Application of Raman and X-Ray Fluorescence Spectroscopies To
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Znucalite Cazn11(UO2)(CO3)3(OH)20 • 4H2O C 2001-2005 Mineral Data Publishing, Version 1
Znucalite CaZn11(UO2)(CO3)3(OH)20 • 4H2O c 2001-2005 Mineral Data Publishing, version 1 Crystal Data: Orthorhombic. Point Group: n.d. Crystals are thin lamellar, to 100 µm, in spherical boxworklike aggregates; forms coatings. Physical Properties: Cleavage: Perfect on {010}. Hardness = n.d. D(meas.) = 3.01–3.1 D(calc.) = 3.15 Radioactive; may fluoresce intense yellow-green under SW and LW UV. Optical Properties: Translucent. Color: White, pale grayish yellow, yellow. Luster: Silky. Optical Class: Biaxial (–). Orientation: X = c; Y = b; Z = a. α = 1.556–1.563 β = 1.600 γ = 1.620–1.621 2V(meas.) = 50◦–60◦ 2V(calc.) = 66.4◦ Cell Data: Space Group: n.d. a = 10.72(1) b = 25.16(1) c = 6.325(4) Z = 2 X-ray Powder Pattern: Pˇr´ıbram, Czech Republic. 2.708 (100), 2.728 (90), 6.141 (78), 3.165 (70), 25.1 (62), 2.682 (56), 5.650 (54) Chemistry: (1) (2) (3) CO2 8.25 n.d. 8.14 UO3 17.42 18.51 17.64 ZnO 56.75 53.52 55.21 CaO 4.06 3.55 3.46 H2O 15.37 n.d. 15.55 Total 101.85 100.00 (1) Pˇr´ıbram,Czech Republic; by electron microprobe, average of 15 analyses, CO2 and H2O • by thermal analysis; corresponds to Ca1.15Zn11.01(UO2)0.96(CO3)2.97(OH)20.30 3.34H2O. (2) Mas-d’Alary deposit, France; by electron microprobe, average of 17 partial analyses; utilizing • CO2 and H2O from (1), corresponds to Ca1.02Zn10.70(UO2)1.06(CO3)3.06(OH)19.44 4.16H2O. -
Art: Authenticity, Restoration, Forgery
UCLA Cotsen Institute of Archaeology Press Title Art: Authenticity, Restoration, Forgery Permalink https://escholarship.org/uc/item/5xf6b5zd ISBN 978-1-938770-08-1 Author Scott, David A. Publication Date 2016-12-01 Data Availability The data associated with this publication are within the manuscript. Peer reviewed eScholarship.org Powered by the California Digital Library University of California READ ONLY/NO DOWNLOADS Art: Art: Authenticity, Restoration, ForgeryRestoration, Authenticity, Art: Forgery Authenticity, Restoration, Forgery David A. Scott his book presents a detailed account of authenticity in the visual arts from the Palaeolithic to the postmodern. The restoration of works Tof art can alter the perception of authenticity, and may result in the creation of fakes and forgeries. These interactions set the stage for the subject of this book, which initially examines the conservation perspective, then continues with a detailed discussion of what “authenticity” means, and the philosophical background. Included are several case studies that discuss conceptual, aesthetic, and material authenticity of ancient and modern art in the context of restoration and forgery. • Scott Above: An artwork created by the author as a conceptual appropriation of the original Egyptian faience objects. Do these copies possess the same intangible authenticity as the originals? Photograph by David A. Scott On front cover: Cast of author’s hand with Roman mask. Photograph by David A. Scott MLKRJBKQ> AO@E>BLILDF@> 35 MLKRJBKQ> AO@E>BLILDF@> 35 CLQPBK IKPQFQRQB LC AO@E>BLILDV POBPP CLQPBK IKPQFQRQB LC AO@E>BLILDV POBPP CIoA Press READ ONLY/NO DOWNLOADS Art: Authenticity, Restoration, Forgery READ ONLY/NO DOWNLOADS READ ONLY/NO DOWNLOADS Art: Authenticity, Restoration, Forgery David A. -
Research School of Physical Sciences, Australian National University
604 SHORT COMMUNICATIONS (Na light) a 1"741, fl 1"746, y 1"755 (all • Ferrous iron was determined by fusion of the mineral in sodium metafluoroborate, following the procedure given by Groves (1951); water by a modified Penfield method, the minera] sample being heated in a silica tube for half an hour by an oxy-coal gas burner, the temperature reached being about 1300 ~ C. The number of metal atoms have been calculated on the basis of 48(0,0H) to the unit cell: Si 7.807, A1 17.163, Fe" 0-706, Ti 0-178, Mg 0.874, Fe" 2-515, Mn 0.015, Ca 0-064, OH 3-510; AI+Fe" 17.869 ; Fe"+Ti &c., 3.646. If Ti and Ca are grouped with Fe", Mg, and Mn, the resultant formula agrees best with that proposed by Juurinen (1956), namely Fe4AllsSisO4,(OH)4. Research School of Physical Sciences, 5[. J. SNELLING. Australian National University, Canberra, Australia. BAEROW (G.) et al., 1912a. Explanation of Sheet 65. Mem. Geol. Surv. Scotland. BARROW(G.), 1912b. Prec. Geol. Assoc., voh 23, p. 274. GROVES (A. W.), 1951. Silicate Analysis. 