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The study and conservation of a painting by Wasily Kandinsky, titled Spitz‐Rund and dated to 1925, was carried out at the Centro per la Conservazione ed il Restauro dei Beni Culturali "La Venaria Reale" 2018 and 2021. This work, owned by the Galleria d'Arte Moderna e Contemporanea of Bergamo (GAMeC), was created with oil paints on cardboard, and later glued onto a wooden support. A first phase of the project entailed a thorough scientific investigation of the artist's materials and techniques by means of a multi‐analytical approach, including both non‐invasive and micro‐invasive techniques. The present contribution discusses some of the most relevant results obtained from scientific analyses on Kandinsky's masterpiece. The painting stratigraphy and colour palette were investigated using multispectral imaging, spot XRF and in situ Raman analyses. Micro‐samples were also taken and analysed with FTIR spectroscopy, Py‐GC/MS, optical microscopy and SEM–EDX. Additional investigations using MA‐XRF provided further insight into the distribution of various chemical elements, proving essential to deepen our knowledge of the painting and to integrate the information obtained from other analytical techniques. The study highlighted several similarities between Spitz‐Rund and other Kandinsky's artworks and made it possible to gain a broader understanding of the artist's technique during the Bauhaus period (1922–1933). [ABSTRACT FROM AUTHOR]

The 35 wooden coffin paintings from the Tubo period of the Tang Dynasty, housed in the collection of Qinghai Tibetan Medicine Cultural Museum, are valuable materials for studying Tubo culture. Research has shown that the wood used for coffin paintings was cypress. The adhesives contain bovine collagen and chicken ovalbumin. The pigments used include carbon black, azurite, cinnabar, orpiment, minium, and lead white. This article provides a statistical analysis of the types and areas of diseases that appear in wooden coffin paintings. Through the application of descriptive statistics, correlation coefficient analysis, principal component analysis, and cluster analysis, it was determined that deterioration phenomena such as rotten, crack, pulverization, and discoloration disease were particularly pronounced in coffin paintings. Key variables influencing the disease of wooden coffin paintings include crystal salt, drop, and pulverization. The dataset was categorized into three distinct clusters, each exhibiting significant differences. This study offers valuable insights and foundational support for the future conservation and restoration of coffin paintings. [ABSTRACT FROM AUTHOR]

Recent advancements of noninvasive imaging techniques applied for the study and conservation of paintings have driven a rapid development of cutting-edge computational methods. Macro x-ray fluorescence (MA-XRF), a well-established tool in this domain, generates complex and voluminous datasets that pose analytical challenges. To address this, we have incorporated machine learning strategies specifically designed for the analysis as they allow for identification of nontrivial dependencies and classification within these high-dimensional data, thereby promising comprehensive interrogation. We introduce a deep learning algorithm trained on a synthetic dataset that allows for fast and accurate analysis of the XRF spectra in MA-XRF datasets. This approach successfully overcomes the limitations commonly associated with traditional deconvolution methods. Applying this methodology to a painting by Raphael, we demonstrate that our model not only achieves superior accuracy in quantifying the fluorescence line intensities but also effectively eliminates the artifacts typically observed in elemental maps generated through conventional analysis methods. [ABSTRACT FROM AUTHOR]

During the Roman age, the southern promontory of the gulf of Baia was the perfect location for the construction of villae maritimae for the Roman élite that decided to spend their summer residences by the sea. One of these residences is now located in the military fortress of the Castello Aragonese di Baia, built in 1495 CE during the Aragonese period (15th century). Here, during restoration works, the ruins of the residential sector of the villa, which historical sources ascribe to Caesar, were unearthed. The most representative evidence of this is the outstanding in situ remain of mosaics, decorated plasters and finely frescoed surfaces decorated according to the repertoire of the II style. This research aims to investigate the polychromy of a wall decoration representing a perspective depiction of architectural scenes en trompe l'oeil analysed by means of a multi-analytical, non-destructive approach performed in situ. The combined use of spectroscopic techniques (portable X-ray fluorescence, Raman and Fourier Transform Infrared Spectroscopy) points out the use of a characteristic Roman palette, quantitatively assessed by colorimetric measurements. It consists of red and yellow ochre, calcite, hematite, organic black pigments, precious materials such as cinnabar and Egyptian blue, green copper compounds. Fourier Transform Infrared Spectroscopy also revealed the presence of synthetic resins, likely used for the conservation of mural paintings. These are, however, damaged by atmospheric humidity, as detected by Infrared Thermography. Gypsum has been identified as the main weathering product. [ABSTRACT FROM AUTHOR]

English Heritage (EH) is a large cultural heritage organisation, which cares for 1million artefacts over 136 sites. Preventive conservators and conservation scientists manage a mixture of controlled and uncontrolled historic site environments housing diverse object types. Two fine art conservators manage treatment programmes for easel and wall paintings, gilded frames and gilded furniture. Other objects are managed by preventive conservators and outsourced to private conservation studios for treatment. Sustainability is becoming an increasingly important part of the conservation team's agenda. Measuring and understanding the carbon impact of both the preventive and interventive conservators' work was an important starting point for creating more sustainable solutions. To create a baseline for future monitoring and carbon reduction, carbon footprint studies were undertaken to evaluate the carbon impact of interventive painting conservation treatments; preventive conservation framing (adapting frames and making microclimates for displaying paintings in non-ideal environments); and running conservation (humidistatic) heating vs air conditioning systems in display rooms. [ABSTRACT FROM AUTHOR]

