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.

Les gommes à effacer utilisées en conservation-restauration des photographies / Emmanuelle Grosso in Conservation restauration des biens culturels (CRBC), no.8(1996:oct.) (1996-10-01)

Public ISBD [article]  inConservation restauration des biens culturels (CRBC) > no.8(1996:oct.) (1996-10-01) . - P. 49-54 Titre : Les gommes à effacer utilisées en conservation-restauration des photographies : junior Type de document : texte imprimé Auteurs : Emmanuelle Grosso, Auteur Année de publication : 1996 Article en page(s) : P. 49-54 Langues : Français (fre) Catégories : Beilstein, Friedrich Konrad (1838-1906) Essais (technologie) Gommes et résines -- Recherche Microscopie électronique à balayage Photographie -- Nettoyage Spectroscopie des rayons X Spectroscopie infrarouge Index. décimale : 7.025 Dommages. Conservation. Protection [article] Les gommes à effacer utilisées en conservation-restauration des photographies : junior [texte imprimé] / Emmanuelle Grosso, Auteur . - 1996 . - P. 49-54. Langues : Français (fre) in Conservation restauration des biens culturels (CRBC) > no.8(1996:oct.) (1996-10-01) . - P. 49-54 Catégories : Beilstein, Friedrich Konrad (1838-1906) Essais (technologie) Gommes et résines -- Recherche Microscopie électronique à balayage Photographie -- Nettoyage Spectroscopie des rayons X Spectroscopie infrarouge Index. décimale : 7.025 Dommages. Conservation. Protection

La problématique générale de l'analyse des substances organiques des polychromies dans l'art monumental / Witold Nowik in Conservation restauration des biens culturels (CRBC), no.17/18(2001:déc.) (2001-12-01)

Public ISBD [article]  inConservation restauration des biens culturels (CRBC) > no.17/18(2001:déc.) (2001-12-01) . - P. 33-42 Titre : La problématique générale de l'analyse des substances organiques des polychromies dans l'art monumental : recherche Type de document : texte imprimé Auteurs : Witold Nowik, Auteur Année de publication : 2001 Article en page(s) : P. 33-42 Langues : Français (fre) Catégories : Chromatographie Conservation et restauration -- Échantillonnage Conservation et restauration -- Méthodologie Couleur en décoration intérieure -- Recherche Électrophorèse Fluorescence Matériaux organiques -- Analyse Monuments historiques -- Conservation et restauration -- Recherche Peinture et décoration murales -- Matériaux -- Analyse Peinture et décoration murales -- Teneur en composés organiques Polychromie -- Recherche Spectrométrie de masse Spectroscopie de masse Spectroscopie infrarouge Spectroscopie Raman Index. décimale : 7.025 Dommages. Conservation. Protection [article] La problématique générale de l'analyse des substances organiques des polychromies dans l'art monumental : recherche [texte imprimé] / Witold Nowik, Auteur . - 2001 . - P. 33-42. Langues : Français (fre) in Conservation restauration des biens culturels (CRBC) > no.17/18(2001:déc.) (2001-12-01) . - P. 33-42 Catégories : Chromatographie Conservation et restauration -- Échantillonnage Conservation et restauration -- Méthodologie Couleur en décoration intérieure -- Recherche Électrophorèse Fluorescence Matériaux organiques -- Analyse Monuments historiques -- Conservation et restauration -- Recherche Peinture et décoration murales -- Matériaux -- Analyse Peinture et décoration murales -- Teneur en composés organiques Polychromie -- Recherche Spectrométrie de masse Spectroscopie de masse Spectroscopie infrarouge Spectroscopie Raman Index. décimale : 7.025 Dommages. Conservation. Protection

Restauration d'une icône représentant les deux prophètes Moïse et Samuel surmontés du patriarche Jacob, école de Pskov, Russie XVIIe siècle (collection du musée Pskov) / Ella Tushinskaya in Conservation restauration des biens culturels (CRBC), no.11(1998:mai) (1998-05-01)

Public ISBD [article]  inConservation restauration des biens culturels (CRBC) > no.11(1998:mai) (1998-05-01) . - P. 21-26 Titre : Restauration d'une icône représentant les deux prophètes Moïse et Samuel surmontés du patriarche Jacob, école de Pskov, Russie XVIIe siècle (collection du musée Pskov) : art sacré Type de document : texte imprimé Auteurs : Ella Tushinskaya, Auteur Année de publication : 1998 Article en page(s) : P. 21-26 Langues : Français (fre) Catégories : Icônes (art) -- Russie -- 17e siècle -- Conservation et restauration Outils de coupe Pigments -- Russie -- 17e siècle Repeint Spectroscopie des rayons X Spectroscopie infrarouge Index. décimale : 7.025 Dommages. Conservation. Protection [article] Restauration d'une icône représentant les deux prophètes Moïse et Samuel surmontés du patriarche Jacob, école de Pskov, Russie XVIIe siècle (collection du musée Pskov) : art sacré [texte imprimé] / Ella Tushinskaya, Auteur . - 1998 . - P. 21-26. Langues : Français (fre) in Conservation restauration des biens culturels (CRBC) > no.11(1998:mai) (1998-05-01) . - P. 21-26 Catégories : Icônes (art) -- Russie -- 17e siècle -- Conservation et restauration Outils de coupe Pigments -- Russie -- 17e siècle Repeint Spectroscopie des rayons X Spectroscopie infrarouge Index. décimale : 7.025 Dommages. Conservation. Protection

