and final act. This use of cotton gloves); allow the use is because photographs are complex of copy for various research; use of as an object, always composed of lending at exhibitions. Cool storage several layers, and the most common (below 10°C) is recommended, and cause of deterioration is factors colder is better unless frequently such as poor handling and storage used (frequent and sudden changes conditions which affect all layers [7]. in temperature and relative humidity This results in mechanical damage, could result in physical stress to the damage to the binder (crack), and object). Allowable Fluctuation: ±15°C; surface damage. Also, an additional ±5% RH [9]. problem is caused by previous non- professional repairs. When everything is taken into account, the retouch is part of the integral process, and the methods vary according to photographic technique. In this case, the binding layer (Fake baryta support) is the most sensitive part REFERENCES of the retouching, because without [1] WARE, M. Mechanisms of image first hundred years, 1840-1940. Ash & Grant the proper binding layer, color and deterioration in early photographs. Ltd., London. 1978. pp. 102-110. pigment stability is questionable (over Science Museum and National Museum of [6] Conservation of Photographs. Kodak time or in bad storage conditions Photography, Film & Television. London, UK, Publication No. F-40. Rochester, NY: Eastman image will fading). With all this, it is 1994, pp.16. Kodak Company, 1985. [2] Eastman Kodak Company. Conservation important and almost mandatory [7] COPEDE’, M. – La carta e il suo degrado. of Photographs. Library of Congress Catalog Firenze : Nardini Editore, 2003. to have a good environmental Card No. 84-80244, 1985, pp.38-40 [8] HENDRIKS, Klaus B., KRALL, Rudiger conditions: temperature control and [3] HESS NORRIS, D., GUTIERREZ, J.J. – – Fingerprints on photographs. Topics in relative humidity, control of impurities Issues in the Conservation of Photographs. Photographic Preservation, Volume 5. (1993), and air pollution and exposure The Getty Conservation Institute, Los Angeles, pp. 8-13. to light. Priority in preserving and 2010, pp. 8-15 [9] UPTON, M. S. & PEARSON, C. – protecting photographs is the [4] LAVEDRINE, B. Photographs of the Past. Disaster Planning and Emergency Treatments first. Creating a Handbook for a The Getty Conservation Institute, Los Angeles, in Museums, Art Galleries, Libraries, Archives photograph collection it will help a 2009, pp. 302 and Allied Institutions, Canberra. (1978) lot; fingerprints can cause chemical [5] COE, Brian – Color Photography: The
110 Martina Bagatin Nome artigo 111 Keywords
Removal of retouchings; Gamblin Conservation Colors; Filing; DEALING WITH UNSUITABLE Texture; Retouching; RETOUCHINGS: THE STEPS Beva Gesso-P. TOWARD SUCCESSFUL 1. INTRODUCTION REINTEGRATION Ecce Homo is a Baroque oil painting on canvas painted by Slovenian painter Leopold Layer. It depicts the standing Ana Oblak figure of Jesus Christ wearing a red
^ cloak and a crown of thorns, a motif University of Ljubljana, Academy of Fine Arts and Design; Erjavceva cesta 23, 1000 Ljubljana-SI; E-mail address: [email protected] from the Gospel of John (Fig. 1). The painting is kept in the National Gallery of Slovenia, located in Ljubljana. The painting’s unsatisfactory condition can partially be attributed to previous
ABSTRACT
Restoring a painting, which has already been subjected to previous conservation work, material was suitable for use on has often proved to be a challenge. According to ethical conservation principles, previous larger areas, allowing for a thin and treatment is part of the artwork’s history, which should always be taken into consideration, layered application. Imitating the since it reveals what happened with the painting in the past. However, improper treatment texture of the surrounding paint in the past can alter the readability of the painting. layer is key for integration of the Trying to find the course of minimal intervention, which would sufficiently integrate fills with the original paint layer and previously retouched areas with the original paint layer, was one of the problems of further retouching. restoring an oil painting from the Late Baroque by a Slovenian painter. The painting showed The condition of damaged areas and signs of support and paint damage, which were most pronounced along the edges of the their treatment, with an emphasis on painting. The unsuitable retouchings were especially prominent in these areas. structuring the surface with fills, is During conservation-restoration treatment, the biggest concern was how to remove the discussed in this paper. At the end, discoloured and inappropriately applied materials and which techniques would pose the practical aspects of the materials
least further stress on the original. After the retouchings and fills were removed, numerous and techniques are presented and Figure 1 • Leopold Layer, Ecce Homo, oil on canvas; 156.5 cm × 92.5 cm. National Gallery of Slovenia, losses of the paint layer and canvas were found. It was important that the selected filling discussed. Ljubljana, inv. number 514. Painting before conservation-restoration procedures.
113 conservation procedures. The original the painting. They had darkened and Figure 4 • Retouchings removed from canvas and Figure 5 • Silicone imprint mould of the paint surface for texturing filled in linen canvas was damaged along the discoloured in the ageing process. paint layer using different methods. areas. edges of the painting and had been Additionally, the texture and level of the lined. retouchings did not match the original entire painting. Further effort was the material and adherence to the 2.2. Reintegration of paint losses The painting was stretched on a paint layer. Added materials were therefore required to determine the paint surface. The fills softened only Remains of previous conservation wooden strainer with fixed corner frequently laid over the original paint optimal course of action. under longer exposure to water in procedures were carefully removed, joints and was mounted on the layer (Fig 2). Some of the retouchings The retouched areas were initially gelled form. Different aqueous gelled which revealed large areas of missing strainer with nails through the lining were applied directly to the original studied. The materials proved to systems were tested and had a similar paint layer and damage of the canvas. canvas, because the edges of the linen support (Fig. 3) or on the added be soluble in polar solvents, which effect. They proved to be suitable only Tears were mended and inlays added original canvas were missing. The lining canvas, and some retouched also affected the original red paint. for areas where fills were present in into the areas of missing canvas. canvas was thinly woven (7 to 10 areas had an intermediate layer of filling Considering the sensibility of the thin layers on the original paint layer. Choosing a suitable filling material threads per cm) and not a reliable material. original, an attempt to reduce the Free water was avoided when removing was essential. The filler had to be carrier for paint layers. Evidently the state of the materials polarity with the addition of a non- fills from the canvas, because of the elastic, allowing thin application and Lighter and darker stains were used in previous conservation treatment polar solvent was made. To prolong risk of shrinkage and deformations good texturing. Imitating the original noticeable on the added canvas, was not acceptable. For this reason, the time of action of the solvent on of the linen support, which could texture is key for good integration, which were assumed to have been removal of all the obtrusive materials the surface, a gelled mixture was used. result in damage of the picture layers. especially in large areas of missing caused by mould. The existing varnish and reintegration of lost paint was Figure 2 • Filling material and retouching applied This enabled us to apply solvents Therefore further tests with heat paint layer. Known for its good over the original paint layer. was uneven and noticeably darkened. planned. strictly to the desired areas. With the were conducted. Using a hot air flexibility and shaping ability, ® Beva There were areas of damaged paint help of magnifying glasses softened blower the fills were softened and Gesso-P met our demands, as it layer, some of which had already been 2. MATERIALS AND METHODS retouchings were carefully removed then carefully removed with a scalpel. seemed particularly suitable for filling filled in and retouched in the past. with a scalpel. Residues of the gel and The goal was to safely remove as larger areas [4]. Scientific research revealed the 2.1. Removal of added materials retouchings had to be removed with much of the filling material as possible, Beva® Gesso-P was applied with a sequence of paint layers and identified As mentioned before, the original solvents in free form [2]. to reach an appropriate level for a spatula directly from the can. Gaps the majority of the pigments and paint layer was over-retouched in In most cases the areas with removed new layer of fills. were filled in and levelled. Excessive adhesives used. The samples were some areas. Solubility tests revealed retouchings revealed a layer of fills, A hot air blower was also used to material could easily be removed from analysed by optical microscopy, high sensitivity of the red surfaces also applied over the paint layer. The remove larger areas of retouchings the paint surface with low aromatic ultraviolet fluorescence microscopy, (mainly the red cloak). When testing filling material was a sturdy mixture applied directly to the canvas (Fig. hydrocarbon solvents. An imprint Fourier-transform infrared spectroscopy the possible cleaning agents, removal of silicates, calcium carbonate and oily 4). Compared to using solvents, this mould of the paint surface texture was Figure 3 • Retouching applied directly to the (FTIR) and Raman spectroscopy (RS). of the red pigment cinnabar was original linen support. tempera. Analyses have also shown method proved to be more efficient. prepared using Zetaplus™ silicone The original and the added materials detected [1]. This instability presented the presence of vegetable gums, There was, however, a possibility of (Fig. 5). The silicone was applied to differed in composition. a major threat to the preservation waxes, starch and pigments [3]. damaging the canvas when using a the undamaged paint surface, pressed of the original paint layer. These Attempts were made to remove scalpel. Heat could also soften and onto the painting with a roller and 1.1. The state of retouchings circumstances hindered our attempts the filling material. Using only a damage the original paint layer. Great left to dry [5]. A few 2 mm thick Old retouchings were some of the to remove materials that were mechanical approach (scalpel) was caution was therefore necessary when patches were made, approximately visually most intrusive elements of disturbing to the perception of the not enough due to the hardness of using a hot air blower and a scalpel. 15 x 20 cm in size. The air bubbles
114 Ana Oblack Dealing with unsuitable retouchings: the steps toward successeful reintegration 115 Figure 6 • Fills, structured when dry with heat and Figure 7 • Retouching the painting: finalising with pressure. Gamblin Conservation Colors.
were sometimes problematic, as they prevented detailed imprinting. issues can disturb the conservation – to be more fitting, to achieve an got caught between the surfaces and After reaching the paint layer restoration process. aesthetically suitable match. caused disfigurement of the imprint. level and structure, the colour In our case, the sensitivity of cinnabar Retouching is the final stage of The mould was marked in such a reintegration followed. The base layer paint and weak, deteriorated woven reintegrating paint losses. At that way that its correct orientation was was done in gouache to achieve a fabric support were recurring issues point a painting re-establishes its obvious during use. suitable hue for the following layers. throughout the entire conservation character and can be perceived as The fills were textured before Brighter and cooler hues were used. procedure, while trying to safely a whole. Still, colour reintegration is drying completely. The mould was A 10% Paraloid™ solution in acetone remove obtrusive elements, added just one of many steps to achieving pressed on to the surface and was applied only to the retouched in during previous conservation a satisfactory appearance of the filled weighed down. It was removed after areas, to prevent absorption of the treatments. Several methods and in areas. The choice and preparation the fills were dry enough to be easily first varnish layer[6] . materials were tested to find the of the filling material are of great separated from the silicone. In cases The stretched painting was varnished most suitable course of action. importance. Fills have to match the where the imprint was not clear, the with a 20% solution of Laropal® A While removing retouchings, great texture of the original paint layer, so fills were textured again when dry 81[4]. The retouched areas were precision was required. The original that uniform presence is attained. In using heat and pressure (Fig. 6). This finalised with Gamblin Conservation red paint layer was susceptible to our case, satisfactory results were was achieved using a heating spatula Colors, mixed with ethyl lactate (Fig polar solvents in which the added achieved when using a silicone pressed on to the silicone mould. 7). Retouchings were built gradually in materials dissolved. To soften the mould for imprinting the texture To achieve sufficient texturing the tratteggio technique. First the smaller over-retouched areas, a mixture of using a hot spatula. When using temperature had to be raised to lacunas were treated, then the larger polar and non-polar solvents was higher temperatures, great caution approximately 120 °C. ones. On the top section of the used. A hot air blower and a scalpel is necessary to prevent any damage While the described method was painting, the biggest missing segment were used when removing fills and to the paint layer. For this reason, the effective, the silicone mould started to had to be reconstructed. Larger areas retouchings. Pemulen® gel was used described method is more suitable deform after being used for a longer of retouchings were also required on for softening the fills applied to the for texturing larger areas. time. We concluded this to be due to the edges, where new canvas was original paint layer. Different methods its susceptibility to the solvents used added. were combined, depending on the 4. CONCLUSIONS in Beva® Gesso-P. The solution was to area of the painting, to achieve the simply swap the mould with another 3. RESULTS AND DISCUSSION desired condition. The difficulties that were one, until the solvents evaporated Inappropriate materials were encountered when dealing with and the first mould regained its Before starting a conservation- removed, as they were disturbing the remains of previous conservation original form. Using an interlayer restoration treatment a lot of planning painting’s visual appearance and its treatments were resolved by balancing (silicone coated polyester film) wasn’t is usually done to ensure a smooth composition. These materials were preservation of the original paint an option due to its thickness, which workflow. Nevertheless, unforeseen substituted with ones we concluded layer and removal of visually obtrusive Figure 8 • The painting after conservation treatment.
116 Ana Oblack Dealing with unsuitable retouchings: the steps toward successeful reintegration 117 elements. As such circumstances require compromise, it is necessary to decide what interventions are acceptable in achieving a better visual appearance of the painting. Although conservators act in order to preserve original materials, in such cases they cannot overlook the aesthetic aspect of the artwork. Regardless of striving to attain minimal interventions, such practice is not realisable in some cases.
REFERENCES [1] NÖLLER, Renate – Cinnabar reviewed: Layer, Ecce Homo: Poročilo naravoslovnih [Accessed 2016] characterization of the red pigment and its preiskav, Ljubljana, 2015. [6] MARQUES, Raquel, CARLYLE, Leslie - Further reactions’. Studies in Conservation. Vol. 6/2 [4] BEVA® Gesso Description and Developments on the Use of Beva® Gesso-P InfIlls (2015), p. 79, 82. Instructions for Use. Available at: Talas online, and Solutions for Reintegration of a Large Loss. In [2] CREMONESI, Paolo – An approach to http://talasonline.com/photos/instructions/ III International Meeting on Retouching of Cultural cleaning and removal of film-forming materials. Beva_gesso.pdf[accessed 2016] Heritage, Postprints 2015, p. 163-172. Ljubljana: ZVKDS RC, 12. May 2014. [5] Zetaplus, indurent gel catalyst for [3] KAVKLER, Katja, OBLAK, Ana, Leopold c-silicone. Available at: www.zhermack.com.
118 Ana Oblack Nome artigo 119 Keywords
Coloured filling, Acrylic dispersion, Inpainting, they are recognized to be problematic. [1] USE OF COLOURED SYNTHETIC Water-and-temperature-sensitive layer, Baroque painting 1.1 Types of losses on the Bergant FILLERS: THE CASE OF painting The painting had suffered from different types of damages, including ST NICHOLAS, A BAROQUE layer separation. 1. INTRODUCTION Severe losses, when both the paint PAINTING BY FORTUNAT the most complex colour effects. The and ground layers were missing, were Fortunat Bergant, a painter of colour effect is brought about by an most extensive. traditional Baroque technology, applied optically subtractive mixture of thin Those missing parts had been infilled BERGANT paint layers on a coloured ground with layers of paint (applied in contrasting in the past by hide glue-chalk fillers. extensive underpainting in cold or tones as a rule). Within the paint The old fillers whose structure or warm tones. The paint layer consists surface the thickness and number of level were not suitable were removed of several layers superimposed one paint layers vary. The painting has a (about 60% of filled surface). upon the other in a manner to achieve slightly granulated surface. In some parts of the background
Simona Škorja National Gallery of Slovenia, Puharjeva 9, 1000 Ljubljana, Slovenia; [email protected]
Figure 1 • Different types of losses Initial probes on the painting only colour layer separation could Abstract showed that the original reddish- be observed (only upper layers orange ground was highly sensitive to of the paint layer were missing). The paper presents the case of coloured synthetic fillers used to reduce a number chosen according to specific damages in water. Furthermore, in the past the Those shallow damages had been of colour retouching layers on the Baroque canvas painting St Nicholas by Fortunat the paint layer. Since synthetic fillers are painting had been lined with a starch- retouched in the past with thick oil Bergant (1721–1769). Temperature-sensitive lining and water-sensitive ground not as malleable as traditional hide glue paint. A darkened oil retouch which paint layers required different approaches to restoration technology, since the ones, various restoration materials could resin mixture which does not allow restorers in the National Gallery of Slovenia tend to use traditional hide glue fillers. be used on a single work of art. Coloured the use of thermoplastic fillers. had also had the function of filling Test samples were made with various synthetic materials mixed with water or fillings can already imitate the colours The stated facts were the reason was removed. It was necessary to find other organic solvents (e.g. alcohol or acetone), with inert always being Chalk from of the underpainting and consequently why different synthetic polymer fillers such a filler whose single application Bologna. The selection of added pigments depended on their dimensional response reduce the number of colour retouching were prepared and tested in the (extremely thin missing layer) would and high chemical stability. Samples were observed for dimensional response, layers. Therefore, the procedure also studio. Commercially manufactured also reproduce the surface texture of absorbency, colour, and surface finish. reduces water intake when gouache or fillers were not subject of testing as the original paint layer. Tests on various synthetic fillings confirmed the statement that fillings should be watercolours are used for inpainting. Old fillers which were not and chemical stability of added 2. MATERIALS AND METHODS case of larger-scale damages. But as completely removed also needed pigments. We definitely have to avoid noted in literature, evaporation cracks Table 1 • tested fillers; recipes and photos of samples in daylight and raking light further treatment – additional filling adding hygroscopic pigments, especially 2.1 Tested fillers can be filled with no effect on the SAMPLE/ RECIPE DAYLIGHT RAKING LIGHT in different level relations. Those earth pigments containing clay, such The advantage of some selected final strength and bond of the filler.[6] that were preserved were adapted as Umbras, Siennas, Ochres, etc. and synthetic materials is that they are Air bubbles are another disadvantage sample 1: through mechanical treatment to particularly Van Dycke Brown, Natural soluble in and miscible also with of synthetic fillers, especially acrylics; 7 g rabbit glue, soaked for 24 h integrate into the original surface. Iron Oxide and Veronese Green. [3] polar organic solvents (i.e. acetone, they can occur during the application 100 ml water 200 g Chalk of Bologna In the process of adding pigments alcohol), not only in water. On the and/or drying of the filler and they 1.2 Coloured fillings to a filler, Laura Fuster-López calls market they are available as water create an unsuitable, unwanted In view of the painter’s subtractive attention to Critical Pigment Volume dispersions or solids (Aquazol®). texture of the surface. sample 2: manner of applying a paint layer, it Concentration; the following equation The composition of acrylic Practical use and laboratory tests 10 ml Ares 33 10 ml water seemed reasonable to use coloured can be used: dispersions is not known in all details; of acrylic fillers have also shown 30 g Chalk of Bologna fillers. This sort of practice is also known PVC % = ( V pigment / ( V pigment undefined types of acrylates, bulking their considerable limitations from 19th-century technological + V binder)) X 100 agents, ammonia or ammoniated related to environmental changes of manuals. [2] Within the Slovenian If too much pigment is added it can compounds can be present as well temperature and relative humidity. sample 3: context, such practice is related to affect mechanical properties of a filler: as pigments, preservatives, emulsifying [3] For this reason the use of acrylic 10 ml Plextol® D 498, Deffner&Johann’s 10 ml water wax-resin fillers that were mainly used it decreases stiffness and strength, and and foaming agents, etc. On the fillers should be limited only to those 20 g Chalk of Bologna in restoration in the second half of the on the other hand it increases flexibility. other hand, the solid linear polyamide works of art which are exhibited in previous century. The surplus of pigments also results Aquazol® is of known composition, controlled conditions. In the process of filling the painting in lower dimensional response: fillers with no additional ingredients. [5] In our studio practical observation sample 4: of St. Nicholas the idea was to come become weak and fragile and tend to All selected synthetic materials tests were made for the following 10 ml Acrylic Emulsion D 498-M Lascaux close only to the colours of the crack, and consequently to fall out. [3] for fillers can be worked out with types of fillers: one sample of 10 ml water 20 g Chalk of Bologna underpainting or to reproduce mainly polar organic solvents (i.e. acetone, traditional hide glue filler, three the information it contains: the value of 1.3 Isolation of the filler alcohol), thus levelling, texturing samples of acrylic fillers prepared the light-dark contrast, the value of the After filling has been completed, an and removing excess material, even with water, and two samples prepared sample 5: cold-warm contrast. The aim was not isolation layer should be applied. The though they were applied as acrylic with acetone or ethanol, one of them 10 ml Acrylic Emulsion D 498-M Lascaux to completely recreate the quality of isolation layer creates the boundary water dispersion. being linear polyamide. 10 ml acetone 20 g Chalk of Bologna colour of the underpainting (or even between the filler and the layers that It is advisable that all synthetic All materials were prepared as 10% the final application of paint), but to follow. [4] The function of the isolation fillers be applied in a thin layer on a solution, with the addition of varied leave the surface sufficiently “open” is to prevent absorption of the binder previously dried up layer. The major amounts of Chalk of Bologna, Samson sample 6: (lightness and coldness of a hue) for from inpainting and to saturate the disadvantage is shrinkage caused by Kamnik as an inner [7], except for the the application of one or two layers of porous surface (as pre-preparation evaporation of water or solvents. hide glue that was prepared in 7% 10 ml of 10% solution Aquazol® 500 in ethanol 5 g Chalk of Bologna the final inpaiting. for the final varnishing) in the sense of Shrinkage ranges from a few percent solution, serving as a reference for its A very important issue to be achieving, as much as possible, uniform up to 50%, therefore the use of handling properties. considered is dimensional response absorbency all over the surface. structural support is required in the It is preferable to prepare fillers that
122 Simona Škorja Use of coloured synthetic fillers: the case ofSt Nicholas, a baroque painting by fortunat bergant 123 are fluid enough for brush application although some minor air bubbles can solution in ethanol. The advantage of The ratios of the pigments were provides a better isolation layer than in thin layers. Application with a appear during application in a thick this material is that is soluble in a wide decided by test mixing and drying the Paraloid B-72 for all samples. brush renders possible extraordinary layer. It dries quite quickly, certain range of solvents, including water. of coloured fillers. The process was The most hygroscopic fillers are the precision as to where and how much losses of volume can be observed The Aquazol® 500 has the highest repeated several times in the case of ones made with organic solvents, with of the filler is applied (it allows control comparing to hide glue filler. viscosity of all the tested acrylics, very “warm pigment selection” before the the Aquazol® 500 standing out. It over the thickness of application). Sample 3: the Deffner&Johann’s similar to hide glue fillers. It requires desired colour hue was achieved. demands substantial isolation before In contrast to hide glue fillers, more Plextol® D 498 has very good a really small amount of inner, only 5 inpainting. time is available for corrections mixing properties, but many air g, if we want to apply it with a brush. 2.3 Tested isolation materials because their drying time is longer. bubbles appear which remain on the However, the Aquazol® , suggested Two 10% solutions of different 3. RESULTS AND DISCUSSION With precise application we can avoid surface also after drying (undesirable as a substitute for hide glue fillers, materials were used for testing the problem of clouding which often texture). While still wet, it seems does not have equally good working isolation of the filler: organic shellac For the process of filling the painting occurs when surplus filler is removed like a hide glue filler, but after drying properties, also a certain loss of in ethanol (traditional use) and the in question, three different types of with a cotton pad soaked in a solvent. significant loss of volume is observed. volume can be observed. synthetic Paraloid B-72 in the mixture acrylic fillers were used after careful Two layers of the filler were applied Furthermore, it can be too elastic to of solvents of acetone and ethanol consideration: Ares 33 (sample 2), to sample models with a brush, after be levelled off with a blunt scalpel. 2.2 Pigments for colouring the fillers (ratio 1:1). Both solutions were applied Acrylic Emulsion D 498-M (sample 5), the first layer was already dry. The Sample 4: the aqueous mixture of To colour the fillers two mixtures of in two layers on all samples of fillers and Aquazol® 500 (sample 6). The Lascaux’s Acrylic Emulsion D 498-M Lascaux’s Acrylic Emulsion D 498-M pigments were prepared; a cold one which, however, were not coloured. fillers were coloured in accordance mixed with acetone is an exception; it has the best cohesion of all tested and a warm one. All selected pigments It should be taken into account that with the local tone of underpainting may become too dense to be applied acrylic fillers, but some additional were (pre)wetted in ethanol a day the addition of pigments may change (warm-cold and black-reddish), easily with a brush (sample 5). tests should be done. It has a minimal before the use for achieving better the porosity and absorbency of the depending on the area on which they amount of bubbles when still wet, mixing properties. The added amount surface. were applied. Sample 1: traditionally prepared hide but they disappear after drying. It of pigments was always below 0.4 g. Simple droplet tests of porosity Most of the fillers were applied with glue filler (as reference) which has dries slowly, again a significant loss of The “cold pigment selection” was were made, measuring the time of a brush in several layers. Application excellent working properties, stability volume can be noticed. prepared for the background of droplet penetration on the isolated with the brush enabled the imitation and reversibility [8]. In our case it Sample 5: the acetone mixture of the painting. A mixture of synthetic layer of the filler. The samples were of the granular structure of the requires too much water intake while Lascaux’s Acrylic Emulsion D 498- Ultramarin dark and Vine black (ratio photographed every 30 seconds for original colour layer. Thanks to precise it is applied and levelled. M becomes denser than aqueous ca 1:1) was added to the Ares 33 40 minutes and observed. application there was no need for Sample 2: Ares 33, Samson Kamnik solution, therefore it is more easily filler (sample 2) and the Aquazol® As expected, the shellac solution subsequent working on the fillers. (working properties similar to Primal applied with a spatula. The dried 500 (sample 6). AC 33, Kremer pigmente as it was surface becomes rougher than in the The “warm pigment selection” was available on the market about 10 case of the aqueous mixture, but it can prepared for other parts. The following Figure 3 • Detail of the filling and inpainting years ago) requires more inner than be worked out while the filler is still pigments were added to the Lascaux’s process; losses (1), filling with a brush other acrylic dispersions, but it is still semi-wet. Acrylic Emulsion D 498-M (sample 5) (2), levelling with blunt scalpel (3), Sample 6 isolation, one layer of guache inpainting within the safe range. The inner is : Aquazol® 500, Kremer prepared with acetone: synthetic Iron (4), mimetic, aquarelle inpainting made of one or two layers with (5) miscible well enough with the binder, pigmente was prepared as 10% Oxide, Vine black and Ultramarin dark. Figure 2 • Tested isolation materials on filler samples, UVF
124 Simona Škorja Use of coloured synthetic fillers: the case ofSt Nicholas, a baroque painting by fortunat bergant 125 Minor corrections were necessary at with a spatula does not allow such it was only semi-dry, which diminishes The deepest damages to the support I would particularly like to point up mechanical properties of individual the contact of the filled surface and the a high degree of precision as the the possibility of clouding. Another and the paint layer were filled with working properties of acrylic filler fillers for individual types of damages. original colour layer. The surplus of the application with a brush does. In this advantage of coloured fillers is in the the Aquazol® 500 in several layers. Ares 33 which can be applied in When using acrylic materials, we filler was removed with a blunt scalpel. case the surplus amount of the filler fact that the latter phenomenon is Because structural support was not extremely thin layers, thinner than in have to keep in mind, like with For the thinnest damages of was removed with acetone. Most of not as pronounced and disruptive as used, minimal cracks occurred, even the case of traditional hide glue fillers. all commercial products, that the paint layer the Ares 33 (sample the surplus filler was removed when in the case of white fillers. though the filler was applied in thin The advantage of colouring the fillers composition is trade secret and can 2), coloured with a cold tone, was layers. is that we can re-establish the formal be changed without notice. Therefore, used. The filler renders possible the All fillings were isolated with a 20% unity of the painting, thus the structural in the case of a new packaging, we application in extremely thin layers, solution of shellac, in the case of the level as well as the aesthetic level, always have to make previous tests with no air bubbles occurrence. Ares 33 two layers sufficed. In the almost in a single step. A coloured to check whether the material has Brushstrokes enabled the recreation areas of fillings with the Lascaux’s filler requires minimal inpainting (three preserved equal working properties of the appearance and texture of Acrylic Emulsion D 498-M (sample layers at the most), which also means before we use it on a work of art. the preserved original layer. Poorer 5) three layers of isolation were that we introduce minimal amount In any case, a regular, continuous use mixing of the inner with the binder necessary here and there. With the of material which is sensitive to light. of acrylic fillers, like all other synthetics was an advantage in our case, since Aquazol® 500 filler, the isolation was With the imitation of the colour of suitable for fillers, requires further this “fault” perfectly recreated the applied in five layers at the least. the underpainting the execution of the investigation, so careful consideration granular surface of the original paint Final colour integration was made final inpainting is less demanding both of their use on an individual work of layer. The use of a filler mixed with with one layer of gouache colours, in terms of the material and aesthetics. art is always necessary. water did not seem problematic for followed by individual emphases in The time of the inpainting execution it was not applied directly on the watercolours, in the sense of mimetic is considerably shortened, which saves support but on the lower layers of inpainting. time and, consequently, reduces the the original paint. costs of the conservation-restoration This filler also proved to be excellent 4. CONCLUSIONS intervention. for complementary modelling of old A special feature of the present case fillings where their level had been The use of synthetic fillers in the study lies in the fact that the choice of too shallow or where they had been works of art that are sensitive to the filler was dictated by the type of applied imprecisely. moisture and temperature is a good damages to the painting. According The filler Lascaux’s Acrylic Emulsion alternative because they enable the to available information from D 498-M, mixed with acetone (sample preparation, treatment, and possible industrial producers (Material Safety 5), was applied either with a brush removal of fillers in polar solvents Data Sheet), material composition in the case of minor and shallow which differ from water. Because of individual acrylic fillers is rather damages (in this case minimal amount of their properties which change similar, yet unknown in details to the of acetone was added to facilitate the with ageing it is advisable that the users. From this standpoint, it was application) or with a spatula in the works of art are stored in controlled reasonable to make good use of the Figure 4 • Drawing of the used fillers; Aquazol® 500 (sample 6), Ares 33 (sample 2), case of deeper damages. Application Lascaux’s D 498 M acetone (sample 5), white colour old, existing fillers. conditions. positive working, dimensional and
126 Simona Škorja Use of coloured synthetic fillers: the case ofSt Nicholas, a baroque painting by fortunat bergant 127 REFERENCES [1] FUSTER LÓPEZ, Laura – Filling. In HILL Dicembre 2012), pp. 42-54. STONER, Joyce; RUSHFIELD, Rebecca, ed. – [6] JAIC online; LOEW CRAFT, Meg; A. The Conservation of Easel Paintings. New SOLZ, Julie-Commercial viniyl and acyrlic fill York: Routledge 2012, pp. 586-606. materials. [2] FUSTER LÓPEZ, Laura; CASTELL Available at: http://cool.conservation-us.org/ AGUSTÍ, María; GUEROLA BLAY, Vicente, jaic/articles/jaic37-01-003.html (3 March 2017). ed. - El Estuco en la restauración de pintura [7] The composition of Chalk of Bologna, sobre lienzo. Criterios, materiales y procesos. Samson Kamnik: 59 % calcium carbonate, Valencia: Univ. Politécnica de Valencia, 2008. 37,8 % gypsum, 2,4 % anhydride, 0,7 % [3] FUSTER LÓPEZ, Laura; Loss flint, 0,1% dolomite. The results were compensation in paintings: Filling, 11th obtained by XRF-ThermoFisher Scientific, Masterclass, Casa-Atelier Vieira da Silva, Niton XL3t 900S-He. The measurements Lisboa, 2016. were made by dr. Matej Dolenec, [4] KNUT, Nicolaus, The restoration of Natural Science Faculty, University of Ljubljana, paintings, Cologne: Könemann 1998, pp. 253. november 2017. [5] DE LUCA, Daphne, BORGIOLI, Leonardo, [8] HUDOKLIN, Radoje; Tehnologija SABATINI, Luigia, VITI, Valentina- Manufatti materialov, ki se uporabljajo v slikarstvu, dipinti su support tessile, Reintegrazione njihova priprava, obdelava in uporaba, prvi del. delle lacune, Proposta di materiali alternative, Ljubljana: ALU, 1955, pp.161-206. Kermes, Anno xxv-Numero 88 (Ottobre-
128 Simona Škorja Nome artigo 129 Keywords
Documentation; Graphic recording; Retouching; MAPPING LACUNAE FOR Painting; Ortho-image; RETOUCHING PAINTINGS Blender. WITH COMPUTER GRAPHICS 1. INTRODUCTION SOFTWARE In conservation and restoration documenting all the actions executed (1, 2, 3) (1,2) (3) Frederico Henriques | Ana Bailão | Rui Bordalo on artworks through a graphic Figure 1 • Photograph of the portrait of Professor António Vicente Ferreira with a calibration chart. | Agnès Le Gac (4) | Alexandre Gonçalves (5) | Liliana recording is essential. The same applies in paintings regarding the geographical information systems graphic operation occurs prior to the (2) (1) (3) Cardeira | Eduarda Vieira | António Candeias exact location of the operations (GIS), have enormous potential conservation treatment. carried out on the pictorial surface. In and can be used in the field of Blender is an open-source and free 1 Universidade Católica Portuguesa/ Escolas das Artes/ CITAR; Rua Diogo Botelho, 1327, 4169-005 Porto; Conservation [3][4][5]. software and an all-in-one tool with [email protected]; [email protected] the condition report, the tear areas, 2 Faculdade de Belas Artes da Universidade de Lisboa/ CIEBA; Largo da Academia Nacional de Belas Artes, 14, 1200-005 Lisboa; traces of abrasion, overpaints, fillers, The aim of this work, based on the useful capabilities for documenting [email protected]; [email protected]; 3 Universidade de Évora/ Laboratório HERCULES; Largo Marquês de Marialva, 8, Palácio do Vimioso, 7000-089 Évora; cleaning spot tests, areas of sampling portrait of Professor António Vicente cultural heritage. It is a multi-purpose [email protected]; [email protected] Ferreira (figure 1) painted by Álvaro computer program in the areas of 3D 4 Universidade Nova de Lisboa, Faculdade de Ciências e Tecnologia, Departamento de Conservação e Restauro & Laboratório de Instrumentação, (e.g. cross sections) and analysis spots Engenharia Biomédica e Física da Radiação, Campus da Caparica, 2829-516 Caparica; [email protected] (Raman, XRF, colorimetry, FORS, Perdigão in 1944 [6], is to present the modelling, rendering, simulation, video 5 Instituto Superior Técnico/ CERIS; Av. Rovisco Pais, 1049-001 Lisboa; [email protected] among others), for example, should workflow procedure to support the editing, game creation, infographics be recorded [1]. The registration of graphic recording of some operations schemes, scientific illustrations, virtual paint losses is also one of the tasks in conservation and restoration, in environments, exporting to several that should be performed [2]. For the particular during the retouching phases. formats (including vector and 3D digital registration of losses, several The painting belongs to the Museum of printing files), and animations, among Abstract computer programs can be used to Civil Engineering, of the Department other capabilities [8]. register either vector (e.g. AutoCAD, of Civil Engineering, Architecture and The objective of this paper is to present a workflow procedure to support the graphic Adobe Illustrator, Inkscape, etc.) or Georesources of Instituto Superior 1.1 Orthophotography or ortho- recording of the operations performed during the retouching process involved in raster (e.g. Photoshop, Gimp, etc.) Técnico, in Lisbon. The method begins imagery paintings. In this particular context, an orthophotography of a portrait painted on canvas archives. However, a coordinate with a photogrammetric process [7] to Ortho-images are well-known in from a university museum collection was used in Blender, a free and open-source 3D system is necessary for mapping. acquire an ortho-image of the painting. geographic mapping representations. creation software suite. Blender uses an important metric coordination value, provided by the 3D workspace software that allows the areal characterization and numeric Concerning the available types of In a second phase the work is fully An ortho-image is a digital dataset and identification of each surface loss. The step-by-step procedure adopted to document digital documentation, several non- performed with Blender, the chosen can be used in geographic information and map lacunae in this artwork for subsequent retouching, is described. conventional applications, such as 3D modelling software. The vector systems as a layer to support the Figure 3 • Screenshot of the photogrammetric project in Figure 4 • Render image produced with Blender software that simulates Figure 5 • Screenshot of Blender workspace during the editing process. Agisoft Photoscan® software with the photographs a virtual gallery. Figure 2 • During the characterization of colour and spectral acquisition with FORS. taken in mosaic grid. around the painting or in strip lines. To After processing the data, the result the 3D model produced by the creation of other data. They are frequently in usage in Conservation 1000 nm range. In Blender, 12 points obtain good results it is necessary to obtained was a 3D model. On this photogrammetric software, it is essential for producing maps of the and Restoration or in technical studies, of FORS readings were mapped on apply the best practices in photography. basis, one of the functions of the necessary to import the OBJ file Earth’s surface, such as city maps, that are made with raster drawings, with the surface layer, registering their In this project, a tripod, two light software to generate an ortho-image format and respective texture (JPG require the correction of the image Photoshop® or similar software. positions and values. sources with softboxes to provide could be used. Two types of images file format). This sort of procedure is geometry and scale. Such images However, such scope is limited. To diffuse light, and a DSRL camera in orthophotographic view of the very useful to create virtual scenarios have uniform scales, correction of obtain a current and regular recording 2. METHODS NIKON D3200 (24 MP) equipped painting were acquired: the first in (figure 4), to produce infographics the inclination perspective and the of the pictorial layers and surface, it with a CMOS sensor and a lens AF-S low resolution, in JPF file format schemes or to make animation movies. effects of parallaxes produced by is better to create a vectorial record The method was applied in two main NIKKOR 18-55 mm were used. All the (8057x9416 pixels) with 11.4 MB, However, in the current project on the optical equipment. Acquiring and because it allows the interoperability steps: the first with photogrammetric images were obtained with the same and the second in high resolution, mapping losses, only the JPG image producing an ortho-image is critical of the data between software. procedures to obtain a plane model value of focal length (23 mm), low in TIFF file format with 345 MB. For and 2D file as a plane were needed. to measure true distances in surfaces Just like other 3D software, Blender of the artwork and the second with ISO value (100) and aperture (F/8). the next phase of the project, with The drawing of several gaps was and mapping the events on the space. has the ability to create solids, planes vectorial drawing to build up features The resolution of the photographs is Blender software, the JPG file was made in “edit mode” extruding points According to principles advanced in (polygons), points, etc. The workflow related with the lacunae. 6016x4000 pixels, approximately 12 sufficient to map the lacunae. around the lacunae area; this resulted panel paintings [9], the same system presented in this paper started with MB, and was saved in JPG file format. in a polygon defined by segments and was applied in the present case- polygons under the image of the 2.1 Orthophotography The vibration reduction (VR) of the 2.2 Mapping the lacunae with nodes (figure 5). Then, it was necessary study to the pictorial surface. The pictorial surface (ortho-image). To produce the ortho-image, a lens was in switch off mode. Blender software to make a polygon with all points. The ortho-image was obtained using a Blender can also be applied to software named Agisoft Photoscan® In this museum project, the The mapping process with the 3D new element consisted in one object photogrammetric method, which substantiate technical and analytical [10] was used. This photogrammetric photographs acquisition was similar modelling software Blender (v. 2.78) with a unique ID (characterized as loss consists of making measurements studies of Cultural Heritage assets. software is widely used to produce to what would be used for aerial began with the upload of the ortho- unit). All drawn losses could then be from photographs (multiple records). In this case study, Fiber Optics 3D models and also to acquire photogrammetry, scanning the surface image in the project. Then, the object organized in groups or in one group Reflectance Spectra (FORS) (figure terrain information with unmanned in strip lines, with a high overlapping was oriented in X, Y, Z axes, and the with a hierarchy and organization 1.1 Mapping lacunae with Blender 2) was used. This equipment obtains aerial vehicles (UAV). of photographs, between 60% and map scale was updated to display system. Mapping lacunae in paintings the spectral information on a given The photogrammetric software 70%. The set of records (57 positions) proper distances at the centimetre The cartography was made after the should always be done with vectorial spot of the painting concerning its works with the upload of a set of is an aggregate of organized images in scale. manual work of editing all polygons drawings. Some graphic maps, reflectance properties in the 300 to photographs acquired in sequence a mosaic (figure 3). If the option consists in uploading (losses). The final output was not
132 Frederico Henriques | Ana Bailão | Rui Bordalo | Agnès Le Gac | Alexandre Gonçalves | Liliana Cardeira | Eduarda Vieira | António Candeias Mapping lacunae for retouching paintings. With computer graphics software 133 Figure 6 • Cartographic map of lacunae and vulnerability areas of the Figure 8 • Main region of the painting after the color retouching process Figure 7 • During color retouching with “texture painting” Figure 9 • An overview of 3D model painting useful for on-line visualisation pictorial surface. (left side) and “UV map” and respective texture of the 3D clone tool. in the Sketchfab® platform and repository of museum objects. object (photogrammetric model) (right side).
