Ana M D S Bailão
Universidade Católica Portuguesa, CITAR, Department Member
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Research Interests: Humanities and Art
Research Interests: Humanities and Art
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Research Interests: Physics and Humanities
Research Interests: Humanities and Art
Research Interests: Humanities and Art
Research Interests: Humanities and Art
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A Faculdade de Belas-Artes da Universidade de Lisboa em parceria com o Museu da Farmácia e o Grupo Espanhol do IIC (International Institute for Conservation of Historic and Artistic Works) organizaram o III Congresso Ibero-Americano... more
A Faculdade de Belas-Artes da Universidade de Lisboa em parceria com o Museu da Farmácia e o Grupo Espanhol do IIC (International Institute for Conservation of Historic and Artistic Works) organizaram o III Congresso Ibero-Americano Investigações em Conservação do Património (ICP), entre os dias 24 a 26 de setembro de 2020
Research Interests: Humanities and Art
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info:eu-repo/semantics/publishedVersio
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Many painting conservators are often convinced that they are unable to obtain adequate retouching results due to their technique, when in reality their failure is the consequence of a poor choice of brushes. It has been observed that... more
Many painting conservators are often convinced that they are unable to obtain adequate retouching results due to their technique, when in reality their failure is the consequence of a poor choice of brushes. It has been observed that choosing the right brush is very important in order to fulfil all quality aspects that should be taken into consideration when planning a retouching project. This paper endeavours to provide comprehensive information about the history, examination and evaluation of brushes. It is aimed at all conservators who purchase brushes for retouching practice, with the objective to determine which are the best ones currently on the market. This study demonstrates that the shape and size of the brush must fully correspond to the technique and method of retouching, in order to obtain optimal results. The article is written by two investigators from different countries, Portugal and Croatia, who share their own personal retouching practices.
Research Interests: Engineering and Brush
This article aims to describe the study carried out of the acquis of contemporary medals of the Volte Face-Contemporary Medal, the former research unit of the Research and Studies Centre in Fine Arts (CIEBA) at the Faculty of Fine Arts,... more
This article aims to describe the study carried out of the acquis of contemporary medals of the Volte Face-Contemporary Medal, the former research unit of the Research and Studies Centre in Fine Arts (CIEBA) at the Faculty of Fine Arts, University of Lisbon. They researched on the history of the Volte Face – Contemporary Medals group and the experimental work developed in the study of medallic art. This experimental path led to the appearance of medals with different shapes and sizes, craft in materials of different origins, namely organic (wood, honeycombs, parts of animals), synthetic (plastic, acrylic, wood panels) and inorganic (ceramic and metal), whose characteristics have revealed themselves as a challenge for the acquis conservation and packaging. KEYWORDS: Contemporary Medal, Volte Face, Conservation, Degradation factors, Organic materials, Synthetic materials, Inorganic materials. RESUMEN El presente articulo tiene como objetivo describir el estudio realizado en el acervo ...
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FEDER through the COMPETE Program and by the Portuguese Foundation for Science and Technology (FCT) in the framework of the project PTDC/MHC-PCN/4731/2012
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The study is being conducted within the framework of the conservation and restoration intervention on twelve paintings of the Portuguese artist Adriano de Sousa Lopes (1879-19). These artworks belongs to the painting collection of Faculty... more
The study is being conducted within the framework of the conservation and restoration intervention on twelve paintings of the Portuguese artist Adriano de Sousa Lopes (1879-19). These artworks belongs to the painting collection of Faculty of Fine Arts, University of Lisbon (FBAUL). The aim of this study was to find a standard cracks pattern on these Sousa Lopes works. For that, it was carried out a mapping of existing cracks on this twelve paintings, through the open source software QGIS®. The cracks classification was based on Spike Bucklow and Knut Nicolaus methodologies. The outcome was compared with the technical documentation in an attempt to establish relationships between the materials and cracks. However, it was possible to find a typical cracks for the Lisbon period and another one for the Paris period. The prevailing cracks are from aging an drying, and their source derives from the low technique and poor quality of the material, excessive use of drying and negligence in p...
