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Irina C . A . Sandu
Since 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.
Phone: +4792259553
Address: Munch Museet, Edvard Munchs Plass 1, 0194 Oslo
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.
Phone: +4792259553
Address: Munch Museet, Edvard Munchs Plass 1, 0194 Oslo
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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.
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.
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.
‘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.
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.
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.
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.
‘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.
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.
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.
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;
(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?
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.
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).
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.
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.
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.
layers.
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.
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.
samples possible.
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
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.
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.
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.
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.