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Technologie, analyse, conservation et restauration des enduits peints de Bösingen et de Vallon / Cyril Benoît ; Olivier Guyot ; Peter Berner in Conservation restauration des biens culturels, no.23(2005) (2005-12-01)
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)
[article]
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 XIndex. 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.
in Studies in conservation > Vol.68 N°1-2(2023; January-February) (2023-01-01) . - P. 193-209[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 XIndex. 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. Treating Smalt : A Preliminary SEM-EDX Study of the Effects of Aqueous-based Alkaline Conservation Treatments on Smalt in Wall Paintings in Studies in conservation, Vol.68 N°1-2(2023; January-February) (2023-01-01)
[article]
Titre : Treating Smalt : A Preliminary SEM-EDX Study of the Effects of Aqueous-based Alkaline Conservation Treatments on Smalt in Wall Paintings Type de document : texte imprimé Année de publication : 2023 Article en page(s) : P. 68-83 Note générale : Article en libre accès (open access).
https://www.tandfonline.com/doi/full/10.1080/00393630.2021.1940721
Langues : Anglais (eng) Catégories : Baryum -- Composés
Lixiviation
Microscopie électronique à balayage
Peinture et décoration murales de la Renaissance -- Conservation et restauration
pH -- Mesure
Pigments -- Conservation et restauration -- Effets de l'eau
Pigments -- Déterioration -- Méthode comparative
Sels d'ammonium
Solutions aqueuses (chimie)
Spectroscopie des rayons XMots-clés : Smalt Index. décimale : 7.025 Dommages. Conservation. Protection Résumé : Smalt is a blue cobalt-coloured glass pigment used in European wall paintings from the early Renaissance period that became a popular choice for artists due to its unique tone, availability, and versatility. The pigment has long been considered as stable in an alkaline environment since it was applied with lime-based techniques and generally retained its colour over time. This perceived stability has meant that aqueous-based alkaline treatments, often involving high pH values, substantial quantities of liquid, and long contact times, have been used in conservation treatments. However, studies of the kinetics of glass deterioration in the past few years have demonstrated that glass is highly reactive in contact with water and substances with both high and low pH values. Research into smalt deterioration in canvas paintings has shown that smalt is susceptible to elemental leaching and physical changes in contact with water and low pH values; however, there is little specific information about the conservation implications of these findings on the treatment of smalt in wall paintings. This experimental study explores several aspects of how aqueous-based alkaline conservation treatments affect smalt grains in lime-based wall paintings: the influence of painting technique, exposure of the pictorial layer to water before treatment, and pH values and contact times during treatment. Replicas representing three different painting techniques were created, exposed to liquid water or water vapour, and treated with three substances commonly used in conservation according to accepted practices in terms of preparation and application. Chemical and physical changes in the pigment were then analysed using scanning electron microscopy with energy dispersive X-ray spectroscopy. Results confirmed that aqueous-based alkaline substances provoke chemical changes as well as physical deterioration in smalt applied in lime-based techniques evidenced by leaching, corrosion, and cracking in the pigment grains. Crucial factors found to influence the impact of treatments on smalt included the previous exposure to humidity of the pictorial layer, the pH value of the treatment, and extended contact times.
in Studies in conservation > Vol.68 N°1-2(2023; January-February) (2023-01-01) . - P. 68-83[article] Treating Smalt : A Preliminary SEM-EDX Study of the Effects of Aqueous-based Alkaline Conservation Treatments on Smalt in Wall Paintings [texte imprimé] . - 2023 . - P. 68-83.
Article en libre accès (open access).
https://www.tandfonline.com/doi/full/10.1080/00393630.2021.1940721
Langues : Anglais (eng)
in Studies in conservation > Vol.68 N°1-2(2023; January-February) (2023-01-01) . - P. 68-83
Catégories : Baryum -- Composés
Lixiviation
Microscopie électronique à balayage
Peinture et décoration murales de la Renaissance -- Conservation et restauration
pH -- Mesure
Pigments -- Conservation et restauration -- Effets de l'eau
Pigments -- Déterioration -- Méthode comparative
Sels d'ammonium
Solutions aqueuses (chimie)
Spectroscopie des rayons XMots-clés : Smalt Index. décimale : 7.025 Dommages. Conservation. Protection Résumé : Smalt is a blue cobalt-coloured glass pigment used in European wall paintings from the early Renaissance period that became a popular choice for artists due to its unique tone, availability, and versatility. The pigment has long been considered as stable in an alkaline environment since it was applied with lime-based techniques and generally retained its colour over time. This perceived stability has meant that aqueous-based alkaline treatments, often involving high pH values, substantial quantities of liquid, and long contact times, have been used in conservation treatments. However, studies of the kinetics of glass deterioration in the past few years have demonstrated that glass is highly reactive in contact with water and substances with both high and low pH values. Research into smalt deterioration in canvas paintings has shown that smalt is susceptible to elemental leaching and physical changes in contact with water and low pH values; however, there is little specific information about the conservation implications of these findings on the treatment of smalt in wall paintings. This experimental study explores several aspects of how aqueous-based alkaline conservation treatments affect smalt grains in lime-based wall paintings: the influence of painting technique, exposure of the pictorial layer to water before treatment, and pH values and contact times during treatment. Replicas representing three different painting techniques were created, exposed to liquid water or water vapour, and treated with three substances commonly used in conservation according to accepted practices in terms of preparation and application. Chemical and physical changes in the pigment were then analysed using scanning electron microscopy with energy dispersive X-ray spectroscopy. Results confirmed that aqueous-based alkaline substances provoke chemical changes as well as physical deterioration in smalt applied in lime-based techniques evidenced by leaching, corrosion, and cracking in the pigment grains. Crucial factors found to influence the impact of treatments on smalt included the previous exposure to humidity of the pictorial layer, the pH value of the treatment, and extended contact times.