1,721,117 research outputs found
20th century artists' oil paints : a chemical-physical survey
No full textThe research project developes in PhD research in Chemical Sciences deals with the study of modern and contemporary works of art, focusing on materials and production techniques employed by artists. In this study innovative and specific analytical techniques have been optimised: the survey has been successful not only in detecting the nature of artistic materials used in the 20th century, but also in studying their behaviours over time. Thid PhD researc has been part of an international project concerning the Conservation of Contemporary Art and has lead to the improvement of new methodologies to study proteinaceous and lipidic binding media by using chromatographic techniques (GC-MS, Py-GC-MS, HPLC). These methods have also allowed for the identification and the role of industrial additives (such as aluminium and zinc stearates and hydrogenated castor oil), which had been not fully studied previously. This part of the PhD research has been developed in the Netherlands, in the laboratories of the ICN (The Netherlands Institute for Cultural Heritage, Amsterdam), under the supervision of Dr. Klaas Jan van den Berg and Mr. Ing. Henk van Keulen. The research has been part of the international project called "20th Century Oil Paint Project", carried out at ICN in collaboration with Courtauld Institute of Art, London, Tate, London and Getty Conservation Institute, Los Angeles. The research was initially focused on the study of laboratory-reconstructed oil films, which were prepared with lipidic binders, additives, pigments and driers used by modern oil manufacturers. The films were studied by using several analytical techniques: FT-IR, XRF, TG-DSC and GC-MS. This study has lead to an improvement of analytical methodologies for the study of manufactured oil samples. Furthermore, the research focused on real samples taken from important modern paintings by Lucio Fontana, Jasper Johns, Karel Appel, Willem de Kooning, Salvador Dalì, Henri Matisse, Isabel Lambert-Rawsthorne, Ethel Walker, etc. The obtained results are a further step in the knowledge of materials used in artistic and technological production in Contemporary Art.Il progetto sviluppato in questa tesi di Dottorato in Scienze chimiche riguarda lo studio di opere di arte moderna e contemporanea con particolare riferimento alle indagini sui materiali e tecnologie usate dagli artisti. Per tale ricerca sono state sviluppate delle tecniche di indagine innovative, specifiche in grado di rilevare non solamente la natura dei materiali utilizzati ma anche il loro comportamento nel tempo.
Questa ricerca si è inserita in un progetto internazionale riguardante appunto la conservazione dell’arte contemporanea (20th Century Oil Paint Project, promosso dall'ICN The Netherlands Institute for Cultural Heritage, Amsterdam in collaborazione con il Courtauld Institute of Art, London, ilTate, London e il Getty Conservation Institute, Los Angeles). Il lavoro di tesi ha portato in particolare alla messa a punto di metodologie di studio dei oleosi attraverso l’impiego di tecniche cromatografiche (GC-MS, Py-GC-MS) che hanno consentito di individuare la presenza e il ruolo di alcuni additivi industriali (come gli stearati di alluminio e zinco e l'olio di ricino idrogenato) che fino ad ora non erano stati rilevati in maniera significativa,ma che rivestono un ruolo importante nella produzione industriale dei materiali dell’arte.
La ricerca è stata condotta dapprima su campioni pittorici ad olio realizzati in laboratorio utilizzando leganti oleosi, pigmenti, siccativi e additivi impiegati nella moderna produzione industriale di colori ad olio. I film pittorici sono stati analizzati mediante l’uso di svariate tecniche analitiche, tra cui la spettrometria infrarosso in trasformata di Fourier (FT-IR), la spettrofotometria a raggi X (XRF), la Termogravimetria (TG), la Calorimetria Differenziale a Scansione (DSC) e la Gascromatografia abbinata alla Spettrometria di Massa (GC-MS).