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Mica pigments are defined as a type of interference pigments with high reflective and refractive properties. In the second half of the 20th century, these pigments have become an additional material to the retouching palettes of... more
Mica pigments are defined as a type of interference pigments with high reflective and refractive properties. In the second half of the 20th century, these pigments have become an additional material to the retouching palettes of conservator‐restorers, in par ticular for reconstructing the losses of metallic surfaces. However, their feature to manipulate incident light can produce large colour shif ts depending of the texture of the sur face, the viewing angle and illumination settings. Given the lack of literature on retouching with mica pigments, this study aims to investigate their specif ic features and handling properties in this par ticular application. The first part of this paper explores the composition and optical attributes of mica pigments, while the second deals with their application in retouching damaged metallic surfaces on three‐dimensional wooden objects. It is shown that the selection of pigments of the same geometrical structure and a constant source of illumination are some of the main factors that need to be taken into consideration while retouching with mica pigments.
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The present article intends to present a model for the documentation and registry used in the diagnosis and intervention stages in conservation and restoration (C&R) of a set of twelve works by Adriano de Sousa Lopes, from the collection... more
The present article intends to present a model for the documentation and registry used in the diagnosis and intervention stages in conservation and restoration (C&R) of a set of twelve works by Adriano de Sousa Lopes, from the collection of the Faculty of Fine Arts, University of Lisbon (FBAUL). To this end, a free and open access geographic information system (GIS) software called QGIS® was used. During the analysis, several vector maps were produced, both for diagnosis and for conservation and restoration treatments (CR), namely the microcracks network, areas of loss, consolidation areas, textile microsurgery and chemical cleaning. The quantitative results obtained from the spatial analyses of the pictorial surfaces were recorded in the GIS database. Finally, it was verified that the technical study of works with the QGIS(R) program contemplates a spatial perception of the works of art for evidencing, in a systematic and integrated way, the phenomena of alteration of the pieces un...
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Atas do Congresso Ibero-Americano “Investigações em Conservação do Património”, organizado bianualmente pela Faculdade de Belas Artes da Universidade de Lisboa, em parceria com o Museu da Farmácia e o Grupo Espanhol do IIC (GEIIC). Esta... more
Atas do Congresso Ibero-Americano “Investigações em Conservação do Património”, organizado bianualmente pela Faculdade de Belas Artes da Universidade de Lisboa, em parceria com o Museu da Farmácia e o Grupo Espanhol do IIC (GEIIC). Esta edição contou com a participação de uma Comissão Internacional na Organização, composta por investigadores de países como Brasil, Perú, México, Espanha e ainda a IberMuseus, que ofereceram, nos seus países, atividades, como conferências e workshops, que ocorreram antes, durante e após o congresso. Estas iniciativas decorreram no âmbito de uma temática comum, as “Práticas Sustentáveis no Património”. O objetivo foi reunir experiências aplicadas em grandes espaços como museus, instituições culturais, de ensino ou em intervenções de conservação e restauro. Foram partilhadas experiências e ideias que ajudaram e contribuíram para enriquecer o conhecimento e as práticas de todos os que participaram.
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Mimetic chromatic reintegration in easel paintings is usually achieved by levelling the surface of losses (lacunae) with a white filler, followed by its retouching with an appropriate paint. This investigation aimed to understand how... more
Mimetic chromatic reintegration in easel paintings is usually achieved by levelling the surface of losses (lacunae) with a white filler, followed by its retouching with an appropriate paint. This investigation aimed to understand how different formulations of fillers (colored fillers and white fillers covered with three kinds of paints: watercolor, gouache, and mastic resin) influence mimetic reintegration. Colorimetry, using a smartphone with a color measurement application, and Fiber Optics Reflectance Spectroscopy (FORS) measurements were made on 29 samples of fillers and on the surface of the pictorial layer of our case study - a painting by Veloso Salgado.The combined use of these techniques allowed us to choose the most similar material filler system. The pigmented fillers gave us the best results to perform a safer and faster chromatic reintegration procedure. This procedure appears to be suitable for contemporary art as which usually do not present a protective layer. Also, ...
