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La reseña expone los argumentos principales del libro de Peter Carruthers, Human and animal minds: The consciousness questions laid to rest. Oxford University Press, 2019. A su vez, desarrolla algunas críticas a la noción de conciencia fenoménica propuesta por el autor.

This article focuses on the analysis of the pigmentary palette of Pio Collivadino (1869–1945), an Argentinian artist of outstanding influence in the national art of the early twentieth century. By using Raman spectroscopy on micro-samples taken from a selected corpus of the Pio Collivadino Museum consisting of representative works of different moments of his production, we were able to unambiguously detect several pigments in the artist’s palette: lead white, vermillion, Prussian blue, chrome yellows and oranges, synthetic ultramarine, zinc white, cadmium yellows and oranges, cobalt violet, viridian, cerulean blue, cadmium red and earth pigments (raw sienna and burnt sienna). The identification of the pigments used by Collivadino enabled us to set up a dialogue between his palette and those of the contemporary European artistic movements his work relates to: the Macchiaioli, the Scapigliati, the Divisionists (Italian artistic vanguards) and the Impressionists. The presence of Prussian blue, cerulean blue, viridian not mixed with emerald green and earth pigments relates Collivadino’s choice of pigments to that of the contemporary Italian artistic vanguards, distancing his palette from that of the Impressionists. The palettes of European artists active during the nineteenth century and the first half of the twentieth century have been widely studied making it possible to date the incorporation of the new bright and colorful pigments that were synthesized during this period. Taking into account Collivadino’s privileged position in the Art academic field, his choice of art materials may have influenced many artists whose works make up the Argentine national heritage. Therefore, the characterization of Collivadino’s pigmentary palette carried out here is an important step to date the incorporation of these bright new pigments in the Argentinian artists’ palettes. Besides Collivadino's work importance by itself, and due to his position of privilege, his palette also provides information about the availability of art supplies in Argentina during this period.

Resumen: ¿Cómo se relaciona el arte rupestre con las prácticas sociales existentes a su alrededor?, ¿cómo es la dinámica de estas relaciones a lo largo del tiempo? En este trabajo intentamos responder a estos interrogantes a través de la presentación de una metodología que vincula tres evidencias materiales presentes en algunos de los abrigos del sitio arqueológico de Oyola (Catamarca, Argentina): las pinturas rupestres, los restos de fogones hallados en la excavación del piso y las marcas de hollín detectadas sobre las paredes.

Fil: Gheco, Lucas Ignacio. Consejo Nacional de Investigaciones Cientificas y Tecnicas. Centro de Investigaciones y Transferencia de Catamarca. Universidad Nacional de Catamarca. Centro de Investigaciones y Transferencia de Catamarca; Argentina. Universidad Nacional de San Martin. Instituto de Investigaciones sobre el Patrimonio Cultural; Argentina

