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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Research Interests: Physics, Humanities, Art, BELAS ARTES, Conservación y Restauración, and 15 moreMapping, Conservação, Pintura, Conservation and Restoration, Conservação e restauro, Qgis, Metodologias, Documentação, Geographic Information System GIS, Mapa, Adriano de Sousa Lopes, degradação, índices, Sistema de Informação Geográfica (SIG), and Mapeamentos
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A perceção visual do profissional de conservação e restauro é fundamental na prática dareintegração cromática. Nesta etapa o conservador‑restauradortem de conseguir distinguirdiferentes matizes em torno da lacuna e, inclusive, na... more
A perceção visual do profissional de conservação e restauro é fundamental na prática dareintegração cromática. Nesta etapa o conservador‑restauradortem de conseguir distinguirdiferentes matizes em torno da lacuna e, inclusive, na totalidade da obra. Todavia, estascapacidades fisiológicas raramente são consideradas quando se inicia a formação no sector, emuitos são os alunos e profissionais de conservação e restauro que desconhecem o seu nívelde discriminação de cor. O objetivo deste artigo é, através da comparação com um tricromatanormal, dar a conhecer as capacidades e limitações de um aluno com deuteranomalia noprocesso de reintegração cromática.
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Aplicação de uma metodologia de classificação, com a qual pretendemos reconhecer as áreas de lacuna e não lacuna, de uma forma semi-automática, distinta da simples percepção visual. A finalidade é a produção de um mapeamento temático onde... more
Aplicação de uma metodologia de classificação, com a qual pretendemos reconhecer as áreas de lacuna e não lacuna, de uma forma semi-automática, distinta da simples percepção visual. A finalidade é a produção de um mapeamento temático onde se possam estimar, quantitativamente, as lacunas na obra.
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espanolEsta investigacion se realizo como parte de una intervencion de conservacion y restauracion de doce pinturas del artista portugues Adriano de Sousa Lopes (1879-19), en la coleccion de la Facultad de Bellas Artes de la Universidad... more
espanolEsta investigacion se realizo como parte de una intervencion de conservacion y restauracion de doce pinturas del artista portugues Adriano de Sousa Lopes (1879-19), en la coleccion de la Facultad de Bellas Artes de la Universidad de Lisboa (FBAUL).Este estudio tiene como objetivo analizar el tipo de craquelado y sus causas en estas obras de Sousa Lopes. Primero se efectuo el analisis material de la preparacion, aglutinante y pigmentos para despues estudiar las caracteristicas fisicas de las fisuras a traves de un programa de Sistemas de Informacion Geografica, QGIS®. Para la clasificacion de los tipos de cuarteados, orientacion, espesura, distancia entre cuarteados e organizacion, se utilizaron las metodologias desarrolladas por Spike Bucklow y Knut Nicolaus. Los datos cuantitativos y cualitativos obtenidos con el QGIS® fueron comparados con los resultados de la documentacion analitica, en un intento de establecer relaciones entre el material y las fisuras. Se concluyo que es...
Research Interests: Humanities, Art, Pintura, Conservação e restauro, Pattern, and 6 moreQgis, Patrones, Cracks, Adriano de Sousa Lopes, Padrões, and estalados
Each material is suited to the different paint material character-istics and pictorial techniques of various artworks by contributing to the pictorial surface’s stability and visual unity, and the ability to display... more
Each material is suited to the different paint material character-istics 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 toxici-ty, 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 disper-sion 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] Phtha locyanine Blue or [PR83] Carmine Rose, and the tendency to become powdery. During the drying process, it tends to lighten, making the color adjustment process difficult. The mimetic method, achieved with small dots, was used for re-touching. The medium was applied with Ferrario® pigmenti puri and Win-sor & Newton® powdered pigments, and chromatic reintegration was car-ried out with a fine brush Winsor & Newton® Finest Sable nº1.
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After the first three editions of the International Meeting on Retouching of Cultural Heritage 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... more
After the first three editions of the International Meeting on Retouching of Cultural Heritage 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, RECH returns home!
This conference is a collaboration between the RECHGroup and the Faculty of Fine Arts of the University of Lisbon (FBAUL), in Portugal.
Call for abstracts, workshops and demos -» Deadline: May 31, 2023
This conference is a collaboration between the RECHGroup and the Faculty of Fine Arts of the University of Lisbon (FBAUL), in Portugal.
Call for abstracts, workshops and demos -» Deadline: May 31, 2023
Research Interests:
Postprints of the 6th edition of the International Meeting on Retouching of Cultural Heritage (RECH6)
Research Interests:
Será que o papel japonês é o material mais adequado para o facing de pintura sobre tela? Seria benéfica a utilização de papéis específicos adequados a cada caso? Este estudo procurou dar resposta a estas questões e dar a conhecer, dos... more
Será que o papel japonês é o material mais adequado para o facing de pintura sobre tela? Seria benéfica a utilização de papéis específicos adequados a cada caso? Este estudo procurou dar resposta a estas questões e dar a conhecer, dos papéis testados, qual o mais adequado ao facing em pintura a óleo sobre tela. Para o efeito, foram executadas maquetes, de três cores diferentes. Em cada cor foram realizadas duas texturas, uma lisa e outra empastada. Foram também definidas, em cada cor e textura, três áreas: duas para aplicação de dois vernizes distintos e outra para permanecer sem verniz. As maquetes foram realizadas para que se obtivessem todas as combinações dos materiais anteriormente descritos e cada papel foi testado em cada uma destas combinações.Realizados os ensaios e analisados os resultados, concluiu-se que, dos materiais testados, o papel japonês nem sempre foi o mais eficaz, tendo sido superado pelo Wet-strength Tissue, um papel celulósico, por demonstrar facilidade de ap...
