12 2 nd International Meeting on Retouching of Cultural Heritage RECH2 Porto, Portugal | 24-25 October 2014 3 Organizing committee Ana Bailão (Escola Artística e Profissional Árvore; Universidade Católica Portuguesa/ CITAR, Portugal) Frederico Henriques (Escola Artística e Profissional Árvore; Universidade Católica Portuguesa/ CITAR, Portugal); Ana Bidarra (Cinábrio, Conservação e Restauro; GeoBioTec Research Centre, Universidade de Aveiro, Portugal) Scientific Committee Ana Calvo (Universidad Complutense de Madrid, Spain; Universidade Católica Portuguesa/ CITAR, Portugal) José Manuel de la Roja (Universidad Complutense de Madrid, Spain) Silvia García Fernández-Villa (Universidad Complutense de Madrid, Spain) Sandra Sústic (Croatian Conservation Institute, Croatia) Hosted by Escola Artística e Profissional Árvore Held at Casa das Artes 2014 4 Oral Presentation 5 In search of uniformity in the museological context A proposal for the chromatic reintegration of a set of Phoenician archaeological ceramics Alice Nogueira ALVES 1 , Marta FRADE 1* , Luís Jorge GONÇALVES 1 , Manuel CALADO 1 1 Faculdade De Belas-Artes da Universidade de Lisboa *
[email protected];
[email protected] Abstract The lack of uniform criteria in the interventions made on archaeological ceramics often results in expository combinations of pieces with similar backgrounds but different visual readings. Between the simple collage of fragments, the filling of gaps, and the finishing procedures, such as chromatic reintegration, we can find many different solutions within the same exhibitor. The choice of criteria for intervention is usually the responsibility of those who perform it, often isolated from the rest of the museum staff. This lack of interdisciplinary work simply harms the public, preventing a good reading of the whole set and becoming particularly harmful if we consider this public to be the main reason why the entire process is developed. From the viewpoint of archaeologists, the exhibition of a piece must present the full restoration of its form, providing the public with information closer to reality and to its use in everyday life. With the aim of establishing a standard criterion for a set of pieces, we propose a particular kind of chromatic reintegration. After filling the gaps and recovering the form, we opted to perform a chromatic reintegration of the filling masses. In the particular case of the set of Phoenician ceramics under review, the variety of colors of the fragments within the same piece, due to its context and location of burial in a sanctuary, and the specific rituals associated, prevented the choice of a stained tone, usually adopted. This solution would run the danger of turning the ceramics into a strange mass without any reading or understanding and, especially, without highlighting the original elements. Since we considered that the mass used did not harmonize with the set, disrupting its reading due to the visual impact that overlapped the original, we opted for an underlying tone, using a standard filling process, perfectly integrated in our vision of the whole set, and, mainly, allowing its enjoyment. The choice of such solutions pleases all parties, respecting the essential ethical criteria of respect for the original, so important in conservation and restoration, and making an important link with the community that will benefit from these pieces as well, by facilitating their understanding, taking into account the educational goals aimed by Archaeology and Museology. Keywords: Ceramics, Conservation, Restoration, Archaeology, Museology, chromatic reintegration 6 Reintegration, integration, inpainting, retouching? Questions around terminology Ana CALVO 1, 2* , Ana BAILAO 2 1 Universidad Complutense de Madrid, Calle El Greco 2, Madrid *
[email protected] 2 CITAR, Escola das Artes, Universidade Católica Portuguesa, Rua Diogo Botelho 1327, Porto Abstract Different terms are used in the several countries and specialized publications to define the chromatic or volumetric intervention to complete an object. Specially in painting conservation we can find applied to this phase: restoration, reintegration, integration, retouching, inpainting, among others. 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. Keywords: terminology, painting, reintegration, integration, inpainting, retouching. References Bailao, A. 2013. Terminologia associada à conservaçao e restauro de pintura. Conservar Património 18 (2013) 55-62. Brown, A. J. E. (ed.) 2007. The Postprints of the Image Re- integration Conference, England, Northumbria University Press. Calvo, A. C. 1997 Conservación y Restauración. Materiales, Técnicas y Procedimientos. De la A a la Z. Barcelona. Ediciones del Serbal. Conservation of Cultural Property — Main General Terms and Definitions. 2011. European standard UNI EN 15898. Brussels, Comité Européen de Normalisation. Ellison, R.; Smithen, P.; Turnbull, R. (ed.) 2010. Mixing and Matching. Approaches to Retouching Paintings. London. Archetype. Philippot, A.; Philippot, P. 1959. Le probleme de l'integration des lacunes dans la restauration peintures, Bulletin de l ́Institut Royal du Patrimoine Artistique 2 (1959) 5-19. Philippot, P. 1996. The fragmented object; lacunae and their integration; archaeology and museum objects. In Historical and Philosophical Issues in the Conservation of Cultural Heritage, ed. N. S. Price, M. K. Talley, A. Melucco Vaccaro. Los Angeles. Getty Conservation Institute, 358-363. Signorini, E. 2011. Fasi finali o nuova tappa del restauro? In V Congresso Internazionale ‘Colore e Conservazione’ — Le Fasi Finali Nel Restauro Delle Opere Policrome Mobili, Saonara. Cesmar7. 9-15. 7 Material and Methods for self production of retouching colors Roberto BESTETTI 1* , Ilaria SACCANI 1 1 CESMAR7-Centro per lo Studio dei Materiali per il Restauro, Via Mentana 5, 37128 Verona, Italy *
[email protected] Abstract The introduction in Italy (Borgioli; Camaiti, 2004) of more stable varnishing (Cremonesi, 2004) products has brought a reflection on retouching materials. A comparative study presented during Melbourne IIC Conference (De la Rie; McGlinchey, 1990) showed the main issues connected with traditional retouching colors and binding media. Starting from these considerations, in the 2012 CESMAR7- Research Centre for Conservation Materials- first introduced a workshop on self-production of retouching colors. This course has been presented in several italian cities (Milan, Padua, Naples, Florence) and more recently also in Denmark (Copenaghen- June 2014)(Leonard; Whitten; Proctor; De la Rie, 2000) . During the workshop, conservators learn how to prepare a retouching color palette, controlling the materials quality and understanding the way they could engeneer the products starting from their needs. Pigments are mixed with highly stable binders such as Laropal A- 81(urea-aledhyde resin), Paraloid B-72, Gum Arabic and Aquazol (De la Rie; Lomax; Palmer; Glinsman; Maines, 2000). Pigments’ choice is based on ASTM lightfastness; for this reason, unstable materials (present in some commercial retouching colors) were excluded. Unstable historical pigments and lake has been substituted with more stable modern organic pigments. Chromatic range includes mica pigments for gilded surfaces, organic pigments for modern art and a wide range of earth and mineral pigments. At the moment the pigment chosen are under analysis through RAMAN spectroscopy (degree thesis- Università degli Studi CARLO BO di Urbino) (Bestetti; Colombo; De Luca; Selva Bonino; Ubaldi, 2014). The present paper aims to illustrate recipes and methods for preparation of conservation colors from raw materials and the future research path. Keywords: retouching color, self-production, Laropal A81, Aquazol, pigments, Cesmar7, References Borgioli L.& Camaiti M. 2004 Stabilizzazione di polimeri per la verniciatura di dipinti. CESMAR 7 Congress “Color and conservation”. Thiene. Cremonesi P.2004 Le vernici finali per i dipinti, Progetto Restauro (32). De la Rie E.R.& McGlinchey C.W.1990, New synthetic resins for picture varnishes, in Cleaning, retouching and coatings, Ed. Mills & Smith, Londra pp.168-173. 8 Leonard, M. & Whitten, J. & Proctor & R. De la Rie, R. 2000 Development of a New materials for retouching, IIC Melbourne congress. De la Rie, R. & Quillen Lomax, S. & Palmer, M. & Deming Glinsman, L. & Maines. 2000. An investigation of the photochemical stability of Urea-aldehyde resin retouchin paints. IIC Melbourne congress. Bestetti, R. & Colombo, A. & De Luca, D. & Selva Bonino, E.V. & Ubaldi, V. Use of Aquazol for retouching color in Italy, Poster at: Aquazol Esperienze e applicazioni nel panorama italiano, Venaria reale, 9 The Conservation Treatment of Rijksmuseum Limoges Enamels The Same Approach, Three Different Treatments Ellen VAN BORK, 1* Tamar DAVIDOWITZ 1 , Sara CREANGE 2 and Joosje VAN BENNEKOM 2 1 University of Amsterdam 2 Rijksmuseum Hobbemastraat 22 Hobbemastraat 22 1071 ZC Amsterdam 1071 ZC Amsterdam The Netherlands The Netherlands *
