Gino Severini in Switzerland: A Technical Study of the Wall Paintings of Saint Nicolas de Myre in Semsales in Studies in conservation, Vol.68 N°1-2(2023; January-February) (2023-01-01)

Public ISBD [article]  inStudies in conservation > Vol.68 N°1-2(2023; January-February) (2023-01-01) . - P.171-192 Titre : Gino Severini in Switzerland: A Technical Study of the Wall Paintings of Saint Nicolas de Myre in Semsales Type de document : texte imprimé Année de publication : 2023 Article en page(s) : P.171-192 Note générale : Article en libre accès (open access). https://www.tandfonline.com/doi/full/10.1080/00393630.2021.1975612 Langues : Anglais (eng) Catégories : Diagnostic non invasif Interdisciplinarité dans les sciences Peinture -- Technique -- Identification Peinture à fresque -- Suisse -- 20e siècle Recherche documentaire Severini, Gino (1883-1966) Spectroscopie infrarouge Index. décimale : 7.025 Dommages. Conservation. Protection Résumé : Although Gino Severini is recognised as a leading exponent of European avant-garde movements through the first half of the twentieth century, his work as a mural painter is little known. This article reports the technical study of Severini’s wall paintings for the Swiss church of Saint Nicolas de Myre in Semsales (1924–1926), in the framework of a research project coordinated by the University of Applied Sciences and Arts of Southern Switzerland and financed by the Swiss National Science Foundation. Taking an interdisciplinary approach, the project investigates the wall paintings made by the artist in five churches in Switzerland and dating between 1924 and 1947, with the aim of clarifying the artist's mural painting techniques. Following research in the parish archives and in those of the Severini family, the project proceeded in the different churches with in situ examination (diffuse and raking visible light, UV radiation, digital microscopy) supported by non-invasive scientific investigation (technical photography and spectroscopic point analyses) and laboratory invasive analyses on micro-samples. Lastly, the data from all the various sources are collected and interrelated. The artist’s first commission, in 1924 at Semsales, became the longest and most complex, given the artist’s relative lack of mural experience, the extent of surfaces, and variety of techniques adopted. The investigation reveals a long process in which Severini mastered a secco procedures using organic binders, on plasters that had already been applied, flanked by works in the tradition of a fresco painting, enriched with a modern palette of colours. Underlying all this work was a long process of planning, in which the artist associated the differing techniques with variations in style, in an extremely personal language between cubism and classicism. [article] Gino Severini in Switzerland: A Technical Study of the Wall Paintings of Saint Nicolas de Myre in Semsales [texte imprimé] . - 2023 . - P.171-192. Article en libre accès (open access). https://www.tandfonline.com/doi/full/10.1080/00393630.2021.1975612 Langues : Anglais (eng) in Studies in conservation > Vol.68 N°1-2(2023; January-February) (2023-01-01) . - P.171-192 Catégories : Diagnostic non invasif Interdisciplinarité dans les sciences Peinture -- Technique -- Identification Peinture à fresque -- Suisse -- 20e siècle Recherche documentaire Severini, Gino (1883-1966) Spectroscopie infrarouge Index. décimale : 7.025 Dommages. Conservation. Protection Résumé : Although Gino Severini is recognised as a leading exponent of European avant-garde movements through the first half of the twentieth century, his work as a mural painter is little known. This article reports the technical study of Severini’s wall paintings for the Swiss church of Saint Nicolas de Myre in Semsales (1924–1926), in the framework of a research project coordinated by the University of Applied Sciences and Arts of Southern Switzerland and financed by the Swiss National Science Foundation. Taking an interdisciplinary approach, the project investigates the wall paintings made by the artist in five churches in Switzerland and dating between 1924 and 1947, with the aim of clarifying the artist's mural painting techniques. Following research in the parish archives and in those of the Severini family, the project proceeded in the different churches with in situ examination (diffuse and raking visible light, UV radiation, digital microscopy) supported by non-invasive scientific investigation (technical photography and spectroscopic point analyses) and laboratory invasive analyses on micro-samples. Lastly, the data from all the various sources are collected and interrelated. The artist’s first commission, in 1924 at Semsales, became the longest and most complex, given the artist’s relative lack of mural experience, the extent of surfaces, and variety of techniques adopted. The investigation reveals a long process in which Severini mastered a secco procedures using organic binders, on plasters that had already been applied, flanked by works in the tradition of a fresco painting, enriched with a modern palette of colours. Underlying all this work was a long process of planning, in which the artist associated the differing techniques with variations in style, in an extremely personal language between cubism and classicism.

