- Munch Museet, Edvard Munchs Plass 1, 0194 Oslo
- +4792259553
Irina C . A . Sandu
Munch Museum, Paintings conservation sections, Department Member
- Archaeometry, Gilding layers and materials, Polychrome Sculptures, Icons, Panel Paintings, Heritage Science, and 19 moreCleaning, Outreach in education, Conservation treatments assessment, Chinoiserie in Europe, Chinoiserie with gold leaf, Asian Lacquer, European and Asian Lacquer, Conservation of Organic Materials, Renaissance and Baroque altarpieces, Altarpieces, Authentication studies in Art and Archaeology, 3D Imaging, Staining tests, Fluorescent probes, Statistical Analysis, Science for Conservation and Restoration of Cultural Heritage, Modern painting materials and techniques, Edvard Munch, and Management of Innovationedit
- Since very young I knew I will explore the world and life. My professional profile was built up around the ambition t... moreSince very young I knew I will explore the world and life. My professional profile was built up around the ambition to open new paths, explore unconventional approaches and blend the old and the new into something novel, which can serve humanity and humankind evolution.
That is how I got to Cultural Heritage and more specifically to Heritage Science field, where I develop researches on art materials and techniques, degradation-deterioration mechanisms and other conservation and art -related topics.
Since 1998, this travelling around the world and life led me from Eastern Europe (Romania) to the South (Italy) and then the Western side (Portugal) of it and now to the North, in Norway.
My curiosity and need to evolve helped me to build up an interdisciplinary profile, covering both conservation and scientific fields of cultural heritage.
As a researcher, I coordinate the scientific research activities within the Paintings Conservation Section of Munch Museum in Oslo and this new position (the first of this kind in a public museum in Norway) represents a challenge but also a good oportunity to put my skills and capabilities at work for meaningful and strategic objectives.edit
This contribution presents the outcomes of the MOLAB campaign carried out in 2017 on the most known artwork of Edvard Munch, The Scream, painted in 1910 (date still debated), held at the Munch Museum, through the transnational access... more
This contribution presents the outcomes of the MOLAB campaign carried out in 2017 on the most known artwork of Edvard Munch, The Scream, painted in 1910 (date still debated), held at the Munch Museum, through the transnational access granted by the Eu IPERION-CH project. The study was aimed at providing a thorough examination of the painting materials and the support and of their present condition by a total non invasive diagnostic approach. Scanning XRF and hyperspectral VIS-NIR imaging, combined with other complementary non-invasive spectroscopic tools available in the MOLAB platform (UV-Vis-NIR reflectance and fluorescence spectroscopy, reflection FTIR and Raman spectroscopy) allowed the identification and mapping of organic and inorganic painting components (pigments, binder, additives and production residuals) as well as of their possible degradation products (as for example oxalates). Results demonstrated how Munch was open to the introduction of new synthetic pigments such as ZnO, cadmium sulphides (CdS, in the hexagonal and cubic forms) or lead chromates (possibly as PbCr 1-x S x O 4) applied in the "Scream (1910)" as dense paint brushstrokes or pastel drawing strokes on the bare cardboard support; traditional materials, such as vermillion (HgS), were also found. Overlaid pure paints as well as pre-mixed pigments were localised on the painting surface as a result of different creative processes. Signs of materials migration, probably due inappropriate storage, were observed possibly following the theft of the painting in 2004 or the habit of the same Munch of leaving his paintings in outdoor environment. The detailed identification and localization of the Zn-, Cd-and Cr-based pigments is crucial for conservation purposes in consideration of the proven sensitivity of these materials to decay processes as a consequence of the type of the industrial formulation they were produced with, the environmental conditions and the interactions with the binder (see for example [1,2] and references therein). Overall, the outcomes of the MOLAB access provided a new body of scientific knowledge of the Munch's paintings in comparison with previous studies ([3] and literature therein) which will help in furthering the understanding of the Munch's artistic technique, but most important will provide new hints for addressing targeted preventive conservation strategies of this masterpiece.
Research Interests:
Edvard Munch (1863-1944) used a wide variety of materials and techniques in his artistic experimentation. The time of Munch's art production was a period of great innovation in chemical organic synthesis and industrial experimentation.... more
Edvard Munch (1863-1944) used a wide variety of materials and techniques in his artistic experimentation. The time of Munch's art production was a period of great innovation in chemical organic synthesis and industrial experimentation. Hundreds of new appealing painting materials became available and Munch explored their potentialities in his artworks, without neglecting the use of traditional materials. The Munch Museum in Oslo (MUM) owns a large collection of Munch's art tools and materials including palettes, brushes, binders, crayons, pencils and paint tubes. In 2014, MUM conservation department started a project dedicated to document and analyse the paint materials to gain new knowledge about materials and techniques, as well as the aging behaviour. This study focuses on the chemical investigation of the MUM's collection of historical oil pastels from the Munch's studio produced by Lefranc Couleurs and by Dr. Fr. Schoenfeld. Nowadays, there is still an unfamiliarity of the early formulations of oil pastels and crayons. In this work we applied a multi-analytical approach based on the application of preliminary non-invasive spectroscopy and micro-destructive mass spectrometric methods. The characterization of the organic components constituting the binder was carried out at molecular level by analytical pyrolysis coupled with gas chromatography/mass spectrometry (Py-GC/MS) to evaluate the possible presence of proteic or polysaccharide materials, while gas chromatography-mass spectrometry (GC/MS) and liquid chromatography coupled with mass spectrometry (HPLC-ESI-Q-ToF) were applied in order to achieve both the fatty acids profile and the acylglycerols of the lipid components. HPLC with diode array (DAD) and MS detection complemented the analytical approach to gather information on additives in the formulation and organic pigments. XRF, FTIR, Raman and SERS spectroscopies were also applied, for the identification of the inorganic and organic pigments, fillers and extenders. A summary of the achieved results is here presented contributing to the knowledge about the formulation of pastels/crayons produced by different manufacturers in the beginning of the 20 th century.
Research Interests:
"The Scream" by Edvard Munch is one of his most famous motifs being the iconic expression of the desperation and anxiety of human condition at the beginning of the 20 th century. There are several versions of this motif executed with... more
"The Scream" by Edvard Munch is one of his most famous motifs being the iconic expression of the desperation and anxiety of human condition at the beginning of the 20 th century. There are several versions of this motif executed with different techniques that he applied resorting to the wide variety of new paint materials available for artists since the end of the 19 th century. This variety of materials and techniques makes it very challenging to investigate the artist's creative process and to address conservation issues of his artworks. The Munch Museum in Oslo (MM) is therefore developing a large core project aimed at providing new scientific knowledge of the museum's collection of the Munch's artworks and of the original materials from his studio (including paint tubes, pastels and crayons). This study in particular focuses on the "Scream" pastel on cardboard dated 1893 and investigated in 2017 during a MOLAB diagnostic campaign on six versions of "The Scream" motif from the MM's collection. The study was aimed at providing a thorough examination of the drawing materials and supports and of their present condition by a total non-invasive diagnostic approach (using macro-XRF, hyperspectral VIS and NIR imaging complemented with non-invasive spectroscopic point analyses-UV-Vis reflectance and fluorescence, Raman and reflection FT-IR spectroscopies), that allowed identification and mapping of organic and inorganic components (pigments, binders and additives/fillers). In parallel chemical investigations of the MM's collection of historical oil pastels from the Munch's studio produced by Lefranc Couleurs and by Dr. Fr. Schoenfeld are in progress in order to fully clarify their formulations (nowadays the same terminology used in describing pastel-like materials is still often confusing) and relate them to the materials used in "the Scream" pastel version. To this purpose complementary laboratory analytical techniques are used: XRF, FT-IR, Raman and SERS spectroscopies are applied for the identification of the inorganic and organic pigments, fillers and extenders; characterization of the organic components constituting the binder is carried out at molecular level by gas chromatography-mass spectrometry (GC/MS) and liquid chromatography coupled with mass spectrometry (HPLC-ESI-Q-ToF), in order to achieve both the fatty acids profile and the acylglycerols of the lipid components. Analytical pyrolysis coupled with GC/MS and HPLC with diode array (DAD) and MS detection complement the analytical approach to gather information on additives in the formulation and organic pigments. A summary of the achieved results is here presented contributing to a new knowledge of the Munch's masterpiece and about the formulation of pastels/crayons produced by different manufacturers in the beginning of the 20th century.
Research Interests:
In his artistic experimentation Edvard Munch used a wide variety of materials and techniques leading to a huge production of paintings, drawings and graphic works. These facts and the availability of new materials from the industrial... more
In his artistic experimentation Edvard Munch used a wide variety of materials and techniques leading to a huge production of paintings, drawings and graphic works. These facts and the availability of new materials from the industrial revolution make it very difficult to outline the artist's creative process and to front the challenging conservation issues. The Munch Museum in Oslo (MUM) is therefore developing a large core project aimed at providing new scientific knowledge of the museum's collection of Munch's paintings and original materials from his studio (including paint tubes, pastels and crayons) with the support of a robust interdisciplinary collaboration among scientists, conservators, restorers and art-historians [1]. This study focuses on the chemical investigation of the MUM's collection of historical oil pastels from the Munch's studio produced by Lefranc Couleurs and by Dr. Fr. Schoenfeld. Nowadays, there is still an unfamiliarity of the early formulations of oil pastels and crayons, given that the same terminology used in describing pastel-like materials is often confusing [2,3]. Complementary analytical techniques were used to deepen the knowledge of such drawing materials: XRF, FTIR, Raman and SERS spectroscopies were applied for the identification of the inorganic and organic pigments, fillers and extenders. Characterization of the organic components constituting the binder was carried out at molecular level by gas chromatography-mass spectrometry (GC/MS) and liquid chromatography coupled with mass spectrometry (HPLC-ESI-Q-ToF), in order to achieve both the fatty acids profile and the acylglycerols of the lipid components. Analytical pyrolysis coupled with GC/MS and HPLC with diode array (DAD) and MS detection complemented the analytical approach to gather information on additives in the formulation and organic pigments. A summary of the achieved results is here presented contributing to the knowledge about the formulation of pastels/crayons produced by different manufacturers in the beginning of the 20th century.
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The research project THE SCREAM "Touchstone for Heritage Endangered by Salt Crystallization: a Research Enterprise on the Art of Munch" is a colaboration between the Hercules Centre at the University of Évora and the Munch Museum in Oslo... more
The research project THE SCREAM "Touchstone for Heritage Endangered by Salt Crystallization: a Research Enterprise on the Art of Munch" is a colaboration between the Hercules Centre at the University of Évora and the Munch Museum in Oslo to study several sketches on canvas from the museum's collection where efflorescences developed and need to be removed. This project was funded by FCT (Foundation for Science and Technology) in Portugal. Between 1909 and 1916 Edvard Munch produced around 130 sketches for the decoration of the Oslo University Aula Magna, now in Munch Museum's inventory. Some of the big sketches as the "Researchers" were already studied [1-2], but more data is required in order to advance a chemical-physical model of crystallization/de-crystallization and recrystallization processes and to propose a novel solution for their removal and/or stabilization. The present paper advances preliminary analytical data about the composition of the crystallization salts from six sketches, selected for micro-sampling in areas where we could to get information about the painted areas, efflorescences and canvas fibers. The total number of samples is 24: 6 fiber fragments, 6 drawing material and paint layers and the rest white efflorescences from differently colored areas. These salts are the result of the degradation of materials probably due to exposure for four years to outdoor extreme conditions of rain, low temperature during winter, snow, sun radiation and possible pretreatment of the canvases with elemental sulfur [1, 3]. The material characterization was carried out at the HERCULES Laboratory using micro X-ray diffraction (µXRD), Scanning Electron Microscopy with Energy Dispersive X-Ray Spectroscopy (SEM-EDS) and micro-Fourier Transform Infrared Spectroscopy (µ-FTIR). The preliminary results show the presence of sulfates namely magnesium sulfate hexahydrate (MgSO 4 ·6H 2 O), magnesium sulfate heptahydrate (MgSO 4 ·7H 2 O) and hydrous sulfate of sodium and calcium Na 2 Ca(SO 4) 2 ·4H 2 O. This study is necessary to create optimal conservation conditions for the sketches and will help to improve our knowledge about the relationship between the materials used by the painter and the formation of salts crystals.
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Keywords: Scream, Edvard Munch, pastel on cardboard, noninvasive analyses, conservation Edvard Munch's artworks inspired an emerging movement in art at the beginning of the 20th century. "Scream" is one of his most famous motifs. The... more
Keywords: Scream, Edvard Munch, pastel on cardboard, noninvasive analyses, conservation Edvard Munch's artworks inspired an emerging movement in art at the beginning of the 20th century. "Scream" is one of his most famous motifs. The painting's pervasive expression has made it one of the icons of art history. Human desperation and anxiety are underlined by the crass colours and nervous brushstrokes. There are several variations of this motif in different techniques, four of which were painted/drawn on cardboard of which two are at the Munch Museum (MM) [1]. Among the versions that Munch Museum hosts, the "Scream" pastel on cardboard dated 1893 represents an interesting case study, having also been subjected to several interventions of consolidation [2]. In 2017 a wide MOLAB diagnostic campaign was carried out on six versions of the "Scream" motif from MUM's collection, including the pastel version, here reported. The study was aimed at providing a thorough examination of the drawing materials and supports and of their present condition by a total non-invasive diagnostic approach (using macro-XRF, hyperspectral VIS and NIR imaging complemented with non-invasive spectroscopic point analyses-UV-Vis reflectance and fluorescence, XRD, Raman and reflection FT-IR spectroscopies), that allowed the identification and mapping of organic and inorganic components (pigments, binders and additives/fillers) [3]. In terms of artistic technique we observed very few lines of an underlying sketch in the NIR Images; also Munch applied the colors without a preparatory layer over the cardboard. Pure colors were mainly used: Prussian blue (blue); ultramarine (light blue areas); lead chromate (yellow); ultramarine violet (violet); vermillion (red); ivory black (brown and black areas). Only the green shades were obtained as a mixture of a blue and a green pigment (Prussian blue and lead chromate). CaCO 3 and kaolin were
Oral communication delivered to CHEM CH - 5th edition, Bucharest, 4th-7th July 2018
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Conference communication at CMOP conference, 23-25 May 218, Amsterdam
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Poster presented at the CMOP conference, 23-25 May 2018, Amsterdam
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The paper presents the results from the hyperspectral identification of colouring palette used by Edvard Munch in a canvas painting entitled " Old Man in Warnemünde ". The painting is part of the collection at the Munch Museum in Oslo.... more
The paper presents the results from the hyperspectral identification of colouring palette used by Edvard Munch in a canvas painting entitled " Old Man in Warnemünde ". The painting is part of the collection at the Munch Museum in Oslo. This work has allowed to analyze several points of the painting by means of hyperspectral imaging and identify thus the pigments present. The hyperspectral pigment identification involves the use of two pigment databases (Kremer and ENST) which were created with different binding media. Some results from the hyperspectral analysis were also validated through elemental analysis by means of XRF. Furthermore, the pigment identification method employs the shape component of spectral Kullback-Leibler pseudo-divergence function, instead of the widely-used but inaccurate method spectral angle mapper. In addition to the interest of the pigment analysis for the conservation practice on this particular painting, an important contribution of this paper is the validation of the hyperspectral imaging and acquisition methods for pigment identification.