only a map of losses, but also a map quantify the percentage of losses, It is worth emphasizing the added It is also necessary to refer the systems, but a possibility to promote it is critical to create comprehensive of original and non-original paint. which amounts to 1.9%. value of digital color retouching, for its large potential of virtual scenarios infographic illustrations, like those databases for the data associated with Moreover, such a cartography resulted By guaranteeing an automatic absolute reversibility and its benefit as and infographic strategies with 3D of cartographic products, for three- each artwork, enabling the storage also in a map of risk displaying the calculation, Blender as a tool proves also an independent and didactic support modelling techniques. The tool can dimensional objects. About the GIS of all information from conditioning most vulnerable areas of the painting essential because it allows an objective, that, together with the real painting, also be used to communicate in software and CG software available reports, conservation and restoration (figure 6). reliable, reproducible, and extremely can promote its better understanding Heritage Documentation, using 3D nowadays, it is possible to work interventions, laboratory and fast and friendly quantitative assessment. (figure 7and 8). modelling techniques of the industry with standard files and export files analytical reports, as well as the 3. RESULTS AND DISCUSSION This type of evaluation is central to both After generating a cartographic of films and games. This means that to ensure the interoperability within graphical documentation produced diagnosis and intervention because it recording of lacunae, each 3D the documentation techniques and project data. for the object. Noteworthy is also the This workflow with an ortho-image, provides a secure expertise as to the project can always be adjusted or procedures in Cultural Heritage meet In the future, with the massive potential of graphical documentation generated with a photogrammetric degree of authenticity of the artwork; consolidated with more data. This effectively the computer graphics amount of information acquired in to produce and register spatial analysis software, and vectorial editing of it establishes precisely the defective is fundamental to understand the knowledge area. Here, a simple conservation-restoration operations, and risk maps of the artworks. lacunae with a computer graphics chromatic areas, their shape and scope of 3D projects in Cultural presentation of a virtual scenario was software allowed to accurately distribution; it contributes to the cost Heritage and of the Conservation made with the mapping of analysis identify all gaps in the painting. Each estimation involved in the inpainting and Restoration technical studies. As spots (FORS) on the museum lacuna, after the manual drawing, process, be it digital or real in the work an example, an online 3D model for painting (figure 10). acquired an identification number itself. virtual visualization was also produced to match a lacunae unit. The total Another possibility that Blender in this project. The virtual platform 4. CONCLUSIONS number of lacunae in this painting offers is, in fact, the virtual retouching. Skecthfab® was used to this end [11]. is 22 and there are14 regions with This kind of operation is widely applied The platform hosts a 3D repository The use of current computer abrasion. Besides a straightforward with photo-editing software, with 2D and a collection of some 3D museum graphics (CG) tools in Cultural localization of the gaps on the whole images. It can also be made directly objects. The analyzed painting is Heritage is starting to get attention surface, according to the adopted in the 3D model, in the imported one of them, thereby becoming a from the community of conservation color scheme (lacunae of red color photogrammetric object or even in the powerful public awareness medium and restoration professionals. It is over a plane grey ground), the 2D image. The operation is made with regarding Cultural Heritage concerns important to refer that CG software Figure 10 • Virtual scenario made with Blender. The image informs about the location of analysis spots with FORS system. cartographic map also allowed to the well-known clone tool (figure 7). [12] (figure 9). is not a substitute for GIS or CAD
134 Frederico Henriques | Ana Bailão | Rui Bordalo | Agnès Le Gac | Alexandre Gonçalves | Liliana Cardeira | Eduarda Vieira | António Candeias Mapping lacunae for retouching paintings. With computer graphics software 135 REFERENCES [1] STUART, Barbara H. - Analytical Techniques in Materials Conservation. Wiley, tora, 2000, Volume IV, p. 288. 2007. [7] HISTORIC ENGLAND – Photogrametric [2] SCHMID, Werner - Graphic Applications for Cultural Heritage. Guidance for Documentation Systems in Mural Paintings Good Practice. Swindon: Historic England, 2017. Conservation (GRADOC) Roma: ICCROM, [8] Blender. Home of the Blender Project. 2000. Available at: https://www.blender.org/ [31 Ja- [3] FUENTES PORTO, Alba - Los Sistemas nuary 2017]. de Información Geográfica aplicados al estu- [9] BAILÃO, Ana; HENRIQUES, Frederi- dio de las superficies pictóricas. Valencia: Uni- co; CABRAL, Madalena; GONÇALVES, Ale- versidad Politécnica de Valencia. Dissertação xandre – Primeiros passos de maturidade a de Mestrado, 2010. caminho da reintegração cromática diferen- [4] HENRIQUES, Frederico - Metodolo- ciada em pintura de cavalete em Portugal. gias de Documentação e Análise Espacial em Ge-Conservación. 1 (2010), pp. 127-141. Conservação de Pintura. Porto: Universidade [10] Agisoft Photoscan. Available at: Católica Portuguesa, 2012. PhD thesis. http://www.agisoft.com/[30 November 2017] ACKNOWLEDGEMENTS [5] BAILÃO, Ana; HENRIQUES, Frederico; [11] Sketchfab. Publish, share, and discover We are grateful to the Museum of Civil MENDES, Susana; GONÇALVES, Alexan- 3D content on web, mobile, AR, and VR. Engineering, of the Department of Civil dre - Estudo para a caracterização espacial Available at: https://sketchfab.com/[30 Engineering, Architecture and Georesources e bidimensional das lacunas no processo de November 2017] of Instituto Superior Técnico, in Lisbon, reintegração cromática da pintura “A Circun- [12] The 3D model of Engineer António for providing access to the painting used cisão do Menino Jesus”. Ge-Conservación. 10 Vicente Ferreira painting (Sketchfab). in this study and also to its Director, Prof. (2016), pp. 6-19. Availlable at: Ana Tomé (PhD Arch). This project had the [6] PAMPLONA, Fernando – Álvaro Per- https://sketchfab.com/models/b5e53dde93 financial support of Fundação para a Ciência digão. In Dicionário de Pintores e Escultores 454b8cb88ae0b64c195e2b [30 November e a Tecnologia (FCT) through a Post-Doctoral Portugueses. Barcelos: Livraria Civilização Edi- 2017] Fellowship (SFRH/BPD/99163/2013).
136 Frederico Henriques | Ana Bailão | Rui Bordalo | Agnès Le Gac | Alexandre Gonçalves | Liliana Cardeira | Eduarda Vieira | António Candeias Nome artigo 137 Keywords
Colour reintegration, Gold reintegration, Tridimensional Works of art, the underlying one. The altar was then Polychrome sculpture, GOLD AND POLYCHROMY ON extensively regilded (third layer of Attic vases, Retouching techniques. gold) when moved from the chapel to STONE: A PROPOSAL OF the presbytery of the cathedral, in the second half of the sixteenth century. We also found, dating of nineteenth RETOUCHING METHODOLOGY century, a layer of Prussian blue and 1. INTRODUCTION artificial ultramarine blue, layered on THAT CAN APPLY ON ALL bare areas of the reliefs. Last year, we carried out a gilding, some have only a few traces, Our cleaning intervention didn’t conservative intervention on some and some have none. If the altar could remove any colour at all and any TRIDIMENSIONAL ARTWORKS marble high reliefs and statues from one day be rebuilt at the end of our gold layer, even if some of them were the Cathedral of Orte, near Rome [1]. intervention, our aim will be to balance identified as non-original. We decided These artworks were part of the altar those differences. to keep the more recent and extended dossal of the Saint Valery Chapel, built We started working on three gold layer, because it has an important during the first years of the sixteenth sculptures that show some extended historical weight, as well as the traces century [2] with marbles, reused areas of beautiful and well-preserved of different non-original blues which S. Pannuzi(1) M. Valenzuela(2) D. Montemaggiori(3) probably from the Antiquity, belonging gilding with some evident losses. give us an idea, although pale, of what | | | to two different altars [3]. In the second Decision had to be taken: reintegrate probably the altar was like. (4) G. Galanti half of the sixteenth century this dossal or not the gold? Which materials to use, We thought that retouching the gold 1 Archaeology, MIBACT-ISCR; was moved from a chapel to the main pure gold, micas, bare watercolours? losses on stone polychromies should 2 Restorer, MIBACT-ISCR; 3 Restorer, dariamonti libero.it; altar in the cathedral presbytery. In the Which technique to choose: an not be too different from retouching 4 Restorer, giorgiagalanti gmail.com eighteenth century the altar dossal identifiable or a mimetic one? Which similar losses on other materials. For was dismembered, and each part alternatives ways we had? a correct methodology we took had then a different reuse with new This contribution will illustrate inspiration from first treatments polychrome covering [4]. Now most of different methodological and technical adopted in ISCR on bi-dimensional ABSTRACT the pieces are shown at the Diocesan proposals about retouching. panel paintings [6,7] using the tratteggio Museum of Orte. technique. The same methodology as The Italian Institute for the Conservation and Restoration (ISCR) carried out In the original phase, when exhibited 2. MATERIALS AND METHODS been used recently on tridimensional a conservative intervention on some marble high reliefs and statues from the in the chapel, the altar was painted and gilded and/or painted artworks as Cathedral of Orte near Rome. Some pieces have extended polychromy and gilding, partially gilded. When moved to the The examined stratigraphic samples cold painted terracotta sculptures some have a few traces, and some have none. Our goal was how to balance those [5] show a first original layer with gold [8], wood sculptures [9] and greek differences and also how to harmonize the original areas with the already repainted main altar it was fully and extensively and regilded ones we decided to keep. For a correct methodology we took inspiration re-gilded. Presently due to the different leaf on decorative reliefs, smalt blue and roman vases. Being the use of from recent treatments adopted in ISCR on different materials as terracotta and conservation conditions some pieces and azurite on flat grounds, and a tratteggio unsatisfactorily applied on wood sculptures and greek and roman pottery. have extended polychromies and second gilding layer coinciding with tridimensional objects, quite recently in ISCR we are trying to unify the [11] applied in a mimetic way (see Fig.1). In our case study we did was very thin. We put directly on technique of recognizable retouching After cleaning and removing the old reintegration in tiny areas of the gold the surface of the stone a coating on all kind of tridimensional objects, retouchings and fillings we decided to leaf with Scminke aquarelle mica gold of mica gold. The perfect matching applying colours not with the reintegrate the gold losses. We first but treated differently larger lacunas. of the colour was reached using tratteggio but with the puntinato. filled the losses with a gesso ground, At the beginning we decided not watercolours that were applied with This technique was first introduced and then we covered the surface to reintegrate the larger areas. The the puntinato technique on top of at ISCR in the restoration of wooden with a coating of even, uniform gold disturbing visual interferences on the the gold coating, in order to make polychrome sculpture in the early mica based watercolour (Schminke). surface of the bare stone, appearing them be recognizable at close range. ’90, following the methodology so When dried we applied watercolours through the losses, were treated with It is premature to assert which will
well illustrated by Paolo and Laura with the puntinato method in order Figure 2 • Detail of fig.1. A: lacuna retouched imitating the red glaze watercolours to re-establish the be the final solution for the retouching Mora with Paul Philippot [10] for wall to catch the perfect tone and make bole; B: same lacuna with gold retouching, detail of uniformity of the surface, receding in that will be adopted. the puntinato. paintings. recognizable the area that had been space. Progressively, we reached the We made and used drawings in Examples of puntinato: reintegrated (see Fig.2). be easily identified, using the same light watercolours glazes to provide the decision to reintegrate the gold losses order to develop some hypothesis 1.The terracotta Nativity, by Saturnino 2. The Apulean Amphoras, from the puntinato technique (see Figure 3). uniformity to the surface that showed in the Saint Leonard robe because of the ancient polycromy, based Gatti (Sixteen century), Santa Maria del National Archaeological Museum of “The result is a reconstruction which wears of patina and colour. The gold, very they are in a very prominent position, on the traces of the original layers Ponte, L’Aquila. Composed of three Naples. These objects had no gold is invisible at the normal viewing well preserved, had to be retouched to and because of their extension, not we founded. We documented the elements modelled and cold painted, colours, but they are interesting distance but easily recognizable at reconstruct the losses. too vast. There was no need of a different phases and the many damaged by the earthquake of 2009. to testimony the possibility to close range” [10]. These words, used In the past at the IsCR, losses of gold ground because the layer of the changes the coloured areas had The lacunas in the gold mantels were reintegrate limited losses by modelling to describe the tratteggio technique, leaf had first been retouched with bare original gold leaf around the lacunas during the time. This restitution was in the past retouched as losses of the and drawing what can surely be perfectly explain the puntinato. watercolours which could not match Figure 3 • Naples, National Archaeological Museum, Apulian Amphora. A: reconstruction shape; B: after ground, with the colour of the bolo layer reconstructed in a way which can the shine of gold. Shell gold was then puntinato retouching. RESULTS AND DISCUSSION Figure 1 • Nativity by Saturnino Gatti (Sixteen century) Santa Maria del Ponte (L’Aquila), a detail of St. introduced and applied on watercolours Joseph, terracotta and cold painting. A: Losses of the paint layer previously retouched imitating base with the tratteggio technique. But the red bole (before); B: Same losses with gold retouching, watercolours and mica (after). Presently we had been working only the result was still dull because the on three elements of the altar, and vertical lines come out heavy and thick. we will be working very soon on the We tried then to apply the gold leaf first, other four pieces: it’s only considering with the guazzo technique, and execute all the pieces together that we will the tratteggio with watercolours on be able to verify the options about top: the effect was finally very satisfying. the aesthetic issues and the final Similarly, applying a layer of uniform, even presentation. mica gold colour and using on top the Basically, we had to deal with two watercolours to execute the tratteggio colours, the pale fade blue and the shiny or the puntinato was also working well compact gold areas. We did a very with the advantage of being far less light retouching in the blue area, using expensive.
140 S.Pannuzi | M.Valenzuela | D.Montemaggiori | G.Galanti Gold and polychromy on stone: a proposal of retouching methodology that can apply on all tridimensional artworks 141 intended to help the study of the sculptures. Possibly if the altar will not be reconstructed in the Museum, we suggest realizing a small copy of the monument using 3D printer with the reconstruction of the polychromies based on the most assured hypothesis we made. That will help the fruition of the sculptures. REFERENCE CONCLUSION [1] ANSELMI, Salvatore Enrico Sculture ed. -Annunciazione Antonello da Messina: il lapidee e lignee. In ANSELMI, Salvatore Enrico; restauro. Palermo: Regione siciliana, 2008. This specific case gave us the PRINCIPI Lorenzo ed. Il museo d arte sacra [8] HUBER, Helisabeth; PRUNAS, Maria opportunity to check on polychrome di Orte. Perugia: Nuova Linotypia 2000, 2013, Elisabetta; VALENZUELA, Marisol; CATALLI, marble sculptures a retouching pp.50 53 Emiliano; PASTORELLI, Monica; RAIMONDI, methodology that can be the same [2] LEONCINI, Lando La Fabrica d Orta Elena; Tecniche di esecuzione e intervento di for all the tridimensional art crafts Orte manuscript XVII century restauro, in MIRACOLA, Patrizia, ed. Il restauro [3] NEGRI ARNOLDI, Francesco I marmi di due opere in terracotta dipinta il presepe and can easily be applied. quattrocenteschi del Museo Diocesano di Orte. di santa Maria del Ponte e la Madonna di In MADDALO, Silvia ed. Tesori di Orte. Man- Collemaggio. Roma: Gangemi Editore, 2015, ziana (RM) :Vecchierelli Editore, 1998, pp.73 85. pp. 21-42 [4] A nameless drawing dated 1723 shows [9] VALENZUELA, Marisol; CONTI, Laura; TOC- all these marbles on the main altar before CI, Laura; L’intervento di restauro sulla scultura its destruction ANSELMI, Salvatore Enrico lignea policroma del XIII sec. Madonna con Commitenze ad Orte in età barocca. Cultu- Bambino conservata presso la Pinacoteca civica ra gesuita e influenza pozziana. Gli Alberti e I di Fabriano: problemi di presentazione estetica, Nuzzi. Roma: Argos, 2006, pp.126 131 in GIUBBINI, Giovanna ed. -150 anni della Pi- [5] Results will be soon published in nacoteca di Fabriano. Milano: Affinità Elettive, Bollettino ICR Roma 2014, pp. 95-106 [6] MORA, Costanza; PROVINCIALI, Beatri- [10] MORA, Paolo e Laura, PHILIPPOT Paul ce; SOAVI, Albertina - Antonello nel percorso Problems of presentation, treatment of losses delle opere restaurate dall’Istituto Centrale in Conservation of wall paintings. London: per il Restauro: dall’Ecce Homo del collegio Butterworths 1984, pp.304 306. Alberoni alle tavole degli Uffizi, in Kermes [11] Bolo is the ground (Armenian bole, Dossier 19 (aprile / giugno 2006), Firenze: usually orange reddish colored) used to apply Nardini 2006, pp. 50-66 the gold leaf (guazzo technique). It’s clay [7] AA.VV., BASILE, Giuseppe, GRECO Vera component makes possible to burnish it.
142 S.Pannuzi | M.Valenzuela | D.Montemaggiori | G.Galanti Nome artigo 143 Keywords
Sculpture; Gilding; Inpainting; “THE GOLDEN STAIN OF TIME”: Loss compensation; Reversibility; personal experience, his training THE INPAINTING OF GILDINGS Distinctness and his influences. By means of concrete examples, we will see how in practice the different degrees of ON WOODEN SCULPTURE acceptance of losses and the values 1. INTRODUCTION accorded to gilding lead to a wide range of solutions and a multitude of Dealing with the subject of the volume already provided by the retouching techniques. Emmanuelle Mercier | Erika Benati Rabelo reintegration of losses on gilded sculpture”[1] . In other words, contrary surfaces on polychrome wooden to an easel or a mural painting, the 1.1 When the object was completely Institut Royal du Patrimoine Artistique. Parc du Cinquantenaire 1, B-1000 Bruxelles [email protected], erika.rabeloé@kikirpa.be sculpture requires to first define the polychromy represents or mimics regilded terms of the title. above all a material, a texture and Since the Middle Age, polychrome First of all, what value do losses on a less often, figurative depictions. This wooden sculptures were entirely wooden sculpture represent? In 1970, difference significantly influences the repainted and regilded when they Paul Philippot distinguished between viewer’s perception and acceptance were damaged, or simply to bring them an absolute lacuna on a 2D image of a damaged object. up to date. In Belgium, this tradition and a relative lacuna on a 3D object. Secondly: what role does gilding play in continued without interruption till He explained that “… contrary a polychromy? What value is attributed the end of the nineteenth century. to what happens in a painting, the to it? As a metallic leaf applied on top During the period of the neogothic colour of the polychromy should not of a layer of bolus, can we distinguish it movement, the restoration aimed at depict the object but rather qualify from the pictorial layer which contains returning the object to a hypothetical the artist’s stamp, his brushstroke? pristine state which implies ABSTRACT When it is deteriorated by the reproducing the gleam of the gold.
In the restoration of wooden sculpture, the application of a new gilding traditionally be appreciated, a gilding on a wooden passing of time, can we simply The intervention makes the sculpture appeared as the best option to handle the problem of wear damage and gaps in sculpture doesn’t necessarily have to be replace it without betraying the look like it had just come out of the a gilded surface. This practice, which continues up to this day, however, rarely complete. When inpainting is needed, authenticity of the work of art? Or artist’s workshop. However, already reproduces the quality and technique of the original: colour of gold, colour of the use of pigments in various mediums on the contrary, should we respect its at this time, the secretary of the the mordant, water or oil gilding, matt or burnished surface, presence of glaze… makes it possible to carry out surface material authenticity? Royal Commission for Monuments, Alternatives were found in the use of metal powder such as bronze powder, which colour harmonization and allows Despite the existence of Jean-Baptiste Rousseau (1829- oxidizes rapidly, and a wide range of micas to reproduce the glittering metallic to perfectly reconstruct the optical international ethical guidelines, our 1891), complained about the habit surface in different colours. Alternative options that do not imply the use of metallic continuity of the gilded volume ensuring powder are favoured by the authors. the distinctness and reversibility of the criteria for the decision making of stripping altarpieces to repaint Following the concept of a ‘relative gap’ in sculpture formulated by Paul Philippot intervention. rest upon socio-cultural values, to and regild, describing the practice as [2 (1970) [1], the different case studies presented in this paper illustrate that to which we should add the restorer’s barbarous ]. This pioneer wished for restorers to apply the principle of the technique of the original. In the 1.2 Minimal intervention juxtaposition of different surfaces, 1. 2. 2 Lacunae with visible worm- “the less you do, the better” (1873). framework of certain restoration At the IRPA, when treating losses, we etc… The following examples will eaten wood surrounded by gilding Nowadays, even if the practice is sites, when gilding on mordant – do not differentiate between gilded be classified depending on these A Dormition of the Virgin (1501- not quite extinct, it is at least not which works easier and faster – is and painted areas – the polychromy different kinds of degradation. 1550) from the Moranzone approved by the public authorities. applied to an ensemble without is a unity of both. Contrary to the workshop in Italy (Museum of Fine However, the following question bearing this “sfumature” in mind, the previous examples, we attempt to 1.2.1 Lacunae with visible wood Arts, Gent) suffered damage from is still posed to us, restorers, many result is often exceedingly heavy, tone down the visibility of the damaged surrounded by gilding wood-boring insects, producing times: “And are you going to regild or indeed kitsch [5]. area and improve comprehension of The Virgin from Marche-les-Dames numerous gaps. The treatment repaint it?” Indeed, the general public In the past, partial gilding was also the sculpture, while emphasizing its (TreMa Museum in Namur, ca. 1260) carried out did not involve any does not entirely understand the used to cover losses on sculptures. historical value. This implies accepting illustrates a kind of treatment usually retouching [6]. In fact, the filling in difference between the treatment During the restoration of the Opitter the wear and losses on the gilded adopted at the IRPA, and which consists of carefully selected insect galleries reserved nowadays for sculptures altarpiece in 1875, the restorer did surfaces of sculptures and altarpieces of leaving the bare wood visible in the and holes, helped to regain a and for historical interiors. not entirely repaint and regild the and to treat them with the same lacunae. It is presumed that viewers certain structural continuity of the In the 1990s, some rooms in the royal retable as was usually done, but simply criteria that are applied to the pictorial are able to mentally reconstruct the reliefs and shift attention away Fig 01 • The altarpiece of Bouvignes 1555 (ca), after treatment palace of Brussels were studied prior regilded the losses imitating the painted layer in compliance with ethical missing part. In order to help them from damages. The intervention to their restoration. The study revealed decorative motives and the sgraffito guidelines, including discernability, in this task, it is sometimes necessary consisted first in making the back the high quality of the original gilding, on gold of the original polychromy. removability, etc. to give the wooden surface a more panel look more homogeneous and in particular rich variations in the This kind of treatment was applied As a very general rule, the degree homogeneous appearance. and flat in order to function as a tonality of the gold leaf [3]. These subtle to the Kerevot altarpiece in France of acceptance of a gap by the general The altarpiece of Bouvignes (ca.1555) background again. Secondly, fillings contrasts were then reproduced during a highly interventionist public is proportional to the age of treated in 1992 is another example of made it possible to re-establish a with the same techniques by a team restoration in the 1970s. This the object. Hence the importance of this option (fig 01 and 02). The bare certain fluidity in the lines of the of professional gilders under the intervention is clearly visible but not justifying our choices and explaining wood is clearly distinguishable from architectural elements. supervision of restorers. particularly harmonious. the reasons behind the degree of the remains of polychromy. It can The choice of the gaps to be filled in, Even today, in the restoration of Alternatives were also found in the intervention (or non-intervention). be compared to a neutral tone with often depends on the conservator’s historical interiors, the application use of metal bronze powder, which We are well aware that this the advantage however of being an own sensibility. Therefore, it is of a new gilding appears to be the oxidizes rapidly. It is often a real approach is not adopted everywhere. inherent element of the sculpture, an important to determine beforehand best option to tackle the problem of challenge for conservators to eliminate In the decision making process, intrinsic part of it. From an aesthetical those losses that are most disturbing wear damage and losses on gilded this material without damaging the the choice of both the degree of point of view, the tonality of the wood to the perception of the form and decorative elements. In France, a gilding underneath. In 1983, it took a intervention and the retouching is similar to that of the gilded parts, the composition, in order to make chemical marker has been developed villager two hours to apply a bronze technique involve distinguishing the especially as the wood is oak. In the our intervention as logical and by the firm Dauvet in partnership powder on the garment of the Virgin different types of losses encountered: end, this kind of minimalist intervention justified as possible. Sketches and with C2RMF to ensure the traceability in the Church of St. Bavo in Erpe-Mere the wear of the gilded surface; loss of enables the reconstruction of the digital simulations were made as a of gold leaf used within the field of (13th century). It took us two years to the metal leaf revealing the mordant, optical continuity of the sculpture’s support for the discussion during restoration [4]. This practice, however, eliminate it mechanically and make the the bolus, the white preparation, or volume while integrating the gilded the decision making process which Fig 02 • The altarpiece of Bouvignes 1555 (ca), rarely reproduces the quality and underlying gilding visible again. the bare wood; loss revealing the areas still present (fig 01 and 02) was carried out collegially. after treatment.
146 Nome artigo “The golden stain of time”: the inpainting of gildings on wooden sculpture 147 1.2.3 Juxtaposition of losses We should, however, avoid on conservation ethics. For instance, or restoring, the dilemmas of heritage” tone. In the zones that were worn due a painting the lines of retouching are revealing the bare wood and losses multiplying retouching options on the deep gaps in relief areas where there (1893), where poor restorations let him to the manipulations of the statue, applied vertically while in the case of revealing the white preparation same object at the risk of seriously is a risk of scraping off the gilding distinguish between the old and the such as dressing it or walking it in the a sculpture’s polychromy, the restorer surrounded by gilding. disturbing the viewer’s perception of during handling, or gaps that could new, whereas good restorations plunge procession, and showed the red bolus, would be inclined to adapt the direction When losses revealing the bare both the form and gilded surface. also become “dirt holes”. him into such perplexity of judgement the tone was adapted to the bolus. of the lines to the modelling of the wood show a little white chalk or Definitely secondary in the context that the pleasure of contemplating the This was done to conserve the traces reliefs, such as drapery folds. This is gesso ground, it is often sufficient to 1.2.4 Losses revealing the bare of a museum, aesthetic criteria become monument vanishes [8]. of the material history that are linked indeed what Ornella Casatta suggested: tone down the white preparation in wood and losses revealing the white important for religious sculptures that When it appears necessary to fill a to the sculpture’s cult (procession and “il tratteggio avrà un andamento che order to move these areas into the preparation surrounded by red bolus are still objects of devotion. lacuna for conservative or aesthetic dressing of the sculpture). dovrà tenere conto dei valori plastici background. It corresponds to what A Saint Jacob (ca. 1350) from the The fillings are usually flat in order reasons, retouching with tiny dots The materials used for retouching differ del originale” [10]. Interpreting the relief S. Bergeon considered as minimal church of Sainte-Waudru, Mons, was to make the reintegration appear or ‘pointillism’ is the method that is from the sculpture’s original materials (3D) through the retouching (2D) reintegration which, according to treated in 1998. The gold leaf was brighter and match the smooth and nowadays generally applied at IRPA as to assure reversibility. The degree of introduces an element of tension and her, consists of “… treating the visual severely deteriorated, revealing large glittering metallic surface of the gilding. illustrated by the treatment of a Virgin gloss is determined by the binder and ambiguity. While the original gilding emergence of areas that are too areas of preparation with remains of Once the mastic is applied, restorers known as Our Lady of St. Séverin in the its concentration. The vibrant effect of characterized the material of the relief bright or irregularities in the support, red bolus. Here, one could state that have various options for retouching. St.-Martin Church in Liège (ca. 1520) this type of retouching compensates (for example a drapery fold), the the preparation, or the coating in the deteriorated gilding, deprived of its The Virgin with Child called “Causa in 2000 (fig 03 and 04). This miraculous the absence of the metallic reflections retouching is laid over the form as if it order to move these areas into the shiny effects, acquires a statute similar Nostrae Laetitiae” in the Basilica of Virgin and Child is still a popular subject of the gold leaf. In our opinion, in most rebuilt it. This leads to a distortion that background …”[7]. This is usually to a pictorial layer. The retouching was Tongres (15th c.) is still an important of devotion in Liège. As in the previous cases, the addition of mica highlights is provokes a conflict in the perception of achieved by retouching these white carried out by applying small dots of object of devotion. The procession that example, the salient parts showed not necessary. We avoid it as much as the relations between retouching and remains or spots to match the tone a reddish colour close to each other occur every 7 years is considered a great many losses revealing the underlying possible. form on the one hand, and retouching of the wood in order to restore the in order to distinguish the retouching event in Belgium. The sculpture was the wood. The worshippers seem to have The pointillist technique is part of and gilding on the other. structural continuity of the volume. from the remains of bolus. object of a restoration treatment in made it a practice to strip off the the large family of ‘stylised repetitive It goes without saying that, with every In the case of the Virgin from La Gleize the early 1990s. Fillings were applied gilding and take the fragments with retouching’ alongside with the tratteggio type of visible reintegration, the final (13th century - Museum Grand Curtius, 1. 4 Retouching on fillings to the top of the outstanding folds. them, possibly because they ascribed or the “selezione effetto oro“, or the effect largely depends on the skills of Liège), losses with exposed bare wood Even though in general we advise Conservators chose to mimic the magic properties to them, as being “interpolation“ or “camouflage“ used in the restorer. are integrated as explained before and to leave lacunae that reveal the bare worn areas revealing the bolus, which relics. For reasons of conservation, but Denmark since 1990 [9]. When applied Some retouching have the tendency thus left visible, whereas in the more wood visible, in practice certain losses was applied with large brushstrokes. also in the hope of putting a stop to to 3D objects, the advantage of the to visually step forward, accentuating extensive lacunae revealing the white may be judged to be disturbing, for This intervention it is well-documented this practice, it was decided to fill in pointillist retouching seems to be that it the lacunae at the expense of the preparation, the retouching mimics the example because of their geometric with photographs and easily reversible. these lacunae. A pointillist retouching doesn’t enter into competition with the original gilding, which moves back. gilding by applying overlapping glazes. shape. Other losses can interrupt It is nevertheless difficult to distinguish with pure colours was carried out on form, which is sometimes the case with This phenomenon happens even in To ensure reversibility of the inpainting, the fluidity of a drapery or even the original gilding from the retouching. the fillings and on the zones revealing retouching with parallel hatching. This the case of the famous retouching the choice of retouching materials and be interpreted as an iconographic This is due to the perfect mimetic result the white preparation in the worn is due to the fact that the dots form a of the Santo Vescovo, 14th c. in the solvents has to take the nature of the element that is foreign to the work of the intervention. This phenomenon parts of the gilding. In the areas where neutral motif as they are not arranged Bargello museum in Florence, which gilding (water or oil-based) and its of art. The reasons for applying fillings has been underlined by the Italian the gold was still in good condition, the in a certain direction such as a line (no can be considered as a milestone sensitivity into consideration. to gaps could be exclusively based architect Camillo Boito in “Conserving retouching was carried out in the same top or bottom, nor sides). Indeed, on for the history of restoration. Indeed,
148 Nome artigo “The golden stain of time”: the inpainting of gildings on wooden sculpture 149 for the treatment of gaps seems to attest to the changing nature of our relation with time and space [11]. In some countries, regilding seems to be acceptable for historic interiors whereas gilded surfaces on sculpture are treated as a pictorial layer. In other REFERENCES countries, regilding of sculpture is still a common practice. [1] TRIPP, G. “L’apport de Paul Philippot à la de l’humidité relative sur le caractère théorie et à la pratique de la restauration”. In hygroscopique, la dureté et la réversibilité des Following the concept of a ‘relative Pénétrer l’art Restaurer l’oeuvre, Groeninghe comblements, Mémoire Master 2, Université gap’ in sculpture formulated by Paul Fig 03 and 04 • Our Lady of St. Séverin (ca.1520) in St. Martin Church (Liège) after Fig 05 and 06 • Virgin (ca.1440), in the church of St-Nicolas EDS (edité par C. Périer-D’Ieteren),1990, Paris 1 Panthéon-Sorbonne, 2012-2013. treatment. (Drogenbos), after treatment. Philippot, our point of view is that to p.374. [7] BERGEON-LANGLE, S. «De l’usure au be appreciated, a gilding on a wooden [2] STEYAERT, D. “The conservation of manque, du comblement à la réintégration». this sculpture has acquired a historical micas to reproduce the glittering losses that showed the bare wood sculpture doesn’t necessarily have to polychromy on medieval sculptures in Belgium In La problématique des lacunes en value. We can also cite retouching metallic surface in different colours. and fragments of white and orange be complete. This choice to preserve in the nineteenth century and its perception conservation-restauration, Aproa-Brk, Vioe, on the Christ by Cimabue, which has grounds. In this case, after filling, our understanding of the “golden stain by de Royal Monuments Commssion of the 2007, p.10. [12] acquired a double value: a historical 1. 4 Decorative patterns with/on gold we only carried out a pointillist of time” shouldn’t be interpreted by time”. In Conservation In The Nineteenth [8] BOITO, C. “Il nuovo e l’antico in one for the development of the What happens when gilding is part retouching in the gold colour of the the broad public as the conservator’s Century, Archetype Ltd in association with architettura”, Milano, Jaca Book, 1989, p. 107- ‘astrazione chromatica’ by Ornella of decorative patterns? background without reconstructing lack of knowledge or lack of skills the National Museum of Denmark and CATS, 126. Casazza and Umberto Baldini, and a During two conservation campaigns the motifs. This solution enabled in reproducing the original gilding 2013, p. 97. [9] BRAJER, I. “To retouch or not to retouch?”. commemorative value referring to the of the altarpiece of Our Lady, known to avoid the use of a hypothesis to technique. The message to be given [3] SERCK-DEWAIDE, M. “Conservation In Reflexions on the aesthetic completion of incident that profoundly marked the as the Saluces altarpiece, in 1973 and replace the missing patterns of the out is that it is a choice that consists in et restauration au palais royal de Bruxelles wall paintings, CeROArt [en ligne], HS/juin city of Florence: the flood of 1966. 1988, it was decided beforehand to polychromy and at the same time, integrating the loss as a witness of the et au château de Laeken”. In Dynastie et 2015, mis en ligne le 19 mai 2015, consulté le In some cases, however, the pointillist not carry out a chromatic reintegration it has allowed us to reconstruct the material history of the object. Photographie, 2005, p.71-82. 26 septembre 2017. URL: htt://ceroart.revues. technique does not appear as the but to leave the wood exposed in continuity of the volume and of the In practice, there are no default [4] Gamme patrimoine de chez DAUVET org/4619, p. 16 (feuilles d’or, d’argent et d’alliages, format 80 [10] CASAZZA, O. “Il Restauro Pittorico optimal solution. This case can be the losses even in the parts that are material: gold. All in all, it is as if we decisions. That is why it is so important ou 84 mm de côté). nell’Unità di Metodologia”, Nardini (Ed.), 1981, illustrated by the frame of the decorated with rich applied brocades. had artificially moved the deep gap to to make a concerted decision according [5] SERCK-DEWAIDE, M. “Réflexions à p. 16 altarpiece of St. Denis. The lacuna had A different approach was chosen an upper level that is estimated more to each case. Whenever retouching is propos des dorures du salon des Palmiers [11] PIPLANI, N. “Theoretical underpinnings a geometrical shape and was situated for the treatment, in 2003, of the acceptable or at least less disturbing. needed, the use of pigments in various de l’Hôtel Hayme de Bomal à Liège (1775- of conservation in India”. In Conversaciones in the middle of the frame. In this case Virgin (ca. 1440) in the church of St. mediums makes it possible to carry out 1780)”. In Dorure et polychromie, Bulletin 4 con Paul Philippot, Revista de conservación, CONCLUSION small mica (minerals from different Nicolas, in Drogenbos, which raised a harmonization of the surface colour de l’Aproa, 2013, p.12-18. Instiuto Nacional de Antropologia e Historia silicates) highlights were added to the question of the reconstruction and allows to perfectly reconstruct [6] COQUEREL, P. “La reintégration (México), 2015, p.83. restore the metallic effect and to (recognizable or not) of the motifs Depending on the nature and on the optical continuity of the gilded des lacunes du support bois”. In Etudes [12] RUSKIN, J. “The seven Lamps of better harmonize the retouching. in the losses. The protruding parts the function of the gilded sculptures volume, ensuring the distinctness and comparatives sur les matériaux de bouchage Architecture”, In The Lamp of Memory, 1859, Finetec® provides a wide range of of the garment folds again had deep or ensembles, the variety of solutions reversibility of the intervention. et les techniques de réalisation. Influence Aphorism 31.