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The objective of this paper is to present a workflow procedure to support the graphic recording of the operations performed during the retouching process involved in paintings. In this particular context, an orthophotography of a portrait... more
The objective of this paper is to present a workflow procedure to support the graphic recording of the operations performed during the retouching process involved in paintings. In this particular context, an orthophotography of a portrait painted on canvas from a university museum collection was used in Blender, a free and open-source 3D creation software suite. Blender uses an important metric coordination value, provided by the 3D workspace software that allows the areal characterization and numeric identification of each surface loss. The step-by-step procedure adopted to document and map lacunae in this artwork for subsequent retouching, is described.info:eu-repo/semantics/submittedVersio
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Delfim Maria de Sousa Maya (1886- 1978) was an autodidact Portuguese artist, that began his artistic work through drawing and painting but developed his originality through metal foil sculpture. His work reveals a connection and interest... more
Delfim Maria de Sousa Maya (1886- 1978) was an autodidact Portuguese artist, that began his artistic work through drawing and painting but developed his originality through metal foil sculpture. His work reveals a connection and interest to Ribatejo region and the tauromachic livelihood. The sculptures reveal an eximious three-dimensional work throughout a vigorous anatomical and movement component. His work has been poorly studied and released due to different historical circumstances. This article gives a global window of the work so far produced by the Project Delfim Maya within three fields: the research for conservation and restoration of paper objects, the disclosure mechanisms, and the educational level. This Project was born by the hand of Maria José Maya, and her wish to preserve her grandfather’s collection to future generations, a singular one within the National context.info:eu-repo/semantics/publishedVersio
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In the documentation in conservation context, there is an increasing demand for precise and accurate data and also for full three dimensional records of the cultural heritage. This paper presents the study case of a painting by Amadeo de... more
In the documentation in conservation context, there is an increasing demand for precise and accurate data and also for full three dimensional records of the cultural heritage. This paper presents the study case of a painting by Amadeo de Souza-Cardoso before, during and after the retouching treatment. The work focuses on the use of open source systems, such as GIS and photogrammetry software, in order to produce accurate maps of object losses and realistic virtual 3D models enabling the study of artworks with a minimum budget and a low cost infrastructure.
In the documentation in conservation context, there is an increasing demand for precise and accurate data and also for full three dimensional records of the cultural heritage. This paper presents the study case of a painting by Amadeo de... more
In the documentation in conservation context, there is an increasing demand for precise and accurate data and also for full three dimensional records of the cultural heritage. This paper presents the study case of a painting by Amadeo de Souza-Cardoso before, during and after the retouching treatment. The work focuses on the use of open source systems, such as GIS and photogrammetry software, in order to produce accurate maps of object losses and realistic virtual 3D models enabling the study of artworks with a minimum budget and a low cost infrastructure.
Research Interests: Photogrammetry, Documentation, Cultural Heritage Conservation, Heritage Conservation, Science for Conservation and Restoration of Cultural Heritage, and 6 moreRestauration and Conservation, Heritage Conservation and Documentation, Retouching, Science for Conservation and Restauration of Cultural Heritage, Science for Conservation, and Image Retouching
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A reintegração cromática de uma pintura é sempre um desafio para os conservadores-restauradores e a decisão de como reintegrar é geralmente baseada no valor e na função das obras. Porém, a escolha de qual a técnica de reintegração é a... more
A reintegração cromática de uma pintura é sempre um desafio para os conservadores-restauradores e a decisão de como reintegrar é geralmente baseada no valor e na função das obras. Porém, a escolha de qual a técnica de reintegração é a mais adequada nem sempre é fácil de se justificar. Para tentar ajudar a dar resposta a esta questão foi utilizado um software de Sistema de Informação Geográfica (SIG), designado de QGIS®. Através da edição vetorial foram efetuados vários mapas temáticos com a finalidade de registar as lacunas que se observavam nas pinturas. A análise efetuada com o auxílio do SIG permitiu fazer a caracterização espacial das lacunas em área, para facilitar a tomada de decisão da técnica de reintegração a ser aplicada. Como caso de estudo utilizou-se uma pintura académica de Adriano de Sousa Lopes (1879-1944). Na reintegração cromática usaram-se três técnicas conhecidas de conservação e restauro: o processo mimético, a selezione cromatica e o pontilhismo.
