Stichting Restauratie Atelier Limburg

Transcription

1 Stichting Restauratie Atelier Limburg When Art meets Imaging Drs. Rene Hoppenbrouwers directeur

2 Conservation: - paintings: panel and canvas - polychrome sculpture - wall paintings - modern & contemporary art - gilt leather Education/Training - University Amsterdam - University - International fellowships Research & Advise

3 Paintings: translation of 3 D > 2D + ideas/events/daily life > images 3

4 Art and heritage Expressions / sources of: Artistic developments Societal ideas Religious expressions + Rituals Show the development of : Art history Cultural history Society Technique and science Determining for: Cultural identity of a people Living environment Common history: roots.. 4

5 Paintings depict how we see and experience the world around us! Zeitgeist 5

6 Paintings on panel and canvas Varnish Paint Imprimatura Ground Canvas Glue Size Panel Support 6

7 Pigments In-organic pigments were easily found earth pigments such as yellow, red and green ochres. Some pigments came from afar, such as the blue azurite or the extremely expensive lapis lazuli. The main green was malachite. 7

8 Pigments Organic pigments were derived from plants or animals: yellow from weld. Red colors were extracted from shavings from the bark of red wood (Brasil), from madder roots or gained from the excretions of a specific beetle species (Cochinille). 8

9 Oil Paint Binding Mediums - Egg Tempera - Gums - Drying oil linseed, poppy, walnut 9

10 The painting process 10

11 Varnishes: protection and saturation Oil-Resin Varnishes Spirit Varnishes (resins) Synthetic Varnishes 11

12 Art objects are threatened and attacked by Bad climate (RH, T) Waterdamage, storms, floods Mould, insect pests, micro- organisms Bad light conditions (UV, IR, lux) Air pollution Chemical influences Ware because of handling and use Re-use or adaption of function Restoration 12

13 Ageing adds value Historic Financial.. Authenticity... 13

14 If I could turn back time 14

15 Ageing adds value 15

16 Technical Examination of Paintings - Understanding - making processes - original composition of paintings - Understanding degradation processes * because of materials used * because of a combination of the materials * because of added materials (restoration, pollution) 16

17 The paint surface and its support ultraviolet visible infrared X-ray microwave gamma radio wavelength nanometres energy volts

18 Ultraviolet Reflected Infrared X-rays 18

19 Multispectral imaging 19

20 The Image Cube 20

21 Visible Light 21

22 Colour Accuracy 22

23 Raking Light Raking light source camera 23

24 Anonymous 24

25 Portrait of Karl von Hessen-Kassel ( ), Anonymous 25

26 26

27 Oscar Graf, Castle Ehrenstein transmitted light 27

28 Macro Image 28

29 Micro Images USB microscope Stereo-microscopy x 20 x

30 Ultraviolet Induced Visible Fluorescence UV radiation UV + VF UV radiation VF camera UV filter 30

31 Ultraviolet Induced Visible Fluorescence Filter removes Ultraviolet radiation Absorption S S 2 1 S 0 Emission S S 2 1 S 0 31

32 UV Fluorescence of resins/binders 32

33 UV fluorescence of Pigments 33

34 Detecting old retouches, degraded varnishes, 34

35 Infrared Examination of Art Near IR = nm Mid IR = nm Far IR = up to microwaves 35

36 Infrared photography was used in the 1930s to record subsurface conditions invisible to the naked eye Infrared photography was promoted by Paul Coremans from the 1930s to record repaints, pentimenti, and underdrawings J.J.R. Van Asperen de Boer established the degree of transparency for certain pigments and introduced the use of the Vidicon in the 1970s. 36

37 IR reflectography set-up filter Infrared light source camera Infrared light source 37

38 Terminology IR photography ( < c. 900 nm) Infrared Reflectography ( > c nm) 38

39 Solid State Sensor Array InGaAs: indium gallium arsenide (Osiris camera) PtSi: platinum silicon MCT or HgCdTe: mercury cadmium telluride InSb: indium antimonide 39

40 Stitching Software Adobe Photoshop Panaview VIPS 40

41 X-Radiography 41

42 1896 Walter König radiographed an oil painting to detect alterations. By 1916 a patent was taken out on the process in Germany by Faber that hindered the advance of this technique in Germany. By the 1930s the work of Burroughs had made X-radiography an accepted practice with art historians By the 1950s it was one of the most commonly used scientific methods of examination in art history. Alan Burroughs ( ) 42

43 Portable X-Ray Apparatus Radiographic Film ERESCO MF4 portable generators kv to kv Digital Detector: 410 x 410 mm Scanner 43

44 Deposition, anonymous 17th C 44

45 Mary Magdalen, follower of Dou, 17th C 45

46 Analyses of paint layers - Optical microscopy - Polarised light microscopy - Paint cross sections 46

47 SEM / EDX 47

48 Madonna and Child, 15th / 16th C 48

49 X-Ray 49

50 Microscopy and SEM/EDX 50

51 Imaging LM/UV-VIS FTIR SEM-EDX SIMS 51

52 Analytical information gained layer build-up particle size, colour, shape elements functional groups Pb, Ag, Ca, Si C, O, N C=O, C-H, Si-O (fragmented) molecules - OOC(CH 2 ) 14 CH 3 52

53 Fourier Transform Infrared Spectroscopy (FTIR) Raman spectroscopy (portable) X-ray Fluorescence (p-xrf) X-ray Diffraction (XRD) Thin Layer Chromatography (TLC) Gas Chromatography (GC, Py GC, ) High Performance Liquid Chromatography (HPLC) Mass Spectrometry > Imaging 53

54 Studying effects of conservation treatments Aqueous solutions, organic solvents, consolidants, T^,... 54

55 SRAL : collaboration MACCH: - Faculty of Arts & Social Sciences - Law Faculty - Faculty of Economics - SRAL - Sociaal Historisch Centrum Science College M4I : Multimodal Molecular Imaging Institute Prof Dr. Ron Heeren 55

56 Fundamental research for the future of our heritage 56