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Sol LeWitt, a pioneer of conceptual art, created during his career over 1350 wall drawings, including the Wall Drawing #736 (1993) at the Center for Contemporary Art Luigi Pecci in Prato (Prato, Italy). The painting, executed by Andrea Marescalchi and Antony Sansotta under LeWitt's instructions, features a grid of coloured rectangles obtained by overlapping different layers of inks. During a 2021 restoration by the Wall Paintings and Stuccoes Department of the Opificio delle Pietre Dure (Firenze, Italy), an in-depth investigation of the composition and the materials used by LeWitt's assistants in producing Wall Drawing #736 was performed. A multi-analytical approach entailing Raman spectroscopy, high-performance liquid chromatography coupled to diode array and high-resolution mass spectrometry, gas chromatography–mass spectrometry (GC–MS), and pyrolysis coupled with GC–MS was applied. Our results revealed the use of animal glue, shellac resin, paraffin wax, linseed oil, and various organic pigments. The binder in the preparation layer was identified as poly(vinyl acetate), while poly(n-butyl methacrylate) was determined as a fixative. This research provided valuable insights into LeWitt's techniques. The acquired knowledge on the paint technique is highly relevant in supporting conservators in restoration and consolidating the many wall drawings produced exploiting the same technique all over the world. [ABSTRACT FROM AUTHOR]

Recently, a notable change has occurred in how street art murals are perceived by art history and the general public, with a growing recognition of their social and cultural significance and a new focus on preserving the most representative modern urban murals for future generations. An interesting case study is constituted by the "UBUNTU" mural (Ivan Pontevia and Daniele Castagnetti, Reggio Emilia, 2018), whose appearance has radically changed in a few years. Indeed, the intense and direct exposure to sunlight as well as the environmental and polluting agents have induced the bleaching and fading of the original highly fluorescent hues. To investigate the degradation processes that are occurring, five micro-samples were collected from different fluorescent-coloured areas and analysed by a combined approach based on µ-Raman and Surface Enhanced Raman Spectroscopy (SERS), High Performance Liquid Chromatography coupled with Diode Array Detector and mass spectrometry (HPLC-DAD and HPLC-MS), and Pyrolysis Gas Chromatography coupled with Mass Spectrometry (Py-GC-MS). The analytical protocol applied allowed us to disclose the painting materials used by the artist and fully characterise the ageing phenomena occurring in the mural that are possibly responsible for its colour ephemerality. [ABSTRACT FROM AUTHOR]

Several samples coming from the recently discovered (February 2019) Late Bronze Age/Early Iron Age Chovdar necropolis in Azerbaijan were analysed using the X-ray fluorescence (XRF) technique. The analysis allowed a preliminary classification of the samples in eight groups based on their composition, obtained from the XRF spectra using the fundamental parameter method. A more detailed classification was then obtained using the graph clustering method. [ABSTRACT FROM AUTHOR]

Gandharan art developed in the Himalayan area in the early centuries CE. It has been investigated mostly from an iconographic point of view, missing, until very recently, a systematic technical investigation of materials and techniques. Recently our team began performing chemical analyses of the traces of the polychromy originally covering statues, reliefs and architectural decorations, to discover the ancient painting techniques and artistic technologies. This paper presents the results of the analytical investigation (optical microscopy, Raman spectroscopy and gas chromatography coupled with mass spectrometry) of pigments, ground layers and binders of a new group of samples taken from stucco architectural decorations (2nd–3rd/4th centuries CE). The samples were collected directly at an archaeological site in the Swat Valley, ensuring the exact knowledge of their stratigraphic provenance, as well as the absence of any restoration treatment applied prior sampling. The results are discussed in the wider context of Gandharan polychromy investigated so far by our team, as found in sculptures and architectural decorations preserved in museums (in Italy and France) and in archaeological excavations in Pakistan. The aim of this research is to shed light on the materials and techniques of this Buddhist ancient art from this region and on the influences exerted on it from Eastern and Western artistic traditions. [ABSTRACT FROM AUTHOR]

A multi-analytical study was carried out on an ancient Egyptian limestone stele with red figures and hieroglyphs (S. 6145) coming from the village of Deir el-Medina and belonging to the collection of the Museo Egizio (Turin, Italy). With the support of a multidisciplinary team, a project for the preservation and conservation of this stele provided an opportunity to carry out a very detailed study of the object. Petrographic and mineralogical analysis led to the characterization and dating of the limestone, and ultrasonic tests were of great help in shedding light on the state of preservation of the stele, as a preliminary to planning conservation treatment. The chemical nature of the red pigment was investigated by non-invasive spectroscopic analyses. Multispectral imaging and statistical image processing improved the readability of the hieroglyphs, whose preservation ranged from heavily compromised to almost completely invisible, revealing some signs that had previously not been visible. [ABSTRACT FROM AUTHOR]