Research Interests: Humanities, Art, Documentation, Sig, Documentación, and 4 moreLosses, Documentação, Pérdidas, and Lacunas
This paper describes the application of 3D digital technology to support the rebuild of lost decorative elements of an historical frame. The frame belongs to an 18th century painting depicting the portrait of D. José, Prince of Brazil,... more
This paper describes the application of 3D digital technology to support the rebuild of lost decorative elements of an historical frame. The frame belongs to an 18th century painting depicting the portrait of D. José, Prince of Brazil, displayed at the National Palace of Queluz, Portugal. The application of digital technologies has been planned from the very beginning in order to avoid the traditional use of silicone in the reproduction of missing elements. The photogrammetric 3D acquisition, a non-contact methodology, has been used to reduce the manipulation and hence prevent further degradation of the artistic object. Following the 3D modelling operation, new decorative elements were made using an additive printing technology. In the final phase of the work, the post-printing treatment was carried out, in which aqueous products were used. 3D modelling, in addition to facilitate the restoration treatment of the historic frame, can also be useful in the creation of a digital collect...
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Laura Mora, Paolo Mora e Paul Philippot escreveram, por ocasião da primeira edição de Conservation des peintures murales, em 1975, que o tratteggio nunca tinha sido publicado em nenhuma revista técnica e que, apesar de ser praticado desde... more
Laura Mora, Paolo Mora e Paul Philippot escreveram, por ocasião da primeira edição de Conservation des peintures murales, em 1975, que o tratteggio nunca tinha sido publicado em nenhuma revista técnica e que, apesar de ser praticado desde 1945, consideravam que ainda não tinha sido devidamente entendido, motivo pelo qual tentavam-no descrever detalhadamente. No inicio da segunda década do século XXI, várias são as situações, no caso concreto da reintegração cromática, em que persistem problemas de terminologia e alguma confusão acerca das técnicas de reintegração aplicadas em pintura, quer no discurso escrito, quer no discurso oral. Por esse motivo, o principal objectivo deste artigo é esclarecer a origem e os procedimentos originais de execução de algumas técnicas de reintegração cromática, as que normalmente se usam em pintura de cavalete em Portugal, tentando recorrer às fontes originais e a estudos específicos sobre o tema, bem como anotar particularidades na evolução das mesmas...
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El objetivo de este trabajo es analizar y contextualizar la reintegración cromática diferenciada en la pintura de caballete durante el siglo XX en Portugal. Se trata de un estudio de los criterios con base en las actividades de... more
El objetivo de este trabajo es analizar y contextualizar la reintegración cromática diferenciada en la pintura de caballete durante el siglo XX en Portugal. Se trata de un estudio de los criterios con base en las actividades de reintegración cromática llevadas a cabo por Abel de Moura y Fernando Mardel en dos paneles de pinturas sobre madera: el tríptico de "Pietá com dois Santos", perteneciente a lo Museu de Artes Decorativas Portuguesas, Fundação Ricardo do Espírito Santo Silva (FRESS) y el tríptico de la Iglesia de “Encarnação”, en la actualidad en el Museo de Arte Sacro en Funchal. El área reintegrada es valorada mediante el uso de sistemas de información geográfica.
Research Interests: Humanities and Art
The matching colour in retouching depends on the ability of the observer to differentiate colour. This ability was measured on 28 volunteer conservation students of varying aged using a specific test of colour discrimination – the... more
The matching colour in retouching depends on the ability of the observer to differentiate colour. This ability was measured on 28 volunteer conservation students of varying aged using a specific test of colour discrimination – the Farnsworth-Munsell 100-hue test. Fourteen of the subjects were aged between 18-28, six between 29-38, seven between 39-48, and one was over 49 years. The final results are: 50% of subjects showed a wide-ranging ability to differentiate colour: none of them was colour blind; 7% of the students, however, have low ability to discriminate hues but only one was aware of his deficiency. The author aims to reveal the importance of this test for the conservators, using it as a detector to select eligible subjects with high sensibility in colour discrimination, which is an essential predisposition to perform accurate colour matching in retouching.
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O estudo que aqui se apresenta foi efetuado no âmbito do curso de doutoramento em Bens Culturais, na especialidade de Pintura, que decorreu na Universidade Católica Portuguesa, subordinado ao tema da qualidade em reintegração cromática. O... more
O estudo que aqui se apresenta foi efetuado no âmbito do curso de doutoramento em Bens Culturais, na especialidade de Pintura, que decorreu na Universidade Católica Portuguesa, subordinado ao tema da qualidade em reintegração cromática. O objetivo do presente trabalho é propôr um sistema para a caracterização das lacunas da superficie pictórica, direccionado específicamente para o processo de reintegração cromática, de modo a que o conservador-restaurador possa ter acesso a uma informação qualitativa e quantitativa mais rigorosa, antes, durante e depois da intervenção. Para o efeito, utilizaram-se imagens fotográficas de uma pintura sobre madeira do século XVI e um sistema de informação geográfica (SIG). Trata-se de um programa informático utilizado no processamento de dados espaciais, o software open-source QGIS. O projeto tem a particularidade de ter sido efetuado em tempo-real, à medida que a intervenção foi decorrendo, como forma de apoio à tomada de decisão.