150 Nome artigo “The golden stain of time”: the inpainting of gildings on wooden sculpture 151 Keywords
Polychrome wood; Faux marble; Total inpainting; A CASE STUDY ON Gilding; Glazed silver. because it was cheap, but also because RECONSTRUCTION OF THE it was an available and light material. Today, the altar architecture and its elements are overpainted and FAUX MARBLE PAINT LAYER the paintings are lost. The entire 1. INTRODUCTION altar was dismantled in 2001 due ON A BAROQUE WOODEN to the restoration works on church The imitation of marble, as one of more or less genuine material, but it and it is now stored after a detailed the techniques of illusionism, has been was much cheaper and the function of examination, analysis and restoration TABERNACLE frequently used from east to west, in the imitation was simply decorative [3]. probes, with all of these processes churches and in palaces, from the early Due to the width of the topic thoroughly documented. Roman period to the present day. The marble imitations this presentation So far, only the tabernacle has gone Maja S. Miklin imitation has been used on different will focus on the painted faux marble through a complete restoration process, types of substrates and supports – on Croatian wooden altars from the which included the joinery repair, Department of Conservation and Restoration of works of art, Academy of Fine Arts, Zamenhoffova 14, 10000 Zagreb; from fresco paintings on walls, plaster baroque period. The reconstruction overpaint removal, reconstruction of [email protected] columns (scagliola) [1] and wooden of the faux marble paint layer will the wooden support, consolidation, altars [2] to sheets of paper (ebru). be presented on an example of reconstruction of the ground, gilding, Therefore, every support had to be restoration of the wooden tabernacle paint layers and varnishing. prepared with the appropriate use of located in the church of Saint pigments and binders. Benedict in Gornji Kraljevec, Hrašćina 1.2. The technological layers and the It was not always easy to imitate a (Croatia). state of the original ABSTRACT The examination of the original layer 1.1. The baroque wooden tabernacle Illusionistic painting has been frequently used throughout history and in various art process of painted faux marble. is needed for reconstruction of every periods. It was executed in the interiors of both secular palaces and religious places. After preliminary and practical research, The wooden tabernacle was added in paint layer. A choice of the painting One of the most popular illusion themes was the imitation of stone, especially marble. the inpainting was done in gouache, a the second quarter of the 18th century. technique or a way in which the paint This paper will present the faux marble techniques that use paint on polished ground. reversible technique that can be both It is oversized and mounted in front layers or brush strokes were applied The focus will be on the conservation-restoration of the baroque polychrome and transparent and opaque. The brush of the altar painting. It is a part of the depends both on the purpose and gilded wooden tabernacle located in the church of Saint Benedict in Gornji Kraljevec, strokes methods such as tratteggio or 17th century wooden altar and one of location of the object and on the Hrašćina (Croatia). The tabernacle is a place where sacraments are preserved for the puntegiaro were not used because they the rare examples in northern Croatia technological layers and the state of sacred communion. would emphasize the already existing where the entire iconographic program the original. The reconstruction of the tabernacle’s marble imitation (i.e. inpainting tests, the visual vibrancy of the marble pattern. choice regarding the appropriate painting technique, and the process of applying Instead, the total inpainting was is presented with paintings, and not with While removing the overpaint, the paint to imitate the artist’s brush strokes and match them with the state of the executed using brushes of different sizes statues. The wood was widely used as a it was discovered underneath a original paint layer) will give an insight into both the inpainting method and the and imitating the original paint layer. support for marble imitations not only paint layer imitating marble. The Figure 2 • Different tools and strokes
original paint layer was executed in pink, purple and blue. The paint was marble type either in color patterns or only mean that the faux marble was The veins are executed in irregular tempera on a polished white ground. applied in a free style – patterns of in the application of the paint. made according to some template motion and darker tones of blue and Tempera is a very solid and durable simple stains placed uniformly and One of the most widely used and that it was mainly decorative. purple. The veins are thin, short and painting technique however the with accented veins. imitations was semiprecious stone The first layer is actually uniformly round or pointy at the end. If they environmental fluctuations resulted in The four basic types of marble lapis lazuli that was often executed 1.3.1. Tools and paint application applied polished white preparation. had been done with a small pointed wood movements that affected not (veined, brèche (breccia), cloudy and with paint on a polished ground In order to choose the right method The second layer are stains that brush, the brush would have created just the paint layer, but also the ground onyx or agate) and the presence of or with a glaze on sliver leaves and the technique for reconstruction create the pattern in pink, purple and longer strokes because the brush can and the gilding which in turn resulted veins could suggest that it is a veined decorated with gilded veins [5]. The of the paint layer, we first have to blue tones. The pattern was built up hold quite an amount of paint. Short in cracks and large losses. Also, poor type [4]. However, the way the stains gilded veins actually represented the understand the way the original paint in a more or less opaque paint, letting strokes done with a wing feather church maintenance did not help the are applied, it resembles more a sparkling pyrite, also known as “fools was applied and the materials that the lower layers dry completely also did not produce veins similar preservation of the tabernacle. cloudy type of marble. gold”, the mineral that is commonly were used in its application. before the new layer was built up. to the original ones. However, using Although the imitations of marble present in lapis lazuli [6]. The To create patterns and streaked By looking closely, we can see that the feather again and holding it like 1.3. The paint layer – imitation of were sometimes done realistically technological layers for this kind of effects, artists used different tools: the stains were applied so that the a quill created thin and short strokes marble (marbling) to the point that one could marble imitation demanded different paintbrushes of various forms made edge is both smooth and uneven. This identical to the original ones. The original palette colors that recognize a marble type, it is not kind of procedure – applying ground, from mammals (hog, badger, sable, pattern was similar to that executed The partially applied dots were were used are light pastel tones of uncommon to be unable to define the yellow and red bole then silver leaves squirrel), bird feathers (like goose or with a big mop brush, especially if done by splashing the opaque paint on which the blue glaze was painted. peacock), pieces of cloth or leather, “broken-in”, but the shape made with with a coarser brush.
Figure 1 • The tabernacle before inpainting and gilding If not protected the silver would brushes and natural sponges, i.e. the this brush was too circular. So, none During the overpaint removal, the oxidize or, if damaged, the red bole materials that are all still familiar to of the brushes could have been used. surface was left covered with an would be visible [7]. modern-day artists [8]. However, the The other tool that could have uneven patina to avoid the over- The unrealistically executed development of the industry and been used in the 18th century is cleaning of the paint layer. marbles (marbelizing) could have art painting techniques (like acrylic natural sponge. The sponge gave been inspired by forms and colors paint) has yielded tools that are more better effects and created the stain 2. MATERIALS AND METHODS of individual decorative stones and advanced in materials (like synthetic that was not circular in shape, and its minerals, but they did not have to fibers), shapes and sizes and that edges were all identical. Marble imitations have been always imitate the specific marble because, can create almost the same effect as The other tool that was, and still is, painted freely on big surfaces with basically, the main tendency of the traditional ones and can be therefore used for marbling, is a bird feather. wide, fluid strokes. altar polychromy was to decorate used instead of them. While wing feathers can give streaked The brush strokes were always so and not to present a specific material. For the purpose of identifying the effects only, tail feathers have a more visible because marbling was always A geological examination and art original strokes on the tabernacle, a brief rounded tip and by holding them in viewed from a distance and the historical analysis lead to the conclusion catalogue of strokes was made using hand like a pen, they could give better emphasis was not placed on details, that the imitation of marble on the the tools that are known to be used results and produce stains identical to but on the effects and the unity of the tabernacle was not realistic enough for marbling. For easier identification of the original ones. bigger picture [9]. The best way to see and since it cannot be traced to its the tools, the painted faux marble must The third layer are veins with this it to take a part of marbling out altar to put it into a context, it could be divided into layers. partially applied little brown dots. of its context.
154 Maja Sučević Miklin A case study on reconstruction of the faux marble paint layer on a baroque wooden tabernacle 155 Sometimes the paint was applied different sizes were used to obtain achieved not after splashing with wet-on-wet, which required work to the wanted restoration precision. traditional, but with modern tools like be done fast. Sometimes, however, the The surface of the new ground was toothbrushes. It created dots of the paint was built up in layers letting the polished, adjusted to the original by same shape, ranging from very small previous layer to dry. Whatever the imitating the cracks with a fine, thin to medium sized dots. method of painting, it is easier to paint needle, and isolated. When the dots were applied with something new than to reconstruct The reconstruction started by a less diluted paint, this created dots something that is already there. applying local, transparent tone with identical to the original ones and by Figure 3 • Prepared ground After the inpainting tests, the medium flat paintbrush that covered diluting the paint with more water, traditional methods of reconstruction, the whiteness and the whole surface we obtained the effect of patina. like tratteggio with vertical lines or of the new ground. The surrounding original paint was puntegiaro, have created vibrancy of The forms of the marble patterns protected with a sheet of paper. retouch and illegibility of the marble were marked using a small round- The original paint and new pattern. Only the total inpainting pointed synthetic paintbrush. The reconstructions were protected with enabled the new reconstructions to tones were gradually applied, letting varnish based on natural resin. fit better in the surrounding area and each layer and surface to dry. By The gold and silver were applied, not to disturb the already sufficient doing so, the layers could be built up burnished, adjusted to the original with Figure 6 • The tabernacle after conservation-restoration treatment playfulness of the image. without removing the latter one. gouache and iron wool and protected Making the list of different brush successfully integrated and the unity The inpainting tests were done with In this process, it was crucial to take with varnish. The reconstruction of strokes and finding out how the original of the visual impression was achieved. gouache, the best painting technique care of every detail and characteristic the glaze was done with gouache paint was applied confirmed the usage During the 19th century, the baroque that could imitate tempera because of each marble pattern, and even colors, varnished and completed with of traditional tools that were the most flamboyance of painted surfaces and
Figure 4 • Reconstruction of the forms of the marble pattern of its good coverage quality, matt more of the balance between the new resin-based colors. accessible in the 18th century. ornaments on altars was considered effect, water solubility and reversibility. reconstruction with the surrounding The substitution of traditional with tasteless and it was undervalued. To original and the whole appearance of 3. RESULTS AND DISCUSSION more modern tools created the same avoid that colorfulness, polychromy 2.1. Reconstruction of the paint the tabernacle. affect and, what is most important, the was often overpainted monochrome. layer – total inpainting The color for veins was opaque, In the case of Hrašćina’s tabernacle, restoration precision was achieved. The overpainting was the only link When it comes to retouching, applied with a small round paintbrush, the total inpainting was the best choice From the restoration aspect, the use between the added 18th century it demands precision and imitating the characteristic motions because it is mounted on top of the of gouache colors was appropriate. tabernacle and the 17th century altar. reconstructions of different sizes, and and shortness. mensa at the eye level of the observer It was also appropriate from the After restoration of the wooden it is limited to imitation of the given The little dots were not made by and other methods of retouching would technical point of view – transparent tabernacle, the original painted faux template. By applying paint freely, using a paintbrush because they did have been vibrant and more visible. colors were good for applying marble layer was presented. This the movement of the original stroke not leave the right circle form and The full understanding of the way and gradually building up layers, opened a way to new research, but was achieved. Additionally, since the were all of the same size. If we look the original paint was applied made and opaque colors were good for also a discussion on where and how feather cannot be controlled on at the list of different strokes, we the reconstruction of the paint layers imitating veins. the tabernacle will be presented in small reconstructions, the brushes of can see that the best results were easier and alike. The new reconstructed parts were the future because the altar’s marble Figure 5 • After reconstruction
156 Maja Sučević Miklin A case study on reconstruction of the faux marble paint layer on a baroque wooden tabernacle 157 imitation is very different and it can not be seen as a whole.
4. CONCLUSIONS
Knowing the colors and patterns of painted marble imitations is very important because it can determine types of altars, their change through periods of time as well as attributions. It is important not only for the purposes of the history of art, but it also has some practical implications – knowing how marbling effects were done can be helpful when it is time for restoration.
REFERENCES [1] ZAJEC, Vlasta – Štukomramorni oltari u Watson-Guptill publications/New York, 1997., [7] ARANICKI, Andrej – Izvješće o Sjevernoj Hrvatskoj. Radovi Instituta za povijest pp. 74-75 provedenim konzervatorsko-restauratorski umjetnost. Vol. 35, (2011), pp.177-194 [5] ARANICKI, Andrej; JEMBRIH, Zvjezdana radovima, oltar Žalosne Majke Božje, kapela [2] TAUBERT, Johannes – Polychrome Sculpture: – Konzervatorsko-restauratorski radovi na sv. Ladislava, Podgorje Bistričko, 2014. Meaning, Form, Conservation. Los Angeles, CA: bočnom oltaru sv. Josipa iz župne crkve [8] DORGE, Valerie; HOWLETT, F. Carey – Getty Conservation Institute, 2015, pp. 108-119 Presvetog Trojstva u Legradu – Godišnjak Painted wood: History and Conservation, The [3] DORGE, Valerie; HOWLETT, F. Carey zaštite spomenika kulture Hrvatske 31/32- Ghetty Conservation Institute, 1998, 114 page – Painted wood: History and conservation. Los 2007/2008, Ministarstvo kulture, pp. 215-236. [9] BARIČEVIĆ, Doris – Barokno kiparstvo Angeles, CA: Getty Conservation Institute, [6] ŠKARIĆ, Ksenija – Polikromija i polikromatori Sjeverne Hrvatske. Zagreb: Institut za povijest 1998, pp. 110-117 oltara 17. i 18. stoljeća u Sjeverozapadnoj Hrvatskoj, umjetnosti, Školska knjiga, 2008, pp. 387, 390 [4] FINKELSTEIN, Pierre – The art of faux, Doktorski rad, Zagreb, 2014, pp. 80-167
158 Maja Sučević Miklin Nome artigo 159 1. INTRODUCTION retouching approaches on paper with With gelatin it takes more than 1 RETOUCHING APPROACHES TO the selection of a retouching method houre for water apsorption time. Different types of Japanese paper optimal for achieving even color Tosa Shoji (40 g/m2) - 50% kozu are used as surface for retouching distribution and avoiding potential fibers and 50% pulp, high absorption. ARTWORK ON PAPER IN THE of art on paper and some are high flaws. We reduce the apsorption time absorption because they contain from 30 secunds to 5.30 minutes with LABORATORY FOR very little or no binder at all. As 1.1. The absorption test on 4% starch glue. the paper is highly absorbent, it is non-insulated and insulated Usumino Shiro (17 g/m2) - 100% necessary to reduce the absorption Japanese paper surfaces kozu fibers. CONSERVATION AND of its fibers. As it is already mentioned Different Japanese paper surfaces In its structure contains emulsion this work deals with absorption and Takogami, Tosa-Shoji, Usumino-Shiro, which reduces the absorption. RESTORATION AT THE Table 1 • Water absorption time on non-insulated and insulated Japanese paper surfaces CROATIAN STATE ARCHIVES. WATER ABSORPTION TIME INSULATION WITH ADHESIVES JAPANESE THICKNESS NON- Methyl cellulose Starch glue Gelatin Klucel Retouching of a Watercolour PAPER [ЧM] INSULATED 2% 4% 2% 4% 2% 4% 2% 4% Landscape and a Map of Zadar from the 19th Century Takogami 160 33 s 1 min 2.45 min 43 s 1.36 min 50 s 10.42 min 15 s 30 s Tosa Shoji 90 30 s 47 s 3.45 min 2.13 min 5.30 min 1.25 min 1h i 20 min 10 s 2 min
Usumino Shiro 40 5.30 min 10.30 min 19 min 14 min 38 min 1.23 min 2h i 33 min 6.35 min 11 min
Gampi 20 7.47 min 2h i 08 min 3h i 03 min 54 min 2h i 09 min 2h i 25 min 3h i 14 min 1h i 17 min 2h i 05 min
Sanela Huzjak Mistumata 25 10.25 min 1h i 17 min 3h i 18 min 30 min 1h i 57 min 2h i 34 min 3h i 23 min 1h i 30 min 1h i 54 min Croatian State Archives, Central Laboratory for Conservation and Restoration, [email protected]
Gampi i Mistumata with no insulation Gampi (12 g/m2) and Mistumata (11 g/ and insulated with adhesives in 2% m2) - because of its fiber characteristics and 4% - methyl cellulose, starch glue, have great resistance on absorption ABSTRACT gelatin and klucel. wich takes more than 3 houres. RESULTS: Retouching on paper requires a unique approach and attention due to paper’s capacity how to cover and retouch the brown Takogami (43g/m2) - contains 100% 1.2. Color on insulated Japanese of absorption, paint spills, and change of color tones caused by the absorption of fibers stains without changing the artwork kozu fibers, high absorption. paper surfaces with adhesives (Chapter 1.3. I., Figure 1). This work presents different approaches to retouching artwork and compromising its authenticity. Absorption on non-insulated How does the color behave on high on paper in the Laboratory for Conservation and Restoration at the Croatian State Archives. The following example, a map of Zadar It also presents how to reduce the absorption of fibers and prepare perfect paper surface (Chapter 2.1. II.), deals with the approach surface is 33 secunds and with 4% absorbent Japanese paper insulated with for retouching on two examples (Chapter 2), a Watercolour Landscape and a Map of to retouching to equalize the tones of the methyl cellulose we slow down the different adhesives in 2% and 4% - methyl Zadar from 19. Century. A Watercolour Landscape example (Chapter 2.1. I.) explores aesthetic and visual whole. apsorption on almost 3 minutes. cellulose, starch glue, gelatin and klucel. Figure 1 • Watercolour Landscape before retouching Figure 2 • Watercolour Landscape after retouching color tone more than other adhesives insulated with 4% methyl cellulose and leaves the paint brush-strokes. The paper retains color as a separate 1.3. COMPARING COLOR ON: layer, not absorbing into the fiber with several layers is more difficult. I. Non-insulated Japanese paper structure. This allows for even and Color containing a high percentage of Figure 1 • Japanese paper insulated with different adhesives in 2% and 4%- methyl surface clean application of color without binders can crack when applied thickly. cellulose, starch glue, gelatin and klucel II. Insulated Japanese paper surface, spillage or staining. Color can be III. Color mixed with adhesive on applied in several layers. Paper surface 2. MATERIALS AND METHODS RESULTS: Japanese paper surface insulated with an adhesive should be Methyl cellulose 2% - changes the Deep red watercolor on high left for at least 24 hours to completely 2.1. Presenting various approaches color tone. absorbent Japanese paper dry and to form an insulating layer/film. to retouching on the examples of Figure 3 • Retouching as reintegration of the painted layer without impact on the structure of the artwork Methyl cellulose 4% - gives good results. I. Color on non-insulated Japanese III. Color mixed with adhesive 2% artwork - Watercolour Landscape Starch glue - gives good results but it paper surface methyl cellulose on Japanese paper and a Map of Zadar from the 19th must be perfectly prepaired to avoid Color is not retained as a separate surface Century II. A Map of Zadar from the 19th color spots and stains. layer but is absorbed into the fiber Color is retained as a separate layer I. Watercolour Landscape Century, State Archives in Zadar Gelatin 2% - gives good results. structure of the paper. Color spillage and its absorption into the paper Watercolour on paper is damaged Painted drawing (Figure 1) – Gelatin 4% - gives good results but and stains occur, especially when surface is reduced. Mixing gives fullness with distinct brown stains of unknown a combination of techniques; for retouching purpose is too strong. laying the base tone. It does not allow to the color, though it becomes more origin. The brown stains cannot be watercolors and black ink on a cotton Klucel – contains ethyl alcohol that nice color application. transparent when applied. It allows removed or reduced, but aside from canvas attached to the paper support. reduces a surface tension. It changes the II. Color on Japanese paper surface for smooth color application. Working visually compromising the piece, they The canvas was impregnated with have no effect on the stability of the starch adhesive as the painting surface. paper support (Figure 1). Visually, the The Map was in an extremely bad piece was balanced using retouching condition and it required complex in the following way (Figure 3) - the conservation and restoration work. Figure 1 • The Map of Zadar before conservation and restoration shapes of the brown stains were traced During the process, the old paper using a tracing paper. Next they were support was removed from the back covered with Japanese paper Tosa of the map and replaced with a new Shoji. Tosa Shoji was coated with 4% one. After achieving the appropriate methyl cellulose adhesive to reduce the conditions, Japanese paper were absorption of its fibers. So prepared selected for achieving a tone balance. retouching surface is separated from Selected were Usumino Shiro laminated the original artwork paper support and with Kizuki kozu Japanese papers it is completely removable. Retouching and colors for paper toning, Pergasol was made with watercolors following from Gabi Kleindorfer (Figure 2). The Figure 2 • Selected and toned sample of the Figure 1 Figure II Figure III the character and the form of drawing selected and toned sample of the Japanese papers (Figure 2 and 3). Japanese paper had to achieve the
162 Sanela Huzjak Retouching approaches to artwork on paper in the laboratory for conservation and restoration at the croatian state archives 163 Figure 3 • Reconstruction of the missing parts with toned sample of the Japanese paper and retouching with watercolors in tratteggio method requirements such as thickness, texture retouching and toned Japanese retain as a separate layer but absorbs binders can crack. (Chapter 1.3. III., and tone of the color. Toned Japanese paper (Figure 2 and 3). Watercolor it in its fiber structure (Chapter 1.3. I., Figure 3). For paper surface insulation paper was used for achieving a tone retouching interventions in the Figure 1). To reduce that absorption we use adhesives in 4%. It is important balance of the visually aesthetic whole drawing of the map were as few of fibers we use insulation with an to form an insulating layer/film so but also as the additionally reinforced as possible. Parts with missing the adhesive directly on Japanese paper it needs for at least 24 hours for of canvas drawing support. The original historical architectural data surface (Chapter 1.3. II., Figure 2) or adhesive to completely dry (Chapter retouching was applied with using the are visually connected with toned addition of adhesive into the color 1.3 .II., Figure 2). Klucel is not for tratteggio method, and no base tone Japanese paper (Figure 3 and 4). (Chapter 1.3. III., Figure 3). Adhesives recommend because it contains ethyl was required. Some surfaces required we use are methyl cellulose, starch glue alcohol that reduces a surface tension. no retouching at all (Figure 3 and 4). 3. RESULTS AND DISCUSSION and gelatin in 2% and 4%, (Chapter It changes the color tone more than 1.2., Figure 1) depends of the artwork other adhesives, leaves the paint brush- Visual and aesthetic balance on Absorption of some types of Japanese and what method is necessary. For strokes and it is not compatible with the Map of Zadar was achieved paper used as surface for retouching is colors mixed with an adhesive we every material (Chapter 1.2., Figure 1). using a combination of watercolor a problem because the color does not use adhesives in 2% because color containing a high percentage of 4. CONCLUSIONS
Figure 4 • The Map of Zadar after conservation and restoration The paper surface for retouching requires perfect preparation to reduce the absorption of its fibers. By insulating the paper surface as the base of retouching or addition of adhesive into the color, we try to reduce its capacity of absorption. REFERENCES: The surface prepared in such a way CHOI, S., MAKIN, J. – Treatment and Hausing retains the retouching as a separate Techniques for Pastel Paintings on Paper: Case paint layer and allows even and clean Studies, The Book and Paper Group Annual application of color and working with 32, 2013. fine details without spillage or staining American Institute for Conservation (AIC) Book and Paper Group - 30. Inpainting and (Chapter 1.3. II. and III.). Design Compensation. Paper Conservation Catalog (PCC), 9th Edition, Copyright AIC/ BPG 1994. POULSSON, T. G. – Retouching of Art on Paper. London: Arhetype Publications Ltd, 2008.
164 Sanela Huzjak Retouching approaches to artwork on paper in the laboratory for conservation and restoration at the croatian state archives 165 Keywords
Colour reintegration; Stains; Drawings; Figure 1 • Diverse stain and paper examples shown APPROACHES TO THE Acrylics; by different watercolour drawings. Microphotographs (x52) taken with Dino- Lampshade; Lite AD7013MZT(R4) CONSERVATION TREATMENT Embossed paper. AND CHROMATIC 1. INTRODUCTION REINTEGRATION ON Chromatic reintegration of artworks with the impossibility of performing on paper has always a potential chemical treatments specifically due WATERCOLOURS, CHARCOAL for problems to occur, specially if to the owner requirements; b) graphite one encounters different types of and charcoal drawings showing DRAWINGS, AND A LAMPSHADE paper mixed with different medium lacunae caused either by materials materials and conservation problems. deterioration or by Lepisma saccarina At IPT’s Paper Conservation insect attack (Figure 2); c) a Delfim HANDPAINTING Laboratory several objects shown Maya’s lampshade made of embossed these situations, and so divided into paper, hand painted with black carbon Leonor Loureiro groups: a) Delfim Maya’s watercolour ink, exhibiting heavy glue staining drawings, displaying different types of caused by a previous “restoration” Instituto Politécnico de Tomar, Quinta do Contador, Estrada da Serra, 2300-313 Tomar; [email protected]; [email protected] disrupting stains, in different papers attempt by the family. (Figure 1) and mixed materials [1], and
Abstract
The Instituto Politécnico de Tomar (IPT) continuously receives diverse paper watercolours wash to cover disrupting stains that prevented objects overall Apart of the implications regarding the objects for conservation and restoration treatments. Decision making procedures are observation; to test mixing reactions of different chromatic reintegration direct application of chromatic materials dependent on type and materials mixtures, objects formats, damages interactions, materials; and to apply watercolours wash to different papers surfaces: plain on paper objects, the results show that or even by owners’ opinions. and embossed. a good chromatic reintegration result on Tree situations posed complicated decision-making procedures: a collection of The materials involved were Schmincke Horadam half pan watercolours, the final work depends on the type of watercolour drawings by the Portuguese sculptor Delfim Maya (1886–1978); Windsor & Newton Artists half pan watercolours, Liquitex Acrylic “Heavy Body”, paper, its surface finish, if it’s a full or a graphite and charcoal drawings belonging to different private collectors; and a hand Winsor & Newton Finity Acrylics, Derwent Charcoal pencils, and 3B Derwent surface lacunae chromatic reintegration, painted lampshade by Delfim Maya. All Delfim Maya’s objects dated from the 20th Graphic Graphite pencil. the mixes and the quality of the chromatic century, and the charcoal drawing from 1899. Different procedures for treating and/or disguising diverse types of stains reintegration materials, and ultimately of The interventions purpose was to assess methods on chromatic reintegration: and discolouration were considered and questioned, and tricky techniques as an experienced conservator’s hand working its application on large and small areas of paper; to evaluate the application of several layers of very diluted watercolour wash were applied. on watercolour chromatic reintegration. The interventions purposes were: paper surfaces, as this would prevent a) to assess several approaches on the watercolours to partly penetrate paper chromatic reintegration; b) its the paper damaged fibres strata, thus
application on large and small areas of reducing the coverage power and the Figure 4 • Face detail of “Dr. José Duffner” 30’s paper; c) to evaluate the application required transparency. caricatural drawing from Delfim Maya, before and after chromatic reintegration. of watercolours and acrylics wash on disrupting stains that prevented the 2.2 Graphite and charcoal drawings overall observation of the objects; d) to These objects needed different
test mixing different materials on paper Figure 3 • “Untitled (woman)” 30’s caricatural chromatic reintegration materials: a) chromatic reintegration; e) to apply drawing from Delfim Maya, before and Yellow Reddish 230; c) semi-opaque in “Sevilhana” and “Cavaleiro Cañero” after chromatic reintegration. watercolour wash to different papers and semi-staining Payne’s Grey Bluish graphite & iron gall ink drawings, the surface finishes: plain and embossed. 787 [7]. Examples are clearly showed in lacunae were reintegrated with a Horadam half pan watercolours was Figures 3, 4 and 5. mixture of Schmincke Horadam half 2. MATERIALS AND METHODS chosen [3, 4, 5]. For some staining situations acrylics pan semi-opaque and semi staining For all the drawings, a mimetic were also thought to be a good watercolours of Ivory black 780 with Depending on the object, result was the primary goal [6], so the application hypothesis, due to their Sepia Brown 663, and later traces conservation treatments generally methodology consisted in applying good coverage power, less material of 3B Derwent Graphic Graphite included dismantling, dry cleaning directly a first wash coat of the opaque applied, and a less time-consuming pencil were used; b) in “Portrait (smoke sponge, eraser), wet and semi-staining Titanium Opaque procedure. Liquitex1 Acrylic “Heavy of João Baptista de Sousa 1899” cleaning (cotton swab, wet blotters, White 101, to cover and give a better Body” Unbleached Titanium 434 charcoal drawing were used Derwent immersion), resizing, drying/flattening, working base for the dark stained was chosen due to its colour, satin Charcoal pencils in dark, medium, and tears consolidation, lacunae infilling, areas. This was done either with 3/0 or finish, possibility of dilution, known light shades, and Schmincke Horadam chromatic reintegration, passe- 10/0 brushes, to control the coverage pigment composition (PW 6, PY 42, half pan semi-transparent and semi- partout/frame mounting. precisely onto the stain shape. PR 101, PBIk 11), chroma saturation, staining watercolour Raw Umber 667. Depending on the object constituents After, a wash of other colours was availability, and known Material Safety The “Sevilhana” and “Cavaleiro [2] the chromatic reintegration materials applied exactly inside the covered stain, Data Sheet [8, 9]. Cañero” lacunae were primarily chosen can be slightly different. So, and in conformity with the surrounding In either case it was needed to infilled with Gampi Japanese for the three work of art groups in areas, so to neutralize a “purplish” effect apply a very thin coat of chromatic paper and 4% Tylose MH 300 glue, discussion diverse approaches and created by the Titanium Opaque White reintegration material and leave it to thus did not needed a protective solutions were applied. 101 wash, and applied in different dry completely before applying the coating application. The chromatic situations, so to match the original colour next layer. If this was not performed reintegration was done by mixing 2.1 Delfim Maya’s watercolour whenever possible: a) semi-transparent correctly, the colours might be mixed Ivory Black and Sepia watercolours, Figure 2 • “Portrait of João Baptista de Sousa 1899” charcoal drawing, recto, and drawings and semi-staining Raw Umber 667; b) altogether, and the final effect ruined. and applying a mimetic layer on top verso before treatment. Figure 5 • Body detail of “Dr. José Duffner” Primarily, for the watercolour opaque and semi-staining Naples Yellow No protective layer was applied of the lacunae. After flat drying, a 30’s caricatural drawing from Delfim drawings, the brand Schmincke 229, Jaune Brilliant Dark 221, and Naples previously to any of the stains at the finish touch of 3B Derwent Graphic Maya, before and after chromatic reintegration.
168 Leonor Loureiro Aproaches to the conservation treatment and chromatic reintegration on watercolours, charcoal drawings, and a lampshade handpainting 169 most of the glue concentration was effects and maximize colour coverage, After discussion, the first two options scalpel removed, and after cleaning, the Winsor & Newton Finity Acrylic (now were discarded by the owner’s lampshade still showed some staining Professional Acrylic) Raw Umber 554 requests, and by the possible further with tide lines surrounded by lighter [10] was the second chosen material damaging interactions of a chemical
Figure 7 • Top left corner detail of “Portrait of João Baptista de Sousa paper areas. Overall, this was disruptive and matching colour. treatment to the stain adjacent areas 1899” charcoal drawing, during chromatic reintegration. and needed to be disguised. After testing, the methodology or the undamaged overall work of art. In this case the embossed paper and chosen consisted in applying very So, even though ethically controversial, Graphite pencil was easy to apply It was noted that in bigger lacunae its colour required a different approach. thin wash layers of both materials, the least interventive operation and (Figure 6). areas, the charcoal colour was not Firstly, the chromatic reintegration first acrylic and after watercolour, and only possible solution was a top For the “Portrait of João Baptista enough to match or cover the paper materials were also chosen due to leaving each layer to dry completely colour application on stained areas. de Sousa 1899” charcoal drawing, a colour. In these areas the application of their known pigments composition, prior to next application, so to not Nonetheless, as the stains were visibly thin coat of 4% Tylose MH 300 was a wash of Raw Umber 667 was needed. proven lightfastness, transparency, mixing them. disruptive, but stable, and the objects firstly applied onto the paper surface Two tests were performed on a stability, workability, possibility of mixing The brushes used were also the were going to be stored in a controlled lacunae as a barrier for the chromatic corner: a) a first application of the together, possible reversibility upon and same as before, with the addition environment, this contributed to ease reintegration, and as a protective layer watercolour wash, seconded by after application, and proven application of type 2/0, due to the embossed the decision-making process. for the open and fragile insect bitten the charcoal application; b) a first on previous restoration situations. surface and stain condition. Watercolours and acrylics wash paper fibres. application of the charcoal, seconded Covering with a body colour was application have their own tricks. If After drying, the methodology by the watercolour wash application. not an option due to the satin and 3. RESULTS AND DISCUSSION the covered area it is still too moist, a consisted in applying layers of dark, It was concluded that a better effect embossed surface of the paper. Hence, non-workable stain appears, blending medium, or light Derwent Charcoal and colour control was possible by Schmincke Horadam Watercolour 3.1 Delfim Maya watercolour colours altogether. In this case the area pencils by means of a point of a Koh- the second test, therefore this was Raw Umber 667, was the first option drawings needs to be immediately dried with a I-Noor Hardtmuth stump2. This tool the chosen methodology. material and matching colour. The owner of the Delfim Maya cotton swab or a piece of blotter, to was and still is used by artists to blend This work is still ongoing due to the As the paper showed nearly watercolour drawings clearly specified prevent staining the original work of charcoal, pastel, or pencil drawings. high number and lacunae extension, surface fragility in some areas, a thin for a minimum intervention done to art. After, colour needs to be removed It was naturally chosen as a tool and due to the necessary time needed protective layer of 4% Tylose MH the objects, preferably limited to dry and the reintegration work restarted. Figure 6 • Head detail of “Sevilhana” 30’s drawing that specially allowed a much better for properly training the student, Ana 300 was tested in a small tear zone. cleaning only, but with the specific If too much body material is applied from Delfim Maya, before and after chromatic reintegration. control over the material application in Sofia Sousa. The result was that the stains came request for removal of the disruptive (Figure 8), the final effect might be the minute surface lacunae (between around again, as well as the tide lines. stains. non-transparent and dull, depending 1 to 0,1 mm diameter), with an all- 2.3 Delfim Maya lampshade This ruled out the use of a protective The options for an intervention in on: the cover material, the amount over blending pointillism effect, and led Dry and wet cleaning tests were layer. Was also a sign that water these cases are scarce, depending also of covered area and/or on the type to an undertone effect. A masque of performed with smoke sponge, eraser, would be a possible problem during on the type of stain: a) local or total of paper used by the artist. If this Archival buffered blue-grey box board scalpel, and wet cotton swab, which chromatic reintegration, preventing chemical treatment and/or washing; happens, it needs to be totally and 1 mm thick was also used to reduce resulted in a lesser application of the maximum colour matching effect, b) scalpel removal of the damaged very carefully removed by means of “visual noise” created by adjacent deionised water as initially expected due or even darken the large chromatic area (paper included); c) aesthetical a cotton swab slightly moistened in white areas, as shown in Figure 7 to paper surface sensitivity. Therefore, reintegration areas. To minimize water colour surface cover-up. deionised water.