2nd edn., London. JIIVRI~N (A.), 1956. Ann. Acad. Scient. Fenn., ser. A, vol. 3, no. 47. Serpierite .from the Lake District. SEaP~ERITE, a basic sulphate of copper, zinc, and calcium, was first described in 1881 from the Camareza section of the Laurium mines in Greece; in 1927 Sir Arthur RusselP described a second occurrence at Ross Island, Killarney, Co. Kerry, in Ireland, this being the first and hitherto only known locality in the British Isles. -
Forensics and Microscopy in Authenticating Works of Art Peter Paul Biro
Forensics and Microscopy in Authenticating Works of Art Peter Paul Biro 4 ISSUE 1 MARCH 2006 Fingerprints have been used around the world for identifying individuals since 1908. The availability of such evidence on works of art has been overlooked until the authentication of a Turner canvas in 1985. Since that case, a new methodology has been developed and the new discipline of forensic authentication was born. More recently, the concept of fingerprinting encompasses not only the marks left behind by our fingers but also the materials and working methods, widening the available ways to identify an artist. This innovative forensic approach has helped resolve equivocation and identify numerous important works of art as well as opening up a new field of research in art. bout 20 years ago, a client hang it as a demonstration. We gave walked into our Montreal in and a deal was struck. Some Aconservation laboratory with months later, a small area of the a large canvas he wanted cleaned and painting was tested to see how it restored. On first glance the painting behaved. After removing a small area seemed heavily overpainted and of overpainting on the sky we were recently so. The client shook his awestruck at the beauty of the head at the estimate for cleaning it, original surface coming to light. and said that it was not worth the Excitement grew and considerable cost as it was a wreck anyway. He effort was put into removing the asked whether our company would heavy coat of paint hiding the original buy the painting - to which he was surface. -
Curatorial Care of Easel Paintings
Appendix L: Curatorial Care of Easel Paintings Page A. Overview................................................................................................................................... L:1 What information will I find in this appendix?.............................................................................. L:1 Why is it important to practice preventive conservation with paintings?...................................... L:1 How do I learn about preventive conservation? .......................................................................... L:1 Where can I find the latest information on care of these types of materials? .............................. L:1 B. The Nature of Canvas and Panel Paintings............................................................................ L:2 What are the structural layers of a painting? .............................................................................. L:2 What are the differences between canvas and panel paintings?................................................. L:3 What are the parts of a painting's image layer?.......................................................................... L:4 C. Factors that Contribute to a Painting's Deterioration............................................................ L:5 What agents of deterioration affect paintings?............................................................................ L:5 How do paint films change over time?........................................................................................ L:5 Which agents -
Fictive Strategies