Over the time, instrument transportability has become more and more important, especially in Cultural Heritage, as often artworks cannot be moved from their site, either because of the size or due to problems with permission issues, or simply because moving them to a laboratory is physically impossible, as e.g. in the case of mural paintings. For this reason, the INFN-CHNet, the network for Cultural Heritage studies of the Italian National Institute of Nuclear Physics (INFN), has developed an XRF scanner for in situ analyses. The instrument is the result of a wide collaboration, where different units of the network have been developing the diverse parts, then merged in a single system. The XRF scanner has been designed to be a four-season and green instrument. The control/acquisition/analysis software has been fully developed by our group, using only open-source software. Other strong points of the system are easiness of use, high portability, good performances and ultra-low radiation dispersion, which allows us to use even when the public can be present. It can run both with mains or on batteries, in the latter case with a maximum runtime longer than 10 h. It has a very low cost, when compared to commercial systems with equivalent performances, and easily replaceable components, which makes it accessible for a much wider portion of the interested community. The system has been thought and designed as an open system, suitable for further development/improvements, that can result interesting for non-conventional XRF analysis. The CHNet XRF scanner has proved to be really very well suited for applications in the Cultural Heritage field, as testified by the many recent applications. This paper describes the present version of our instrument and reports on the tests performed to characterise its main features. Fil: Taccetti, F.. Istituto Nazionale di Fisica Nucleare; Italia Fil: Castelli, L.. Istituto Nazionale di Fisica Nucleare; Italia Fil: Czelusniak, C.. Istituto Nazionale di Fisica Nucleare; Italia Fil: Gelli, N.. Istituto Nazionale di Fisica Nucleare; Italia Fil: Mazzinghi, A.. Istituto Nazionale di Fisica Nucleare; Italia Fil: Palla, L.. Istituto Nazionale di Fisica Nucleare; Italia Fil: Ruberto, C.. Istituto Nazionale di Fisica Nucleare; Italia Fil: Censori, C.. Istituto Nazionale di Fisica Nucleare; Italia Fil: Lo Giudice, A.. Università di Torino; Italia. Istituto Nazionale di Fisica Nucleare; Italia Fil: Re, A.. Università di Torino; Italia. Istituto Nazionale di Fisica Nucleare; Italia Fil: Zafiropulos, D.. Istituto Nazionale di Fisica Nucleare; Italia Fil: Arneodo, F.. New York University Abu Dhab; Emiratos Arabes Unidos Fil: Conicella, V.. New York University Abu Dhab; Emiratos Arabes Unidos Fil: Di Giovanni, A.. New York University Abu Dhab; Emiratos Arabes Unidos Fil: Torres, R.. New York University Abu Dhab; Emiratos Arabes Unidos Fil: Castella, F.. Universidad Nacional de San Martín. Instituto de Investigaciones sobre el Patrimonio Cultural; Argentina Fil: Mastrangelo, Noemi Elisa. Universidad Nacional de San Martín. Instituto de Investigaciones sobre el Patrimonio Cultural; Argentina. Consejo Nacional de Investigaciones Científicas y Técnicas; Argentina Fil: Gallegos, D.. Universidad Nacional de San Martín. Instituto de Investigaciones sobre el Patrimonio Cultural; Argentina Fil: Tascon, Marcos. Universidad Nacional de San Martín. Instituto de Investigaciones sobre el Patrimonio Cultural; Argentina. Universidad Nacional de San Martín. Instituto de Investigación e Ingeniería Ambiental. - Consejo Nacional de Investigaciones Científicas y Técnicas. Oficina de Coordinación Administrativa Parque Centenario. Instituto de Investigación e Ingeniería Ambiental; Argentina Fil: Marte, F.. Universidad Nacional de San Martín. Instituto de Investigaciones sobre el Patrimonio Cultural; Argentina Fil: Giuntini, L.. Università degli Studi di Firenze; Italia

Carminic acid (CA) and other related compounds have been widely used as dyes in cultural heritage, cosmetics and the food industry. Therefore, the study of their properties upon photoexcitation is particularly important. In this work, the photophysical and photochemical properties of CA, carminic lake and other related pigments in aqueous solutions are revisited. Novel quantitative information regarding the fate of the photoexcited states is provided including the efficiency of reactive oxygen species (ROS) photosensitized production (i.e., singlet oxygen and hydrogen peroxide) as well as the efficiency of nonradiative deactivation pathways. Laser-induced optoacoustic spectroscopy (LIOAS) data revealed that for all the investigated compounds, almost all the absorbed energy is released as prompt heat to the media. This is in agreement with the fact that other deactivation pathways, including fluorescence (ΦF ∼ 10−3–10−5), photochemical degradation (ΦR ∼ 10−4) and/or photosensitized ROS formation (ΦH2O2 < 10−5 and ΦΔ ∼ 0), are negligible or null. In addition, a comprehensive investigation of the photodegradation of CA and lake is herein reported. The influence of different experimental parameters such as irradiation wavelength and oxygen partial pressure was evaluated. UV-vis absorption and fluorescence emission spectroscopy in combination with chemometric data analysis were used to elucidate the relevant aspects of the photodegradation mechanism involved and the spectroscopic features of the photoproducts generated. In aqueous media, CA follows an O2-dependent photochemical degradation when subject to elapsed photoexcitation in the UVB, UVA and visible regions. The photoproduct profile depends on the excitation wavelength giving rise to quite distinctive spectroscopic profiles. With respect to lake, our data suggest that upon photoexcitation, this pigment releases a CA-like chromophore that follows a similar fate to CA.

Artworks are an inseparable part of the cultural heritage of societies and provide us with a unique look at cultural developments through time and space. For the best possible conservation, it is paramount to know the constituent materials, condition, and construction techniques of the objects (e.g. painting on wood, fresco, sculpture). Such information is required not only for the surfaces of the objects, but also for the interiors; in the imaging discipline, this is known as depth imaging. Here, we introduce a new method for non-invasive depth imaging as an alternative to traditional non-invasive methods when the latter cannot be used to obtain the required information. We use ultrasonic transverse-wave transmission measurements and turn them into virtual reflection measurements. We achieve this by applying seismic interferometry with active sources. Obtaining reflection measurements by seismic interferometry allows us to apply an advanced imaging technique – prestack depth migration, as used in seismic exploration – to produce a high-resolution depth image of an object. We apply our method to ultrasonic data recorded on a mockup of a painting on a wooden support. We validate our method by comparing our results with an image from X-ray computed tomography.