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Este estudio tiene como objetivo determinar las causas de degradación asociadas a las pinturas Adriano de Sousa Lopes (1879-1944) durante su aprendizaje en las Academias de Bellas Artes de Lisboa y París a principios del siglo XX. El... more
Este estudio tiene como objetivo determinar las causas de degradación asociadas a las pinturas Adriano de Sousa Lopes (1879-1944) durante su aprendizaje en las Academias de Bellas Artes de Lisboa y París a principios del siglo XX. El conjunto de diez pinturas elegidas para el análisis pertenece a la colección de pintura de la Facultad de Bellas Artes de la Universidad de Lisboa (FBAUL). Con este fin, se estableció una metodología para el análisis del deterioro en base en los resultados obtenidos a través de la identificación de los materiales y técnicas, así como en el estudio del estado de conservación de las obras. Para finalizar, fue posible identificar los agentes de deterioro responsables de la degradación de las obras verificando daños mecánicos y físicos provocados por condiciones ambientales no controladas, incorrecto manejo, mal almacenamiento y, por fin, incorrecta aplicación de técnicas por parte del pintor, así como por la elección de materiales frágiles.
Research Interests: Humanities and Art
La investigación que aquí se presenta tiene como objetivos: identificar el polímero sintético utilizado por el pintor portugués contemporáneo Daniel Vasconcelos Melim como soporte para sus cuadros de pintura acrílica, estudiar algunas de... more
La investigación que aquí se presenta tiene como objetivos: identificar el polímero sintético utilizado por el pintor portugués contemporáneo Daniel Vasconcelos Melim como soporte para sus cuadros de pintura acrílica, estudiar algunas de sus propiedades fisicoquímicas e identificar los fenómenos de alteración más frecuentes. Para el estudio identificativo y comparativo del polímero sintético utilizado por el artista, se recurrió a la Espectroscopía en el Ultravioleta-visible (UV-Vis), a la Espectroscopia de Infrarrojo con Transformada de Fourier y con Reflexión Total Atenuada (ATR - FTIR), a mediciones de densidad, a ensayos de solubilidad en diferentes disolventes, a las pruebas de pirólisis y de llama, y al método de extracción con Soxhlet con disolvente orgánico, en muestras de membranas termoplásticas de la marca RENOLIT - SE de años distintos, especialmente de 2011 y de 2018. Se realizaron pruebas de envejecimiento en muestras de membrana durante 67 días, a temperatura ambiente...
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Este artículo pretende dar a conocer el diagnóstico e intervención de conservación y restauración realizados en el techo pintado sobre madera de la iglesia de Nuestra Señora de la Concepción de Ulgueira, que data del siglo XVIII, así como... more
Este artículo pretende dar a conocer el diagnóstico e intervención de conservación y restauración realizados en el techo pintado sobre madera de la iglesia de Nuestra Señora de la Concepción de Ulgueira, que data del siglo XVIII, así como las acciones de sensibilización a lo uso y preservación de este Patrimonio. La pintura es de autor desconocido y tiene como iconografía Nuestra Señora de la Concepción con las características del período barroco de belleza y de calidad sin par. Esta investigación e intervención se justificaron por la alteración cromática de la obra, debido a la necesidad de fijar algunas tablas a la estructura de apoyo del techo, y por ser esenciales la inmunización y la desinfestación de la madera. Se utilizaron técnicas de laboratorio para identificar el aglutinante, el barniz y la hoja metálica. Se concluye que existe una capa de origen terpénica, que puede relacionarse con la colofonia, el barniz original, y otro de naturaleza acrílica, que puede asociarse con ...
