Take a colorful walk through human ingenuity. Humans have been unpacking the earth to use pigments since cavemen times. Starting out from surface pigments for cave paintings, we’ve dug deep for minerals, mined oceans for colors and exploited the world of plants and animals. Our accidental fumbles have given birth to a whole family of brilliant blues that grace our museums, mansions and motorcars. We’ve turned waste materials into a whole rainbow of tints and hues to color our clothes, our food and ourselves. With the snip of a genetic scissor, we’ve harnessed bacteria to gift us with “greener” blue jeans and dazzling dashikis. As the pigments march on into the future, who knows what new and exciting inventions will emerge? Mary Virginia Orna, a world-recognized expert on color, will lead you through an illuminating journey exploring the science behind pigments. Pausing for reflections en route to share stories around pigment use and discoveries informed by history, religion, sociology and human endeavour, this book will have you absorbing science and regaling tales. Jam packed with nuggets of information, March of the Pigments will have the curiously minded and the expert scientist turning pages to discover more.
Conservation of Easel Paintings is the first comprehensive text on the history, philosophy, and methods of treatment of easel paintings that combines both theory with practice. With contributions from an international group of experts and interviews with important artists, this volume provides an all-encompassing guide to necessary background knowledge in technical art history, artists' materials, scientific methods of examination and documentation, with sections that present varying approaches and methods for treatment, including consolidation, lining, cleaning, retouching, and varnishing. The book concludes with a section featuring issues of preventive conservation, storage, shipping, exhibition, lighting, safety issues, and public outreach. Conservation of Easel Paintings is a crucial resource in the training of conservation students and will provide generations of practicing paintings conservators and interested art historians, curators, directors, collectors, dealers, artists, and students of art and art history with invaluable information and guidance.
Ten years after the first volume, this book highlights the important contribution Raman spectroscopy makes as a non-destructive method for characterising the chemical composition of objects with archaeological and historical importance. The original book was ground-breaking in its concept, but the past ten years have seen some advancement into new areas, consolidation of some of the older ones and novel applications involving portable instrumentation, on site in museums and in the field. This new volume maintains the topic at the cutting edge, the Editors have approached prominent contributors to provide case-studies sorted into themes. Starting with a Foreword from the British Museum Director of Scientific Research and an Introduction from the Editors, which offer general background information and theoretical context, the contributions then provide global perspectives on this powerful analytical tool. Aimed at scientists involved in conservation, conservators and curators who want to better understand their collections at a material level and researchers of cultural heritage.
This second volume of Studies in Art, Science, and Technology unites studies by scientists, curators, and conservators, all of which are published here for the first time. Essays and technical notes address a variety of themes, such as connections between technology and aesthetics, aging processes of artworks, attribution and dating issues, and conservation theory. Specific examples from throughout art history add context and help promote deeper understanding. A wide range of objects are discussed in the texts, including medieval sculptures, Baroque musical instruments, Egyptian stone works, photographs, enamels, and paintings. The refined analyses of these works will prove relevant and enlightening to an interdisciplinary professional audience.
This volume explains four different methods for examining paint surfaces. It adopts several examination tools to compare untreated and treated surfaces of oil and acrylic paints, such as scanning electron microscopy (SEM), computer-aided laser profilometry, environmental scanning electron microscopy (ESEM) and 3D-measurement technology. Samples of historic oil paints, contemporary oil paints, and modern acrylic paints, are examined within, using subjective and objective measurements, to reveal ideal surface cleaning systems and methods for painting surfaces. The book presents tests of several surface active materials on oil paints and acrylic paint surfaces, including latex sponges and demineralized water, saliva, cellulose ethers, anionic and nonionic detergents, and microporous sponges.