Desde una perspectiva histórica y a partir de la materialidad de dos piezas pictóricas, esta investigación pretende reflexionar sobre materiales, técnicas, usos y costumbres en la pintura colonial. Sobre un corpus de más de cuatrocientas obras del período colonial intervenidas, la propuesta implica analizar los soportes principales y accesorios de dos obras sudamericanas, San Luis Gonzaga y San Juan Nepomuceno, pertenecientes a la Iglesia de San Ignacio en la ciudad de Buenos Aires, Argentina.

The research conducted on the mural paintings of the dome and aisles of the San Miguel Church, Buenos Aires, Argentina, is herein described in this work. Based on the results attained from the stratigraphic analysis, the technique implemented by the architect and artist Augusto Ferrari was secco. The composition of the mortar in the majority of the samples collected was gypsum (CaSO4 · 2 H2O) and calcite (CaCO3), whereas the preparation layer was mainly characterized by the presence of gypsum and cerussite (PbCO3). In addition, the red pigments were characterized in all cases as hematite (Fe2O3) whereas orange and ochre colors were achieved by mixing chrome yellow (PbCrO4), chrome orange (PbCrO4·PbO), and gypsum and barite (BaSO4). Moreover, all the range of blue samples found in this mural paintings were characterized as lazurite (Na8 [Al6Si6O24] Sn). Finally, the gildings were composed of a superficial layer of gold of approximately 5-μm thickness, followed by a layer of hematite and chrome yellow. The latter was also employed as a yellow pigment in all of the analyzed works of art. In conclusion, it was demonstrated that the use of complementary and microdestructive spectroscopic methodologies is a very useful tool to determine not only the materiality but also the execution technique of the painting in order to assess, in an interdisciplinary approach, the future restoration and preservation strategies.

This work presents the interdisciplinary research and intervention of a big format painting attributed to Salvator Rosa. In addition to the challenging nature of the restoration, due to its format and state of conservation, the painting is a good example of the proliferation of art commerce in Argentina by the end of nineteenth and early twentieth centuries. Art collection and art dealing in this particular period has been studied from the historical point of view; however, extensive material investigation on the paintings that arrived in Argentina in this period of time has not been performed yet. When these pieces go from the private sphere to the collections of public institutions, it is important to conduct an in-depth investigation about them, to offer accurate information and to insert cultural heritage pieces into historical and national context. Restoration led to a deeper comprehension of the painting’s historical and technical features; the pigment samples analyzed by Raman spectroscopy and polarized light microscopy, together with the contributions of the restoration field, cast a doubt over the Salvator Rosa attribution. However, considering technical aspects like the artisanal grinding of pigments, how the color was applied and the absence of synthetic pigments in the original layers, as well as the relationship between iconography and format, the piece can be identified as a no later than eighteenth century European painting. It is doubtful that the piece was made with intentions of forgery; however, it is more likely that the attribution comes from fraudulent documents and registration when the painting was sold.

Fil: Marte, Fernando Daniel. Universidad Nacional de San Martin. Instituto de Investigaciones sobre el Patrimonio Cultural; Argentina

This chapter introduces the first research on Argentine mural materials. Ejercicio Plastico painted by Equipo Poligrafico (Polygraphic Team) and the Lunettes from Galerias Pacificos painted by TAM: Taller de Arte Mural (Mural Art Workshop). These two emblematic works for Argentine art of the thirties and forties were studied in an interdisciplinary way. The characterization was carried out from the point of view of the materials used and the execution techniques employed, and they were significant as the first investigations of this type on Argentine mural painting. Remarkably, both artworks suffered similar trajectories: they were sectioned, dismantled and abandoned for two decades, and afterwards they were recovered, researched, restored and located in a new context. During the process of revaluation, we had the opportunity to study these artworks and the data afforded us the possibility to understand the different states of conservation they were in and at the same time helped us to increase technological knowledge in this area, which is underexplored in Argentina.