170 Leonor Loureiro Aproaches to the conservation treatment and chromatic reintegration on watercolours, charcoal drawings, and a lampshade handpainting 171 reintegration onto large areas of paper. well, also with graphite and charcoal. application depends on the type This was thick, brittle, embossed (as to In any case there were not negative of paper, materials and damages look as cloth), and stained even after mixing reactions of the different encountered. It is the most time- cleaning. Also, it could not be dismantled chromatic reintegration materials consuming procedure and therefore
Figure 8 • Detail of too much Titanium White watercolour body application. Microphotograph (x52) taken due to its construction method and used. Large areas were considerably also needs the helping hand of an with Dino-Lite AD7013MZT(R4). materials involved. difficult to work with, comparing with experienced conservator. Therefore, the overall treatment small or pointy lacunae. The ultimate Further application and changes of It was observed that in some stains to perform this type of chromatic took a long time to accomplish by recommendation is that one should the chosen chromatic materials will and/or papers, the watercolour reintegration by a non-trained person. the student Laetitia Silva. During always use the best quality materials continue to be analysed, and this wash was readily absorbed, and in After treatment all drawings were chromatic reintegration two object possible. Schmincke Horadam half paper objects intervention will be other cases it stayed on top of the mounted in a passe-partout of (paper) positions were tested: pan watercolours, Windsor & Newton assessed in the future, as they will applied area. Probable explanations Timecare Board ref. 600249. [11] vertical and horizontal. The vertical Artists half pan watercolours, Liquitex remain within the Biblioteca Nacional for this are the nature of the stains position of the paper shown that Acrylic “Heavy Body”, Winsor & de Portugal, Museu José Malhoa, and – repellent or not – and sizing quality 3.2 Graphite and charcoal drawings the watercolour wash was difficult Newton Finity Acrylics, and Derwent accessible private collections. and quantity, or paper surface finish – These interventions were the to apply, as tended to downflow, Charcoals and Graphic Graphite pencil absorbent or damaged. simpler and less questioned ones. The not to be even, and the hand/brush work very well altogether. Testing in some cases shown that it chromatic reintegration of “Sevilhana” position created shadows over the The application of watercolours was possible to remove the chromatic and “Cavaleiro Cañero” was applied embossed paper. Placing the object washes to cover disrupting stains that reintegration done, but some papers onto paper lacunae areas, easy to be in a horizontal position, preventing it prevented objects overall observation removed.Therefore, this action interferes from rolling by means of small sand was considered successful even on shown too much absorbency for this Figure 9 • Delfim Maya Lampshade, before and after treatment. to happen. In these cases, the chromatic lesser with the original. Regarding the pillows, the chromatic reintegration different papers surfaces: plain or reintegration was considered irreversible. “Portrait of João Baptista de Sousa action was visually eased, allowed a embossed. Embossed papers are Therefore, if it is needed to be removed 1899” lacunae chromatic reintegration, satisfactory general staining disguise, some of the same problems as before, more difficult to work with and in the future, the “ultimate” solution is a the application of a 4% Tylose MH 300 better control of the watercolour with the adding situation of a more tend to concentrate colour between total removal of the damaged area, and coat as a protective layer allowed an or diluted acrylic flow, nonetheless difficult removal of the watercolour “valley” areas. Different paper surfaces AKNOWLEDGMENTS probably paper included. easier pointillism performance of the maintaining a lighter undertone on and acrylic colour mix applications. imply careful problem analysis, to The author wants to specially thank As it was not possible to pinpoint reintegration charcoal. Nonetheless, in large areas than the actual paper better assess possible damages caused the 2016-17 Paper Conservation an exact cause for the absorbance this case a final overall result is still in colour. It was only difficulted by the 4. CONCLUSIONS by colour and materials applications. It and Restoration students for all the or repellence due to the mix and to come, but the so far results show conservator’s body working position, is recommended that, if timeframes work and dedication put in these diversity of situations encountered, it is a good blending but with a disguisable but this was surpassed by pausing Overall aims were met and with allow, materials analysis should objects and studio/laboratory work. recommended that careful though and bluish undertone. more and do stretch exercises. positive results. Stains were disguised be taken to paper sizing, drawing Without their help and overtime procedures should be taken previously. This intervention was meant to last with minimal possible materials materials and stains, to determine given the conservation procedures in Also, that an experienced conservator 3.3 Delfim Maya lampshade due to the stability of the applied quantity application to the objects. their natures and possibly allow other this paper would be very difficult to should firstly conduct tests and the The lampshade was the trickiest object materials. Either way, if it ever needs to Mixing layers of watercolours and treatment hypothesis to arise. achieve in the necessary timeframe work itself, prior to any attempt to conserve and perform a chromatic be restored again it will probably show acrylics in chromatic interventions work Paper chromatic reintegration for the three 2017 exhibits.
172 Leonor Loureiro Aproaches to the conservation treatment and chromatic reintegration on watercolours, charcoal drawings, and a lampshade handpainting 173 NOTES 1 Founded in 1955, Liquitex is one of the first brands to develop acrylic paints for artists: in 1956 developed “Soft Body” water-based acrylic paints, and in 1963 released the “Heavy Body” thicker consistency version. It is widely available. 2 This is called “esfuminho” in Portuguese, and “estompe” in French and German.
REFERENCES [1] LOUREIRO, Leonor – Primeiras aborda- [4] LOUREIRO, Leonor – A Reintegração watercolours.pdf [26 November 2017]. gens para caracterização da obra gráfica de Cromática de Cromolitografias. In RECH1: I [8] LIQUITEX Official website. Available Delfim Maya. In ROQUE, Fátima Faria, ed. – Encontro Internacional de Reintegração Cromá- at: http://www.liquitex.com/AboutUs/ [26 Delfim Maya. Escultor do Movimento. O Ribate- tica de Bens Culturais. Porto. Comissão Orga- November 2017]. jo na Obra de Delfim Maya. Vila Franca de Xira: nizadora: Frederico Henriques / Ana Bailão / [9] LIQUITEX MSDS Sheets - Heavy Body Câmara Municipal de VFX, 2017, pp. 25-37. Escola Profissional Árvore. Artist Acrylic Safety Data Sheet. Available [2] LOUREIRO, Leonor, et al. – Conserva- [5] SILVA, Cátia; LOUREIRO, Leonor; at: http://www.liquitex.com/uploadedFiles/ ção e restauro de desenhos e caricaturas de ANTUNES Fernando – Inpainting a Urania Content/Resources/Safety/MSDS_Sheets/ Delfim Maya: características e marcas de água 19th century toy theatre: problems and SDS%20LX%20HB%20All%20other%20 encontradas nesses papéis do séc. XX. In Atas solutions. In RECH2: 2nd International Meeting Colours%2023-07-15%20US.pdf [26 do XII Congresso Internacional História do Pa- on Retouching of Cultural Heritage Proceedings. November 2017]. pel da Península Ibérica, Tomo II. Santa Maria da Ana Bailão, Frederico Henriques, Ana Bidarra [10] WINSOR & NEWTON Official Feira: AHHP – Asociación Hispánica de Histo- (ed.), Porto: Escola Artística e Profissional Ár- website – Professional Acrylic Colours. riadores de Papel e Câmara Municipal Santa vore, 2015, pp. 240-260. Available at: http://www.winsornewton. Maria da Feira, 2017, pp. 433-455. [6] SUSTIC, Sandra – Breve Manual sobre com/row/shop/acrylic-colour/professional- [3] LOUREIRO, Leonor; SILVA, Cátia; ROSA, Reintegração Cromática / Brief Handbook acrylic?colourid=5012572011556 [26 Ana Catarina – Chromatic reintegration of about Mimetic Retouching. Porto: Escola Artís- November 2017] 20th century monochrome photographs tica e Profissional Árvore, 2015. [11] KOSEK, Joanna M. – Conservation showing plain and textured paper surfaces. In [7] SCHMINCKE Official website Mountings for Prints and Drawings. A Manual RECH3: Postprints. Ana Bailão, Frederico Hen- HORADAM watercolour chart. Available Based on Current Practice at the British riques, Ana Bidarra (ed.). Porto: Escola Artís- at: https://www.schmincke.de/fileadmin/ Museum. London: Archetype Publications, tica e Profissional Árvore, 2016, pp. 113-122. farbkarten/colour_chart__HORADAM_ 2004.
174 Leonor Loureiro Nome artigo 175 Keywords
Photographic; Retouching; Technique; THE PHOTOGRAPHIC Manipulation; History; called original. However, this practice RETOUCHING AS A Photographic procedures. has usually, and still does, caused suspicion and is often a source of FUNDAMENTAL INTERVENTION controversy. 1. INTRODUCTION 1.1 State of the art Both darkroom techniques and the In 1839, the invention of However, photography, presented in retouching itself have intertwined photography as a technological society through the daguerreotype, for many years, which has cause advancement was presented at the was born with two burdens: those who a great deal of terminological Academy of Sciences in Paris; it was thought that it was an unnecessary misunderstanding, as we will see in this Rubén Morales González to radically change the way in which vulgarity or even a disloyal rivalry, paper. This has led to an unsupervised reality had been represented in and a series of technical and practical and unorganized dissemination of Universidad Complutense de Madrid; Madrid, (Spain)[email protected]; two dimensions. Up until then, the challenges that were standing in the knowledge on the subject that has responsibility of that representation way of obtaining a reliable image of omitted one of the most important fell solely on drawers and painters. reality on a sensitized plate which secrets of photographic production: Both science, which for centuries rendered no color and which needed photo retouching. had studied and demonstrated that long-exposure times. Nowadays, the change in era certain photosensitive salts could These and other scarcities that regarding technological means has led register light, and the socio-economic will be analysed later required an to the popularization of photographic situation in the nineteenth century, extra-photographic contribution capture and editing, a term designated eased the development of such an that consisted of several techniques to include the set of tasks performed important invention. and pictorial means to adapt the after the shot. Edition is mostly carried new invention to the inherited out with a computer, or even on a aesthetic canon of the miniaturists. mobile phone, thus providing such an Abstract Photo retouching is part of the ease of use that a large part of the photographic medium since its population often uses these methods. Throughout the history of photography, many procedures have been used to attain “original” in photography is quite hard beginnings. Whether we consider an Every photo editing software sets its a final photographic image. Since the very beginning, photographic retouching was to understand. aesthetic or technical criteria, almost foundations on traditional methods one of those interventions. Most of the preserved archives both in institutions and Define terms and carry out an in- the entirety of photographs have had of photographic copy intervention, private collections, contain negative and positive retouched photographs. However, depth analysis of the photographic the expression “photographic retouching”, suffers from an alarming lack of definition, techniques are essential if we want to some intervention that has involved a manipulation and interpretation. In even though it is an essential photographic procedure. be able to differentiate them from the transformation to a greater or lesser the middle of the first decade of the Due to the negative-positive duality and the influence of retouching, the term “true retouching”. extent of what has been wrongly 21st century, in full development of the Digital Age, Adobe Photoshop, understanding of certain actions or by the ease of access and execution the software that amateurs and interventions. Due to the technological in terms of photographic edition, professionals most use, continues to development that makes shooting and which in turn, has helped numerous reference back to techniques or tools obtaining a copy easier, relaxation in manuals on digital retouching to used in the dark room for decades. the technical education which in turn proliferate in the last decade: i.e. However, the new social and has ended up in a tendency to focus Martin Evenning’s on Photoshop for photographic model, controlled by the on the project, edition or concept, and photographers. Manuals that, when immediacy granted by technology, has of course on photographic computing, in the hands of unknowledgeable Figure 2 • Burning and dodging scheme resulted in a partly logical distancing has taken place. people, who do not know the origin from the origins of photographic These reasons, among others that of the techniques, can only execute, Figure 3 • Burning and dodging routine production techniques; it is quite will be analyzed in this work, have but with no understanding. 19th century and beginning of the popularization of photography itself, The grain perception and the common to find that most people do generated over the years a confusing Nowadays, the concept of retouching 20th. Another search for manuals retouching was one of the techniques sharpness sensation decreases as the not pay attention to the reason behind and generalized definition that has has a substantial negative burden, on the art of photo retouching in that would soon disappear outside enlarging factor increases. certain graphic icons. The formative encompassed a set of techniques and touched by recurring scandals in the 19th and 20th century has been the professional field. One of the main The projection onto the paper is trend in this field does not help much interventions under the term of photo the media. A wrongfully understood performed in the website www. reasons for this lies in the difficulty of generally big enough so it can allow in establishing relationships that can be retouching. This phenomenon, despite conception of the finality, the archives.org. [Fig. 1] retouching a 4x5” plate or even more, to manually intervene between considered of great help for the deep of not being new, has been extolled authenticity, the documentary nature, In Spain, la Biblioteca Nacional (BNE- a 35mm. Pates used professionally the paper and the negative, making and the history of photography in its The National Library) holds some were of 4x5”, 5x7” or 8x10” a size big burning and dodging to extract the maximum information from the Figure 1 • Retouching book in 1895 commercial side, has led to put the main resources on this matter as enough to comfortably intervene on it. term retouching in the eye of the storm. well as historic retouched negatives Smaller negatives could not be negative easier, as well as to obtain Available bibliography is scarce and prints from several archives. At printed by contact and they needed the adequate contrast. It also allows and limited to the late 19th century the Instituto de Patrimonio Español the use of an enlarger. The working softening of the corner’s light falling reference manuals and very few reviews (Spanish Institute of Cultural Heritage) method for these negatives is rather by what is called “close the print”. All and updates of those in the 20th. we can also find a large number of different from the contact printing these operations are performed with During the 21st century, many manuals retouched negatives and prints from due to the following factors: bare hands, cardboard, play dough or have been published, but they focus on its many historic photographic archives. An optical element is placed transparent inactinic elements. [Fig. 2] the current technology and lacking of between the paper and the negatives, This all means that the print can any historical reference, which deems 2. TECHNICAL ANALYSIS OF which will in turn result in a lesser light be worked by areas. Multi-contrast them unusable for this research. THE PHOTO RETOUCHING intensity especially in the corners. papers allow for different contrast The main consulted sources are as The light projected onto the paper degrees to be used in the same print. follows. From the institutional point of When in the darkroom, many can be influenced due to parasite [Fig. 3] view, the Library of Congress website techniques can be applied to extract lights from rebounds on the many The actual negative size does not which has allowed us to consult all possible information from a object present in the darkroom determine the final size of the print different treatises on photographic negative. Due to the miniaturization around the enlarger, which will or the possibility of making other retouching dating back to the late of the photographic negative and the decrease the contrast in the print. sizes.
178 Rubén Morales González The photographic retouching as a fundamental intervention 179 It is clear that the enlarging contrary, is performed by scraping the of the painter, allows for great Therefore, photography stepped in to the process, and comparing it to his process brings both advantages and emulsion in high-density areas. possibilities of manipulation with cover an increasing demand in the first own portrait on a glass plate, with a disadvantages comparing to the Photographers kept their negatives no technical limitation. Miniaturist decades of the 19th century: to own greater depth of field and an almost contact printing method. Despite in an archive with the client’s index from the 18th and 19th century a portrait as a status symbol. The first insulting sharpness. Each pore and the greater flexibility of the enlarger, card to be retrieved for future copies. embellished and praised their models invention commercially exploited was each wrinkle depicted with no mercy. two determining factors helped Due to the idealization of the portrait with very solemn poses. These the daguerreotype; it was an abstraction It seems this was not of society’s liking, retouching to continue being part of obtained in the negative and the miniatures where mainly directed to of reality, due to its own specific judging by the historical evolution of the process many decades after the workflow of the time, having a ready- the emerging middle-class, eager to characteristics in size, exposure time photographic studios. first enlarger appeared: to-print negative assured satisfactory imitate the main symbols of nobility. or finishing techniques. Despite being As Rosina Herrera, restorer, points The idealization of the portrait results already approved by the client One of those symbols was the small presented as the mirror of memory, out, the client “[…] started to demand demanded by clients made necessary and in turn save means. format portrait, which, especially in the which “returned the viewer the exact being lied to and for the photographers the using of graphite and other first third of the 19th century, tried to representation of reality, with an accuracy to embellish reality by the means of elements applied in both the human 3. A HISTORICAL AND AES- imitate the old miniatures with staged degree unattainable to painting”6, what traditional techniques, more on the features and the imperfections to THETIC STUDY OF THE PHO- scenes and vintage dresses, providing the amalgamated silver showed was line of drawing and painting”.7 reach the prevailing aesthetic degree. TO RETOUCHING the portrayed with a higher social further from reality than many pictorial There is evidence that photographer This is one of the interventions category and ceremony. miniatures: rictus imperterritus, ghostly Emil Rabending was the pioneer in that cannot be performed when The Greek beauty canon, accepted The public presentation of the looks and an obvious rigidity, portrayed photo retouching in 1860. He was using an enlarger and that require through centuries as the perfect invention of photography was not by onto a support that forced the image highly regarded among bourgeoisie certain expertise before the printing aesthetic example has not been chance. As Publio López Mondejar, to be viewed from a specific angle, and nobility. If his success encouraged process. Dodging in the enlarger is shared by every culture and has historian, points out “if photography which lacked color, and, which size, in others to introduce retouching made by applying an inactinic mask suffered some variations. However, it had not burst into the scene earlier, most cases, did not allow for a detailed among the techniques used, or if it in low-density areas; burning, on the has always been present especially in was because society’s economical observation. was the clientele, which demanded a the western society. and industrial structures were not The rapid advancement of specific finishing in the portrait as the One of the oldest photo retouching ready to implement it. Suddenly, after photography was based in the Carte de Visite spread out, or both, manuals, “A Complete Treatise On half a century of bourgeoisie ruling, quality and fidelity of reproduction, the fact is that intervention in the The Art Of Retouching Photographic which had opened the door for the which allowed photography to attain negative became standard. [Fig. 4] Negatives And Clear Directions How economic liberalism and the industrial a notable degree of perfection in Due to the critics and controversy To Finish & Color Photographs” revolution, it seemed possible to turn only a few years. A fact that can be that this phenomenon originated, from 1898 , takes the Greek canon that visionary invention into a source understood as positive was not well the propagation of this trade was as model: “The most beautiful mouth of commercial speculation. […] the assimilated by the public as they saw scarce. Even the majority of the few is generally understood to be of The technological advancement and the how their portraits showed reality as published manuals, concurred that Greek type, the lines of which follow increasing political prominence of the it was. We can all picture a person, in the best way to learn the profession Figure 4 • Retouching in a negative the shape of the cupid’s bow “ 4 rising middle-class turned into reality the 1870’s, looking at his grandparents was by learning from a retoucher: Figure 5 • Print without retoching and retouched Painting, thanks to its nature and to what the greater pioneers were daguerreotype, romantically charged “The fastest, easiest and best way to the idealization and interpretation already suspecting […]”.5 with the aesthetical characteristics of learn how to retouch photographic
180 Rubén Morales González The photographic retouching as a fundamental intervention 181 negatives or prints is to subjects to not have limits. Some manuals with those goals which are the This mystery has upheld until the The origin of retouching lies in a need chapter, other complementary ones oneself to the training of a good acknowledge this aspect and implored following: popularization of digital photography of the system itself, that even having have also arisen: teacher. Those ready to do this, will photographers to put their taste and The origin of retouching, being an and its computing edition; the being presented as the paradigm of The term “original” also raises many not need this book or any other; in criteria before the demands of the extra photographic contribution technique’s lack of spread on the a truthful and realistic capture, lacked doubts not only in the art market three months of constant study and clientele: “some indulgent sitters, to aimed to embellish or idealize the one hand, and the ease to access particular extra photographic aids to but also in the archival and historical expertly guidance and even sooner whom nature has provided with a portrayed, or even to overcome and use on the other, have generated fulfil its goal regarding the technique terms. The “negative-positive” duality if you are a natural, you could be a rather unpleasant face, often demand specific limitations of the photographic a combination of terms where the and the aesthetic. Painting techniques only makes the consensus more retoucher. This pamphlet is solely their portraits to be improved and system has been around since the word “retouching” encompass many were used towards that goal with difficult. The widely accepted premise written for those who cannot or do complying with that needs to be beginning of photography. As seen techniques that, at the turn of the 20th contributions made with graphite, is that the negative is the original. not want to learn and train under avoided. […] It does not work like that before, daguerreotype already century, were not considered as such. aniline dyes and other materials, as Nevertheless, the negative is not direct supervision of a master, which, in portraits. No matter how good the suffered different interventions, all of Therefore, today’s photo retouching painting was the closest fine art to capable of producing a high quality we repeat, is the fastest and surest original, people will always think higher them extra photographic. perception is totally distorted with photography print by itself; it cannot be seen way to learn this trade”.8 of themselves and demand for his The evolution of retouching has walk regards of the precepts that were Even knowing that today’s definition as a work of art, but rather as an The scarcity of publications of that reproduction to be embellished and hand in hand with the coming of each accepted since mid-19th century until of retouching can still be very vague object. A series of proofing methods time and later, indicate an agreed charming (they do not dare say the new photographic process, which has the beginning of the 21st century. there is a noticeable difference are needed to obtain a final print. secrecy and shared with the clientele, word and speak something similar). led to the existence of some common The study of photographic objects between it, and the rest of the Therefore, in the case of photography which began to know where they This feeling prevails especially among techniques and process-specific ones. observed during this research work, photographic techniques. Those the original would be the first print could be portrayed more favourably. women: thus, every photographer The techniques born from this clearly define the term retouching intrinsic photographic techniques accepted by the printer that will set Photographic studios were a lucrative has a retoucher who truly is an artist evolution have merely become known as well as its use. Every contribution are used to extract the maximum the way to obtain future prints. The business, though very competitive that can totally transform a portrait. with a very limited number of manuals made on both negatives and prints amount of information from the shoot negative thus will be a necessary due to the large number of them that But they should not be imitated as, and papers. One of the reasons to was done in order to correct through different means; retouching is complement of that original and can were in the cities in different periods. you should only moderately correct explain this is the controversy that the process’ defects, make up for an outside and idealized contribution only be regarded as original if placed [Fig. 5] Cameras, lightning equipment, nature’s work as it is always superior certain interventions have always deficiencies, or to embellish the final that is placed among the extrinsic beside the print, because in other case, emulsions, etc. were the same for to men’s”.9 arisen, setting retouching as the print. All of them pursue the same contributions. In the same way, photo a different printer could interpret it in everybody. The photographer made a perfect example of the deviation goal even though the degree of use techniques have developed with a different way at any time. big difference, but the biggest one of 4. CONCLUSIONS from authenticity of the medium. of these techniques is varied. the history of photography while In the case of a retouched negative, them all was the negative retouching. However, as shown in the study, Accordingly, retouching is retouching has remained hardly where masks, burnings and graphite According to what many reference The proposed objectives of this retouching was not only accepted a contribution following the unaltered for virtually 100 years contributions have been applied, that manuals observe in their introductions, work have led to the execution of but also demanded by the clientele development of the negative and To shed some light and order to is ready to be printed with no further more than one retoucher was bound a thorough historical, technical and throughout history, like in an idealized every intervention that comes with the matter at hand, a typology of intervention, it could be considered to surpass the logical limitations of any aesthetical study both of the examples and magical aesthetic quest. In spite it, and it is aimed to chasten defects interventions has been established original as these contributions make artistic process because of competition: found in different archives and the of this acceptance, embellishment or accidents in the developing to help us discern what should be any other interpretation of the However, the clientele, eager to have reference manuals and books that methods have been consensually process and to idealize what is being considered retouching and what not. negative difficult. It has to be said that, a portrait that will not show what covered this matter. This study has accepted but hidden from the main photographed, according to accepted Besides the conclusions related to in this case, the photographic negative the mirror at home showed seemed produced several conclusions related public. aesthetic cannons. the objectives proposed in the first along with the retouches forms the
182 Rubén Morales González The photographic retouching as a fundamental intervention 183 NOTAS 1 Measurements are given in inches as it is today’s standard. Correspondent measurements in centimeters are as follows: 8X10”=18x24cm. 5x7”=13x18cm. original. This kind of mixed originals 4x5”=9x12cm can be counted by the millions in Please note metric measurements do not mathematically correspond with those in the archives anywhere in the world, the imperial system; this is because there were two systems that used different plate as they are the largest part of the holders, which were progressively unified from the 1980s on. known photographic production. 2. Negatives smaller than 4x5”, originated from cut plates, have been found during the They are idealized originals, more or course of this research, although it is not the general trend. They specifically come less far from reality and the veracity of from the Kâulak Archive at the BNE. photography, but which hold a great 3. (Johnson, 1898) importance in history. 4. (Johnson, 1898), page 26 And it is for this reason, due to its 5. (Mondejar, 2014) page 1 technical, historical and aesthetical 6. Ídem, page 4 7. (Herrera, 2011) page 112. importance that a down-to-earth and 8. (Kâulak, 1921). correct dissemination that will help 9. (Brunel, 1899) page 125. understand retouching is necessary, no matter the controversies that have followed photographic retouching in its evolution; and of course, to widely circulate and protect an intervention as old as photography itself.
REFERENCES BRUNEL, J. Los fracasos y el retoque. Madrid: JOHNSON, R. The art of retouching Librería Editorial de Bailly-Bailliere e Hijos, 1899. photographic negatives. Boston: American HERRERA, R. (2011). “Técnicas de retoque de Photographic Publishing Co. 1936. negativos fotográficos: historia y conservación”. KÂULAK, A. C. El retoque fotográfico. Madrid: Pátina, Vol. 16 Libreria Internacional de Romo, 1921. JOHNSON, R. A complete treatise on the art MONDEJAR, P. L. El rostro de las letras. of retouching photographic negatives and clear Escritores y fotógrafos en España desde directions how to finish & colour photographs. el Romanticismo hasta la generación de London: Marion & Co., 1898. 1914. Madrid: Ediciones del Azar, 2014.
184 Rubén Morales González The photographic retouching as a fundamental intervention 185 POSTERS
186 Nome artigo Nome artigo 187 Keywords
Pictorial retouching; Colour reintegration; of the stucco to be reintegrated [1]. of year, the time of day... [6]. Reintegration criteria; Recent studies reveal that colours are Artificial light sources rarely INFLUENCE OF LIGHTING Lighting sources; not perceived in the same way by each approximate the spectral distribution individual [2], because visual perception of sunlight [7], but they are the most Colour temperature; also influences on this process [3]. appropriate since they remain stable. SOURCES IN THE PROCESSES OF Visual perception. In addition, it has been developed There are a wide variety of lighting researches that demonstrate that visual sources including incandescent, halogen, COLOUR REINTEGRATION impairments also affect chromatic fluorescent and LED lamps [8]. The last reintegration [4]. one is the subject of recent studies in 1. INTRODUCTION Based on the theory of colour, we the field of conservation - restoration know that light is fundamental in the because it does not contribute to the (1) (1) Colour reintegration is a purely Beatriz Doménech García Vicente Guerola Blay perception of colours [5]. However, in chromatic degradation of the pigments | | aesthetic restoration process that, when (1) general terms, restorers do not usually [9]. It should be noted that, within this María Castell Agustí carried out improperly, can alter and take into account the type of lighting great diversity, the lighting sources can make the reading of a work confusing. 1. Instituto Universitario de Restauración del Patrimonio de la Universitat Politècnica de València, Camino de Vera s/n 46022 València; beadomga@ sources for the development of a be differentiated according to their The realization of a good retouching gmail.com; [email protected]; [email protected] pictorial retouching, ignoring in many colour temperature, that is, according is based on the principles of respect, cases that the final result may vary to a simplified form of indicating the discernibility and reversibility, as well depending on the use of warm, neutral predominant tone of a white light, as on several factors that influence its or cold light. expressed in Kelvin (K) degrees. Thus, execution, such as choosing the most Traditionally, sunlight has been the classification is set in warm light, suitable materials, the ability and the considered the optimal light source for between 2800K and 3500K; neutral light, criterion of the restorer and the quality Abstract the reproduction of colours. However, between 3800K and 4500K; and cold it is not normalized since its spectral light, between 5000K and 6500K [10] (see
Obtaining a good pictorial retouch depends on multiple factors directly related to its it is the most similar to natural light distribution varies according to the time Table 1). realization. The restorer´s perception influences in colour reintegration and light and does not provide any additional Table 1 • Colour temperature of the light and its corresponding is also important in the colour perception. Therefore we can assume the type of tonality. perceived colour tone lighting source will be genuinely important during this process, being able to modify The purpose of this research is the result of a pictorial retouch. However, restorers do not always consider which to analyse the several types of the most appropriate lighting for a retouching is, also ignoring that light may be lighting sources based on their warm, white or cold depending on their colour temperature, thus affecting directly colour temperature and to make a on the result. comparison of reintegration test It should not be thought that natural light is the most suitable for chromatic specimen with distinct illuminations, reintegration, as it is not a stable source of light. This will vary its colour temperature in order to establish the chromatic according to environmental, geographical and time conditions. The best choice differences that occur in their is a stable lighting source that does not change our perception of colour during perception. This should disclose the the pictorial retouching process. Thereby, warm light and cool light are discarded evidence that the type of lighting because they bring a yellowish tone and a blue tone, respectively, that influences source is a very important factor to our perception. That is why white/neutral light is the most suitable lighting since keep in mind during these processes. Therefore, it is reasonable to chosen, which comprehend in general this experimental section has been the believe that the tone of the lighting the diversity of the chromatic circle: gouache from Talens® brand, due to its source can influence the retouching Lemon yellow ++205X PY3 high hiding power and because, along processes, so we have proposed test Scarlet ++334X PR112/PV19 with watercolour, is one of the most specimens to prove it. Red violet +++545X PV19/PB29 used in the reintegration of artworks. Cobalt blue ultramarine +++512X PB29/PB15 In addition, the retouch technique 2. MATERIALS AND METHODS Green ++600X PX74/PG7 used has been the tratteggio by colour Burnt umber ++409X PBr7/PBk11 selection, which is made from a selective Figure 3 • Results of reintegration of the eighteen specimens: 1st row, warm light; 2nd row neutral light; and 3rd row cold light. For the development of the Each of them has been reintegrated colour synthesis (see Fig.1). experimental section, specimens of under the three types of illumination, Regarding lighting sources, LED light 3. RESULTS AND DISCUSSION the visual perception can focus on the On the other hand, it is remarkable reintegration have been developed in making a total of 18 test specimens. bulbs have been chosen because they purity of the colour to be reintegrated the retouching of the burnt umber distinct colours under warm, neutral These specimens have been made are proven to be the most suitable in the By comparing the test pieces, (see Fig.3). colour with warm light and the green and cold light, in order to establish in white support of Studio Lavis® field of conservation and restoration. In differences can be established in the It is noteworthy that, regardless with cold light, since they are presented a comparison between them and cardboard, with a size of 10 x 10 cm this practical case, LEXMAN® brand reintegration of the colours according of the type of lighting source used, as the least adjusted colours of the 18 to determine which type of lighting and it has been reserved a rectangle of has been used, in the tonalities of the to the lighting source used. some colours have presented more specimens, showing an intervention of source is most suitable to use during 3 x 7 cm in the central area to execute warm light of 3000K, the neutral light Generally, warm light and cold difficulties or more facilities to be a tonality little similar to the original this process. the reintegration. of 4000K and the cold light of 6500K light give to the support a yellowish able to be adjusted properly. One colour (see Fig. 4) A total of six colours have been The paint chosen for the realization of (see Fig.2). and bluish hue respectively, also of the notable cases is the lemon Finally, it is important to emphasize distorting our perception of colours. yellow colour which, observed for a the reintegration carried out in For this reason the specimens that long period of time, can cause visual red violet as well, because it is the intervened with these two types fatigue, complicating the process of colour with better adjustment of illumination mostly have poorly colour reintegration, especially when results, regardless of the lighting used. adjusted reintegration, and may be intervening with warm and cold light. This could be explained because its due to our visual system trying to balance the excess of yellowish and the blue tonality through retouching. On the contrary, the use of neutral Figure 1 • Gouache paints from Talens® brand chosen for the pictorial retouch of the test pieces. light does not interfere in the same way as the other types of lighting mentioned before. In general, the test pieces present fairly tight pictorial retouching, a fact that can be explained because the neutral light does not provide any type of tonality to the support. Therefore, Figure 4 • On the left, detail of the result of the reintegration of the burnt umber colour: on the right, detail of the result of the reintegration of the green colour. Figure 2 • From left to right: warm lighting, neutral lighting and cool lighting.
190 Nome artigo Nome artigo 191 spectrum is midway between cool and warm colours.
4. CONCLUSIONS
In general terms, the retouching specimens developed demonstrate that in the reintegration processes it is necessary to take into account the type of light source to be used based on its colour temperature. The use of warm or cold light distorts our perception of colours and provides the support with yellowish and bluish hues correspondingly, with the result that the pictorial retouching REFERENCES is not properly adjusted to the [1] VIVANCOS, Victoria – La conservación [7] DE LA ROJA, José Manuel – Sistema de original colour. Therefore, it can be y restauración de pintura de caballete: Pintura reintegración cromática asistido por medios deduced that the most appropriate sobre tabla. Madrid: Editorial Tecnos, 2007. transferibles obtenidos por procedimientos light source is the neutral light, which [2] SAUNDERS, David – Retouching: colour fotomecánicos: aplicación en la restauración colour temperature ranges from vision and optical considerations. In Conference de pintura de caballete. Madrid: Universidad 2000: Retouching and Filling. Oxford: Association Complutense de Madrid, 1999. 3800K to 4500K, because it does of British Picture Restorers, 2000, pp. 3-9. [8] LEDIAGROUP. Available at: https:// not provide any tone that interferes [3] ARNHEIM, Rudolf – Arte y percepción lediagroup.com/tecnologia-led/la-temperatura- with the pictorial retouch process, visual. Madrid: Alianza Forma, 2008. de-color-como-conseguir-el-ambiente-ideal- nor does it differ in the process of [4] BAILÃO, Ana; NASCIMENTO, Sérgio; con-lamparas-led/ [12 January 2017]. visual perception. Proof of this is the CALVO, Ana; BRUQUETAS, Rocío – Estudo [9] LUNZ, Manuela; TALGORN, Elise; BAKEN, excellent results obtained in the six de deficiências visuais para a reintegração Jannie; WAGEMANS, Wiebe; VELDMAN, Dirk colours reintegrated through such cromática. ECR - Estudos de Conservação e – Can LEDs help with art conservation? Impact illumination, since all of them are Restauro, nº6. Porto: Universidade Católica of different light spectra on paint pigment presented well-adjusted in general. Portuguesa, 2014, pp. 60-89. degradation. Studies in Conservation. Vol. 62, n.º Furthermore, this study is open to [5] MORENO, Teresa – El color. Historia, 5 (2017), pp. 294-303. future research with distinct types of teoría y aplicaciones. Barcelona: Editorial Ariel, [10] MUCHOSLEDS. Available at: http://www. paints because, due to their material S.A., 1996. muchosleds.com/es/content/6-temperatura- characteristics, the retouching results [6] BRILL, Thomas B. – Light: its interaction de-color-calido-neutro-frio [11 May 20017]. through distinct types of lighting may vary. with art and antiquities. New York: Plenum Press, 1980.