During the conservation of easel paintings, black draperies or dark backgrounds often prove problematic to treat and understand in terms of condition. Despite most black pigments in Old Master paintings not intrinsically containing high atomic number elements, the investigation of black paints is one of the National Gallery's major uses and most helpful applications of x‐ray fluorescence (XRF) scanning. As a visual tool, XRF element distribution maps of black paints are useful for assessing the extent of overpainting or condition of any surviving original paint beneath, and for revealing the original modelling. However, interpreting the XRF element maps can be challenging. It is important to consider not only the primary compositions of black or dark pigments, but to have an understanding of other possible associated materials and more broadly of historical painting techniques, artists' practices and the paint stratigraphy. Through a series of case studies, this paper demonstrates how a detailed knowledge of historic painting materials and techniques, based on study of documentary sources and archives of materials‐based evidence from the analysis of paint cross‐sections—both from the paintings being studied and related works—aids and enriches interpretation of XRF element maps of black paints. While samples are invaluable in understanding exactly how—and with what materials—such regions were painted, they are not always representative and scanning XRF may be of complementary benefit in providing a more holistic view of pigment distribution. The examples presented range from the fifteenth to the seventeenth century from both Northern Europe and Italy. [ABSTRACT FROM AUTHOR]

This work aims discussing the contribution of environmental and technological factors in rock art painting preservation, based on a 3-year experimental program and two archaeological cases from Patagonia (South America). Concerning technological factors, microscopic information of experimental and archaeological contexts indicate that fine-grained pigments have a better preservation potential than coarse-grained ones, likely related to the high binder adsorption capacity of silty and clay size particles, resulting in a strong pigment agglutination and substrate adherence. Mechanical entrapment/translocation of such small particles into the substrate further contributes to preservation. The experiment also evidences that blood-bearing paints present preservation advantages over fat/water-based ones, probably due to clotting and drying processes which agglutinate pigments and seal rock voids, avoiding binder migration. In contrast, experimental gypsum- and, to a lesser extent, charcoal-based paints show a rapid and significant deterioration, particularly in the temperate and humid context. The low archaeological expectancy derived from these results is supported by the scarce and/or ambiguous regional representation of these black pigments in ancient Patagonian paintings. Among natural factors, water-related processes (i.e., rainfall, snow, freezing and water infiltration) play a decisive role in the physicochemical paint degradation, also favoring bioactivity. Raman spectroscopy of neoformed white crystals in experimental paints may evidence, in a short term, a first stage of the profuse biomineralizations archaeologically observed, associated with lichens, fungus, and endolithic organisms. Finally, sheep rubbing and wind abrasion are proposed as the main agents affecting vertical frequencies and integrity of archaeological motifs at the cave and open-air contexts, respectively, whereas differences related to cardinal insolation likely impact in frequencies, motif color and weathering stages at the open-air site too. [ABSTRACT FROM AUTHOR]

Painted cultural relics hold significant historical value and are crucial in transmitting human culture. However, mold is a common issue for paper or silk-based relics, which not only affects their preservation and longevity but also conceals the texture, patterns, and color information, hindering cultural value and heritage. Currently, the virtual restoration of painting relics primarily involves filling in the RGB based on neighborhood information, which might cause color distortion and other problems. Another approach considers mold as noise and employs maximum noise separation for its removal; however, eliminating the mold components and implementing the inverse transformation often leads to more loss of information. To effectively acquire virtual restoration for mold removal from ancient paintings, the spectral characteristics of mold were analyzed. Based on the spectral features of mold and the cultural relic restoration philosophy of maintaining originality, a 3D CNN artifact restoration network was proposed. This network is capable of learning features in the near-infrared spectrum (NIR) and spatial dimensions to reconstruct the reflectance of visible spectrum, achieving the virtual restoration for mold removal of calligraphic and art relics. Using an ancient painting from the Qing Dynasty as a test subject, the proposed method was compared with the Inpainting, Criminisi, and inverse MNF transformation methods across three regions. Visual analysis, quantitative evaluation (the root mean squared error (RMSE), mean absolute percentage error (MAPE), mean absolute error (MEA), and a classification application were used to assess the restoration accuracy. The visual results and quantitative analyses demonstrated that the proposed 3D CNN method effectively removes or mitigates mold while restoring the artwork to its authentic color in various backgrounds. Furthermore, the color classification results indicated that the images restored with 3D CNN had the highest classification accuracy, with overall accuracies of 89.51%, 92.24%, and 93.63%, and Kappa coefficients of 0.88, 0.91, and 0.93, respectively. This research provides technological support for the digitalization and restoration of cultural artifacts, thereby contributing to the preservation and transmission of cultural heritage. [ABSTRACT FROM AUTHOR]