The choice of chromatic reintegration materials for contemporary monochromatic oil and acrylic emulsion unvarnished paints is usually a problem before treatment. This kind of paintings maybe subject to abrasions, especially on the edges,... more
The choice of chromatic reintegration materials for contemporary monochromatic oil and acrylic emulsion unvarnished paints is usually a problem before treatment. This kind of paintings maybe subject to abrasions, especially on the edges, fingerprints and smudges, mainly caused during handling. Being unvarnished works, chromatic reintegration becomes a more complex process as no protective layer exist over the paint. The aim of this work was to assess the materials that over performed in the reintegration of paintings from the Portuguese painter Jorge Martins. Representative mock-ups made with the artist and using his materials and techniques were artificially aged. Different types of materials, aqueous and non-aqueous, were then tested to assess the best ones. It was found that the best results were obtained with Ferrario® pigment dispersed in the Tri-Funori® binding medium and with Winsor & Newton® Designers Gouache, both aqueous and non-toxic.
El presente texto persigue proponer una metodología de trabajo para la reintegración cromática de las lagunas presentes en 14 lienzos del fondo de la Facultad de Bellas Artes de la Universidad de Lisboa (FBAUL). Para el desarrollo de... more
El presente texto persigue proponer una metodología de trabajo para la reintegración cromática de las lagunas presentes en 14 lienzos del fondo de la Facultad de Bellas Artes de la Universidad de Lisboa (FBAUL). Para el desarrollo de dicha metodología de intervención, se ha realizado un estudio de caracterización de las lagunas basado en aspectos como su profundidad en los estratos pictóricos, su localización y las propiedades de la película pictórica que las rodea. Además, se ha llevado a término un análisis cuantitativo de las lagunas mediante la aplicación de un programa informático gratuito de Sistemas de Información Geográfica (SIG) llamado QGIS®. Así, en base a los datos obtenidos mediante estos análisis y junto a cuestiones de ética sobre el tratamiento de las lagunas, se ha desarrollado una metodología de reintegración para los 14 lienzos, pudiendo servir como referencia para otros casos de características similares.
When writing the final report, conservators-restorers are often faced with a lot of indecision on how to describe the colour mixing used in retouching process. The reports may sound somewhat incomplete, especially if the technical data is... more
When writing the final report, conservators-restorers are often faced with a lot of indecision on how to describe the colour mixing used in retouching process. The reports may sound somewhat incomplete, especially if the technical data is completely left out. The recorded information are usually restricted to the type of paint with indication of the brand and the type of binder and pigments used. Thus, the aim of this paper is to propose a measurable system that could help the students and the professionals to describe the use of colour mixtures during the chromatic reintegration treatment.
Two identical backpacks were treated on two occasions to be exhibited alongside at the Lisbon Military Museum. Although both backpacks are the model 1859, the treatment procedures related to the painted canvas were approached differently.... more
Two identical backpacks were treated on two occasions to be exhibited alongside at the Lisbon Military Museum. Although both backpacks are the model 1859, the treatment procedures related to the painted canvas were approached differently. The distortions and losses of canvas on the first treated backpack were easily addressed with an ultrasonic humidifier and the insertion of new canvas. Regarding the surface coating, it was consolidated with BEVA® 371, and the inserted canvas was filled with a pigmented wax paste described in a book from the late 19th century. The second backpack was in far worse condition, which, when compared with archive record, seemed likely that it was exhibited for a long period in a damp environment. There were also traces of an organic coating distinct from the original coating. These conditions resulted in a stiffer backpack, with more losses of canvas and surface coating. As a result, the distortions could not be removed, new fabric could not be properly ...
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Este artigo apresenta uma visão historiográfica da coleção de Pintura da Faculdade de Belas-Artes da Universidade de Lisboa (FBAUL) e dos vários prêmios pictóricos instituídos pela Academia de Belas-Artes de Lisboa (ABAL) aos seus... more
Este artigo apresenta uma visão historiográfica da coleção de Pintura da Faculdade de Belas-Artes da Universidade de Lisboa (FBAUL) e dos vários prêmios pictóricos instituídos pela Academia de Belas-Artes de Lisboa (ABAL) aos seus estudantes no final do século XIX, início do século XX. O objetivo desta investigação é destacar as normas do concurso dos vários prémios encontrados na propriedade da FBAUL, a saber: Prémio Anunciação, Prémio Lupi e Prémio Ferreira Chaves. Como este estudo é preliminar apenas iremos indicar a lista de participantes e o nome do artista vencedor, assim como, o ano e a execução do concurso. Para finalizar, esta pesquisa permitirá reconstruir e identificar as várias obras premiadas existentes na FBAUL, até 1930.