192 Nome artigo Nome artigo 193 Keywords
Chromatic reintegration; Albumen prints; 19th Century Photographs; CHROMATIC REINTEGRATION to do an inpainting in photographs Inpainting; we should know: IN LATE 19th CENTURY ALBUMEN Calouste Gulbenkian´s albums. • Type of photographic process: structure character, materials, coatings, emulsions, etc. PRINTS: ANALIZING AND • Level of sensitivity. 1. INTRODUCTION • Aesthetical characteristics: tonality, TESTING DIFFERENT opacity, gloss, surface character or Albumen print was the most used stability are the most important reflectance. photographic process in the second criteria for chromatic reintegration, • State of conservation. METHODOLOGIES IN CALOUSTE half of the Nineteenth Century, always thinking about compatibility • Materials suitable for especially between 1855 and 1895 between original and added materials. conservation and compatibility. GULBENKIAN´S ALBUMS [1]. Albumen prints are photographs The Gulbenkian’s albums contain • Solubility parameters in with two-layer structure (fig. 1): the 177 albumen prints and a small photographic coatings and paper support and a very thin binder sample of this (about 10%) present materials used for treatment. albumen coating with photosensitive some losses in primary support. As • Object purpose: exhibition, Alba Guerrero material (silver salts) which reacts a part of conservation treatment, storage and preservation, use etc. easily to any change, especially in we needed to restore the integrity Photograph conservator and Phd researcher. Universidad de Murcia. Calle Santo Cristo, 1, 30009, Murcia (ESPAÑA). [email protected] the presence of moisture [2]. For this in damaged photographs and we try 1.2. Treatment purpose reason, in our treatment choice we to test and choose the best option Conservation of Calouste Gulbenkian´s need to be aware of alteration factors in each case, taking into account the photo albums: that could affect this photographic process characteristics and sensitivity. • To restore physical and process, taking into account respect aesthetical integrity. for the original. Reversibility and 1.1. Before chromatic reintegration • To improve and to help the Abstract in photographs correct image legibility. Chromatic reintegration or inpainting • o test different materials Chromatic reintegration in photographs is an aesthetical treatment directly in original albums needed a complete study could be a delicate and controversial and methods to obtain a object that aim to fill and recover chromatically missing areas to return the correct reading and conservation treatment for its treatment that must always be quality results. Asses the in images. In this case study, different methodologies were applied in two photo-albums recovery and valorization, including performed by an experienced outcome: analysing advantages, belongs to Calouste Gulbenkian (1869-1955), an important oil businessman and private the aesthetical context. Some dry conservator-restorer who takes into disadvantages and risks. art collector who was founder of Calouste Gulbenkian Foundation in Lisbon (Portugal). and wet inpainting methods were account all the factors, intrinsic and These two objects containing numerous medium-large format albumen print and some tested and compared with the aim of them with mechanical damages and losses in albumen layer. They have a great value of interfere as little as possible in extrinsic, that can influence when 1.3. Diagnosis and general damages for Gulbenkian ́s history and technical quality as vintage albums, with images of Europe photographic stability. making decisions about interventions Inadequate environmental factors and the Middle East belonging to emblematic photographic studies. For this reason, photo- in original artifacts [3]. When we need and poor handling are the most
194 Nome artigo 195 Figure 1 • Albumen print structure Figure 2 • Loss in albumen print. Paper fibers and cracks are clearly visibles*. Figure 3 • Watercolours, pastels and color pencils tested. Figure 4 • Chromatic reintegration in a photograph with colour pencils.
common causes of deterioration in 2.2. Chromatic reintegration medium. follow restoration criteria. In order phases, inpainting is one of the brands previously tested in other compatibility with isolation layers. albumen prints: High humidity can Watercolors, pencils, inks, anilines to choose the best option, we test- last steps. In the two Calouste scientific studies in the area [6] to Water solubility in watercolours cause cracks in albumen layer and and even, oil pigments, have been ed four different mediums and three Gulbenkian´s albums were necessary avoid unwanted reactions between Windsor&Newton do not interfere molds, light exposure, contaminants widely used by photographers during brands (figure 3), classified in dry and a total of nineteenth reintegration the retouching material and the with alcohol solubility of Klucel G in and bad quality of seccondary supports the history to retouch final images and wet methods (table 2). Dry methods interventions. First, we located the photograph. this layer. This permit to work easily and mounting materials can cause give the sensation of color that could (color pencils, pastels) do not use damage photographs and loss area. with this medium. In some cases, pan fading and yellowing, frequently in the not be reached in black and white water or solvents in their application. Previously to chromatic medium, we 3.1. Dry Inpainiting watercolours have less opacity than edges. Bad handling and storage can photographs [4]. Of course, retouching Wet methods require solvent, in this need to put on an isolating layer that Pastels and colour pencils tested tubes and this is because tubes have a cause wrinkles, folds and losses (fig.2). done by the photographer and case water, to be applied and fixed. was applied to protect losses areas provided different results. Despite of big amount of pigments and a greater chromatic reintegration do not follow We tested two types of watercolours, and to help treatment reversibility Rembrandt Pastels have a high quali- consistency. In shadows areas, waterc- the same principles. The first belongs in tube and pan [5]. if necessary. In this case, selected ty like an artistic medium, we are not olour tubes need less water quantity. 2. MATERIALS AND METHODS to the author or photographer and isolating media was a solution with recommended pastels in photograph. In any case, humidity is a risk that must the other belongs to the restorer. In 2.3. General procedure and a cellulose ether in a volatile solvent They provide dificult control and always be weighed. Under prolonged 2.1. Chromatic reintegration process this case, some considerations have inpainting methodology (4% Klucel-G in ethanol) in order to poor grip on the area and pigment light exposure, colors could fade. in photograph lost areas (Table 1). been based on previous researches, After previous conservation treatment minimize the amount of moisture in particles can be easily separated from photograph. This protection layer also the isolation layer. Not recommended 4. CONCLUSIONS
Table 1 • Steps in chromatic reintegration Table 2 • Inpainting Methods acts as a sizing agent on exposed or in cases where albumen layer is craked abraded paper fibers [6]. If necessary, because pigments can be embedded Albumen prints are very sensitive STEPS INTERVENTION TYPE, BRAND AND METHODS TESTED we can apply an extra coat. Then, we and remained permanently. materials, above all in high relativity Dry Methods Wet Methods PHOTOGRAPH LOST ÁREA LOCATED proceed to color reintegration with Colour pencils LYRA Rembrandt humidity conditions. If wet techniques Rembrandt Carré Pastels Windsor & Newton Cotman selected media (fig. 4) and more can apply totally dry, do not add are used, is desirable to limit as much Localize the missing area (coating loss - primary support). (Royal Talens) tube watercolours Secondary support, paper in this case, is visible*. adequate restoration technique humidity to photography and this is as posible the use of water. Despite in each case (rigattino, tratteggio, an advantage. They are water soluble with watercolours is easier to get Rembrandt Pencils Windsor & Newton pan puntello etc.). Finally, improve the and if necessary, give the option to the desired color, in mostly cases ISOLATING LAYER (Aquarell, Lyra Germany) watercolours Protects photograph of inpainting media. Acts as a sizing results and modify the surface work dry/wet. Also, allow a glossy with color pencil had good results agent on abraded paper fibers. Increase the reversibility character according to photograph. finish with a burnisher. Sometimes is without the need to use water. process In some cases, we need to increase difficult to achieve the desired shaded Results presented here may not be gloss with a Teflon burnisher with dry methods, especially in light determinative, depending on the RETOUCHING areas. Light stability of some colors case. They have been based on the Inpainting medium and technique: Watercolour, pastels, 3. RESULTS AND DISCUSSION has been questioned. author’s experience, experimental pencils, inks... Rigattino, tratteggio, puntello... and scientific researches in similar Finished technique: Ágata, Teflon burnisher, final coatings... In all cases, we try to use reinte- 3.2. Wet inpainting studies mentioned [7]. For a more gration materials for inpainting and Wet methods tested have a high substantiated results, we need to
196 Alba Guerrero Chomatic reintegration in late 19th century albumen prints 197 do specifical research and technical analysis about inpainting materials and long-term reaction between compounds and photographic chemistry. Conservation treatments must be preceded by a previous research of materials used and then, a subsequent monitoring of environmental conditions in storage, light exhibition parameters and avoid long exposure periods.
REFERENCES [1] LAVEDRINE, Bertrand, Photographs Treatment Methodology, London: Amazon. Inpainting Outline, Photographic Materials of the past: Process and preservation, Los co.uk ltd., 2010. Group Catalog, AIC, Wasingthon D.C., 1994. Angeles:Getty Conservation Institute, 2009. [4] NORRIS, Debra Hess, Gutierrez, Jae. [7] AIC WIKI. Photographic Material. PMG [2] MCCABE, Constance - Coatings Issues in the conservation of photographs. Los Conservation Catalog (2009): Treatment on photographs: materials, techniques and Angeles: The Getty Conservation Institute, Procedures: Inpainting. Available at: http:// conservation. Washington, DC: American 2010. www.conservation-wiki.com/wiki/
Institute for Conservation of Historic and [5] WILCOX, M. The Wilcox Guide to the Best PMG_Inpainting#4.4_Inpainting_Media Artistic Works, 2005. Watercolor Paints. Perth: Artways, 1991. [28 January 2017]. [3] APPELBAUM, Barbara - Conservation [6] NORRIS, Debra Hess (compiler) et al.
198 Alba Guerrero Nome artigo 199 Keywords
Selective removal; Underpainting; Isolating Varnish; SELECTIVE REMOVAL OF Retouching; Final Varnish LAYERS IN LAYERED SYSTEMS OF 2. METHODOLOGY
In order to determine if layered RETOUCHING: systems of retouching used in The 1. INTRODUCTION Arts Academy’s Easel Paintings A RESEARCH PROJECT IN Conservation-Restoration Studio can In the Easel Paintings Conservation- comparison of the solubility (and be removed selectively, the first step Restoration Studio of The Arts compatibility) of different materials was to identify the materials that were PROGRESS Academy in Split, a number of different used in the layered system of used. The information was collected materials have been used over the retouching, and 2) design layered from the printed documentation years to reconstruct losses in the systems of retouching for oil stored in the Studio’s archive, which paint layer. Usually, a layered system paintings that enable selective encompassed the period from 2002 of retouching is employed, consisting removal of their constituents. to 2017. It should be noted that all of underpainting, isolating varnish, This article focuses on the first the paintings included in this survey Sagita Mirjam Sunara Dorotea Krstić final layers of retouching and final phase of the project: the analysis were done in oil.
| ^ varnish. During the layering process, of the materials used in the The data were presented in the University of Split, The Arts Academy, Conservation-Restoration Department; Fausta Vrancića 17a, 21000 Split – Croatia; E-mail address: [email protected]; [email protected] special care is taken to ensure that Easel Paintings Conservation- form of a table providing information the medium does not resolubilise the Restoration Studio of The Arts about the artwork (artist’s name, title, lower layer or layers. Whether it will Academy in Split, and a critical date of creation, owner/location) and be possible selectively to remove the evaluation of the possibility of their the materials used for each of the added layers in the future is rarely selective removal with the use layers in the system: underpainting, taken into consideration. It would of pure solvents. In the following isolating varnish, retouching and final be highly beneficial if one could, for phase a bibliographic study will varnish (see Table 1). The data were example, remove the final varnish be conducted of the materials sorted in chronological order, starting Abstract without disturbing the final layers of generally used in layered systems of with the first painting treated in the retouching, or remove the final layers retouching. The possibility of their Studio (the treatment was completed Layered systems of retouching used in the Easel Paintings Conservation-Restoration of retouching without damaging the selective removal with solvents will in 2002) and ending with a painting Studio of The Arts Academy in Split (Croatia) are analysed. A critical evaluation also be evaluated. In the last stage whose treatment has been completed of the possibility of selective removal of individual layers from the top down is isolating varnish. given. The evaluation is based on the data on the solubility of the resins used for As a part of Dorotea Krstić’s of the project, layered systems very recently (in 2017). This enabled the preparation of varnish and of the materials used as paint binders, which was master’s thesis, in 2016 a project of retouching will be proposed the use of different materials to be collected from the existing literature. The research showed that selective removal was initiated that aims to: 1) in which layers can be selectively tracked and certain trends to be of layers with the use of pure solvents is possible in only one of the six systems create a chart enabling the easy removed from the top down. established. employed. Table 1• An example of a layered system used in the Arts Academy’s Easel Paintings Conservation-Restoration Studio Table 3 • Solubility of the materials used in the layered system of retouching No. 2
GENERAL INFORMATION UNDER-PAINTING ISOLATING VARNISH RETOUCHING FINAL VARNISH ABOUT THE ARTWORK DMSO XYLENE SPIRIT OF TOLUENE ACETONE ETHANOL ALCOHOL DIACETONE DIACETONE BUTAN-1-OL TURPENTINE WHITE SPIRIT Anonymous Venetian Acrylic paint 16 % solution of Pigments bound with 10 % solution of PROPAN-2-OL ETHYL ACETATE painter, Flagellation of dammar in turpen tine Canada balsam Paraloid B72 in toluene Christ, 17th century, Final varnish: Paraloid B72 Parish house of Holy Cross Church, Split Retouching: Mastic Isolating varnish: Dammar
The next step was to present the possibility of selective removal of tests have been carried out as a part – Insoluble – Soluble – Borderline or partially soluble chronologically the use of specific individual layers in the systems used. of our research. For easier comparison,
materials for each of the four layers: First, the data on the solubility of the the data collected from the literature Table 4 • Solubility of the materials used in the layered system of retouching No. 3 underpainting, isolating varnish, resins used for the preparation of were presented in tables. Next, the retouching, and final varnish. For varnish and of the materials used as solubility of the materials in each of the each layer, a table was created that paint binders were collected from the layered systems used was compared. [1–5]
includes the following information: existing literature. Not all of the For ease of reference, tables were used DMSO XYLENE SPIRIT OF TOLUENE ACETONE ETHANOL ALCOHOL DIACETONE DIACETONE BUTAN-1-OL TURPENTINE WHITE SPIRIT material, comments (for example, the sources provide information on sample to present the data. PROPAN-2-OL ETHYL ACETATE concentration of a varnish solution), preparation [4], but those that do indicate Final varnish: Paraloid B72 the year in which the treatment was that solubility testing was performed on 3. RESULTS Retouching: Canada balsam completed and general information freshly prepared samples. Only Horie about the artwork. gives information on solubility of aged Underpainting. The types of paint Isolating varnish: Dammar The final step was critically to evaluate dammar and mastic. [3] No practical used were watercolour, gouache, – Insoluble – Soluble – Borderline or partially soluble
Table 2 • Solubility of the materials used in the layered system of retouching No. 1 tempera and acrylic. The most paint were used for final retouching, prepared with the use of Canada commonly used material was usually prepared in the Studio balsam as binder. That paint was used watercolour: it was used on 16 out by the mixing of pigments with a on 17 out of 24 paintings. Pigments
DMSO of 26 paintings. selected binder. Canada balsam, bound with Paraloid B72 were used XYLENE SPIRIT OF TOLUENE ACETONE ETHANOL ALCOHOL DIACETONE DIACETONE BUTAN-1-OL TURPENTINE WHITE SPIRIT PROPAN-2-OL Isolating varnish. Paraloid B72 and Paraloid B72 and MS2A were used for the retouching of four paintings. ETHYL ACETATE dammar resin were used for the as binder materials. Occasionally, pre- In the other three cases, Maimeri Final varnish: Dammar preparation of an isolating varnish. mixed paints were used: Maimeri Restoration Colors, watercolour and Retouching: Canada balsam Dammar varnish was used on 11 out Restoration Colors (binder: mastic MS2A-bound paint were used. Isolating varnish: Paraloid B72 of 21 paintings. Paraloid B72 varnish resin) and watercolour (binder: gum Final varnish. Paraloid B72, dammar
– Insoluble – Soluble – Borderline or partially soluble was used in the remaining 10 cases. arabic). The most commonly used and Regalrez 1094 were used for the Final retouching. Several types of materials for retouching were paints final varnishing. Paraloid B72 was used
202 Sagita Mirjam Sunara | Dorotea Krstić Selective removal of layers in layered systems of retouching: a research project in progress 203 Table 5 • Solubility of the materials used in the layered system of retouching No. 4 in 15 of 19 cases. Dammar varnish described in professional literature, was used on three paintings, while and to propose reversible layered Regalrez 1094 was used only once. system(s) of retouching for oil paintings, Our research revealed that six layered either new or those already in use. DMSO XYLENE
SPIRIT OF Further research should focus on TOLUENE systems of retouching were employed. ACETONE ETHANOL ALCOHOL DIACETONE DIACETONE BUTAN-1-OL TURPENTINE WHITE SPIRIT PROPAN-2-OL
ETHYL ACETATE Solubility of the materials used is finding a system – or a method of
Final varnish: Paraloid B72 presented in Tables 2 – 7. Information application – that meets specific on materials used in underpainting has aesthetic requirements (saturation, Retouching: Canada balsam not been included because solubility gloss etc.). Isolating varnish: Paraloid B72 properties of underpainting and – Insoluble – Soluble – Borderline or partially soluble isolating varnish generally differ (acrylic paint presents an exception).
Table 6 • Solubility of the materials used in the layered system of retouching No. 5 It should be noted that in several cases final varnish was not applied. Such systems are not presented separately because their constituents DMSO
XYLENE match those presented in the tables SPIRIT OF TOLUENE ACETONE ETHANOL ALCOHOL DIACETONE DIACETONE BUTAN-1-OL TURPENTINE WHITE SPIRIT PROPAN-2-OL
ETHYL ACETATE shown on previous pages.
Final varnish: Dammar 3. CONCLUSIONS Retouching: Canada balsam
Isolating varnish: Dammar The information collected allowed REFERENCES – Insoluble – Soluble – Borderline or partially soluble conclusions to be made as to whether [1] DALE SMITH, Gregory; JOHNSON, the systems that have been used so Ronald – Strip ‘Teas’ – solubility data for the [4] KREMER Pigmente website – removal (and application) of low molecular Canada Balsam. Available at: http://shop. Table 7 • Solubility of the materials used in the layered system of retouching No. 6 far enable the selective removal of kremerpigments.com/media/pdf/62110e.pdf individual layers. The data indicate weight synthetic resins used as inpainting Western [5 December 2015]. that selective removal of layers is media and picture varnishes, Association of Art Conservation Newsletter, Vol. [5] WHITTEN, Jill; MENTION, Elisabeth; possible in only one of the six systems 30, n.º 1 (2008), pp. 11–19. Merz-Lê, Liisa; Barach Cox, Ruth; Fisher,
DMSO used (system No. 3). In three systems XYLENE SPIRIT OF TOLUENE ACETONE ETHANOL ALCOHOL Sarah L.; McGinn, Mary; Proctor, Robert; Van
DIACETONE DIACETONE [2] GETTENS, Rutherford John; STOUT, George BUTAN-1-OL TURPENTINE WHITE SPIRIT PROPAN-2-OL
ETHYL ACETATE one might at best be able to remove Leslie – Painting Materials : A Short Encyclopedia, Vooren, Camilla; Swicklik, Michael; Berger, Mira the varnish and retouching without Final varnish: Regalrez 1094 New York: Dover Publications, 1966. & Gustav – Low Molecular Weight Varnishes damaging the isolating varnish (system Retouching: MS2A [3] HORIE, Charles Velson – Materials for (1997). AIC Wiki website. Available at: http:// Isolating varnish: Dammar No. 1, 2 and 6). Conservation : Organic Consolidants, Adhesives www.conservation-wiki.com/wiki/IV._Low_ The next step of the research is Molecular_Weight_Varnishes [5 December – Insoluble – Soluble – Borderline or partially soluble and Coatings, London; Boston: Butterworth- critically to evaluate the systems Heinemann, 1987. 2015].
204 Sagita Mirjam Sunara | Dorotea Krstić Selective removal of layers in layered systems of retouching: a research project in progress 205 Keywords
Sappho Fresco Painting reconstruction were used as a reference. Where Ancient pigments RECONSTRUCTING OF THE traditional pigments were hard to Roman art obtain, due to their toxicity and/or SAPPHO PAINTING TOWARDS A price on the market, contemporary substitutions were applied (table 1). [1] According to historical sources [2] BETTER UNDERSTANDING IN and published technical studies [1,3], the 1. INTRODUCTION paintings of this period were made in RETOUCHING buon fresco, where pigments, due to the The Pompeian medallion portrait several cutaway sections, in order to carbonation of lime, form a permanent known as the “Sappho”, now in Naples observe the textures, the transparencies bond with the plaster. Unlike the Archaeological Museum, is one of the and the brush strokes at every stage of original approach, the reconstruction most precious paintings of the Italian the reconstruction process. featured both buon fresco and fresco cultural heritage. This is essentially secco methods. Those methods gave an related to the eruption of Mt. Vesuvius 2. MATERIALS AND METHODS interesting insight into the application that destroyed the Pompeii in 79 A.D. methods of the same paint on a The excellent preservation state of Since no accessible information different kind of ground. Marija Lena Bošković (1) Sandra Šustić (2) the ruins allowed the investigators to were found about the original type | examine the original fresco techniques of the plaster or pigments applied on 2.1. RECONSTRUCTION OF THE 1. Arts Academy of the University of Split (graduate student), Zagrebacka 3, 21000 Split - Croatia; [email protected] directly on the ancient Pompeian yard, Sappho, the traditional Roman lime PREPARATORY LAYERS 2. Arts Academy of the University of Split, Zagrebacka 3, 21000 Split - Croatia; [email protected] where the lava flow saved the frescoes plaster recipe as well as the pigment Although originally a wall painting, from loss. [1] palate available in Roman period the reconstruction was prepared on a Based on the published research Table 1 • Pigments used in reconstruction of the paint layer results and historical sources, a reconstruction of the Sappho has been Abstract made. The primary intention of this practice was to analyse the Classical Among several of survived painted portraits from Pompeii there is one small but Roman painting techniques and famous painting known as the Sappho - Girl with Stylus and Tablets - most likely working methods. Correspondingly, created around 50 AD and found in the house of the Insula Occidentalis. this project also enabled to practice This work is related to the reconstruction of Sappho and it aims to investigate the skill development necessary for future Classical Roman painting techniques and working methods. Historically informed materials were used in the process but with a modern modification - a XSP was work in retouching. placed as a support, instead of the wall. With accordance to the educational It is hoped that this study will enable a better understanding of fresco painting purpose of this project, the stratigraphy techniques, thus facilitating working methods for future retouching projects. of the painting was left exposed in portable fresco panel made from XSP. with umber pigment mixed with lime softened where needed with the would become partially smudged to observe how a pigment behaves With the aim to achieve optimal plaster water as binder (Figure 1). The same semi-dry and clean brush (Figure 4). or erased. Thus it was necessary to in lime water as binder and how the adherence, the surface of XSP was paint was used in underpainting. restrict the amount of lime water and degree of dryness of the plaster evenly scratched. The roughcast was 3. RESULTS AND DISCUSSION match the necessary tone in only one effects the working properties and made of lime and white sand particles of 2.2. RECONSTRUCTION OF THE brush stroke. the final appearance of the paint layer. 3-4 mm in the 1 to 1 ratio with addition PAINT LAYER This reconstruction demonstrates The use of azurite demonstrated the of water, and spread over the surface. The reconstruction of the paint that achieving a perfect ratio between 4. CONCLUSION importance of understanding of the The layer was less than 2 cm thick, and layer was initiated while the plaster the lime water and sand during the paint components which is essential of a volume of cca 1,2 L. Decision not was still moist. Due to the process plaster preparation may not be a This reconstruction gave an for any reconstruction and retouching to apply the second layer of the plaster of carbonization, the paint formed a straightforward task - the formation interesting insight into the working to work well. This requires a great deal was made. This was to prevent the firm bond with the plaster. Slowly and of the small drying cracks can be process of Classical Roman painting of study of the paint structure to find fracture of the painting caused by the precisely the chiaroscuro was build a common incidence. The most techniques and working methods. The out the pigments and binding media Figure 1 • Sinopia excess weight. The preparatory sketch, using a soft brush. The transparency interesting part of this process was primary intention of this project was present. It is hoped that this study will imitating sinopia, was carried out with of paint was adjusted by varying the to observe how the paint behaves on Figure 4 • Reconstruction of the Sappho painting charcoal and umber. amount of lime water. After the plaster slightly wet intonaco – the appearance Next, the intonaco, a coat 5 mm was completely dry the painting of the brush strokes was extremely thick was applied after ariccio was process was continued with fresco light and smooth tonal transitions almost completely dry. It was made secco technique which required much were easily achieved. While applying of fine sand from the town Turjak more attention: it was necessary to various pigments on a wet alkaline in Croatia with size of the particles apply only the thick paint with brush environment, a special attention needs less than 2 mm. The sand was mixed strokes, otherwise the brush would to be given to the consequent pigment with lime in ratio 2:1,5, making its erase the paint beneath. reactions; azurite, used in the mixture volume around 6,7 dL. Since Sappho It is important to emphasize that for painting the sky area, started to is rather small painting, the decision the application of azurite in the sky tarnish after the paint dried, resulting was made to cover the whole surface area resulted in blackening caused in overall discoloration. Namely due Figure 2 • Sappho after buon fresco method (note the blackening of azurite). with this layer which is opposed to by chemical alterations (Figure 2). to the presence of alkaline conditions, the traditional practice in which the Accordingly, it was necessary to azurite has transformed to copper intonaco is applied exclusively to repaint this layer with another one oxide (tenorite: CuO).[4] those areas which are expected to be that has excluded azurite (Figure 3). The transparent and smooth brush painted in a single session (giornata). The last step in the reconstruction strokes, easily achieved in buon fresco Consequently, the sketch of sinopia process was to paint the highlights technique, were replaced with the couldn’t be used as a guideline, so which are present on the hair thick ones during fresco secco. The it had to be repeated. The spolvero ornaments, the curls, and the drapery. application of transparent paint layers technique was used for this purpose, They were painted when the surface turned out to be very destructive for while the composition was traced was entirely dried. Sharp edges were the dried paint beneath - the color Figure 3 • Applying Fresco Secco method
208 Marija Lena Bošković | Sandra Šustić Reconstructing of the Sappho painting towards abetter understanding in retouching 209 enable a better understanding of fresco painting techniques, thus facilitating working methods for future retouching projects.
REFERENCES [1] DURAN, A. et.al. - Determination of Roman wall paintings in the Vesuvian area. colours in Roman frescos. Available at: http:// pigments and binders in Pompeian wall Journal of Raman Spectroscopy, Vol. 41, (2010), decodedpast.com/use-colours-brave-show- paintings using synchrotron radiation – high- pp. 1537-1542. make-pigments-roman-frescos/13271 [17 resolution X-ray powder diffraction and [4] MATTEI, E. - Raman spectroscopic April 2016]. conventional spectroscopy – chromatography. analysis of azurite blackening, Journal of Raman [7] Sappho from Pompeii. Website with Archaeometry Vol. 52, n.º 2 (2010), pp. 286– Spectroscopy, Vol. 39 (2008), pp. 302–306. the data of the Sappho painting. Available at: 307. [5] Natural Pigments. Official website of an https://www.awesomestories.com/asset/view/ [2] Vitruvius, in Morgan, M. H. (ed. - De art supplier Natural Pigments. Available at: girl-with-stylus-and-tablets-sappho-from- architectura libri decem, II (materials) and VII http://www.naturalpigments.com/art-supply- pompeii [17 April 2016] (finishes and colours), Kessinger Publishing, education/history-technique-fresco-painting/ Whitefish, 2005. [17 April 2016]. [3] ALIATIS, Irene et.al. - Pigments used un [6] Decoded past. Website of the use of
210 Nome artigo Nome artigo 211 Keywords
Black-light paintings; Colour reintegration; Fluorescent pigments; between the time of painting creation and the present in which conservation Metamerism; THE ISSUE OF METAMERISM IN work occurs. Thus, we should always Non-invasive analyses; recognise the aesthetic conservation MARIO AGRIFOGLIO’S Raman spectroscopy. treatments on a perceptual level. This is possible thanks to a technical differentiation (e.g. rigatino and PAINTINGS. chromatic selection) and also in the 1. INTRODUCTION case of mimetic retouching, in which IDENTIFICATION OF the intervention is visible under UV 1.1 Mario Agrifoglio’s black-light with different fluorescent properties. light. But in the retouching of Agrifoglio’s paintings Thereby, Agrifoglio was able to achieve paintings, metamerism mistakes FLUORESCENT PIGMENTS The Italian artist Mario Agrifoglio a completely unexpected aesthetic would compromise the aesthetic (1935-2014) was one of the first to effect that was variable under both message both under visible light and THROUGH RAMAN systematically use fluorescent paints visible and UV light. His paintings UV light. Thus, to maintain the same in the creation of his artworks. He question the common understanding appearance in the retouched areas, started painting very young, developing of additive and subtractive synthesis we must use the same pigments of SPECTROSCOPY TO DEFINE A an interest in techniques that focused and deepen the phenomenon of the original paint layers. Consequently, on the exploration of light and colours. metamerism, which becomes the a new methodology for retouching, After discovering Wood’s lamp protagonist of his art. which shift the recognisability of the METHODOLOGY FOR during a collaboration for a work treatment to a different level from the of restoration, in the early 1970s 1.2 Conservation Issues perceptual one, should be defined. RETOUCHING. Agrifoglio started creating new As Cesare Brandi wrote in his “Theory [1] Serena Francone (1) Silvia Bruni (2) Chiara Zaffino(2) Katia paintings with a geometric-abstract of restoration” , lacuna treatments 1.3 Aims | | | style using fluorescent colours. are primarily a theoretical problem. Fiber Optic Spectroscopy both in (2) (2) (2) Galli | Vittoria Guglielmi | Maddalena Boscacci The paintings were made in a dark Retouching should be recognisable to Reflection (FORS) and in emission 1 Freelance Conservator of Contemporary Art; viale Kennedy 2, Bregnano (Como, Italy); E-mail address: [email protected] room with a super-fine control of respect the authenticity of the artwork and XRF spectroscopy were already 2 Department of Chemistry, Università degli Studi di Milano; via C. Golgi 19, Milan (Italy); E-mail address: [email protected] mixtures and overlapping materials and also to maintain a distance performed on the artist’s paintings
Abstract
Mario Agrifoglio’s black-light paintings raise specific issues in case of colour reintegration. pigments used by the artist with precision, Raman Spectroscopy, both normal and surface-enhanced (SERS), Metamerism is central in the works made by the artist since the 1970s: according to was used. Analyses were performed on samples of old vinyl paints taken from three containers found in the type of light source, the perception of colours of his geometric-abstract paintings Agrifoglio’s studio. Raman spectra were then compared to those obtained by the analyses made on samples changes considerably. The identification of materials and techniques used becomes of new paints of the same brand used by the artist. The results showed a significant similarity between the fundamental to define how to retouch Agrifoglio’s paintings without altering their old and the new paints. Moreover, it was possible to identify the main components responsible for the colour appearance, neither under visible light nor under UV light. To characterise fluorescent in each paint, in particular copper phthalocyanines for blue and green and rhodamines for red and orange. FT-Raman spectra ( =1064 nm) * �exc White B001 * * * *
The analytical methods used in the * Bands due to resin with brighteners or fluorescent present work were Raman and Surface- dyes (Figure 4). In case of Blue 029 Optical brightener Figure 1 • The eight colours of new “Flashe Fluo” by Lefranc & Bourgeois, Enhanced Raman (SERS) spectroscopy. BASF Tinopal OB and White 001, brighteners act as analysed and compared with the old ones from the 1990s. Raman spectra were acquired by a Jasco fluorescent pigments. RMP-100 microprobe (50x objective) ([2], [3], [4]) but were not enough to 2. MATERIALS AND METHODS connected by fibre optics with two Figure 3 • The FT-Raman spectrum allowed the identification of the optical brightener constituting characterise the fluorescent pigments. laser sources (l = 532 and 785 nm) and White 001. The bands of the brightener are observed together with those of the melamine- formaldehyde p-toulensulfonamide resin contained in the pigment. To achieve this goal, it was decided Samples of old “Flashe Fluo” paints with an Oriel MS125 spectrometer to perform Raman spectroscopy (red 376, blue 029 and white 001) equipped with an Andor CCD detector. with reference materials. The main dyes on samples of fluorescent paints, were taken from three containers FT-Raman spectra were recorded by SERS. TLC separations were executed identified for each colour are reported as previous research in scientific dating back to the 1990s, found in the a Jasco RFT-600 spectrometer (l = on silica plates with aluminium support in Table 1. literature pointed it out as a artist’s studio. They were painted on an 1064 nm). For SERS measurements a and a mixture of 2-propanol-acetone- Different colours are the result technique able to identify the nature industrially prepared canvas panel, near silver colloid prepared according to the ammonia 22:1:2 as eluent. ([5], [6]) of different mixtures of dyes. For of fluorescent organic pigments . samples of new “Flashe Fluo” paints of Lee-Meisel procedure was employed. 3. RESULTS AND DISCUSSION example, Red 371 and Red 376 The main materials used by the same hues. Other samples of all Further analyses were performed by are different for a lower content of Agrifoglio as fluorescent colours are the eight colours of new “Flashe Fluo” combining a separation technique like Solvent Yellow 160:1 in Red 376. Reds “Flashe Fluo” vinyl paints by LeFranc & (Figure 1) were painted on another Thin Layer Chromatography (TLC) and Analyses carried out on old samples Bourgeois. Fluorescent pigments are canvas panel. of “Flashe Fluo” paints showed no and orange are characterised by the fluorescent dyes dissolved in a carrier difference in composition compared presence of rhodamines B and 6G, resin and ground into a fine powder. to the new ones (Figure 2). while in blue and green there are Figure 4 • TLC analysis (observed at 365 nm) Fluorescent dyes are dissolved in the Raman and SERS analyses on the copper phthalocyanines, that are not of Blue 029 in comparison with some carrier resin at a rate of 1-4%, but their samples of the new “Flashe Fluo” fluorescent, but they are put together commercial optical brighteners. Blue 029 is the last on the right. chemical compositions are usually not paints highlighted the presence of a published in order to maintain trade polyvinyl acetate binder (as confirmed Table 1 • Dyes identified in “Flashe Fluo” paints secret protection. The low amount of by the IR spectrum). DYES IDENTIFIED THROUGH TLC-SERS BRIGHTENERS Rhodamine B, Rhodamine 6G, Solvent dyes in paints constitutes the greatest Pigments contained in the paints are Red 371 Yellow 160:1 obstacle for their identification. composed of a melamine-formaldehyde Rhodamine B, Rhodamine 6G, Solvent Red 376 The use of Raman spectroscopy had p-toluenesulfonamide resin (Figure Yellow 160:1 as objectives: check differences in the 3) in which are dissolved one or Red 435 Rhodamine B, Rhodamine 6G X Rhodamine B, Rhodamine 6G, Solvent composition between old samples more dyes in different proportion. Orange 232 Yellow 160:1 of “Flashe Fluo” vinyl paint found in Also, brighteners and non-fluorescent Yellow 173 Solvent Yellow 160:1 X the artist’s studio and the new ones organic pigments can be found in some Phthalocyanine green PG7, Solvent Yellow Green 590 instead of characterise the chemical colours. The identification of these dyes 160:1 Blue 029 composition of each of the eight was done through SERS after TLC Phthalocyanine blue PB15 X Figure 2 • Comparison between FT-Raman or FT-SERS spectra acquired on samples of three hues of old White 001 - X fluorescent colours sold by the brand. “Flashe Fluo” paints and the new ones. separations, thanks to the comparison
The issue of metamerism in Mario agrifoglio’s paintings. Identification of fluorescent pigments through raman spectroscopy to define a methodology for retouching. 214 Serena Francone | Silvia Bruni | Chiara Zaffino | Katia Galli | Vittoria Guglielmi | Maddalena Boscacci 215 4. CONCLUSIONS
The analyses carried out allowed to recognise the organic dyes contained in each fluorescent colour of “Flashe Fluo” vinyl paints by Lefranc & Bourgeois. The comparison between the old samples of paints and the new ones showed that the same components were kept by the brand during time. Fluorescent pigments are produced especially by Chinese and Indian companies and then bought by fine art manufacturers, which add them to specific binders. In this research, it is very important to know which dyes are contained in REFERENCES pigments, as only the same mixtures [1] BRANDI, Cesare – Theory of restoration, (in Italian). Proceedings of the XIV National give the same fluorescence. Torino: Einaudi, 1977, pp. 71-76. Congress IGIIC “Lo Stato dell’Arte”, Academy The painting technique of Agrifoglio [2] FRANCONE, Serena; GARGANO, of Fine Arts of L’Aquila, 20-22 October 2016. Marco; BONIZZONI, Letizia; LUDWIG, is very sophisticated and is based on Nardini, 2016, pp. 443-449. Nicola – Fluorescent paint by Mario an in-depth study of aesthetic effects [4] FRANCONE, Serena; GARGANO, Agrifoglio. Study of the technique and material Marco; BONIZZONI, Letizia; CERAMI, obtained through overlapping of characterization through non-invasive Lorenzo; LUDWIG, Nicola – Mario Agrifoglio’s fluorescent paints and non-fluorescent analyses. In SELVA BONINO, V. Emanuela, Convergenze. Conservation issues of black- paints. So next steps of research will Dall’olio all’acrilico, dall’Impressionismo light paintings. ICAR journal no.1, Academy of be focused, on one hand, on the study all’arte contemporanea, proceedings of Fine Arts of Warsaw, Poland, 2017, pp. 98-109. of the chromatic effects obtained the VII International Congress “Colore & [5] COLOMBINI, Alain; KAIFAS, Delphine – through the layering of different paints, Conservazione” organized by Cesmar7, Characterization of some orange and yellow and on the other, on the selection of Politecnico of Milan, 13-14 November 2015. organic and fluorescent pigments by Raman a binder for retouching with different Il Prato, 2016, pp. 272-273. spectroscopy, IRUG08 conference, Vienna, chemical and physical properties than [3] FRANCONE, Serena; GARGANO, 2008. the original paint layers. In this manner, Marco; BONIZZONI, Letizia; CERAMI, [6] FREMOUT, Wim; SAVERWYNS, Steven recognisability will move from a Lorenzo; LUDWIG, Nicola – A red of all – Characterization of daylight fluorescent perceptual level to a chemical/physical colours: analyses of the painting technique pigments in contemporary artists’ paints by one. by Mario Agrifoglio and considerations on Raman spectroscopy, IRUG11 conference, the retouching of the black-light paintings Boston, 2014.