Over the last twenty years, more research has been conducted on the application of nanolime as a consolidant. However, a limitation in consolidation with nanolime is the back-migration of the product to the absorption surface during the drying phase, resulting in insufficient product deposition in depth. In this paper, a solvent composition is adapted to the substrate properties to examine the theory that a nanolime with low kinetic stability should be applied to prevent back-migration to the absorption surface for a substrate with large pore size. The common solvent composition of 100% ethanol has a kinetic stability considered too high. Nanolime dispersions (CaLoSiL® E 20 g/L) with different ethanol:water (100:0, 95:5, 90:10, 80:20) ratios were tested on lime mortar samples. The treated samples were subjected to several test methods to evaluate the effectiveness of the consolidation treatment. After comparing the results, the theoretical propositions were substantiated: a back-migration was noticeable in samples treated with the nanolime containing 100% ethanol, while no back-migration was observed in the other solvent compositions. Samples treated with a nanolime dispersion with the addition of 10% deionised water showed promising results regarding mechanical strength, product deposition over the entire depth profile of the sample, and porosity properties. [ABSTRACT FROM AUTHOR]

At present, under the influence of environmental pollution, the color of architectural painting gradually darkens, loses luster, and even cracks when the pigment falls off, which seriously affects the long-term preservation of architectural painting. In order to study the damage mechanism of dust particles to the color of the architectural painting, this study took the archery tower at the West Gate as the research object, monitored the temperature and humidity of the indoor environment, and analyzed the composition of the dust by ICP-MS, IC, and XRD. The experimental results showed notable fluctuations in the indoor humidity in inner the archery tower at the West Gate during the monitoring period from January to March, which were not conducive to the preservation of wood-colored paintings. The 24-h average PM2.5 and PM10 concentrations, measured over 2 days in January, were beyond the National Ambient Air Quality Standard norms, and PM contains a large amount of soluble salts such as sulfate and nitrate, causing serious salt erosion and damage to the color painting layer. Through the simulation experiment of the color painting layer, it was revealed that the dust particles deposited on the surface of the color painting layer change the spectral characteristics of the color painting layer, and then cause the color layer to lose its original hue, fade become blurred, or darken. It was anticipated that this research would serve as a valuable reference for the preventive protection of the color painting layer of the archery tower at West Gate. [ABSTRACT FROM AUTHOR]

This paper describes an innovative method developed by the authors to support basic decisions concerning the structural restoration of a large historical panel painting which had been damaged by inappropriate attachment to a wall and ongoing exposure to severe changes in environmental humidity. The Lapidazione di Santo Stefano is a large panel (2.78 × 3.92 m2) painted by Giorgio Vasari in 1571 and has been housed since then in the Church of Santo Stefano dei Cavalieri in Pisa (Italy). Its wooden support is made of large horizontal planks glued together along their edges and stiffened by vertical, dovetailed crossbeams. The panel was tightly fastened to a church wall with several rigid bolts; due to the moisture cycling produced by rainwater leakage and a subsequent "compression set", it had developed severe tension stresses perpendicular to the grain, resulting in cracks affecting both the wood and the paint layers. To decide how to carry out the structural restoration of the panel, it was necessary to know whether slippage could occur between the panel and crossbeams during seasonal variations in environmental humidity. Without slippage, tensile stresses would be generated in the wood and could produce further cracks and damage the paint layers. An in situ monitoring method for assessing the possibility of slippage was developed and implemented. An analysis of data collected over a period of 6 months before the structural restoration confirmed that adequate slippage was possible; hence, the decision to fully repair the cracks was taken. Monitoring continued for a year after restoration and confirmed the previous findings. This paper describes the monitoring method, the equipment used, the results of its implementation and its value as a preventive conservation tool. [ABSTRACT FROM AUTHOR]

Hypogea are natural or artificial spaces located underground often of great interest from an anthropological, archeological, religious, artistic, or historic point of view. Due to their features, these environments usually present conservative problems and biological colonization could be considered as one of the main threats. The present three-year study was carried out by specialists of the Central Institute for Restoration of Rome (ICR) in the hypogeous site preserved in the Roman Archeological Museum of Positano (Positano MAR) and focused on characterizing biological alterations present on the mural paintings; setting up efficient strategies and protocols for biodeterioration control; and monitoring the efficacy of direct and indirect interventions. Patinas with different morphologies were analyzed through microscopic observations, cultural analyses and next-generation sequencing. The results proved that the alterations comprised a great variety of microorganisms forming very distinct communities, differently distributed over space and time. The main taxa represented were bacteria of phyla Pseudomonadota and Actinomycetota, fungi belonging to the genus Fusarium and Gliocladium, and algae of the genus Chlorococcum. Preservation protocols were set up considering the alterations' composition and included the application of biocides, limiting daily temperature changes, decreasing illuminance values on painted surfaces, and the screening of natural light sources. [ABSTRACT FROM AUTHOR]

Oil paintings represent significant cultural heritage, as they embody human creativity and historical narratives. The preservation of these invaluable artifacts requires effective maintenance practices to ensure their longevity and integrity. Despite their inherent durability, oil paintings are susceptible to mechanical damage and chemical deterioration, necessitating rigorous conservation efforts. Traditional preservation techniques that have been developed over centuries involve surface treatment, structural stabilization, and gel-based cleaning to maintain both the integrity and aesthetic appeal of these artworks. Recent advances in artificial intelligence (AI)-powered predictive maintenance techniques offer innovative solutions to predict and prevent deterioration. By integrating image analysis and environmental monitoring, AI-based models provide valuable insights into painting preservation. This review comprehensively analyzes traditional and AI-based techniques for oil painting maintenance, highlighting the importance of adopting innovative approaches. By integrating traditional expertise with AI technology, conservators can enhance their capacity to maintain and preserve these cultural treasures for future generations. [ABSTRACT FROM AUTHOR]