[email protected] Abstract In April 2013 the Rijksmuseum re-opened its doors after an extensive 10-year renovation. One showcase is dedicated to Limoges enamels. With this technique several layers of enamel are applied in succession on a copper base, forming a layered image with varying transparency. Despite being under the care of the same curator and conservators and being approached in the same way, the final treatment for each piece varied greatly. This illustrates the need for good communication between the conservators and curators, and the importance of treating each object on a case-by-case basis. Three of the Limoges enamels will be highlighted to illustrate this point. One plaque was treated extensively (Léonard Limosin, ca. 1550), removed from the frame, and entirely filled and retouched. Another plaque (Pierre Courteys I, before 1591) was minimally treated where the lost enamel had previously been filled, retouched, and subsequently finished with a yellowed varnish. In this case it was decided to leave the aged repairs in situ and to remove only the varnish, as the aged repairs were not found to be sufficiently distracting from the readability of the piece. The last case study is that of a ewer (Pierre Raymond, ca. 1550) with severely damaged enamel around the ears and foot. These areas had been extensively repaired in the past, with some fills in reasonably good condition and other that had completely failed. In this case, it was decided to replace and retouch the failed fills and to keep those in good condition in place. Keywords: Limoges enamels, fills, retouching, treatment approach 10 Recreating Patina: The Retouching of Rodin’s The Thinker Tamar DAVIDOWITZ 1 *, Tonny BEENTJES, Rozemarijn VAN DER MOLEN 1 University of Amsterdam Hobbemastraat 22 1071 ZC Amsterdam The Netherlands * t.davidowitz @uva.nl Abstract The retouching of cast bronze sculpture presents a great variety of challenges. The passive corrosion on the surface, or patina, is often made up of many layers, and can manifest itself in different textures, hues, opacities and gloss. In January of 2007, The Thinker by August Rodin was stolen from the garden of the Singer Museum in Laren, The Netherlands. The thieves, who intended to melt it down for its material value, attempted to render it unrecognizable and cut it into pieces for smelting using an angle grinder. The sculpture suffered considerable injury, including saw-marks, plastic deformation of the metal, and surface damage. The sculpture was subsequently treated by conservators at the University of Amsterdam, using the original plaster model as a reference and innovative 3D scanning and printing techniques. Using these methods, it was possible to re-cast and re- apply the missing parts in their original form. While the larger elements were cast in bronze, the finer fills were cast using a mixture of epoxy and bronze powder. This proved essential in the retouching process, as it allowed for a polished substrate very similar to the surrounding bronze. Perhaps the greatest variety was in the tools used to apply the retouching paints, in an effort to replicate the myriad of textures and layers found on the sculpture. Ultimately, these methods and the treatment of the sculpture as a whole proved very successful and The Thinker is now back on display. Keywords: Rodin, Thinker, patina, sculpture, 3D scanning, retouching. 11 Retouching a monumental terracotta sculpture. Meeting the viewer’s needs. Cláudia FALCÃO 1* , Ricardo TRIÃES 1** , Sónia TAVARES 2*** , João RAMOS 2**** 1 Instituto Politécnico de Tomar, Quinta do Contador – Estrada da Serra, 2300-313 Tomar *
[email protected] **
[email protected] 2 Mosteiro de Alcobaça, 2460-018 Alcobaça ***
[email protected] ****
[email protected] Abstract The Monastery of Alcobaça, classified by UNESCO as World Heritage since 1989, holds a wide and valuable collection of monumental terracotta sculptures from the 17th century. Most of the sculptures had estofado decoration originally. Some of them were totally repainted in the past - a thick white overpainting was applied while they were still in the original altarpiece. This set of sculptures offered different challenges, both at structural and aesthetic levels, and the complexity and heterogeneity of the surface demanded serious reflexion. The intervention implied the complete removal of the white overpainting layer, which exposed considerable extensions of the original white ground layer and, in some cases, the terracotta itself. This created a very disturbing effect to a common viewer. The contrast between the white ground layer and the other colours, including the orange terracotta areas, had considerable visual weight, constituting a major interference; plus, it created a certain ambiguity, which generated confusion to the general public. Considering the needs of a visitor, enabling the visual interpretation of the piece after the removal of the overpainting was mandatory but had restrictions, especially due to major polychromy loss. The solution was keeping the intervention to a minimum, by approximating the white ground layer to the terracotta tone, through colour retouching. A transparency obtained with water based acrylic paint was applied exclusively over the ground layer, previously protected with an acrylic film. The results were very satisfying. The original sculpting work and even the few remains of the original polychromy were definitely enhanced. Keywords: monumental sculpture, polychrome terracotta sculpture, retouching techniques, acrylic paints 12 References Chapuis, Julien. 2000. Late Medieval German Sculpture: Polychromy and Monochromy. In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art. [online] (October 2002) [Accessed March 2014]. Available at: http://www.metmuseum.org/toah/hd/grmn_3/hd_grmn_3.htm. Coroado, J., Triães, R., Gil, C., Ferraz, E. & Rocha, F. 2013. Estudos para a conservação das esculturas monumentais em terracota do Mosteiro de Alcobaça: Projecto Tacelo. In José Albuquerque Carreiras (ed.) Mosteiros Cistercienses. História, arte, espiritualidade e património (Separata): Tomo 1. Alcobaça: Jorlis. p 105-118 Muñoz-Viñas, S. 2005. Contemporary Theory of Conservation. Oxford: Elsevier Butterworth-Heinemann. Ramos, R. G. 1995. Examen material de la obra de arte. La correspondencia de policromias. In Boletín Informativo. Sevilla: IAPH. pp. 52-57 Ramos, R. G. & Martínez, E. R. A. 2001. La escultura policromada: critérios de intervención y técnicas de estúdio. In Arbor: ciencia, pensamento y cultura: No. 667-668. Madrid: Editorial CSIC. pp. 645-676. 13 Examples of Ceramic tile work reintegration systems based on studying their graphic sources Ignasi GIRONÉS-SARRIÓ* and Vicente GUEROLA-BLAY Instituto Universitario de Restauración del Patrimonio de la Universitat Politècnica de València *
[email protected] Abstract In this paper, we show several reintegration examples of ceramic tile works whose level of losses hamper its reinterpretation. Our study intends to provide a solution to the ever committed pictorial reintegration discipline within the devotional ceramic tile work subject matter. The large number of circumstances that enclose creative action, patronage, iconography, sources, format, etc., mean that an approach to creative action is required from its own phenomenology. In line with this, our study attempts to provide a working pattern protocol around the study of the graphic sources employed by virtually all the Valencian manufacturers throughout the 18th century. Thus, knowledge of sources of inspiration, either literal copies or direct sources, require thorough research work to locate the deposits, archives and collections where an information acquisition programme can be systemised, or even protocoled. The first part of our theoretical work attempts to demonstrate the incidence and importance that the use of these engraved repertoires had, while the second part focuses on the direct application of sources to the reintegration process of formal graphic aspects. This point of view reverses the traditional process carried out by ceramic masters and craftsmen based on the examination of a work of art to seek or attempt to come closer to its formal and graphic genesis. Only the utilisation of these resources can validate the process of retouching these ceramic tile works. This validity is based on recovering their original message and their visual rhetoric, otherwise we may commit a transgression against the symbolic and iconic sense of works. Keywords: reintegration, ceramic tile work, Laborda press, graphic sources, Valencia, devotional, 18th-century 14 Go with the Glow: An investigation into a 1960s artwork with phosphorescent paint and its treatment possibilities Ellen JANSEN 1 * 1 University of Amsterdam, Hobbemastraat 22, 1071 ZC Amsterdam, The Netherlands *