216 Serena Francone | Silvia Bruni | Chiara Zaffino | Katia Galli | Vittoria Guglielmi | Maddalena Boscacci Nome artigo 217 Keywords
Religious paintings; Archival photos; Complete polychromy reconstruction; RETOUCHING RELIGIOUS Maimeri® restoration colours; Gloss of retouching colours; PAINTINGS – EXAMPLES FROM Retouching techniques. PRIVATE PRACTICE 1. INTRODUCTION
The conservation treatment of paintings that are displayed Lana Kekez (1) | Kristina Krivec (2) | Julija Baćak (3) in churches and are a subject of veneration usually requires a 1. Freelance conservator, A. B. Šimića 32, 21000 Split - Croatia; [email protected] complete reconstruction of the 2. Freelance conservator, Put Brda 27, 21000 Split - Croatia; [email protected] 3. Freelance conservator, Kukuljevićeva 10, 21000 Split - Croatia; [email protected] missing parts of the polychromy. The conference poster presented three examples of conservation treatments Figure 1 • The ‘Saint John the Baptist’ painting before and after the treatment performed on 18th century easel paintings with different types of [2] damage and loss to their polychromy. treatment and materials were based Maimeri® restoration colours for The decisions on the conservation on the condition of the paintings and retouching when applied on top of the study of the available archival two different isolating varnish layers documents as well as the authors’ (Paraloid™ B72 and dammar), and Abstract experience in the field. Decisions 3) to understand which retouching regarding reconstruction of the techniques are most suitable to match The authors present case studies in which a complete reconstruction of the missing or Paraloid™ B72). As expected, the missing parts of the polychromy the texture of the original polychromy, and damaged parts of the polychromy of three 18th century paintings was carried colours were semi-glossy to matt out. This approach was chosen because of the paintings being displayed in churches in appearance. The gloss of the were thoroughly discussed with the blending the reconstructed areas with where they were the objects of daily veneration. The complete reconstruction of retouching colours matched that of owners and the representatives of the surrounding original in each case. the missing and damaged parts of the polychromy was based on a comparison with the Paraloid™ B72 varnish, excluding the conservation treatment funding the preserved parts of the paintings and in one case on archival photos taken prior the need for additional medium. In program (art historians) [1]. 2. ‘SAINT JOHN THE BAPTIST’ to the damage. cases where dammar was used as an The aim of analysing these three In all three cases, mastic based Maimeri® restoration colours were used for isolating varnish it was necessary to examples was: 1) to compare the The 18th century altar painting on the retouching. Different retouching techniques (pointillism, tratteggio or a add some extra dammar solution to sources on which the polychromy wood, representing Saint John the combination of various graphic forms) were used to blend the reconstructed areas the retouching colours, especially in reconstructions were based, 2) to Baptist, belongs to the old parish with the surrounding original. The authors empirically analysed the gloss of the the darker areas of the polychromy. retouched areas, depending on the type of underlying isolating varnish (dammar study the gloss of the mastic-based church of Saint Anthony of Padua in Svib (Croatia), a little village in the Plextol® B500 and Tylose® MH300 3. ‘VIRGIN MARY AND CHILD’ High humidity in the stone altar niche significant loss of the canvas and the found in the Photo Archive of the Dalmatian hinterland, and is a part based filling was toned to match the penetrating into the painting, and the polychromy, especially in the area of Split Conservation Department of of the main altar ensemble together original wood. The 18th century altar painting on high moisture sensitivity of the canvas the Virgin’s nose. Old black and white the Ministry of Culture [3]. They show with a similar painting of Saint Michael. The retouching process demanded canvas, depicting Virgin Mary and Child, had led to its degradation and to a photos taken in October 1987 were the painting prior to its degradation Both paintings were overpainted at a complete reconstruction of the mis- is kept in the niche of the main stone some point. The original compositions sing parts. Since there was no photo altar of the cemetery church of Saint showed the scene of the Annunciation: documentation showing the painting Anne in Šibenik (Croatia). the Angel Gabriel was painted on what prior to the burning, the reconstructi- The painting was found loosely fixed is now the ‘Saint John’ painting and the on was done by analogy with the pre- to an improvised wooden backing and Virgin was painted on what is now the served parts of the polychromy. In the subsequently placed in a wooden box ‘Saint Michael’ painting. The original underpainting only the basic shape which was completely degraded by paint layer was applied directly to the and position of the leg, shoe laces and moisture and microorganisms. A red- wood surface, without any ground cross were defined. All the details and toned ground layer had been applied layer. It was later overpainted with the the background were reconstructed to the surface of the sparsely woven existing paint layer showing Saint John in the final retouching. Since the pain- canvas. The adhesion between the and Saint Michael, and varnished. The ting style was quite naive, Saint John’s polychromy and the canvas was only ‘Saint John the Baptist’ painting was right leg was symmetrically transfer- locally weakened. Losses to the paint severely damaged by candle flame. The red, using a transparent foil. Saint Mi- layer mostly corresponded to the whole lower right part of the image chael’s legs, posed in a similar manner, damaged areas in the canvas (Fig. 2).
was destroyed, including Saint John’s served as a model. Figure 2 • The ‘Virgin Mary and Child’ before conservation leg, cross and background (Fig. 1). Considering the characteristics of Several examination methods were the original polychromy (light and performed such as the stratigraphic relatively matte) and reversibility analysis of the polychromy and questions, 15% Paraloid™ B72 in X-ray radiography. Solubility tests toluene was applied as an isolating of the varnish and the overpaints varnish layer. On top of it, retouching were carried out. The conservation was done using Maimeri® restoration treatment included consolidation, colours which perfectly matched the cleaning and reconstruction of both varnish gloss level without adding wood and polychromy. The burned any extra medium. The tratteggio and missing wood was reconstructed technique allowed satisfactory using lime wood strips. It was necessary blending of the reconstructed areas to apply a filling to the reconstructed with the surrounding original, leaving wood surfaces to match the height them minimally recognizable at the and texture of the surrounding area. same time (Fig. 1). Figure 3 • Archival photo, October 1987 and the polychromy reconstruction based on the archival photo Figure 4 • The ‘Virgin Mary and Child’ painting after the treatment
220 Lana Kekez | Kristina Krivec | Julija Baćak Retouching relegious paintings – examples from private practice 221 and also help dating the damage to to add a dammar varnish solution to During the cleaning process it was somewhere in the last thirty years the retouching colours. To match the possible to remove only some of the (Fig. 3). texture of the original paint layer and fillings and overpaints (Fig. 5). Since After the stabilization of the support to blend the reconstructed areas with those were firmly attached to the and the polychromy, and the cleaning the surrounding original, pointillism underlying layer and weren’t covering of the surface, the painting was lined retouching was applied in the flesh large surfaces it was decided to keep with a dimensionally stable synthetic tones (Fig. 3) and the background. them. Extensive damage and losses canvas using Beva 371. The losses in The draperies were retouched using had to be reduced throughout the the ground layer were reconstructed a combination of tratteggio and retouching process (Fig. 5). using Plextol® B500 and Tylose® pointillism (Fig. 4). To protect the The painting was lined using Beva MH300 based filling. painting from humidity within the 371. Losses in the ground layer were The retouching was based on the stone niche, a new wooden box with reconstructed using rabbit glue and archival photos and on the stylistic a protective backing was introduced. Bologna and Champagne chalk, toned characteristics of the painting. The to match the colour of the original obvious similarity in the shape of 4. ‘THE DEAD CHRIST’ layer. An underpaint Maimeri® the Virgin’s and the Child’s faces was gouache-tempera layer was used very helpful in the reconstruction The 18th century oil on canvas only to define the main forms and of the Virgin’s nose, both in form representing the Dead Christ comes shadows, thus leaving the possibility and in colour (Fig. 3). An underpaint from the Saint Nicholas church of imitating the overcleaned paint Maimeri® gouache-tempera [4] layer in Šibenik. The painting was found layer during retouching. The painting was used only to define the main forms in a poor state of preservation, was varnished with 20% dammar and shadows. Varnish tests showed showing many deformations and in double rectified turpentine with that dammar will give a satisfactory losses in both the canvas and the the addition of 2% Tinuvin 292. The level of saturation and intensification polychromy, most of which caused final retouching was done using of the original polychromy, especially by poor microclimate conditions Maimeri® restoration colours. The in the darker areas. The painting and handling. The polychromy was addition of a dammar solution for Figure 5 • Detail of ‘The Dead Christ’ during the cleaning was varnished with 20% dammar in severely damaged by previous increased gloss was necessary in and after the treatment double rectified turpentine with the aggressive cleaning, with the red all parts of the polychromy. The addition of 2% Tinuvin 292. Maimeri® ground layer being clearly visible retouching was done with various restoration colours, used for the final through it, especially in the dark graphic forms (dots, dashes, lines, retouching, perfectly matched the background area. In many areas spots) and applied irregularly to
varnish gloss level without adding any the paint was covered with fillings match the badly damaged and Figure 6 • ‘The Dead Christ’ before and after the treatment extra medium. The only exception and overpaints, with a thick layer of altered polychromy, leaving the was the dark zone of the Virgin’s darkened and yellowed varnish and toned ground layer slightly visible blue mantle where it was necessary surface dirt on top (Fig. 5 and Fig. 6). where necessary (Fig. 5 and Fig. 6).
222 Lana Kekez | Kristina Krivec | Julija Baćak Retouching relegious paintings – examples from private practice 223 5. CONCLUSIONS Paraloid™ B72, than to that of the dammar, a natural low molecular When dealing with paintings from weight resin from the same group of church interiors it is necessary to terpenoid resins as mastic. take into consideration that they are To match the texture of the original a subject of veneration. This usually paint layer and to blend reconstructed means a complete reconstruction areas with the surrounding original, of the missing parts is required different techniques were used. whenever it is possible. Old photos The chosen technique (pointillism, taken before the damage prove highly tratteggio or combination of various valuable in such cases. Decisions graphic forms - dots, dashes, lines, about reconstructions of the missing spots) depended on the characteristics polychromy, about the appropriate of the original painting technique, as methods, techniques and materials, well as on the changes in the paint should be made by a group of experts. layer texture and appearance caused In all three cases the mastic based by ageing, degradation and previous Maimeri® restoration colours, treatments. activated with butanol, were used for retouching and were applied on top of the isolating varnish layer. As expected, the colours were semi- glossy to matt in appearance. In the first case, where Paraloid™ B72 was REFERENCES used, the gloss of the retouching [1] All three conservation treatments were the Conservation Department in Šibenik. colours matched that of the varnish, funded by the Ministry of Culture of the [2] Maimeri® Restoration Colours data, Talas, excluding the need for additional Republic of Croatia, through its regular movable Official website of Bookbinding, Archival & Conservation Supplier, Available at: http://www. medium. In the second and third cultural heritage conservation funding programs. talasonline.com/Maimeri-Restoration-Colours case, where dammar was used as On behalf of the Ministry, the supervision of the treatment was carried out by conservators [12 March 2018] an isolating varnish, it was necessary in charge. In the case of Saint John the Baptist, [3] The Photo Archive of the Split Conservation to add some extra dammar solution the painting conservators were Ivan Alduk Department of the Ministry of Culture, Inv. num. to the retouching colours, especially and Katarina Cvitanić from the Conservation 84716, Neg. num. L-25935, taken: J. B. 10/87. in the darker areas. The gloss of the Department of the Ministry of Culture in [4] Maimeri® Gouache-Tempera data, mastic based Maimeri® restoration Imotski. For the two paintings from Šibenik, The Maimeri, Official website, Available at: http:// colours empirically proved closer to Dead Christ and Virgin Mary and Child, the www.maimeri.it/en/products/gouache/ that of the synthetic polymer resin conservator in charge was Diana Bolanča from maimeri-gouache.html [12 March 2018]
224 Lana Kekez | Kristina Krivec | Julija Baćak Nome artigo 225 Keywords
Wall Painting; Trecento; Barcelona; a geometrical and easily repeatable Colour reintegration; CALCIUM HYDROXIDE pattern. Calcium hydroxide nanoparticles; 2. The mimetic retouching system from NANOPARTICLES FOR WALL Nanorestore® the 1929 intervention, to which the public that visits the chapel has become accustomed over the last century. PAINTING RETOUCHING. The objectives of the pictorial 1. INTRODUCTION retouching project have been the THE CHAPEL OF SAINT MICHAEL following: This work is an account of pictorial This treatment replaces an earlier • Removal of the altered colour retouching of large lacunae affecting one, carried out in about 1929, made retouching. IN THE ROYAL MONASTERY OF geometric motifs and false marbles with semi-soluble vegetable and • Compatibility with the original decoration that frame the scenes of protein binders. It was decided to painting (mixed fresco and secco PEDRALBES, BARCELONA. the wall painting in the chapel of Saint remove because it showed chromatic technique, with presence of various Michael, 1346. [Fig.1]. alteration and because it had been binders such as oil and proteins).
Rosa Senserrich-Espuñes (1) | Lídia Font-Pagès (2) 1. Department of Arts and Conservation, Faculty of Fine Arts, Pau Gargallo 4, 08028 Barcelona (Spain), [email protected] 2. Conservation Service, Barcelona History Museu, Llibreteria 7, 08002 Barcelona (Spain),
Abstract Figure 1 • Deployed image of the mural paintings of the chapel, currently under restoration.
The mural paintings in the chapel of Saint Michael are a unique example of artistic quality • in Catalonia that combines local tradition with painting techniques of Toscana 1300 [1]. They nanoparticles [4]. Nanolime dispersion was applied on a plaster reintegration that Durability by selecting stable materials have survived in a good state of preservation in a small cell attached to the cloister. However, used to fix the high-quality pigments in the needed to be removed as well, since that do not undergo chromatic changes. some alterations due to ageing of the materials and the consequences of different treatments second phase of retouching of the extensive it contained soluble salts that could This means avoiding organic binders carried out in the past can be observed. areas derived from the substitution of the damage the original lime mortars. that may be altered in conditions of high A key aim of the conservation project was the removal of the altered colour retouching made incompatible mortars [5]. Two important factors have been humidity or favour the development of [2] with vegetable gum and other semi-soluble binders applied in earlier interventions on This system offers a greater duration taken into account in choosing the microorganisms. This aspect is relevant gypsum mortars that fill the gaps, such as the restoration carried out by Arturo Cividini near of retouching: high resistance to the type of retouching: because the paintings present some 1929 [3] or the recent one conducted by Diputació de Barcelona around 1951. alterability caused by light, no yellowing 1. The fact of certainly knowing mottling caused by an ancient fungal The restoration group coordinator has considered the nature of the materials to be used, valuing or colour changes, and low risk of their full compatibility with the original technique, maximum durability and sustainability. becoming a focus for the development what the missing decorative motifs attack and sensitive areas painted with The reintegration of large areas decorated with geometric motifs, using discernibility criteria, of microorganisms in the event of any are. It was not necessary to resort organic binders, although they are highly combining fresco and secco techniques, has led to an innovative use of calcium hydroxide adverse environmental conditions. to the hypothesis since there was mineralised. 1. Application of a lime and sand The same retouching system intonaco. followed in the friezes has been Figure 2 a,b • Fresco process 2. Application of lime-based applied to the missing false marbles whitewash to create the of the wainscot, adapting the • Legibility for easy recognition, In addition, retouching with pigments combining a mimetic retouching and a nanolime dispersion provides chromatic base of the frieze. chromatism according to the zone. system with a final treatment that more time for intervention and does 3. Stencil with ochre pigment to 2.1 Analytical test to evaluate allows to distinguish the original parts not interfere with the preceding distinguish it from the original nanolime behaviour of the reintegrated ones. pictorial strata made in fresco. black carbon stencil. 4. Application of the background A reintegrated area with the Figure 4 a,b • X-ray diffraction: 3D distribution profile of crystalline compounds of a sample cross • Re-treatability to guarantee that it section (a). Micro sample of a retouched area: Lime mortar/Green earth, background/Raw can be retouched with a compatible Retouching method of large lacunae colours with diluted compatible retouching system presented has umber, vertical lines (b). [7] secco technique in the future. in cosmatesque friezes pigments in water (ochre, iron been analysed . oxides, vine black and white lime) The used techniques were Optical • Sustainability for the restorer in The followed retouching method is nanolime offers a result that fulfils the 4. CONCLUSIONS SECCO PROCESS (for intermediate Microscopy (SMZ800 Nikon charge of the intervention and for the based on two stages: the first one is initial established objectives. and final touches): Stereomicroscope and Nikon Eclipse environment. carried out with a fresco technique on As regards the fresco retouching, The retouching made with fresco 5. Application of a grey cerulean LV100 Microscope) and X-ray a lime mortar developed specifically durability is guaranteed. As regards technique presents an important blue tone, mixing the pigments microdiffraction with synchrotron 2. MATERIALS AND METHODS for this procedure. The second the retouching in secco, nanolime challenge. It requires a considerable with the calcium hydroxide light SR-µXRD, line XALOC BL13 (ALBA one is carried out with a secco has an appropriate behaviour as a skill in this pictorial procedure nanoparticles dispersion. synchrotron, Cerdanyola del Vallès). In The proposal is a retouching in technique, using a calcium hydroxide binder for mineral and compatible and confident assurance in colour 6. Drawing of multiple vertical blue lines. this case, the measures were taken by fresco with a final treatment in nanoparticles dispersion as a binder. pigments, mixing well in the palette application. In return, it offers 7. Drawing of multiple vertical raw transmission. secco using a nanolime dispersion At the end, the two phases should and facilitating the drawing of lines. If maximum guarantees of durability, umber lines, to tint brightness of The results confirm that a continuity (Nanorestore ® in isopropanol, code show a strong cohesion due to their any rectification is needed, lines can reducing the need for further [6] previously applied inks, integrating of calcite is observed throughout the 01105901) at a 1g/l concentration. full compatibility. [ Fig.2 a,b-3]. be erased using a moistened cotton intervention in medium term. new areas with the original ones. depth of the sample, with a higher This dispersion is mixed with lime FRESCO PROCESS (for backgrounds): swap with distilled water before the Retouching with nanolime on proportion of calcium carbonate compatible pigments, and the final carbonation process starts. reintegrated areas in fresco allows in the mortar. No discontinuity is adjustments are applied by means The cohesion between the adjusting and tinting the base inks, observed between the first and of several vertical lines, separated by nanolime and the retouching in also based on the carbonation second retouching layers (fresco and a distance of approximately 2mm, fresco is good and, after a year, no process. nanolime reintegration) [Fig.4 a,b]. which facilitate a rapid recognition detachment between layers has Retouching without organic binders
of reintegrated areas and provide been observed, thus ensuring the is especially interesting in places with 3. RESULTS AND DISCUSSION discernibility to the retouching long-term durability of this chromatic a high RH such as Barcelona, an area system. These vertical lines are reintegration. with a Mediterranean coastal climate Organic binders have been combined with the previously applied This method of retouching is where high levels of humidity can dispensed with, choosing a retouching flat colour inks, harmonizing the result related to medieval painting in mixed be reached. This system reduces the based on the carbonation of calcium with weathering and alteration of the Figure 3 • Secco process technique, giving a predominantly risk of microorganism proliferation hydroxide. The use of lime and original painting. matte appearance. [Fig.5,6].
228 Rosa Senserrich-Espuñes | Lídia Font-Pagès Calcium hydroxide nanoparticles for wall painting retouching. The chapel of saint michael in the royal monastery of pedralbes, barcelona 229 4.1. Acknowledgments: To Markus Eiden, conservator- restorer of mural painting who has put into practice its expertise on the fresco technique and has made this reintegration system possible. To Anna Castellano, director of the “Reial Monestir of Santa Maria de Pedralbes” for believing in this intervention.
Figure 5 • Central wall with pictorial reintegration completed. © Photo Josep Casanova
Figure 6 • UV light: the darker areas in the wainscot and friezes correspond to the surfaces reintegrated with the proposed method. © Photo Josep Casanova
REFERENCES
[1] FONT, Lídia; SENSERRICH, Rosa – 10.1007/978-94-017-9303-2 The conservation of the paintings in Saint [5] SENSERRICH-ESPUÑES, Rosa – Il Re- Michael’s chapel in the Monastery of St Mary stauro delle pitture murali della capella di of Pedralbes. In FONT, Lídia, ed. – Conserving Sant Miquel, Monastero de Pedralbes di Bar- Trecento mural paintings. The role of painting cellona. In PFEIL Mathias, ed. – Retrospektive technique. Barcelona: MUHBA Documents, & Perspektive. Methoden und Techniken in der Ajuntament de Barcelona, 2015, pp. 70–83. Wandmalereirestaurierung. (Schriftenreihe des [2] ARTE-LAB SL – Estudio de los materiales Bayerischen Landesamtes für Denkmalpflege, orgánicos presentes en diez muestras tomadas de Nr. 17). Werkstattgespräch 9. und 10. Mai los murales del Castillo de Pedralbes. Unpublished 2016. München: Volk Verlag, 2017, pp. 202-216. report, Madrid: Arte-LAB, SL, 2012, pp. 12–13. [6] CTS Srl. Official website, Nanorestore® [3] TRENS I RIBAS, Manuel – Ferrer Bassa Technical Data Sheet. Available at: i les pintures de Pedralbes. Barcelona: Institut http://www.ctseurope.com/en/scheda- d’Estudis Catalans, 1936, pp. 29–30. prodotto.php?id=232 [28.01.2017] [4] BAGLIONI, Piero (et al.) – Consolidation [7] SALVADÓ, Nati; BUTÍ, Salvador – Infor- of Wall Painting and Stone. In BAGLIONI, me 2017 (II). Pintures Murals de la capella de Piero; CHELAZZI, David; GIORGI, Rodorico Sant Miquel del Monestir de Pedralbes. Unpu- ed. – Nanotechnologies in the Conservation of blished report, Vilanova i la Geltrú: Depart- Cultural Heritage. A compendium of materials ment of Chemical Engineering. Polytechnic and techniques. Dordrecht: Springer Science University of Catalonia - Barcelona TECH, + Business Media, (2015), pp.15–59, doi: 2017, pp. 22-–27.
230 Rosa Senserrich-Espuñes | Lídia Font-Pagès Calcium hydroxide nanoparticles for wall painting retouching. The chapel of saint michael in the royal monastery of pedralbes, barcelona 231 Keywords
Double-sided processional flag-icon, compression of paint, Resin retouching, RETOUCHING A DOUBLE SIDED Paraloid B-72®, Aerosil 200®. the Theophany. The object depicts 19TH CENTURY PROCESSIONAL on its verso a double portrait of two juxtaposed patron saints related to the autumnal time of the harvest: the full FLAG-ICON figure portrait of Saint Martyr Tryphon 1. INTRODUCTION of Campsada, Syria, accompanied by the Venerable Saint Petka (Paraskevi) 1.1 The flag-icon and its ritualic critical conditions of their current from Epivato(Paraskeva of the Balkans). Filip Adrian Petcu function use and storage. Processional flags On the front side of the flag we find were intensively carried during the representation of the festal icon of Timisoara, Museum of Art; Piata, Unirii nr. 1, 300085 Timisoara,, România; E-mail address: [email protected] Double sided painted processional various annual religious processions, the Theophany, a typical composition flags from the mid of the 19th century but also occasionally during military with four figures in the presence of are quite a few well preserved in events, riots, revolutions and wars, the descending dove as symbol of Romania. If we still find such artefacts as symbolic effigies of an emerging the Holy Spirit. The depicted scene in local churches, most of them are national consciousness in Europe and refers to the Baptism of Jesus Christ in an alarming state of preservation, the Balkans starting with the mid of in the Jordan River, event celebrated due to specific reasons regarding the the 19th century. in the Orthodox Church on the 6th Abstract The present double sided of January (Gregorian Calendar) or processional flag is one of the rare the 13th of January (Julian Calendar). The paper discusses the particularities of a retouching case on a rare object, a 19-th study tests over retouching options, examples of that kind, carrying This feast includes the blessing of the century double-sided flag used in religious processions of the Orthodox Church as observed in optical microscopy, using even more an authorial inscription, waters and rivers in the name of the part of a distinctive ritual within a rural agrarian community of Southern Romania. several synthetic resins in solutions, Along with surface deposits and evidence of aged paint, the major issues of aesthetic Paraloid® B-72, Paraloid® B-67, commemorating three iconographers Holy Trinity by the participating clergy concern appear to be random traces of dripping paint occurring from architectural Aquazol® 200, Aquazol® 500, Laropal® -George, Kostandin and Kostandin and the local community engaged in renovations and more particular, areas with mechanical compression caused by A-81 and an acrylic dispersion (EA/ (Zugravi). The painters are mentioned a large procession which accompanies past inadequate attempts of scraping that paint material from the original pictorial MMA, CTS® ACRIL® 33), one choice together with the inscription of the the ritual commemorating the surface. A high glossy surface, multidirectional polishing marks, and a disturbing seemed to match the requirements. year 1848, which points presumably restoration of the cosmos through the contrast of texture interference on original material in paint show as consequences Paraloid® B-72 gelled with fumed to the date of commission. The redemptive mission of the incarnation of the damage drawing a pole of discussion around the conservation approach of the colloidal silica, Aerosil200®, was inscribed text is recorded on the of Jesus Christ the Divine Logos. In icon, its visual compensation, focusing on the methodology and materials needed to selected as the optimal medium for front side, along with the text of the this context the carried flag is invested perform a satisfactory chromatic and morphological reintegration of this artwork. retouching the degraded areas and Considering the irreversible mechanical compression of paint material and its creating an appropriate, satisfactory troparion of the depicted festal icon, with a symbolical significance which undesirable effect on the compositional syntax of the religious image carried during integrated texture, that was similar in with black characters on a yellow points to the seasonal cycles in an the outdoor processions, relevant details from the two compositions needed to be its material consistency and structural background, marking a painted frame agrarian society, the rebirth of the visually restored in order not to affect the ritual function of the icon. After preliminary appearance to the original surface. which encloses the composition of creation, the blessing and working of the land and the annual harvest of the expected from such cultic objects used and particular for the country’s restoration [1] and only later, starting in churches, which are meant to be record presently to be the common crops, as an anthropological reference both indoor and outdoor, they were identity and culture. The large fund the 70s, it began to adopt tendencies restored to “their original beauty”. acceptable options for retouching to the human passage on earth, in constantly subjected to mechanical of painted artefacts from the current of the school of Rome [2]. Up to this These make the two irreconcilable icons in Romania. Polysaccharides and perspective of the promised harvest movement, tensile stress and thermal public collections and state museums day the local trends in conservation poles around the debate. lipids, or denaturated proteins are the of the afterlife. expansion during their translation in in Romania are mainly icons, mostly tend to suggest almost exclusively Traditionally, icons are painted with ingredients of the two historical media Considering its thematic substance, processions, when such flags were late- and post-Byzantine icons, initially the use of classical natural materials in natural materials, as they symbolize that were used by artists and are still this painted flag used to be also frequently exposed to critical variations property of the Orthodox Church in the treatment of icons, particularly for in their process the sanctification of acceptable for retouching, if used carried in religious processions during of the environmental parameters. The Romanian. In the course of the 20th the consolidation of paint layers and matter through the synergic work properly.[5] There are also occasionally the blessing of the agricultural fields, object indicates, on both of its sides, century a considerable number of retouching operations. [3] of the human iconographer and the rare cases when commercially available when lands were sprinkled with holy visible structural damage of the textile icons originating from remote churches Relying during the past decades consenting blessing of God. There is oil colours are drained on blotting water, not only at the moment of the support, along with other specific became part of newly founded local on the Charter of Venice and the a theological argument supporting paper from their excess of oil binder, very feast of the Theophany, but also marks of material degradation through public collections, county museums and theory of Cesare Brandi, some of the the use of natural materials in the being sometimes blended with resinous during several other special days of the mechanical stress, with a considerable national museums. The artefacts were restorers and art historians started conservation of icons, making them varnish (damar or mastix) for inpainting year, as are, in spring, the first Friday impact on the pictorial surface and the selected from various monasteries to appreciate the concept of the more preferable against synthetic over older wax fillings. In rare situations after the feast of the Resurrection of physical appearance of the depicted and churches by professionals who minimum intervention, stating that less resins [4]; however, natural materials some restorers use modern mastix Christ and in autumn, the feast of the images, both on front and rear, altering carried field campaigns, purposing aesthetic intervention on icons would have their limitations due to their retouching colours from the Maimeri Exaltation of the Holy Cross, as well the morphology of the painting. to identify valuable objects, to be be rather more preferable for the sake inherent properties. Natural materials Restauro® line to inpaint icons. as during occasional times of drought. The conservation issue of the flag saved, conserved and further meant of preserving authenticity of icons. are generally preferred in conservation In terms of methods of inpainting became therefore a challenge, not only for public display. Many of these This attitude proved to be obviously treatments in Romania, as opposed to in Romania, differentiated retouching 1.2 The object. Origin and from a technical and methodological artefacts were collected in central in contradiction to the official point of many synthetic polymers which are by optical division is preferred against preservation perspective, but also from a conceptual storages, where proper preservation view of the Church which highlights avoided apriorically by most of the local the standard or mimetic type of The object of our reference was point of view, considering its cultural measures were not always met, a the importance of the cultic function conservators. The apparent reason for retouching. Variations of the Roman initially preserved in a wooden church identity, as well as its actual purpose. The reason for which the conservation of of the icon, supporting rather more an a sceptic attitude in Romania, towards vertical linear crosshatching, trattegio/ in Țara Românească, the county of processional icon on a textile support is these artefacts became an issue with aestheticizing restoration of a formal the uprising world of synthetic materials rigattino, sometimes combined with Gorj, the commune of Bărbătești, the a cultic object in the first place and the time. The number of professionals in integrity, as much as possibly agreed, in conservation, was taught to be thin velatura/glazing or alternated village Socu, where it suffered several liturgical function of the icon within the museums was far too outnumbered in respect of the depicted subject rejected with the implacable argument with pointillistic rittocco/puntinato degradations due to various specific Christian Orthodox ritual remains to be to cover the needs for the amount of of the image. The icons of the saints of the unpredictable ageing of these are generally applied, in lighter, cooler functional contexts occurring in such considered as essentially in formulating objects which needed treatment and are part of the church ritual already new materials, the compatibility issues undertones of colour, for the visual wooden churches. A few decades ago a concept over the conservation only few restorers could benefit from a for two millenia. There is always and their questionable reversibility. compensation of either micro losses the flag was saved by a local, belonging treatment and the final presentation of professional mobility abroad, at a time a persistent debate between two Considering this approach, the process or larger lacunae. The inpainting occurs to the community of the village, prior the restored object. when Romania was segregated behind possible arguments of choice on how of inpainting records, on national level, mostly on flat, unstructured white to the demolition of that church, the Iron Curtain, up to December to restore icons: the archeological either the use of plain commercial infillings, leveled at the even surface of when the object also became part 1.3 Icons and restoration in Romania 1989. The conservation methodology presentation, advocated by museum watercolours, tempera with egg yolk and the surrounding original paint or slightly his private collection, preserving the The process of restoring religious for icons employed in Romania professionals, and the aestheticizing dry pigments, or watercolours blended below it, favouring generally a standard memory of its context and history. As icons in Romania is very representative followed mainly the Russian school of “reasonable” inpainting of icons kept with a lean egg yolk emulsion. These recipe for the putty. The putty is based
234 Filip Adrian Petcu Retouching a doble sided 19th century processional flag-icon 235 essentially on proteic glue solutions tempera can become brittle with Regalrez® 1094 and PeOX Aquazol® to its original suspension system over of the composition. The texture the consolidation of the endangered with micronized calcium carbonate time and can delaminate easily if the (in different molecular weights, 200, a hand carved wooden spindle. This of the painted surfaces had a waxy areas of impasto paint, the surface or calcium sulphate in suspension. In emulsion is not properly adjusted 500), on synthetic thermoplastic fills, element supported the upper edge tactile feel, which might suggest the cleaning of the painting on both of its some cases of retouching paintings on within the layering system. In this regard considering the different properties of the canvas to hang from above possibility of use of a waxy medium sides and the aesthetic compensation walls of wooden churches, distemper we agree that synthetic resins can offer of these materials, their corresponding on a taller handle, presently lost. The as a protective coating. The main on the damage. The main issue consisted paint is applied in thin washes directly superior solutions to build up proper class of stability, their versatility, role horizontal wooden element carries issues concerning the legibility of the in the reduction of the aesthetic on the bare wooden support, by textures of the inpainted areas, flexible and advantages as useful, employable a central drilled hole, as a fixing images on recto and verso, consist dissonance, the textural contrast means of low concentration of proteic structured films, with accurate tone binders in the inpainting process.[7] point addressed to the insertion in areas with residues of dripped between the irreversibly compressed, glue suspensions and dry pigments, adjustments, aesthetically matching We tried to use these materials in of the vertical handle used during light blue paint, which were spread burnished damaged original paint in addition to a bactericide, antifungal the original paint. [6] The later options differentiated inpainting techniques processions. On its upper edge the irregularly over the surface and more and the pristine surface with fabric agent. are always easily discernable by means as well as in standard retouching, canvas is tied by means of a helix-sewn particularly, marks from a former texture. The paint was tested for Although egg tempera can give the of non-invasive optical investigation. considering the importance of the hemp rope to the auxiliary horizontal intervention which attests an invasive water and organic solvents sensitivity possibility to emulate various textures, Tested synthetic resins, as recorded visual appearance of the texture of element, a spindle carved in hard scraping of these dripping spots and proved to be quite hydrophobic. refering all these aforementioned by recent professional literature, can the fillings, as also the structure of the wood. The textile rope became with with a rigid tool and considerable Following the criteria of a necessary practices of retouching icons in provide a base for properly structured inpainting colour supposed to match time oxidised and loose and imparted mechanical pressure. The effect of this permanent flexibility for the support, Romania, there is apparently no fills, providing a stable film for the the original paint.[8] These later aspects an unappropriate tensile force to the attempt to remove the stains effected the consolidation of the paint layer was concern over the integrated texturing retouching colour. They can be adjusted are key elements to define a final painted canvas. The textile canvas irreversible consequences on the performed with a diluted BEVA® 371b of the matter which builds the to the appropriate hue and tone, while impact on the visual presentation of is made from two sewn pieces of paint layer and support, compressing solution in Thinner 372®, followed by support for the retouching, nor over matching in gloss and transparency the the restored artwork, its perception linen fabric. It is unprimed and shows the paint and transforming the local ironing and drying under pressure. the texture of the retouching itself. exact, specific expectations for the and legibility, paying proper tribute to a prominent texture of its weaving original texture of the canvas weaving Selective organic solvents were The tendency is rather a conceptual chromatic completion. the function of the image as a cultic carrying mainly a thin to medium- into a polished, glossy burnished successfully employed in the cleaning emphasis on highlighting, by means Therefore, since 2006-2007, object, whereas not neglecting Brandi’s thick paint layer with rare accents of surface with diagonal polishing marks, process, which meant basically reducing of the inpainted areas, a different, within the West University of paradigm, which defines the work of impasto. Some areas of such impasto, particularly discernable in raking of the thickness of the darkened discernable texture of the restored Timisoara, Faculty of Arts and Design, art by means of its polar, historical and particularly on carnations, have been light. The burnished areas carry the surface coating, excessively oxidized parts, distinguishable by the optical Conservation Department, we were aesthetical instance and significance. lost probably during movements of imprint of the metallic instrument in some of the compositional areas. division retouching method of the flat the first professionals in Romania to the textile support in conjunction used in the previous cleaning attempt Mixtures of naphta solvent, acetone putty. In our opinion this approach test and employ modern retouching 2. MATERIALS AND METHODS with the embrittlement of the aged and require an adequate aesthetic and isopropanol, both in liquid and can lead to a difficult legibility of media on icons, based on PVOH like proteic and lipidic original medium, compensation through chromatic gelled form were used in conjunction the image and to an unsatisfactory Mowiol® 4-88, PVAC(since 2006) 2.1 The condition of the object which flaked off. The surface`s retouching and textural integration with aqueous gels of buffered 1-2% contrast between different textures, colours as LeFranc&Bourgeouis Except for some minor losses on appearance indicates the overall with an appropriate retouching triammonium citrate solutions, in a the flatness of new fillings with their Flashe®(since 2006) and resinous the perimeter of the textile support presence of a dark brownish oxidised medium and a dedicated technique. range of pH from 5.5 to 8.3, embedded corresponding inpainting and the mediums based on HMWR and of our flag-icon, the canvas showed skin of medium covering the pictorial in a Lubrizol Permulen® TR2 gel. The micro relief of the original paint film. LMWR, synthetic polymers and several structural deformations, surface, together with embedded 2.2 Methodological explorations residues were rinsed carefully from Watercolour alone cannot support oligomers, as are Paraloid® B-72 planar distortions, consistent warping, carbon particles and dust, visibly Our treatment had to consider the the surface with deionised water and building of structured films, while egg (since 2008), Laropal® A-81, small tears and massive buckling due impacting the overall perception structural conservation of the canvas, aliphatics. Using the same initial principle,
236 Filip Adrian Petcu Retouching a doble sided 19th century processional flag-icon 237 the canvas was reanchored on its upper the better choice for a structured be employable in an transparent or as in a 1:10 V/V dilution with deionized edge to the original spindle-shaped inpainting medium, one tailored to an opaque form, it should dry quite water. As further options were horizontal wooden element, adjusting match an appropriate textured surface fast and stable without excessive considered: 20% w/w acrylic solutions an acceptable tension by means of during further retouching The tests swelling of the underlayers, it should of either, Paraloid® B-72 (RI 1.47-1.48), inserting a similar new hemp rope, were observed under the microscope be lightfast and photo-chemically a short chain acrylic ester and Paraloid® which replaced the damaged previous with different magnification, to select stable, it should preserve its flexibility B-67(RI 1.48); a butyl metacrylate one. The rope was infused with an optimum binding material for the features, cohesive and tensile strength, polymer,[10] in Butyl acetate; a 20% w/w Paraloid® B-72 for its hygrophobisation inpainting of the aforementioned areas. even in potentially oscillating slightly urea-aldehyde resin, Laropal® A-81 and the stabilisation of the textile The potential choices for the damp environmental conditions and (RI 1.50) in Isopropanol; 40 % w/w threads. There was no need to use any visual compensation of the texture it should remain easily removable solutions of PeOX , Aquazol® 200 and putty to infill the losses, simply because difference issue were considered on on long term; it should conform in 500 (RI 1.52), both in pure form, as a good tailored inpainting medium matters of stability of the resins, as well texture and structural appearance to well as a mixture of both, in a 1:1 ratio, could replicate closely the needed as on the evaluation of physical and the imprint of the original transfer dissolved in an 96% Ethanol hydro- texture, achieving a good compensation optical properties like rheology of the tool, preserving crisp, sharp details of alcoholic solution. Finally, an additionally Figure 1 • All media texture samples on glass lamellae to be studied under of the compressed, burnished areas of medium, flexibility of the film, drying the application tool; the retouched modified stock of Paraloid® B-72 20% magnification damaged paint. time, workability, removability, opacity, areas should not be affected by the w/w solution was improved with the Paraloid® B-72, a class A stability transparency and gloss matching. solvent of the final varnish and should addition of an inert, stable material, evaporation rate. Fumed silica is known PM (BP 120 ̊C). Butyl Acetate (BP polymer, additionaly stabilized with We established some requirements remain permanently retreatable. 0.6 g hydrophilic fumed colloidal silica, to “distribute any stress or strain during 126.1 ̊C), Isopropanol (BP 82.3 ̊C) and a Hindered Amine Light Stabilizer, which would define suitable Evonik Aerosil® 200, blended with a the solvent evaporation and setting” of Ethanol(BP 78,1 ̊C) were chosen for Tinuvin® 292, represented our choice expectations for our retouching 3. RESULTS AND DISCUSSION Cappucino mixer into 12 g of 20% w/w the B-72 medium [11], imparting body their low moderate swelling action on for the isolating varnish, applied in a thin medium in case of our flag-icon: the B-72 solution. Hereby were improved to the medium. The prolonging of the oil films, considering a decreased risk coating dissolved in Ethyl Acetate(BP medium should easily adhere to the Different materials with various glass the rheological properties of the workability of the gel was adjusted of swelling in the presence of B-72 77.1 ̊C). The separating varnish was original surface without damaging it, it transition temperatures[9] were selected medium and adjusted the gloss of the with a minimal addition of Propylene varnish as a separating, isolating layer. meant to protect both sides of the should have good thixotropic qualities to be tested in various concentrations, binder, while managing also the solvent’s glycol monomethyl ether, Dowanol® The corresponding boiling points of painted canvas before the retouching and a medium gloss when used in a as resulting from Table 2. An acrylic these organic solvents allowed us to Table 2 • Index of the tests. resins & their solvents process. Several tests, as resulting from very viscous form, as also a minimum dispersion of EA/MMA, CTS® ACRIL® appreciate an acceptable grade of Table 1, were performed to establish shifting of tone after drying, it should 33 was tested in its pure form, as well workability of the mediums during their application.