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Polychromy research conducted in 2021 at the Church of Our Lady of Consolation (unique object identification code 1093, Savičiaus St. 15, Vilnius) serves as a valuable supplement to historiographic material, particularly in light of limited information available on church interiors. The visitation document of 1830 noted elaborate decorations, including artificial marble and gilded mouldings on altars, painted vaults, and marble floors. However, in 1858, during the conversion of the building into an Eastern Orthodox church, significant alterations took place - monks' choir removal, pulpit demolition, altar dismantling, and destruction of décor. A fire in 1944 further damaged the church, leading to its conversion into a storage facility in 1962, followed by reconstruction in 1967. The building endured neglect for an extended period, and subsequent reconstructions and repairs inflicted considerable harm on the church's interior and its polychrome décor. Prior to 2021, the church's polychromy had never been subject to study. The recent research, however, unveiled the evolution of both façades and interior polychromy. The church tower façade revealed fragments of painted décor, showcasing polychrome painting of architectural elements from the initial stage in the 18th century. Exploring the interior polychromy, the study identified individual Baroque-era décor fragments. This discovery suggests that post-construction, the vaults were adorned, and trompe l'oeil altars were painted on the walls of the side naves. In the course of Soviet-era reconstruction, the church's interior underwent complete destruction, with the exception of the adornments in the chapel of the Lord Jesus, albeit obscured by paint layers. A meticulous examination of the chapel brought to light the evolution of its polychromy, revealing hidden trompe l'oeil paintings on the walls and vaults. There are now plans to dismantle the 20th-century partitions, aiming to restore and showcase this artwork in the future. Detailed research was conducted to assess the preservation status of the church's polychromy, identifying valuable features and providing recommendations for ongoing maintenance efforts. Photofixation of façades and interior décor, along with the creation of copies, played a crucial role. Additionally, colour retrospections capturing key stages in the development of polychromy were established, aiding in the restoration and reproduction of the original colour scheme from the church's initial polychrome phase. The research furnishes comprehensive insights into suitable conservation techniques for preserving and exhibiting these valuable décor discoveries. [ABSTRACT FROM AUTHOR]

• Combined microwave/optic approach for detection and characterization of detachments of wall paintings. • Risk falling assessment of the detachments and their classification in "stable", "almost-stable" and "unstable". • Reconstruction of wall painting stratigraphy by non-destructive techniques. • Proof of concept of the proposed tool on the wall paintings masterpiece of Masolino, Masaccio and Filippino Lippi in the Brancacci chapel in Florence, with the support of laboratory tests on proper mock-ups. This paper evaluates the improvements in wall paintings diagnostic achievable by the synergistic combination of DHSPI, SIRT and MWR techniques. These innovative portable and non-destructive techniques for in-situ diagnostic were tested in laboratory on mock-ups mimicking the real conditions of wall painting defects (such as detachments, cavities and cracks), and on the frescoes painted by Masolino, Masaccio and Filippino Lippi (between 1422 and 1475) in the Brancacci Chapel in the church of Santa Maria del Carmine in Florence, Italy. This research activity was part of the Brancacci Chapel diagnostic and monitoring project, where the assessment of the state of conservation is a mandatory prerequisite for planning the subsequent restoration work. In common practice, restorers make the preliminary evaluation on the state of conservation of the wall paintings by visual and tactile inspection, without the use of any special scientific instrumentation. Cracks, cavities, lack of material, detachments, out-of-plumb and deformation of (non-)structural elements are reported in a condition report to document the state of conservation at a given point in time. In particular, the detachments are recognized by the tap test, but this is a discretionary and highly subjective method. Thus, there is a strong demand for the development of a portable and non-destructive approach that refines this preliminary survey with objective data. Here, we present the results produced by the combination of MWR (useful for the dimensional characterization of hidden defects in the wall) and DHSPI-SIRT to identify the extent of deformations induced by thermal stimulus, providing an objective confirmation of the preliminary investigation performed by restorers, in which the detachments were indicated as "stable", "not very stable" and "unstable", i.e. , close to falling. The integrated use of these techniques in situ , supported by a laboratory study on ad-hoc prepared mock-ups, proved to be suitable for a quantitative evaluation of damage risk to guide restoration strategy accordingly. [ABSTRACT FROM AUTHOR]