[email protected] Abstract In this paper I will discuss the process of finding a suitable retouching medium for lacunae in the phosphorescent (or ‘glow in the dark’) paint layer of an artwork without title (1968, RMT, Enschede) by IMI Giese. For this artwork, Giese used a commercial paint called Wiedolux. FTIR analysis showed that the zinc sulphide pigments in this paint are doped with cadmium, which has great influence on its properties. Because of health regulations this type of pigment cannot be produced anymore. The challenging search began for a suited retouching paint. Besides the fact that it has to resemble the original paint layer in daylight, the emission spectrum of the pigment and duration and intensity of the afterglow need to be comparable. Since none of the standard available options were usable, it was necessary to try to manipulate the existing pigments and paints by using tips from the manufacturers. The results have been evaluated using technical analysis (light sensors) and visual observation. In conclusion, a comparable (though not identical) medium can be made by mixing two pigments with a different afterglow. Additions to the paint have a direct effect on the properties of the paint in daylight, in the dark or both. The right daylight colour of the retouching medium cannot be attained by using regular pigments, because they will create a ‘veil’ over the phosphorescent pigments. This means that they cannot absorb UV very well, which affects the intensity of the afterglow. For this purpose, transparent pigments can be used. Keywords: IMI Giese, phosphorescence, retouching, ZnS:Cd, References (not used for this abstract, but relevant for the subject) Baring Technologies P/L. 2011. About Photoluminescence. A Brief Technical Introduction. Ashdown, I. Glow and Behold. Industry News, 25 March 1999 Becker, R.S. 1969. Theory and Interpretation of Fluorescence and Phosphorescence, New York: Wiley Interscience Garlick, G.F.J. 1949. Phosphors and Phosphorescence. Reports on Progress in Physics, 12: 34-55. 15 Luminescent Colours, folder produced by Artemis Ltd., Braintree (United Kingdom). Martindill, M.G. 1988. A European Eye on Luminescence: Fluorescent and Phosphorescent Colours for the Visual Artist. Leonardo. 21(2): 187-190. Valeur, B. & Berberan-Santos M.N. 2011. A Brief History of Fluorescence and Phosphorescence before Emergence of Quantum Theory. Journal of Chemical Education, 88: 731-738. Wiehager R. ed. 2010, Minimalism Germany 1960s, exhibition catalogue Daimler Art Collection (12 March – 30 May 2010), Berlin: Hatje Cantz. Weibel, P. ed. 1994. IMI Giese, exhibition catalogue Kunstverein München, Kunsthalle Zürich, Neue Galerie am Landesmuseum Joanneum Graz, Stuttgart: Edition Cantz. 16 Altarpiece painting: a view from the inside Mercês LORENA 1 * 1 Direcção Geral do Património Cultural - Laboratório José de Figueiredo (DGPC - LJF) Rua das Janelas Verdes, 1249-018 Lisboa *
[email protected] Abstract Man has always restored day to day and artistic objects. There are a number of examples of such interventions in paintings and sculptures from the 16th century, which shows excesses of retouches and repaints to recover its original condition. Restoration artisans, many times following the owner’s request, didn’t hesitate in repainting over the existing damages. Only during the 20th Century, the opinion concerning lacunae reintegration shifts: professionals start questioning the legitimacy of such intervention in art works. Interventions should not jeopardize the integrity of artistic production. Over these last years, several altarpieces were restored. Its conservation state varied substantially from each other, mainly due to opportunistic, one off, isolated interventions, many times out of its complete context. As a result, the prevailing impression is the uneven character of final retouches and repaints, leading, potentially, to mistakes in the historical and artistic characterization: an art work conceived as complete set could be perceived as a collection of individual works. Today, the painting reintegration is still a compromise between the historical honesty and aesthetic demands. Still remains the fundamental need to respect the original trueness of the object, as the boundary of the intervention. In this communication, several examples of restored altarpieces from the 1500’s will be presented and analyzed: Retable of the Virgin of Sorrows by Quentin Metsys from the Madre de Deus church in Lisbon; the retable of the Holy Virgin’s Life from Évora’s cathedral, and the retable from Funchal’s Cathedral in the Madeira Island. Keywords: retable, altarpiece, altarpiece painting, retouch, repaints, reintegration 17 Textured Replacement Strip for a Missing Portion of a Portrait: Problem Solving and Practical Solutions Raquel MARQUES 1* , Leslie CARLYLE 1 , Isabel POMBO CARDOSO 1 1 Department of Conservation and Restauration, Faculdade de Ciências e Tecnologia, Universidade Nova de Lisboa, Campus Caparica, 2829-516 Caparica, Portugal *
[email protected] Abstract Despite all the scientific and practical knowledge that has emerged in recent decades concerning reintegration and finding a visual balance between damaged and original areas on paintings, there are still questions that arise from specific treatments which can require creative and flexible thinking. This paper will discuss the practical solution developed to replace a missing strip in the lower portion of a 19th century female portrait in oil (a strip of approximately 9cm by 66cm; almost 11% of the total surface area). For a successful structural and aesthetic reintegration, a system was designed to mould surface texture from the painting, and to cast an infill of uniform thickness. Because not all traditional infill materials cope well on a mechanical level with thin layers over a very large surface (many are too brittle), strict criteria had to be employed to choose the appropriate material. The primary goal was to find a fill which would remain flexible and be capable of accepting surface texture, such that there would be a good visual match with the painting. The fill material chosen is a commercial conservation quality product, BEVA® Gesso-P. The challenge was to design a method to cast a thin enough film of the BEVA® Gesso-P over a textured silicone mould taken from the painting surface. The practical problems with scaling up from small tests, and the solutions found will be described. Keywords: Infill, Reintegration, Texture, BEVA® Gesso-P, Film Casting 18 The influences of Viollet-Le-Duc, Aloïs Riegl e Cesare Brandi in the field of Restauration Theory in Contemporary Art Camila MORTARI 1,2* ; Margarida FERNANDES 1 ; Rafael ROBLE 1 1 Faculdade de Belas-Artes da Universidade de Lisboa, Largo da Academia Nacional de Belas-Artes,1249- 058 Lisboa, Portugal 2 Centro de Física Atómica da Universidade de Lisboa, Av. Professor Gama Pinto 2, 1649-003 Lisboa, Portugal *
[email protected] Abstract The development of Restoration as an autonomous discipline started in the 19th century. During this time, there were many theorists who contributed to the development of this scientific area. Over the years, some of their theories were refuted, others were dropped or started getting a negative connotation. However, one must not forget, that these theories were the basis for the development of this scientific field and have left their mark in the practice of restoration until the present day. This article aims to analyze the theoretical principles that, nowadays, guide restoration interventions, especially the criteria for retouching and chromatic reintegration. It aims to spotlight the remaining influences of three great restauration theorists: Viollet- Le-Duc, Aloïs Riegl and Cesare Brandi. Our selection of these theorists was not random. It seeks to cover a vast period of time extending from the principles of the autonomy of the discipline until contemporary times. This subject becomes relevant when you take into account the new restoration issues that emerge with interventions in Contemporary Art. Earlier obsolete theories now become pertinent again, in the theoretical field, being revisited consciously and, together with the required ethical principles, result in correct practices of restoration. Keywords: Theory of Restoration; Painting; Intervention; Chromatic reintegration; Contemporary Art References Brandi, C. 2006. Teoria do Restauro. Amadora: Edições Orion. Choay, F. 2000. A Alegoria do Património. Lisboa: Edições 70. VIÑAS, S. M. 2005. Contemporary Theory of Conservation. Oxford: Elsevier Butterworth- Heinemann. Riegl, A. 2013. O Culto Moderno dos Monumentos. Lisboa: Edições 70. Ursula, S. & Angela, W. 2010. Theory and Practice in the Conservation of Modern and 19 Contemporary Art. Londres: Archetype. Righi, L. 2006. Conservar el Arte Contemporâneo. Donostia-San Sebastián: Nerea. Zijlmans, M. 2005. Modern Art: Who cares?, London: Archetype. Internation Institute for Conservation of Historic and Artistic Works, ed. 2005. Investigación en Conservación y Restauración. Barcelona: Museo Nacional d’Art de Catalunya. Caetano, J. 2007. Pintura - Artes plásticas e Artes decorativas. Instituto dos Museus e da Conservação. Chiantore, O. & Rava, A. 2012. Conserving Contemporary Art: Issues, Methods, Materials, and Research. Los Angeles: Getty Conservation Institute. Appelbaum, B. 2010. Conservation Treatment Methodology. Lexington. Getty Conservation Institute, Tate & National Gallery of Art, ed. 2006. Modern Paints Uncovered: Proceedings from the Modern Paints Uncovered Symposium. London: Tate Modern. 20 Chromatic (re) integration in Charola, Convento de Cristo, Tomar José Artur PESTANA 1 * 1 Mural da História – Rua Duques de Bragança 8, Ateliê B, 1200-162 Lisboa *
