Analysis and treatment of a nineteenth century oil painting

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”.

The brushstroke and materials of Amadeo de Souza-Cardoso combined in an authentication tool

Nowadays, authentication studies for paintings require a multidisciplinary approach, based on the contribution of visual features analysis but also on characterizations of materials and techniques. Moreover, it is important that the assessment of the authorship of a painting is supported by technical studies of a selected number of original artworks that cover the entire career of an artist. This dissertation is concerned about the work of modernist painter Amadeo de Souza-Cardoso. It is divided in three parts. In the first part, we propose a tool based on image processing that combines information obtained by brushstroke and materials analysis. The resulting tool provides qualitative and quantitative evaluation of the authorship of the paintings; the quantitative element is particularly relevant, as it could be crucial in solving authorship controversies, such as judicial disputes. The brushstroke analysis was performed by combining two algorithms for feature detection, namely Gabor filter and Scale Invariant Feature Transform. Thanks to this combination (and to the use of the Bag-of-Features model), the proposed method shows an accuracy higher than 90% in distinguishing between images of Amadeo’s paintings and images of artworks by other contemporary artists. For the molecular analysis, we implemented a semi-automatic system that uses hyperspectral imaging and elemental analysis. The system provides as output an image that depicts the mapping of the pigments present, together with the areas made using materials not coherent with Amadeo’s palette, if any. This visual output is a simple and effective way of assessing the results of the system. The tool proposed based on the combination of brushstroke and molecular information was tested in twelve paintings obtaining promising results. The second part of the thesis presents a systematic study of four selected paintings made by Amadeo in 1917. Although untitled, three of these paintings are commonly known as BRUT, Entrada and Coty; they are considered as his most successful and genuine works. The materials and techniques of these artworks have never been studied before. The paintings were studied with a multi-analytical approach using micro-Energy Dispersive X-ray Fluorescence spectroscopy, micro-Infrared and Raman Spectroscopy, micro-Spectrofluorimetry and Scanning Electron Microscopy. The characterization of Amadeo’s materials and techniques used on his last paintings, as well as the investigation of some of the conservation problems that affect these paintings, is essential to enrich the knowledge on this artist. Moreover, the study of the materials in the four paintings reveals commonalities between the paintings BRUT and Entrada. This observation is supported also by the analysis of the elements present in a photograph of a collage (conserved at the Art Library of the Calouste Gulbenkian Foundation), the only remaining evidence of a supposed maquete of these paintings. The final part of the thesis describes the application of the image processing tools developed in the first part of the thesis on a set of case studies; this experience demonstrates the potential of the tool to support painting analysis and authentication studies. The brushstroke analysis was used as additional analysis on the evaluation process of four paintings attributed to Amadeo, and the system based on hyperspectral analysis was applied on the painting dated 1917. The case studies therefore serve as a bridge between the first two parts of the dissertation.

The economics of Vieira da Silva

This paper investigates the time valuation and the age valuation profile of art-works created by the Portuguese female painter Maria Helena Vieira da Silva. It uses data from records from her paintings auction sales between 1986 and 2014, taken from Artprice.com. The study explores three aspects regarding her artistic career: (1) estimation of Age-valuation profile, defining her creativity pattern and the age at which she produced her most valuable paintings; (2) estimation of time valuation profile, through a creation of an individual hedonic price index for Vieira da Silva; (3) internationalization phenomenon of the artist, investigating whether selling prices are primarily set in euros or in US dollar. The results suggest that Vieira da Silva peaked quite early in her career; her paintings prices are not very sensible to economic cycles and tends to slightly increase afterlife; the empirical results are not suggestive on which currency is the best predictor of her paintings��� price.

Analysis and treatment of a nineteenth century portrait, study of Artsorb® and a proposal for a microclimate frame