An in‐depth technical examination and conservation treatment of paintings by William Williams (Bristol 1727–1791 Bristol) has shed light on the artist's materials and technique. This investigation centered primarily on Williams's two 1766 portraits of William and David Hall. The paintings are considered the earliest life‐sized, full‐length portraits executed in the Philadelphia area. The analysis of the artist's palette indicated deliberate choices in the use of orpiment (As2S3). The mineral's tendency to oxidize to colorless and water‐soluble arsenic oxides likely caused color changes and degraded organic binder in the orpiment‐rich areas. μ‐XANES revealed orpiment photodegradation to arsenate species at the paint surface, with migration to the ground layers. Just below the paint surface, arsenic remains bound primarily as arsenite, with some associated with sulfur as orpiment. This As distribution suggests that the paint is liable to further degradation by photooxidation and use of moisture would be detrimental. Given this treatment‐critical degradation phenomenon, it was important to identify all arsenic‐containing areas of both portraits. Scanning XRF allowed rapid and accurate collection of maps from both portraits. Elemental maps of arsenic identified the orpiment‐rich areas of the painting, which would be susceptible to further degradation upon exposure to water during treatment. An aqueous adhesive was necessary to consolidate the cupped paint of the glue‐paste lined paintings. The arsenic maps guided the use of two different consolidants–BEVA 371 for the water‐sensitive orpiment‐rich paint and sturgeon glue for all other areas, striking a compromise between esthetic improvement and long term preservation. [ABSTRACT FROM AUTHOR]

Due to the ecocompatibility with carbonate‐based substrates, Ca(OH)2 nanoparticles are currently used for cultural heritage conservation such as wall paintings. However, the nano Ca(OH)2 still suffers from different forms and poor uniformity, limiting its application potential. Also, there is a lack of systematic comparative studies between nano Ca(OH)2 and the commonly used wall painting reinforcement materials. In this study, homogeneous hexagonal nano Ca(OH)2 particles with a size of ≈100 nm are successfully prepared through the convenient chemical liquid phase method and by utilizing surfactants to control the growth. The resulting nano Ca(OH)2 is less agglomerated and has superior crystalline morphology, prolonged suspension time, and more suitable carbonation time in comparison to commercial Ca(OH)2 materials. Additionally, the reinforcement effect of the resulting nano‐Ca(OH)2 with that of the commonly used pigment layer reinforcement materials such as AC33, B72, Tetraethyl orthosilicate, WPU (Waterborne polyurethane) and commercial Ca(OH)2 is systematically compared. The synthesized nano Ca(OH)2 penetrated wall painting blocks to a depth of 683 µm, three times deeper than commercial Ca(OH)2, achieving moderate color deviation, higher flexural strength (0.529 MPa), and bond strength (1.105 mg cm−2), thus highlighting its potential in wall painting reinforcement and expanding its application scope. [ABSTRACT FROM AUTHOR]

The altarpiece of the Passion of Christ preserved in the Evangelical church in Sibiu, created in 1519 by a skilful artist, Simon Pictor, using extensively the prints of Dürer and Altdorfer, represents one of the most spectacular surviving artworks of the Renaissance in Transylvania. Its subsequent transformation in 1545 and 1701 certainly enhanced its historical significance. The restoration of the artwork in the 1980s brought back to light very significant details: the dating of the original artwork (1519), two coats of arms hinting to the patronage, and a part of the genuine style of master simon. The identification of the sinister coat of arms, thus the one in the inferior heraldic position, as belonging to Johannes Lulay (royal judge and administrator of the royal mint of Sibiu) constituted the basis of extensive incursions in the patronage of this remarkable altarpiece. However, an important question remained unsolved: who could have been the other patron or commissioner of the altarpiece? As the preeminent position of the coat of arms (on the heraldic dextra) clearly indicates, this was an individual even higher in the hierarchy as Johannes Lulay himself. The assumption of the study is that this prominent patron was Paulus de Tomor/Tomori Pál. He remained in the Hungarian national consciousness as the heroical leader of the army in the „Mohácsi csata" of 29 August 1526, a critical turning point in the history of the state. This study contributes to the reveal of parts of his "Transylvanian biography," his allegiances and political network in situ before he left the region, his patronal endeavours, and last, but not least, it discloses his real (and tinctured) coat of arms. At the same time, the great altarpiece of the Passion in Sibiu recovered another piece of its complex content, by the identification of the main patron (or, rather, the more honourable patron) in the person of Paulus de Tomor. Last, but not least, this study asserts that three of the characters depicted in the scene of the Lamentation over the dead Christ on the predella are in fact crypto-portraits of Johannes Lulay, his wife Clara Thabiassy, and his partner and superior Paulus Tomori. [ABSTRACT FROM AUTHOR]

Image restoration is a prominent field of research in computer vision. Restoring broken paintings, especially ancient Chinese artworks, is a significant challenge for current restoration models. The difficulty lies in realistically reinstating the intricate and delicate textures inherent in the original pieces. This process requires preserving the unique style and artistic characteristics of the ancient Chinese paintings. To enhance the effectiveness of restoring and preserving traditional Chinese paintings, this paper presents a framework called Sketch-Guided Restoration Generative Adversarial Network, termd SGRGAN. The framework employs sketch images as structural priors, providing essential information for the restoration process. Additionally, a novel Focal block is proposed to enhance the fusion and interaction of textural and structural elements. It is noteworthy that a BiSCCFormer block, incorporating a Bi-level routing attention mechanism, is devised to comprehensively grasp the structural and semantic details of the image, including its contours and layout. Extensive experiments and ablation studies on MaskCLP and Mural datasets demonstrate the superiority of the proposed method over previous state-of-the-art methods. Specifically, the model demonstrates outstanding visual fidelity, particularly in the restoration of landscape paintings. This further underscores its efficacy and universality in the realm of cultural heritage preservation and restoration. [ABSTRACT FROM AUTHOR]

