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Non-invasive and non-contact analyses were performed on a group of 28 ink drawings ascribed to the sixteenth-century Italian painter Luca Cambiaso and his followers. Drawings analysed in this investigation were selected from the collections of Musei di Strada Nuova in Genoa and of Museo del Prado in Madrid. Particle-induced X-ray emission (PIXE), carried out at the Centro de Micro-Aná.lisis de Materiales of the Universidad Autónoma de Madrid and at the Università di Firenze, provided elemental data on the inks and papers. The drawings in Genoa were studied at the Università di Genova using infrared relectography (IRA) and optical microscopy. Elemental composition of the inks was determined by comparison with a set of certified thin standards. Elemental analysis indicates that all of the drawings were executed with iron gall ink, except for one case where a mixed carbon black and iron gall ink was used. The PIXE data showed variations in the elemental concentrations of the materials used in the various inks, indicating the use of different recipes in their production. In some cases, these differences may help corroborate stylistic judgements to confirm or deny Cambiaso's authorship and separate autograph drawings from those of his pupils or imitators. PIXE analysis was also used to distinguish the presence of retouches and later additions. In some drawings, the combined use of IRA and optical microscopy revealed the presence of a dry carbon-based underdrawing, following a working method that seems more consistent with a workshop procedure than with the drawing technique of the master himself. [ABSTRACT FROM AUTHOR]

Sculptures by the British 'New Generation' artists from the 1960s, incorporating painted steel, aluminium, fibreglass, plywood and Perspex, had suffered neglect due to false perceptions of their importance and physical robustness. This project aimed to conserve the Tate Gallery's large collection of these sculptures and render as many works as possible displayable. It included improving storage and documentation and increasing technical understanding of the works through examination and analysis, research, and interviews with the artists. By persuading curators to reassess the works, it also extended the definition of preventive conservation to include changing attitudes. Two major treatments are discussed, one employing 'conventional' conservation solutions and the other a more radical restoration. While both were approached with the thoughtfulness and ethical awareness characteristic of 'conservation' and informed by analysis and research, the latter is arguably more successful and in keeping with the spirit of the artwork. [ABSTRACT FROM AUTHOR]