[email protected]/
[email protected] Abstract We wish to focus mainly in the interventions made at Charola of Convento de Cristo 1 , Tomar, Portugal, specially the chromatic reintegration done in their integrated heritage – guadamecil, stucco and mural painting. Starting with the interventions of the extinct Direcção Geral dos Edíficios e Monumentos Nacionais, even if only slightly, we are interested mainly on those done by the Instituto José de Figueiredo that started on the 70’s of the 20th century and also in more recent campaigns which finished on past February. Such a journey will allow us to have an idea of the evolution of the conservation and restoration criteria in Portugal about the inpainting issue, as well as understanding the changing role of the State Government, that from the role of main actor through fruitful activity of the Instituto José de Figueiredo, becomes owner of the contract by delegating all conservative action on private companies, first in simple and effective provision of services and currently under restraining contracts. Keywords: Charola, Convento de Cristo, chromatic reintegration, guadamecil, stucco, mural painting. 1 Last year we addressed several cases in Portugal, including the Charola of the Convent of Christ in Tomar, on the First International Meeting on Cultural Heritage of retouching. 21 Inpainting in Bookbinding Conservation Materials and Techniques Diana AVELAR PIRES 1* 1 Project Conservator, Digitisation Support. The National Archives ** . Kew, Richmond, Surrey. TW9 4DU London, United Kingdom *
[email protected] Davelarpires.com ** This paper does not represent the opinions of The National Archives Abstract As a junior Book and Paper Conservator (Master's degree from the IPT in Tomar, Portugal, 2011) I had the opportunity to do two international internships allowing me to further study Bookbinding and Book Conservation. In-painting gives a sense of cohesion and completion to a conservation treatment therefore it comes as an important part of the process. During my internships I could see and learn different methods of in-painting applied in different situations. In Paper and Book Conservation in-painting means many times that we have to tone or paint Japanese paper. The use of watercolors is widely accepted among the Conservators as a reversible and compatible material. In this paper I will present other methods that proved to be successful: textile dyes may be used to tone the Japanese paper before application and dry pastel after as a retouching technique (as taught in the Faculty of Conservation in Czech Republic, 2012); and the use of acrylics - Golden Fluid Acrylics - as both preparation and retouching methods (as seen at the Sheridan Libraries, Johns Hopkins University, Baltimore, USA, 2013). Each in-painting technique has different implications and the Conservator has then to balance the pros and cons, sometimes with flexibility and accepting concessions in order to find the most suitable one. Keywords: Acrylics, In-painting, Bookbinding, Techniques, Conservation treatments References E.C.C.O. Professional Guide Lines (II): Code of Ethics. Promoted by the European 22 Confederation of Conser-vator-Restorers' Organisations and adopted by its General Assembly, Brussels 7 March 2003. [online] [Ac-cessed 28 June 2014]. Available at: http://www.icon.org.uk/index.php?option=com_content&id=121 Kite, M. & Thomson, R. 2006. Conservation of Leather and Related Materials. Burlington, MD: Elsevier. Product Information Sheet. Fluid Acrylics. [online] [Accessed 29 June 2014]. Available at: http://www.goldenpaints.com/technicaldata/fluids.php. 23 Overpaints with cultural significance. How to define authenticity? The case of Afonso de Albuquerque’s portrait Ana Teresa TEVES REIS 1* , Miguel MATEUS 2* , David TEVES REIS 3* 1 Escola das Artes- Universidade Católica Portuguesa. Rua Diogo Botelho, 1327, 4169-005 Porto 2 Freelance Conservator-restorer 3 Conservator-restorer *
[email protected] [email protected] [email protected] Abstract Removal or not removal of repaints and overpaints are always complex and their justification isn’t always objective. This type of operation can sometimes result in a worn out surface with several losses of painting which normally are supposed to be restored and integrated. Justified by the search or by the reposition of authenticity, both these operations (restoration and integration) will change the values formerly attributed to the object. When one is dealing with works of art which are generally recognized of being cultural significant, different values should be interpreted and discussed between stakeholders and specialists from different areas of expertise in a multidisciplinary platform before carrying out any intervention. This isn’t always easy to achieve and the conservator usually has the difficult task of transforming subjective concepts into an objective solution. In this paper we present a case-study, the panel portrait of Afonso de Albuquerque, currently exhibited in Museu Nacional de Arte Antiga (Lisboa), which current investigation process has proven to be the portrait of another governor, but repainted to resemble the viceroy of Portuguese India during a restoration process in the 1960’s regarded has “technically difficult”. Several episodes throughout the history of the Viceroy and Governors portrait Gallery and this specific panel gave the repaint historic, documental and iconographic values. Investigation is still ongoing and new facts may alter the definition of values to this portrait and its authentic state in a process conservators should be ever more concerned during restoration interventions, namely chromatic integration. Keywords: Overpaints; Cultural significance; Values; Authenticity; Chromatic integration. References Appelbaum, B. 2010. Conservation Treatment Methodology. S.l. Appelbaum. Campos, A. 2014. Uma história com barbas. National Geographic Portugal, Junho. Muñoz Vinãs, S. 2003. Teoría contemporánea de la Restauración. Madrid. Sintesis. Inpainting a Urania 19 th Century Toy Theatre: 24 Problems and solutions. Cátia SILVA 1* , Leonor LOUREIRO 1** , Fernando ANTUNES 1 1 Polytechnic Institute of Tomar, ESTT, Quinta do Contador, Estrada da Serra, 2300-313 Tomar, PORTUGAL *
[email protected] **
[email protected] Abstract A Urania nineteen century toy theatre is nowadays a rare object to find. Created for the entertainment of children, this particular object is of German origin, edited by Joseph Scholz, one of the main creators of games and books for children at the time. It is a composite object, with wooden structure covered with marbled paper, tinted paper and cardboard showing two distinct forms of paper decoration: lithography and watercolour painting. It also has a front complex scene in printed cotton, and some metal elements. Structural problems and missing woody elements, countless tears in the papers, weaknesses and lacunae in the cardboards, papers and in papers decorations – printing designs, watercolours and marbling designs –, oxidation of the metallic elements, stains and powdery textile printing, were some of the main problems encountered. In order to solve these problems, the intervention of conservation and restoration focused on the disassembly of the object, cleaning, consolidation of tears, consolidation of powdery textile printing, filling gaps with Japanese papers and conservation pulp, and finally inpainting of the printed, watercoloured and marbled papers, essential for the full reading of the object. Regarding the characteristics of the different decorated papers, watercolours of the German brand Schmincke were chosen, and both mimetic and discernible pointillism techniques were applied for the inpainting – mimetic for printing lines and pointillism for the colour lacunae. The results obtained, being evident up close and unnoticeable when observing the whole object, were very satisfactory. Keywords: Inpainting of paper; Paper Conservation; Urania toy theatre; Schmincke watercolours; Mimetic inpainting; Pointillism inpainting. References Brillas, M. D. & Barón, P. R. 2011. Restauración de un abanico isabelino del siglo XIX. Pátina 16(II): 199-212. Byrne, J.S. 1982. Renaissance Ornament Prints and Drawings. New York: Metropolitan Museum of Art. 25 Fleming, D. 1996. Power Play: Toys a Popular Culture. New York: Oxford Road. Gomes, A. 1964. A Criança e o Teatro. Lisboa: D.G.E.P. Gusmano, A. 1994. Due Secoli di Litografia. Milano: Strumenti e tecniche. Hembrow, V. 1934. Hours of Leisure: The Model Theatre. New York. Hores, L. & Leisse, G. 2009. Dossier: Pliego, Papel y Tijeras. Espanha: Educacíon y Biblioteca. Morales, M. 2005. Soluciones para un país deteriorado: restauración de un abanico del siglo XVIII. Conserva, 9: 17-28. Ribeiro, R. & Vieira, L. 2008. Teatros de Papel: A Arte da Precisão. Lisboa: R.P.O.- Produção Gráfica. Sauer,O. 1982. Die Privat Theater Gesellschaft Urania von 1792 bis 1892. Berlim. Seruya, A. I. Carvalho,G. 2004. Biombo de Papel Sino-Japonês: Museu Nacional de Arte Antiga. Lisboa: Instituto Português de Conservação e Restauro. Seruya, A. I. Carvalho, G. 2005. Globos Coronelli: Sociedade de Geografia. Lisboa: Instituto Português de Conservação e Restauro. Staatliche Kunstsammlungen Dresden. Online Collection (online database) [Acessed June 2014]. Available at: <http://skd-online-collection.skd.museum/en/contents/ searchList?filter%5BtextSearch%5D=Mainz&submit_button=Search>. Mitschka, B. & Schenk Christine. Multum in Parvo (online database) [Accessed June 2014]. Available at: <http://www.spielzeugtheater.com/pages/collections/scenes_scholz.html>. 26 Stick it on! Temporary transfer papers as retouching media for ceramics conservation Tiago OLIVEIRA 1* 1 Sarah Peek Ltd., Brighton, United Kingdom *