The Icon Last Supper of the Iconostasis of the Russian Memorial Church in Leipzig : Technological Investigation as Basis for the Modelling and the Numerical Simulation of Historical Works of Art in Studies in conservation, Vol.68 N°1-2(2023; January-February) (2023-01-01)

Public ISBD [article]  inStudies in conservation > Vol.68 N°1-2(2023; January-February) (2023-01-01) . - P. 84-101 Titre : The Icon Last Supper of the Iconostasis of the Russian Memorial Church in Leipzig : Technological Investigation as Basis for the Modelling and the Numerical Simulation of Historical Works of Art Type de document : texte imprimé Année de publication : 2023 Article en page(s) : P. 84-101 Note générale : Article en libre accès (open access). https://www.tandfonline.com/doi/full/10.1080/00393630.2021.1940021 Langues : Anglais (eng) Catégories : Bois -- Identification École de Moscou (peinture d'icônes) Églises -- Collections -- Effets du climat Icônes (art) -- Russie -- 20e siècle -- Conservation et restauration Icônes (art) -- Russie -- Histoire La Dernière cène (épisode biblique) -- Peinture -- Russie -- 20e siècle -- Conservation et restauration Peinture -- Technique -- Identification Peinture sur panneaux -- Conservation et restauration -- Technique Index. décimale : 7.025 Dommages. Conservation. Protection Résumé : In this work, the results of a detailed art technological investigation of the icon Last Supper from the Russian Memorial Church in Leipzig (Germany) are presented. The icons of the iconostasis of the church were made in the workshop of N.S. Emelyanov in Moscow in 1912. The investigation showed that the painter in principle technologically adhered to the traditional way of making icons. The panel is made of boards of lime wood with two crossbars on the reverse. The paint was applied to a chalk ground over a textile layer. The traditional iconographer’s palette was expanded by a few contemporary pigments. The binding agent is classic egg tempera. Originally, the layers of paint had an oil varnish (olifa). The main aim of the project VirtEx, introduced in this paper, is to expand existing methods with numerical material and structural models to be able to predict quantitatively the behaviour of wooden artefacts under loads due to climate changes as well as mechanical loads. The detailed art technological investigation provides the required data for the computer models. The numerical data can then be validated with technologically exact copies and replicas. In the introduction to the article, the current state of research on icon painting techniques is also outlined. [article] The Icon Last Supper of the Iconostasis of the Russian Memorial Church in Leipzig : Technological Investigation as Basis for the Modelling and the Numerical Simulation of Historical Works of Art [texte imprimé] . - 2023 . - P. 84-101. Article en libre accès (open access). https://www.tandfonline.com/doi/full/10.1080/00393630.2021.1940021 Langues : Anglais (eng) in Studies in conservation > Vol.68 N°1-2(2023; January-February) (2023-01-01) . - P. 84-101 Catégories : Bois -- Identification École de Moscou (peinture d'icônes) Églises -- Collections -- Effets du climat Icônes (art) -- Russie -- 20e siècle -- Conservation et restauration Icônes (art) -- Russie -- Histoire La Dernière cène (épisode biblique) -- Peinture -- Russie -- 20e siècle -- Conservation et restauration Peinture -- Technique -- Identification Peinture sur panneaux -- Conservation et restauration -- Technique Index. décimale : 7.025 Dommages. Conservation. Protection Résumé : In this work, the results of a detailed art technological investigation of the icon Last Supper from the Russian Memorial Church in Leipzig (Germany) are presented. The icons of the iconostasis of the church were made in the workshop of N.S. Emelyanov in Moscow in 1912. The investigation showed that the painter in principle technologically adhered to the traditional way of making icons. The panel is made of boards of lime wood with two crossbars on the reverse. The paint was applied to a chalk ground over a textile layer. The traditional iconographer’s palette was expanded by a few contemporary pigments. The binding agent is classic egg tempera. Originally, the layers of paint had an oil varnish (olifa). The main aim of the project VirtEx, introduced in this paper, is to expand existing methods with numerical material and structural models to be able to predict quantitatively the behaviour of wooden artefacts under loads due to climate changes as well as mechanical loads. The detailed art technological investigation provides the required data for the computer models. The numerical data can then be validated with technologically exact copies and replicas. In the introduction to the article, the current state of research on icon painting techniques is also outlined.

