5 resultados para Panel painting, Gothic


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“Cork taint” is a major problem in wine industry and is caused by contamination of wines. This contamination is usually attributed to wine cork stoppers and 2,4,6-trichloroanisole (2,4,6-TCA) is one of the compounds mostly associated to this off-flavour. In this work, a consumer panel performed “forced choice” triangular tests in order to measure Odour Detection Thresholds (ODT) and Taste Detection Thresholds (TDT) of 2,4,6-TCA in water, hydro-alcoholic solutions (11.5% and 18% ethanol) and white and red wines. A paired preference test was also performed by the panel in order to measure Odour Rejection Threshold (ORT) in white and red wine spiked with 2,4,6-TCA. Results obtained show that the ODT and the TDT for 2,4,6-TCA in water were 0.2 and 0.3 ng/L, respectively. In hydro-alcoholic solutions with 11.5% and 18% ethanol the ODT were 4 and 10 ng/L respectively. In red wine the ODT and the TDT were 0.9 and 1.7 ng/L and in white wine were 1.5 and 1.0 ng/L respectively. ORT for white was 10.4 ng/L and for red wines 16.0 ng/L. These results suggest that although this group of consumers detected very low concentrations of 2,4,6-TCA in wines, they did not reject the wine at these low concentration values.

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This thesis focused on the study and treatment of a 19th century female portrait in oil from ECOMUSEU Municipal do Seixal, Portugal. The portrait, which depicts Isabel Maria Lourenço Affonso was in poor condition and a large strip of paint and canvas was missing (approximately 9cm by 66cm, almost 11% of the total surface area). The portrait is a companion piece to a male portrait (the relationship was established as part of this study), therefore a technical study of both paintings was considered essential to support the choices made during the treatment. The project involved three main areas: - The study of the history, condition, materials and techniques of both paintings. This allowed their comparison and understanding of their relationship; - The treatment of Isabel Maria Lourenço Affonso. The choices made and problems encountered are described. - The production of a replacement for the missing strip of paint and canvas. The practical solution developed to overcome such an unusual challenge is described along with the creative and flexible thinking required. Because not all traditional infill materials cope well on a mechanical level with thin layers over a very large surface (many are too brittle), strict criteria had to be employed to choose the appropriate material. The primary goal was to find a fill which would remain flexible and be capable of accepting surface texture, such that there would be a good visual match with the painting. Analysis and testing was carried out to evaluate the physical properties of the fill material chosen, BEVA® Gesso-P. The successful creation of the replacement strip has resulted in two publications and one presentation: Publication pending in The Picture Restorer, Leslie Carlyle, Raquel Marques, Isabel Pombo Cardoso and Sara Babo, “Creating a Textured Replacement Strip for the Missing Lower Portion of an Oil Portrait: Problem Solving and Practical Solutions”. Abstract accepted for presentation and publication, International Meeting on Retouching of Cultural Heritage (2RECH), Raquel Marques, Leslie Carlyle and Isabel Pombo Cardoso, “Textured Replacement Strip for a Missing Portion of a Portrait: Problem Solving and Practical Solutions”.

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This paper demonstrates the significance of culture in examining the relationshipbetween democratic capital and environmental performance.The aim is to examine the relationship among scores on the Environmental Performance Index and the two dimensions of cross cultural variation suggested by Ronald Inglehart and Christian Welzel. Significantional interrelationships among democracy, cultural and environmental sustaintability measures could be found, following the regression results. Firstly, higher levels of democratic capital stock are associated with better environmental performance. Secondly importance to distinguish between cultural groups could be confirmed.

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Paper submitted to e-conservation Journal: Maria Leonor Oliveira, Leslie Carlyle, Sara Fragoso, Isabel Pombo Cardoso and João Coroado, “Investigations into paint delamination and consolidation of an oil painting on copper support”.

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This article deals with the splendid panoramic painting depicting the Joyeuse Entrée of King Philipp III (Filipe II de Portugal) in Lisbon in 1619 which the author discovered at Weilburg castle in Germany. The author places the painting in its historical and pictorial context by comparing it to the written reports of the entry and comparable 16th and 17th century views of Lisbon. Apparently, the painting is based on a strictly planned choreography that largely follows the previous entry of Philipp II, and is identical in the painted, engraved and written descriptions of the event published between 1619 and 1622.