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Each material is suited to the different paint material characteristics and pictorial techniques of various artworks by contributing to the pictorial surface’s stability and visual unity, and the ability to display it without... more
Each material is suited to the different paint material characteristics and pictorial techniques of various artworks by contributing to the pictorial surface’s stability and visual unity, and the ability to display it without interruption. For this article, the polysaccharide TRI-Funori was tested and used as a binding medium for chromatic reintegration in three oil and acrylic mockups of the artwork by Portuguese artist Jorge Martins. This choice was based on characteristics such as compatibility, low toxicity, water-based properties, and good visual properties for color matching. Advantages such as transparency and less tendency to yellow, capacity to dry matte, and ease of removal were observed. It presents good dispersion of inorganic pigments, good visual properties, and good adhesion to oil and acrylic surfaces with or without preparation. However, it also presents disadvantages such as weak dispersion of organic pigments, for example [PB15] Phthalocyanine Blue or [PR83] Carmi...
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Chromatic reintegration aims to decrease deterioration evidences in the artwork and retrieve the visual interpretation of its iconographic shapes and contents. This case study will focus on the chromatic reintegration process of the... more
Chromatic reintegration aims to decrease deterioration evidences in the artwork and retrieve the visual interpretation of its iconographic shapes and contents. This case study will focus on the chromatic reintegration process of the eyeballs of a wood sculpture representing Saint Teotónio. Instead of applying colour over the eyeballs, it was decided to make thin lenses that could be placed directly on the surface. Experiments were carried out with different resins, on one centimetre in diameter moulds. The resins tested were Paraloid B72; PVA Inpainting Medium (Gustav Berger's Berger's O.F.); Mowilith DS 5/2; Aquazol 200; Plextol B500 and the monomer 2-ethyl hexyl acrylate (2 EHA). The selected resin was the monomer 2 EHA, which was then tested in a mixture with acrylic paint to achieve an accurate colour representation of the iris and pupil of the eye.
Research Interests: Sculpture and Inpainting
info:eu-repo/semantics/publishedVersio
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The 4th edition of the International Meeting on Retouching of Cultural Heritage, RECH4, will take place in the University Library in Split, Croatia, on 20th -21st October 2017
Research Interests: Cultural Heritage Conservation, Heritage Conservation, Science for Conservation and Restoration of Cultural Heritage, Conservation- restoration mural and canvas painting, Restauration and Conservation, and 9 moreConservation and Restoration, Retouching, Image inpainting, Consvation Contemporary Art Faded Colour Photograpghy Retouching with Coloured Light, Restoration and Conservation of Ancient and Historic Buildings and Structures, Inpainting, Retouching With Mica Pigments, Image Retouching, and Retouching Techniques in Textile Conservation
With over 150 attendees, the RECH Annual Meeting is one of the largest educational and scientific events in Retouching field, an ideal venue for conservators and scientists to present their research results about retouching. The main... more
With over 150 attendees, the RECH Annual Meeting is one of the largest educational and scientific events in Retouching field, an ideal venue for conservators and scientists to present their research results about retouching. The main focus is to promote the exchange of ideas, concepts, terminology, methods, techniques and materials applied during the retouching process in different areas of conservation: mural painting, easel painting, sculpture, graphic documentation, architecture, plasterwork, photography, contemporary art, among others. The RECHGroup are pleased to announce the opening of CALL for ABSTRACTS. We kindly invite academic personnel/faculty members, professionals, students and company members involved in conservation-restoration practice to present their works and studies about retouching, to a global audience of conservators professionals.
Research Interests: Heritage Studies, Cultural Heritage Conservation, Heritage Conservation, Heritage, Science for Conservation and Restoration of Cultural Heritage, and 6 moreColor Psychology and Use of Colour, Colour, Heritage Conservation and Documentation, Retouching, Restoration and Conservation of Ancient and Historic Buildings and Structures, and Image Retouching
Dear Colleagues, The 3rd edition of the International Meeting on Retouching of Cultural Heritage, RECH3, will take place in Porto, Portugal, on 23rd-24th October 2015 With over 150 attendees, the RECH3 Annual Meeting is one of the... more
Dear Colleagues,
The 3rd edition of the International Meeting on Retouching of Cultural Heritage, RECH3, will take place in Porto, Portugal, on 23rd-24th October 2015
With over 150 attendees, the RECH3 Annual Meeting is one of the largest educational and scientific events on Retouching field, an ideal venue for conservators and scientists to present research results about retouching. The main focus will be to promote the exchange of ideas, concepts, terminology, methods, techniques and materials applied to the retouching process in different areas of conservation: mural painting, easel painting, sculpture, graphic documentation, architecture, plasterwork, photography, contemporary art, among others.