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Poster presented at the CMOP conference, 23-25 May 2018, Amsterdam
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Poster presented at the CMOP conference, 23-25 May 2018, Amsterdam
Research Interests:
A dispute among the best five painters-gilders of Evora, for two of the most important contracts regarding the gilding of the altarpieces, gave rise to an extensive and detailed documentation on the technique, materials and prices used in... more
A dispute among the best five painters-gilders of Evora, for two of the most important contracts regarding the gilding of the altarpieces, gave rise to an extensive and detailed documentation on the technique, materials and prices used in 1729. The rivalry between the master Filipe de Santiago, responsible for the gilding of the whole set of the Church of Mercy (Igreja da Misericórdia de Évora), and the team led by Manuel da Maia, responsible for gilding the main altar of the Convent Church of Scala Coeli's (Igreja do Convento de Scala Coeli, Cartuxa), forced the commissioners to redraft contracts with unusual rigor since both did not accept the possibility to be examined by the opponent. Physical-chemical characterization of the gilding and polychrome layers of samples from both altarpieces, performed within the GILT-Teller project (www.gilt-teller.uevora.pt), led to a comprehensive approach of the pictorial culture of this period. As it is reported in contracts, the gilded woodcarving was enriched with flesh-coloured tones, " estofado " and " regraxos ". These techniques were both used in the Church of Mercy and in the Church of the Convent of Scala Coeli, of the Carthusian monks of Evora. The documentation and the results of the phsyical-chemical analyses presented in this paper confirm the existence of a common and poorly differentiated artistic culture between the main workshops of Evora.
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This paper aims to present a typical matte finish coating made with a tinted glaze applied to gilding found on late Baroque and Rococo polychrome altarpieces in Spain and Portugal dating from the mid eighteenth century. This practice is... more
This paper aims to present a typical matte finish coating made with a tinted glaze applied to gilding found on late Baroque and Rococo polychrome altarpieces in Spain and Portugal dating from the mid eighteenth century. This practice is poorly studied in Portuguese historiography. In order to characterize this particular technique, it was necessary to consult earlier baroque treatises on art, as well as numerous contemporary gilding contracts signed during the eighteenth century in Spain and Portugal. This technique is known as ‘Vermeillonner’, which consists of applying a transparent glaze of ‘vermeil’ over gold leaf.
This term is popularized in France in the eighteenth century, though ‘Bronceado’ (‘bronzed’, because of having a bronze-like color) is used in Spanish or ‘Foscado’ (‘matted’, because the surface layer provides a matte appearance to the gilding) in Portuguese. New researches have allowed establishing the origins of the technique in a French treatise of 1679.
This term is popularized in France in the eighteenth century, though ‘Bronceado’ (‘bronzed’, because of having a bronze-like color) is used in Spanish or ‘Foscado’ (‘matted’, because the surface layer provides a matte appearance to the gilding) in Portuguese. New researches have allowed establishing the origins of the technique in a French treatise of 1679.
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The gilded polychrome carved wood in Portugal, (talha dourada) gained its most rich expression during the Baroque epoch with the development of production techniques and the use of of gold leaf. The present paper proposes a... more
The gilded polychrome carved wood in Portugal, (talha dourada) gained its most rich
expression during the Baroque epoch with the development of production techniques and
the use of of gold leaf. The present paper proposes a complementary and comparative study
of two important complexes of talha: one from St. Alberto’s church, integrating the visiting
circuit of the Museu Nacional de Arte Antiga (Lisbon), and the other from church of Vale de
Figueira (Santarém district). Both complexes house talha dourada’s decoration from the
18th century, that were studied through an inter-disciplinary approach, in which analytical
data (optical microscopy, fluorescent stain, XRF, SEM-EDX, micro-computerized tomography,
FTIR, Matrix-Assisted Laser Desorption/Ionisation-Time of Flight Mass Spectrometry)
complement historical data.
expression during the Baroque epoch with the development of production techniques and
the use of of gold leaf. The present paper proposes a complementary and comparative study
of two important complexes of talha: one from St. Alberto’s church, integrating the visiting
circuit of the Museu Nacional de Arte Antiga (Lisbon), and the other from church of Vale de
Figueira (Santarém district). Both complexes house talha dourada’s decoration from the
18th century, that were studied through an inter-disciplinary approach, in which analytical
data (optical microscopy, fluorescent stain, XRF, SEM-EDX, micro-computerized tomography,
FTIR, Matrix-Assisted Laser Desorption/Ionisation-Time of Flight Mass Spectrometry)
complement historical data.
Research Interests:
The subject of this paper is the carved wooden pulpits of the Church of Our Lady of Pena in Lisbon, Portugal. The fact that these objects were not gilded (as the rest of the carved wooden decoration in the church) raised the reinforced... more
The subject of this paper is the carved wooden pulpits of the Church of Our Lady of Pena in Lisbon,
Portugal. The fact that these objects were not gilded (as the rest of the carved wooden decoration
in the church) raised the reinforced interest in their analysis. Besides the historical and stylistic
approach, the text covers aspects of the materiality of the pulpits, including the wooden support
and a grayish white layer. Analytical techniques such as optical microscopy complemented with the
use of dyes to map the possible presence of binder materials constituting the white layer applied
on the wooden support, scanning electron microscopy with energy dispersive X-ray spectrometry,
X-ray diffraction, X-ray fluorescence spectrometry and micro-Fourier transformed infrared spectrometry
were used to identify the components of paint materials.
Portugal. The fact that these objects were not gilded (as the rest of the carved wooden decoration
in the church) raised the reinforced interest in their analysis. Besides the historical and stylistic
approach, the text covers aspects of the materiality of the pulpits, including the wooden support
and a grayish white layer. Analytical techniques such as optical microscopy complemented with the
use of dyes to map the possible presence of binder materials constituting the white layer applied
on the wooden support, scanning electron microscopy with energy dispersive X-ray spectrometry,
X-ray diffraction, X-ray fluorescence spectrometry and micro-Fourier transformed infrared spectrometry
were used to identify the components of paint materials.
Research Interests:
This paper is a review on the studies performed through imaging and spectroscopy-based analytical methods on ancient ‘gilded’ art-objects (9th–19th centuries) from the European cultural heritage. The review takes into consideration the... more
This paper is a review on the studies performed through imaging and spectroscopy-based analytical methods on ancient
‘gilded’ art-objects (9th–19th centuries) from the European cultural heritage.
The review takes into consideration the gilded surfaces in polychrome art objects (easel and mural paintings, polychrome
wooden objects, gilt leather and parchment), thusmeaning the materials and techniques of application of gold or its imitations
(silver, copper leaves, other metal alloys) from technical, analytical and conservation points of view.
The characterization of artistic gilded objects is important for establishing the compositional, structural, morphological
and physical–chemical parameters useful for monitoring the conservation state, behavior and evolution in time of their
aging/degradation/deterioration processes, the restoration treatments (cleaning, consolidation, retouching, varnishing)
influence on the conservation state of the original materials and also for a rationale choice of methods and materials of
intervention, compatible with the original ones.
The analytical approach has, as main requirement, to be noninvasive and non- or microdestructive, therefore, sampling
is to be avoided or reduced to a minimum. A wide range of imaging and spectroscopy-based techniques is nowadays
available from optical microscopy, UV fluorescence photography, IR reflectography, X-radiography, thermography, to
scanning/transmission/environmental electron microscopy (SEM/TEM, E-SEM), atomic forcemicroscopy (AFM), FTIR and Raman
microscopy (micro-FTIR, micro-Raman), X-ray spectrometry (WDXRF/EDXRF/TXRF, XPS), Ion Beam Analyses (PIXE/PIGE, RBS,
SR), etc. Themost reliable and complete information can be obtained from an integrated, complementary and interdisciplinary
approach, but microscopy still remains one of themost used and efficient tools in the characterization of gildingmaterials and
their application techniques. Copyrightc 2011 JohnWiley & Sons, Ltd.
‘gilded’ art-objects (9th–19th centuries) from the European cultural heritage.
The review takes into consideration the gilded surfaces in polychrome art objects (easel and mural paintings, polychrome
wooden objects, gilt leather and parchment), thusmeaning the materials and techniques of application of gold or its imitations
(silver, copper leaves, other metal alloys) from technical, analytical and conservation points of view.
The characterization of artistic gilded objects is important for establishing the compositional, structural, morphological
and physical–chemical parameters useful for monitoring the conservation state, behavior and evolution in time of their
aging/degradation/deterioration processes, the restoration treatments (cleaning, consolidation, retouching, varnishing)
influence on the conservation state of the original materials and also for a rationale choice of methods and materials of
intervention, compatible with the original ones.
The analytical approach has, as main requirement, to be noninvasive and non- or microdestructive, therefore, sampling
is to be avoided or reduced to a minimum. A wide range of imaging and spectroscopy-based techniques is nowadays
available from optical microscopy, UV fluorescence photography, IR reflectography, X-radiography, thermography, to
scanning/transmission/environmental electron microscopy (SEM/TEM, E-SEM), atomic forcemicroscopy (AFM), FTIR and Raman
microscopy (micro-FTIR, micro-Raman), X-ray spectrometry (WDXRF/EDXRF/TXRF, XPS), Ion Beam Analyses (PIXE/PIGE, RBS,
SR), etc. Themost reliable and complete information can be obtained from an integrated, complementary and interdisciplinary
approach, but microscopy still remains one of themost used and efficient tools in the characterization of gildingmaterials and
their application techniques. Copyrightc 2011 JohnWiley & Sons, Ltd.
Research Interests:
This paper is the first part from an experimental study on documented reconstructions of gilded composites performed within a research project on gilding materials and techniques in Portugal between 1500 and 1800... more
This paper is the first part from an experimental study on documented reconstructions of gilded composites performed within a research project on gilding materials and techniques in Portugal between 1500 and 1800 (PTDC/EAT-EAT/116700/2010). This study deals with the various aspects related with the choice and preparation of raw materials used to produce gesso and bole layers, the imprecise terminology that the historical recipes and treatises provide, the different steps to be followed in the laboratory experiments and their validation with analytical techniques. The results refer solely to the water gilding technique reconstructions on plane wooden samples, focusing preparation and application of ground and bole layers, important to show how the practical work performed in the laboratory can be complemented with analytical evidences obtained from different analytical techniques such as optical microscopy, scanning electron microscopy and X-ray diffraction. This can be a starting point for further studies of technical and technological procedures, relevant to conservation studies. Correlating the terminology and literature information with the practical data and critically approaching the different sources, both historical and analytical, is the basic rule for correct reproduction of ancient recipes with modern materials and techniques.
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The research results presented in this paper are part of a larger study on the materials and techniques used in polychrome altarpieces of gilded woodcarving decoration (“talha dourada”) in Portugal. The paper focuses on a narrative... more
The research results presented in this paper are part of a larger study on the materials and techniques used in polychrome altarpieces of gilded woodcarving decoration (“talha dourada”) in Portugal. The paper focuses on a narrative Portuguese Altarpiece from Miranda
do Douro, considered one of the masterpieces of “talha dourada” among all the retables of
the Iberian Peninsula in XVIIth and XVIIIth centuries. Although on the Portuguese territory, the
altarpiece was made by artists from the Royal Spanish school of Valladolid, under a mannerist
style. Thus the study opens a window on the artists’ circulation between Spain and Portugal and
influences of the Spanish schools in Baroque epoch on the Portuguese “talha”. During its history this altarpiece underwent several transformations and extensive conservation treatments in 1989. On this occasion more than 50 samples were collected and analyzed using an interdisciplinary multi-technique methodology. 27 of these samples are chosen for this study in order to
investigate the chromatic palette, the materials and techniques used in the polychromy of the retable. A novel protocol of investigation using different conventional and unconventional analytical techniques (OM 1 fluorescent staining tests on cross-sections, Raman microscopy, XRD, XRF, X-ray micro-CT, SEM-EDX, MALDI-TOF-MS and LC-MS/MS) was established within an
innovative research project (http://sites.fct.unl.pt/gilt-teller/) and applied on these samples. This
protocol is necessary to confirm the results obtained in the 1989 campaign and to have further insight into the gilding and polychrome decoration materials and techniques and the additional information reported in the historical documents. The material and technical history of this important
altarpiece will be thus re-documented from a scientific perspective, meant to confirm and bring new information on the decorative technique used in the creation of this complex Portuguese monument.
do Douro, considered one of the masterpieces of “talha dourada” among all the retables of
the Iberian Peninsula in XVIIth and XVIIIth centuries. Although on the Portuguese territory, the
altarpiece was made by artists from the Royal Spanish school of Valladolid, under a mannerist
style. Thus the study opens a window on the artists’ circulation between Spain and Portugal and
influences of the Spanish schools in Baroque epoch on the Portuguese “talha”. During its history this altarpiece underwent several transformations and extensive conservation treatments in 1989. On this occasion more than 50 samples were collected and analyzed using an interdisciplinary multi-technique methodology. 27 of these samples are chosen for this study in order to
investigate the chromatic palette, the materials and techniques used in the polychromy of the retable. A novel protocol of investigation using different conventional and unconventional analytical techniques (OM 1 fluorescent staining tests on cross-sections, Raman microscopy, XRD, XRF, X-ray micro-CT, SEM-EDX, MALDI-TOF-MS and LC-MS/MS) was established within an
innovative research project (http://sites.fct.unl.pt/gilt-teller/) and applied on these samples. This
protocol is necessary to confirm the results obtained in the 1989 campaign and to have further insight into the gilding and polychrome decoration materials and techniques and the additional information reported in the historical documents. The material and technical history of this important
altarpiece will be thus re-documented from a scientific perspective, meant to confirm and bring new information on the decorative technique used in the creation of this complex Portuguese monument.