On the 27, 28 and 29 September 2018 the II Colloquium "Investigations in Heritage Conservation" took place. It resulted from the partnership between the Faculdade de Belas-Artes da Universidade de Lisboa (Faculty of Fine Arts of... more
On the 27, 28 and 29 September 2018 the II Colloquium "Investigations in Heritage Conservation" took place. It resulted from the partnership between the Faculdade de Belas-Artes da Universidade de Lisboa (Faculty of Fine Arts of the University of Lisbon) and the Museu da Farmácia (Pharmacy Museum). It was also an initiative of a group of researchers from the research units of CIEBA (FBAUL), CITAR (UCP/Escola das Artes), de Física (UM) and the Consórcio Heritas. Like the I Colloquium [1], held in September 2016, it was intended to disseminate, through a multidisciplinary environment and transversal to the various areas of heritage, the investigation in cultural heritage conservation performed at masters, doctoral and post-doctoral works, although the colloquium was extended to all professionals working with heritage conservation.
The present article has two objectives: the first one is to present the collection of medals of the extinct Research and Studies Section Volte Face – Medalha Contemporânea, of the Research Unit of the Faculdade de Belas Artes da... more
The present article has two objectives: the first one is to present the collection of medals of the extinct Research and Studies Section Volte Face – Medalha Contemporânea, of the Research Unit of the Faculdade de Belas Artes da Universidade de Lisboa, CIEBA, constituted by medals of various sizes, formats and materials (organic, inorganic and synthetic), whose characteristics influence the way they degrade and how they are conditioned; the second objective is to present the packaging proposals for the packing of the medals, for which we used 3D modelling, vector drawing and 3D printing. In the first case, we present the inventory of objects, their documentation, identification of constituent materials and degradation factors. For the second case, criteria were defined for the selection of the packaging format and for the choice of construction materials. The alveolar polypropylene for the box and the low-density polyethylene were selected for the filler material.
The ability to digitally remove the varnish layer during the pre-conservation diagnostic of a painting, without any chemical or physical intervention, could be an advantage because it enables the prediction of the outcome of the cleaning... more
The ability to digitally remove the varnish layer during the pre-conservation diagnostic of a painting, without any chemical or physical intervention, could be an advantage because it enables the prediction of the outcome of the cleaning procedure of the protective layer and contributes to the treatment proposal. Two paintings from Adriano de Sousa Lopes were investigated by hyperspectral imaging in the visible range, before and after the varnish layer removal. The spectral reflectance was estimated in each case and its comparison used to assess the effect of the varnish layer removal. The simulated paintings with the old varnish layer were compared with those restored, with no varnish, by comparing the chromaticity coordinates and other chromatic descriptors. It was found that considering the effect of the varnish layer of each painting individually produces lower errors than considering the average of the varnish layer across paintings. It was also found that simulating the varnis...
O presente artigo pretende dar a conhecer um método de monitorização não invasiva do processo de corrosão da escultura de aço de Gonçalo Jardim, através do sistema de processamento de imagem digital. Esta investigação teve como principal... more
O presente artigo pretende dar a conhecer um método de monitorização não invasiva do processo de corrosão da escultura de aço de Gonçalo Jardim, através do sistema de processamento de imagem digital. Esta investigação teve como principal objetivo desenvolver um algoritmo que faça o tratamento da informação de várias funções locais da morfologia da corrosão, através da extração de parâmetros quantitativos da imagem que exprimam essa informação. Para este efeito foi calculado o valor médio absoluto da entropia das imagens, que avalia a evolução da morfologia da corrosão da obra a longo prazo, de modo a documentá-la e analisar se há manutenção ou aumento da corrosão com o decorrer do tempo e, neste último caso, em que proporção
A selecção das tintas mais adequadas para realizar uma reintegração cromática em conservação e restauro não é normalmente uma questão fácil de resolver. Para utilizar uma paleta restrita, muitos conservadores-restauradores optam por usar... more
A selecção das tintas mais adequadas para realizar uma reintegração cromática em conservação e restauro não é normalmente uma questão fácil de resolver. Para utilizar uma paleta restrita, muitos conservadores-restauradores optam por usar as três cores primárias, percebendo a curto prazo que cada marca de tintas tem as suas cores primárias e que com cada conjunto de três cores-pigmento se obtêm uma gama limitada de tons. Normalmente, pela especificidade dos trabalhos, são necessários matizes adicionais para obter tons fora desta gama. O objectivo deste estudo é fazer um levantamento dos conceitos da teoria da cor e propor um sistema alternativo, constituído por seis cores primárias, pelo branco, preto e ainda pela terra de sombra queimada. Nos diversos exercícios demonstrativos recorreu-se às aguarelas Artist´s Watercolours da marca inglesa Winsor&Newton.