Presentamos los primeros resultados de los análisis físico-químicos realizados sobre pinturas rupestres de la localidad arqueológica La María, provincia de Santa Cruz. Implementamos un estudio microestratigráfico, el cual constituye una vía novedosa para el estudio de los pigmentos en el arte rupestre de la Patagonia meridional. Dicho abordaje incluye el análisis por microscopía electrónica de barrido con análisis elemental por espectroscopia dispersiva de rayos X y microespectroscopia Raman. Así, caracterizamos en términos elementales y moleculares los principales conjuntos tonales registrados en la localidad (rojos, blancos, amarillos y negros). Los resultados indican que la composición de las pinturas es heterogénea aun al interior de cada conjunto cromático. Se destaca el uso como pigmento de distintos óxidos de hierro para las pinturas rojas y amarillas, el empleo de óxido de manganeso y carbón para el negro y de sulfato de calcio y probablemente caolinita para el blanco. Asimismo, en algunos casos se habría empleado el yeso como carga. Por último, se describen los alcances, límites y desafíos futuros de esta investigación., In this paper, the initial results of the physico-chemical analyses of the rock art of the La Maria archaeological locality, Santa Cruz province, are presented. A micro-stratigraphic approach, a novel methodology for the study of pigments in Southern Patagonia, was implimented. Samples were analyzed using scanning electron microscopy with energy-dispersive X-ray spectroscopy and micro-Raman spectroscopy. This methodology enabled the main colors found in the locality (red, white, yellow and black) to be characterized in elemental and molecular terms. Results show that the composition of the paintings is heterogeneous, even within each tone. These data highlight the use of different iron oxides as pigments for red and yellow paintings. Manganese oxide and charcoal were used for black and calcium sulfate -- and probably kaolinite -- for white. In addition, gypsum was used as a filler in some cases. Finally, thescope, limits and future challenges of this research are discussed., Facultad de Ciencias Naturales y Museo

Modern art has challenged many aspects of the analytical approaches that are typically used for traditional paint characterization and ageing studies. The paint industry has changed significantly throughout the twentieth century, frequently altering its manufacturing techniques in order to achieve paints with improved appearance, application and performance for a range of diverse household, industrial and artistic uses. This has led to the appearance and use of a multitude of new binding media, pigments and additives, most of which require new analytical methods for their identification. Concrete art is the name given to a significant art movement that took place in Argentina (and other nearby countries) during the 1940s and 1950s, at the exact same time as a flourishing paint industry was utilizing many of these new products and diversifying formulas. This paper reports on some initial findings from a long-term study to develop and apply analytical methodologies on paint samples from a number of Concrete artworks, that will help to better understand art history and advance the conservation field by shedding light on these artist's painting techniques, and the ageing behavior of their materials. Specifically, samples of white paints manufactured by local paint companies in Argentina from that time period were purchased and studied with a multi-analytical approach, which will serve as a reference collection for the field. The analytical techniques used were X-ray diffraction (XRD), scanning electron microscopy with energy dispersive X-ray analysis (SEM-EDX) and gas chromatography coupled with mass spectrometry (GC/MS) with previous derivatization. Artworks samples were studied with a similar multi-analytical approach, and utilized micro-Raman spectroscopy instead of XRD, for its non-destructive application. A wide range of possible compounds was identified due to the complementarity use of analytical techniques, representing a significant first step in Argentinian modern art research.

