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Painting restoration

Art conservation, particularly painting restoration, is an important endeavor to preserve our cultural heritage and maintain the aesthetic value of an artistic piece. Chemical reactions occurring on a microscopic level are the origin of the macroscopic changes that we observe as ageing. [Pg.56]

Mobile local exhaust system in use for the removal of fumes during ceiling painting restoration at Ely Cathedral. (Photo Buy vital Limited)... [Pg.38]

Optical Techniques. The most important tool in a museum laboratory is the low power stereomicroscope. This instmment, usually used at magnifications of 3—50 x, has enough depth of field to be useful for the study of surface phenomena on many types of objects without the need for removal and preparation of a sample. The information thus obtained can relate to toohnarks and manufacturing techniques, wear patterns, the stmcture of corrosion, artificial patination techniques, the stmcture of paint layers, or previous restorations. Any art object coming into a museum laboratory is examined by this microscope (see Microscopy Surface and interface analysis). [Pg.417]

Exa.mina.tlon, A typical technical examination of a painting (64,65), intended to ascertain its period, condition, and the degree of previous restoration would likely entail most of the following steps. [Pg.420]

Once a metal surface has been conditioned by one of the above methods, a coupling agent composed of a bifimctional acid—methacrylate similar to a dentin adhesive is appHed. This coupling material is usually suppHed as a solvent solution that is painted over the conditioned metal surface. The acidic functional group of the coupling molecule interacts with the metal oxide surface while the methacrylate functional group of the molecule copolymerizes with the resin cement or restorative material placed over it (266,267). [Pg.493]

Sangajol, n. Paint) mineral spirits. T.N. sanieren, v.t. cure, restore reorganize. Sanierung, /. curing sanitation restoration reorganization. [Pg.378]

Tamika is restoring an antique storage chest that is in the shape of a rectangular prism. She is painting the outside only of the trunk. The trunk is 4 feet long, 18 inches wide, and 2 feet tall. There is a brass ornament on the outside of the trunk that takes up an area of 1 square foot that will not get painted. How much paint does she need, in square feet, to cover the outside of the trunk ... [Pg.152]

I.D. Van der Werf, K.J. van den Berg, S. Schmidt, and J.J. Boon, Molecular Characterization of Copaiba Balsam as Used in Painting Techniques and Restoration Procedures, Stud. Conserv., 45, 1 18(2000). [Pg.162]

According to previous analyses of these paintings, the colour layers contain a high concentration of phosphorus (in the order of units of per cent) [40] this led restorers to the assumption that they contain casein which was ruled out by our detailed analysis. Thus, a high concentration of phosphorus coming from the proteinaceous binder is excluded because of the low concentration of phosphorus in the most phosphorylated binder (casein, max. 5% phosphoms) and the amount in the colour layer (up to 10%).The source of phosphorus was discovered by powder X-ray microdifffaction it comes from aluminium phosphate that was probably used as a substrate for the precipitation of red organic lake [40],... [Pg.181]

Each painter had his own technique the binding medium was thus prepared using different additives, giving rise to a variety of recipes for each technique. For example, it is believed that fig latex (a white liquid exuded by the fig tree) was commonly added to the egg tempera, and that animal or plant resins were added to oil- and wax-based binders. On account of their adhesive properties, these materials were used not only as paint binders, but also as consolidants in restorations, as ingredients in varnishes used to finish paintings, and as ingredients of mordants to apply metallic leaf decorations. [Pg.304]

In addition to natural materials, synthetic polymers might also be present in works of art. Since the end of the nineteenth century, synthetic polymers have been produced and used in the field of cultural heritage, to restore works of art [3], but also as paint binders, such as alkyd resins and acrylic water dispersions. Most synthetic polymers can be detected by GC/MS only through thermal degradation followed by GC/MS [4,5] (Chapter 12 deals with the characterisation of synthetic resins in detail). [Pg.304]

The mural paintings in the Monumental Cemetery of Pisa were detached in a restoration after the Second World War, and were later restored on several occasions. They showed an advanced state of degradation. In Figure 11.10 the pyrograms of two samples collected from the paint surfaces (CSG 13bis from Universal Judgement and CSA 5b from Stories of Holy Fathers ) are compared with the pyrograms of nitrocellulose, starch and arabic gum. [Pg.320]

G. Chiavari, M. Ioele, S. Prati and S. Santopadre, Py GC MS of the synthetic polymers used in past restorations on Giotto s mural paintings at the Scrovegni Chapel (Padova),... [Pg.361]

Organic substances can be identified both as the main constituents of an artwork or a cultural heritage object, and as secondary components, mixed with inorganic compounds. Organic materials can be found in the finish or decoration of the surfaces, or as residues of commodities, such as in ceramic or glass vessels. Moreover, the majority of restoration products applied as consolidants, adhesives, restoration paints and varnishes are of an organic nature. [Pg.514]


See other pages where Painting restoration is mentioned: [Pg.23]    [Pg.25]    [Pg.41]    [Pg.23]    [Pg.25]    [Pg.41]    [Pg.417]    [Pg.420]    [Pg.420]    [Pg.424]    [Pg.424]    [Pg.77]    [Pg.77]    [Pg.550]    [Pg.493]    [Pg.494]    [Pg.87]    [Pg.121]    [Pg.94]    [Pg.229]    [Pg.461]    [Pg.463]    [Pg.5]    [Pg.17]    [Pg.26]    [Pg.166]    [Pg.205]    [Pg.230]    [Pg.230]    [Pg.237]    [Pg.242]    [Pg.249]    [Pg.321]    [Pg.321]    [Pg.322]    [Pg.330]    [Pg.349]    [Pg.514]   
See also in sourсe #XX -- [ Pg.23 ]




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Restoration

Restorative

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