I Colóquio “Investigações em Conservação do Património”
Suplemento: I I Colóquio “Investigações em Conservação do Património” De 27 a 29 de setembro de 2018Museu da Farmácia e Universidade de Lisboa
RGB digital cameras (RGB) compress the spectral information into a trichromatic system capable of approximately representing the actual colors of objects. Although RGB digital cameras follow the same compression philosophy as the human... more
RGB digital cameras (RGB) compress the spectral information into a trichromatic system capable of approximately representing the actual colors of objects. Although RGB digital cameras follow the same compression philosophy as the human eye (OBS), the spectral sensitivity is different. To what extent they provide the same chromatic experiences is still an open question, especially with complex images. We addressed this question by comparing the actual colors derived from spectral imaging with those obtained with RGB cameras. The data from hyperspectral imaging of 50 natural scenes and 89 paintings was used to estimate the chromatic differences between OBS and RGB. The corresponding color errors were estimated and analyzed in the color spaces CIELAB (using the color difference formulas ΔE*ab and CIEDE2000), Jzazbz, and iCAM06. In CIELAB the most frequent error (using ΔE*ab) found was 5 for both paintings and natural scenes, a similarity that held for the other spaces tested. In additi...
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The aim of this article is to compile a list of materials that are acceptable for the retouching process. The list is not exhaustive but will help the conservator in the decision-making about materials. The materials are divided by... more
The aim of this article is to compile a list of materials that are acceptable for the retouching process. The list is not exhaustive but will help the conservator in the decision-making about materials. The materials are divided by group´s: aqueous binder solutions, solvent binder solutions, dry solutions and other solutions.
Research Interests:
The aim of this work is to present preliminary results of the use of watercolour markers in chromatic reintegration. The behaviour of 15 watercolours of Winsor & Newton® markers were tested to ascertain whether these are useful for use in... more
The aim of this work is to present preliminary results of the use of watercolour
markers in chromatic reintegration. The behaviour of 15 watercolours of Winsor &
Newton® markers were tested to ascertain whether these are useful for use in the
retouching practice. Three different types of reintegration techniques were used to
test the two brush tips: mimetic, pointillist and tratteggio, and three testing surfaces
were created by applying four fillers over a wooden board covered by calcium
carbonate and rabbit glue, Modostuc® and Gesso Primer. To examine the process of the reintegration of the markers on the surfaces an USB digital microscope was used to visually assess its details and a hyperspectral imaging system was used to assess its chromatic properties. It was found that the used fillers and accompanying varnish produces a non-neglected visual difference in the obtained
colours, when markers are used to reintegrate art paintings.
These findings seem to indicate that the watercolour markers
can be used during the process of reintegration, but the fillers
and varnish in use has to be taken into account.
markers in chromatic reintegration. The behaviour of 15 watercolours of Winsor &
Newton® markers were tested to ascertain whether these are useful for use in the
retouching practice. Three different types of reintegration techniques were used to
test the two brush tips: mimetic, pointillist and tratteggio, and three testing surfaces
were created by applying four fillers over a wooden board covered by calcium
carbonate and rabbit glue, Modostuc® and Gesso Primer. To examine the process of the reintegration of the markers on the surfaces an USB digital microscope was used to visually assess its details and a hyperspectral imaging system was used to assess its chromatic properties. It was found that the used fillers and accompanying varnish produces a non-neglected visual difference in the obtained
colours, when markers are used to reintegrate art paintings.
These findings seem to indicate that the watercolour markers
can be used during the process of reintegration, but the fillers
and varnish in use has to be taken into account.
Research Interests:
This postprints presents the articles of the fourth edition of RECH that took place in Split (Croatia) from October 20th to October 21st, 2017 and was jointly organised by members of the Escola Artística e Profissional Árvore, the Faculty... more
This postprints presents the articles of the fourth edition of RECH that took place in Split (Croatia) from October 20th to October 21st, 2017 and was jointly organised by members of the Escola Artística e Profissional Árvore, the Faculty of Fine Arts of the University of Lisbon, the Arts Academy of the University in Split, the Catholic University of Portugal, the Cinábrio and in the conservation-restoration field, selected 24 abstracts for communications and 16 abstracts for poster sessions, not all publish here. The titles cover a wide range of topics - from digital options for documentation, diagnosis and treatment, to new solutions and materials for filling and retouching of losses.
Research Interests:
Resumo: Esta investigação realizou-se no âmbito da intervenção de conservação e restauro de doze pinturas do artista Português Adriano de Sousa Lopes (1879-19), pertencentes à coleção de pintura da Universidade de Lisboa (FBAUL). Este... more
Resumo: Esta investigação realizou-se no âmbito da intervenção de conservação e restauro de doze pinturas do artista Português Adriano de Sousa Lopes (1879-19), pertencentes à coleção de pintura da Universidade de Lisboa (FBAUL). Este estudo teve como objetivo analisar o tipo de estalados presentes nestas obras de Sousa Lopes. Inicialmente, efetuaram-se análises ao material constituinte das preparações, aglutinantes e pigmentos, para, posteriormente, estudar as características físicas das fissuras. Para esse estudo utilizou-se um programa de sistemas de informação, QGIS®. Quanto à classificação dos tipos de estalado, utilizaram-se as metodologias desenvolvidas por Spike Bucklow e Knut Nicolaus. Concluiu-se que estas doze obras de Sousa Lopes apresentam quatro tipos de estalados, que variam em função do período de estada em Lisboa (estalados de espiral, grinalda e grade) e em Paris (estalados de grade fixa, reticulares e diagonal). Os estalados presentes são de idade e prematuro, sendo que a sua origem deriva do mau emprego da técnica e do material, da pouca qualidade do material, da utilização excessiva de secante e de negligência na preservação em acervo.