Research Interests:
This paper proposes the first results of a larger study on the behavior of gilded surfaces of polychrome heritage artefacts with the aim to understanding the surface patterns and roughness variations before and after specific treatments... more
This paper proposes the first results of a larger study on the behavior of gilded surfaces of polychrome heritage artefacts
with the aim to understanding the surface patterns and roughness variations before and after specific treatments (burnishing
and varnishing). This study can be useful to trace correlations between the compositional features, manufacturing and
applications/elaboration processes of gilding layers and the pattern of the surface topography, and also some insights into the
degradation/corrosion mechanisms. The results obtained on imitations of gilded surfaces can be further useful for recognizing
fake surfaces in the authentication of artefacts from the antiquity markets.
Two types of commercial imitations of gilded surfaces on a wooden support were considered: liquid ‘gold’ (Cu-Zn powder in
a solvent) and ‘gold’ leaf (Cu-Zn leaf) applied over bole and gesso layers.
A combined analytical approach using atomic force microscopy (AFM), optical microscopy (OM) and colorimetry (CIE L∗a∗b∗
system) was applied in order to better understand the behavior of the gilded-varnished surface and of the interface between
themetal surface and the other preparative layers.
with the aim to understanding the surface patterns and roughness variations before and after specific treatments (burnishing
and varnishing). This study can be useful to trace correlations between the compositional features, manufacturing and
applications/elaboration processes of gilding layers and the pattern of the surface topography, and also some insights into the
degradation/corrosion mechanisms. The results obtained on imitations of gilded surfaces can be further useful for recognizing
fake surfaces in the authentication of artefacts from the antiquity markets.
Two types of commercial imitations of gilded surfaces on a wooden support were considered: liquid ‘gold’ (Cu-Zn powder in
a solvent) and ‘gold’ leaf (Cu-Zn leaf) applied over bole and gesso layers.
A combined analytical approach using atomic force microscopy (AFM), optical microscopy (OM) and colorimetry (CIE L∗a∗b∗
system) was applied in order to better understand the behavior of the gilded-varnished surface and of the interface between
themetal surface and the other preparative layers.
Research Interests:
The paper presents an innovative interdisciplinary study focusing on the gilded/ polychrome decoration emulating stone-like surfaces of a Rococo Retable from Saint Francis Church in Viseu, Portugal. This study was undertaken with in a... more
The paper presents an innovative interdisciplinary study focusing on the gilded/ polychrome decoration emulating stone-like surfaces of a Rococo Retable from Saint Francis Church in Viseu, Portugal. This study was undertaken with in a 3-year research project, abbreviated Gilt-Teller (http://www.gilt-teller.pt). For the characterization of the altarpiece’s polychromy a representative number of samples were analyzed using a multi-technique methodology: Optical Microscopy coupled with fluorescent staining tests, microFTIR/FTIR and microRaman spectroscopy, micro-computerized tomography,
Scanning Electron Microscopy coupled with energy dispersive X-ray spectrometry. Preliminary results reveal the stratigraphical and compositional characteristics of the polychromy: ground layers made of gypsum, anhydrite,
calcium carbonate and animal glue; bole layers of red ochre color (Hematite); Au/Cu/Ag metal leaf, coated with shellac; marble-like polychromy made with blue, white and red
pigments (Prussian blue, Lead white, Hematite, Vermillion) and “golden particles” (Cu-Zn alloy ink-type) applied in the form of fine lines on their shaft or on the round-shaped base of the columns.
Keywords: Marble-like decoration; altarpiece; interdisciplinary study; gilding materials; decorative techniques;
Scanning Electron Microscopy coupled with energy dispersive X-ray spectrometry. Preliminary results reveal the stratigraphical and compositional characteristics of the polychromy: ground layers made of gypsum, anhydrite,
calcium carbonate and animal glue; bole layers of red ochre color (Hematite); Au/Cu/Ag metal leaf, coated with shellac; marble-like polychromy made with blue, white and red
pigments (Prussian blue, Lead white, Hematite, Vermillion) and “golden particles” (Cu-Zn alloy ink-type) applied in the form of fine lines on their shaft or on the round-shaped base of the columns.
Keywords: Marble-like decoration; altarpiece; interdisciplinary study; gilding materials; decorative techniques;
Research Interests:
This paper deals with the multi-analytical comparative characterization of 59 samples of gilded and polychrome layers from 7 altarpieces studied during the Gilt-Teller project (www.gilt-teller.pt). The altarpieces studied here belong to... more
This paper deals with the multi-analytical comparative characterization of 59 samples of gilded and polychrome layers from 7 altarpieces studied during the Gilt-Teller project
(www.gilt-teller.pt). The altarpieces studied here belong to seven churches in the areas of Lisbon, Santarém, Portalegre and Guarda and display stylistic and constructive features
characteristic to the Mannerism carved wood decoration in Portugal. The applied protocol of investigation characterized the structure and manufacture technique of gilding; identified the
chemical composition of the layers constituting the gilded polychrome decoration; compared
the materials and gilding techniques encountered in the 7 altarpieces and assessed the conservation state of each altarpiece. The analytical techniques applied to these purposes were: stereomicroscopy (SM), optical microscopy (OM), scanning electron microscopy
coupled with energy dispersive X-ray spectrometry (SEM-EDX), X-ray diffraction (XRD),
MALDI-TOF mass spectrometry, μRaman and μFTIR/imaging μFTIR spectroscopies. This
interdisciplinary multi-scale approach was used to elucidate the aspects related to the material
and technical aspects of “talha dourada” decoration, answering to these questions: which are
the original materials and layers in the making of the polychromy and which are the ones
added with posterior interventions; which are the relationships between gilding materials and techniques, regarding the degree of erudition of each case study; which were the main causes
of degradation and influence to their conservation condition?
(www.gilt-teller.pt). The altarpieces studied here belong to seven churches in the areas of Lisbon, Santarém, Portalegre and Guarda and display stylistic and constructive features
characteristic to the Mannerism carved wood decoration in Portugal. The applied protocol of investigation characterized the structure and manufacture technique of gilding; identified the
chemical composition of the layers constituting the gilded polychrome decoration; compared
the materials and gilding techniques encountered in the 7 altarpieces and assessed the conservation state of each altarpiece. The analytical techniques applied to these purposes were: stereomicroscopy (SM), optical microscopy (OM), scanning electron microscopy
coupled with energy dispersive X-ray spectrometry (SEM-EDX), X-ray diffraction (XRD),
MALDI-TOF mass spectrometry, μRaman and μFTIR/imaging μFTIR spectroscopies. This
interdisciplinary multi-scale approach was used to elucidate the aspects related to the material
and technical aspects of “talha dourada” decoration, answering to these questions: which are
the original materials and layers in the making of the polychromy and which are the ones
added with posterior interventions; which are the relationships between gilding materials and techniques, regarding the degree of erudition of each case study; which were the main causes
of degradation and influence to their conservation condition?
Research Interests:
This paper has the main purpose to compile and highlight the first data obtained from experimental studies on docμmented reconstructions of gilded composites performed within a research project on gilding materials and techniques in... more
This paper has the main purpose to compile and highlight the first data obtained from experimental studies on docμmented reconstructions of gilded composites performed within a research project on gilding materials and techniques in Portugal (www.gilt-teller.pt) funded by FCT. Two water gilding recipes were appropriately chosen from the treatises written by the Portuguese Filipe Nunes (1615) and José Lopes Baptista de Almada (1749) as being representative for Baroque époque. Based on these recipes, the production of raw materials - “gesso grosso”, “gesso fino”, bole, animal glue (from lamb and goat skins) - was made as faithful as possible. Their application was then performed in laboratory following the indications given by these authors or by treatises of previous époques (e.g. the Bolognese treatise for thawing leather), on plane and curved wooden supports (pine and oak species) using three types of leaf: gold (Au/Ag/Cu) of 22 and 23.75 karat respectively and silver. After the completion of gilding, the samples’ surfaces were divided into areas and on each different finishing layers (wax, animal glue size) and decorations (punching, “esgrafitado”, “estofado”) were applied. An analytical campaign using optical microscopy (OM) and scanning electron microscopy (SEM) on surfaces and cross sections, X-ray diffraction (XRD), microcomputerized tomography (microCT) and colorimetry (CIEL*a*b*) was undertaken in order to characterize the gilded composites and to assess the faithfulness of the reproductions in the laboratory. Correlations between the information given by the recipes and the composition and stratigraphical patterns of the reconstructions can be established. Furthermore, the study aims to highlight the difficulties encountered in analyzing real samples and comparing the results with those from reproductions as the number and types of layered materials are not always reproducible. A critical approach is needed and criteria for faithful reproduction of ancient recipes are suggested.
Research Interests:
Research Interests:
Com o presente trabalho pretende-se a apresentação dum projecto de 3 anos (2012-2014) financiado pela Fundação para a Ciência e Tecnologia em Portugal e desenvolvido na Faculdade de Ciências e Tecnologia da Universidade Nova de Lisboa em... more
Com o presente trabalho pretende-se a apresentação dum projecto de 3 anos (2012-2014) financiado pela Fundação para a Ciência e Tecnologia em Portugal e desenvolvido na Faculdade de Ciências e Tecnologia da Universidade Nova de Lisboa em colaboração com outras instituições nacionais e estrangeiras. Este projecto propõe um estudo interdisciplinar multi-escala dos materiais e técnicas de douramento utilizados na arte decorativa da talha dourada, abrangendo o intervalo de tempo entre 1500 e 1800, incluindo ferramentas inovadoras de divulgação no campo da conservação e estudos artísticos.
No estudo analítico das amostras policromas/douradas, além das técnicas de investigação convencional, serão utilizadas técnicas inovadoras, tais como espectrometria de massa
(MALDI-TOF-MS) e ensaios imunológicos (ELISA, IFM), juntamente com corantes fluorescentes, microscopia de força atómica (AFM) e tomografia micro-computadorizada (μ-CT).
Para exemplificar a abordagem interdisciplinar do projecto, alguns resultados preliminares da metodologia analítica multi-escala serão apresentados em relação ao enquadramento histórico e aos dados técnicos de utilização e aplicação das folhas metálicas.
No estudo analítico das amostras policromas/douradas, além das técnicas de investigação convencional, serão utilizadas técnicas inovadoras, tais como espectrometria de massa
(MALDI-TOF-MS) e ensaios imunológicos (ELISA, IFM), juntamente com corantes fluorescentes, microscopia de força atómica (AFM) e tomografia micro-computadorizada (μ-CT).
Para exemplificar a abordagem interdisciplinar do projecto, alguns resultados preliminares da metodologia analítica multi-escala serão apresentados em relação ao enquadramento histórico e aos dados técnicos de utilização e aplicação das folhas metálicas.
Research Interests:
Uma disputa entre cinco dos melhores pintores douradores de Évora deu origem à realização de uma extensa documentação sobre a técnica, os materiais e os preços em vigor em Évora, no ano de 1729. A rivalidade entre o mestre Filipe de... more
Uma disputa entre cinco dos melhores pintores douradores de Évora deu origem à realização de uma extensa documentação sobre a técnica, os materiais e os preços em vigor em Évora, no ano de 1729. A rivalidade entre o mestre Filipe de Santiago, responsável pelo douramento do conjunto de talha da Igreja da Misericórdia, e a equipa liderada por Manuel da Maia que executou o douramento do retábulo da capela-mor da Igreja da Cartuxa, obrigou os comitentes a redigirem os contratos com um rigor inusual, já que ambos os mestres não aceitavam a possibilidade de serem examinados pelo oponente. A caracterização físico-química do douramento e das camadas de policromia de ambos os altares, realizada no âmbito do projecto GILT-Teller (www.gilt-teller.uevora.pt), permite-nos uma aproximação à cultura pictórica do período. Como é reportado nos contratos, o douramento da talha dourada foi enriquecido com carnações, estofado e “regraxos”. Estas técnicas foram utilizadas de maneira muito semelhante em ambos os conjunto da Igreja da Misericórdia e no Convento de Scala Coeli dos monges cartuxos de Évora. Os resultados documentais e analíticos dessa investigação confirmam a existência de uma cultura comum e pouco diferenciada entre as principais oficinas de Évora.