CONTENT 1 CONTENT 2 - 3 HOLLY ROBERTS - ABOUT 4 HOLLY ROBERTS - ARTIST STATEMENT 5 SUZANNE SBARGE - ABOUT 6 SUZANNE SBARGE - ARTIST STATEMENT 7 EXHIBITION STATEMENT 8 - 9 EDUCATIONAL ACTIVITY 10 - 12 BEHIND THE SCENES 13 - 17 WORKS IN SHOW 18 THANK YOU PAGE 1 ABOUT THE ARTIST HOLLY ROBERTS Holly Roberts’ first national exposure c a m e i n 1 9 8 9 with the publication of the monograph, "Holly Roberts", from the Untitled Series published by the Friends of Photography. Although her work has always been based on the photograph, it was the inclusion of paint that made it so distinct. As David Featherstone says in his introduction, “Roberts is a painter, yet it is the photograph underlying the paint, even when it can scarcely be seen, that gives the work its intriguing, mysterious power. Drawing from the iconography of primitive art, particularly that of the Native American, Mexican and Hispanic cultures of the Southwest, where she lives, she creates paintings that address a broad range of human emotions. While it is Roberts’ evolving interaction with the photograph that takes her to her finished work, it is the existence of the underlying photographic image— even when it is obscured by paint— that gives the work its powerful qualities and sets up the emotional challenge for the viewer.” PAGE 2 ABOUT THE ARTIST HOLLY ROBERTS Her work has continued to evolve, but she has reversed her original process of heavily overpainting the black and white silver print. She now works on top of a painted surface, developing a narrative scene with collaged photographic elements. -
Chapter 8: Conservation Treatment
Chapter 8: Conservation Treatment Page A. Overview ...................................................................................................................................................... 8:1 What is preservation and how is it accomplished? ......................................................................... 8:2 What is conservation treatment? .................................................................................................... 8:2 What is stabilization? ...................................................................................................................... 8:3 What is restoration? ........................................................................................................................ 8:3 Why use reproductions? ................................................................................................................. 8:4 Why should treatments be reversible? ............................................................................................ 8:4 What NPS guidance is available to help me make decisions about conservation treatment? ....... 8:4 When do I need a conservator? ...................................................................................................... 8:4 B. Factors to Consider Before Conservation Treatment ................................................................ 8:5 How will I know what conservation treatment is appropriate? ........................................................ 8:5 What guidelines should I follow when considering -
RES.7 the Presentation of Wall Paintings
THE PRESENTATION OF WALL PAINTINGS Views, Concepts, and Approaches Ljubljana, 2020 Original title in Slovenian: Zavod za varstvo kulturne dediščine Slovenije Restavratorski center PREZENTACIJA STENSKIH POSLIKAV – pogledi, koncepti, pristopi Monografska objava prispevkov, nastalih leta 2018 iz referatov z dveh simpozijev: Retuša in problematika prezentiranja stenskih poslikav, Škofja Loka, 27. 10. 2016 in Estetska prezentacija stenskih slik – problemi in rešitve, Narodna galerija, Ljubljana, 3. 10. 