Research Interests:
O presente artigo pretende dar a conhecer um modelo de documentação e registo de dados empregue no diagnóstico e intervenção de conservação e restauro de um conjunto de doze obras de Adriano de Sousa Lopes, pertencentes ao espólio da... more
O presente artigo pretende dar a conhecer um modelo de documentação e registo de dados empregue no diagnóstico e intervenção de conservação e restauro de um conjunto de doze obras de Adriano de Sousa Lopes, pertencentes ao espólio da Faculdade
de Belas-Artes da Universidade de Lisboa (FBAUL). Recorreu-se a um programa informático de sistemas de informação geográfica (SIG),
gratuito e de acesso livre, denominado QGIS®. Durante esta análise, foram produzidos diversos mapas vetoriais, quer de diagnóstico, quer
dos tratamentos de conservação e restauro (CR), nomeadamente da rede de microfissuras, das áreas de lacuna, das áreas de consolidação,
das áreas de microcirurgia têxtil e da limpeza química. Na base de dados do programa foram anotados os resultados quantitativos
resultantes das análises espaciais das superfícies pictóricas. Verificou-se que o estudo técnico das obras com o programa QGIS® permite
a análise espacial das obras de arte auxiliar a interpretação, de forma sistemática e integrada, os fenómenos de alteração das peças em
análise.
de Belas-Artes da Universidade de Lisboa (FBAUL). Recorreu-se a um programa informático de sistemas de informação geográfica (SIG),
gratuito e de acesso livre, denominado QGIS®. Durante esta análise, foram produzidos diversos mapas vetoriais, quer de diagnóstico, quer
dos tratamentos de conservação e restauro (CR), nomeadamente da rede de microfissuras, das áreas de lacuna, das áreas de consolidação,
das áreas de microcirurgia têxtil e da limpeza química. Na base de dados do programa foram anotados os resultados quantitativos
resultantes das análises espaciais das superfícies pictóricas. Verificou-se que o estudo técnico das obras com o programa QGIS® permite
a análise espacial das obras de arte auxiliar a interpretação, de forma sistemática e integrada, os fenómenos de alteração das peças em
análise.
Research Interests:
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.
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, Cultural Heritage Recording, Documentation and Information Systems, and 6 moreScience for Conservation and Restoration of Cultural Heritage, Restauration and Conservation, Heritage Conservation and Documentation, Science for Conservation and Restauration of Cultural Heritage, Science for Conservation, and Image Retouching
Resumo: 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... more
Resumo: 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. Palavras-chave: caracterização de lacunas, reintegração cromática, SIG, QGIS, tomada de decisão Estudio para la caracterización espacial de lagunas en el proceso de reintegración cromática en la pintura La circuncisión del Niño Jesus Resumen: El estudio que aquí se presenta ha sido realizado en el ámbito del programa de doctorado de Bienes Culturales, en la especialidad de Pintura, que tuvo lugar en la Universidad Católica Portuguesa, bajo el tema de la calidad en reintegración cromática. El objetivo de este estudio es proponer un sistema para la caracterización de las lagunas de la superficie pictórica, por lo que el conservador-restaurador puede tener acceso a la información cualitativa y cuantitativa más precisa antes, durante y después de la intervención. Con este fin, hemos utilizado imágenes fotográficas de una pintura sobre tabla (siglo XVI) y un programa informático, un sistema de información geográfica (SIG), que se utiliza en el procesamiento de datos espaciales, el programa QGIS, de código abierto. El proyecto tiene la particularidad de haber sido hecho en tiempo real, durante la intervención, con el fin de apoyar la tomada de decisiones. Palabras-clave: caracterización de lagunas, reintegración cromática, SIG, QGIS, tomada de decision Study for spatial characterization of losses for the chromatic reintegration process of the painting The Circumcision of Jesus Abstract: The study presented here was conducted in the framework of the doctoral program in Cultural Heritage, specialization in easel paintings, which took place at the Catholic University of Portugal, upon the theme of quality in chromatic reintegration. The aim of this study is to propose a system for the characterization of the losses in the pictorial surface, so that conservator-restorer can have access to qualitative and quantitative accurate information before, during and after the intervention. We used photographic images of a panel painting from the XVI century and a geographical information system (GIS) software used for processing spatial data, the QGIS open source program. The project has the particularity of being done in real time, during the intervention, in order to support the decision-making process.
