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.

Microstratigraphic Research of Altered Medieval Painted Plaster Fragments from the St John Monastery in Müstair (Grison Canton, Switzerland) in Studies in conservation, Vol.68 N°3-4(2023; April-May) (2023-04-03)

Public ISBD [article]  inStudies in conservation > Vol.68 N°3-4(2023; April-May) (2023-04-03) . - Pages 407-417 Titre : Microstratigraphic Research of Altered Medieval Painted Plaster Fragments from the St John Monastery in Müstair (Grison Canton, Switzerland) Type de document : texte imprimé Année de publication : 2023 Article en page(s) : Pages 407-417 Langues : Anglais (eng) Catégories : Diagnostic non invasif Microscopie de polarisation Microscopie électronique à balayage Monastère de Saint-Jean (Müstair, Suisse) Peinture et décoration murales médiévales -- Effets du feu Peinture et décoration murales médiévales -- Müstair (Grisons, Suisse) -- Conservation et restauration Pigments -- 13e siècle -- Analyse Pigments -- Déterioration Plâtre -- Coloration -- Déterioration Spectrométrie PIXE Stratigraphie Index. décimale : 7.025 Dommages. Conservation. Protection Résumé : ABSTRACT Medieval wall paintings in the church of the monastery of St. John in Müstair (Switzerland) have been exposed to several fires over the last centuries. Non-invasive (hand-held-XRF) and microinvasive (PLM, SEM-EDX, XRPD, µ-Raman, and SERS) techniques were used to analyse 14 painted fragments from the Romanesque (c. 1200 CE) painting cycle recovered from the attic of the church above younger Gothic vaulting in order to study the microstratigraphy of the painted surfaces and determine alterations and newly formed products, with the aim of understanding if the darkening was directly attributable to contact with fire. Scientific, historical, and bibliographical research have shown that alteration processes in the pigments from these paintings are not directly linked with fires, except possibly for two lead-based painted fragments. This indicates that the action of the historically documented fires in the church was not uniform and did not affect all areas of the paintings equally. [article] Microstratigraphic Research of Altered Medieval Painted Plaster Fragments from the St John Monastery in Müstair (Grison Canton, Switzerland) [texte imprimé] . - 2023 . - Pages 407-417. Langues : Anglais (eng) in Studies in conservation > Vol.68 N°3-4(2023; April-May) (2023-04-03) . - Pages 407-417 Catégories : Diagnostic non invasif Microscopie de polarisation Microscopie électronique à balayage Monastère de Saint-Jean (Müstair, Suisse) Peinture et décoration murales médiévales -- Effets du feu Peinture et décoration murales médiévales -- Müstair (Grisons, Suisse) -- Conservation et restauration Pigments -- 13e siècle -- Analyse Pigments -- Déterioration Plâtre -- Coloration -- Déterioration Spectrométrie PIXE Stratigraphie Index. décimale : 7.025 Dommages. Conservation. Protection Résumé : ABSTRACT Medieval wall paintings in the church of the monastery of St. John in Müstair (Switzerland) have been exposed to several fires over the last centuries. Non-invasive (hand-held-XRF) and microinvasive (PLM, SEM-EDX, XRPD, µ-Raman, and SERS) techniques were used to analyse 14 painted fragments from the Romanesque (c. 1200 CE) painting cycle recovered from the attic of the church above younger Gothic vaulting in order to study the microstratigraphy of the painted surfaces and determine alterations and newly formed products, with the aim of understanding if the darkening was directly attributable to contact with fire. Scientific, historical, and bibliographical research have shown that alteration processes in the pigments from these paintings are not directly linked with fires, except possibly for two lead-based painted fragments. This indicates that the action of the historically documented fires in the church was not uniform and did not affect all areas of the paintings equally.

A Technical Examination of the Great Bronzes of the Museo Nazionale Romano / Olimpia Colacicchi Alessandri in Studies in conservation, Vol.68 N°3-4(2023; April-May) (2023-04-03)

Public ISBD [article]  inStudies in conservation > Vol.68 N°3-4(2023; April-May) (2023-04-03) . - Pages 326-342 Titre : A Technical Examination of the Great Bronzes of the Museo Nazionale Romano Type de document : texte imprimé Auteurs : Olimpia Colacicchi Alessandri, Auteur Année de publication : 2023 Article en page(s) : Pages 326-342 Langues : Anglais (eng) Catégories : Bronzes -- Conservation et restauration -- Méthodologie Bronzes hellénistiques -- Conservation et restauration Diagnostic non invasif Museo nazionale romano (Rome) Procédés de fabrication -- Méthode comparative Sculpture monumentale -- Grèce -- Antiquité -- Conservation et restauration Index. décimale : 7.025 Dommages. Conservation. Protection Résumé : ABSTRACT Creating large bronze statues is one of the boldest technological challenges faced by the makers of past material cultures. Investigation of these relatively uncommon artefacts relies on various methods such as visual observation, instrumental methods, and replica experiments. Most important is comparative observation, that is, observing the occurrence of a given technical feature in different statues. Having points of comparison is therefore crucial to investigate the technology of large bronze statuary. This paper aims at extending comparison possibilities by presenting and globally discussing the outcomes of the investigations that have taken place since the mid-1980s on the bronze statues of the Boxer at Rest and the Hellenistic Prince exhibited at the museum of Palazzo Massimo in Rome. Different aspects of the construction of the statues such as the preparation of the wax models, the casting sections, the welding, and the alloys are addressed. Whenever possible specific technical features are compared with similar ones observed in other statues. As often occurs in scientific research, a deeper knowledge of the artefacts has produced some answers and many additional questions. [article] A Technical Examination of the Great Bronzes of the Museo Nazionale Romano [texte imprimé] / Olimpia Colacicchi Alessandri, Auteur . - 2023 . - Pages 326-342. Langues : Anglais (eng) in Studies in conservation > Vol.68 N°3-4(2023; April-May) (2023-04-03) . - Pages 326-342 Catégories : Bronzes -- Conservation et restauration -- Méthodologie Bronzes hellénistiques -- Conservation et restauration Diagnostic non invasif Museo nazionale romano (Rome) Procédés de fabrication -- Méthode comparative Sculpture monumentale -- Grèce -- Antiquité -- Conservation et restauration Index. décimale : 7.025 Dommages. Conservation. Protection Résumé : ABSTRACT Creating large bronze statues is one of the boldest technological challenges faced by the makers of past material cultures. Investigation of these relatively uncommon artefacts relies on various methods such as visual observation, instrumental methods, and replica experiments. Most important is comparative observation, that is, observing the occurrence of a given technical feature in different statues. Having points of comparison is therefore crucial to investigate the technology of large bronze statuary. This paper aims at extending comparison possibilities by presenting and globally discussing the outcomes of the investigations that have taken place since the mid-1980s on the bronze statues of the Boxer at Rest and the Hellenistic Prince exhibited at the museum of Palazzo Massimo in Rome. Different aspects of the construction of the statues such as the preparation of the wax models, the casting sections, the welding, and the alloys are addressed. Whenever possible specific technical features are compared with similar ones observed in other statues. As often occurs in scientific research, a deeper knowledge of the artefacts has produced some answers and many additional questions.

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