Conservation science: Reflections and future perspectives

Heritage, Alison; Golfomitsou, Stavroula

doi:10.1080/00393630.2015.1117858

Cited by 16 publications

(6 citation statements)

References 8 publications

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“…There is no single protocol for studying glass-based pigments. Instead, there is a logical approach involving, firstly, the transdisciplinary study of the object (van Den Besselaar and Heimeriks 2001; Leona and Van Duyne 2009;Heritage and Golfomitsou 2015) and, secondly, the subsequent design of further investigations. This applies not only to the study of paintings or glass-based pigments, but also to any other cultural artefact.…”

Section: Best Practice Guide and Analytical Protocolmentioning

confidence: 99%

Glass-based pigments in painting: smalt blue and lead–tin yellow type II

Cavallo

Riccardi²

2021

Archaeol Anthropol Sci

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Glass-based pigments have an important role in the panorama of artistic production due to the fact that their manufacturing processes involve a combination of different skills and understanding, and they have a role in disciplines ranging from glass technology to metallurgy, from glazed ceramic to stone imitation and from vitreous mosaic tesserae to painting materials. The main goal of this manuscript is to present a critical review of the literature relating to blue smalt and “yellow glass” (lead–tin yellow type II) pigments: presenting their historical background, the analytical protocol, the processes of alteration and decay and finally tracing issues. Several case studies analyzed by the authors will be presented. Particular attention was devoted to the correlation between micro-textural features and decay processes affecting the studied pigments, though the widespread heterogeneity of the analyzed materials and the variability of the artistic techniques in which the pigments were used as well as the effect of the relevant (micro-)environmental conditions dictate a cautious approach. These studies are presented in the context of information about the chain of production, the selection of the raw materials and relevant provenance studies.

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Section: Best Practice Guide and Analytical Protocolmentioning

confidence: 99%

Glass-based pigments in painting: smalt blue and lead–tin yellow type II

Cavallo

Riccardi²

2021

Archaeol Anthropol Sci

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“…The impossibility of a single professional having all of the necessary skills and expertise was pointed out by Chiari andLeona in 2005 (Chiari andLeona 2005) and has been reiterated since. The need for professionals with different backgrounds emerged as a key theme from the 2013 ICCROM (International Centre for the Study of the Preservation and Restoration of Cultural Property) Forum on Conservation Science (Brokerhof 2015;Golfomitsou 2015;Heritage and Golfomitsou 2015) and has been emphasised more recently by Strlic (Strlič 2018). This is part of a broader acknowledgement of the value of an interdisciplinary approach to complex, real-world problems (Holland 2014;Crowley et al 2018).…”

Section: Introductionmentioning

confidence: 99%

The Dynamics of Collaboration in Heritage Science

Curran¹,

Zimmermann²

2021

Studies in Conservation

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Heritage science is an interdisciplinary field and successful heritage science research by necessity involves interdisciplinary collaboration between researchers with different disciplinary backgrounds and professional experience. Successful interdisciplinary research is challenging, and many issues have been identified both within and outside heritage science. However, within heritage science there has never been an attempt to do an in-depth study of how communication in interdisciplinary research works in practice. This paper aims to address this gap by providing an in-depth exploration of a case study. We present the analysis of the transcribed recording of a five-hour workshop and follow-up interviews with the workshop participants that took place within the framework of a collaborative heritage science research project. The analysis looks in detail at the dynamics of communication in the context of this meeting, identifying the main topics of conversation and the nature of the transitions between them. We discuss the way in which researchers use different physical scales when thinking about heritage material degradation. We identify key features of interdisciplinary research such as the sense of community and the use of language. Recommendations and insights for future practice are presented.

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“…In October 2013, an international consortium of 16 institutions was brought into being by ICCROM in Rome, venue for noteworthy reflections about the role of science in the field of cultural heritage conservation. Among the key issues, the ICCROM Forum on Conservation Science highlighted the crucial requirement of fostering the integration and enhancing the impact of this discipline within the cultural heritage sector: "Seeking sustainable solutions through collaboration and sharing" was identified as a priority for the future [1], with the invitation to look for solution-orientated applied research to be developed in synergy with end-users, in order to solve primary issues in heritage conservation.…”

Section: Introductionmentioning

confidence: 99%

“…1) was executed by Luca Longhi (1507-1580), famous portrait painter of the Romagna area, in 1579-1580. 1 By virtue of its impressive dimension, as it is placed over a surface area of around 40 m 2 , and relevant historic-artistic features like the organisation of the scene, the great number of figures and the variety of their movements, allowing a direct comparison with paintings of the same subject made by Masters as Leonardo da Vinci and Paolo Veronese, this painting is considered Longhi's last and greatest work of art [2,3].…”

Section: Introductionmentioning

confidence: 99%

Learning from the past, intervening in the present: the role of conservation science in the challenging restoration of the wall painting Marriage at Cana by Luca Longhi (Ravenna, Italy)

Fiorillo¹,

Fiorentino²,

Montanari³

et al. 2020

Herit Sci

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The paper discusses the case study of the Marriage at Cana, a sixteenth century wall painting located in Ravenna and executed by Luca Longhi. A multi-analytical approach based upon OM, SEM-EDS, μ-Raman, μ-FTIR and biological analyses was selected to investigate the painting technique and the state of preservation of the artwork, compromised by a severe alteration. Data demonstrated that the artwork was executed with a dry painting technique: a siccative oil was used as binder, while indigo, lead white, carbon black, ochres, vermilion and red lead were identified as pigments. Biological analyses clearly allowed identifying Eurotium halophilicum as the fungus responsible for the white patina compromising the painted surface and, according to this result, Biotin T was selected as the most effective biocide to stop the biological attack. The precarious conditions in which the painting was, attributable to previously performed interventions and to the conservation environment, laid the groundwork for a challenging restoration conducted in 2016. Scientific analyses better clarified the kind of materials employed in the execution on the artwork, as well as how the previous restoration was carried out; furthermore, analytical data methodologically supported phases of the intervention like cleaning, filling of the lacunae and pictorial retouching, as products were selected on the basis of their affinity to original materials and painting technique. This study will hopefully encourage reflections on how a synergic dialogue between conservation science and restoration can represent an important reference point for interventions to be conducted with scientific criteria and suitable methodology, in the light of the shared vision and common goal of transferring patrimony to future generations.

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Conservation science: Reflections and future perspectives

Cited by 16 publications

References 8 publications

Glass-based pigments in painting: smalt blue and lead–tin yellow type II

Glass-based pigments in painting: smalt blue and lead–tin yellow type II

The Dynamics of Collaboration in Heritage Science

Learning from the past, intervening in the present: the role of conservation science in the challenging restoration of the wall painting Marriage at Cana by Luca Longhi (Ravenna, Italy)

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