Research Interests:
Research Interests:
Different terms are used in the several countries and specialized publications to define the chromatic or volumetric intervention to complete an object. Especially in painting conservation we can find applied to this phase: restoration,... more
Different terms are used in the several countries and specialized publications to define the chromatic or volumetric intervention to complete an object. Especially in painting conservation we can find applied to this phase: restoration, reintegration, integration, retouching, inpainting…
We have tried to know the different meanings applied to these terms, and to look at some bibliographic reference sources in order to understand which of the terms are the most used.
The terminological question is not just a simple matter of words, but also a question about the different criteria applied over time to this intervention.
We have tried to know the different meanings applied to these terms, and to look at some bibliographic reference sources in order to understand which of the terms are the most used.
The terminological question is not just a simple matter of words, but also a question about the different criteria applied over time to this intervention.
Research Interests:
A perceção visual do profissional de conservação e restauro é fundamental na prática da reintegração cromática. Nesta etapa o conservador‑restaurador tem de conseguir distinguir diferentes matizes em torno da lacuna e, inclusive, na... more
A perceção visual do profissional de conservação e restauro é fundamental na prática da
reintegração cromática. Nesta etapa o conservador‑restaurador tem de conseguir distinguir
diferentes matizes em torno da lacuna e, inclusive, na totalidade da obra. Todavia, estas
capacidades fisiológicas raramente são consideradas quando se inicia a formação no sector, e
muitos são os alunos e profissionais de conservação e restauro que desconhecem o seu nível
de discriminação de cor. O objetivo deste artigo é, através da comparação com um tricromata
normal, dar a conhecer as capacidades e limitações de um aluno com deuteranomalia no
processo de reintegração cromática.
The visual perception of the professional of conservation and restoration is essential in
the chromatic reintegration practice. At this stage the conservator‑restorer must be able
to distinguish different hues and shades around the loss and even in the totality of the
artwork. However, these physiological capabilities are rarely considered when initiating
training in the sector, and there are many students and professionals of conservation and
restoration unaware of their level of colour discrimination. The purpose of this article, through
comparison with a normal trichromate, is to make known the types of visual deficiencies,
the diagnostic tests and the capabilities and limitations of a student with deuteranomaly in
chromatic reintegration process.
reintegração cromática. Nesta etapa o conservador‑restaurador tem de conseguir distinguir
diferentes matizes em torno da lacuna e, inclusive, na totalidade da obra. Todavia, estas
capacidades fisiológicas raramente são consideradas quando se inicia a formação no sector, e
muitos são os alunos e profissionais de conservação e restauro que desconhecem o seu nível
de discriminação de cor. O objetivo deste artigo é, através da comparação com um tricromata
normal, dar a conhecer as capacidades e limitações de um aluno com deuteranomalia no
processo de reintegração cromática.
The visual perception of the professional of conservation and restoration is essential in
the chromatic reintegration practice. At this stage the conservator‑restorer must be able
to distinguish different hues and shades around the loss and even in the totality of the
artwork. However, these physiological capabilities are rarely considered when initiating
training in the sector, and there are many students and professionals of conservation and
restoration unaware of their level of colour discrimination. The purpose of this article, through
comparison with a normal trichromate, is to make known the types of visual deficiencies,
the diagnostic tests and the capabilities and limitations of a student with deuteranomaly in
chromatic reintegration process.
Research Interests:
Research Interests: Metal conservation, Heritage Conservation, Painting Conservation, Conservation of Easel Paintings, Science for Conservation and Restoration of Cultural Heritage, and 6 moreContemporary Painting, Image inpainting, Photographic conservation, Conservation of Works of Art, Paper Conservation, and Conservation and Restoration of Art Works
Proceedings of the second international Meeting on Retouching of Cultural Heritage – RECH2 which was held in Casa das Artes, Porto, Portugal, in 24-25 October 2014 and organized by Escola Artística e Profissional Árvore.
Research Interests:
III International Meeting on Retouching of Cultural Heritage, RECH2, will be held at Museu Nacional Soares dos Reis in the City of Porto (Portugal), in October 23 - 24, 2015.
http://eventosrestauro.arvore.pt/RECH3/
http://eventosrestauro.arvore.pt/RECH3/
Research Interests: Heritage Studies, Cultural Heritage Conservation, Heritage Conservation, Heritage, Conservation- restoration mural and canvas painting, and 6 moreRestauration and Conservation, Conservation and Restoration, Retouching, Image inpainting, Restoration of Paintings on Canvas, and Conservation and Restoration of Paintings on Canvas
This paper on Conservation of Cultural Heritage explores the use of spatial analysis functions for feature extraction. The study evaluates the performance of neighbourhood functions for the delimitation of a tear in a thangka painting.... more
This paper on Conservation of Cultural Heritage explores the use of spatial analysis functions for feature extraction. The study evaluates the performance of neighbourhood functions for the delimitation of a tear in a thangka painting. The pathology area was documented with a non-conventional technique in painting conservation.