The present work is divided in two parts: Part 1 is focused on the analysis and treatment of a 19th century portrait of Domingos Affonso, which belongs to the Ecomuseu Municipal do Seixal; and Part 2, which is entitled “The Microclimate Frame Project” is focused on the study of Artsorb® and on the planning of a microclimate frame for the painting. In Part 1, a study of the painting’s materials was performed using complementary analytical techniques and the painting’s condition was carefully evaluated. The painting exhibited signs of mould growth, and a more detailed investigation was made of this topic to understand if the fungal community was active and if it represented a real danger to the painting. A treatment was proposed, appropriate to the painting’s condition. A description of the treatment carried out, comprising the treatment options, is also present in this section. Within the study of the microclimate frame, in Part 2, the study of the potential corrosiveness of Artsorb® was a central subject. Artsorb® sheets are one of the most widely used materials for buffering relative humidity fluctuations in microclimate frames and its reported excellent performance is enhanced by its availability in lightweight sheets that can be easily placed inside microclimate frames. However, concerns have arisen regarding the presence of the corrosive salt lithium chloride in the composition of this buffer. Consequently, the present work also aimed to understand the potential risks of using Artsorb® and the possibility of avoiding exposure of lithium chloride to the artworks through the use of Tyvek®. Results from the preliminary tests seem to indicate that Artsorb® releases lithium chloride into air. This study also showed that a Tyvek® cover over Artsorb® reduces but does not eliminate evidence of chlorine contamination, and it significantly reduces the effectiveness of the buffering material. Considering that Artsorb® appears to be unsuitable due to the release of the corrosive salt, that Tyvek® was not efficient as a barrier for lithium chloride or as a permeable material to enable the proper functioning of Artsorb®, the buffering material proposed for the use in the microclimate frames is silica gel without indicator. Based on the choice of buffering material, as a result of this study, a microclimate frame is proposed.

The names of things: terminology and the practice of art history

This paper aims to explore the ways in which standard art history terminology shapes the practice of art history by conditioning the interpretation of specific works of art and, in certain cases, the definition of a research subject (especially where questions of genre and periodization are concerned). Taking as a case study a painting by Georges de La Tour, the Peasant Couple Eating, I will argue that terms such as realism, realistic, naturalistic etc. used for its description and/or interpretation, far from constituting objective stylistic characterizations, shape our perception of the work in question. Bringing the question of social class to the center of the discourse on realism, I propose to show how the social divide between the painter and his subject matter (in this case, the peasants) is internalized in the painting’s style and meaning, and how it is fundamental for the understanding of its intentionality and function.

The perfect paint in modern art conservation: a comparative study of 21st century vinyl emulsions

Contemporary painting places, and will continue to place, several questions about its meaning, its chemical nature, its durability and the best way to preserve it. This research aims at putting together comprehensive data on vinyl based paints, including their components, their properties, their aging behavior and their response to selected cleaning products. In this project degradation mechanisms of vinyl binders and formulations used in the 20th and 21st century were studied. Stability over time of selected vinyl polymers was assessed through natural indoor and artificially aging. The objective was to enhance knowledge and understanding of vinyl emulsion formulations and their performance over time. Overall conservation state of pictorial layers namely, adhesion, cohesion and discoloration of selected case studies from the Portuguese artist Julião Sarmento (b.1948) was correlated with the observed molecular level changes studied in laboratory experiments. Sarmento’s paintings were chosen due to conservation concerns (discoloration) on some of his works from the 90’s. Besides, research was carried out to start increasing the knowledge of what can be expected of PVAc based paints in terms of response to conservation treatments namely, surface cleaning. Artificial aging showed that the most recent formulations which are based on a poly(vinyl acetate), poly(vinyl chloride) and polyethylene terpolymer are less stable when compared to some homopolymer formulations. From the four pigments studied, titanium dioxide rutile and a carbon based black proved to be stabilizers for both types of polymer. The mixture lithopone plus calcium carbonate has showed to have a photocatalytic effect on the binders. The studied paintings showed to be in an overall good state of conservation except for the paintings created in the 90’s with white glue and a mixture of white lithoponeand calcium carbonate. Discoloration of this white paint seems to be irreversible and ongoing and is still a major concern. The disapearance of the plasticizer was the only change detected. The current works created by Sarmento are expected to be more stable as they were painted using the rutile titanium dioxide. Immersion/cleaning tests showed that vinyl based paints can be susceptible to water and organic solvents like ethanol as some evidences point to the removal/diffusion of additives from the paint. The observations made point to the need to further proceed in this research field.

A technical investigation of an oil painting on copper support, including a study on consolidants for treatment

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”.

Proboscideans and other vertebrates from Anchrif, Morocco

The paleontological richness of Morocco has been scientifically known since at least the early 20th century. The region of the Middle Atlas, more specifically the Boulemane area, has been however only sparsely studied since the 60’s when it supplied various vertebrate fossils from the Middle Jurassic.In the beginning of the 2000’s some fossil bones were discovered in a new fossil-site near the village of Taghrout, in the Boulemane area and in September 2013 a Moroccan-Portuguese expedition made excavations in the site with the help locals from the village of Taghrout. The site is Pleistocene in age and is located on a rare bone bearing small high-altitude sedimentary basin, non-charted in previous geological maps. The excavations yielded new bone material from large mammals. The most common findings are elephants ascribed to the genus Elephas, but artiodactyls, turtles, and in-situ hominid Acheulean tools were also collected. During the excavation campaign the Jurassic sites were revisited and new dinosaur trails and possible crocodilomorph bones were discovered. Surface collection of in a cave near Taghrout with Holocene mammal material, including the genera Canis, Capra, Bos, Panthera and Hystrix was also conducted and its fossils elements identified.

