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Multi technique and multiscale approaches to the study of ancient and modern art objects on wooden and canvas support

  • Irina Crina Anca Sandu EMAIL logo , Antono Candeias , Klass Jan van den Berg , Erika Gohde Sandbakken , Eva Storevik Tveit and Henk van Keulen
Published/Copyright: January 10, 2019
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Abstract

The present chapter will illustrate few examples of multi-technique and multi-scale approaches for objects belonging to past or modern periods in the history of art chronology. Thus, four studies on four different topics are brought to the attention: multi disciplinary and multi-techniques characterization of gilded altarpieces and sculptures in Portugal between 1500 and 1800 (3 years research project); an interdisciplinary approach to easel paintings from fifteenth and sixteenth century in Portugal (3 years research project); characterization of ketone resins varnishes (2 years research project) and of salts developed on canvas paintings from the Munch Museum collection (past investigation to be continued with an ongong 3 years research project). These studies show how important is to make use of different analytical tools when investigating a specific material, artistic technique or degradation phenomenon. The objects studied in the above mentioned research projects were created on wooden or canvas supports and they present paint, polichromy or gilded layers, and varnish coatings, therefore their structure and composition is complex and requires a complex, interdisciplinary approach. In many cases to the surface materials from a polychrome or painted object, degradation products are present and their identification as well the understanding of their mechanism of formation is possible only we have a complete overview of the materials present in the layered structure of the object.

Acknowledgements

The Portuguese FCT is acknowledged for the funding provided to the research project “Gilt-Teller: an interdisciplinary multi-scale study of gilding techniques and materials in Portugal, 1500-1800”, grant no. PTDC/EAT-EAT/116700/2010 (2012-2015). Important contributions to the project were given by colleagues working in different conservation and academic institutions in Portugal (Lisbon, Evora, Porto, Santarem), Czech Republic (Prague), Romania (Iasi), Germany (Hildesheim), Spain (Asturias) and Italy (Florence, Biella).

The Portuguese FCT is acknowledged for the funding provided to the research projects: ON-FINARTS – On the Flemish Importance for the National Arts in the sixteenth century (PTDC/EAT-HAT/115692/2009) and The invisible preparation layer and its influence on Portuguese painting of the XV and XVI centuries: an issue to be solved (PTDC/EAT-HAT/100868/2008).

The ketone varnish project was provided with Archlab Access within the Iperion CH platform, grant 654028, funded by the European Commission (H2020-INFRAIA-2014-2015).

Specialists from OPD, RCE, and SMK/CATS are also kindly acknowledged for their support during the Archlab access: Hilde Le Clerq - IPERION Archlab Access office, Monica Galeotti – OPD, Florence; Julian van den Berg & Melissa Daugherty - RCE, Amsterdam; René de la Rie - University of Amsterdam; Jan Dorscheid, Petria Nobel, Anne Krekeler – Rijksmuseum, Amsterdam; Margje Leeuwestein - Kröller-Müller Museum; Vera Blok, Laura Kolkena - Stedelijk Museum; Oda van Maanen - Van Gogh Museum; Kathrin Kirsch – freelancer; Jørgen Wadum, David Buti, Pauline Lehmann Banke, Troles Filtenborg – CATS-SMK; Dr Wim Genuit, Shell Global Solutions International B.V. Amsterdam. Charlotte Stahmann is acknowledged for all her precious work during the project and the involvement in the sampling campaign and the Archlab Access. Andrea Casini, Erasmus Plus internship at Munch Museum (March-September 2018) is also kindly acknowledged for the help in improving the images included in the chapter.

Acknowledgements for their contribution to the analytical campaigns are given to: Perla Columbini, Emma Cantasani, Marco Zanaboni, Francesca Modugni (GC-MS, SEM-EDS, XRD analyses), Jaap J. Boon (SEM-EDX, FTIR, DTMS analyses with assistance from Stefan Zumbühl for imaging FTIR and Karen Wyss with diamond cell FTIR), Ida Bronken (pXRF), Renie Birkeland Nielsen (XRD on crystal samples), Hartmuth Kutzke (SEM-EDX), Hans Jørgen Berg (in memoria) for SEM-EDX, Costanza Miliani (Molab - XRF).

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