Prussia blue and phthalo blue have a particularly importance in retouching because they provided a considerable amount of green and they are also transparent, which will give strong clear greens when needed during the retouching... more
Prussia blue and phthalo blue have a particularly importance in retouching because they
provided a considerable amount of green and they are also transparent, which will give
strong clear greens when needed during the retouching practice. The objective of this
experiment is to evaluate the colorimetric change of the two cited pigments, in watercolours,
after being exposed to direct sunlight for one year, comparing the results with another two
samples protected from solar radiation, and also analyse the spectral curves similarity
between both. The pigments are of the brand Artist´s Watercolour of Winsor & Newton.
Colour variations were determined in the uniform colour space called CIELAB. The results
show that phtalo is more stable than Prussian blue.
provided a considerable amount of green and they are also transparent, which will give
strong clear greens when needed during the retouching practice. The objective of this
experiment is to evaluate the colorimetric change of the two cited pigments, in watercolours,
after being exposed to direct sunlight for one year, comparing the results with another two
samples protected from solar radiation, and also analyse the spectral curves similarity
between both. The pigments are of the brand Artist´s Watercolour of Winsor & Newton.
Colour variations were determined in the uniform colour space called CIELAB. The results
show that phtalo is more stable than Prussian blue.
Research Interests:
Resumo: A estabilidade de uma dada tinta é especialmente importante em reintegração cromática, pois define o intervalo de tempo entre intervenções de restauro. O estudo experimental que aqui se apresenta pretende avaliar a alteração... more
Resumo: A estabilidade de uma dada tinta é especialmente importante em reintegração cromática, pois define o intervalo de tempo entre intervenções de restauro. O estudo experimental
que aqui se apresenta pretende avaliar a alteração de cor de 67 amostras, 17 guaches e 50 aguarelas, utilizando um espectrofotómetro. As variações de cor foram determinadas
no espaço de cor uniforme designado CIE 1976 L*a*b*.
Palavras-chave: colorimetria, aguarelas, guaches, Winsor & Newton, Schmincke, M. Graham, reintegração cromática
Abstract: The stability of a given paint is especially important in retouching because it sets the time line between the restoration interventions. The experimental study presented here aims to assess the colour change of 67 samples, 17 gouaches and 50 watercolours, using a spectrophotometer. The colour variations were determined in a uniform color space called CIE 1976 L*a*b*.
Keywords:colorimetry,watercolours,gouaches,Winsor&Newton,Schmincke, M.Graham,retouching.
que aqui se apresenta pretende avaliar a alteração de cor de 67 amostras, 17 guaches e 50 aguarelas, utilizando um espectrofotómetro. As variações de cor foram determinadas
no espaço de cor uniforme designado CIE 1976 L*a*b*.
Palavras-chave: colorimetria, aguarelas, guaches, Winsor & Newton, Schmincke, M. Graham, reintegração cromática
Abstract: The stability of a given paint is especially important in retouching because it sets the time line between the restoration interventions. The experimental study presented here aims to assess the colour change of 67 samples, 17 gouaches and 50 watercolours, using a spectrophotometer. The colour variations were determined in a uniform color space called CIE 1976 L*a*b*.
Keywords:colorimetry,watercolours,gouaches,Winsor&Newton,Schmincke, M.Graham,retouching.
Research Interests:
Os conservadores-restauradores podem ser expostos a uma variedade de materiais potencialmente nocivos. Os perigos para a classe profissional são numerosos e, por conseguinte, é importante identificar os materiais nocivos e as “más... more
Os conservadores-restauradores podem ser expostos a uma variedade de materiais potencialmente nocivos. Os perigos para a classe profissional são numerosos e, por conseguinte, é importante identificar os materiais nocivos e as “más práticas”. Apesar dos profissionais do sector estarem sensibilizados, na sua maioria, para os aspetos de segurança associados aos solventes de limpeza, aos consolidantes, aos vernizes de proteção, os pigmentos e as tintas em geral são descurados embora impliquem risco para a saúde dos profissionais. O objetivo deste artigo é avaliar os riscos ocupacionais inerentes aos materiais e às técnicas de reintegração cromática.
Conservators may be exposed to a variety of potentially harmful materials. The dangers to conservation professionals are numerous and, therefore, it is important to identify the hazardous materials and the “bad practices”. Despite of most professionals being sensitized for the safety aspects associated with cleaning solvents, adhesives, protective varnishes, the pigments and paints are usually neglected, although involving risk to health professionals. The aim of this paper is to evaluate the occupational hazards inherent to the materials and techniques used in the retouching practice.
Conservators may be exposed to a variety of potentially harmful materials. The dangers to conservation professionals are numerous and, therefore, it is important to identify the hazardous materials and the “bad practices”. Despite of most professionals being sensitized for the safety aspects associated with cleaning solvents, adhesives, protective varnishes, the pigments and paints are usually neglected, although involving risk to health professionals. The aim of this paper is to evaluate the occupational hazards inherent to the materials and techniques used in the retouching practice.
In Portugal, three terms are used to define the final phase of an intervention of conservation and restoration: reintegration or integration, pictorial or chromatic, and retouching. This article is a survey of some bibliographic reference... more
In Portugal, three terms are used to define the final phase of an intervention of conservation and restoration: reintegration or integration, pictorial or chromatic, and retouching. This article is a survey of some bibliographic reference sources, national and international, in order to understand which of the three terms is the most used.