• The long-term durability of the materials used in chromatic reintegrations is a scarcely researched field of study. • Conventional binders used in chromatic reintegrations are not suitable for partially or completely exposed wall paintings. • The reversibility of chromatic reintegration is not usually considered. • The use of silica-based paints in chromatic reintegrations. The chromatic reintegration of wall paintings, also known as inpainting, is a common practice in the conservation and restoration of Cultural Heritage (CH). The main objective of the treatment is to make the narrative content of paintings with lacunae (i.e. missing paint) more artistically and iconographically legible. Very few scientific studies have addressed the suitability and durability of the materials used in this kind of procedure, despite the importance of this question. Even less information is available regarding wall paintings, which are more susceptible to deterioration than other artworks due to their partial or complete exposure to extreme environmental agents (relative humidity, ultraviolet radiation, etc.). To this end, we have carried out a review of this subject bearing in mind that chromatic reintegrations should also comply with the principles of recognizability, reversibility and compatibility established in the mid-20th century. In this review, the influence and behaviour of pigments, binders (e.g. gum Arabic, mastic or urea-aldehyde resin, etc.) and protectors are discussed, together with the latest modern restoration practices based on 'mineral painting', in which silicates are used as binders. Overall, this field of study deserves more attention as the materials being used have not yet been thoroughly evaluated. These materials should be further assessed in terms of their visual and chemical-mineralogical compatibility with the original painting, their durability and stability in the long term under adverse weather conditions, and their reversibility. [ABSTRACT FROM AUTHOR]

The integration of digital technology, particularly virtual reality, is proving to be a pivotal tool in preserving and sharing the rich cultural heritage found within Cave art sites. This article deliberates on the use and application of digital technology in the field of cave painting conservation that provides an authentic and effective method of Cave art preservation for the future. Employing advanced techniques of photogrammetry, terrestrial laser scanning, structured light scanning, and high-resolution photography can digitally preserve the intricate details of Cave art, while the utilization of humidity, temperature, and CO2 sensors may provide a comprehensive digital monitoring system to track the condition of Cave art over time. This paper deals with the evolving landscape of technologies and their application to safeguard Cave art from environmental degradation and anthropogenic factors. The digitization of cave art has the potential to accurately conserve a site if used in an effective manner while also allowing visitors to experience this art form in ways never before feasible. The application of advanced digital technology in cave art conservation is not merely a choice but a necessity, considering the impermanent nature of these paintings in their natural environment. This paper underscores the urgency and significance of leveraging digital tools to ensure the enduring legacy of Cave art, an example of how digital technologies, as they evolve, will play an increasingly essential role in the conservation and dissemination of our world's extraordinary cultural heritage. [ABSTRACT FROM AUTHOR]

The article analyses the wall paintings of Dunhuang sanctuaries based on mathematical methods of defining features and system-structural analysis. This makes it possible to analyse the frescoes according to a certain common criterion and to identify common and different ones. The method of system-structural analysis made it possible to present the sanctuary as a certain integrity with components covered with decor and decorated with sculpture. The main thematic genres of frescoes by period were analysed and it was proved that, in general, the process of the genesis of plans, structural schemes and wall paintings from the early to middle and late periods had the same characteristics, that is, the features of archaism and simplicity characterized both the number and variety of plans and structural schemes, and the subjects of frescoes. The features of each genre at different periods are determined. [ABSTRACT FROM AUTHOR]

This paper analyzes the performance of various types of paints available in the Brazilian market, including PVA, matte acrylic, silicate, and lime paints within the context of their applicability to the conservation of historic building facades. Considering distinct suppliers and application methods, this study highlights the importance of tailoring paint selection to the preservation requirements of historic edifices, taking into account local preservation norms and the material characteristics of the buildings' original construction. The paints were evaluated based on water vapor permeability, washability, and adhesion. Furthermore, the paints' color variation with exposure to accelerated artificial aging was assessed. For testing purposes, specimens produced from cellular concrete slabs were used as substrates, which were coated with the paints under study. Based on the results, it was observed that, regarding the diffusion of water vapor, the silicate and lime paints presented the highest permeability values, and the acrylic and PVA paints had the lowest. Concerning washability, the silicate and lime paints showed the greatest wear. The adhesion tests revealed that, except for lime paint, detachment often occurred at the substrate. As for the accelerated aging test, lime paint exhibited the most significant color variation, losing its pigmentation considerably over time. With the results of this research and considering the main preservation requirements of historic coatings, silicate-based paints may be considered the most suitable. [ABSTRACT FROM AUTHOR]

The removal of non-original superimposed layers covering the original pictorial layer in paintings is a common practice to restore the authentic appearance of surfaces and mitigate potential risks to artwork preservation. Contemporary assessments of the effectiveness of such cleaning treatments often employ non-destructive analytical methods. However, many existing techniques face limitations, either lacking specificity in compound identification or analyzing very limited areas (