How to connect rock art with the social practices developed around it along time? Trying to answer this question, in this paper we propose a method to link three different approaches that share the same stratigraphic principle: the excavation of the cave's floor sediments, the confection of a Harris' matrix of the painting process of one of the panels with rock art; and the study and further chemical analysis (SEM-EDS and Raman) of micro samples taken from the figures painted and the rock underlying. The potential of every single approach is multiplied by the interconnection given by the discovery of small layers of carbonization in the cave's walls as a result of several combustion events (hearths) done inside the cave. It must be highlighted, that this crucial information was obtained by using a novel methodology previously developed by the group of authors (Tascon et al., 2016). It allowed us to identify and chemically characterize superficial as well as underlying soot layers. Besides, the combination of this piece of information with other archeological evidences was vital to obtain a holistic view of the historical process developed at the caves of Oyola's archeological site, in the Argentinean northwest. Despite this is a case of study, the potentialities of this methodology can be spread out into other shelters with similar characteristics. Fil: Gheco, Lucas Ignacio. Consejo Nacional de Investigaciones Científicas y Técnicas. Centro de Investigaciones y Transferencia de Catamarca. Universidad Nacional de Catamarca. Centro de Investigaciones y Transferencia de Catamarca; Argentina Fil: Gastaldi, Marcos Roman. Consejo Nacional de Investigaciones Científicas y Técnicas. Centro Científico Tecnológico Conicet - Córdoba. Instituto de Antropología de Córdoba. Universidad Nacional de Córdoba. Facultad de Filosofía y Humanidades. Instituto de Antropología de Córdoba; Argentina Fil: Marte, Fernando Daniel. Universidad Nacional de San Martín. Instituto de Investigaciones sobre el Patrimonio Cultural; Argentina Fil: Quesada, Marcos Nicolás. Consejo Nacional de Investigaciones Científicas y Técnicas. Centro de Investigaciones y Transferencia de Catamarca. Universidad Nacional de Catamarca. Centro de Investigaciones y Transferencia de Catamarca; Argentina Fil: Tascon, Marcos. Consejo Nacional de Investigaciones Científicas y Técnicas; Argentina. Universidad Nacional de San Martín. Instituto de Investigaciones sobre el Patrimonio Cultural; Argentina Fil: Mastrangelo, Noemi Elisa. Consejo Nacional de Investigaciones Científicas y Técnicas; Argentina. Universidad Nacional de San Martín. Instituto de Investigaciones sobre el Patrimonio Cultural; Argentina

Fil: Marte, Fernando Daniel. Universidad Nacional de San Martin. Instituto de Investigaciones sobre el Patrimonio Cultural; Argentina

In 1946 TAM (Taller de Arte Mural) a group of famous Argentine artists namely Castagnino, Spilimbergo, Urruchua and Colmeiro, realized the decoration of four lunettes placed above the entrances of the Galerias Pacifico in Buenos Aires. Twenty-four samples coming from these lunettes have been analyzed by means the infrared transmission micro-spectroscopy to determine the composition of the preparation layer (mainly composed by gypsum) and the nature of binder (a drying oil), while the investigation of Raman micro-spectroscopy has allowed to identify the inorganic pigments and the synthetic organic dyes present. (C) 2013 The Authors. Published by Elsevier B.V. Selection and peer-review under responsibility of the IA-CS (Italian Association of Conservation Scientists) and University of Antwerp

Samples of prehispanic rock art from Oyola's archaeological site, near the city of Catamarca, Argentina have been analyzed using micro-Raman spectroscopy, SEM-EDS and BSD, and optical microscopy. These samples are representative of diverse figures and non-painted surface of one of the caves at the site: Oyola 7. The pigments employed in the rock art were fully characterized. The red colors are confirmed to be red ochre (hematite) and clay. White areas of the painting have been identified as gypsum whereas black pigment is attributed to graphite. In addition, it was demonstrated that all the samples analyzed, including underlying strata, contain large amounts of calcium oxalate as the mineral whewellite. Because of the distribution along the sample, it was conclude that the presence of this compound is due to biodeterioration produced by microorganisms, fungi, algae or lichens. Moreover, a methodology to differentiate black painting layers from carbon deposition layers from bonfires and to characterize them is presented. These results have a great impact in both chemical and archaeological sciences because allow an interdisciplinary approach bringing relevant information about relative and absolute dating. Finally, the information collected with this methodology establish a sound basis to develop complementary studies between the wall and painting stratigraphies with archaeological excavations resulting in a new and fundamental tool henceforth. Fil: Tascon, Marcos. Universidad Nacional de San Martín. Instituto de Investigaciones sobre el Patrimonio Cultural; Argentina. Consejo Nacional de Investigaciones Científicas y Técnicas; Argentina Fil: Mastrangelo, Noemi Elisa. Universidad Nacional de San Martín. Instituto de Investigaciones sobre el Patrimonio Cultural; Argentina Fil: Gheco, Lucas Ignacio. Consejo Nacional de Investigaciones Científicas y Técnicas. Centro de Investigaciones y Transferencia de Catamarca. Universidad Nacional de Catamarca. Centro de Investigaciones y Transferencia de Catamarca; Argentina Fil: Gastaldi, Marcos Roman. Consejo Nacional de Investigaciones Científicas y Técnicas. Centro Científico Tecnológico Conicet - Córdoba. Instituto de Antropología de Córdoba. Universidad Nacional de Córdoba. Facultad de Filosofía y Humanidades. Instituto de Antropología de Córdoba; Argentina Fil: Quesada, Marcos Nicolás. Consejo Nacional de Investigaciones Científicas y Técnicas. Centro de Investigaciones y Transferencia de Catamarca. Universidad Nacional de Catamarca. Centro de Investigaciones y Transferencia de Catamarca; Argentina Fil: Marte, Fernando Daniel. Universidad Nacional de San Martín. Instituto de Investigaciones sobre el Patrimonio Cultural; Argentina. Consejo Nacional de Investigaciones Científicas y Técnicas; Argentina