Em Portugal utilizam-se três termos para definir a fase final de uma intervenção de conservação e restauro: reintegração ou integração, pictórica ou cromática, e retoque. Neste artigo é feito um levantamento de algumas fontes bibliográficas de referência, nacionais e internacionais, de forma a se perceber qual dos três termos é o mais utilizado.
Em Portugal utilizam-se três termos para definir a fase final de uma intervenção de conservação e restauro: reintegração ou integração, pictórica ou cromática, e retoque. Neste artigo é feito um levantamento de algumas fontes bibliográficas de referência, nacionais e internacionais, de forma a se perceber qual dos três termos é o mais utilizado.
Research Interests:
Resumo: A seleção das cores mais adequadas para realizar uma reintegração cromática não é normalmente uma questão fácil de resolver. Para utilizar uma paleta restrita, muitos conservadores-restauradores optam por usar as três cores... more
Resumo: A seleção das cores mais adequadas para realizar uma reintegração cromática não é normalmente uma questão fácil de resolver. Para utilizar uma paleta restrita, muitos conservadores-restauradores optam por usar as três cores primárias, percebendo a curto prazo que cada fabricante tem as suas cores primárias e que com cada conjunto de três cores-pigmento se obtêm uma gama limitada de tons. Normalmente, segundo a obra, são necessários matizes adicionais para obter tons fora desta gama. O objectivo deste estudo é fazer um levantamento dos conceitos da teoria da cor e propor um sistema alternativo, constituído por nove cores, dois amarelos, dois azuis, dois vermelhos, pelo branco, preto e ainda pela terra de sombra queimada. Nos diversos exercícios demonstrativos recorreu-se às aguarelas Artist´s Watercolours da marca inglesa Winsor&Newton.
Abstract: The selection of the most suitable colours for retouching practice is usually not an easy matter to settle. In order to use a restricted palette, many conservators choose to use the three primary colours, realizing in short term that each paint brand has its primary colours and with each set of three colour-pigments may obtain only a limited range of tones; additional tints are normally required for tones outside this range. The aim of this study is to propose an alternative system, based on rules of colour theory, which consists of nine colours, two yellows, two blues, two reds, the white, black and the burnt umber, using the Artist´s Watercolours from Winsor&Newton.
Abstract: The selection of the most suitable colours for retouching practice is usually not an easy matter to settle. In order to use a restricted palette, many conservators choose to use the three primary colours, realizing in short term that each paint brand has its primary colours and with each set of three colour-pigments may obtain only a limited range of tones; additional tints are normally required for tones outside this range. The aim of this study is to propose an alternative system, based on rules of colour theory, which consists of nine colours, two yellows, two blues, two reds, the white, black and the burnt umber, using the Artist´s Watercolours from Winsor&Newton.
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.
Research Interests:
Our visual perception is strongly influenced by the anatomical structure of the eye and by lighting conditions. While looking at the painting, we perceive existing colour attributes, using retinal photoreceptors – cones – that serve our... more
Our visual perception is strongly influenced by the anatomical structure of the eye and by lighting conditions. While looking at the painting, we perceive existing colour attributes, using retinal photoreceptors – cones – that serve our vision at higher luminance levels.
Lighting, on the other hand, affects our colour discrimination as well as our perception of three dimensions of colour. During the retouching process our visual system can be affected by multiple optical impressions that many painting conservators are not fully aware of. Colour distortion phenomena can impact our observation stealthily, while producing simultaneous contrasts and afterimages that interfere with our colour discrimination as well as our decisions in pigment mixing.
The aim of this paper is to analyse these optical properties and to provide practical guide-lines that will minimize colour distortion. One of the proposals is the use of 18% reflective grey card to cover adjacent colours around the paint loss. This method can be adopted as a helpful implement for tuning our colour perception.
Lighting, on the other hand, affects our colour discrimination as well as our perception of three dimensions of colour. During the retouching process our visual system can be affected by multiple optical impressions that many painting conservators are not fully aware of. Colour distortion phenomena can impact our observation stealthily, while producing simultaneous contrasts and afterimages that interfere with our colour discrimination as well as our decisions in pigment mixing.
The aim of this paper is to analyse these optical properties and to provide practical guide-lines that will minimize colour distortion. One of the proposals is the use of 18% reflective grey card to cover adjacent colours around the paint loss. This method can be adopted as a helpful implement for tuning our colour perception.
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.
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.
Aplicação de uma metodologia de classificação, com a qual pretendemos reconhecer as áreas de lacuna e não lacuna, de uma forma semi-automática, distinta da simples percepção visual. A finalidade é a produção de um mapeamento temático onde... more
Aplicação de uma metodologia de classificação, com a qual pretendemos reconhecer as áreas de lacuna e não lacuna, de uma forma semi-automática, distinta da simples percepção visual. A finalidade é a produção de um mapeamento temático onde se possam estimar, quantitativamente, as lacunas na obra.