[email protected] Abstract This paper proposes the use of temporary transfer papers as an alternative method for the retouching of plaster fills applied to ceramic objects. A transfer printed Wood & Sons tureen was the basis for this investigation. The original pattern was identified on the object and sourced online. The found image was adapted on Photoshop ® to match the object's colour and shape. Two types of water-based, cold-application transfers were tested: TYPE 1, Paper Slide Transfer; and TYPE 2, Temporary Tattoo Transfer. The pattern was printed onto both papers in an ordinary printer and the motif transferred to a plaster substrate. Normally, in creating a design motif, a retouching layer would be applied prior to creating the design (Buys & Oakley, 1993). However, it was considered that these transfer papers may not require this stage. Therefore, both plaster and plaster with Golden® Polymer UVLS Varnish were tested. The various samples were compared visually and their adherence and physical stability were investigated. Results were aesthetically promising. They showed that TYPE 1 can have a slight height inherent to its process of application and the paper itself is slightly coloured. This solution proved to be easier to apply but only to small areas due to paper wrinkling. TYPE 2, although thinner, showed a tacky adhesive for an extended amount of time; this was minimised by airbrushing a layer of Golden® Polymer UVLS Varnish on top. Undergoing light ageing tests will assess the papers’ long term ageing properties to evaluate their applicability to the desired purpose. Keywords: temporary transfers, ceramic, plaster, light ageing. References Buys, S. & Oakley, V. 1993. The Conservation and Restoration of Ceramics. Oxford: Butterworth-Heinemann. Petrie, K. 2011. Ceramic Transfer Printing. London: A & C Black. 27 Petrified Paint Research into the possibilities of reversible retouching media in the restoration of mural paintings on porous substrates made with Keim silicate paint. Drs. Karin M. Van der Lem MA 1 * 1 Conservation and Restoration of Historic Interiors, University of Amsterdam *
[email protected] Abstract In The Netherlands, from the beginning of the twentieth century till the sixties, several mural paintings were made with Keim silicate paint. Keim paint, made of a combination of waterglass and natural mineral pigments, was developed in the late nineteenth century in Germany. Its properties make it essentially different from other more traditional paint systems such as oil, glue or casein paints. The most characteristic feature of Keim paint is that it does not form a film, but chemically binds to the mineral substrate. During the painting process Keim paint penetrates into the porous surface of the mineral substrate and through a chemical reaction a microporous permeable coating is formed. Consequently the paint, when dry, becomes insoluble and is therefore not reversible. Considering durability, some conservators have suggested the use of Keim paints to restore paintings that were originally made with these mineral paints. However, as Keim paints are non-reversible, the guidelines of the Code of Ethics for Conservation do not permit this practice. This code urges conservators to choose materials that are not only durable, stable and compatible, but also reversible. The research focuses on surface damage to the pictorial coating of ‘Keimsche’ mural paintings. Larger gaps and filled areas are not considered here. The aim is to examine materials which allow Keim painted murals on porous substrates to be retouched in a reversible way. An inventory has been made of materials used in the conservation practice of 'Keimsche' mural paintings of the last twenty years. This inventory is primarily based on interviews with conservators of historic interiors. On the basis of this information and the associated case studies, a selection of eight potential retouching materials was made. The selected materials for retouching have been artificially aged, both by UV radiation (Xenon Test Alpha High Energy) and by accelerated cycles of moisture and temperature in a VC 0020 climate cabinet. The results have been visually evaluated with the aid of the microscope and are linked to the information obtained from the practice. Combined with literature research on materials for retouching which were commonly used for murals after the second half of the last century, a wide range of the possibilities are discussed in relation to each other. This research proofs the complexity to determine recommendations for a ‘good’ retouching of murals using a vapour permeable paint system such as Keim. Keywords: Keim, silicate paint, mural paintings, reversibility, retouche, artificial aging 28 Poster 29 Conservation and restoration of the Pipe Organ from the Church Our Lady of Grace: chromatic and pictorial reintegration practice Fernando dos Santos ANTUNES 1* 1 Polytechnic Institute of Tomar | Laboratory for Conservation and Restoration of Wood Campus IPT | Quinta do Contador | Av. Dr. Aurélio Ribeiro | 2300-313 Tomar - Portugal *
[email protected] Abstract In this article we will discuss the intervention of conservation and restoration carried out in a gilded and polychrome wood pipe organ, with particular emphasis on procedures for chromatic reintegration of loss areas of metallic finishes (silver leaf, covered with "golden" varnish) and pictorial reintegration of loss areas of polychrome finishes. The pipe organ is from Church of Our Lady of Grace and belongs to the Santa Casa da Misericórdia of Tomar. The treatment of this musical instrument was carried out in the Laboratory of Conservation and Restoration of Wood, in The Polytechnic Institute of Tomar (IPT). The case of this pipe organ prior to our conservation and restoration intervention and the related reintegration process, whose philosophy and methodology, based on the results obtained by exams and analysis carried out previously, were oriented towards ensuring the aesthetic restitution of the original pictorial decoration, that has been produced by an unidentified painter, in Naples, in the year 1756, at pipe organs workshop of Thomas Martino (son of organ maker also Regia Cappella di Napoli Giuseppe de Martino). This decoration that has been the object of three consecutive work campaigns, of pictorial interventions (between eighteenth and twentieth century), methodologically accounted for an monochrome oleic repainting (in the same color as the original background), followed by an polychrome oleic repainting (to imitation wood), and, lastly, an oleic monochrome repaint (in dark brown), who deliberately hidden and greatly transformed the aesthetics of this cultural asset. The aim of this intervention was to minimize the disturbance caused by losses and restore its functionality, while respecting the authenticity of the work of art, as an artistic creation, a historical document and a cultural memory. Keywords: repainting; repaint; reintegration; chromatic; pictorial; restitution. References Calvo, A. 1997. Conservación y Restauración: Materiales, técnicas y procedimientos de la A a la Z. Barcelona: Ediciones del Serbal 30 Cremonesi, P. 2004. L’Uso dei Solventi Organici Nella Pulitura di Opere Policrome. Padova: il Prato. The Getty Conservation Institute. 1998. Painted Wood: History and Conservation. Acts of Symposium Orga-nized by the Wooden Artefacts Group of the American Institute for Conservation of Historic and Artistic Works.1998. Singapore: The Getty Conservation Institute. Wolbers, R. 2000. Methods of Cleaning Painted Surfaces. London: Archetype Publications. 31 Aquazol based retouching colors Preliminary Tests and Advancement of an Experiment Roberto BESTETTI 1 , Annalisa COLOMBO 2 , Daphne DE LUCA 3 , Valentina Emanuela SELVA BONINO 1 , Vanessa UBALDI 5 . 1 CESMAR7-Centro per lo Studio dei Materiali per il Restauro, Via Mentana 5, 37128 Verona (VR), Italy 2 Dipartimento di Scienza dei Materiali, Università degli Studi di Milano-Bicocca Piazza dell'Ateneo Nuovo, 1 - 20126, Milano (MI), Italy. 3 DISBEF, Università degli Studi di Urbino “Carlo Bo” Via Aurelio Saffi, 2 61029 Urbino (PU), Italy. 4 Student at Corso di laurea magistrale in Conservazione e Restauro dei Beni Culturali Università degli Studi di Urbino “Carlo Bo” Via Aurelio Saffi, 2 61029 Urbino (PU), Italy Roberto Bestetti*:
