Paintings, sculpture and polychrome

50 Items

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Bol de Llanes: Preliminary approaches to its deposits and use in the gilding of Spanish altarpieces

Miriam Garagorry, Sonia Santos
Non-invasive pXRF technique for identifying pigments in multilayered artistic paintings

Rosario Blanc, Eloisa Manzano, José Luis Vílchez
Photodegradation behaviour of synthetic paint binders: comparative study of selected acrylic, alkyd, PVAc and nitrocellulose products

Kinga Klemińska, Mirosław Wachowiak
The consolidation of depolymerized cellulosic textiles: observations and open questions on the use of cellulose nanocrystals as a consolidant

Manuel Bucciarelli, Barbara Lavorini
Paintings on metal supports: new details and broader Central European perspective

Paula Śwituszak-Żywica
Polychromy and the ornamental program of wooden sculpture: a method for its study

María José González López

22-38
Technical examination, material characterization, and restoration of the landscape painting by Mıgırdiç Givanian (1848-1906)

Selen Sertab Kayser; Özden Ormancı; Oğuz Emre Kayser

64-76
(In)tangible archaeology of colours: permanent marks on anthropomorphic haniwa and tattooing in Kofun-period Japan

Elisabetta Colla

86-95
Pigments from Pasargadae and Persepolis in the Metropolitan Museum of Art (NY): recent scientific investigations on four paper squeezes

Atefeh Shekofteh, Alexander Nagel, Omid Oudbashi

173-194
The interventions on the medieval polychromy of the tomb monument of Isabel of Aragon: the historical sources

Giulia Rossi Vairo

121-135
Pastiglia relief and sgraffito: a study of the polychromy on a late Medieval English alabaster altarpiece

Christina Spaarschuh, Elena Platania

69-85
The incarnation of carnation: a reconstruction of late Gothic flesh tones using the example of a Mary (1510) by the workshop of Ivo Strigel

Tiziana Maria Thenen, Karolina Soppa, Stefan Zumbühl, Harald Theiss

195-207
Light, surfaces and materials: sculpting the imperceptible

Camille Ambrosino, Federica Carta

53-68
New findings on the original surface finish of a wooden sculpture by Tilman Riemenschneider

Wibke Ottweiler

147-160
Different stones: the weight of colour in ancient near Eastern glyptic

Alessandro Di Ludovico, Sergio Camiz

96-110
A hidden splendor: the color of medieval cloisters in the 12th and 13th century Catalonia

Laia Cutrina Gallart

208-222
A study of the polychromy of Campana's panels

Ombretta Tarquini, Elena Gabriella Lorenzetti, Lucilla Pronti, Anna Candida Felici

136-146
Colour in Iberian Iron Age architectural sculpture: the case of Cerro de la Merced

Fernando Quesada Sanz, Jesús Robles Moreno, Enrique Parra Crego, María Isabel Sánchez Marqués

161-172
Beyond art technical sources: understanding colour production in Andalusi texts

Ana Miranda, Isabel Pombo Cardoso

111-120
The (after)lives of the pseudo-sumptuous surfaces: the case of the Venetian Gothic and Renaissance wooden sculpture in the Adriatic

Matko Marušić

41-52
Visible materials, invisible meanings: colour-based hierarchies in the Middle Ages

Grazia Maria Fachechi, Alberto Virdis

13-27
Crafting culture in the Adriatic: a case of woodcarvers and painters in Quattrocento Dubrovnik

Matevž Remškar

28-40
Documentary survey on the life and mural painting works of Brazilian artist Gilda Neuberger (1911-2011)

Glauzia Wanzeller Martins , Natália Gomes, Teresa Ferreira, Milene Gil Casal

15-31
Searching for the original portrait of Afonso de Albuquerque – new revelations from the Viceroys Gallery of Goa

Teresa Reis, Sara Valadas, Ana Machado , Luís Piorro , Nuno Carriço, Ana Cardoso, Ana Teresa Caldeira, Fernando António Baptista Pereira, António Candeias

43-59
The Virgin of the Snows of San Isidoro’s parish in Sevilla: a “fernandine” image or a nineteenth-century recreation?

