Traditional and non-traditional, innovative and ephemeral materials and techniques in today’s cultural heritage

Lorusso, Salvatore; Matteucci, Chiara; Natali, Andrea; Apicella, Salvatore Andrea

doi:10.1007/s11172-013-0243-6

Cited by 4 publications

(3 citation statements)

References 6 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…The majority of the discourse on ephemeral heritage relates to manifestations of cultural heritage in the form of paper-based ephemera [106], soundscapes [20,21], events and performances [107], street art [108], modern, non-permanent materials (such as edible art) [109], temporary art installations [110] and digital ephemera [111], including digital art [112] and projections [113].…”

Section: Temporary Sites In the Heritage Discoursementioning

confidence: 99%

COVID-19 on the Ground: Managing the Heritage Sites of a Pandemic

Spennemann

2021

Heritage

View full text Add to dashboard Cite

The standard methodology for the assessment of cultural heritage significance relies on hindsight, with a passage of time elapsed between the creation of the site or object and its assessment. There are, however, cases where heritage significance is instant (e.g., sites associated with the first Moon landing). This paper argues that hindsight will not be required to determine that the COVID-19 pandemic will come to be considered as a significant historic event, as COVID-19 has already manifested itself as a social, cultural and economic disruptor on a global scale with a mortality in the millions. Heritage professionals have the unique opportunity to assess and document places and structures associated with the pandemic, that are poised to be worthy of a heritage listing in the near future, while they are still in use and function as intended. This paper discusses the nature of the sites and structures and explores possible management approaches to safeguard evidence of the pandemic for future generations.

show abstract

Section: Temporary Sites In the Heritage Discoursementioning

confidence: 99%

COVID-19 on the Ground: Managing the Heritage Sites of a Pandemic

Spennemann

2021

Heritage

View full text Add to dashboard Cite

show abstract

“…Colorimetry is based on the principle that the properties of the mechanisms responsible for color vision and the relationships between physical stimuli and the responses to these mechanisms, can be described. Through this language an observer can describe a color in a way that is unambiguous and unique [3]. Wyszecki and Stiles define colorimetry as the «branch of color science concerned with specifying numerically the color of a physically defined visual stimulus» [4].…”

Section: Introductionmentioning

confidence: 99%

Smart Heritage: an easy method for matching colors

Vatteroni¹

2021

6th International Meeting on Retouching of Cultural Heritage. RECH6

View full text Add to dashboard Cite

Historic buildings and architectural surfaces are a significant part of the European heritage.In the field of preservation and conservation of historic facades – especially for those of buildings that are still in use - restorers frequently face the task of faithfully repurpose from a chromatic point of view surfaces and paintings, often having small patches of original color as the only reference.This step is often carried out by visual assessment by a restorer proficient in the field of colorant formulation and with in-depth knowledge of the behavior of colorants in a specific material: the process involves making a series of samples that are tested on the surface to be treated, in order to identify the most suitable.Nevertheless, such a procedure is strictly related to the sensitivity of the conservator.The series of samples produced can easily be subject to phenomena of observer metamerism and conditional match: in fact, it is possible that a set of samples that appear to match under a defined set of viewing conditions, such as light source or viewing angle, no longer match if those conditions change.Since restoration is first and foremost a science, the restorer is provided by the market with effective and specific color measurement devices that are able to capture, measure and quantify the color of a surface, providing reliable data: -in order of increasing sophistication- densitometers, colorimeters and spectrophotometers.Unfortunately, on a restoration site and scaffolding the restorer does not always have the opportunity to use such sophisticated field-portable: as such equipment is often designed for other purposes, its use in built heritage conservation usually necessitates testing and careful calibration on order to ensure accurate data.Compromises must be made: the aim of this paper is to identify an intermediate solution, which would be more effective than visual assessment, easy to perform, and significantly less expensive than portable spectrophotometers.How this will be achieved? The tool I tested for this purpose is X-Rite's Color Checker, a target specifically designed for photography and video production that is able to compare, measure and analyze differences in color reproduction in any color rendition system.I used the Color Checker target and software to compare original paintings with samples reproduced by visual assessment, in order to verify their spectral match, which means the two colors have the same color coordinates and appear identical regardless of illuminant or observer.Then, I tested my data by comparing them with those obtained by specifically designed equipment.The results show that this method is able to provide relevant information on color matching, it is quick and easy to perform and definitely affordable, and it could represent a smart alternative for built heritage conservation.

show abstract

“…X‐ray fluorescence (XRF) analysis represents the most accurate and fastest method in the inorganic material analysis of the analytical methods used for non‐destructive determination of the elemental composition . In recent years, portable XRF spectrometers have been developed for the in situ elemental analysis; they increased the efficiency of the method. However, XRF is known to be useful only in the analysis of inorganic materials (pigments in paints), but organic components in mural paint (from binders, coating formulation) undergo physical and chemical modifications as well under the environment influence (light, oxygen, humidity) …”

Section: Introductionmentioning

confidence: 99%

Analysis of mural paintings using in situ non‐invasive XRF, FTIR spectroscopy and optical microscopy

Vornicu¹,

Bibire²,

Murariu³

et al. 2013

X-Ray Spectrometry

View full text Add to dashboard Cite

An analytical protocol consisting of X-ray fluorescence spectroscopy, optical microscopy and Fourier transform infrared spectroscopy was used to study the origin and the nature of the materials (pigments, binders and coating preparation) of the Fundenii Doamnei church mural paint from Bucharest. The main interest of the present study consisted in the original votive paint from narthex, painted in 1757 in a secco technique.During analysis, an unexpected pigment in the votive paint could be detected by the combined analytical techniques: ultramarine blue. Along with this pigment, the presence of gypsum binder based on egg and flax seed oil could also be evidenced. These results demonstrated a secco execution technique of the votive paint and also the presence of a restoration treatment. Moreover, during the present study, the components of the preparation layer and the constitutive pigments from both 1699 and 1757 years mural paints have been analyzed. Hence, the following pigments could be identified: vermilion, azurite, cinnabar, lead white, ochre, natural umber and gold, by using the combination of the analytical techniques.The novelty of our results consists in detecting the composition of the materials used in this church painting (fresco and a secco) during these 254 years since its first restoration.The results of these investigations pointed to the suitability of the non-destructive and semi-destructive analytical techniques in the complex characterization of the paints realized in different techniques, at different periods. Copyright

show abstract

Traditional and non-traditional, innovative and ephemeral materials and techniques in today’s cultural heritage

Cited by 4 publications

References 6 publications

COVID-19 on the Ground: Managing the Heritage Sites of a Pandemic

COVID-19 on the Ground: Managing the Heritage Sites of a Pandemic

Smart Heritage: an easy method for matching colors

Analysis of mural paintings using in situ non‐invasive XRF, FTIR spectroscopy and optical microscopy

Contact Info

Product

Resources

About