The third International congress of Science and Technology for the Conservation of Cultural Heritage, TechnoHeritage 2017, was held in Cadiz, from 21 to 24 May 2017, under the umbrella of the TechnoHeritage network. TechnoHeritage is an initiative funded by the Spanish Ministry of Economy and Competitivity dedicated to the creation of a network which integrates CSIC and University groups, private companies and end users such as foundations, museums or institutions. The network’s purpose is to foster the creation of transdisciplinary (and not only multidisciplinary) initiatives focused on the study of all assets, movable or immovable, that make up Cultural Heritage. A high-quality scientific programme was prepared, which includes new emerging topics on Cultural Heritage (1) Nanomaterials and other Products for Conservation, (2) New Technologies for Analysis, Protection and Conservation, (3) 20th Century Cultural Heritage, (4) Significance of Cultural Heritage. Policies for Conservation, (5) Deterioration of Cultural Heritage, (6) Biodeterioration: Fundamentals, Present and Future Perspectives and (7) Underwater Cultural Heritage. A special session "Biodeterioration: Fundamentals, present and future perspectives, a session in honour of Prof. Cesáreo Sáiz Jiménez" took place. Our intention was to recognise the work of Prof. Sáiz Jiménez, who recently retired, and its impact on the Cultural Heritage conservation community, which he has helped to promote through numerous activities including, in 2011, the creation of the TechnoHeritage network. This volume publishes a total of eighty-three contributions which reflect the state of the art investigations on different aspects of cultural heritage conservation.
Bridging the fields of conservation, art history, and museum curating, this volume contains the principal papers from an international symposium titled "Historical Painting Techniques, Materials, and Studio Practice" at the University of Leiden in Amsterdam, Netherlands, from June 26 to 29, 1995. The symposium—designed for art historians, conservators, conservation scientists, and museum curators worldwide—was organized by the Department of Art History at the University of Leiden and the Art History Department of the Central Research Laboratory for Objects of Art and Science in Amsterdam. Twenty-five contributors representing museums and conservation institutions throughout the world provide recent research on historical painting techniques, including wall painting and polychrome sculpture. Topics cover the latest art historical research and scientific analyses of original techniques and materials, as well as historical sources, such as medieval treatises and descriptions of painting techniques in historical literature. Chapters include the painting methods of Rembrandt and Vermeer, Dutch 17th-century landscape painting, wall paintings in English churches, Chinese paintings on paper and canvas, and Tibetan thangkas. Color plates and black-and-white photographs illustrate works from the Middle Ages to the 20th century.
The first English-language book to comprehensively discuss the history and methodology of conserving medieval polychrome wood sculpture. Medieval polychrome wood sculptures are highly complex objects, bearers of histories that begin with their original carving and adornment and continue through long centuries of repainting, deterioration, restoration, and conservation. Abundantly illustrated, this book is the first in English to offer a comprehensive overview of the conservation of medieval painted wood sculpture for conservators, curators, and others charged with their care. Beginning with an illuminating discussion of the history, techniques, and meanings of these works, it continues with their examination and documentation, including chapters on the identification of both the wooden support and the polychromy itself—the paint layers, metal leaf, and other materials used for these sculptures. The volume also covers the many aspects of treatment: the process of determining the best approach; consolidation and adhesion of paint, ground, and support; overpaint removal and surface cleaning; and compensation. Four case studies on artworks in the collection of The Cloisters in New York, a comprehensive bibliography, and a checklist to aid in documentation complement the text.
An illuminating study of an overlooked artist from the 1960s whose work has recently returned to the limelight This is the first in‑depth study of the idiosyncratic ten‑year career of Lee Lozano (1930-1999), assuring this important artist a key place in histories of post‑war art. The book charts the entirety of Lozano's production in 1960s New York, from her raucous drawings and paintings depicting broken tools, genitalia, and other body parts to the final exhibition of her spectacular series of abstract "Wave Paintings" at the Whitney Museum of American Art in 1970. Highly regarded at the time, Lozano is now perhaps best known for Dropout Piece (1970), a conceptual artwork and dramatic gesture with which she quit the art world. Shortly afterwards she announced she would have no further contact with other women. Her "dropout" and "boycott of women" lasted until her death, by which time she was all but forgotten. This book tackles head‑on the challenges that Lozano poses to art history--and especially to feminist art history--attending to her failures as well as her successes, and arguing that through dead ends and impasses she struggled to forge an alternative mode of living. Lee Lozano: Not Working looks for the means to think about complex figures like Lozano whose radical, politically ambiguous gestures test our assumptions about feminism and the "right way" to live and work.