Artistic image completion assumes a significant role in the preservation and restoration of invaluable art paintings, marking notable advancements through the adoption of deep learning methodologies. Despite progress, challenges persist, particularly in achieving optimal results for high-resolution paintings. The intricacies of complex structures and textures in art paintings pose difficulties for sophisticated approaches like Generative Adversarial Networks (GANs), leading to issues such as small-scale texture synthesis and the inference of missing information, resulting in distortions in lines and unnatural colors. Simultaneously, patch-based image synthesis, augmented with global optimization on the image pyramid, has evolved to enhance structural coherence and details. However, gradient-based synthesis methods face obstacles related to directionality, inconsistency, and the computational burdens associated with solving the Poisson equation in non-integrable gradient fields. This paper introduces a pioneering approach, integrating Weighted Similarity-Confidence Laplacian Synthesis to comprehensively address these challenges and advance the field of artistic image completion. Experimental results affirm the effectiveness of our approach, offering promising outcomes for the preservation and restoration of art paintings with intricate details and irregular missing regions. The integration of weighted Laplacian synthesis and patch-based completion across multi-regions ensures precise and targeted completion, outperforming existing methods. A comparative analysis underscores our method's superiority in artifact reduction and minimizing blurriness, particularly addressing challenges related to color discrepancies in texture areas. Additionally, the incorporation of pyramid blending proves advantageous, ensuring smoother transitions and preventing noticeable seams or artifacts in blended results. Based on empirical results, our method consistently outperforms previous methods across both high and low resolutions. Responding to these insights, our approach emerges as an invaluable guide for both curators and artists. The algorithm's performance yields insights that underscore the central role of thoughtful decision making in the creation of art paintings. This guidance extends to informing choices related to color selection, brushstrokes, and various other elements integral to the artistic process. During the creation phase, employing these insights enables artists and curators to optimize not only the digitization but also the subsequent restoration process. This proves especially vital when dealing with the intricacies involved in physically restoring damaged original art paintings. Importantly, our approach not only streamlines the restoration process but also contributes significantly to the preservation and enhancement of the digital representations of these distinctive and often intricate works of art. [ABSTRACT FROM AUTHOR]

• Canvases made with fine linen are difficult to observe in the radiograph. • Canvases made with jute and hemp are easily detectable with radiography. • White lead pigment affects the identification of the canvas. The historical techniques of panel painting manufacturing involve the preparation of boards to be used as painting support. The high affinity of wood for water can cause dimensional variations, deformations, and internal tensions. The application of a canvas over the boards, besides the choice and treatment of wood, is useful to minimize and guarantee the stability and preservation of the painting over time. The detection of the fabric is ensured with different imaging techniques, such as macro photography and radiography. The latter is mainly used to obtain information about the characteristics of the wood, the number of boards, the assembly system, and for the evaluation of the conservation state. The main advantage is the non-invasiveness of the analysis, which is a fast, simple, and widespread method. The limitations are related to different factors, such as the capacity of the materials to absorb the radiation. Despite canvas has a low radiopacity, in several cases it was possible its identification in the radiograph. This is important to investigate the technique of the artists. In our laboratory, we analyzed different panel paintings and while in some cases the fabric is easily detectable, in others it's not visible. Different variables can limit the observation of the canvas. This study is aimed at the comprehension of how acquisition parameters and painting characteristics can affect the detection of incamottatura through radiography. [ABSTRACT FROM AUTHOR]

• A multimodal computational approach was used for the 3D survey of a panel painting. • Data from close-range photogrammetry and laser microprofilometry were fused. • The warping arrow before and after restoration was quantified on the 3D point cloud. • Multi-temporal monitoring of the painting is computed via Cloud-to-Cloud distance. • Micrometric roughness of paint layers is measured by laser microprofilometry. This paper reports the results obtained from the workflow designed for the 3D survey of a Renaissance panel painting using close-range photogrammetry and conoscopic laser microprofilometry, before and after its restoration. The artwork under examination is the central panel of a Renaissance polyptych realized by a late Gothic painter active in central Italy in the late 15th century. This painting has had a rather troubled conservation history following numerous adverse events that have severely damaged it structurally. In preparation for restoration work, the fusion of point cloud data derived from active and passive sensors served to create a single multi-resolution model on which to conduct advanced metrological analyses for multi-temporal monitoring of the changes undergone by the panel painting during and after structural restoration. [ABSTRACT FROM AUTHOR]

Fluctuations in environmental conditions appear to affect the conservation of paintings on copper and in this article we report the results of tests carried out using a simple experimental setup to confirm previous studies to show how temperature and RH (relative humidity) fluctuations influence the development of degradation phenomena affecting these paintings. The experiment was conducted on real miniature paintings and the results underline the impact that variations in RH can have on the preservation of oil paintings on copper. The contribution here aims to provide more data to enrich the available information on this topic and broaden the reflection on the risk factors for the conservation of this type of painting. The study also proposes a simple experimental setup with self-made climate chambers which can be useful to artificially test samples or materials for other studies in the conservation field. [ABSTRACT FROM AUTHOR]