Mark Rothko : Da origem mítica à refundação artística do mundo

Fenómeno assinalável no nosso século foi a emergência da chamada “arte global” (Belting), dando conta da crise do “mundo da arte” e a disseminação generalizada das práticas artísticas. Neste contexto a obra de Rothko ganha uma força inesperada. Sendo usualmente inscrito no “modernismo” com os seu valores de pureza e especificidade do meio, neste caso a pintura, a nossa investigação revela que o gesto Rothkoniano excede largamente esta representação, que levaria a distinguir radicalmente entre uma fase mítica e surrealista, uma fase abstracionista dos “colour field” e finalmente uma fase sublime das pinturas da Capela Ecuménica de Rothko. Existe uma continuidade evidente que remete para uma geoestética, onde a terra e a sua habitabilidade desempenham um papel crucial. Daí a necessidade de inscrever a obra de Rothko na geofilosofia contemporânea, tal com foi delineada por Gilles Deleuze e Félix Guattari. Procedeu-se, assim, a uma análise crítica da obra e da estética de Rothko, que profeticamente, mas inconscientemente, parece abrir o caminho para o pensamento de uma arte da terra. Trata-se de uma linha de continuidade que atravessa toda a obra de Rothko, refletindo uma picturação do mundo e a vontade de criar de um mundo pictórico e poético, reduzido a elementos mínimos, pós-figurativos mas onde se reconhece a incidência dos motivos como frame e abertura, linha de horizonte e pórticos e passagens. Num segundo momento, explora-se essa dimensão “inconsciente” num projeto artístico pessoal, que se desdobra em abordagens picturais, de pintura, de instalação e de vídeo, que denominamos por “A Terra como Acontecimento”. Este projeto prolonga o esforço Rothkoniano, ao mesmo tempo que o altera profundamente, nomeadamente pelo uso dos materiais, pela mutação no uso da cor, bem como pela maneira como os elementos figurativos são radicalmente alterados pela mera transposição da perspetiva usada. Se a ressonância rothkoniana está bem presente, não menos presente está a intenção de um confronto dialogante com a Obra de Mark Rothko. Aquilo que neste importante artista, era o inconsciente, marcado pelo mito e teologia, pela delimitação da linha de horizonte, bem clássica, e, acima de tudo, pela sua verticalidade marcadamente teológica, “A Terra como Acontecimento” é a matéria que é profundamente radicalizada, bem como a lógica concetual, a qual é preferentemente circular, sem orientação absoluta, e incompleta, o que implica uma outra visão da “abertura”/”fecho”, tão essencial na obra de Rothko. Desta investigação espera-se um contributo significativo para os debates atuais sobre a arte na contemporaneidade.

Survey and dynamic behaviour of the Our Lady of Conception Church, Portugal

The Our Lady of Conception church is located in village of Monforte (Portugal) and is not in use nowadays. The church presents structural damage and, consequently, a study was carried out. The study involved the survey of the damage, dynamic identification tests under ambient vibration and the numerical analysis. The church is constituted by the central nave, the chancel, the sacristy and the corridor to access the pulpit. The masonry walls present different thickness, namely 0.65 m in the chancel, 0.70 m in the sacristy, 0.92 in the central nave and 0.65 m in the corridor. The masonry walls present 8 buttresses with different dimensions. The total longitudinal and transversal dimensions of the church are equal to 21.10 m and 14.26 m, respectively. The survey of the damage showed that, in general, the masonry walls are in good conditions, with exception of the transversal walls of the nave, which present severe cracks. The arches of the vault presents also severe cracks along the central nave. As consequence, the infiltrations have increased the degradation of the vault and paintings. Furthermore, the foundations present settlements in the Southwest direction. The dynamic identification test were carried out under the action of ambient excitation of the wind and using 12 piezoelectric accelerometers of high sensitivity. The dynamic identification tests allowed to estimate the dynamic properties of the church, namely frequencies, mode shapes and damping ratios. A FEM numerical model was prepared and calibrated, based on the first four experimental modes estimated in the dynamic identification tests. The average error between the experimental and numerical frequencies of the first four modes is equal to 5%. After calibration of the numerical model, pushover analyses with a load pattern proportional to the mass, in the transversal and longitudinal direction of the church, were performed. The results of the analysis numerical allow to conclude that the most vulnerable direction of the church is in the transversal one and the maximum load factor is equal to 0.35.