The Technical Development of Oil Painted Photographs on Canvas in the United Kingdom Between 1850 and 1890, with a Case Study of Paintings by Georg Koberwein from the Royal Collection in Studies in conservation, Vol.68 N°1-2(2023; January-February) (2023-01-01)

Public ISBD [article]  inStudies in conservation > Vol.68 N°1-2(2023; January-February) (2023-01-01) . - P. 151-170 Titre : The Technical Development of Oil Painted Photographs on Canvas in the United Kingdom Between 1850 and 1890, with a Case Study of Paintings by Georg Koberwein from the Royal Collection Type de document : texte imprimé Année de publication : 2023 Article en page(s) : P. 151-170 Langues : Anglais (eng) Catégories : Halogénures d'argent Imagerie infrarouge Impression sur étoffes -- Grande-Bretagne -- 19e siècle Koberwein, Georg (1820-1876) Peinture -- Reproduction (art) -- 19e siècle Peinture -- Technique -- Histoire Peinture -- Technique -- Identification Peinture à l'huile -- 19e siècle Portraits (peinture) -- 19e siècle Index. décimale : 7.025 Dommages. Conservation. Protection Résumé : Painting with oil over photographs on canvas was a widespread practice in the nineteenth century, mainly for the production of portraits and copies of oil paintings. It flourished in a context where both photographers and traditional painters were trying to innovate and adjust to new technological advances and demands of their time. However, despite the popularity of oil-painted photographs, they have not been the subject of substantial technical and historical study, which resulted in most of these photo-paintings not having been properly identified. Therefore, this research looks at the photographic processes used for printing on canvas in the UK between 1850 and 1890, knowledge of which is necessary for the identification of photo-paintings. It also looks at how the practice of the Austrian painter and photographer Georg Koberwein (1820–1876) fits within this context, including the examination of four paintings by the artist in the Royal Collection. [article] The Technical Development of Oil Painted Photographs on Canvas in the United Kingdom Between 1850 and 1890, with a Case Study of Paintings by Georg Koberwein from the Royal Collection [texte imprimé] . - 2023 . - P. 151-170. Langues : Anglais (eng) in Studies in conservation > Vol.68 N°1-2(2023; January-February) (2023-01-01) . - P. 151-170 Catégories : Halogénures d'argent Imagerie infrarouge Impression sur étoffes -- Grande-Bretagne -- 19e siècle Koberwein, Georg (1820-1876) Peinture -- Reproduction (art) -- 19e siècle Peinture -- Technique -- Histoire Peinture -- Technique -- Identification Peinture à l'huile -- 19e siècle Portraits (peinture) -- 19e siècle Index. décimale : 7.025 Dommages. Conservation. Protection Résumé : Painting with oil over photographs on canvas was a widespread practice in the nineteenth century, mainly for the production of portraits and copies of oil paintings. It flourished in a context where both photographers and traditional painters were trying to innovate and adjust to new technological advances and demands of their time. However, despite the popularity of oil-painted photographs, they have not been the subject of substantial technical and historical study, which resulted in most of these photo-paintings not having been properly identified. Therefore, this research looks at the photographic processes used for printing on canvas in the UK between 1850 and 1890, knowledge of which is necessary for the identification of photo-paintings. It also looks at how the practice of the Austrian painter and photographer Georg Koberwein (1820–1876) fits within this context, including the examination of four paintings by the artist in the Royal Collection.