[email protected] Abstract Samples of several retouching colors based on Aquazol 500 1-2 were prepared in order to exploit their good characteristics and, also, their solubility in alcohol or acetone (or mixtures), as substitutes of watercolors in retouching paintings 3 . The study concerns physico-chemical characterization of the Aquazol based colors, in particular investigation and characterization of the binder, of inorganic pigments and organic dyes with which was mixed and interactions of the binder with the latter.The study proposes alternative retouching colors to watercolors, mixing the selected pigments with various products such as Aquazol 50, 200 and 500 3-4 .The samples are analyzed using different techniques as: Pyrolysis gaschromatography coupled with mass spectrometry (Py GC-MS), Optical and stereomicroscopy (OM and SM), Scanning electron microscope (SEM), µRaman spectroscopy, Thermogravimetric analysis (TGA), Differential scanning calorimetry (DSC) and Size-exclusion chromatography (SEC), before and after ageing in Solar Box 5 in order to check changes in examined colors, after treatment. Common watercolors are widely used since years in the pictorial reintegration, but not extensively studied. Therefore it is fundamental to indicate scientifically their stability and their behavior towards certain values of relative humidity, as well as their effective reversibility over time 6 . Parameters such as stability, reversibility and durability over time are evaluated and considered to establish which types of Aquazol based colors are more suitable for retouching. Keywords: Aquazol, retouching colors, watercolors, ageing, stability 32 References 1 Wolbers R. 2014 Aquazol: Basic Physical and Chemical Properties of Poly( 2-ethyl- 2oxazolines (lecture) Giornata di studio: “Aquazol: Esperienze ed applicazioni nel panorama italiano”, Venaria Reale, Torino. 2 Wolbers, R.C., McGynn, M., Duerbeck, D. 1994 Poly(2-Ethyl-2-Oxazoline): A New conservation consolidant, in Painted Wood: History and Conservation, Proceedings of the Symposium in Williamsburg, pp. 514-527 3 Wolbers R. 2014 Aquazol: Nuove prospettive e approfondimenti per l’uso di poliossazoline (aquazols) (workshop) Venaria Reale, Torino. 4 Sims, S., Cross, M., Smithen, P. 2010 Retouching media for acrylic paintings in: Mixing and Matching Approaches to retouching paintings, edited by R.Ellison, P.Smithen and R.Turnbull, Archetype London. 5 De la Rie, R. & Quillen Lomax, S. & Palmer, M. & Deming Glinsman, L. & Maines, An investigation of the photochemical stability of Urea-aldehyde resin retouching paints. C. 2000, IIC Melbourne Congress. 6 Metzger, C.A., Maines, C., Dunn, J. 2011 Painting conservation Catalogue vol III: Inpainting AIC, Paintings Specialty Group, American Institute for Conservation. 33 When criteria adjusts its definition Retouching and the concept of lacuna positive (“positive loss”) Antoni COLOMINA SUBIELA 1* Mar CUSSO SOLANO 2** 1 Instituto Universitario de Restauración del Patrimonio de la Universitat Politècnica de València, Camino de Vera s/n 46022 València 2 Tate Britain, Millbank London (UK) *
[email protected] **
[email protected] Abstract We openly accept a series of basic standards when undertaking any conservation treatment, however the theoretical basis of those standards, in many cases, may need to be re-evaluated in order to adapt the conservation treatment approaches to particular issues which can be found in real cases. As much as we may aim to literally follow the conservation standards already stipulated, this will need to be revised once the intervention on the artwork takes place. Consequently, it is clear that the criterion of maximum respect towards the original should restrain from invasive retouchings crossing the delimited borders of the paint loss. However, the principles applied during the retouching process are subject to ongoing revision depending on different types of scenarios that conservators may face. In this aspect, the paint loss, which leaves the ground layer or support exposed is not the only disruption which can cause problems in order to have a proper lecture of the piece. Wear, abrasion or loss of thin layers of paint (glazings) can reveal underlayers of paint, dirt deposits, flyspecks and yellowed oxidized varnishes (lacuna positiva or in literal translation “positive loss” ) all of these elements, can become exposed during the cleaning process and may only be voided during the retouching process. In any case, this action is not exempt of debate, due to the fact that the intervention will leave an imprint on the original. The definition of “lacuna positiva” (“positive loss”) relates to the same type of concept that defines the notion of conventional paint loss : it is identified as a inflexion of disruption on the art work but with the difference that in this case the surrounding area preserves some or all of the original layers of colour. Keywords: positive loss, criteria, retouching, cleaning. References Cesare Brandi, Umberto Baldini, Salvador Muñoz, Vicente Guerola, Rebeca Alcántara. 34 Handmade paints production Materials and the process of manufacturing watercolor and gouaches. Selection criteria’s for paints. Leonel COSTA 1* 1 D’arteCor –
[email protected] [email protected] Abstract In the Conservation and Restoration field its necessary knowledge about constitutive materials of the products. They’re used for compatibility, reversibility and also stability and toxicity reasons. Knowing the process of manufacturing, for example, watercolors and gouaches, can give warranty and security to the Conservative Restorers when they need to do a chromatic reintegration. The paints selection is a very important phase in the chromatic reintegration practice, because it influenciates the quality and the stability of the intervention. Between the selection criteria’s stand out the: stability to the light, granulometry, the power of dyeing and covering, the refraction index, the range, the compatibility between pigment mixes, and others. D’ArteCor is a project that pretends interact with the Conservative Restorer Professionals elucidating them to the process and the materials used in the manufacturing of artistic paints, as well as disponibilizating products that allow a better quality of their intervention. The mains goal of this exposition is describing the manufacturing process of watercolor and gouaches, analyzing its advantages and disadvantages. Keywords: D’arteCor, handmade color, watercolor / gouaches, refraction index, light stability. 35 Retouch and Chromatic Reintegration Distinction of both terms in the conservation of photographs Carina FONSECA 1* 1 Independent researcher, Conservator at Luis Pavão Lda and Freelancer, Portugal *
[email protected] Abstract In photography the term retouch is often used to describe the corrections or improvements on the portrait subject, or the corrections on results of an incomplete spectral sensitivity or poor technical manipulation. Today, with digital images, and digital manipulation with software, such as Photoshop, the term retouch has become even more trivialized. By removing or adding material, through a digital or physical process, the image becomes “perfect” to the photographer, printer or artist’s eyes. Therefore, the term retouch is used to describe the original alterations in the creative process as final adjustments. Something totally different is the chromatic reintegration done by a Conservator. As the term indicates, the chromatic reintegration is a process to recover, chromatically, the missing areas for a correct reading of the image, respecting and preserving the original. Although, always polemic, this esthetical intervention, in photography, where the image is more sought than the object itself, is particularly valuable since having white areas can become very disturbing. Maintaining the integrity of the original, the chromatic reintegration does not correct or cover imperfections on the subject represented. This study on distinction of retouch and chromatic reintegration came by the necessity to distinguish the original, or previously characteristics, to the Conservator intervention and start on the development of a controlled vocabulary for the description of photograph conservation conditions. Keywords: retouch; corrections; improvements; chromatic reintegration; recovery; photographic manipulation. References Cartier-Bresson, A. 2008. Le vocabulaire technique de la photographie. Paris: Marval, Paris Musée. Fineman, M. 2012. Faking it: manipulated photography before Photoshop. New York: The Metropolitan Museum of Art. 36 Herrera, R. 2011. Técnicas de retoque de negativos fotográficos: historia y conservación. In: Pátina. Madrid: Escuela Superior de Conservación y Restauración de Bienes Culturales. Lavérdrine, B. 2003. A guide to the preventive conservation of photograph collections. Los Angeles: The Getty Conservation Institute. McCabe, C. 2005. Coatings on photographs: materials, techniques and conservation. Washington, DC: American Institute for Conservation of Historic and Artistic Works. Norris, D. & Gutierrez, J. 2010. Issues in the conservation of photographs. Los Angeles: The Getty Conservation Institute. Osterman, M. 2007. Re-Touching. In: Peres, M. 2007. The focal encyclopedia of photography: digital imaging, theory and applications, history, and science. Massachusetts: Focal Press. 37 Retouching of sculptures with worship function Carla, REGO 1 ; Margarida MANARTE 2 * 1 Professor of the Polytechnic Institute of Tomar 2 Master student of the Polytechnic Institute of Tomar, Quinta do Contador – Estrada da Serra, 2300-313, Tomar. *
