Étude d'une peinture cambodgienne dans le but de sa conservation 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. 33-38 Titre : Étude d'une peinture cambodgienne dans le but de sa conservation : art sacré Type de document : texte imprimé Année de publication : 1998 Article en page(s) : P. 33-38 Langues : Français (fre) Catégories : EDTA Fibres textiles -- Identification Patrimoine culturel -- Conservation et restauration -- Thèses et écrits académiques -- France -- 20e siècle Peinture bouddhique -- 19e siècle -- Esthétique Peinture sur toile -- Cambodge -- 19e siècle -- Conservation et restauration Pigments -- 19e siècle -- Analyse Tanka (peinture) -- 19e siècle -- Technique [article] Étude d'une peinture cambodgienne dans le but de sa conservation : art sacré [texte imprimé] . - 1998 . - P. 33-38. Langues : Français (fre) in Conservation restauration des biens culturels (CRBC) > no.11(1998:mai) (1998-05-01) . - P. 33-38 Catégories : EDTA Fibres textiles -- Identification Patrimoine culturel -- Conservation et restauration -- Thèses et écrits académiques -- France -- 20e siècle Peinture bouddhique -- 19e siècle -- Esthétique Peinture sur toile -- Cambodge -- 19e siècle -- Conservation et restauration Pigments -- 19e siècle -- Analyse Tanka (peinture) -- 19e siècle -- Technique

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

The Technical Analysis and Conservation of John La Farge’s Newport Congregational Church Mural Decorations (1880) in Newport, Rhode Island 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. 193-209 Titre : The Technical Analysis and Conservation of John La Farge’s Newport Congregational Church Mural Decorations (1880) in Newport, Rhode Island Type de document : texte imprimé Année de publication : 2023 Article en page(s) : P. 193-209 Langues : Anglais (eng) Catégories : Chromatographie en phase gazeuse Cire d'abeille -- Dans l'art -- 19e siècle -- Analyse Décoration intérieure -- Matériaux -- 19e siècle -- Analyse Décoration intérieure -- Matériaux -- 19e siècle -- Formules et recettes Détrempe (peinture) -- Analyse Église -- Newport (R.I., États-Unis) -- 19e siècle -- Conservation et restauration Fourier, Spectroscopie infrarouge à transformée de La Farge, John (1835-1910) Microscopie électronique à balayage Peinture et décoration murales -- Newport (R.I., États-Unis) -- 19e siècle -- Conservation et restauration Pigments -- 19e siècle -- Analyse Résines fossiles -- Dans l'art -- 19e siècle -- Analyse Spectrométrie de masse Spectroscopie des rayons X Index. décimale : 7.025 Dommages. Conservation. Protection Résumé : John La Farge (1835–1910) is regarded as an innovator of American interior decoration. His materials and techniques successfully created unique and eye-catching effects across the interior surfaces of monumental buildings. The recent conservation treatment of the Newport Congregational Church in Newport, Rhode Island afforded the opportunity to perform the first comprehensive analysis of one such painted interior. Materials analyses of the media and pigments were carried out using Fourier transform infrared spectroscopy (FTIR), gas chromatography-mass spectrometry (GC-MS), and scanning electron microscopy with energy dispersive X-ray spectroscopy (SEM-EDX). In addition, reconstructions of La Farge’s medium were prepared based on a number of available archival paint recipes in order to further inform the analysis and to help develop a better understanding of the materials La Farge likely used for specific passages and colors. The results of the project suggest that La Farge primarily achieved his varied surfaces with two mediums: distemper-bound passages juxtaposed with areas bound in a mixture of beeswax and larch balsam diluted with solvents. Analysis, archival research, and reconstructions were ultimately used to illustrate the vulnerabilities of La Farge’s surfaces but also to reveal the artist’s original intent and technique. [article] The Technical Analysis and Conservation of John La Farge’s Newport Congregational Church Mural Decorations (1880) in Newport, Rhode Island [texte imprimé] . - 2023 . - P. 193-209. Langues : Anglais (eng) in Studies in conservation > Vol.68 N°1-2(2023; January-February) (2023-01-01) . - P. 193-209 Catégories : Chromatographie en phase gazeuse Cire d'abeille -- Dans l'art -- 19e siècle -- Analyse Décoration intérieure -- Matériaux -- 19e siècle -- Analyse Décoration intérieure -- Matériaux -- 19e siècle -- Formules et recettes Détrempe (peinture) -- Analyse Église -- Newport (R.I., États-Unis) -- 19e siècle -- Conservation et restauration Fourier, Spectroscopie infrarouge à transformée de La Farge, John (1835-1910) Microscopie électronique à balayage Peinture et décoration murales -- Newport (R.I., États-Unis) -- 19e siècle -- Conservation et restauration Pigments -- 19e siècle -- Analyse Résines fossiles -- Dans l'art -- 19e siècle -- Analyse Spectrométrie de masse Spectroscopie des rayons X Index. décimale : 7.025 Dommages. Conservation. Protection Résumé : John La Farge (1835–1910) is regarded as an innovator of American interior decoration. His materials and techniques successfully created unique and eye-catching effects across the interior surfaces of monumental buildings. The recent conservation treatment of the Newport Congregational Church in Newport, Rhode Island afforded the opportunity to perform the first comprehensive analysis of one such painted interior. Materials analyses of the media and pigments were carried out using Fourier transform infrared spectroscopy (FTIR), gas chromatography-mass spectrometry (GC-MS), and scanning electron microscopy with energy dispersive X-ray spectroscopy (SEM-EDX). In addition, reconstructions of La Farge’s medium were prepared based on a number of available archival paint recipes in order to further inform the analysis and to help develop a better understanding of the materials La Farge likely used for specific passages and colors. The results of the project suggest that La Farge primarily achieved his varied surfaces with two mediums: distemper-bound passages juxtaposed with areas bound in a mixture of beeswax and larch balsam diluted with solvents. Analysis, archival research, and reconstructions were ultimately used to illustrate the vulnerabilities of La Farge’s surfaces but also to reveal the artist’s original intent and technique.

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