Research Interests:
Research Interests:
The identification and localization of the proteinaceous binders are essential issues in studies of painting materials and techniques, for further proposing valid restoration and conservation treatments of the painted or polychrome works... more
The identification and localization of the proteinaceous binders are essential issues in studies of painting
materials and techniques, for further proposing valid restoration and conservation treatments of the
painted or polychrome works of art. The challenge for analytical chemists and conservation scientists
is the availability of methods able to simultaneously identify and map the presence of the binders in
the multilayered structure of a sample and the possibility to use a very low amount of sample from
the studied art object (considering also the criteria of minimum sampling). These methods should be
fast, reproducible in different artefacts and in case of mixture of protein-based binders with other nonproteinaceous
constituents (oils, resins, waxes, gums etc.) and also economical (both in terms of materials
and time consume). In this context, the present paper proposes an innovative protocol of investigation
using two complementary techniques – Matrix-Assisted Laser Desorption/Ionisation – Time of Flight
Mass Spectrometry (MALDI-TOF MS) and staining tests (one visible and one fluorescent stain) assisted by
Optical Microscopy (OM) on cross-section of samples – for the simultaneous identification and mapping
of protein – and oil-based binders in paint materials. The novelty is based on the use of MALDI-TOF MS on
cross-sections of paints together with a fluorescent stain for protein identification and mapping (mainly
used in the area of proteomics) complementing the use of a traditional visible stain for oil-based material
identification. The protocol was successfully applied on several samples taken from a Czech medieval
polychrome sculpture, entitled “The Mourning of Jesus Christ” (16th century) belonging to the Moravian
Gallery (Brno).
materials and techniques, for further proposing valid restoration and conservation treatments of the
painted or polychrome works of art. The challenge for analytical chemists and conservation scientists
is the availability of methods able to simultaneously identify and map the presence of the binders in
the multilayered structure of a sample and the possibility to use a very low amount of sample from
the studied art object (considering also the criteria of minimum sampling). These methods should be
fast, reproducible in different artefacts and in case of mixture of protein-based binders with other nonproteinaceous
constituents (oils, resins, waxes, gums etc.) and also economical (both in terms of materials
and time consume). In this context, the present paper proposes an innovative protocol of investigation
using two complementary techniques – Matrix-Assisted Laser Desorption/Ionisation – Time of Flight
Mass Spectrometry (MALDI-TOF MS) and staining tests (one visible and one fluorescent stain) assisted by
Optical Microscopy (OM) on cross-section of samples – for the simultaneous identification and mapping
of protein – and oil-based binders in paint materials. The novelty is based on the use of MALDI-TOF MS on
cross-sections of paints together with a fluorescent stain for protein identification and mapping (mainly
used in the area of proteomics) complementing the use of a traditional visible stain for oil-based material
identification. The protocol was successfully applied on several samples taken from a Czech medieval
polychrome sculpture, entitled “The Mourning of Jesus Christ” (16th century) belonging to the Moravian
Gallery (Brno).
Research Interests:
The paper proposes a novel, integrated approach to the identification and quantification of the organic binders, mainly proteinaceous, as the “invisible” component of polychrome layers in artifacts belonging to movable and immovable... more
The paper proposes a novel, integrated approach to the identification and
quantification of the organic binders, mainly proteinaceous, as the “invisible”
component of polychrome layers in artifacts belonging to movable and immovable
cultural heritage.
The analytical methodology discussed here will demonstrate the significance and
efficiency of biochemical assays for the detection of organic binders and how these
tests can improve/complement the already existing techniques, while considering also
the costs and time of analysis that commonly limit their application in the current
laboratory practice for artworks diagnosis.
quantification of the organic binders, mainly proteinaceous, as the “invisible”
component of polychrome layers in artifacts belonging to movable and immovable
cultural heritage.
The analytical methodology discussed here will demonstrate the significance and
efficiency of biochemical assays for the detection of organic binders and how these
tests can improve/complement the already existing techniques, while considering also
the costs and time of analysis that commonly limit their application in the current
laboratory practice for artworks diagnosis.
Research Interests:
This research is focused on the application of immuno-fluorescence microscopy (IFM) to localize and identify proteinaceous materials in painting cross-sections. To find the best analytical protocol and the best fluorochrome, a comparison... more
This research is focused on the application of immuno-fluorescence microscopy (IFM) to localize and identify proteinaceous materials in painting cross-sections. To find the best analytical protocol and the best fluorochrome, a comparison between two different fluorescent markers for the secondary antibody has been performed. An already known fluorochrome has been compared with a marker not commonly used to characterize painting materials.
Parallel to IFM, staining tests by means of fluorescent selective reagents, have been performed. The study was carried out on standard and historical samples. Drawbacks and limits of the methods are here presented and solutions to overcome the encountered problems are discussed.
Parallel to IFM, staining tests by means of fluorescent selective reagents, have been performed. The study was carried out on standard and historical samples. Drawbacks and limits of the methods are here presented and solutions to overcome the encountered problems are discussed.
Research Interests:
... Asachi Technical University, Iaºi, Faculty of Chemical Engineering, 7 Mangeron Blvd., Iasi, Romania 5 Ochanomizu University, Bunkyo ... and A003 at the Laboratory for Scientific Investigation and Preservation of Cultural Patrimony,... more
... Asachi Technical University, Iaºi, Faculty of Chemical Engineering, 7 Mangeron Blvd., Iasi, Romania 5 Ochanomizu University, Bunkyo ... and A003 at the Laboratory for Scientific Investigation and Preservation of Cultural Patrimony, the ARHEOINVEST Interdisciplinary Formation ...
The present paper deals with the identification of six ancient Byzantine bronze coins found in the same archaeological site of Nufarul (Tulcea County, Romania), by corrosion product and alloy analysis. The microstratigraphies (i.e.... more
The present paper deals with the identification of six ancient Byzantine bronze coins found in the
same archaeological site of Nufarul (Tulcea County, Romania), by corrosion product and alloy
analysis. The microstratigraphies (i.e. layers), together with microchemical tests including
reflection colorimetry, IR spectroscopy, X-ray diffraction and scanning electron microscopy
assisted by X-ray spectrometry have rendered evident the stratified morphology of three types of
patina. They are the primary type resulting from redox processes, the secondary type determined
by acid–base and related hydrolytic processes and the ternary type (or the contamination patina)
from segregation, diffusion and osmosis processes. The stratigraphical distribution of the
chemical components in the structure of the patina is caused by the pedological (soil) processes
at the archaeological sites and can be the main factor used in the authentication of ancient bronze
artefacts.
same archaeological site of Nufarul (Tulcea County, Romania), by corrosion product and alloy
analysis. The microstratigraphies (i.e. layers), together with microchemical tests including
reflection colorimetry, IR spectroscopy, X-ray diffraction and scanning electron microscopy
assisted by X-ray spectrometry have rendered evident the stratified morphology of three types of
patina. They are the primary type resulting from redox processes, the secondary type determined
by acid–base and related hydrolytic processes and the ternary type (or the contamination patina)
from segregation, diffusion and osmosis processes. The stratigraphical distribution of the
chemical components in the structure of the patina is caused by the pedological (soil) processes
at the archaeological sites and can be the main factor used in the authentication of ancient bronze
artefacts.
Research Interests:
This article presents an integrated approach for the authentication of five Russian icons through the study of their paint materials (elemental composition and stratigraphic mapping), state of conservation and artistic technique. The... more
This article presents an integrated approach for the authentication of five Russian icons through the study of their paint materials (elemental composition and stratigraphic mapping), state of conservation and artistic technique. The results of the applied analytical protocol, involving optical and scanning electron microscopy coupled with energy-dispersive X-ray spectrometry and Fourier transformed infrared spectroscopy/microspectroscopy, led to the conclusion that the five icons belong to the same group and iconographic school (from Northern Russia) and date from the end of the 16th century to the beginning of 17th century. Because of massive overpainting, the icons ‘‘suffered’’ a change in iconographic style and significance, and restoration treatment brought to light the original painting and its attribution. Identification of the composition of the original chromatic palette used by the iconographer, the stratigraphic mapping and the conservation state of the painting materials, along with the features of the original artistic technique, furnished key elements for the icons’ authentication. Here, we present the first experimental data concerning the identification of the authentication characteristics, being part of a large project that has as its final aim the evaluation of the effectiveness and effects of the cleaning agent on the paint
layers.
layers.
Research Interests:
To monitor and analyze the effectiveness of new cleaning formulations, using a combination of ionic liquids ([BMIM] [BF4] and [EMIM] [EtSO4]) and enzymes (three different proteases E.C.3.4.), we adopted a novel multi-scale non-invasive... more
To monitor and analyze the effectiveness of new cleaning formulations, using a combination of ionic liquids ([BMIM] [BF4]
and [EMIM] [EtSO4]) and enzymes (three different proteases E.C.3.4.), we adopted a novel multi-scale non-invasive approach based with different instruments: the stereomicroscope (SM), the optical microscope (OM) with visible and fluorescence light, atomic force microscope (AFM) and scanning electron microscope (SEM).
The combinations of these techniques allowed an extensive and complete characterization of the surface materials and were
successfully applied for monitoring the cleaning process. Although the results showed in this work were obtained for this
specific treatment, of removing proteinaceous varnish layer from documented reconstructions, it was demonstrated that the AFM monitoring protocol can be widely applied on everyday situations in the conservation science.
and [EMIM] [EtSO4]) and enzymes (three different proteases E.C.3.4.), we adopted a novel multi-scale non-invasive approach based with different instruments: the stereomicroscope (SM), the optical microscope (OM) with visible and fluorescence light, atomic force microscope (AFM) and scanning electron microscope (SEM).
The combinations of these techniques allowed an extensive and complete characterization of the surface materials and were
successfully applied for monitoring the cleaning process. Although the results showed in this work were obtained for this
specific treatment, of removing proteinaceous varnish layer from documented reconstructions, it was demonstrated that the AFM monitoring protocol can be widely applied on everyday situations in the conservation science.
Research Interests:
Il “ Piviale di Re Manuel I” commissionato per il Mosteiro dos Jerónimos (Monastero dei Girolamini) a Belém (nella parte ovest di Lisboa ) oggi custodito nel Museu Nacional de Arte Antiga (MNAA), é stato riconosciuto come uno dei piú... more
Il “ Piviale di Re Manuel I” commissionato per il Mosteiro dos Jerónimos (Monastero dei Girolamini) a Belém (nella parte ovest di Lisboa ) oggi custodito nel Museu Nacional de Arte Antiga (MNAA), é stato riconosciuto come uno dei piú preziosi paramenti ecclesiastici ancora esistenti in Portogallo. Il lussuoso tessuto di seta rossa con decorazioni metalliche, fabbricato in Italia tra la fine del 15° secolo e l’inizio del 16° secolo, é stato
ulteriormente trasformato a richiesta del Re in una cappa semicircolare con magnifici accessori ricamati,
commissionati probabilmente ad un atelier italiano o iberico all’inizio del 16° secolo. La decorazione orlata dello stolone presenta il ricamo di sei figure bibliche in piedi e il Padre Eterno, mentre sulla cappa e rappresentata la Vergine con il Bambino e sul pettorale (morsus) lo Spirito Santo. Tutti questi ricami sono eseguiti quasi esclusivamente con una vasta scelta di fili metallici e da un alto livello di opulenza e preziositá .
Prendendo in considerazione l’importanza del piviale, la ricchezza e la complessità della sua decorazione, é stato
realizzato di recente uno studio interdisciplinare per differenziare le varie tecniche e i materiali utilizzati, allo
scopo di migliorare la conoscenza della tecnica di fabbricazione, come anche le possibili vie di commercio di questi preziosi e costosi fili. Oltre allo studio di storia dell’arte, sono state realizzate analisi scientifiche per investigare i fili metallici da livello macro fino a micro, facendo uso di differenti tecniche microscopiche: dalla lente di ingradimento a microscopia ottica, di scansione elettronica e di forza atomica, insieme all’identificazione chimica delle leghe utilizzate con l’ausilio della spettrometria di raggi X a dispersione di energia.
I risultati preliminari hanno messo in evidenza la presenza di leghe di argento (con oro) di differenti composizioni che apparentemente indicano diverse origini e tecniche di fabbricazione. Questa iniziativa di ricerca ha anche sottolineato l’utilitá di un approccio collaborativo che integra tecniche e risultati analitici con la ricerca storica e di storia dell’arte. Il progetto sará esteso ad altri oggetti d’arte relazionati al piviale allo scopo di sviluppare una serie di riferimenti per questi materiali altamente- di valore.
ulteriormente trasformato a richiesta del Re in una cappa semicircolare con magnifici accessori ricamati,
commissionati probabilmente ad un atelier italiano o iberico all’inizio del 16° secolo. La decorazione orlata dello stolone presenta il ricamo di sei figure bibliche in piedi e il Padre Eterno, mentre sulla cappa e rappresentata la Vergine con il Bambino e sul pettorale (morsus) lo Spirito Santo. Tutti questi ricami sono eseguiti quasi esclusivamente con una vasta scelta di fili metallici e da un alto livello di opulenza e preziositá .
Prendendo in considerazione l’importanza del piviale, la ricchezza e la complessità della sua decorazione, é stato
realizzato di recente uno studio interdisciplinare per differenziare le varie tecniche e i materiali utilizzati, allo
scopo di migliorare la conoscenza della tecnica di fabbricazione, come anche le possibili vie di commercio di questi preziosi e costosi fili. Oltre allo studio di storia dell’arte, sono state realizzate analisi scientifiche per investigare i fili metallici da livello macro fino a micro, facendo uso di differenti tecniche microscopiche: dalla lente di ingradimento a microscopia ottica, di scansione elettronica e di forza atomica, insieme all’identificazione chimica delle leghe utilizzate con l’ausilio della spettrometria di raggi X a dispersione di energia.
I risultati preliminari hanno messo in evidenza la presenza di leghe di argento (con oro) di differenti composizioni che apparentemente indicano diverse origini e tecniche di fabbricazione. Questa iniziativa di ricerca ha anche sottolineato l’utilitá di un approccio collaborativo che integra tecniche e risultati analitici con la ricerca storica e di storia dell’arte. Il progetto sará esteso ad altri oggetti d’arte relazionati al piviale allo scopo di sviluppare una serie di riferimenti per questi materiali altamente- di valore.
Research Interests:
This paper presents a new method for the determination of the normal range of variation of the equilibrium moisture content (ΔEMC) for limewood (lindenwood) on the basis of the variation of the reversible moisture content (RMC) as a... more
This paper presents a new method for the determination of the normal range of variation of the equilibrium moisture content (ΔEMC) for limewood (lindenwood) on the basis of the variation of the reversible moisture content (RMC) as a result of the isothermal and isobar processes of adsorption/hydration at 100% RH and desorption/dehydration at 10% RH. There have been selected a series of characteristics with archaeometric potentials such as the content of the reversible water and the critical time for the correlation of the two curves and others. On the basis of some preliminary experimental data on limewood, there has been created the premise for the usage of these characteristics for clearifying the mechanism of the adsorption/ desorption processes of the reversible water in the impact studies regarding the influence of active preservation treatments. Such aspects as well as their applicability in authentication will be further studied for other wood species in some future papers. K...