Lining treatments used in the conservation-restoration field can be classified according to the adhesive used. Traditional methods include those based on glue-starch and wax-resin whilst those using synthetic adhesives are considered alternative methods. Rise of new materials and mechanical equipment like the low-pressure table expanded possibilities of intervention. However, alternative methods require previous exhaustive testing of procedures, tools and supplies. This paper describes research carried out by an interdisciplinary team of conservators, historians and chemists from the IIPC-TAREA that elucidated fundamental aspects of a painting of San Luis Gonzaga from the South American colonial period, deteriorated but with an important documentary value. In the case here presented a minimal intervention restoration criterion was applied and the nap bond method used proved to be the most suitable alternative lining for this particular situation. Fil: Morales, Ana. Universidad Nacional de San Martín. Instituto de Investigaciones sobre el Patrimonio Cultural; Argentina Fil: Gallegos, Damasia. Universidad Nacional de San Martín. Instituto de Investigaciones sobre el Patrimonio Cultural; Argentina Fil: Siracusano, Gabriela Silvana. Consejo Nacional de Investigaciones Científicas y Técnicas; Argentina. Universidad Nacional de Tres de Febrero. Instituto de Investigaciones en Arte y Cultura "Dr. Norberto Griffa"; Argentina Fil: Rodriguez Romero, Agustina. Consejo Nacional de Investigaciones Científicas y Técnicas; Argentina. Universidad Nacional de Tres de Febrero. Instituto de Investigaciones en Arte y Cultura "Dr. Norberto Griffa"; Argentina Fil: Marte, Fernando. Universidad Nacional de San Martín. Instituto de Investigaciones sobre el Patrimonio Cultural; Argentina

The painting Proas Iluminadas (Illuminated Bows) by Benito Quinquela Martin is studied by Raman spectroscopy in order to analyse the technique and the pigments employed by the artist: ultramarine blue, carbon black, cadmium-sulphure based compounds for the hue of yellow, orange and red; also zinc white, barium yellow, massicot yellow and viridian were observed. The importance of using different excitation laser lines in the analysis of mixtures of pigments is highlighted. The Raman mapping analysis of cross section samples shows the way the artist composed the ground layer: a lead white stratum over a calcite one. It also allows distinguishing between a mixture of components and strata superposition, both presenting the same appearance under an optical microscope. This paper provides information about the materials and techniques used in a period of Argentine art not studied before from this point of view.

Alrededor de 1930 el pintor argentino Antonio Berni desarrolla el “Nuevo Realismo”. Dentro de esta corriente ejecuta grandes composiciones, con grupos de campesinos y obreros como la obra que aquí presentamos: “Chacareros” (1935). El soporte está constituido por la unión de varias telas de arpillera precedentes de sacos de azúcar cosidas entre sí. Su elección no fue una anécdota, sino la búsqueda consciente de un recurso expresivo. El importante deterioro de las fibras, ponía en riesgo la supervivencia de esta pintura, por lo que una intervención se hacía necesaria. El presente trabajo muestra el tratamiento de restauración de “Chacareros”. Este se realizó atendiendo al difícil problema de un soporte atípico y las exigencias de historicidad que el mismo imponía. Este proyecto ha dado también la oportunidad de examinar esta obra emblemática de la pintura argentina del siglo XX, e iniciar así, por primera vez, las investigaciones científico-técnicas para caracterizar los materiales y las técnicas pictóricas de Berni.