Technical Analysis and Attribution of an Unknown Henryk Siemiradzki Nineteenth Century Painting The Feast of Dionysius I, Revealing a Hidden Composition in Studies in conservation, Vol.67 N°7-8(2022; October-November) (2022-10-01)  

Public ISBD [article]  inStudies in conservation > Vol.67 N°7-8(2022; October-November) (2022-10-01) . - P. 430-444 Titre : Technical Analysis and Attribution of an Unknown Henryk Siemiradzki Nineteenth Century Painting The Feast of Dionysius I, Revealing a Hidden Composition Type de document : texte imprimé Année de publication : 2022 Article en page(s) : P. 430-444 Langues : Anglais (eng) Catégories : Imagerie infrarouge Peinture -- Pologne -- 19e siècle -- Attribution Peinture -- Pologne -- 19e siècle -- Conservation et restauration Peinture -- Pologne -- 19e siècle -- Recyclage Pigments -- 19e siècle -- Analyse Siemiradzki, Henryk (1843-1902) Spectroscopie de fluorescence Spectroscopie infrarouge Index. décimale : 7.025 Dommages. Conservation. Protection Résumé : This article presents the results of a study conducted on The Feast of Dionysius I, a previously unknown painting attributed to Henryk Siemiradzki (1843–1902), one of the most prominent Polish painters of the nineteenth century. Analyses were performed to verify the proposed artist. The results were surprising. Not only did they confirm the authenticity of the work, but they also revealed another paint sketch underneath. We determined that the first chronologically created composition was a unique study for Siemiradzki’s famous large-scale painting, Nero’s Torches. It was possible to draw these conclusions by using of imaging at a range of wave lengths and by conducting multiple analyses with the following techniques: optical microscopy in visible light and ultraviolet radiation, scanning electron microscopy coupled with energy dispersive X-ray spectroscopy, X-ray fluorescence spectrometry, and Fourier transform infrared spectroscopy. Our findings were also supported by documentary sources. The results of these analyses were then compared with the database regarding the materials (including pigments) and methods of executing paintings applied by Henryk Siemiradzki. The database was compiled based on the examinations conducted in the National Museum in Krakow of Siemiradzki’s 75 oil paintings En ligne : https://www.tandfonline.com/doi/abs/10.1080/00393630.2021.1898884 [article] Technical Analysis and Attribution of an Unknown Henryk Siemiradzki Nineteenth Century Painting The Feast of Dionysius I, Revealing a Hidden Composition [texte imprimé] . - 2022 . - P. 430-444. Langues : Anglais (eng) in Studies in conservation > Vol.67 N°7-8(2022; October-November) (2022-10-01) . - P. 430-444 Catégories : Imagerie infrarouge Peinture -- Pologne -- 19e siècle -- Attribution Peinture -- Pologne -- 19e siècle -- Conservation et restauration Peinture -- Pologne -- 19e siècle -- Recyclage Pigments -- 19e siècle -- Analyse Siemiradzki, Henryk (1843-1902) Spectroscopie de fluorescence Spectroscopie infrarouge Index. décimale : 7.025 Dommages. Conservation. Protection Résumé : This article presents the results of a study conducted on The Feast of Dionysius I, a previously unknown painting attributed to Henryk Siemiradzki (1843–1902), one of the most prominent Polish painters of the nineteenth century. Analyses were performed to verify the proposed artist. The results were surprising. Not only did they confirm the authenticity of the work, but they also revealed another paint sketch underneath. We determined that the first chronologically created composition was a unique study for Siemiradzki’s famous large-scale painting, Nero’s Torches. It was possible to draw these conclusions by using of imaging at a range of wave lengths and by conducting multiple analyses with the following techniques: optical microscopy in visible light and ultraviolet radiation, scanning electron microscopy coupled with energy dispersive X-ray spectroscopy, X-ray fluorescence spectrometry, and Fourier transform infrared spectroscopy. Our findings were also supported by documentary sources. The results of these analyses were then compared with the database regarding the materials (including pigments) and methods of executing paintings applied by Henryk Siemiradzki. The database was compiled based on the examinations conducted in the National Museum in Krakow of Siemiradzki’s 75 oil paintings En ligne : https://www.tandfonline.com/doi/abs/10.1080/00393630.2021.1898884

Vol.64 N°3-4(2019 ; April-May) - 2019-04-01 (Bulletin de Studies in conservation)    

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