We are pleased to announce the openning of CALL for ABSTRACTS.
We kindly invite academic personnel/faculty members, professionals, students and company members involved in conservation-restoration practice to present their works and studies about colour perception, colour documentation and mixing and matching techniques for retouching, to a global audience of conservators professionals. We have provided a application form for your reference.
Deadline for submitting abstracts: 15 July 2015.
Please, send the application form to: rech.international.meeting@gmail.com
You are welcome to visit the site of the Conference for more information: http://eventosrestauro.arvore.pt/RECH3/
Please, share this information through your contacts and colleagues.
We hope to see you in Porto!
Organizing and executive committee,
Ana Bailão, Ana Bidarra, Francisco Silva, Frederico Henriques, Rui Bordalo
The 3rd edition of the International Meeting on Retouching of Cultural Heritage, RECH3, will take place in Porto, Portugal, on 23rd-24th October 2015
With over 150 attendees, the RECH3 Annual Meeting is one of the largest educational and scientific events on Retouching field, an ideal venue for conservators and scientists to present research results about retouching. The main focus will be to promote the exchange of ideas, concepts, terminology, methods, techniques and materials applied to the retouching process in different areas of conservation: mural painting, easel painting, sculpture, graphic documentation, architecture, plasterwork, photography, contemporary art, among others.
We are pleased to announce the openning of CALL for ABSTRACTS.
We kindly invite academic personnel/faculty members, professionals, students and company members involved in conservation-restoration practice to present their works and studies about colour perception, colour documentation and mixing and matching techniques for retouching, to a global audience of conservators professionals. We have provided a application form for your reference.
Deadline for submitting abstracts: 15 July 2015.
Please, send the application form to: rech.international.meeting@gmail.com
You are welcome to visit the site of the Conference for more information: http://eventosrestauro.arvore.pt/RECH3/
Please, share this information through your contacts and colleagues.
We hope to see you in Porto!
Organizing and executive committee,
Ana Bailão, Ana Bidarra, Francisco Silva, Frederico Henriques, Rui Bordalo
Research Interests: Perception, Art History, Image Processing, Conservation, History of Science, and 14 morePainting, Visual perception, Heritage Conservation, Colour Theory, Science for Conservation and Restoration of Cultural Heritage, Colour and Light, Archéologie, Colour, Document Image Analysis, Retouching, Image inpainting, Reintegration, Archeology, and Geographic Information Systems (GIS)
The 2nd International Meeting on Retouching of Cultural Heritage, RECH2, will be held at Casa das Artes in the City of Porto (Portugal), in October 24 - 25, 2014.
Research Interests:
After three editions in Porto, Portugal, the 4th edition in Split, Croatia, the 5th edition in Università degli Studi di Urbino “Carlo Bo”, in Italy, and the 6th in collaboration with the Instituto Universitario de Restauración del... more
After three editions in Porto, Portugal, the 4th edition in Split, Croatia, the 5th edition in Università degli Studi di Urbino “Carlo Bo”, in Italy, and the 6th in collaboration with the Instituto Universitario de Restauración del Patrimonio (IRP) of the Universitat Politècnica de València, Spain, this year, this Meeting will be at the Faculty of Fine Arts of the University of Lisbon (FBAUL), in Portugal.
For those who don’t know RECH yet, RECH Biennial Meeting is one of the largest educational and scientific events in chromatic reintegration field, an ideal venue for students, conservators, and scientists to present their research results about this topic.
Please visit the WEBSITE for more information (Programme and registration): https://www.belasartes.ulisboa.pt/en/7th-edicao-do-international-meeting-on-retouching-of-cultural-heritage-rech7-2023/
For those who don’t know RECH yet, RECH Biennial Meeting is one of the largest educational and scientific events in chromatic reintegration field, an ideal venue for students, conservators, and scientists to present their research results about this topic.
Please visit the WEBSITE for more information (Programme and registration): https://www.belasartes.ulisboa.pt/en/7th-edicao-do-international-meeting-on-retouching-of-cultural-heritage-rech7-2023/
Research Interests:
Curso de reintegración cromática
UCM
UCM