Benjamín Domínguez Gómez, Juan Antonio Silva Fernández

50-64
The colours of deception: marble imitations in Alentejo stucco altarpieces

Patrícia Monteiro

65-77
The Egyptian coffin from the Archaeological Museum of Carmo: material and technical study

Isabel Pombo Cardoso, Teresa Quilhó, Vicelina Sousa, Sara Santana de Sá, Susana França de Sá, Vera Martins, Célia Pereira, Rogério Sousa

95-116
Retouching the wall paintings of the Nossa Senhora da Piedade Hermitage, Loulé: technical choices

Giuseppe Agulli, Nuno Proença, Maria João Revez, Marta Raposo

49-67
Analytical characterization of academic nude paintings from the Faculty of Fine Arts of the University of Lisbon

Ana Mafalda Cardeira, Ana Margarida Cardoso, Cristina Azevedo Tavares, Fernando António Baptista Pereira, António Candeias

81-95
A survey of acrylic sheet in Portuguese art collections

Sara Babo, Joana Lia Ferreira

61-70
Technical approach and curative conservation and restoration processes of a papier machê giant: “La Turca” from the Corpus de Xàtiva

Antoni Colomina Subiela, Vicente Guerola Blay, Anastasia Papenkova

137-153
Analysis of the mudejar polychrome decoration of the Patio de las Doncellas. Interventions carried out throughout its history

Ana I. Calero-Castillo, Ana Coba Peña, Olimpia López Cruz, Ana García Bueno

8-23
Challenges in the conservation and restoration of processional banners – a case study

Ana Rita Dias, Ana Bidarra, Pedro Antunes

81-95
Intervention in Mannerists wooden paintings representing Saint Sebastian and Saint Lucy, by Belchior de Matos, constituents of a diptych of the chapel of Geraldes, in Peniche

Elisabete Ferreira, António João Cruz , Carla Rego

49-57
Application of light sources on photogrammetric models for the diagnosis and virtual restoration of objects in polychrome wax

Emanuel Sterp Moga, Óscar Hernández-Muñoz, Alicia Sánchez-Ortiz

10-21
Defining the first preventive conservation guidelines for hand-painted magic lantern glass slides

Ângela Santos, Beatriz Rodrigues, Vanessa Otero, Márcia Vilarigues

100-115
Enlarged paintings: a proposal for classification

Ana Isabel López Bonilla, José Manuel Barros García, Susana Martín Rey

57-68
Low toxicity solvent compositions for varnishes formulations for use in art conservation

Mariah Boelsums, João Cura D’Ars de Figueiredo Junior, Luiz Antônio Cruz Souza

69-79
Wax resin lining techniques: Edson Motta’s training at the Fogg Conservation Center and its adaptation to the Brazilian reality

May Paiva, Maria Aguiar, Eduarda Vieira

82-89
Clothed wax effigies: construction materials, challenges and suggestions for preventive conservation

Christos Karydis, Evangelia Kyriazi, Christina-Alkisti Staka

62-81
Scenery painting in the 19th century in the context of tempera painting on canvas: methodology and materials

Sonia Santos Gómez

19-30
Identification of the type of paint, acrylic or vinyl, in works of two contemporary painters, Manuel Vilarinho and Pedro Cabrita Reis, by ATR-FTIR

Maria Eduarda Araújo, Oleksander Pavlyshyn, Alice Nogueira Alves

109-115
An Artist’s Sketchbook: the former altarpiece of Goa Cathedral (India) attributed to the painter Garcia Fernandes – iconographic and stylistic influences and underdrawing study

Vanessa Antunes, Vitor Serrão, António Candeias, José Mirão, Sara Valadas, Maria Luísa Carvalho

73-87
Chromatic changes in paintings of Adriano de Sousa Lopes after the removal of aged varnish

João Linhares, Liliana Cardeira, Ana Bailão, Ruben Pastilha, Sérgio Nascimento

50-64
Study on alternative textiles to Tetex TR for use as reinforcement material in the restoration of paintings on canvas support: first results

Daniel Morales Martín, Alicia Sánchez Ortiz

10-20
Preparing the foundation for stable gilding: the origins of materials and practices – a review

Isabel Pombo Cardoso

28-37
Emulsion system without surfactant as an alternative to the use of a solvent gel

Paula Pérez Bento, José Luis Regidor Ros, Pilar Roig Picazo

101-108
Microclimate frame for paintings on canvas exposed to extreme fluctuations in relative humidity

Sara Sá, Isabel Pombo Cardoso, Leslie Carlyle, Raquel Marques

21-33
The Virgin with the Sleeping Child Jesus: study of two overlapping images

Ana Calvo, Ruth Chércoles, Alicia Sánchez, Margarita San Andrés

73-90
Identification of materials used in a wooden coffin lid covered with composite layers dating back to the Ptolemaic period in Egypt

Nour Mohamed Badr, Mona Fouad Ali, Nesrin M. N. El Hadidi, Gamal Abdel Naeem

11-24