La parte sperimentale si è poi incentrata sullo studio di colori ad olio (a tubetto) provenienti da collezioni storiche di famose ditte produttrici di colori ad olio (come ad esempio Winsor&Newton, Talens, Old Holland, Maimeri). L’ultima parte della tesi è stata dedicata allo studio di significative opere moderne e contemporanee di artisti quali Lucio Fontana, Jasper Johns, Karel Appel, Willem de Kooning, Salvador Dalì, Henri Matisse, Isabel Lambert-Rawsthorne, Ethel Walker, etc.
I risultati, oltre che a chiarire le situazioni sotto indagine, aprono una serie di nuove prospettive su settori finora poco approfonditi nella produzione artistica e tecnologica dell’arte moderna e contemporanea
The mural painting by Keith Haring on the Tour de l’Hôpital Necker, Paris (1987) - Analysis of painting materials and support Report by Dr. Francesca Caterina Izzo
No full textL'uso della pece nelle anfore dell'area del Monte Poro: come sistema di impermeabilizzazione e come contenuto dei Kadoi
No full textThe role of bio-pollutants in the indoor air quality of old museum buildings: artworks biodeterioration as preview of human diseases
No full textIndoor air quality in buildings is strongly affected by chemical, physical, and biological agents. Long exposure to inadequate indoor air quality can be very dangerous for the building occupants and can lead to chronic diseases associated with the sick building syndrome (SBS). In this paper, the large presence of biological pollutants in the indoor rooms of an old building and its strict relationship with the outdoor/indoor air conditions were investigated studying Coronini Cronberg Palace Foundation, a historic house museum of the sixteenth century in Gorizia (Italy), where biological contamination affecting the artworks can soon become potentially harmful also for operators and visitors. Detailed aerobiological and microbiological analyses on organic natural materials, combined with a microclimate monitoring, were conducted to evaluate the influence of temperature and relative humidity levels within the Palace in the conspicuous growth and diffusion of microorganisms. Fungal and bacterial colonies damaging materials, mainly affected by the sudden fluctuations of hygrothermal values, were found to widely exceed Italian and international recommended levels for good air quality for both artworks and human beings. Understand their impact on human health would be strictly necessary to reduce biological risks for museum staff and cultural heritage users, but consequently to improve indoor air quality
RELAZIONE SUL PROGETTO DI MUSEALIZZAZIONE DI OPERE D’ARTE DELLA GALLERIA INTERNAZIONALE D’ARTE MODERNA DI CA’ PESARO (VENEZIA)
No full textRELAZIONE SULLO STUDIO DEI MATERIALI E DELLA TECNICA ARTISTICA DELL’OPERA “L’AMANTE MORTA” DI ARTURO MARTINI CONSERVATA PRESSO VILLA NECCHI-CAMPIGLIO (MILANO) – FAI
No full textMulti-Analytical Assessment of Bodied Drying Oil Varnishes and Their Use as Binders in Armour Paints
Full text linkThe characteristics of commercially available refined and bodied linseed and tung oils, used as binders in the production of armour paints after historic recipes, are explored. Employed as anticorrosive paints mainly from the 1920s to 1960s, armour paints are greener alternatives that can be used for protection in industrial heritage conservation. Using a multi-analytical approach, chemical and physical properties of the fresh oils and solid films before and after accelerated ageing (ISO 16474-2:2013) were investigated to better understand which features are beneficial for the technical function of armour paints. Tests included measurements of density, the refractive index, insoluble impurities, alkaline impurities, the water content, the iodine value, the saponification value, the free fatty acid concentration, the acid value, the peroxide value and colour (Lovibond) and cold tests. The characterisation of the fresh oils using molecular analysis with FTIR and GC-MS revealed the complexity of the commercial formulations, for which additions of semi- and non-drying oils were detected. The results show that organic paint binders follow complex chemical reactions (such as oxidation and decrease of unsaturation being variable or swelling following water-immersion tests), with implications for their suitability for use in protection
Approfondimento sui leganti ed alcuni pigmenti, in Marcello Fogolino a Gorizia. Ricostruzione di un capolavoro disperso del XVI secolo
No full textBack to tempera: historical and scientific researches on artists’ material from the beginning of the 20th century
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