Vol.64 N°5-6(2019 ; July-August) - 2019-07-01 (Bulletin de Studies in conservation)    

Public ISBD [n° ou bulletin]  est un bulletin de Studies in conservation / Institut international de conservation des oeuvres historiques et artistiques Titre : Vol.64 N°5-6(2019 ; July-August) - 2019-07-01 Type de document : texte imprimé Année de publication : 2019 Langues : Anglais (eng) Catégories : Bois -- Conservation et restauration Bois -- Détérioration Conservation et restauration -- Appareils et matériel Conservation et restauration -- Qatar Corrosion de contact Cyanobactéries Imagerie ultrasonore Interférométrie Matériaux -- Microscopie Métaux -- Corrosion Peinture -- Nettoyage Peinture -- Pologne -- 19e siècle -- Conservation et restauration Peinture -- Pologne -- 19e siècle -- Identification Peinture -- Technique -- Identification Peinture et décoration murales -- Conservation et restauration Peinture et décoration murales -- Identification Peinture sur ivoire -- Japon -- 1er siècle -- Conservation et restauration Peinture-émulsion -- Conservation et restauration Photographie -- Mise en couleurs -- 19e siècle Pierre à bâtir -- Biodégradation Rayons X -- Diffraction Rotin -- Asie du Sud-Est -- Conservation et restauration Sculpture sur ivoire -- Japon -- 1er siècle -- Conservation et restauration Shōsōin Treasure House (Nara, Japon) Siemiradzki, Henryk (1843-1902) Silice Solvants Spectroscopie de fluorescence Spectroscopie de réflectance Spectroscopie des rayons X Spectroscopie Raman Verre -- Corrosion Index. décimale : 7.025 Dommages. Conservation. Protection Note de contenu : Mazzetto, S., and A. Petruccioli, "Methods and Techniques Used in Significant Restoration Projects in Qatar", Studies in Conservation, vol. 63, no. 5: Routledge, pp. 303-314, 2018. Nakamura, R., and M. Naruse, "Spectroscopic Analysis of Colorants Used for bachiru Carving Technique Found in the Shosoin Treasures", Studies in Conservation, vol. 63, no. 5: Routledge, pp. 267-276, 2018. Sarkowicz, D., and A. Klisińska-Kopacz, "Investigation of the Painting Idyll Attributed to Henryk Siemiradzki: The Unusual Technology of a Canvas Painting Executed on an Enlarged Photograph", Studies in Conservation, vol. 63, no. 5: Routledge, pp. 251-266, 2018. Draganov, D., J. Hunziker, K. Heller, K. Gutkowski, and F. Marte, "High-Resolution Ultrasonic Imaging of Artworks with Seismic Interferometry for Their Conservation and Restoration", Studies in Conservation, vol. 63, no. 5: Routledge, pp. 277-291, 2018. Popović, S., M. Stupar, N. Unković, G. Subakov Simić, and M. Ljaljević Grbić, "Diversity of Terrestrial Cyanobacteria Colonizing Selected Stone Monuments in Serbia", Studies in Conservation, vol. 63, no. 5: Routledge, pp. 292-302, 2018. Hudson-McAulay, K., D. Auty, and M. C. Jarvis, "FTIR Measurement of Cellulose Microfibril Angle in Historic Scots Pine Wood and Its Use to Detect Fungal Decay", Studies in Conservation, vol. 63, no. 6: Routledge, pp. 375-382, 2018. Fischer, A., G. Eggert, R. Dinnebier, and T. Runčevski, "When Glass and Metal Corrode Together, V: Sodium Copper Formate", Studies in Conservation, vol. 63, no. 6: Routledge, pp. 342-355, 2018. Cremonesi, P., "Combination of a Liquid-Dispensing and Micro-Aspiration Device for the Cleaning of Sensitive Painted Surfaces", Studies in Conservation, vol. 63, no. 6: Routledge, pp. 315-325, 2018. Szczepanowska, H. M., "Deconstructing Rattan: Morphology of Biogenic Silica in Rattan and Its Impact on Preservation of Southeast Asian Art and Artifacts Made of Rattan", Studies in Conservation, vol. 63, no. 6: Routledge, pp. 356-374, 2018. Regazzoni, L., G. Cavallo, D. Biondelli, and J. Gilardi, "Microscopic Analysis of Wall Painting Techniques: Laboratory Replicas and Romanesque Case Studies in Southern Switzerland", Studies in Conservation, vol. 63, no. 6: Routledge, pp. 326-341, 