Table 1 • Ratios of resin:solvent:additive (v/v; w/w) All the mediums were tested individually, both in their pure form, as also blended with dry pigments, PR 10 and PR 194, from Kremer Pigmente. These were applied with brushes and spatulas on glass lamellae, as in Figure 1, being further subjected to optical examination
238 Filip Adrian Petcu Retouching a doble sided 19th century processional flag-icon 239 under the microscope. The samples in gloss and to achieve a slight mattness potential processions with the flag, retouching. The standard Paraloid® were observed using a Carl Zeiss Axio of paint, without any additives. In the even though there are records which B-72 medium, based on the acrylic Imager A1m microscope, using RL and present case Laropal® A-81 medium point to a certain stabilization of the HMWR copolymer(MA/EMA) in Butyl 3200 K and the BF Mode, with four has a far too glossy texture when resin due to the presence of unbound acetate [13], had a good adherence, different lenses: Epiplan 10x/20 HD, used with the needed viscosity to metal ions in pigments [12]. In respect slightly higher gloss than particularly Epiplan 20x/0.40 HD, A-Plan 20x/0.45 match the original colour’s structure. to the acrylic dispersion, CTS ACRIL® required for the present case and it did and A-Plan 40x/0.65 and only the B-72 It definitely needs some developments 33, we appreciate that it has a far too not conform to our criteria regarding gel indicated to preserve the required to modify some properties within the low Tg, between 6-8 ̊C, which can structural mobility of the medium, structure as defined in the earlier stated stock medium. These include possibly conduct for the medium to attract textural workability and fidelity of requirements. additives, like a matting agent, blending impurities from the atmosphere. imprint of the application tool. These The aqueous dispersion of CTS® of another resin a.o., either in order Moreover, unmodified ACRIL® 33 desirable properties required more ACRIL® 33 had a good adhesion to decrease its refractive index or to did not seem appropriate to create than a basic retouching varnish, some on the support in its pure form, but balance the equilibrium between its a sharp structured texture for a particular improvements with special not really in the diluted form. It did gloss and consistency, while allowing
not conform in texture or gloss to to better achieve a structured relief Figure 3 • The process of retouching and its results the expectations of our retouching of the paint at a lower level of gloss. standard, neither did it preserve sharp The three Aquazol® solutions, using details of the brushwork. Paraloid® two different molecular weights B-67 (iBMA), having a Tg of 50 ̊C, of Aquazol®, 200, 500, were used was excluded not due to its hardness individually as well as in a 1:1 ratio alone but also due to its crosslinking of 200:500. Aquazols have similar Tg, potential which would make it between 69-71 ̊C, obviously higher decrease in solubility with time, than some of the previous referenced threatening a future removability. resins, therefore we could expect Although Laropal® A-81 was possibly an increased brittleness as characterized as a resin with great compared to the other materials, like chemical stability and remarkable B-72. A harder resin would not be optical properties when compared to suitable in any case in conjunction with natural resins, it seemed here though our quite mobile textile support of the quite glossy for our requirements, flag-icon. Beside these aspects we must when applied according to the record the hygroscopicity of Aquazol® referenced viscous consistency. With a which suggests the necessary addition Tg of 49 ̊C, higher than that of B-72, of successive protective coatings Laropal® A-81 solutions need very to minimize its exposure to excess Figure 2 • B-72 inpainting gel under magnification low resin concentrations to decrease moisture from the atmosphere during
240 Filip Adrian Petcu Retouching a doble sided 19th century processional flag-icon 241 bulking materials, as already some compensatory, as resulting also from on B-72, now already about 70 years commercially available retouching Figure 2 and seemed quite compatible old, offer great advantages and a vast gels contain [14]. Therefore, close to to bridge between the areas of paint multitude of improvement options our formulated expectations was the damaged by excessive burnishing during through possibility of adjusting the same Paraloid® B-72, dissolved in a the past amateur cleaning attempts and given properties with stable additive 20% w/w, resin to solvent ratio, in Butyl the original textured painted surface materials. These can help the design Acetate, rheologically modified to a of our flag-icon. Shrinkage of the paint and the precise tailoring of more form a gel, bulked with a thickener and medium was not an issue at this time, efficient systems. Nevertheless, theory matting agent through the addition neither during, nor after the solvent alone and certain recipes cannot REFERENCES of hydrophilic fumed micronized evaporation, due to the reduced volumes entirely cover every need in this [1]ANASTASIU, Anastase, ed. – Restaurarea Rebecca, ed. – The Conservation of Easel Paraloid B72 as an adhesive: its application for silica. This improvement created a of gel paint necessary to build up the complex field, where individual testing știință și artă, București, Muzeul de artǎ al Paintings, London, New York, Routledge, 2012, archaeological ceramics and other materials, In manageable, workable, structured structure of the retouching. Therefore, and practice become crucial, as well as Republicii Socialiste Romania, 1976. pp. 607-634. Studies in Conservation, 31:1, 1986, pp. 7-14. medium, with better matching optical evaluating potentially negative effects after a continuously updated knowledge and [2]MORA, Paolo; MORA, Laura; PHILIPPOT, [8]PETCU, Filip Adrian – Theoretical and [12]ARSANOGLU, Julie – Aquazol as Used properties, an optimum drying time solvent evaporation from the retouched knowhow. Hereby only, we can hope Paul – Conservarea și restaurarea picturilor practical considerations on the presence in Conservation Practice. WAAC Newsletter,
and a slightly reduced gloss. Colloidal areas, no relevant changes in volume of to manage and control parameters, th murale, București, Meridiane, 1986. of lead soaps in the degradation of an 18 Volume 26, Number 1, January, [2004], pp. 10- fumed silica has an open internal the added paint became visible, nor did the interaction effects between [3]UNGUREANU, Cosmin – Anatomia century oil painting on a copper support. In 15. structure which “is produced as solvent evaporation negatively impact the materials and the conjunctional role restaurării, București, Muzeul Național de Artă LOPEZ, Laura Fuster, BLANCO, I. C.; MARTIN, [13]BESTETTI, Roberto; SACCANI, Ilaria – a result of the formation process, visual compensation through inpainting of every particular ingredient which is al României, 2016. M. F. S.; Pascual, M. L. V. d. A; CARLYLE, L.; Materials and methods for the self-production where silicon tetrachloride and other of the damaged areas, particularly if we employed in the retouching strategy. [4]PETCU, Filip Adrian – Paradigma icoanei- WADUM, J., ed. –Paintings on copper (and of retouching colours. Laropal A-81, Paraloid volatile silanes are oxidized in a high record that our retouching was built up In our current situation, starting relicvariu. Structură tipologică în arta eclezială other metal plates). Production, degradation B72, Gum Arabic and Aquazol based colours. temperature flame aerosol process layer by layer. from a basic formulation of a resin georgiană, Timișoara, Eurostampa, 2014. and conservation issues. ComunicaCC, In RECH2: Proceedings, 2nd International to produce small, essentially spherical retouching method and following the [5]JOLKONNEN, Nina; MARTISKAINEN, Universitat Politècnica de València, Valencia, Meeting on Retouching of Cultural Heritage, RECH 2, Porto, Portugal, 24-25 October, primary particles which subsequently 4. CONCLUSIONS guidelines of a gel recipe, by choosing Auli; Martiskainen, Petter; Nikkanen, Helena 2017, pp.145-152. [2014], pp. 26-39. collide to form rigid, covalently slightly different solvents and inserting ed. – The Conservation of Late Icons, Uusi- [9]BORGIOLI, Leonardo; CREMONESI, [14]KONECZNY, P. – An introduction bonded aggregates”.[15] Although, traditionally retouching the appropriate additives, we could Valamo The Valaamo Art Conservation Paolo – Las resnas sinteticas usadas en el tratamiento de obras policromas, Padova: Il to B72 Retouching gels. Properties of B72 The use of fumed silica within the media, like watercolour and tempera, manage to implement a suitable Institute, 1998. [6]PETCU, Filip Adrian – Conservarea şi Prato, 2005. Retouching Gels and their use. In ELLISON, structure of the gel allowed us to have consequently proved their method to fit our needs of visually restaurarea unei icoane pe suport de pânză [10]VON DER GOLTZ, Michael; PROCTOR, Rebecca; SMITHEN, Patricia; TURNBULL, replicate an adequate textured relief stability in the methodology of compensating a particular damage, cu tema Răstignirea Domnului şi însemnele Robert G. Jr.; WHITTEN, Jill; MAYER, Lance; Rachel, ed. – Mixing and Matching: Approaches and a satisfying surface effect, which retouching and have certainly also an inadequate compression of paint Patimilior Mântuitorului Iisus Hristos, In Caiete MYERS, Gay; HOENIGSWALD, Ann; to Retouching Paintings, London, Archetype retained the impression of the brush gained the trust of many restorers caused by a failed cleaning attempt. de artă şi Design, Nr. 3, Timişoara, Editura SWICKLIK, Michael – Varnishing as part of Publications, 2010, pp. 142–158. stroke while matching closely enough over decades, there are still situations As a result of the process visible in Eurostampa, 2016, pp. 59-66. conservation treatment of easel paintings. In [15]BOLDRIDGE, David – Morphological the local relief of original paint, as when the physical properties of such Figure 3, the flag-icon was restored to [7] DIGNEY-PEER, Shawn; THOMAS, STONER, Joyce Hill; RUSHMORE, Rebecca, Characterization of Fumed Silica Aggregates. initially applied by the iconographer media reach certain limitations and a decent state of aesthetical condition, Karen;PERRY, Roy;TOWNSEND, Joyce; GRITT, ed. – The conservation of easel paintings, In Aerosol Science and Technology, Taylor44:3, on the canvas support. can therefore be replaced by different in respect of its material, historical and Stephen. – The imitative retouching of easel London, New York, Routledge, 2012. [2010], pp. 182-186. The test proved aesthetically media. Resin retouching media based functional value. painting. In STONER, Joyce Hill; RUSHMORE, [11]KOOB, Stephen P. – The use of
242 Filip Adrian Petcu Retouching a doble sided 19th century processional flag-icon 243 Keywords
Polychrome wooden altar; Retouching; Gilding; SELECTING METHODS FOR Conservation and restoration RETOUCHING A POLYCHROME AND GILDED ALTARPIECE WITH 1. INTRODUCTION 2. MATERIALS AND METHODS ELEMENTS DATING FROM OLTAR MARIJINA UZNESENJA ALTAR OF THE ASSUMPTION 2.1. Stratigraphic analysis of the OF THE VIRGIN MARY paint layer Figure 1 • Altar of the Assumption of the DIFFERENT PERIODS Upon examination of the polychromy, Virgin Mary before conservation and restoration The altar is made in polychrome, it has been determined that under the gilded and carved wood. The altar is visible paint layer there was a layer of of the paint layers, by which it was composed of a predella decorated gilt. A stratigraphic analysis was done determined the existence of an (1) (2) (3) Sara A. Eterović | Ivana Letilović | Katarina Tomaš with medallions, and fluted half in order to establish the number of overpaint over the original polychromy columns with Corinthian capitals coatings and if the original polychromy and gilt, the examination of the state (1) TiaArte, obrt za restauraciju/ Conservation and Restoration Services/, [email protected] of preservation of this layers was also (2) NeoRestaura, obrt za restauraciju /Conservation and Restoration Services/, [email protected] settled on predella. The entablature still existed. The samples were collected (3) GoldArt, obrt za restauraciju/ Conservation and Restoration Services/, [email protected]. rests on the columns and supports in different parts of the altar and were carried out. The analysis was done on the pediment ornamented with examineted and photographed under different parts of the altar in order to decorative vases. The antependium a microscope (Fig.2, Fig.3 ). establish the extent of preservation is part of the altarpiece architecture, of the original paint layer and to find but it is stylistically different (Fig.1). 2.2. Cleaning trials of the overpaint the appropriate method and material and examination of the paint layers to clean it. Upon the stratigraphic analysis ABSTRACT
The altar of the Assumption of the Virgin Mary, dated from the 18th century, is to the assumption that the whole altar an example of the application of a different methods of retouching. The altar was originally gilded. is part of the church of Our Lady of Konacvine in Seget Donji, Croatia. The wooden polychrome antependium The aim of the final presentation of the altar was a different approach to the with marble effects, added in the late integration of the painted and gilded layers. After removing several coatings of 19th century, was finally presented overpaint we found that the main retable was originally gilded. The retouching with the original polychromy. The approach was to fill the small lacunae with the rigattino method using tempera missing parts of the paint were Figure 2 • Micro-section of the paint layer taken Figure 3 • Micro-section of the paint layer taken and the big lacunae with gold leaves. A marbled paint dominates the entire retouched with tratteggio using acrylic from the antependium from the entablature altar surface, whereas the damaged areas show a gilded layer, which has led paint. humid stone floor, which required the methods were necessary in this case use of waterproof retouching colours. due to a number of aspects that Different retouching approaches were conditioned the decision. used due to the texture of the paint In the choice of the retouching
Figure 4 • Examination of the paint layers Figure 5 • Retouching using rigattino - detail from Figure 6 • Antependium after retouching layer and the level of damage (Fig.7). method, a special attention was paid to the pediment. the variety of techniques and materials 3. RESULTS used on the altar. The decision on the Alongside with the examination, 2.3. Overpaint removal order to match the new tone with the techniques and materials depended rehearsals for removing the overpaint The overpaint was removed with an old one, newly gilded areas were toned The use of different retouching on the degree of damage and on the were carried out. This tests were industrial oil-based paint removing gel. with varnish based colours (Maimeri position of each lacuna. executed by using solvent gels and The gel was applied on the surface and Restauro Varnish Colours). Smaller Figure 7 • Altar of the Assumption of the Virgin Mary after conservation and restoration The intended appearance of the solvents that work on an oil-based left to rest for 15-20 minutes until the damaged areas were retouched altar after the restoration was a visual overpaint. No water based solvents oil-based layer softened. After which with tempera colours with rigattino integration of the original gilt and the were used due to the presence of a it was removed with cotton balls. The technique (Fig.5) and also using 23 K retouch from the viewer’s perspective, water gilding which was found in the remains of the paint were eliminated gold powder with 10% Paraloid B72 highlighting their difference at a closer original paint layer (Fig.4). Tests using with acetone. After the use of these (solved in toluene) binder. look. Pemulen Tr2 gels were performed in solvents the surface was neutralised This method was chosen because The altar required re-gilding of the order to soften or remove the top with Shellsol T. the retouched area is well visible from damaged areas and retouching of the paint layer, whereas the last layer up close, and from a distance it nicely original gilt, so we used a combination should have to be removed with a 2.4. Retouching methods integrates with the original gilding of two methods which, as a final result, solvent that would not damage the Before retouching, the reconstruction which, in turn, emphasises the visual proved to be an ideal solution. original gilt. of the wooden structure was carried harmony of the entire altar. The antependium, which is During the application of the gel it out and the surface was prepared. completely different in style, was was found that the overpaint was oil- Antependium retouched with acrylic colours. The based applied in combination with a Altar In view of the stylistic differences acrylic colours were chosen because binder, on which the solvents work A layer of bole poliment was applied between the antependium and of their waterproof quality, and due to poorly. It was assumed to be casein. on areas where golden leaves would the upper area of the altarpiece, it fact that the antependium was in direct REFERENCES After repeated attempts, it was later be placed. A red and yellow was decided to retouch the lower contact with a humid church floor. Fisković, Cvito; Segetski Spomenici. possible to remove the overpaint. bole was used, which was toned with element in trattegio using acrylic This altar was treated as two separate Résumé: Les monuments de Seget. Vjesnik It was decided to maintain the tempera in an attempt to reach a colours (Daler Rowney Acrylic units. At the same time, it had to za arheologiju ihistoriju dalmatinsku, Split, recent layer of the antependium tone close to that of the original. The colours), while maintaining the visual be taken into account that the altar LVIŠLIX/1954Š1957, vol. 2, pp. 213Š232, pp. that has oil-based paint. In view of poliment was polished and prepared integrity of the set. (Fig. 6) should be presented as a whole and in 219-220 the fact that the original is also oil for gilding. Gold leaves (23 K ducat Ivana Letilović, “Conservation and connection with the other two altars based, it was not possible to remove doppel) were applied using a water The level of damage of the Restoration Interventions to the Altar of in the church, belonging to the same the overpaint without damaging the gilding technique. This gold differed antependium was considerable and the Assumption of Virgin Mary”, restoration period. original polychromy. from the original in tone and gloss. In was caused by a direct contact with a documentation, 2015.
246 Sara A. Eterović (1) | Ivana Letilović (2) | Katarina Tomaš (3) Selecting methods for retouching a polychome and gilded altarpiece with elements dating from diferent periods 247 Keywords
Retouching; Retouching survey; Retouching materials. MIXING AND MATCHING. A For reconstruction the conservator SURVEY OF RETOUCHING need to add materials such as fillers, binders, pigments and varnishes, among others. The retouching MATERIALS process requires good lighting and 1. INTRODUCTION permanent materials. Conservators are often faced with Ana Bailão (1,2) Liliana Cardeira (1) It is understood that the term retouching are, therefore, the formal, making difficult decisions regarding | “reintegration” or “retouching” implies structural and aesthetic restitution of appropriate retouching materials for 1. CIEBA, Faculty of Fine Arts, University of Lisbon; Largo da Academia Nacional de Belas Artes nº 14, 1200-005, Lisboa; E-mail address: [email protected] on one hand the restitution of the cultural heritage [1]. mixing and matching. Ancient and 2. 2. CITAR, Portuguese Catholic University, Centre Regional of Porto; Rua Diogo de Botelho 1327, 4169-005, Porto; E-mail address: ana.bailao@ gmail.com parts dismembered in their original If in the first situation, that of restitution, contemporary works of art have place and, on the other hand, the there is a point of view associated with different requirements. During the reconstruction of an element from the union of the original fragments, in 20th century, there was a vast increase its fragments with the replacement the second it is discussed in the sense in the variety of materials that artists of deteriorated elements or the of introducing new materials, in order had access to. Organic and inorganic realization of additions, which provide to give the object structural and visual materials were mixed. It is essential stability and visual unity to the uniformity. In both approaches, it is that conservators select retouching work being performed. So, the intended to act on the matter that materials properly, having in mind the main objectives of reintegration or constitutes the object. hue, saturation, brightness, texture, smoothness, thickness and refraction Fig. 1 • Image illustrating some of materials for retouching: aqueous binder’s solutions, solvent binder’s solutions and dry solutions. © Ana Bailão. index, among other things. There is an innumerable amount of information about retouching materials already available for the conservator [2-5]. However, finding the ones with quality, technical, pros and cons information can require some time and research. Abstract The scope of this research is make a
The aim of this article is to compile a list of materials that are acceptable for the survey of the main characteristics and retouching process. The list is not exhaustive but will help the conservator in the properties of some materials used in decision-making about materials. The materials are divided by group´s: aqueous the retouching process. For a question binder solutions, solvent binder solutions, dry solutions and other solutions. of methodology, the materials will be divided in four groups: aqueous They can be used in specific tasks. similar to gouache and watercolours. increased by applying multiple layers. [12], soluble in almost all paint solvents as in Laropal® A-81. Have similar binder’s solutions, solvent binder’s These markers are highly pigmented Dries to a water-soluble film. It can also In viability tests JunFunori® was hydrocarbonate as shellsol or propan- characteristics to Gamblin® version solutions, dry solutions and other and since they are water-based they be used as the first layer on a support resistant to biological attack [9]. Also, 2-ol. Alumina hydrate is added to paints but the result of the retouching of solutions [Fig. 1]. provided a permanent ink flow. This to reduce absorbency, thus facilitating when naturally aged it can yellow with organic pigments to increase their Kremer paints can be too glossy. In characteristic is good for the pointillism subsequent colour washes. Has the slightly and brittle when dry. Is likewise tint strength and also a white extender both situations the solvents required 1.1 Aqueous binder solutions technique but did not allow blending capacity of increasing fluidity of paints very expensive and the recipe is 1g made from calcium carbonate (PW18). to dilute them make them unsuitable One of the commonly used materials or the creation of hues gradation when like gouache and can be thinned to for 100 ml water. This extender is used to increase for retouching acrylics and other in the retouching process is the more than one layer is needed [7]. create subtle washes when used with Other binder is Aquazol® which transparency, or translucency of the solvent sensitive paint films. watercolours. They comprise pigments Gouache is another option material. pigments. Used as a binder, more is water-soluble synthetic resin colour without changing its viscosity. The According with brand information usually bound in Gum Arabic and Comprises pigment bound in Gum medium produces a watercolour and comprising oxazole, 2-ethyl, 4,5 dihydro paint generally dry to a matt finish. So, Golden® MSA Conservation Paints creates a transparent and luminous Arabic and is distinguishable from less medium produces colours with homopolymer. Is sold in different gloss can be increased by adding more comprises mineral spirit-based layer of paint/retouching. watercolour as it has a higher pigment matt and opaque appearance similar molecular weights: Aquazol® 50, 200 resin. Some of the solvents used to acrylic resins (n-butyl methacrylate Watercolours are hard to colour to gum ratio. It also contains extenders to that of tempera or gouache. and 500 [10]. All these molecular weight dissolve the colours are Ethyl L-lactate, system) mainly suitable for match as paint dries, but this as chalk. The colour match is a little Another aqueous binder is the resins are soluble in acetone, water Dowanol® PM, Shellsol® D40 and retouching as the solvent causes characteristic depends of the brand. more difficult as watercolour because JunFunori®, the purified extract and ethanol. Aquazol has neutral pH propan-2-ol. under layers. The paints remain The brand Schmincke® watercolour, they change the colour and they can from Funori. Funori is a 100% natural and is thermal stable up to 60 degrees. The Gamblin® Conservation soluble in White spirit and the especially Horadam, are one of become whiter or darker during drying dry seaweed polysaccharide, a “red A500 is best for recreating surfaces Colours are excellent for creating pigments are lightfast. MSA colours the glossiest when compared with due to the extenders. Gouaches have algae” named Gloiopeltis Furcata. The and binder for chalk fillings. The paints deeply opaque retouchings. The can be blended with oil and alkyd standard watercolour [6]. normally more than two pigments non-purified material has been used have little colour change on drying and pigments are lightfastness and the paints. They are not suitable for A recent example of watercolour in the mixture with will reduce their by Japanese paper-makers and as is easy to burnish is necessary. Wolbers resin has good pigment wetting quality. retouching acrylic paintings. is the QoR® watercolour, designed permanency and lightfastness [8]. adhesive in paper Conservation for found that unpigmented Aquazol 50 Also, the colours can be used to make Maimeri® Restoration Colours for artists use. The colour strength is The brand Lascaux have a unique decades. In retouching the purified and 500 increased scattering of light crisp brush-strokes by using with a with traditional mastic are composed, achieved by using Aquazol® as binder. acrylic-modified tempera paint which extract is used because is colourless and reduces gloss degree [11]. Only fast evaporating solvent and working according with manufacture, of three This watercolour is being tested due to can be used as a retouching medium. and produce a clear and a very matte replicate simple layers. can be reduced by using slower ingredients: pigments, mastic resin, the fact that conservators have been There are 34 hues available. The retouching medium very useful for evaporating solvent and selected hydrocarbon solvents. using Aquazol® since 1990´s. There’s colours have brilliance and depth and monochromatic contemporary art, 1.2 Solvent binder solutions Viscosity can also change with the The analyses carried out by the no significant colour change, they the pigments are lightfastness. The especially paintings. It can be mixed The four most popular retouching solvent. Using the solvents mention National Gallery of Art, Washington, are not toxic and have lightfastness dried film is velvety and elastic but with pigments. It is very good for colours are the Gamblin® Conservation above, the paints normally dry up DC, in 2000 [13], confirm the presence pigments. But due their viscosity and remains water soluble. The paints have mimicking “stained” canvas. For that Colours, the Golden® MSA extremely quickly is needed to of mastic gum, and according to bad behaviour with high levels of HR, covering power and can be applied after preparation Funori can be taken Conservation Paints, the Maimeri® frequently replace solvent. Cover Ameringer [14] and Szmit-Naud [15], the they are not being used as a retouching over a various types of substrates. straight from fridge and brushed Restauro Restoration Colours and retouching paint on the palette analyses carried out in 1989 by the material. Also, they can be very glossy. Water Resoluble Acrylic Medium onto canvas and dabbed pigment RestaurArte® Retouching Colours. The with melinex helps to slower the Canadian Institute of Conservation Besides tube watercolour there are is another solution provided by into wet medium. Also, lower film of Gamblin® paints consist of Laropal® evaporation of the solvent. revealed the presence of several other types of watercolour suitable for Lascaux®. Is colourless. It can be mixed Funori isolates the pigment from the A-81, a yellowing-resistant aldehyde Another commercial option is stabilizers, such as aluminium, silica, clay, retouching as watercolour markers. with dry pigments to make pains underlying canvas. The glossy can be resin with low molecular weight the Kremer® Retouching Paints and wax. In 2003 Szmit-Naud found
250 Ana Bailão | Liliana Cardeira Mixing and matching. A survey of retouching materials 251 the addition of calcium carbonate, an Resin Colour. Although more stable of RestaurArte® paints. About their art with smooth and matte surfaces. Watercolour stick is more one dry surrounding a damage which can extender, in some of the colours. and yellowing resistant than triterpene application, some paints have an excess The retouching’s may also be a slight solution. Creates a transparent and protect the paint from the abrasive The paints have a semi-gloss resin, over time loses solubility due to binder, which makes it difficult to tonal darkening of the light colours luminous paint over the white filler potential of the filler when shaping, appearance and no change in the auto-oxidation and become brittle [15, 16]. evenly distribute the paint (earth, white which can be minimized by avoiding with can be smooth by a moistened texturing and reducing fill material. shades after drying. However, the rapid According to the colorimetric studies titanium, red cadmium and ultramarine). mixtures of paints and keeping the brush. Is important to check the Is important to test the surface with evaporation of the solvents affects the of Sánchez-Ortiz and Micó Boró, cobalt The paint is pasty. It is essential to make retouching slightly lighter and less permanency of the pigments used the masking material to insure that do gloss after application to the surface, blue may become slightly violet and a good dissolution with the solvent to saturated compared to the original. because the lightfastness can be not leave stains. The mask should be and it is necessary to add more resin. some colours show whitening. They obtain a smooth paint film. Another The fact that the copolymer creates reduced in paints with multiple done with temporary and reversible The intensity of the brightness varies are considered to be less stable to the feature of this range of colours is the an uneven film on the surface causes pigments [7]. material like the dispersion of natural depending on the pigments. One of degradation of light and also insoluble in matte result of the paints. the incident light to be diffuse [18]. Individual sticks of pigmented wax- rubber in water by Royal Talens® the advantages of Maimeri® Varnish non-polar solvents [17]. Conservators can handmade paints resin are recently sold by Gamblin® or the Methocel® (A4C and A4M) Colours is the ability of dark tones to The Restaurarte® Retouching with many binders, besides buying 2. DRY SOLUTIONS in sets of 12 colours. Can be used for range developed by Dow® Chemical match films of aged black oil. Colours line is marketed by Bresciani® the ones ready-made. Paraloid® filling losses in paint. Can be an option Company. One of the main disadvantages of Srl. According to the manufacturers, B-72 (PB-72) is one of the options. There are many dry solutions for monochromatic and smooth For texture there are the Maimeri® Varnish Colours is the the paints are produced with pure PB-72 is a copolymer of methyl for retouching purposes. The dry surfaces. The material is manipulated Retouching Gels for example. proven yellowing of the mastic resin pigments and ketonic resin, not methacrylate and ethyl methacrylate. powder pigments can be used as using moderately heated tools to Comprises Paraloid® B72 resin, a over the years. Colours such as specifying which one, dissolved in The commercial resin is sold in the they are over a damage surface. quickly fill losses (c. 50 degrees). The amine light stabiliser and a bulking ultramarine blue, ivory black, yellow essence of turpentine. form of regular small translucent They can be applied dry over a layer fill can be sculpted but is not easy to agent of fumed silica. Sold as a set ochre, alizarin and viridian green The physicochemical and mechanical stones. It is elastic and resistant of JunFunori® or water resoluble manipulate with a hot pointed or flat of 8 gels providing a range of media change significantly in tone [13, p. 57], properties are similar to the Maimeri® to oxidation, light, hydrolysis and Medium already mention in the text. head spatula and it is hard to direct that varying in concentration of white gets more yellow and pigment Restoration Ketonic Resin Colour, moderate heat. Is also transparent, Other option is the mica pigments, adequate amounts of the material PB72, hardness, softness of the gel paints with high absorption power, occurring more chromatic alterations with high mechanical strength and or iridescent pigments. They are sold into small fills. and drying time (depends of the change more easily [15]. In addition to after the retouching process. For reversibility and can be dissolved in as powder pigments and they can be The conservator can also use the solvents). Three solvents are used: the chromatic alteration, there is also example, the earth pigments may turn acetone, isopropyl alcohol, diacetone added to watercolours or other kind stick pastels. They are easy to apply Dowanol® PM (fast evaporation), cracking in the paint films. Another slightly orange; cadmium red slightly alcohol, among others, and slightly of paint or binder. This pigments works through sponge, rubber spatulas. Can Dowanol® PnP (mid-range disadvantage is solubility. Initially, the bluish-green and chromium oxide green soluble in ethanol. in small losses due to the metameric be a solution for smudge surfaces evaporation) and Dowanol® DPM paints were soluble in a variety of may change to violet. Because most PB-72 is used because it is effect caused by the small crystals. [19, 20] as well as the PanPastel® (slow evaporation rate), all glycol solvents, including white spirit, xylene, colours tend to darken, the paints are considered stable and durable in the Caran D’Ache® Luminance 6901 Colorfin LLC. ether type solvents. toluene and isopropanol. However, as considered to be very unstable to light long term. The resin film, after drying, Lightfast Pencil is a fine-art professional But there are other solutions To finish, as opacifiers and bulking the years pass they become insoluble degradation. Also, the solubility tests is more matte compared to the coloured pencil and the only ones with related with protection, texture materials for the retouching paints [13, p. 58]. performed by Sánchez Ortiz and Miró natural resins or polycyclohexanones, info about lightfastness of the colours. and appearance. Most modern and is possible to use mica or iridescent Due to the alterability of colours Bocó, using three solvent mixtures of but does not require the addition of This type of material can be used, for contemporary paintings do not have pigments, pipe clay or caulin and Maimeri® launched the same colour line the Paolo Cremonesi protocol, of low, a plasticizer or any other additive, example, in paper support. The pencils a surface coating and fill material methycellulose, among others. Bulking in 1998, replacing the natural resin with intermediate and high polarity, proved just more resin. This characteristic is have an effortless application without can be abrasive. For this problem agents are added to paint to increase ketone, Maimeri® Restauro Ketonic to be ineffective in the dissolution suitable to retouch contemporary creating traces over the surface. conservator can use a masking paint coverage, reduce cost, achieve
252 Ana Bailão | Liliana Cardeira Mixing and matching. A survey of retouching materials 253 durability, alter appearance and influence other desirable properties.