... Asachi Technical University, Iaºi, Faculty of Chemical Engineering, 7 Mangeron Blvd., Iasi, Romania 5 Ochanomizu University, Bunkyo ... and A003 at the Laboratory for Scientific Investigation and Preservation of Cultural Patrimony,... more
... Asachi Technical University, Iaºi, Faculty of Chemical Engineering, 7 Mangeron Blvd., Iasi, Romania 5 Ochanomizu University, Bunkyo ... and A003 at the Laboratory for Scientific Investigation and Preservation of Cultural Patrimony, the ARHEOINVEST Interdisciplinary Formation ...
This paper deals with the characterization of several gilded and polychrome samples from the carved wood Portuguese heritage using a novel proteomics approach aimed to identify and map the presence of different proteinaceous binders.... more
This paper deals with the characterization of several gilded and polychrome samples from the carved wood Portuguese heritage using a novel proteomics approach aimed to identify and map the presence of different proteinaceous binders. Eight samples originating from two altarpieces (Main altarpiece from Miranda de Douro Cathedral and Main altarpiece of the Cathedral in Funchal, Madeira) and three polychrome sculptures (St. Joseph from Aveiro Museum and two sculptures by Machado de Castro) were taken and analysed both as fragments/separated layers (e.g. ground layer separated from the gilded/polychrome layers) and cross-sections. The methodology proposed here makes use of proteomics techniques such as ELISA, MALDI-TOF-MS, nano-LC-ESI-Q-TOF and optical microscopy coupled with a fluorescent staining test (Sypro Ruby) on samples and cross-sections and is part of the analytical task of the Gilt-Teller project (www.gilt-teller.pt). ELISA, and both mass spectrometric techniques MALDI-TOF and nano-LC-ESI-Q-TOF showed a good detection of collagens on whole fragments or separated layers and also on cross-sections, while the mass spectrometric techniques were less sensitive for egg proteins. Nevertheless, the combined use of them together with the mapping on cross-sections using the fluorescent stain made the simultaneous identification and location of these binder materials in the stratigraphy of some
samples possible.
samples possible.
Research Interests:
The first intervention realized in the case of art works with a precarious state of conservation is the consolidation of support and superficial layer. Generally for the puzzle-like painting layer the preventive consolidation is an urgent... more
The first intervention realized in the case of art works with a precarious state of conservation is the consolidation of support and superficial layer. Generally for the puzzle-like painting layer the preventive consolidation is an urgent intervention, which will be followed, after a succession of interventions, by a definitive one. Furthermore, if the polychrome layer is pulverous, the binder will be applied over the entire degraded surface. In both of cases, the binder can damage the polychromy and gildings. For this purpose, this paper studies the influence of acrylic binders upon gildings with gold leaf and schlagmetal, respectively the manner in which these binders are applied and the effects they have upon them. For the experiments there were used samples of fir tree gilded with gold or schlagmetal or other imitative products that are on the market. After gilding the samples were coated with acrylic binders and put in the oven, for artificial ageing. The analysis were realized with optical microscope, SEM-EDX and spectrophotometer in CIE L*a*b* system.
Research Interests:
This article proposes an innovative methodology which employs nondestructive techniques to assess the effectiveness of new formulations based on ionic liquids, as alternative solvents for enzymes (proteases), for the removal of... more
This article proposes an innovative methodology which employs nondestructive
techniques to assess the effectiveness of new formulations based on ionic liquids, as alternative
solvents for enzymes (proteases), for the removal of proteinaceous materials from painted surfaces
during restoration treatments. Ionic liquids (ILs), also known as “designer” solvents, because
of their peculiar properties which can be adjusted by selecting different cation-anion combinations,
are potentially green solvents due totheir low vapour pressure. In this study, two ionic
liquids were selected: IL1 (1-butyl-3-methylimidazolium tetrafluoroborate ([BMIM][BF4])) and
IL2 (1-ethyl-3-methylimidazolium ethylsulphate ([EMIM][EtSO4])). New formulations were prepared
with these ILs and two different proteases (E): one acid (E1—pepsin) and one alkaline
(E2—obtained from Aspergillus sojae). These formulations were tested on tempera and oil mockup
samples, prepared in accordance with historically documented recipes, and covered with two
different types of protein-based varnishes (egg white and isinglass—fish glue). A noninvasive
multiscale imaging methodology was applied before and after the treatment to evaluate the
cleaning’s effectiveness. Different microscopic techniques—optical microscopy (OM) with visible
and fluorescent light, scanning electron microscopy (SEM) and atomic force microscopy (AFM)—
together with Matrix-Assisted Laser Desorption/Ionization—Time of Flight Mass Spectrometry
(MALDI-TOF MS) were applied on areas cleaned with the new formulations (IL1E) and reference
areas cleaned only with the commercial enzyme formulations (gels). MALDI-TOF proved particularly very useful for comparing the diversity and abundance of peptides released by using
different enzymatic systems
techniques to assess the effectiveness of new formulations based on ionic liquids, as alternative
solvents for enzymes (proteases), for the removal of proteinaceous materials from painted surfaces
during restoration treatments. Ionic liquids (ILs), also known as “designer” solvents, because
of their peculiar properties which can be adjusted by selecting different cation-anion combinations,
are potentially green solvents due totheir low vapour pressure. In this study, two ionic
liquids were selected: IL1 (1-butyl-3-methylimidazolium tetrafluoroborate ([BMIM][BF4])) and
IL2 (1-ethyl-3-methylimidazolium ethylsulphate ([EMIM][EtSO4])). New formulations were prepared
with these ILs and two different proteases (E): one acid (E1—pepsin) and one alkaline
(E2—obtained from Aspergillus sojae). These formulations were tested on tempera and oil mockup
samples, prepared in accordance with historically documented recipes, and covered with two
different types of protein-based varnishes (egg white and isinglass—fish glue). A noninvasive
multiscale imaging methodology was applied before and after the treatment to evaluate the
cleaning’s effectiveness. Different microscopic techniques—optical microscopy (OM) with visible
and fluorescent light, scanning electron microscopy (SEM) and atomic force microscopy (AFM)—
together with Matrix-Assisted Laser Desorption/Ionization—Time of Flight Mass Spectrometry
(MALDI-TOF MS) were applied on areas cleaned with the new formulations (IL1E) and reference
areas cleaned only with the commercial enzyme formulations (gels). MALDI-TOF proved particularly very useful for comparing the diversity and abundance of peptides released by using
different enzymatic systems
Research Interests:
The study presents an old icon painted in egg tempera on lime wood, with a poor conservation condition and clogged dirt deposits. The icon is attributed to an anonymous painter of XIXth century and to the neo-classical style of painting.... more
The study presents an old icon painted in egg tempera on lime wood, with a poor conservation
condition and clogged dirt deposits. The icon is attributed to an anonymous painter of XIXth century
and to the neo-classical style of painting. The painting layer was done with only a hand full
of pigments, earth colors that were often used in painting the icons from XVIIth to XIXth century
in Eastern Europe, that have Byzantine influences. Taking into consideration the nature and
the structure of the materials from the upper layers of the painting, affected by deposits of dirt
over time, a series of cleaning recipes were studied, using the so called cleaning tests with compatible
mixtures of different juices and infusion from indigenes plants, that were freshly done
and odorless. A low alkaline 95% ethyl alcohol solution, combined with a few drops of ammoniac
25%, was used as a reference system, due to its compatibility with the greasy deposits found on
the polychrome layer and on the wood. The cleaning capacity of the new systems used, in comparison
with the standard solution, was analyzed through modern analytical methods of evaluating the degree of cleaning, more exactly by means of visible and UV reflectography, CIE L*a*b* colorimetry by reflection assisted by SEM-EDX and IR spectroscopy.
condition and clogged dirt deposits. The icon is attributed to an anonymous painter of XIXth century
and to the neo-classical style of painting. The painting layer was done with only a hand full
of pigments, earth colors that were often used in painting the icons from XVIIth to XIXth century
in Eastern Europe, that have Byzantine influences. Taking into consideration the nature and
the structure of the materials from the upper layers of the painting, affected by deposits of dirt
over time, a series of cleaning recipes were studied, using the so called cleaning tests with compatible
mixtures of different juices and infusion from indigenes plants, that were freshly done
and odorless. A low alkaline 95% ethyl alcohol solution, combined with a few drops of ammoniac
25%, was used as a reference system, due to its compatibility with the greasy deposits found on
the polychrome layer and on the wood. The cleaning capacity of the new systems used, in comparison
with the standard solution, was analyzed through modern analytical methods of evaluating the degree of cleaning, more exactly by means of visible and UV reflectography, CIE L*a*b* colorimetry by reflection assisted by SEM-EDX and IR spectroscopy.
Research Interests:
This work establishes a multiscale and multitechnique nondestructive approach as valid methodology for monitoring surface properties and evaluating the effectiveness of enzymatic removal of varnishes from paintings/polychrome artefacts.... more
This work establishes a multiscale and multitechnique nondestructive approach as valid methodology for monitoring surface properties and evaluating the effectiveness of enzymatic removal of varnishes from paintings/polychrome artefacts. Mock-up samples (documented reconstructions of oil, tempera, and gilded layers on canvas and wooden supports) were covered with different proteinaceous varnishes (egg white, animal and fish glue, casein) and then characterized before and after the removal of these coatings with enzyme-based solutions. The varnish was cleaned in several steps (two dry swabs and two wet swabs) with a clearance step for removing the residues from proteinaceous varnish or from enzyme solution. Microscopy [stereomicroscopy (SM), optical microscopy (OM), atomic force microscopy (AFM), and scanning electron microscopy (SEM)] and colorimetric (CIE L*a*b* system) techniques were used for characterization of the reconstruction surfaces at different scales (macro-scale by SM and OM; micro-scale by SEM and nano-scale by AFM). These techniques were also used to monitor the cleaning treatment. Although results presented in this work were obtained for the specific treatment of enzyme removal, the methodology could be extended to other types of materials and cleaning. Further experiments on real works of art are needed for a complete validation of the methodology.
Research Interests:
The article studies thermal resistance variation by analyzing the colorimetric parameters correlated with the optical microscopy data of two groups of ceramic pigments obtained by co-precipitation in aqueous medium of phosphate anion and... more
The article studies thermal resistance variation by analyzing the colorimetric parameters correlated with the optical microscopy data of two groups of ceramic pigments obtained by co-precipitation in aqueous medium of phosphate anion and of a mixture of chromium phosphate with various chromophore cations. This research enabled us to reveal the thermal thresholds/domains within which significant color changes occur, thus allowing the choice of pigments compatible with the thermal varnishing-glazing processes involved in the manufacture of tesserae for mosaic and stained glass and of colored materials for floor tiles, wall tiles and painted porcelain.
Research Interests:
The present paper deals with the microscopic and colorimetric characterization of 18 thermally and photo-resistant pigments, obtained by co-precipitation in an aqueous system, based on phosphate and zinc chromate chromophore structures,... more
The present paper deals with the microscopic and colorimetric characterization of 18 thermally and photo-resistant pigments, obtained by co-precipitation in an aqueous system, based on phosphate and zinc chromate chromophore structures, chemically doped with Mn(II), Fe(II), Fe(III), Co(II), Ni(II) and Bi(III) cations. The optical microscopic analysis and the measurements of colorimetric parameters (CIE L*a*b*) were done on non-irradiated samples, as well on those irradiated with a UV lamp for 6, 8 and 12 h respectively, after being thermally treated at a temperature of 110 o C for 4 h. Despite the fact they start from the same precursor (zinc phosphate and chromate), as a major processing phase in doping with chromophore cations, a large group of ceramic pigments was obtained, with different thermal and photochemical behaviour. Based on the experimental data, the 18 newly synthesized pigments were divided in two groups: those with high stability that can be used to manufacture polyc...
This study presents the data regarding the influence of two organic solvents (ethylic alcohol and Red Petroleum from Campeni), mixed with bee propolis, on different wood essences. The impact of these systems was evaluated by studying... more
This study presents the data regarding the influence of two organic solvents (ethylic alcohol and Red Petroleum from Campeni), mixed with bee propolis, on different wood essences. The impact of these systems was evaluated by studying several physical-structural dynamic characteristics of the treated samples. The shrinkage of lime, poplar, fir and oak wood was studied on three sections (longitude-L, tangential-T and radial-R), for four different variations of atmospheric humidity (100, 85, 65, 25% RH), by gradually lowering the value (100%→85%, 85%→65%, 65%→25% and 25%→0%). In order to evaluate the impact of the treatment, two chemometric characteristics were taken into consideration: difference of shrinkage (ΔL, ΔR and ΔT) and the ratio of those differences (ΔT/ΔL, ΔT/ΔR and ΔR/ΔL). At the end of the paper, the volumetric shrinkage vas studied, alongside with the density and porosity variations of the wood. In order to evaluate the impact of these systems several chemometric characteristics were used: ΔV, Δρ and Δp. The obtained results have shown that poplar tree is virtually unaffected by the two treatments, the lime tree is slightly influenced, while the fir tree and oak tree are the most affected, because the used solutions easily dissolve their organic components. These components leave the resinous channels and pores of the oak tree, thus changing the specific weight and porosity. After the dissolution of the organic components present in natural wood, these solutions create a nano-coating on the surface of the anatomical elements, which confer detectable behaviours only to the wood species containing volatile components that are not compatible with the studied organic solutions. The behaviours can be detected during the interactions of the above mentioned wood species with the hygroscopic moisture in the atmosphere.