[email protected] Abstract The aim of this paper is to present a practical case of retouching of two wooden polychromed sculptures, part of a Holy Family, from the church of Figueiró dos Vinhos. The intervention was based on conservative methods but there was also the need to use restorative treatments in order to give them back their religious meaning and worship function. The lacunae at the level of the polychromed layer and the areas where support fillings were applied were retouched. The retouching proved to be important to decrease the reading’s perturbation caused by those areas (BRANDI, 2006: 89). The white coloration of the preparation layer and the material used on the support fillings, was attracting the viewer’s eye, preventing a correct and balanced observation, so to solve this problem two techniques were used: For the lacunae on the body of the sculpture, in order to approximate the whites to the color tone of the support, it was used a water soluble aniline overlapping glazes until reaching the intended tone. Thus, we could get a visual balance reducing the lacunae prominence; for the lacunae in the faces, due to the importance that this part of the body of the sculptures has, it was chosen a sub tone retouching with reversible materials (BAILÃO, 2011: 49). The preservation of the original materials and techniques was important, but it was also essential to devolve a correct reading to the sculptures to assure their worship function, since the efficiency of an object as a symbol is one of the goals of restoration (MUNOZ VINAS, 2003: 175). Keywords: religious sculpture, neutral tone, sub tone. References BAILÃO, A. 2011. As técnicas de Reintegração Cromática na Pintura: revisão historiográfica. Ge-conservation, 2: 45-63. BRANDI, C. 2006. Teoria do Restauro. Lisboa: Orion. MUÑOZ VIÑAS, S. 2003. Teoria Contemporanea de la Restauracion. Madrid: Sintesis. 38 The convergence of graphic sources in the pictorial production of Francisco Ribalta in Valencia and Gregorio Vásquez de Arce y Ceballos in Bogotá Natalia MEJÍA MURILLO 1*, Vicente GUEROLA BLAY * 1 Polytechnic University of Valencia, 46022, Valencia, Spain. *
[email protected] *
[email protected] Abstract The use of graphic sources as a formal mechanism for imaging is a topic that was widely applied in the pictorial production of the XVI and XVII century. The use of engravings, which was a common practice in European painting, in America became a necessity due to the absence of teachers in painting, leaving the Colonial artists guessing the right approach based upon the tools they had at their hand. The availability of European graphic sources established itself as a direct and decisive influence on the formation of painters. From this perspective, similar representations were identified in the paintings of Gregorio Vásquez de Arce y Ceballos, one of the most prominent colonial painters in Colombia and Francisco Ribalta, an influential Spanish baroque painter. Both of these artist used the same model horse and some soldiers found on Flemish and Italian engravings for the composition of their paintings titled “Santiago en la batalla de Clavijo”. The research aims to emphasize the importance of a chromatic reintegration based on valid sources that allows a respectful restoration of the original, and therefore misinterpretation affecting the correct reading of the paintings are avoided and thus the message that were conceived. For this reason the location of these prints are an important contribution, not only documentary and historical, but also as a tool for the restorer that would be able to use the same sources that have served as models for painters. Keywords: European engravings, colonial painters, chromatic reintegration, Gregorio Vásquez. Santiago en la batalla de Clavijo. 39 Contemporary Reintegration Carlos MOTA 1* 1 Museu do Douro *
[email protected] Abstract This poster presents two practical cases: the first one is a “low volume reintegration” of fragments of Portuguese faience from the 18th century, of the collection of Museu de Lamego. This faience was found in the archaeological excavations in São João de Tarouca and is a production of Gaia pottery. The second case is a "dry chromatic reintegration" of a clock- face, made of paper. Is an object dated from January 1958 and from the manufacture Reguladora. Is collection of Museu do Douro. These two interventions were influenced by the innovative methodologies presented on the last year conference 1st International Meeting on Retouching of Cultural Heritage, RECH1 (19th of October 2013). They are also an adaptation to a line of work that follows the concept of Contemporary Conservation/Restoration. This poster aims to call attention to the need of reintegration under the sustainable criteria, described by Salvador Muñoz Viñas in his work “Contemporary Theory of Conservation” of 2005. According to him, the sustainable intervention is more than the standard theoretical-practical actions of classical restoration, which include historical and artistic study, documental and analytic photographic record, examination and analysis of the materials, conservation status assessment. These, all together, can help to define a methodological restoration plan. This new criteria of sustainable appeal to ecological products, with viable costs, and along with the intervention process, can create educational mechanisms for the Cultural Heritage protection. Keywords: contemporary conservation/restoration; reintegration; sustainability. 40 Retouching complex losses of altarpieces with mica pigments Nelson NEVES 1; Frederico MATOS 1 1 N_RESTAUROS, Conservação e Restauro, Lda, R. de Grijó, N.º 84, 2.º Esq, Porto *
[email protected] Abstract Micas are interference pigments with high reflective and refractive properties. Mixed with different binders can be used in the retouching of losses in gilded surfaces. This practice can be considered as an evolution of reintegration with three colours, because micas can be mixed with another pigments, and can help to achieve the colour and brightness effect of the gold leaf. The use of mica pigments can be an advantage in large losses: is a low-cost and friendly use material. However, achieving the same reflection brightness of the original gold surface is not easy and can be considered a disadvantage. Before starting the inpainting process itself, the use of mica pigments should be preceded of a critical observation to understand if it is possible to obtain a good result. Aspects like the surrounding surface, angle of observation and the kind of illumination are very important. Depending of the texture of the surface, mica pigments can produce large colour shifts, and also, depending of the viewing angle and illumination settings they can manipulate incident light. Due to this factors achieving satisfactory results can be a difficult task 1 . The aim of this communication is to share our retouching experience with mica pigments in large losses of altarpieces. This solution has been presenting very satisfactory results in this type of cultural heritage, due to enable large- scale economy, either in materials and costs involved, either in monetization of hand labour very significantly. Keywords: retouching, mica pigments, complex losses, altarpieces. References 1 BAILÃO, Ana; SUSTIC, Sandra. Retouching with mica pigments. e-conservation Journal, n.º 1 (2013). pp. 45-56. 41 Structuring at the retouching step State of the art: Study of the stakes, materials and techniques. Gaëlle PENTIER *