2017. RES.7 publikacije ZVKDS Restavratorskega centra Institute for the Protection of Cultural Heritage of Slovenia Restoration Centre THE PRESENTATION OF WALL PAINTINGS – Views, Concepts, and Approaches Monograph of papers from 2018 based on talks given at the symposia: Retouching and the Issues of Wall Painting Presentation, Škofja Loka, 27 Oct 2016, and The Aesthetic Presentation of Wall Paintings – Problems and Solutions, National Gallery, Ljubljana, 3 Oct 2017. RES.7 The publications of the IPCHS Restoration Centre Issued and published by: Institute for the Protection of Cultural Heritage of Slovenia, on its behalf: Jernej Hudolin Prologue: Mateja Neža Sitar Authors: Janez Balažic, Marta Bensa, Ivan Bogovčič, Vlasta Čobal Sedmak, Alberto Felici, Andrej Jazbec, Anita Kavčič Klančar, Martina Lesar Kikelj, Simona Menoni Muršič, Ajda Mladenovič, Minka Osojnik, Robert Peskar, Ursula Schädler-Saub, Mateja Neža Sitar, Ivan Srša, Klavdij Zalar, Gorazd Živkovič Photo credits: see Image Sources Editor: Mateja Neža Sitar Members of the editorial board: Vlasta Čobal Sedmak, Anita Kavčič Klančar, Martina Lesar Kikelj, Simona Menoni Muršič, Ajda Mladenovič, Mateja Neža Sitar Content revision: Ajda Mladenovič, Mateja Neža Sitar Peer review: Matej Klemenčič, Neva Pološki Sources and bibliography: Mateja Neža Sitar, Tanja Dolinar Foreign authors submitted their papers in English and Slovenian authors in Slovene. -
The Removal of Overpaintings in the Case of a Newly Found Painting by Master HGG
Varstvo spomenikov 45 Simona Škorja The removal of overpaintings in the case of a newly found painting by Master HGG Keywords: parish church of St Martin’s, Laško, mature period of Master HGG, painting on canvas, conservation, restoration, ethics of removing overpaintings, scientific examination methods Abstract The article looks at the issue of overpaintings of works of art on canvas supports, with a focus on a newly discovered painting by Master Hans Georg von Geigerfeld from the parish church of St Martin’s in Laško, which had been overpainted in its entirety. The subject of the removal of overpaintings from works of arts is interesting from several points of view: the procedures involved in the actual removal, scientific testing procedures, the interpretation of research results and the professional and ethical dilemmas faced by restorers during this process. The article introduces the methods and procedures used in the removal of overpaintings and discusses the issues raised during the conservation- restoration work carried out on the painting in question. Introduction The oil painting on canvas showing the Holy Trinity (83.5 x 51.5 cm) is part of the Rosary altar from the parish church of St Martin’s in Laško.1 In 2006 the painting was brought to the easel painting department of the Restoration Centre at the Institute for the Protection of Cultural Heritage of Slovenia (RC ZVKDS) as part of the project to restore the altarpiece.2 Even an initial close inspection in visible light revealed that the painting had been overpainted with dense, thick applications of oil paint. -
Acrylic Paint and Montreal Hard-Edge Painting Jessica Veevers a Thesis in the De
The Intersection of Materiality and Mattering: Acrylic Paint and Montreal Hard-Edge Painting Jessica Veevers A Thesis In the Department Of Art History Presented in Partial Fulfillment of the Requirements For the Degree of Doctor of Philosophy (Art History) at Concordia University Montreal, Quebec, Canada January 2020 ©Jessica Veevers, 2020 CONCORDIA UNIVERSITY SCHOOL OF GRADUATE STUDIES This is to certify that the thesis prepared By: Jessica Veevers Entitled: The Intersection of Materiality and Mattering: Acrylic Paint and Montreal Hard-Edge Painting and submitted in partial fulfillment of the requirements for the degree of Doctor Of Philosophy (Art History) complies with the regulations of the University and meets the accepted standards with respect to originality and quality. Signed by the final examining committee: Chair Dr. Haidee Wasson External Examiner Dr. Mark Cheetham External to Program Dr. Mark Sussman Examiner Dr. Steven Stowell Examiner Dr. Edith-Anne Pageot Thesis Supervisor Dr. Anne Whitelaw Approved by Dr. Kristina Huneault, Graduate Program Director January 10, 2020 Dr. Rebecca Taylor Duclos, Dean Faculty of Fine Arts iii ABSTRACT The Intersection of Materiality and Mattering: Acrylic Paint and Montreal’s Hard-Edge Painting Jessica Veevers, Ph.D. Concordia University, 2020 Set in Montreal with the advent of Hard-Edge painting and the invention of acrylic paint, this thesis takes a critical look at the relationship between materiality and mattering. The Hard-Edge painters, Guido Molinari, Claude Tousignant and Yves Gaucher undertook a new medium to express their new way of seeing and encountering the world and they did so in a way that was unique from other contemporaneous abstract painters. -