Research Interests:
This paper presents a physico-chemical study of the paint layers of "Saint Nicholas" icon, which comes from a private collection in Romania. The icon has artistic characteristics of the Russian icons, the Post-Byzantine style, and is an... more
This paper presents a physico-chemical study of the paint layers of "Saint Nicholas" icon, which comes from a private collection in Romania. The icon has artistic characteristics of the Russian icons, the Post-Byzantine style, and is an expression of the painted art in the Orthodox Church. Significant information about the icon painting technique, the materials used and about the period in which the icon was made, were found using new analytical techniques. The aim of this study is to gather useful information about the icon to make a suitable conservation and restoration treatment of the artifact. For the analysis of the icon's materials (preparation layer, paint layer and varnish), Optical Microscopy (OM), scanning electron microscopy connected with X-ray spectrometry (SEM-EDX) and Fourier transformed infrared spectrophotometry (μ-FTIR), were used. It was concluded that the paint layer is made of tempera (pigment with egg-based emulsion), painted over silver leaf, over which olifa varnish was used. Based on the style of the painting and on its conservation state, it is presumed that it was painted in the XIX th century. The corroboration between the analytic data, highlighted different details of the painting process and of the used materials. Thus, mineral pigments, colored earths, silver leaf and paper stripes under the gesso were identified.
Research Interests: Authentication and Icons
Adherent deposits are very aggressive towards ancient heritage paintings since they affect the varnish and the painting's layers, sometimes reaching the preparative layers. The biggest problem to the restorer is their removal without... more
Adherent deposits are very aggressive towards ancient heritage paintings since they affect the varnish and the painting's layers, sometimes reaching the preparative layers. The biggest problem to the restorer is their removal without affecting the patina, the transparent varnish (well preserved) and fine colour glazes made during painting. Therefore, their removal requires preliminary cleaning tests that allow the optimization of the cleaning system composition that is going to be used. The study was focused on organic natural systems, as colourless supernatants, some of them used during ages, but insufficiently studied. The paper presents an evaluation of the effectiveness of cleaning varnished icons of the nineteenth century, with complex conservation cases using supernatants derived from aqueous dispersions extracted from vegetables and dry indigenous herbal infusions. Best results, after six consecutive cleaning steps, on tempera old icon was obtained for a mixture made of mature white onion juice + extract of Soapwort flowers + corn silk tea + acacia tea. As a best result after just one cleaning step was obtained for a quaternary mixture composed from mature white onion juice + mature carrot juice + corn silk tea + aqueous extract of Soapwort flowers.
Research Interests:
This article covers a methodology for evaluating the effectiveness of cleaning two Russian icons. The icons belong to a group of five from the same iconographic school, dating from the 16th to 17th centuries. An integrated and... more
This article covers a methodology for evaluating the effectiveness of cleaning two
Russian icons. The icons belong to a group of five from the same iconographic school, dating from
the 16th to 17th centuries. An integrated and complementary approach to varnish and overpaint
removal involved microscopic techniques (optical and scanning electron microscopy) and colorimetry
(CIE L*a*b* system). The materials and techniques used in these icons have been characterized
previously. Cleaning revealed extensive overpainting that had not only dramatically changed
the original appearance, but also the meaning and attribution of one of the two icons. The analyses
carried out were useful in determining the extent of the overpainting and led to a better assessment
of the results and effectiveness of the restoration.
Russian icons. The icons belong to a group of five from the same iconographic school, dating from
the 16th to 17th centuries. An integrated and complementary approach to varnish and overpaint
removal involved microscopic techniques (optical and scanning electron microscopy) and colorimetry
(CIE L*a*b* system). The materials and techniques used in these icons have been characterized
previously. Cleaning revealed extensive overpainting that had not only dramatically changed
the original appearance, but also the meaning and attribution of one of the two icons. The analyses
carried out were useful in determining the extent of the overpainting and led to a better assessment
of the results and effectiveness of the restoration.
Research Interests:
This study presents the data regarding the stoping of a xylophagous attack on the panel of „Lady from Rohia” icon, part of the cultural heritage of „Saint Mihail and Gavriil„ church from Galati, by modifying the level of oxygen in the... more
This study presents the data regarding the stoping of a xylophagous attack on the panel of „Lady from Rohia”
icon, part of the cultural heritage of „Saint Mihail and Gavriil„ church from Galati, by modifying the level of oxygen in the cryptoclimat. The study presents the stages and the operating systems used in stopping the
xylophagous atac by lowering the value of the oxygen inside the cryptoclimat below 0,1% for a period of 14
days. The icon and the measuring devices were sealed in a polyethylene bag from which the air was completely removed and replaced with nitrogen. The cryptoclimatic factors of the nitrogen atmosphere were then monitored for a period of 14 days.
icon, part of the cultural heritage of „Saint Mihail and Gavriil„ church from Galati, by modifying the level of oxygen in the cryptoclimat. The study presents the stages and the operating systems used in stopping the
xylophagous atac by lowering the value of the oxygen inside the cryptoclimat below 0,1% for a period of 14
days. The icon and the measuring devices were sealed in a polyethylene bag from which the air was completely removed and replaced with nitrogen. The cryptoclimatic factors of the nitrogen atmosphere were then monitored for a period of 14 days.
Research Interests:
Research Interests:
Icons, by their purpose, are paintings exposed to a frequent interaction with the human factor during the religious services, which leads to the formation of a lipid film that retains dirt and soot on their surface, changing the aspect.... more
Icons, by their purpose, are paintings exposed to a frequent interaction with the human factor during the religious services, which leads to the formation of a lipid film that retains dirt and soot on their surface, changing the aspect. This study analyzes the effects of the skin surface lipids layer on materials that are used in panel paintings (ground layer, linseed oil mixed with ochre, egg emulsion, and dammar varnish). For this purpose there were used two methods: CIE L*a*b* colorimetry and FT-IR spectroscopy, which emphasized colour changes and also modifications at a molecular level under lipids influence.
Research Interests:
The Saint Elijah‘s glass icon was investigated by FTIR and mass spectrometry methods for identifying the painting materials in order to preserve and restore it. The glass icon was realized in fatty tempera with egg yolk and vegetal oil... more
The Saint Elijah‘s glass icon was investigated by FTIR and mass spectrometry methods for identifying the painting materials in order to preserve and restore it. The glass icon was realized in fatty tempera with egg yolk and vegetal oil was used as binder. The painting materials are as follows: red (lead minium), blue (Prussian blue), green (Prussian blue+ massico, white (ZnO and lead white), yellow (massicot lead yellow, PbO), gypsum and Ca carbonate as color diluents.
Research Interests:
Biocolonization and biodeterioration phenomena in Cultural Heritage is presently considered a relevant issue when planning conservation strategies and preservation measures in museum collections. Artworks such as easel paintings are... more
Biocolonization and biodeterioration phenomena in Cultural Heritage is presently considered a relevant issue when planning conservation strategies and preservation measures in museum collections. Artworks such as easel paintings are source of various ecological niches for microbial communities’ growth due to the presence of several organic resources.
Therefore, the identification of proteinaceous materials may play an important role in the
evaluation of their conservation status, in the characterisation of the artistic technique, and in the definition of compatible conservation/restoration processes. Another challenge is to understand themicrobiota associated to the degradative processeswhen developing conservation strategies in CH artworks. For this study Edvard Munch paintings belonging to Munch Museum in Oslo presenting surface alterations were analysed to increase the knowledge about the materials used by the painter and try to understand the source and the dynamics of the associated colonising microbiota, helping in devising a conservation intervention plan.
Immunoenzymatic assays was carried out in microsamples allowing the detection of casein as the binder used by the artist. The high throughput sequencing approaches allowed us to explore and characterise the microbial communities that colonise these artworks. Bacterial communities found in these artworksweremainly composed by species characterised by proteolytic capacity, an important biodeteriogenic characteristic for these paintings. Simulation assays performed in paint models prepared with casein as binder display signs of degradative action promoted by the proteolytic strains isolated from the damaged areas. This approach can be useful to promote effective intervention processes in E. Munch’s paintings with the same pathologies.
Therefore, the identification of proteinaceous materials may play an important role in the
evaluation of their conservation status, in the characterisation of the artistic technique, and in the definition of compatible conservation/restoration processes. Another challenge is to understand themicrobiota associated to the degradative processeswhen developing conservation strategies in CH artworks. For this study Edvard Munch paintings belonging to Munch Museum in Oslo presenting surface alterations were analysed to increase the knowledge about the materials used by the painter and try to understand the source and the dynamics of the associated colonising microbiota, helping in devising a conservation intervention plan.
Immunoenzymatic assays was carried out in microsamples allowing the detection of casein as the binder used by the artist. The high throughput sequencing approaches allowed us to explore and characterise the microbial communities that colonise these artworks. Bacterial communities found in these artworksweremainly composed by species characterised by proteolytic capacity, an important biodeteriogenic characteristic for these paintings. Simulation assays performed in paint models prepared with casein as binder display signs of degradative action promoted by the proteolytic strains isolated from the damaged areas. This approach can be useful to promote effective intervention processes in E. Munch’s paintings with the same pathologies.
Research Interests:
The degradation of cadmium sulfide (CdS)-based oil paints is a phenomenon potentially threatening the iconic painting The Scream (ca. 1910) by Edvard Munch (Munch Museum, Oslo) that is still poorly understood. Here, we provide evidence... more
The degradation of cadmium sulfide (CdS)-based oil paints is a phenomenon potentially threatening the iconic painting The Scream (ca. 1910) by Edvard Munch (Munch Museum, Oslo) that is still poorly understood. Here, we provide evidence for the presence of cadmium sulfate and sulfites as alteration products of the original CdS-based paint and explore the external circumstances and internal factors causing this transformation. Macroscale in situ noninvasive spectroscopy studies of the painting in combination with synchrotron-radiation x-ray microspectroscopy investigations of a microsample and artificially aged mock-ups show that moisture and mobile chlorine compounds are key factors for promoting the oxidation of CdS, while light (photodegradation) plays a less important role. Furthermore, under exposure to humidity, parallel/secondary reactions involving dissolution, migration through the paint, and recrystallization of water-soluble phases of the paint are associated with the formation of cadmium sulfates.
Research Interests:
This contribution focuses on the study and preservation of 14 out of 35 powdery pigments in original paper bags. These are part of the artist materials reference collection at the Munch Museum in Oslo. The challenge of this study consists... more
This contribution focuses on the study and preservation of 14 out of 35 powdery pigments in original paper bags. These are part of the artist materials reference collection at the Munch Museum in Oslo. The challenge of this study consists in the lack of information about the year of purchase of the pigments and its content. Some information is provided by the manufacturer's handwritten notes, some of them are, however, unreadable and a few bags have no information, nor on manufacturer or on its content. Munch has used at least four known Oslo based manufactures and some of the information from these paper bags could help giving at least some dating. Some relate to the name change of the city, from Kristiania to Oslo in 1925. Other information relates to the manufacturer's history, writing style, logos, addresses and telephone numbers. So far, the dating is the following: 1900-1925, 1922-1925 or after 1922. Some of the original paper bags, were in a very poor state and some containing highly hazardous pigments. The damages were significant and some relates to previous handling; such as tears, others had large, corroded holes on bottom or sides. All these required conservations to enable further storage of the pigments and to prevent additional damage from handling. Several bags were also stained with its powdery pigment which compromised the conservation by choosing a non-aqueous treatment. Heat activated adhesive with BEVA® 371 film lined with hand-colored Japanese tissues was applied for bridging of tears and infills of holes. 14 different pigments (of white, yellow, red, blue and green colours) were analyzed using ATR-FTIR, pXRF, SEM-EDS, XRD, Raman spectroscopy and synchrotron-based far-infrared spectroscopy for understanding their chemical composition. The analytical characterization shows a palette of pigments and lakes as one could expect from the first half of 20 th century. Apart from common pigments and extenders such as chrome yellow, cadmium yellow, Prussian blue, barium sulfate and others, an amorphous silicate was found which is assumed to create texture effects or is the raw material for production of waterglass. One of the cadmium yellow samples has a remarkable content of cadmium carbonate which may be related to the production method and/or the degradation of cadmium yellow. In one sample a hydrated calcium carbonate occurs. This study opens future research regarding this artist's collection, adding new knowledge about Munch's own use of art materials but also in general on modern paint materials.
Research Interests:
This paper contains an interpretation of the results obtained from Fourier Transform Infrared micro-spectroscopy (µ-FTIR) and Pyrolysis-Gas Chromatography coupled with Mass Spectrometry (Py-GC-MS) techniques applied on the crayons used by... more
This paper contains an interpretation of the results obtained from Fourier Transform Infrared micro-spectroscopy (µ-FTIR) and Pyrolysis-Gas Chromatography coupled with Mass Spectrometry (Py-GC-MS) techniques applied on the crayons used by Edvard Munch (1863-1944) and now stored at the Munch Museum (MUNCH). Around 100 of different brands from Edvard Munch's collection of reference materials available at the Munch Museum were analyzed. Micro-destructive methods as µ-FTIR and Py-GC-MS were used to characterize the constituent materials of crayon samples, with a special focus on organic binding medium, to allow the classification of different brands of crayons. Two natural waxes (beeswax and carnauba wax) were identified by µ-FTIR, but the most specific chemical information on wax mixtures was attained by Py-GC-MS. The present study adds more analytical data on Edvard Munch's legacy and was developed under the framework of the collaborative research project "THE SCREAM-Touchstone for Heritage Endangered by Salt Crystallization: a Research Enterprise on the Art of Munch" between the HERCULES Laboratory and the Munch Museum in Oslo.
Research Interests:
Edvard Munch (1863-1944) left behind a vast selection of artist materials. This paper presents an overview of this reference collection, now located in a brand-new building in Oslo (Munch museum, MUNCH). The variety and the significant... more
Edvard Munch (1863-1944) left behind a vast selection of artist materials. This paper presents an overview of this reference collection, now located in a brand-new building in Oslo (Munch museum, MUNCH). The variety and the significant number of items in this unique collection represent an asset that is useful for advancing knowledge of Munch's art, in addition to historic paint and drawing materials. This paper focuses on historical artists' materials, discussing the challenges, the opportunities, and the impact of scientific study. Preliminary investigations indicate that the production of the paint tubes span pre1890s through to at least the 1920s and could stem from the whole period of Munch's career. This collection consists of 956 paint tubes from 20 different manufacturers. Most of them are labelled as oil colours but some as watercolour and tempera paint. Preliminary investigations of a selection of paint samples show that there is a discrepancy between the chemical composition and the brand specification on the labels. In addition to these paint tubes, there are watercolours in the form of dry cakes, and approximately 300 pastels and crayons in all colours from at least seven different brands. This collection provides a unique and important source for future research in modern artists materials from the turn of centuries.