[email protected] Abstract The pictorial creation is in constant mutation in its ways of expression and materials. This evolution gives rise to new problematics which can challenge the current retouching methods. The recent commercialization of a range of retouching mediums, the B72 Retouching Gels®, introduced a new generation of reintegration mediums inspired by XIXth and XXth centuries’ practices. What we chose to name “the structural retouching” consists in reintegrating, in one step, the colors and the physical relief of a lacunar painting. Contrary to the filling-retouching method matching the surface relief and then the color, this method would globally match the color, rheology and internal structure. The wet-in wet effects, superposition of glazing and the highest impastos would be some of the practical stakes of this method. This review first explores the notion of structure by defining it as the paint internal architecture. Secondly, it evaluates if this technique can be used as an alternative to the current retouching techniques: by confronting it to the practical and ethical requirements of conservation, by investigating the different materials which could be used to create a bodied retouching, and by testing three categories of them through practical and aging tests. It has been revealed that, besides reproducing the idiosyncrasy of the pictorial vocabulary, the embodied retouch brings a precious alternative through complex retouching cases where traditional methods has reached their limits. Keywords: B72 Retouching Gels®, Rheology, Structure. References BAILAO, A. 2010. Application of a methodology for retouching, A study case of a contemporary painting, [On line], (Accessed 16/03/2013). Available at: http://ceroart.revues.org/1603#ftn11 BROSTOW, W. 1998. Mechanical and thermophysical properties of polymer liquid crystals, London: Chapman and Hall. CARLYLE, L. 2001. The artist’s assistant: oil painting instruction manuals and handbooks in Britain 1800-1900, with reference to selected Eighteenth-century sources, London: Achetype Publications. 42 DE LA RIE, R., 1988. «Polymer stabilizers, a survey with reference to possible applications in the conservation field», in Studies in conservation, 1(33), pp. 9-22. DELABY, M-L. 2004. Les peintures matiéristes modernes et contemporaines sur toile. Thesis of Master, École nationale supérieure des Arts visuels de la Cambre, Bruxelles. DELCROIX, G. & HAVEL, M. 1988. Phénomènes physiques et peinture artistique, Puteaux : EREC. EFFMANN, E., 2006. « Theories about the Eyckian painting medium from the late eighteenth to the mid-twentieth centuries », in Reviews in Conservation, (7), pp. 17-26. FELLER, R., L., 2002. « Speeding up Chemical deterioration » in Contribution to conservation science. A collection of Robert Feller’s published studies on artists’ paints, paper and varnishes, Pittsburgh: Carnegie Mellon University Press, pp. 107-119. GROEN, K. 1997. « Investigation of the use of binding medium by Rembrandt », in Zeitschrift für Kunsttechnologie und Konservierung, 2(11), pp. 207-227. HAIML, C. 2007. « Restoring the Immaterial: Study and treatment of Yves Klein’s Blue Monochrome (IKB 42) », in Modern Paint Uncovered, (Tate Modern, 16-19 May 2006), Getty Trust, pp. 149-156. HAMM, J. & GAVETT, B. 1993. «The discoloration of acrylic dispersion media», in Saving the twenthieth century: the conservation of modern materials, Ottawa: Canadian Conservation Institute, pp. 381-392. HILL STONER & J., RUSHFIELD, R. 2012. Conservation of Easel Paintings, London: Routledge. KLEIN, K., 1995. « Wachsseifen und Wachsemulsionen als bindemittel. Möglichkeit ihrer Anwendung bei der Retusche. », in Restauro, 4(101), pp. 268-271. 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SZMIT-NAUD, E., 2003. « Research on materials for easel painting retouches: Part 2 », in The picture restorer, Autumn, 24, pp. 80-82. SZMIT-NAUD, E., 2002. « Constat d’état des retouches en peintures de chevalet », in Bulletin de l’APROA-BRK, 4e trimestre, pp. 12-18. Sites internet: Artificial aging lights. [Online] [Accessed 11/02/13]. Available at : www.q-lab.com B72 Retouching Gels® official website. [Online] [Accessed 20/05/13]. Available at : www.artcare.org Request for a Patent. Freely accessible. [Online] [Accessed 10/05/13]. Available at : http://www.ipo.gov.uk/p-find-publication- getPDF.pdf?PatentNo=GB2448521&DocType=A&JournalNumber=6231 44 Índice In search of uniformity in the museological context. A proposal for the chromatic reintegration of a set of Phoenician archaeological ceramics Alice Nogueira ALVES, Marta FRADE, Luís Jorge GONÇALVES, Manuel CALADO ...............5 Reintegration, integration, inpainting, retouching? Questions around terminology Ana CALVO, Ana BAILAO ...............................................................................................................6 Material and Methods for self production of retouching colors Roberto BESTETTI, Ilaria SACCANI ....................................................................................................7 The Conservation Treatment of Rijksmuseum Limoges Enamels. The Same Approach, Three Different Treatments. Ellen VAN BORK, Tamar DAVIDOWITZ, Sara CREANGE and Joosje VAN BENNEKOM ..............................................................................................................................................................9 Recreating Patina: The Retouching of Rodin’s The Thinker. Tamar DAVIDOWITZ, Tonny BEENTJES, Rozemarijn VAN DER MOLEN....................................10 Retouching a monumental terracotta sculpture. Meeting the viewer’s needs. Cláudia FALCÃO, Ricardo TRIÃES, Sónia TAVARES, João RAMOS........................................ 11 45 Examples of Ceramic tile work reintegration systems based on studying their graphic sources Ignasi GIRONÉS-SARRIÓ and Vicente GUEROLA-BLAY .......................................................... 13 Go with the Glow: An investigation into a 1960s artwork with phosphorescent paint and its treatment possibilities Ellen JANSEN .................................................................................................................................... 14 Altarpiece painting: a view from the inside Mercês LORENA .............................................................................................................................. 16 Textured Replacement Strip for a Missing Portion of a Portrait: Problem Solving and Practical Solutions Raquel MARQUES 1* , Leslie CARLYLE 1 , Isabel POMBO CARDOSO 1 ........................................ 17 The influences of Viollet-Le-Duc, Aloïs Riegl e Cesare Brandi. in the field of Restauration Theory in Contemporary Art Camila MORTARI; Margarida FERNANDES; Rafael ROBLE ...................................................... 18 Chromatic (re) integration in Charola, Convento de Cristo, Tomar ............ 20 José Artur PESTANA ........................................................................................................................ 20 Inpainting in Bookbinding Conservation. Materials and Techniques. Diana AVELAR PIRES ...................................................................................................................... 21 Overpaints with cultural significance. How to define authenticity? The case of Afonso de Albuquerque’s portrait Ana Teresa TEVES REIS, Miguel MATEUS, David TEVES REIS ..................................................... 23 Inpainting a Urania 19 th Century Toy Theatre: Problems and solutions. Cátia SILVA 1* , Leonor LOUREIRO 1** , Fernando ANTUNES 1 ....................................................... 24 Stick it on! Temporary transfer papers as retouching media for ceramics conservation Tiago OLIVEIRA 1 .............................................................................................................................. 26 46 Petrified Paint. Research into the possibilities of reversible retouching media in the restoration of mural paintings on porous substrates made with Keim silicate paint. Karin M. Van der Lem .................................................................................................................... 27 Conservation and restoration of the Pipe Organ from the Church Our Lady of Grace: chromatic and pictorial reintegration practice Fernando dos Santos ANTUNES 1* ................................................................................................. 29 Aquazol based retouching colors. Preliminary Tests and Advancement of an Experiment Roberto BESTETTI , Annalisa COLOMBO, Daphne DE LUCA, Valentina Emanuela SELVA BONINO , Vanessa UBALDI. .......................................................................................................... 31 When criteria adjusts its definition. Retouching and the concept of lacuna positive (“positive loss”) Antoni COLOMINA SUBIELA, Mar CUSSO SOLANO .................................................................. 33 Handmade paints production. Materials and the process of manufacturing watercolor and gouaches. Selection criteria’s for paints. Leonel COSTA ................................................................................................................................. 34 Retouch and Chromatic Reintegration. Distinction of both terms in the conservation of photographs Carina FONSECA ............................................................................................................................ 35 Retouching of sculptures with worship function37 Carla, REGO; Margarida MANARTE ............................................................................................ 37 The convergence of graphic sources in the pictorial production of Francisco Ribalta in Valencia and Gregorio Vásquez de Arce y Ceballos in Bogotá Natalia MEJÍA MURILLO; , Vicente GUEROLA BLAY ................................................................... 38 Contemporary Reintegration Carlos MOTA.................................................................................................................................... 39 47 Retouching complex losses of altarpieces with mica pigments Nelson NEVES; ; Frederico MATOS ................................................................................................. 40 Structuring at the retouching step. State of the art: Study of the stakes, materials and techniques. Gaëlle PENTIER ................................................................................................................................ 41 48 Notes 49 50 51 September 2014