En este trabajo se presentan los resultados del análisis llevado a cabo sobre pigmentos de color negro pertenecientes a fragmentos cerámicos del estilo negro sobre rojo, negro y blanco sobre rojo e interior negro pulido procedentes de la Quebrada de Humahuaca, Jujuy, Argentina. Con este análisis exploratorio realizado sobre pigmentos negros se contribuye con algunas respuestas que se suman a otros datos precedentes, aportados por investigadores de la región, a un problema de larga data referido a la naturaleza del color negro en la cerámica de la zona del Noroeste de Argentina, específicamente, de la región de Quebrada de Humahuaca. Para la caracterización de los pigmentos se aplicaron de manera combinada las técnicas de Difracción de Rayos X, Espectroscopia Raman y Microscopia Electrónica de Barrido con Espectroscopia de Energía Dispersiva. En las muestras estilo negro sobre rojo y negro y blanco sobre rojo se detectó la presencia de magnetita y compuestos carbonáceos en diferentes proporciones como responsables del color negro. En las muestras estilo interior negro pulido, solo se encontró carbono grafitizado en los pigmentos negros analizados. En ningún caso se detectó la presencia de manganeso. La relación entre las características de las mezclas pigmentarias y las temperaturas de cocción de la cerámica de la región de Quebrada de Humahuaca sigue siendo un desafió a seguir investigando. Black pigments on pottery in the “black over red”, “black and white over red” and “polished black interior” styles from the Quebrada de Humahuaca (Jujuy, Argentina) were analyzed. Composition analysis of black pigments was performed by X-ray diffraction (XRD), Raman spectroscopy and scanning electron microscopy with energy-dispersive X-ray spectroscopy (SEM-EDS). Carbonaceous materials and magnetite were identified on black pigment samples from both “black over red” and “black and white over red” styles. Only graphitized carbon was found on “polished black interior” samples. No manganese-based materials were detected. Fil: Acevedo, Verónica Judith. Universidad de Buenos Aires. Facultad de Filosofía y Letras. Instituto de Arqueología; Argentina Fil: López, Mariel Alejandra. Universidad de Buenos Aires. Facultad de Filosofía y Letras. Instituto de Arqueología; Argentina. Consejo Nacional de Investigaciones Científicas y Técnicas; Argentina Fil: Freire Espeleta, Eleonora. Comisión Nacional de Energía Atómica. Gerencia del Área de Investigaciones y Aplicaciones no Nucleares. Gerencia de Física (Centro Atómico Constituyentes); Argentina. Consejo Nacional de Investigaciones Científicas y Técnicas; Argentina. Universidad Nacional de San Martín; Argentina Fil: Halac, Emilia Beatriz. Comisión Nacional de Energía Atómica. Gerencia del Área de Investigaciones y Aplicaciones no Nucleares. Gerencia de Física (Centro Atómico Constituyentes); Argentina. Universidad Nacional de San Martín; Argentina Fil: Polla, Griselda Ines. Comisión Nacional de Energía Atómica. Gerencia del Área de Investigaciones y Aplicaciones no Nucleares. Gerencia de Física (Centro Atómico Constituyentes); Argentina. Universidad Nacional de San Martín; Argentina Fil: Reinoso, Maria Elba. Comisión Nacional de Energía Atómica. Gerencia del Área de Investigaciones y Aplicaciones no Nucleares. Gerencia de Física (Centro Atómico Constituyentes); Argentina. Consejo Nacional de Investigaciones Científicas y Técnicas; Argentina. Universidad Nacional de San Martín; Argentina Fil: Marte, Fernando Daniel. Universidad Nacional de San Martín. Instituto de Investigaciones sobre el Patrimonio Cultural; Argentina

In the fall of 2001, anthrax-contaminated letters were sent to public figures in the United States. Chemical and radiation treatments were employed to decontaminate exposed buildings, objects, and materials. These treatments are effective, but potentially damaging to exposed objects and materials. The recommended surface chemical treatments include solutions, gels, and foams of oxidizing agents such as peroxides or chlorine bleaching agents. Such oxidizing agents are effective against a wide range of hazardous chemical and biological agents. Knowing how these reagents affect various substrates would help to anticipate and to minimize any potential damage. We are examining the effects on typical museum materials of reagents likely to be used, including hydrogen peroxide, sodium hypochlorite, and potassium peroxymonosulfate. Results so far show significant changes in a number of materials. Surface corrosion was observed on metals such as copper, silver, iron, and brass. Color changes occurred with at least one reagent in about one-fourth of the dyed fabric swatches tested, and about half of the inks. Samples of aged yellowed paper are bleached. Effects varied with both the substrate and the tested reagent. The observed changes were generally less drastic than might have been expected. Enough materials were affected, though, to preclude the use of these reagents on museum objects unless no less drastic alternative is available. It appears that many objects of lesser intrinsic value can be treated without severe loss of properties or usefulness. For example, most documents should remain legible if the appropriate reagent is used. This work will provide a basis for determining which treatment is most appropriate for a specific situation and what consequences are to be expected from other treatments.