Research Interests:
A microfading tester (MFT; also refers to microfading testing) was used to examine the light sensitivity of the colors on the eight different versions of The Scream in the MUNCH collection. The results would help in assessing how to meet... more
A microfading tester (MFT; also refers to microfading testing) was used to examine the light sensitivity of the colors on the eight different versions of The Scream in the MUNCH collection. The results would help in assessing how to meet the educational and exhibition mandates to always having one version of The Scream on display, while at the same time protecting the different version from overexposure. Earlier analytical studies on the museum's painted version, MM.M.00514, published in 2020, identified environmentally induced process of fading involved in the deterioration of the cadmium-sulfide-based yellow paint. However, colorimetric tests on color changes from a given cumulative light exposure had not been undertaken on either colorants or substrate in the various versions. Among the different areas investigated with the MFT, the most sensitive color was a dark red hue found in the sky region on the oil and tempera version (MM.M.00514 (1910?)) as well as on the hand-colored lithographic print (MM.G.00193-03 (1898)), where earlier analyses pointed out the presence of Vermillion. The overarching goal of the present research was, therefore, to optimize the lighting conditions based on the results of the MFT. A balanced rotatable display in exhibition context was introduced in the exhibition according to the different version's sensitivity. As a result, the museum can display artworks safely up to the permissible light exposure in an essential in-house exhibition while simultaneously learning more about their light-related degradation rate.
Research Interests:
Edvard Munch played a fundamental role in shaping a new path into the modern art with his taste for experimentation and innovation, along 60 years of artistic production at the turn between 19th and 20th centuries. At his death in 1944 he... more
Edvard Munch played a fundamental role in shaping a new path into the modern art with his taste for experimentation and innovation, along 60 years of artistic production at the turn between 19th and 20th centuries. At his death in 1944 he bequeathed to the City of Oslo his entire collection, nowadays housed in a brand-new building (MUNCH Museum) in Bjøvika, over the fjord in Oslo. This unique artist collection encompasses many different types of objects, not only artworks, but also handwritten letters and notebooks, photographs, printing plates, 9830 personal belongings.
Research Interests:
Among the artists' materials of the nineteenth century, pastel crayons merit scientific interest since their early commercial formulations are mostly unknown and, until now, have been considerably less studied with respect to other... more
Among the artists' materials of the nineteenth century, pastel crayons merit scientific interest since their early commercial formulations are mostly unknown and, until now, have been considerably less studied with respect to other contemporary painting materials. In this framework, research herein reports the results of a comprehensive multi-analytical study of 44 pastel crayons of two recognized brands (LeFranc and Dr. F. Schoenfeld) from the Munch museum collection of original materials belonging to Edvard Munch. The integrated use of complementary spectroscopic and hyphenated mass-spectrometry techniques allowed the compositional profiles of the crayons to be traced providing the identification of the inorganic and organic pigments, the fillers/extenders and the binders. All crayons resulted to be oil-based and the binder was identified to be a mixture of a drying oil (safflower or linseed oil), palm oil or Japan wax and beeswax. Among others, pigments such as ultramarine, chrome yellows, Prussian blue, manganese violet, viridian and madder lake have been identified. A significant alignment in formulations of the brands was observed with the only exception of the greens which showed distinctive pigment and filler compositions. The analytical information provided for these commercial artists' materials will be of great interest for academia, museum and other institutions hosting art collections dating from the same period and it will be used by the Munch museum to draw proper conservation strategies of its own artwork collections. Edvard Munch (1863-1944), one of the fathers of modern expressionism in art history, was a polyvalent artist who experimented with a wide variety of materials and techniques throughout his artistic career. Indeed, Munch's art production took place during a renowned period of great innovation in chemical organic synthesis and industrial research. Vast numbers of new appealing painting materials became available between the end of the nineteenth century and the first decades of the twentieth century, and Munch explored their potentialities in his artworks, without neglecting the use of traditional materials. An important part of the Munch Museum (MUNCH) collection in Oslo comprises the original artists' materials 1 used by Edvard Munch himself, of which around 300 items consist of pastel crayons of different brands. This part of the collection has never received the attention it would deserve as an important source of nineteenth century artist´s materials. For a complete characterization of the materials in this collection, for eventually dating them and understanding degradation mechanisms of paint formulations over time, in-depth analytical studies are needed. MUNCH is therefore developing a large core project aimed at providing new scientific knowledge of the museum collection of Munch's paintings and original materials from his studio (including paint tubes and drawing materials), supported by a robust interdisciplinary collaboration among scientists, conservators, restorers and art-historians 1. The terms pastel, crayon or indeed pastel-crayon are seemingly interchangeable although technical and historical literature from the seventeenth centuries provides only the slightest distinction that pastel actually OPEN
Research Interests:
The present chapter will illustrate few examples of multi-technique and multi-scale approaches for objects belonging to past or modern periods in the history of art chronology. Thus, four studies on four different topics are brought to... more
The present chapter will illustrate few examples of multi-technique and multi-scale approaches for objects belonging to past or modern periods in the history of art chronology. Thus, four studies on four different topics are brought to the attention: multi disciplinary and multi-techniques characterization of gilded altarpieces and sculptures in Portugal between 1500 and 1800 (3 years research project); an interdisciplinary approach to easel paintings from fifteenth and sixteenth century in Portugal (3 years research project); characterization of ketone resins varnishes (2 years research project) and of salts developed on canvas paintings from the Munch Museum collection (past investigation to be continued with an ongong 3 years research project). These studies show how important is to make use of different analytical tools when investigating a specific material, artistic technique or degradation phenomenon. The objects studied in the above mentioned research projects were created on wooden or canvas supports and they present paint, polichromy or gilded layers, and varnish coatings, therefore their structure and composition is complex and requires a complex, interdisciplinary approach. In many cases to the surface materials from a polychrome or painted object, degradation products are present and their identification as well the understanding of their mechanism of formation is possible only we have a complete overview of the materials present in the layered structure of the object.
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The present chapter will illustrate few examples of multi-technique and multi-scale approaches for objects belonging to past or modern periods in the history of art chronology. Thus, four studies on four different topics are brought to... more
The present chapter will illustrate few examples of multi-technique and multi-scale approaches for objects belonging to past or modern periods in the history of art chronology. Thus, four studies on four different topics are brought to the attention: multi disciplinary and multi-techniques characterization of gilded altarpieces and sculptures in Portugal between 1500 and 1800 (3 years research project); an interdisciplinary approach to easel paintings from fifteenth and sixteenth century in Portugal (3 years research project); characterization of ketone resins varnishes (2 years research project) and of salts developed on canvas paintings from the Munch Museum collection (past investigation to be continued with an ongong 3 years research project). These studies show how important is to make use of different analytical tools when investigating a specific material, artistic technique or degradation phenomenon. The objects studied in the above mentioned research projects were created on wooden or canvas supports and they present paint, polichromy or gilded layers, and varnish coatings, therefore their structure and composition is complex and requires a complex, interdisciplinary approach. In many cases to the surface materials from a polychrome or painted object, degradation products are present and their identification as well the understanding of their mechanism of formation is possible only we have a complete overview of the materials present in the layered structure of the object.
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This documents includes all publications, conference presentations and research projects of Irina Crina Anca Sandu.
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The paper presents the results from the hyperspectral identification of colouring palette used by Edvard Munch in a canvas painting entitled " Old Man in Warnemünde ". The painting is part of the collection at the Munch... more
The paper presents the results from the hyperspectral identification of colouring palette used by Edvard Munch in a canvas painting entitled " Old Man in Warnemünde ". The painting is part of the collection at the Munch Museum in Oslo. This work has allowed to analyze several points of the painting by means of hyperspectral imaging and identify thus the pigments present. The hyperspectral pigment identification involves the use of two pigment databases (Kremer and ENST) which were created with different binding media. Some results from the hyperspectral analysis were also validated through elemental analysis by means of XRF. Furthermore, the pigment identification method employs the shape component of spectral Kullback-Leibler pseudo-divergence function, instead of the widely-used but inaccurate method spectral angle mapper. In addition to the interest of the pigment analysis for the conservation practice on this particular painting, an important contribution of this paper is the validation of the hyperspectral imaging and acquisition methods for pigment identification.
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Biocolonization and biodeterioration phenomena in Cultural Heritage is presently considered a relevant issue when planning conservation strategies and preservation measures in museum collections. Artworks such as easel paintings are... more
Biocolonization and biodeterioration phenomena in Cultural Heritage is presently considered a relevant issue when planning conservation strategies and preservation measures in museum collections. Artworks such as easel paintings are source of various ecological niches for microbial communities’ growth due to the presence of several organic resources. Therefore, the identification of proteinaceous materials may play an important role in the evaluation of their conservation status, in the characterisation of the artistic technique, and in the definition of compatible conservation/restoration processes. Another challenge is to understand themicrobiota associated to the degradative processeswhen developing conservation strategies in CH artworks. For this study Edvard Munch paintings belonging to Munch Museum in Oslo presenting surface alterations were analysed to increase the knowledge about the materials used by the painter and try to understand the source and the dynamics of the associated colonising microbiota, helping in devising a conservation intervention plan. Immunoenzymatic assays was carried out in microsamples allowing the detection of casein as the binder used by the artist. The high throughput sequencing approaches allowed us to explore and characterise the microbial communities that colonise these artworks. Bacterial communities found in these artworks were mainly composed by species characterised by proteolytic capacity, an important biodeteriogenic characteristic for these paintings. Simulation assays performed in paint models prepared with casein as binder display signs of degradative action promoted by the proteolytic strains isolated from the damaged areas. This approach can be useful to promote effective intervention processes in E. Munch’s paintings with the same pathologies.
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IRINA CRINA ANCA SANDU1, MIKIKO HAYASHI2, VIORICA VASILACHE3, DANUT-GABRIEL COZMA4, SILVEA PRUTEANU3, MARIA URMA5, ION SANDU3,6* 1 Universidade de Evora, Laboratorio HERCULES, Palacio do Vimioso, Largo Marques de Marialva, 8, 7000-809,... more
IRINA CRINA ANCA SANDU1, MIKIKO HAYASHI2, VIORICA VASILACHE3, DANUT-GABRIEL COZMA4, SILVEA PRUTEANU3, MARIA URMA5, ION SANDU3,6* 1 Universidade de Evora, Laboratorio HERCULES, Palacio do Vimioso, Largo Marques de Marialva, 8, 7000-809, Evora, Portugal 2 Center of Conservation Science and Restoration Techniques, National Research Institute of Cultural Properties, 13-43 Ueno Park, Taito-ku, 110-8713, Tokyo, Japan 3 Alexandru Ioan Cuza University of Iasi, ARHEOINVEST Platform, 22 Carol I Blvd., 700506, Iasi, Romania 4 Alexandru Ioan Cuza University of Iasi, Faculty of Chemistry, 11 Carol I Blvd., 700506, Iasi, Romania 5 George Enescu University of Artes, 29 Cuza Voda St., 700040, Iasi, Romania 6 Romanian Inventors Forum, 3 Sf. Petru Movila St., Bloc L11, III/3, 700089, Iasi, Romania
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IOANA HUTANU1*, ION SANDU1,2, ATENA-ELENA SIMIONESCU3, VIORICA VASILACHE2,4, ANA-MARIA BUDU1, IRINA CRINA ANCA SANDU5* 1 Alexandru Ioan Cuza University of Iasi, Faculty of Geography and Geology, 22 Carol I Blvd., 700506, Iasi, Romania 2... more
IOANA HUTANU1*, ION SANDU1,2, ATENA-ELENA SIMIONESCU3, VIORICA VASILACHE2,4, ANA-MARIA BUDU1, IRINA CRINA ANCA SANDU5* 1 Alexandru Ioan Cuza University of Iasi, Faculty of Geography and Geology, 22 Carol I Blvd., 700506, Iasi, Romania 2 Alexandru Ioan Cuza University of Iasi, ARHEOINVEST Interdisciplinary Platform, 22 Carol I Blvd., Corp G, 700506, Iasi, Romania 3 George Enescu University of Artes, 29 Cuza Voda Str., 700040, Iasi, Romania 4 Romanian Inventors Forum, 3 Sf. Petru Movila Str., Bl. L11, III/3, 700089, Iasi, Romania 5 Universidade de Evora, Laboratorio HERCULES, Palacio do Vimioso, Largo Marques de Marialva, 8, 7000-809, Evora, Portugal
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Among the artists’ materials of the nineteenth century, pastel crayons merit scientific interest since their early commercial formulations are mostly unknown and, until now, have been considerably less studied with respect to other... more
Among the artists’ materials of the nineteenth century, pastel crayons merit scientific interest since their early commercial formulations are mostly unknown and, until now, have been considerably less studied with respect to other contemporary painting materials. In this framework, research herein reports the results of a comprehensive multi-analytical study of 44 pastel crayons of two recognized brands (LeFranc and Dr. F. Schoenfeld) from the Munch museum collection of original materials belonging to Edvard Munch. The integrated use of complementary spectroscopic and hyphenated mass-spectrometry techniques allowed the compositional profiles of the crayons to be traced providing the identification of the inorganic and organic pigments, the fillers/extenders and the binders. All crayons resulted to be oil- based and the binder was identified to be a mixture of a drying oil (safflower or linseed oil), palm oil or Japan wax and beeswax. Among others, pigments such as ultramarine, chro...