Posnjakite: ~[Cu4(OH)6(H20)O] Octahedral Sheets in Its Structure
Zeitschrift fUr Kristallographie 149, 249~257 (1979) ([I by Akademische Verlagsgesellschaft 1979 Posnjakite: ~[Cu4(OH)6(H20)O] octahedral sheets in its structure M. Mellini and S. Merlino Istituto di Mineralogia e Petrografia and C.N.R., Centro di Studio per la Geologia StrutturaIe e Dinamica dell' Appennino, Pisa, Italy Received: November 27, 1978 Abstract. The crystal structure of posnjakite '(space group Pa, a = 10.578, b = 6.345, c = 7.863 A, {3= 117.98°) was determined by direct methods and refined to a final R value of 0.05. The structure is characterized by corrugated sheets of distorted copper octahedra with crystal chemical formula ~[CuiOHMH20)O). Sulphate groups are connected to one side of the octahedral sheet by corner sharing. The resultant composite octahedral- tetrahedral layers are connected to each other by hydrogen bonds. The crystal chemical formula ofposnjakite is CU4(S04)(OH)6' H20 with two such units in the unit cell. The relations ofposnjakite with other copper sulphate hydrates are noted and discussed. Introduction Posnjakite was first found in an ore quartz vein of the Nura-Taldinsk tungsten deposit in central Kazachstan by Komkov and Nefedov (1967) who, on the basis of microchemical tests and the supposed paramorphism of the mineral after langite, proposed the chemical formula CU4(S04)(OH)6 . H20; they determined the following unit cell parameters: a = 9.80(5),b = 6.32(5), c = 7.85(5) A, {3= 107(1)° (space group not stated). Posnjakite in association with langite was also found at Borovec (Czechoslovakia) and studied by Miskovsky (1975), who also synthesized it, and by Sekanina (1975) who, on the basis of careful goniometric measures, asserted "that (1) posnjakite crystals are limited by their own faces and they are not paramorphs after langite, (2) that they are tabular on (lOl) and (3) that (231) ist the twin plane". -
A Specific Gravity Index for Minerats
A SPECIFICGRAVITY INDEX FOR MINERATS c. A. MURSKyI ern R. M. THOMPSON, Un'fuersityof Bri.ti,sh Col,umb,in,Voncouver, Canad,a This work was undertaken in order to provide a practical, and as far as possible,a complete list of specific gravities of minerals. An accurate speciflc cravity determination can usually be made quickly and this information when combined with other physical properties commonly leads to rapid mineral identification. Early complete but now outdated specific gravity lists are those of Miers given in his mineralogy textbook (1902),and Spencer(M,i,n. Mag.,2!, pp. 382-865,I}ZZ). A more recent list by Hurlbut (Dana's Manuatr of M,i,neral,ogy,LgE2) is incomplete and others are limited to rock forming minerals,Trdger (Tabel,l,enntr-optischen Best'i,mmungd,er geste,i,nsb.ildend,en M,ineral,e, 1952) and Morey (Encycto- ped,iaof Cherni,cal,Technol,ogy, Vol. 12, 19b4). In his mineral identification tables, smith (rd,entifi,cati,onand. qual,itatioe cherai,cal,anal,ys'i,s of mineral,s,second edition, New york, 19bB) groups minerals on the basis of specificgravity but in each of the twelve groups the minerals are listed in order of decreasinghardness. The present work should not be regarded as an index of all known minerals as the specificgravities of many minerals are unknown or known only approximately and are omitted from the current list. The list, in order of increasing specific gravity, includes all minerals without regard to other physical properties or to chemical composition. The designation I or II after the name indicates that the mineral falls in the classesof minerals describedin Dana Systemof M'ineralogyEdition 7, volume I (Native elements, sulphides, oxides, etc.) or II (Halides, carbonates, etc.) (L944 and 1951).