Measuring end-to-end delay in real-time auralisation systems

One of the major challenges in the development of an immersive system is handling the delay between the tracking of the user’s head position and the updated projection of a 3D image or auralised sound, also called end-to-end delay. Excessive end-to-end delay can result in the general decrement of the “feeling of presence”, the occurrence of motion sickness and poor performance in perception-action tasks. These latencies must be known in order to provide insights on the technological (hardware/software optimization) or psychophysical (recalibration sessions) strategies to deal with them. Our goal was to develop a new measurement method of end-to-end delay that is both precise and easily replicated. We used a Head and Torso simulator (HATS) as an auditory signal sensor, a fast response photo-sensor to detect a visual stimulus response from a Motion Capture System, and a voltage input trigger as real-time event. The HATS was mounted in a turntable which allowed us to precisely change the 3D sound relative to the head position. When the virtual sound source was at 90º azimuth, the correspondent HRTF would set all the intensity values to zero, at the same time a trigger would register the real-time event of turning the HATS 90º azimuth. Furthermore, with the HATS turned 90º to the left, the motion capture marker visualization would fell exactly in the photo-sensor receptor. This method allowed us to precisely measure the delay from tracking to displaying. Moreover, our results show that the method of tracking, its tracking frequency, and the rendering of the sound reflections are the main predictors of end-to-end delay.

Distance perception in immersive environments: the role of photorealism

Immersive environments (IE) are being increasingly used in order to perform psychophysical experiments. The versatility in terms of stimuli presentation and control and the less time-consuming procedures are their greatest strengths. However, to ensure that IE results can be generalized to real world scenarios we must first provide evidence that performance in IE is quantitatively indistinguishable from performance in real-world. Our goal was to perceptually validate distance perception for CAVE-like IEs. Participants performed a Frontal Matching Distance Task (Durgin & Li, 2011) in three different conditions: real-world scenario (RWS); photorealistic IE (IEPH) and non-photorealistic IE (IENPH). Underestimation of distance was found across all the conditions, with a significant difference between the three conditions (Wilks’ Lambda = .38, F(2,134)= 110.8, p<.01, significant pairwise differences with p<.01). We found a mean error of 2.3 meters for the RWS, 5 meters for the IEPH, and of 6 meters for the IENPH in a pooled data set of 5 participants. Results indicate that while having a photorealistic IE with perspective and stereoscopic depth cues might not be enough to elicit a real-world performance in distance judgment tasks, nevertheless this type of environment minimizes the discrepancy between simulation and real-world when compared with non-photorealistic IEs.

Immersiveness of ubiquitous computing environments prototypes: A case study

The development of ubiquitous computing (ubicomp) environments raises several challenges in terms of their evaluation. Ubicomp virtual reality prototyping tools enable users to experience the system to be developed and are of great help to face those challenges, as they support developers in assessing the consequences of a design decision in the early phases of development. Given the situated nature of ubicomp environments, a particular issue to consider is the level of realism provided by the prototypes. This work presents a case study where two ubicomp prototypes, featuring different levels of immersion (desktop-based versus CAVE-based), were developed and compared. The goal was to determine the cost/benefits relation of both solutions, which provided better user experience results, and whether or not simpler solutions provide the same user experience results as more elaborate one.

A ternura do grotesco no encontro de Paula Rego com Adília Lopes

A ruptura em relação à conceptualização clássica de arte, problematizando o conceito de ‘sublime’ - em que se verificou um abaixamento de valores, da eternidade para a corporalidade - leva-nos ao grotesco e sobre o que se entende por arte, belo e, em consequência, pelo seu contrário. Com este artigo, pretende-se saber de que forma é que o grotesco se dissemina nas pinturas de Paula Rego e os escritos de Adília Lopes e se o que a primeira referiu em relação à obra de Adília e às suas próprias produções, usando o epíteto de “grotesco belo” e possuidor de “muita ternura”, é verificável. As postulações principais sobre o grotesco foram produzidas por Mikhail Bakhtin, Wolfgang Kayser e Victor Hugo. Para além das produções de cada uma das criadoras, foi também observado o cruzamento de ambas no livro “Obra”, uma antologia de Adília Lopes, com imagens da autoria de Rego

Аэроионизационное состояние и радиационная обстановка в Цхалтубской пещере

წარმოდგენილია მონაცემები წყალტუბოს მღვიმეში რადიონის, მსუბუქი აეროიონების შემცველობისა და გამა-რადიაციული ფონის შესახებ. სხვადასხვა დარბაზში რადონის კონცენტრაცია იცვლება 307 დან 6905 ბკ/მ3-მდე, გამა-რადიაციული ფონი 45 დან 133 ნზე/სთ, ხოლო აეროიონების ჯამური შემადგენლობა 32000 დან 135000 იონი/სმ3-მდე.