Art Conservation and Restorationcurator-working-on-Michelangelos-David-2002 We will look at three types of art: Paintings Frescoes (wall paintings) Sculpture Two Methods of Fresco Painting Buon fresco (fresco = Fresh) Fresco a secco (secco = dry) The Anatomy of a Fresco(Arriccio) (Intonaco) (watered down powdered pigment) In buon fresco, the paint adheres in a chemical reaction to the wet lime plaster. Ca(OH) 2 + CO 2 CaCO 3 + H 2 OIn fresco a secco, the paint rides on top of the plaster surface. Pigments are stuck down using a binder or medium. The Anatomy of a Painting Medium or binder - Used with powdered pigment in paintings. Size glue from animal skin and bones. Sensitive to moisture. Casein- very early use. From milk. Opaque, hard, insoluble, durable. Egg most durable. Alters little in color over time. Durable film. Emulsion of oil in water. Used by early Italian masters. Oil must be unsaturated to polymerize with light and oxygen to form a film. Darkens and becomes brittle, more transparent and insoluble as it ages. The Anatomy of a Painting Glazing very little pigment in oil to build up color. Used by masters in layers to add dimension (sfumato). The Mona Lisa has up to 27 layers of glaze in some places, each only 2 micrometers thick. Mona Lisa Leonardo da Vinci Louvre, Paris, France The Anatomy of a Painting Varnish Yellows and brittles with age. Spirit varnish easily removable because has different solubility than mediums/binders. Oil varnish difficult to remove from oil paintings because same solubility. The Anatomy of a Painting Conti, Alessandro. History of the Restoration and Conservation of Works of Art. London: Elsevier, Print. Some Common Renaissance Pigments Carmine - made from ground female cochineal insects Azurite most popular blue in Renaissance and middle ages. Color degrades over time to green malachite. Lapis Lazuli the more expensive blue option in the renaissance and middle ages. Holds up well over time but as expensive as gold. Used for things like Christs robes. s.com/2012/06/12/gemston e-of-the-day-5/Raphael, Madonna and Child Enthroned with Saints, The Metropolitan Museum of Art Analytical Techniques Microscopy Ex/ Visible Light Scanning Electron Electromagnetic Radiation Ex/ UV light Ex/ IR light Ex/ X-Rays Spectroscopy Ex/ Raman Spectroscopy Visible Light Microscopy Port-Goulphar, Belle-Ile Claude Monet Douma, M., curator. (2008). Microscopy. In Pigments through the Ages. Retrieved December 18, 2013, from Scanning Electron Microscopy A beam of electrons directed towards the paint sample. Elements with high atomic numbers (such as lead or gold) deflect more electrons and reflect brighter. Hochleitner, B. et. al. Analysis of Paint Layers by Light Microscopy, Scanning Electron Microscopy, and Synchrotron Induced X-Ray Micro-diffraction. Presented at the Conference: Art 2002, June Antwerp, Belgium. Analytical Techniques Electromagnetic Radiation Douma, M., curator. (2008). Visible and Beyond. In Pigments through the Ages. Retrieved December 18, 2013, from UV light detects organic compounds Adoration of the Magi, Unknown Artist, Trevi, Italy, 1522 UV light detects residue of a faded pigment Douma, M., curator. (2008). Ultraviolet (UV) Light. In Pigments through the Ages. Retrieved December 18, 2013, from UV light Madonna Suckling the Child, artist of the Ferrarese School, early 16 th century, oil paints on wood panel. UV light distinguishes between older, organic varnish, and newer linseed oil varnish, indicating restoration. Douma, M., curator. (2008). Ultraviolet (UV) Light. In Pigments through the Ages. Retrieved December 18, 2013, from UV light Life-size marble statue, Venus Genitrix, Louvre UV light reveals that the hand is not the original Douma, M., curator. (2008). Ultraviolet (UV) Light. In Pigments through the Ages. Retrieved December 18, 2013, from IR light Douma, M., curator. (2008). Infrared (IR) Light. In Pigments through the Ages. Retrieved December 18, 2013, from IR light Pontormo IR light reveals the underdrawing Douma, M., curator. (2008). Infrared (IR) Light. In Pigments through the Ages. Retrieved December 18, 2013, from IR light IR light reveals drawing techniques which can be helpful for authenticating artwork. Douma, M., curator. (2008). Infrared (IR) Light. In Pigments through the Ages. Retrieved December 18, 2013, from IR light On the Good King by Philodemus of Gadara. Entombed in volcanic ash from Mount Vesuvius, 79 AD. IR light reveals writing that visible light cannot Banerji, Robin. Unlocking the Scrolls of Herculaneum. BBC News Magazine 19 December, 2013: n. pag. Web. 19 December, 2013. X-Ray Light Whistler X-Rays reveal structural information as well as paintings underneath paintings. Douma, M., curator. (2008). X-rayLight. In Pigments through the Ages. Retrieved December 18, 2013, from Manuscript, "Concessione di Francesco Sforza alla Certosa di Pavia", 1450, State Archives of Milan Analytical Techniques Raman Spectroscopy Each molecule vibrates with a predictable frequency. Douma, M., curator. (2008). Spectroscopy. In Pigments through the Ages. Retrieved December 18, 2013, from Analytical Techniques Raman Spectroscopy Each molecule vibrates with a predictable frequency. Byzantine illuminated manuscript, series of readings based on the gospel, 1220, British Library Raman Spectroscopy proves that angels now black used to be white. Hydrogen sulfide from lamps in the library caused the lead white to blacken. Douma, M., curator. (2008). Spectroscopy. In Pigments through the Ages. Retrieved December 18, 2013, from How Art Ages Methods Humidity Dirt Pollution Biological Light Effects Cracking varnish cracks due to photodegradation Flaking humidity may cause separation between the ground and paint layers Blooming cloudiness Changes in Color oxidation or reaction between varnish and paint. Changes in Optical Effects Changes in Color Van Goghs yellowing flowers turning greyish-orange. Thought first to be due to yellowing varnish but the varnish could not be removed, indicating that it had chemically reacted with the paint. The sulfate in the paint had formed ionic bonds with the lead in the varnish creating opaque anglesite. The cadmium combined with the varnish to create cadmium oxalate. Visible Light Microscopy cross-section of a sample of yellow paint Flowers in a Blue Vase, Van Goghcds/index_html Changes in Optical Effects Conti, Alessandro. History of the Restoration and Conservation of Works of Art. London: Elsevier, Print. Cleaning Paintings Organic solvents (originally wine) used to remove varnish. Can also remove organic pigments if too strong, making the paint brittle. Alkali reagents (lye or ammonia) used to remove oily substances. Can cause blooming in the paint if too strong. Sculpture Deterioration Especially of concern in Venices marine climate, where the statues are subject to high levels of humidity and biological growth Lazzarini, L. and J.F. Asmus. The Application of Laser Radiation to the Cleaning of Statuary. Bulletin of the American Institute for Conservation of Historic and Artistic Works 13.2 (1973): JSTOR. The laser heats the deposit to its vaporization point. The sculpture surface below reflects the laser once the deposit is gone (due to short exposure time and high thermal conductivity). Lazzarini, L. and J.F. Asmus. The Application of Laser Radiation to the Cleaning of Statuary. Bulletin of the American Institute for Conservation of Historic and Artistic Works 13.2 (1973): JSTOR. The Gates of Paradise in Florence underwent a 27 year restoration, including laser cleaning Banerji, Robin. Unlocking the Scrolls of Herculaneum. BBC News Magazine 19 December, 2013: n. pag. Web. 19 December, 2013.