2018. En ligne : https://www.iiconservation.org/ [n° ou bulletin]  est un bulletin de Studies in conservation / Institut international de conservation des oeuvres historiques et artistiques Vol.64 N°5-6(2019 ; July-August) - 2019-07-01 [texte imprimé] . - 2019. Langues : Anglais (eng) Catégories : Bois -- Conservation et restauration Bois -- Détérioration Conservation et restauration -- Appareils et matériel Conservation et restauration -- Qatar Corrosion de contact Cyanobactéries Imagerie ultrasonore Interférométrie Matériaux -- Microscopie Métaux -- Corrosion Peinture -- Nettoyage Peinture -- Pologne -- 19e siècle -- Conservation et restauration Peinture -- Pologne -- 19e siècle -- Identification Peinture -- Technique -- Identification Peinture et décoration murales -- Conservation et restauration Peinture et décoration murales -- Identification Peinture sur ivoire -- Japon -- 1er siècle -- Conservation et restauration Peinture-émulsion -- Conservation et restauration Photographie -- Mise en couleurs -- 19e siècle Pierre à bâtir -- Biodégradation Rayons X -- Diffraction Rotin -- Asie du Sud-Est -- Conservation et restauration Sculpture sur ivoire -- Japon -- 1er siècle -- Conservation et restauration Shōsōin Treasure House (Nara, Japon) Siemiradzki, Henryk (1843-1902) Silice Solvants Spectroscopie de fluorescence Spectroscopie de réflectance Spectroscopie des rayons X Spectroscopie Raman Verre -- Corrosion Index. décimale : 7.025 Dommages. Conservation. Protection Note de contenu : Mazzetto, S., and A. Petruccioli, "Methods and Techniques Used in Significant Restoration Projects in Qatar", Studies in Conservation, vol. 63, no. 5: Routledge, pp. 303-314, 2018. Nakamura, R., and M. Naruse, "Spectroscopic Analysis of Colorants Used for bachiru Carving Technique Found in the Shosoin Treasures", Studies in Conservation, vol. 63, no. 5: Routledge, pp. 267-276, 2018. Sarkowicz, D., and A. Klisińska-Kopacz, "Investigation of the Painting Idyll Attributed to Henryk Siemiradzki: The Unusual Technology of a Canvas Painting Executed on an Enlarged Photograph", Studies in Conservation, vol. 63, no. 5: Routledge, pp. 251-266, 2018. Draganov, D., J. Hunziker, K. Heller, K. Gutkowski, and F. Marte, "High-Resolution Ultrasonic Imaging of Artworks with Seismic Interferometry for Their Conservation and Restoration", Studies in Conservation, vol. 63, no. 5: Routledge, pp. 277-291, 2018. Popović, S., M. Stupar, N. Unković, G. Subakov Simić, and M. Ljaljević Grbić, "Diversity of Terrestrial Cyanobacteria Colonizing Selected Stone Monuments in Serbia", Studies in Conservation, vol. 63, no. 5: Routledge, pp. 292-302, 2018. Hudson-McAulay, K., D. Auty, and M. C. Jarvis, "FTIR Measurement of Cellulose Microfibril Angle in Historic Scots Pine Wood and Its Use to Detect Fungal Decay", Studies in Conservation, vol. 63, no. 6: Routledge, pp. 375-382, 2018. Fischer, A., G. Eggert, R. Dinnebier, and T. Runčevski, "When Glass and Metal Corrode Together, V: Sodium Copper Formate", Studies in Conservation, vol. 63, no. 6: Routledge, pp. 342-355, 2018. Cremonesi, P., "Combination of a Liquid-Dispensing and Micro-Aspiration Device for the Cleaning of Sensitive Painted Surfaces", Studies in Conservation, vol. 63, no. 6: Routledge, pp. 315-325, 2018. Szczepanowska, H. M., "Deconstructing Rattan: Morphology of Biogenic Silica in Rattan and Its Impact on Preservation of Southeast Asian Art and Artifacts Made of Rattan", Studies in Conservation, vol. 63, no. 6: Routledge, pp. 356-374, 2018. Regazzoni, L., G. Cavallo, D. Biondelli, and J. Gilardi, "Microscopic Analysis of Wall Painting Techniques: Laboratory Replicas and Romanesque Case Studies in Southern Switzerland", Studies in Conservation, vol. 63, no. 6: Routledge, pp. 326-341, 2018. En ligne : https://www.iiconservation.org/

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