Resume Cet article presente les conclusions d’une partie des recherches portant sur les coquilles de Mytilus edulis provenant d’un amas coquilliers ou « conchales » du site Imiwaia I sur les bords du canal Beagle en Argentine. Notre objectif principal a ete d’apporter un complement d’informations sur la methode de preparation des bivalves par les chasseurs-cueilleurs-pecheurs marins dans leur alimentation (~6400 BP). Le projet s’est concentre sur l’analyse comparative de moules M. edulis modernes collectees dans la region et ouvertes par differentes methodes, et celles extraites du site archeologique Imiwaia I. L’analyse de la structure inorganique des deux couches constituantes des valves (calcite et aragonite) a permis de conclure sur la technique d’ouverture employee et des parametres de conservation qu’offre l’amas coquilliers. Au cours de cette etude, nous avons travaille a partir d’une approche pluridisciplinaire d’informations historiques, ethnographiques, archeologiques et chimiques afin de mieux comprendre et interpreter la methodologie d’ouverture des bivalves et de leur effet sur l’etat de conservation des informations portees par les specimens archeologiques.

The image of Our Lady of Copacabana, a gilded polychrome sculpture carved in maguey wood in 1583, is one of the most important devotions in the Americas. In former research, we have identified the use of gypsum, Armenian bole, cerussite and atacamite in its polychromy. In this study, a red sample taken from the Virgin's tunic and a blue sample extracted from the cloak have been analysed with the aim to identify both pigments and offer insights into the painting technique. Analysis by micro-Raman spectroscopy complemented with scanning electron microscopy-energy dispersive spectroscopy and high-performance liquid chromatography allowed the identification of carmine lake in the red sample. Analysis by micro-Raman spectroscopy of the surface of the blue sample and its cross section showed the presence of smalt-The blue-glass pigment-over a cerussite layer, bathed by a very thin ultramarine layer-from a probable native origin-following a pictorial tradition that would last even until the eighteenth century. This is the first time that lapis lazuli has been scientifically identified in a Spanish American colonial painted layer. This article is part of the themed issue 'Raman spectroscopy in art and archaeology'. Fil: Tomasini, Eugenia Paula. Consejo Nacional de Investigaciones Científicas y Técnicas. Oficina de Coordinación Administrativa Ciudad Universitaria. Unidad de Microanálisis y Métodos Físicos en Química Orgánica. Universidad de Buenos Aires. Facultad de Ciencias Exactas y Naturales. Unidad de Microanálisis y Métodos Físicos en Química Orgánica; Argentina Fil: Marte, Fernando. Instituto de Investigaciones sobre el Patrimonio Cultural; Argentina Fil: Careaga Quiroga, Valeria Pilar. Consejo Nacional de Investigaciones Científicas y Técnicas. Oficina de Coordinación Administrativa Ciudad Universitaria. Unidad de Microanálisis y Métodos Físicos en Química Orgánica. Universidad de Buenos Aires. Facultad de Ciencias Exactas y Naturales. Unidad de Microanálisis y Métodos Físicos en Química Orgánica; Argentina Fil: Landa, Carlos Rúa. Ministerio de Culturas y Turismo; Bolivia Fil: Siracusano, Gabriela Silvana. Universidad Nacional de Tres de Febrero; Argentina. Consejo Nacional de Investigaciones Científicas y Técnicas; Argentina Fil: Maier, Marta Silvia. Consejo Nacional de Investigaciones Científicas y Técnicas. Oficina de Coordinación Administrativa Ciudad Universitaria. Unidad de Microanálisis y Métodos Físicos en Química Orgánica. Universidad de Buenos Aires. Facultad de Ciencias Exactas y Naturales. Unidad de Microanálisis y Métodos Físicos en Química Orgánica; Argentina. Universidad Nacional de Tres de Febrero; Argentina

Este trabajo presenta los resultados de la aplicacion combinada de tecnicas arqueometricas con las que se analizaron disenos en superficies de fragmentos de ceramica "tricolor", entre otros. Estos se adscriben al Periodo Desarrollos Regionales y provienen de la region de Quebrada de Humahuaca, Jujuy, Argentina. Las tecnicas analiticas aplicadas fueron: microscopia optica, espectroscopia Raman, tecnicas multiespectrales y secciones transversales. A partir de la discusion interdisciplinaria de los resultados, se pudo analizar la tecnica de ejecucion de los disenos, la composicion de las mezclas pigmentarias y la superposicion de capas pictoricas y/o estratos, entre otras cosas.