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http://www.revistadechimie.ro 1739 The wooden church under the patronage of the Archangels St. Michael and Gabriel in Sînmihaiu-Almasului, Salaj County (fig. 1), was built in the Eighteen century, probably not long before being painted.... more
http://www.revistadechimie.ro 1739 The wooden church under the patronage of the Archangels St. Michael and Gabriel in Sînmihaiu-Almasului, Salaj County (fig. 1), was built in the Eighteen century, probably not long before being painted. The interior painting was carried out by the painter as shown by the inscription on the right side of the iconostasis ... priest Andrei Toma, painted by Pop Ioan, 1794, January 20 [1]. Based on an older reading of the votive inscription on the left side of the iconostasis (fig. 2), the year 1778 is mentioned as the edification date of the church [2]. The entire structure is constructed from oak, with the large slopes of the roof, which descends steeply toward the altar, having a tower with an open pavilion on sculpted arches at the entrance. The porch is placed on three sides, the north, the south and the west, respecting the sculpted decoration of the pavilion. The painting was made, according to the votive inscription in the year 1794 by the itiner...
The Saint Elijah's glass icon was investigated by FTIR and mass spectrometry methods for identifying the painting materials in order to preserve and restore it. The glass icon was realized in fatty tempera with egg yolk and vegetal... more
The Saint Elijah's glass icon was investigated by FTIR and mass spectrometry methods for identifying the painting materials in order to preserve and restore it. The glass icon was realized in fatty tempera with egg yolk and vegetal oil was used as binder. The painting materials are as follows: red (lead minium), blue (Prussian blue), green (Prussian blue+ massicot), white (ZnO and lead white), yellow (massicot lead yellow, PbO), gypsum and Ca carbonate as color diluents.
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This paper deals with the multi-analytical comparative characterization of 59 samples of gilded and polychrome layers from 7 altarpieces studied during the Gilt-Teller project (www.gilt-teller.pt). The altarpieces studied here belong to... more
This paper deals with the multi-analytical comparative characterization of 59 samples of gilded and polychrome layers from 7 altarpieces studied during the Gilt-Teller project (www.gilt-teller.pt). The altarpieces studied here belong to seven churches in the areas of Lisbon, Santarem, Portalegre and Guarda and display stylistic and constructive features characteristic to the Mannerism carved wood decoration in Portugal. The applied protocol of investigation characterized the structure and manufacture technique of gilding; identified the chemical composition of the layers constituting the gilded polychrome decoration; compared the materials and gilding techniques encountered in the 7 altarpieces and assessed the conservation state of each altarpiece. The analytical techniques applied to these purposes were: stereomicroscopy (SM), optical microscopy (OM), scanning electron microscopy coupled with energy dispersive X-ray spectrometry (SEM-EDX), X-ray diffraction (XRD), MALDI-TOF mass s...
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This paper presents an investigation that aims to identify and characterise the paint materials in a painting from the Munch Museum collection that exhibits colour alterations. The investigation is part of a larger project being carried... more
This paper presents an investigation that aims to identify and characterise the paint materials in a painting from the Munch Museum collection that exhibits colour alterations. The investigation is part of a larger project being carried out at the museum, focusing on modern paint materials and their degradation mechanisms. The painting Old Man in Warnemunde selected for this paper features both red and blue paints, with such darkening, The red paint also shows other signs of deterioration, such as deep cracking and crumbling. Samples of the red and blue paint were taken from the painting and analysed by means of pXRF, OM, SEM-EDX, μ-FTIR, XANES and Py-GC/MS.
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The degradation of cadmium sulfide (CdS)–based oil paints is a phenomenon potentially threatening the iconic painting The Scream (ca. 1910) by Edvard Munch (Munch Museum, Oslo) that is still poorly understood. Here, we provide evidence... more
The degradation of cadmium sulfide (CdS)–based oil paints is a phenomenon potentially threatening the iconic painting The Scream (ca. 1910) by Edvard Munch (Munch Museum, Oslo) that is still poorly understood. Here, we provide evidence for the presence of cadmium sulfate and sulfites as alteration products of the original CdS-based paint and explore the external circumstances and internal factors causing this transformation. Macroscale in situ noninvasive spectroscopy studies of the painting in combination with synchrotron-radiation x-ray microspectroscopy investigations of a microsample and artificially aged mock-ups show that moisture and mobile chlorine compounds are key factors for promoting the oxidation of CdS, while light (photodegradation) plays a less important role. Furthermore, under exposure to humidity, parallel/secondary reactions involving dissolution, migration through the paint, and recrystallization of water-soluble phases of the paint are associated with the forma...
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High printing quality of banknotes and the variety of security features implemented in banknotes make a big difference between the genuine notes and high-quality forgeries. The counterfeiter cannot reproduce or imitate the printing... more
High printing quality of banknotes and the variety of security features implemented in banknotes make a big difference between the genuine notes and high-quality forgeries. The counterfeiter cannot reproduce or imitate the printing quality and all security features embedded in every banknote, such as Optically Variable Ink, Optically Variable Diffractive Images, or intaglio printing. The present research focused on the examination of optically variable devices embedded on 50Îbanknotes. The altered banknotes were examined using different techniques.
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The present chapter will illustrate few examples of multi-technique and multi-scale approaches for objects belonging to past or modern periods in the history of art chronology. Thus, four studies on four different topics are brought to... more
The present chapter will illustrate few examples of multi-technique and multi-scale approaches for objects belonging to past or modern periods in the history of art chronology. Thus, four studies on four different topics are brought to the attention: multi disciplinary and multi-techniques characterization of gilded altarpieces and sculptures in Portugal between 1500 and 1800 (3 years research project); an interdisciplinary approach to easel paintings from fifteenth and sixteenth century in Portugal (3 years research project); characterization of ketone resins varnishes (2 years research project) and of salts developed on canvas paintings from the Munch Museum collection (past investigation to be continued with an ongong 3 years research project). These studies show how important is to make use of different analytical tools when investigating a specific material, artistic technique or degradation phenomenon. The objects studied in the above mentioned research projects were created o...
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Uma disputa entre cinco dos melhores pintores douradores de Évora deu origem à realização de uma extensa documentação sobre a técnica, os materiais e os preços em vigor em Évora, no ano de 1729. A rivalidade entre o mestre Filipe de... more
Uma disputa entre cinco dos melhores pintores douradores de Évora deu origem à realização de uma extensa documentação sobre a técnica, os materiais e os preços em vigor em Évora, no ano de 1729. A rivalidade entre o mestre Filipe de Santiago, responsável pelo douramento do conjunto de talha da Igreja da Misericórdia, e a equipa liderada por Manuel da Maia que executou o douramento do retábulo da capela-mor da Igreja da Cartuxa, obrigou os comitentes a redigirem os contratos com um rigor inusual, já que ambos os mestres não aceitavam a possibilidade de serem examinados pelo oponente. A caracterização físico-química do douramento e das camadas de policromia de ambos os altares, realizada no âmbito do projecto GILT-Teller (www.gilt-teller.uevora.pt), permite-nos uma aproximação à cultura pictórica do período. Como é reportado nos contratos, o douramento da talha dourada foi enriquecido com carnações, estofado e “regraxos”. Estas técnicas foram utilizadas de maneira muito semelhante em ...
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Abstract Adherent deposits are very aggressive towards ancient heritage paintings since they affect the varnish and the painting's layers, sometimes reaching the preparative layers. The biggest problem to the restorer is their removal... more
Abstract Adherent deposits are very aggressive towards ancient heritage paintings since they affect the varnish and the painting's layers, sometimes reaching the preparative layers. The biggest problem to the restorer is their removal without affecting the patina, the transparent varnish (well preserved) and fine colour glazes made during painting. Therefore, their removal requires preliminary cleaning tests that allow the optimization of the cleaning system composition that is going to be used. The study was focused on organic natural systems, as colourless supernatants, some of them used during ages, but insufficiently studied. The paper presents an evaluation of the effectiveness of cleaning varnished icons of the nineteenth century, with complex conservation cases using supernatants derived from aqueous dispersions extracted from vegetables and dry indigenous herbal infusions. Best results, after six consecutive cleaning steps, on tempera old icon was obtained for a mixture made of mature white onion juice + extract of Soapwort flowers + corn silk tea + acacia tea. As a best result after just one cleaning step was obtained for a quaternary mixture composed from mature white onion juice + mature carrot juice + corn silk tea + aqueous extract of Soapwort flowers.
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The objective of this work was the modification of the pigment Yellow 17 structure through a treatment with ZnCl2 and Na2SiO3 in order to improve its properties. The modifications that appear in pigment structure were revealed by... more
The objective of this work was the modification of the pigment Yellow 17 structure through a treatment with ZnCl2 and Na2SiO3 in order to improve its properties. The modifications that appear in pigment structure were revealed by UV-visible diffuse reflectance and EDX analysis. The synthesized pigments were used to colour the polypropylene. The chromatic modifications appeared through pigment colouring with modified pigments were evaluated by measuring the colour intensity and colour difference. The light fastness and UV protection of the coloured polypropylene samples were also highlighted.
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Research Interests: Materials Engineering, Chemical Engineering, Materials Science, Conservation, POlymer degradation and stability, and 10 moreConservation Status, Weight Loss, Activation Energy, Structural Change, Support, Thermogravimetry, Conservative treatment, Volatile Compounds, thermal behaviour, and Thermal Degradation
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Among the artists' materials of the nineteenth century, pastel crayons merit scientific interest since their early commercial formulations are mostly unknown and, until now, have been considerably less studied with respect to other... more
Among the artists' materials of the nineteenth century, pastel crayons merit scientific interest since their early commercial formulations are mostly unknown and, until now, have been considerably less studied with respect to other contemporary painting materials. In this framework, research herein reports the results of a comprehensive multi-analytical study of 44 pastel crayons of two recognized brands (LeFranc and Dr. F. Schoenfeld) from the Munch museum collection of original materials belonging to Edvard Munch. The integrated use of complementary spectroscopic and hyphenated mass-spectrometry techniques allowed the compositional profiles of the crayons to be traced providing the identification of the inorganic and organic pigments, the fillers/extenders and the binders. All crayons resulted to be oil-based and the binder was identified to be a mixture of a drying oil (safflower or linseed oil), palm oil or Japan wax and beeswax. Among others, pigments such as ultramarine, chrome yellows, Prussian blue, manganese violet, viridian and madder lake have been identified. A significant alignment in formulations of the brands was observed with the only exception of the greens which showed distinctive pigment and filler compositions. The analytical information provided for these commercial artists' materials will be of great interest for academia, museum and other institutions hosting art collections dating from the same period and it will be used by the Munch museum to draw proper conservation strategies of its own artwork collections.
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Biocolonization and biodeterioration phenomena in Cultural Heritage is presently considered a relevant issue when planning conservation strategies and preservation measures in museum collections. Artworks such as easel paintings are... more
Biocolonization and biodeterioration phenomena in Cultural Heritage is presently considered a relevant issue when planning conservation strategies and preservation measures in museum collections. Artworks such as easel paintings are source of various ecological niches for microbial communities’ growth due to the presence of several organic resources.
Therefore, the identification of proteinaceous materials may play an important role in the evaluation of their conservation status, in the characterisation of the artistic technique, and in the definition of compatible conservation/restoration processes. Another challenge is to
understand themicrobiota associated to the degradative processeswhen developing conservation strategies in CH artworks. For this study Edvard Munch paintings belonging to Munch Museum in Oslo presenting surface alterations were analysed to increase the knowledge about the materials used by the painter and try to understand the source and the dynamics of
the associated colonising microbiota, helping in devising a conservation intervention plan.
Immunoenzymatic assays was carried out in microsamples allowing the detection of casein as the binder used by the artist. The high throughput sequencing approaches allowed us to explore and characterise the microbial communities that colonise these artworks. Bacterial communities found in these artworks were mainly composed by species characterised by proteolytic capacity, an important biodeteriogenic characteristic for these paintings. Simulation assays performed in paint models prepared with casein as binder display signs of degradative action promoted by the proteolytic strains isolated from the damaged areas. This approach can be useful to promote effective intervention processes in E. Munch’s paintings with the same pathologies.
Therefore, the identification of proteinaceous materials may play an important role in the evaluation of their conservation status, in the characterisation of the artistic technique, and in the definition of compatible conservation/restoration processes. Another challenge is to
understand themicrobiota associated to the degradative processeswhen developing conservation strategies in CH artworks. For this study Edvard Munch paintings belonging to Munch Museum in Oslo presenting surface alterations were analysed to increase the knowledge about the materials used by the painter and try to understand the source and the dynamics of
the associated colonising microbiota, helping in devising a conservation intervention plan.
Immunoenzymatic assays was carried out in microsamples allowing the detection of casein as the binder used by the artist. The high throughput sequencing approaches allowed us to explore and characterise the microbial communities that colonise these artworks. Bacterial communities found in these artworks were mainly composed by species characterised by proteolytic capacity, an important biodeteriogenic characteristic for these paintings. Simulation assays performed in paint models prepared with casein as binder display signs of degradative action promoted by the proteolytic strains isolated from the damaged areas. This approach can be useful to promote effective intervention processes in E. Munch’s paintings with the same pathologies.
Research Interests:
The degradation of cadmium sulfide (CdS)-based oil paints is a phenomenon potentially threatening the iconic painting The Scream (ca. 1910) by Edvard Munch (Munch Museum, Oslo) that is still poorly understood. Here, we provide evidence... more
The degradation of cadmium sulfide (CdS)-based oil paints is a phenomenon potentially threatening the iconic painting The Scream (ca. 1910) by Edvard Munch (Munch Museum, Oslo) that is still poorly understood. Here, we provide evidence for the presence of cadmium sulfate and sulfites as alteration products of the original CdS-based paint and explore the external circumstances and internal factors causing this transformation. Macroscale in situ noninvasive spectroscopy studies of the painting in combination with synchrotron-radiation x-ray microspectroscopy investigations of a microsample and artificially aged mock-ups show that moisture and mobile chlorine compounds are key factors for promoting the oxidation of CdS, while light (photodegradation) plays a less important role. Furthermore, under exposure to humidity, parallel/secondary reactions involving dissolution, migration through the paint, and re-crystallization of water-soluble phases of the paint are associated with the formation of cadmium sulfates.