4. CONCLUSIONS
There are many materials for retouching. All have its individual properties, advantages, and disadvantages, which can also be useful in some cases depending on the surface of the artwork. The best materials are the ones non-toxic, stable to temperature and humidity, resistant to biological attacks and REFERENCES lightfast. There are no perfect [1] BAILAO, Ana - Terminologia associada à Painting Conservation Catalog. Vol. III: Inpainting. 50 (3) (2005). p. 193. https://doi.org/10.1179/ [12] RIE, E. René de la; QUILLEN LOMAX, The Picture Restorer. 24 (2003), pp. 5-9. materials. It all depends on the object conservação e restauro de pintura. Conservar USA: American Institute for Conservation. The sic.2005.50.3.193 Suzanne; PALMER, Michael; DEMING [16] SÁNCHEZ ORTIZ, Alicia; MICÓ BORÓ, Património. and the conditions where it will be 18 (2014) pp. 55-62. doi:10.14568/ Paintings Specialty Group, 2011. [9] CHIU, Thomas T.; THILL, Bruce P.; GLINSMAN, Lisha; MAINES, Christopher A. – Sandra – From the laboratory to the resto- cp2013010. rer studio. Practical inpaint applications with exposed. But having the conservator [5] STONER, Joyce Hill; RUSHFIELD, Rebecca FAIRCHOK, William J. – Poly(2-ethyl-2- An investigation of the photochemical stability [2] Communication presented at 5th (ed.) – Conservation of Easel Paintings. Oxford: oxazoline): A New Water and Organic Soluble of urea-aldehyde resin retouching paints: commercial colours of synthetic resins. In V Con- all these materials available became International Conference youth in Conservation Butterworth-Heinemann Ltd, 2012. Adhesive. In GLASS, J. Edwards - Water-Soluble removability tests and colour spectroscopy. In gresso Internazionale “Colore e Conservazione”, Le possible the matching of the original of Cultural Heritage, YOCOCU 2016, Madrid, [6] DOMMERMUTH, Jean – Hand-Mixed. Polymers. Washington, D.C: American Chemical ROY, Ashok; SMITH, Perry, ed. – Tradition and fasi finali nel restauro delle opere policrome mobili. colours. Spain, entitled Using watercolour markers in Aqueous Binding Media: Egg Tempera. In Society, 1986, pp. 425-433, Vol. 213. innovation: Advances to conservation. London: Cesmar7, Saonara: Il Prato, 2011, p. 160. chromatic reintegration: a case study and at 4th METZGER, Catherine A.; MAINES, Christopher; [10] WOLBERS, Richard C.; MCGINN, International Institute for Conservation of [17] RIE, E. René de la Rie – The Influence International Meeting on Retouching of Cultural DUNN, Joanna (compilers) – Painting Mary; DUERBECK, Deborah - Poly (2-Ethyl-2- Historic and Artistic Works (IIC), 2000, pp. 53. of Varnishes on the Appearance of Paintings. Heritage, RECH 4, Split, Croatia, entitled Using Conservation Catalog. Vol. III: Inpainting. USA: Oxazoline): A New Conservation Consolidant. [13] AMERINGER, Charlotte Seifen – Studies in Conservation. 32 (1) (1987), pp. watercolour markers in chromatic reintegration. American Institute for Conservation. The In DORGE, Valerie; HOWLETT, F. Carey, ed. Proprietary. Solvent-Based resins: Low Molecular 1-13. Disponível em: http://www.jstor.org/ [2] WITTE, E. de; GUISLAIN-WITTERMANN, Paintings Specialty Group, 2011, p. 104. - Painted Wood: History and Conservation. Los Weight (LMW) resins. In METZGER, Catherine stable/1506186. Consultado em 01 de Dezem- R.; MASSCHELEIN-KLEINER, L. – Comparación [7] BAILAO, Ana Maria dos Santos - Avaliação Angeles: The Getty Conservation Institute, 1998, A.; MAINES, Christopher; DUNN, Joanna bro de 2017. entre algunos materiales y técnicas de Colorimétrica da Alteração de Cor de Alguns pp. 514-527. (compilers) – Painting Conservation Catalog. [18] PERRY, Roy A. – Retouching damaged reintegración. Revista PH. 16 (1996), pp. 63-65. Guaches e Aguarelas Utilizados na Reintegração [11] LEONARD, Mark; WHITTEN, Jill; Vol. III: Inpainting. USA: American Institute for Modern Art. In Conference 2000: Retouching [3] FUSTER, Laura; CASTELL, Maria; Cromática de Bens Culturais. In CALVO, Ana; GAMBLIN, Robert; RIE, E. René de la – Conservation, The Paintings Specialty Group, Filling. Oxford: Association of British Picture Re- GUEROLA, Vicente – El estuco en la restauración VIEIRA, Eduarda (Coord.) – Matrizes da Investi- Development of a new material for inpainting. 2011, p. 195. storers, 2000, pp. 19-22. de pintura sobre lienzo. Criterios, materiales y gação em Conservação e Restauro I. Porto: UCP/ In ROY, Ashok; SMITH, Perry, ed. – Tradition and [14] SZMIT–NAUD, Elzbieta – Reasearch on [19] CHIANTORE, Óscar; RAVA, Antonio – procesos. Valencia: Universidad Politécnica de CITAR, 2014, pp. 13-41. innovation: Advances to conservation. London: Materials for easel Painting Retouches: Part 1. Conservare l´arte contemporanea: problemi, meto- Valencia, 2004. [8] GEIGER, Thomas; MICHEL, Françoise - International Institute for Conservation of The Picture Restorer. 23 (2003), pp. 6, 7. di, materiali, ricerche. Milano: Electa, 2005, pp. [4] METZGER, Catherine A.; MAINES, Studies on the Polysaccharide JunFunori Used to Historic and Artistic Works (IIC), 2000, pp. 111 [15] SZMIT-NAUD, Elzbieta – Research on 139, 291. Christopher; DUNN, Joanna (compilers) – Consolidate Matt Paint. Studies in Conservation. –113. Materials for Easel Painting Retouches: Part 2.
254 Ana Bailão | Liliana Cardeira Mixing and matching. A survey of retouching materials 255 Keywords
Fernando Mardel; Painter-restorer; Chromatic reintegration; FERNANDO MARDEL, A Restoration; Painting. PORTUGUESE PAINTER- RESTORER. 1. INTRODUCTION RETROSPECTIVE OF HIS In Portugal, until the middle of the that Fernando Mardel appears third quarter of the 20th century, in the history of conservation RETOUCHING WORK painting restoration was performed and restoration in Portugal. First by painters-restorers, whose collaborating in the Luciano Freire Figure 1 • Portrait of Fernando Mardel in the atelier of the old Institute of Examination and [5] background was in painting. After (1864-1934) studio , until he Restoration of Works of Arts (Boletim 1980 emerged the first restoration became responsible for the painting do Museu Nacional de Arte Antiga, Fac. III, Vol IV, Lisboa, 1962). Carolina Rodrigues Ferreira (1, 2) Fernando António courses, becoming this activity a restoration of the Portuguese State. | [1] [7] (1) (2, 3) profession with a specific training . Josefa Torrado Fernandes . Baptista Pereira | António Candeias | Mercês Lorena Until the end of the 19th century the 2. FERNANDO MARDEL, A According to some authors [9], F. (3) restoration of paintings resulted for PAINTER-RESTORER Mardel attended the painting course the most part in overpainting, totally at the School of Fine Arts of Lisbon. 1. Centro de Investigação e de Estudos em Belas-Artes|Faculdade de Belas-Artes da Universidade de Lisboa; Largo da Academia Nacional de Belas 2.1 Biographical data However, no official documents have Artes, 1249-058 Lisboa; E-mail address: [email protected]; [email protected] or partially. These overpainting’s were 2. Laboratório HERCULES |Universidade de Évora; Palácio do Vimioso, Largo Marquês de Marialva, nº8, 7000-809 Évora, Portugal; aimed at the improvement of the Fernando Mardel de Araújo (Figure 1), been found so far in the archives of E-mail address: [email protected] 3. Laboratório José de Figueiredo | Direção Geral do Património Cultural; Rua das Janelas Verdes, 1249-018 Lisboa; state of conservation, or iconographic was born on November 22nd, 1884 in the institution, such as the process of E-mail address: [email protected] canon changes [2]. It is only at the end Lisbon [6], and died in the same city in enrolment in the course, or a certificate of the 19th century that we witness June 28th, 1960 [7], with 76 years of age. of attendance at classes and exams. Abstract a change in the restoration criteria, There is not many information But it is not surprising that he had particularly concerning the respect documented about F. Mardel´s been in contact with the School Fernando Mardel (1884 - 1960), was a Portuguese painter-restorer of the 20th for the original painting. Thus, the family life. He is the adopted son environment from a very early age; century, pioneer in the interrelation between science and art, concerning the chromatic reintegration begins to of Júlio Mardel (1855-1928) an influenced by his father, a member of conservation and restoration of paintings, in Portugal. develop, being limited to the areas important archaeologist of his time, the National Monuments Commission Among many of his works that are worth mentioning, the restoration of the Flemish of loss and wear, not overlapping who contributed to the history of the National Academy of Fine Arts of paintings of the 15th and 16th centuries, belonging to the painting collection of [3] of Portuguese heritage [8]. In the the Sacred Art Museum of Funchal (MASF), in Madeira Island, are one of the most the original painting , first with the Lisbon, situated in the same building as important. mimetic technique and them with the homage of his friend and co-worker the School. F. Mardel’s talent for painting, The aim of this paper is to present Mardel´s options for the reintegration of the differential techniques [4]. João Couto (1892-1968), there is caught the attention of L. Freire, who Flemish paintings of the MASF. It is in this context of change a reference to a sister called Joana taught there, and made him his disciple. In 1910, L. Freire became a member of Restoration in 1949 [9], where was possible to observe the mimetic reproduces the crack networks in
of the Commission for the Inventory he observed the new method of technique made by F. Mardel in these Figure 2 • Mimetic retouching of a lacuna located the surface painting with the retouch and Improvement of Ancient Paintings, chromatic reintegration made by paintings. in the red tunic of the painting Saint (Figure 3), and not with the treatment James (MASF 28). and was responsible, until 1933, for Cesare Brandi in the mural painting Still from the heritage of Madeira texture of the filler mass, as usual in the painting restoration at the Art and of Lorenzo da Viterbo in the Capella Island, he intervened in a set of Flemish such cases [20]. Archeology Council Office, installed Mazzatota of the Church Santa Maria paintings of the 15th and 16th centuries, Araújo once again accompanied The analytical study of the paintings in the same building of the National della Veritá [4]. currently belonging to the collection of by F. Mardel, and were exhibited in is still in progress at the HERCULES Academy of Fine Arts of Lisbon L. Freire was important in his the Sacred Art Museum of Funchal [14]. the Sacred Art Museum of Funchal, Laboratory of the University of [10]. In his team he count with the formation, but it is with João Couto that It is on these interventions that we will inaugurated on July 1st of that year. Évora. The main goals are the Figure 3 • Imitation of the network of cracks in the participation of F. Mardel, Luís Ortigão his professional development is evident. make a brief analysis of the chromatic The installation of the paintings were leg of Saint James in the painting Our identification of the materials applied Burnay (1884-1951) and Albino João couto defended that for reintegration made by F. Mardel. of the responsibility of F. Mardel [16]. Lady of Amparo (MASF 39). in the intervention (fillers, pigments Moreira da Cunha (1897- 1970?). conservation and restoration of the During the time that the paintings and mediums), and the stratigraphic F. Mardel, in 1934, at the age of 50, work of art, it is necessary a previous 3. INTERVENTION IN THE were in Lisbon, they were exhibited The intervention consists in the characterization of the areas and until his death, was responsible knowledge scientific of the object. FLEMISH PAINTINGS OF THE twice in the National Museum of treatment of the wooden supports intervened by F. Mardel. for the restoration of the Portuguese This is why F. Mardel in his SACRED ART MUSEUM OF Ancient Art. The first in 1949, before and the paint layers. The reintegration The expected results, compared to heritage paintings. First, in the professional career always applied the FUNCHAL the restoration, in the context of was done in two phases. The first phase the information in the reports, will restoration workshop at the National available scientific means to assist him the 16th International Congress of consisted of the application of the allow a complete characterization of its Museum of Ancient Art, where in the decisions making processes. 3.1 Historical context Art History [17], and the second in underpaintings with varnish and the technique: how he applied the colours was transferred the atelier of the This set of paintings were sent to 1952, after the restoration [18], with second phase was with egg tempera. (mixed in the palled or overlapped) National Academy of Fine Arts of 2. 2 His work Lisbon in 1949, on board of the ship the presentation of the conservation F. Mardel used the mimetic technique and pigment identification. Lisbon [11]. And later, at the Institute Among many of the restoration Angola with the accompaniment of F. and restoration process, within the [20] in all of the paintings. The goal was Although the mimetic technique is of Examination and Restoration of works he has done, it stands out Mardel, who travelled to Madeira to scope of ICOM 5th Conference of to make the intervention invisible, mainly adopted by F. Mardel, in the Works of Art, the first building in the intervention in the paintings supervise the packaging and transport Restoration. reproducing the colour and texture Triptych of the Incarnation (MASF 32), Europe to be built for this function, in that integrated the exhibition of the of the paintings. of the surrounding areas (Figure 2). it is observed another solution for 1940. It was located in the annexed Primitive Portuguese in 1940, which The intervention took place between 3.2 Fernando Mardel´s chromatic With surface examination, infrared the retouching. This triptych had been ground of the National Museum of earned him the commendation of the 1949 and 1955 at the former Institute reintegration – materials and reflectography and x-ray (made by mutilated in the wooden support Ancient Art [12], presently José de Officer of the Order of Saint James of Examination and Restoration of methods Luís Piorro, at the José de Figueiredo when it was transferred from the Figueiredo Laboratory, in Lisbon. in 1941 [9]. In these interventions Works of Arts [12] and were carried The conservation reports on these Laboratory/DGPC), it is possible to original church, Nossa Senhora da In 1938, F. Mardel was a fellow of the there were four paintings from the out following the work for the paintings, with the signature of F. affirm that the areas surrounding the Encarnação, to the church of São Institute for High Culture [9], which 16th century altarpiece of Funchal’s safeguarding of the pictorial heritage Mardel [19], are poorly developed, as gaps were respected, in others words, Martinho, in order to adapt to the new allowed him to have contact with Cathedral in Madeira Island: Christ of the Madeira Island, developed by he, unlike is master L. Freire, did not the retouching does not extend over altarpiece structure [14]. In addition other restoration practices and to praying in the garden; Annunciation; Manuel Cayola Zagallo (1905?-1970), documented extensively his work. the original painting. Although, there to the mimetic retouching, similar to improve his technical skills. Abraham and Melchizedek; and The between 1933 and 1949 [15]. However there is information that let is the hypothesis of this happening in the other paintings, in this triptych He went to Rome to attend the gathering of the Manna. Recently with In 1955, the paintings returned us know the treatments to which the one or another situation. we observe a differentiated or visible Second International Conference a new intervention in 2013/2014 [13], it to Madeira in the ship Carvalho de paintings were submitted. In some situations F. Mardel technique [20], in the adapted areas.
258 Carolina Rodrigues Ferreira | Fernando António Baptista Pereira | António Candeias | Mercês Lorena Fernando mardel, a portuguese painter-restorer. Retrospective of his retouching work 259 F. Mardel in the report states that the collection of the Ricardo Espírito predominant tone of the reconstituted the reconstitution of the missing parts perception is directed to the painting “in order to avoid making an entirely Santo Foundation [22]. In this painting drawing, it is possible to observe of the Triptych of the Incarnation and not to the retouched areas. new painting in this added portion, it Abel de Moura used the sgraffito others colours, namely in the back (MASF 32). F. Mardel´s concern not to overlap was more convenient to complete technique with lighter shades than panels that represent St. Antony and Even though the differentiated the original shows that he reveals’ the drawing in a sepia tone of neutral the original colours [4]. St. Bartholomew, where the carnations technique adopted in the respect for the integrity of the colour only to give a more agreeable In the Triptych of the Incarnation and frame are coloured with the same reconstruction of the missing parts painting, meeting the spirit of the set to the painting” [21]. However, it the adopted solution is similar. The tone as the original (Figure 6). of the Triptych of the Incarnation, intervention already advocated by his does not make reference to whom reconstruction of the drawing is In some areas of the drawing it is probably it’s not F. Mardel author master L. Freire. carried out this work. achieved by extending the lines used the sgraffito technique to fill the –, the accomplishment of this work Not excluding the hypothesis of (Figure 4). background (Figure 7). under his responsibility, demonstrate having been F. Mardel to carried out Even though the lines of the pictorial the concern to introduce new this work, it is also possible that it composition are respected, there is no 4. CONCLUSIONS techniques. was done by Abel de Moura (1911- reference how would it be. We can The mimetic chromatic reintegration ?), his successor, which by that time observe the creativity and personal The technical option of chromatic used by F. Mardel aims to go unnoticed already collaborated in the Institute. In taste from the author when he draws reintegration used by F. Mardel in the by the observer, its intention is not to 1949 he made a similar intervention a snail and vegetation (Figure 5). Flemish paintings of the Sacred Art create a false historical. in the Triptych of St. Bartholomew, The drawing is done in black over a Museum of Funchal was the mimetic He pretends that the intervention Pieta and St. Francis, belonging to sepia background. Although this is the reintegration, with the exception of be unnoticed, so that the observer’s
Figure 4 • Reconstitution of the painting in the lower part of the Triptych Figure 5 • Detail of the reconstitution in the lower part of the Triptych of the Figure 6 • Reconstitution of the painting in the back panel of the Triptych of the Figure 7 • Detail of the sgraffito technique to fill the drawing in the back panel of the of the Incarnation (MASF 32). Incarnation (MASF 32). Incarnation (MASF 32). Triptych of the Incarnation (MASF 32).
260 Carolina Rodrigues Ferreira | Fernando António Baptista Pereira | António Candeias | Mercês Lorena Fernando mardel, a portuguese painter-restorer. Retrospective of his retouching work 261 REFERENCES [1] FIGUEIRA, Francisca – A disciplina/ [9] FLOR, Susana - Fernando Mardel de da Junta Geral no âmbito do Património profissão de conservação e restauro: uma Araújo. In 100 Anos de Património, memória e Cultural, In Junta Geral do Distrito do Funchal ciência recente e o seu desenvolvimento em identidade. Lisboa. 2010, pp. 211-212. (1836-1976): Administração e História. Arquivo Portugal. Conservar Património, nº 21 (2015), [10] VÁRIOS - Elementos para um relatório Regional da Madeira (2016), pp. 327-336. pp. 39-51. acerca do tratamento da pintura antiga em [17] COUTO, João; ZAGALLO, Cayola - [2] SERRÃO, Vítor - Renovar, repintar e Portugal segundo notas tomadas no período Exposição Temporária das Obras de Arte dos retocar: estratégias do pintor-restaurador em da execução desses trabalhos. In Conservar Séculos XV e XVI da Ilha da Madeira, Catálogo, Portugal desde o século XVI. In Conservar Património, Nº 5, (2007), pp. 9-65. Lisboa (1949). Património, Nº 3-4 (2006), pp. 53-71. [11] CURVEIO, Alexandra - Da Oficina de [18] COUTO, João; ZAGALLO, Cayola [3] CRUZ, António – O restauro de pintura Restauro de Luciano Freire ao Instituto José de - Pinturas dos Séculos XV e XVI da Ilha da em Portugal no tempo de Luciano Freire. In Figueiredo. In100 Anos de Património, memória Madeira (Depois do seu restauro), Catálogo, 100 anos de património, memória e identidade. e identidade. Lisboa; 2010, pp. 175-180. Lisboa (1955). Lisboa, 2010, pp. 117-122. [12] COUTO, João - Painéis Flamengos da [19] MARDEL, Fernando, “Relatórios das [4] BAILÃO, Ana; HENRIQUES, Francisco; Ilha da Madeira. Seu merecimento, valorização intervenções das pinturas da Ilha da Madeira”, CABRAL, Madalena; GONÇALVES, Alexandre e conservação. Funchal, Edição da Junta Geral manuscritos, Arquivo do Laboratório José de – Primeiros passos de maturidade a caminho do Distrito Autónomo do Funchal, 1955, pp. Figueiredo (1955), nº processo: Rest. 870; Rest. da reintegração cromática diferenciada 16- 32. Rest. 967; Res. 969; Rest. 970; Rest. 975; Rest. em pintura de cavalete em Portugal. Ge- [13] FERREIRA, Carolina; GOMES, Sofia, 976; Rest. 977; Rest. 978; Rest. 980; Rest. 981; conservación, nº 1 (2010), pp. 128-141. NASCIMENTO, Glória; LORENA, Mercês; Rest. 983. (2015-12-3) [5] LEANDRO, Sandra – O mito do CANDEIAS, António – Conservação e [20] BAILÃO, Ana – As técnicas da recriador: Luciano Freire e os trabalhos de Restauro das pinturas do retábulo da capela- reintegração cromática na pintura: revisão conservação e restauro da “Pintura Antiga”. In mor da Sé do Funchal. Contributo, no historiográfica. InGe-conservación , nº 2 (2011), 40 anos do Instituto José de Figueiredo. IPCR, contexto contemporâneo da preservação, pp. 45-63. Lisboa (2007), pp. 65-81. defesa e valorização do património cultural. [21] MARDEL, Fernando, “Relatório de [6] Grande Enciclopédia Portuguesa e In O retábulo no Espaço Ibero-Americano. intervenção do Tríptico de Nossa Senhora Brasileira, Vol. 16. Lisboa: Editorial Enciclopédia Forma, função e iconografia, Vol. 2 (2016), pp. da Encarnação”, manuscritos, Arquivo do Lda., p. 272. 155-165. Laboratório José de Figueiredo (1955), nº [7] COUTO, João - Homenagem a Fernando [14] PEREIRA, Fernando A. B.; CLODE, Luíza processo: Rest. 977 (2015-12-3). Mardel. In Boletim do Museu Nacional de Arte – Arte Flamenga: Museu de Arte Sacra do [22] Museu de Artes Decorativas Antiga (Fac. III, Vol. IV), Lisboa, 1962. Funchal. Funchal, Edicarte (1997). Portuguesas – Guia. Fundação Ricardo Espírito [8] CUSTÓDIO, Jorge – Júlio Carlos Mardel [15] ZAGALLO, Cayola - As Pinturas dos Santo, Lisboa: 2001, p. 91. de Arriaga Velho Cabral da Cunha (1855- Séculos XV e XVI da Ilha da Madeira, Academia 1928). In 100 Anos de património, memória e Nacional de Belas Artes, Lisboa (1943). identidade. Lisboa, 2010, pp. 78-80. [16] GUERRA, Jorge Valdemar – Intervenções
262 Carolina Rodrigues Ferreira | Fernando António Baptista Pereira | António Candeias | Mercês Lorena Nome artigo 263 Keywords
Predella; Vandalism; Mimetic retouching; THE RESTORATION OF THREE Reconstruction.
STRONGLY DAMAGED PANEL 1. INTRODUCTION TH PAINTINGS OF A 16 -CENTURY The three small panels of the his workshop (fig. 1). The paintings 1890s from two different Italian art Budapest Museum of Fine Arts are depict scenes from the Passion: the dealers [2], and it was only after their attributed to Giovanni Antonio Bazzi, Capture of Christ (36.3 × 61.8 × recent restoration that they were SIENESE PREDELLA called Il Sodoma (1477–1549), and 1.8 cm, inv. no. 1230), the Flagellation physically rejoined.
Ágnes Kuna | Tímea Bakonyi | Erdei Gábor
Museum of Fine Arts, Conservation Department; Dózsa György út 41, H-1146, Budapest; E-mail address: [email protected], timea.bakonyi@mfab. hu, [email protected]
Figure 1 • Giovanni Antonio Bazzi, called Il Sodoma, and his workshop: three fragments of a predella, c. 1510, before restoration. Old Masters’ Gallery, Museum of Fine Arts, Budapest.
Figure 2 • Digital reconstruction of the probable original arrangement of the restored predella fragments.
Abstract (36.5 × 70.5 × 2 cm, inv. no. 1161), Phototechnical examinations and the and the Road to Calvary (36.4 × 61.9 study of cross-sections foreshadowed Three panel paintings of the Szépművészeti Múzeum (Museum of Fine Arts) formed the retouching in such an extreme × 2 cm, inv. no. 1231). Scholars date partial repairs but it was only after part of a Sienese predella made around 1510. The Passion scenes were painted on case was discussed by experts the works to the period when the the removal of the old varnish, a single wooden board, which was cut in three in the past. Due to the disjointing from both the museum and abroad. artist worked in Siena [1]. The panels, retouching and fillings that the true there are some losses of the wooden support, but the recent restoration revealed Despite some of its disadvantages originally painted on a single plank extent of the damages was revealed. a very particular damage to the painted surface too. After the removal of the the decision was made in favour of All the malevolent figures in the three darkened varnish, discolored retouches and old fillings, traces of heavy vandalism total reconstruction and mimetic of poplar wood, formed part of the came into view. Scratches and holes were incised with a sharp object destroying the retouching of the vandalized predella of an unknown altarpiece. scenes had been disfigured by holes eyes and other facial details of the figures. The delicate question of how to execute details. The fragments were bought in the as deep as the wooden support and A neutral retouching would make (fig. 4). One of the reasons of this other paintings of the same period a pinkish adhesive layer (no. 1 on fig. 5) it impossible to render the variety decision is what has been discussed and/or of the same scale. and then gold leaf (no. 3 on fig. 5) was of emotions. Second, since these above regarding the importance of While the losses of the vandalized glued on its surface. We decided not predella scenes will be positioned at preserving the expressive quality of eyes and mouths were filled in at the to cover the remnants of this original eye level in the museum’s permanent the faces. Another one concerns the level of the original ground, we did not feature so, after executing the fillings exhibition, undefined facial details phenomenon of the excessive and fill the indentations of the scratches where necessary, we applied neutral could disturb the majority of visitors. systematic vandalism, of which there so as to leave at least some traces of retouching (matching the tone of the Other types of visible retouching, is no other example in our collection; the act of vandalism that are not so pinkish adhesive layer). such as tratteggio or the pointillistic indeed, they are rare anywhere else [3]. evident and disturbing to the viewers. During the removal of the old varnish technique would be inappropriate for Some experts both in Hungary and Preliminary research on the painting and retouching, we also found traces the same reasons, and also because abroad argued that it is not advisable technique also provided indispensable of bole and water gilding under the Figure 3 • Flagellation, detail (before and after the removal of the old restoration). they are impossible to carry out to display this kind of intentional help for completing the work, paint surfaces along the bottom and large scratches (fig. 3). The intentional following possibilities were discussed properly in the case of small losses damage because it might encourage since we aimed to preserve the the top edges of the paintings. These damage of the paintings seems to have about the retouching method. such as those present in the panels. similar behaviour. following technological and historical belong to the former engaged frame been caused in situ by religious fanatics The restoration of the paintings characteristics on the restored that had already been added when at an unknown time in the past. The 2.1. The possibility of leaving the 2.3. The advantages and the was therefore executed by means paintings. the ground preparation was applied holes affected especially the eyes and intentionally caused damages fully materials of making a mimetic of indistinguishable retouching, and a to the entire front of the predella. the mouths of the figures. Strangely, visible retouching and reconstruction total reconstruction was carried out 3.1. The variation of metal The engaged frame was subsequently in the Road to Calvary, even Christ’s This option did not seem safe After careful consideration, the with Schmincke® watercolor on the decorations present on the paintings covered with bole and gold leaves. eyes and mouth have been vandalized because of the sensitivity of the committee decided in favor of the total top of the fillings1 where necessary. Analytical examination was carried Especially the reddish layer extended (fig. 4). There was a concensus among original ground and paint layers. reintegration of the losses and, where Once the surface was varnished,2 out to reconstruct the particular onto the grounds of the painted the museum’s restorers and art Therefore we decided against it but, necessary, the reconstruction of the the correction of the retouching structure of the decorative strips on scenes. As this was an interesting historians that accidental losses need of course, agreed to make a detailed, details lost due to intentional damage was executed with a varnish mixed the left and the right borders of the trait of the process of execution, we to be retouched. The question of the high-resolution photo-documentation with Mussini® oil paints containing a paintings (fig. 5). The results show that decided not to retouch the abrasions intentional damages’ restoration was of all the damages before filling the reduced amount of binding agent. tin leaf (no. 2 on fig. 5) was applied over of the paint in these small areas. much more controversial. losses. 3. RESULTS AND DISCUSSION 2. MATERIALS AND METHODS 2.2. The possibility of a visible retouching We aimed to reconstruct the The restoration of these three The possibility of a neutral damaged faces in a manner and style panels was carried out by three reintegration was disapproved for as close to that of Sodoma and his restorers, so it was important to more than one reasons. First, the scenes workshop as possible. We based harmonize their work and decisions are depicted in a very expressive way, our work on the analogies of the with the art historians’ opinion too. undamaged faces in the same predella whose effectiveness depends on the Figure 5 • Road to Calvary. Cross-section was taken from the ca. 1 cm wide decorative strips (macroscopic During the committee meetings, the visibility of each figure’s emotions. Figure 4 • Road to Calvary, detail (during and after the and on similar heads in the artist’s photo on the left) for analyzing their layers (microscopic photos on the right). restoration).
266 Ágnes Kuna | Tímea Bakonyi | Erdei Gábor The restoration of three strongly damaged panel paintings of a 16th-century Sienese predella 267 NOTES
1. Composition of the putty: 10-12 % solution of rabbit skin glue, gesso di Bologna, PVAc based wood glue (Palma Fa normál) and some drops of a triple complex medium (1 part Venice turpentine, 1 part dammar varnish, 1 part linseed oil). The putty was not colored with any pigments. The surface of the fillings was isolated with a 1:5 mixture of an acrylic dispersion (Plextol B500) and water. 3.2. The treatment of the damages caused by the disjoining of the 2. Composition of the varnish: a solution of dammar resin in turpentine diluted with white spirit and some predella drops of Lefranc & Bourgeois Satin picture varnish.
Before the present restoration, the 3. We are truly grateful to restorers Tünde Réti, Mária Velekei, and András Fáy, conservator Béla Nagy, art originally unpainted bottom and top historians Nikoletta Koruhely, Dóra Sallay, and Georgina S. Csető, professors László Kriston, Eszter Tuzson, and Anna Vihart, scientists Dóra Kesjár and Máté Szabó, graphic designer Nóra Bene, and photographer borders of the panels were filled in Figure 6 • Flagellation. Detail of one hole where the panel was originally nailed to the strut. (After the and overpainted. After the removal of removal of the old restoration and with the wooden insert) Dénes Józsa for their help. this old addition, the fragmented and unstable original edges of the pictorial surfaces were stabilized with putty in the presentation of the three predella line with the barb. Now a clear line fragments in our new permanent marks where the former engaged exhibition (to be opened in 2018) frame of the predella met the painted possible.3 After the restoration, surface. the Passion scenes will have a new After the removal of the old fillings, common installation box, which is now we discovered another important in the phase of design. Thanks to the sign of the original structure in the restoration and the undistinguishable Flagellation panel: two holes that retouching of the paintings, now we indicate where the long plank of the are closer to the painter’s original predella was nailed to a central strut intention than before. Moreover, (back-reinforcement). The original digital technology makes it possible to paint and ground layers over the present an extensive documentation holes must have been lost when the about the pictures at the permanent predella’s parts were separated (fig. exhibition. There will be a display 6). After the restoration, the traces screen showing the most interesting REFERENCES of these nails are visible only on the moments of the predella’s story: [1] See, for example, SRICCHIA SANTORO, [2] MRAVIK, László, ed. – in Pulszky Károly polyptych-of-girolamo-da-santa-croce-in-vis Work of Art. Technologia Artis 6. Prague: reverse of the Flagellation. On the phases of conservation before and Fiorella – Ricerche senesi 4. Il giovane emlékének (In memoriam Pulszky Károly). [15 November 2017]. Academy of Fine Arts, 2008, pp. 152-174. obverse, the holes were filled in and during the restoration, as well as the Sodoma. Prospettiva. Vol. 30, (1982), pp. 54, Exh. cat. Budapest: Szépművészeti Múzeum, Also the Moravian Gallery in Brno holds retouched in order to maintain the completely uncovered state, which are 58; BARTALINI, Roberto – in Domenico 1988, p. 107 a panel painting, which has been extremely uniformity of the painted surface. the most informative photos of the Beccafumi e il suo tempo. Exh. cat. Milan: Electa, [3] The predella of a polyptych by Girolamo vandalized. nature and extent of the destruction. 1990, p. 246; SRICCHIA SANTORO, Fiorella – da Santa Croce at the church of Our Lady HRADILOVÁ, Janka; VLČKOVÁ, Jitka; of Spilica in Vis was damaged by extensive KRÁL, Mario – Epithaf of Margaret (wife of 4. CONCLUSIONS A digital reconstruction will show in ibid., p. 378 (with earlier literature); TÁTRAI, Vilmos, ed. – Museum of Fine Arts, Budapest. vandalism. See on the official website of the Jan Ratold). Gothic Panel Painting from the where the fragments were probably Old Master’s Gallery. A Summary Catalogue Croatian Conservation Institute. Available at: Collections of the Moravian Gallery in Brno. This restoration was carried out in located in the original structure of the of Italian, French, Spanish, and Greek Paintings. http://www.h-r-z.hr/en/index.php/djelatnosti/ In Conference 2008: Art and Material Aspects 2016 and 2017 with an aim to make altarpiece (fig. 2). Budapest–London 1991, p. 111 konzerviranje-restauriranje/staf2/331- in the Evaluation of the Origin and Age of a
268 Ágnes Kuna | Tímea Bakonyi | Erdei Gábor The restoration of three strongly damaged panel paintings of a 16th-century Sienese predella 269 Keywords
Chromatic reintegration; Contemporary photography; Frame, INPAINTING IN EXHIBITION reversibility.
Clara M. Prieto Fig. 1• Template of the bottom right corner paint Professor of conservation and restoration at ESCRBC (Escuela Superior de Conservación y Restauración de Bienes Culturales) Madrid. Spain. 1. INTRODUCTION loses onto polyester sleeve (Melinex®) Independent conservator of photographs and graphic art. [email protected] using a permanent marker.
During the conservation assessment would have penetrated in the naked 2.1 Materials: it was observed an apparent paint loss wood, making it impossible to reverse. Filmoplast® P90 [6] in the outer side of the bottom right Given the short deadlines of the Filmoplast® P90 tinted with Black corner of the frame, as well as on its installation of the exhibition, the Liquitex water based acrylic paint right side. This losses leaved naked intervention had to be performed on Melinex® clear wood exposed, creating a high the photography already hung on the Permanent marker contrast on that area and resulting wall, in the exhibition hall. Colored Pencils on a visual impact that affects the contemplation of the photograph. 2. MATERIALS AND METHODS 2.2 Tools: All parties concerned agreed that Scalpel these losses had to be retouched, A method of fully reversible inpainting Teflon folder but the owner institution wanted the for the frame is proposed, using intervention to be fully reversible. materials and techniques available to any 2.3 Method: Water soluble media was suggested, paper and photography conservator [1] . 1. Draw a template of the paint loses but given the nature of the paint loss, The technique focuses in recreating the onto polyester sleeve (Melinex®) any application of this type of media visual experience and ensures the re- using a permanent marker (Fig. 1). Abstract treatability of the item [2]. To hold it in place small pieces of The inpainting, made to measure Filmoplast® P90 can be used. Photography conservators are often required to assess the conditions related to The example discussed here is a and shape on adhesive paper tape Adhere the tinted Filmoplast® the objects prior to exhibition, either confirming the conservation reports that photograph from Lewis Baltz, Piazza (Filmoplast ® P90)[3,4,5] and tinted with P90 to the template and cut it to accompany the items, marking new observed damages or elaborating a new Pugliesi, 1991, belonging to the Collection acrylic media, significantly diminish shape with a scalpel. condition report. It can also happen that some minor damages had to be intervened of the Stedelik Museum of Amsterdam. visibility of the damaged area. The 2. Place it onto the frame (Fig. 2) before the exhibition of the object. Technical data: 130x200 cm Cibacrhome® method proposed can be performed When the photographs arrive to the exhibition area they are often suitable print mounted in aluminium framed in a and adapt it to the topography of framed for exhibition, so the assessment includes the photograph and its frame or black wooden frame and face protected in the exhibition area, with no risks the surface using a Teflon folder. mounting system. In contemporary photography is rather frequent the appearance by a Plexiglass®. or interferences with the rest of the 3. Adjust the colour hue with colour of oversized objects, with the increase of deterioration risks this fact implies. activities of the exhibition-making. pencils. 3. RESULTS AND DISCUSSION Fig. 2 • Taping inpainting on the right side of the frame. The inpainting significantly diminish visibility of the damaged area. To remove the inpainting, the patches can be peeled away from the frame leaving no residue on the area.
4. CONCLUSIONS REFERENCES The method proposed for inpainting Books and articles: the frame fulfilled the objective of [1] IRVINE, R. F. Ensuring Permanence of complete reversibility. Furthermore, Contemporary Photographs. Journal of Visual the intervention can be performed Communication in Medicine, 1989, vol. 12, no. in the exhibition hall, meeting the 4, pp. 135-137. ISSN 17453054. [2] APPELBAUM, Barbara - Conservation timeline required. The materials and Treatment Methodology. Oxford: Elsevier techniques used are available to any Ltd, 2007. p. 359. paper and photography conservator. [3] ARSLANOGLU, J.; and TALLENT, C. Evaluation of the use of Aquazol as an ACKNOWLEDGEMENTS Adhesive in Paintings Conservation. WAAC Newsletter, 2003, vol. 25, no. 2. The author would like to express [4] DOWN, J. L. Adhesive Compendium her sincere gratitude to Stedelijk for Conservation. Ontario: Canadian Museum of Amsterdam and Mapfre Conservation Institute, 2015 Foundation of Madrid. Great Britain., Museums and Galleries Commission.,Conservation Unit., [5] JORDAN, S. K. A Review of the Preservation Literature, 1993-1998: The Coming of Age. Library Resources and Technical Services, 2000, vol. 44, no. 1, pp. 4-21. ISSN 00242527. Website: [6] Filmoplast P90 Technical Information. Available at: https://www.neschen.de/wp- Fig. 3 • Adjusting the colour hue of the tape content/uploads/2017/02/TI_04110_201651_ inpainting with colour pencils. filmoplast_P_90.pdf [6 November 2017]
272 Clara M. Prieto Nome artigo 273 “RECH4 group, University of Split, Croatia 2017” | Photo Stjepan Krešić
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