Copyright of Journal of the American Institute for Conservation is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The study concerned a diagnostic spectroscopic campaign carried out on the panel painting depicting the Coronation of the Virgin (first half of the 15th century) by the late-Gothic Italian painter Michele di Matteo. The main aims were the identification of the original painting materials and the characterization of the painter's artistic technique. A combined approach based on non- and micro-invasive techniques was employed. Visible and ultraviolet-induced fluorescence photography was used to select the areas of interest for spectroscopic analyses; X-ray radiography assessed the state of conservation of the support, while X-ray fluorescence and external reflection Fourier transform infrared spectroscopies allowed the chemical identification of pigments, binders, and varnishes. Attenuated total reflection infrared spectroscopy, optical microscopy, and scanning electron microscopy coupled with energy-dispersive X-ray spectroscopy were used to visualize and characterize the materials in the pictorial layers. The results highlighted the presence of pigments, possibly applied with an egg binder, consistent with the period of the production of the painting, as well as modern pigments used during subsequent restorations: an imprimitura with lead white and a gypsum-based ground layer. Concerning the gilding, the guazzo technique was confirmed by identifying a red bolo substrate and gold leaf. [ABSTRACT FROM AUTHOR]

Copyright of Ge-Conservación is the property of Instituto del Patrimonio Cultural and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Eliminating and controlling fungal biodeterioration is one of the most important challenges of easel painting conservation. Historically, the pathologies produced by biodeterioration agents had been treated with non-specific products or with biocides specially designed for conservation but risky for human health or the environment due to their toxicity. In recent years, the number of research that studied more respectful solutions for the disinfection of paintings has increased, contributing to society's efforts to achieve the Sustainable Development Goals (SDGs). Here, an overview of the biodeterioration issues of the easel paintings is presented, critically analyzing chemical and eco-sustainable approaches to prevent or eradicate biodeterioration. Concretely, Essential Oils and light radiations are studied in comparison with the most used chemical biocides in the field, including acids, alcohols, and quaternary ammonium salts. This review describes those strategies' biocidal mechanisms, efficiency, and reported applications in vitro assays on plates, mockups, and real scale. Benefits and drawbacks are evaluated, including workability, easel painting material alterations, health risks, and environmental sustainability. This review shows innovative and eco-friendly methods from an easel painting conservation perspective, detecting its challenges and opportunities to develop biocontrol strategies to substitute traditional chemical products. [ABSTRACT FROM AUTHOR]

The properties of handmade paper used for mounting and conservation of paintings and calligraphy on paper is crucial to the quality and lifespan of such objects. Mounting papers from China, Korea, and Japan vary greatly in performance due to different papermaking methods and fibre materials. In this study, eight types of handmade paper widely used in China, Korea, and Japan were selected for comprehensive comparative analysis investigating their pH as well as optical, mechanical, and ageing properties. The study showed that traditional hanji, improved hanji, and thin Mino paper made of pure kozo fibres performed best in terms of mechanical properties. Among the additives mixed with kozo fibres, clam shell powder was identified as a substance that improves pH and stability of optical properties. Xuan paper Mianliao was found to be a suitable material for mounting hand scrolls and hanging scrolls due to its softness and ageing properties. Traditional hanji, improved hanji, and thin Mino paper are less flexible than xuan paper Mianliao and are considered more suitable for uses other than for mounting scrolls. This study will provide a reference for improving the quality of handmade paper and a theoretical basis for the selection of such papers for the conservation of paintings and calligraphy on paper. [ABSTRACT FROM AUTHOR]

This paper addresses the development of interventions on mural paintings in Teotihuacan and the strategies applied to new findings, such as the one we carried out between 2013 and 2015 at the Complex of the Jaguars, belonging to the Quetzalpapalotl Architectural Complex and located in the northern area of this monumental pre-Hispanic city. [ABSTRACT FROM AUTHOR]

"The Renaissance Restored: Paintings Conservation and the Birth of Modern Art History in Nineteenth-Century Europe" by Matthew Hayes is a book that explores the relationship between conservators and art historians in the field of restoration. It delves into the history of collaboration and knowledge-sharing between the two disciplines, as well as the controversies and debates surrounding restoration practices. The text also examines the role of artists, chemists, and other professionals in evaluating the state of conservation and judging restorations. The author suggests that a historical perspective on restoration is crucial for understanding current practices and debates in the field. [Extracted from the article]

Ultraviolet-induced Luminescence (UVL) is the property of some materials of emitting light once illuminated by a source of UV radiation. This feature is characteristic of some mediums and pigments, such as some red lakes, widely used for the realisation of works of art. On the one hand, UVL represents a like strike for a researcher in the cultural heritage field: in fact, UVL allows to characterise the state of conservation of the paintings and, in some cases, to recognize at glance some of the materials used by the artists. On the other hand, the contribution of UVL to the study of the artefacts is almost always limited to qualitative observation, while any speculation about the cause of the luminescence emission relies on the observer's expertise. The aim of this paper is to overcome this paradigm, moving a step toward a more quantitative interpretation of the luminescence signal. The obtained results concern the case study of pictorial materials by Giuseppe Pellizza da Volpedo (1868–1907, Volpedo, AL, Italy) including his iconic masterpiece Quarto Stato (1889–1901), but the method has general validity and can be applied whenever the appropriate experimental conditions occur. Once designed an appropriate set-up, the statistical comparison between the acquisitions performed on Quarto Stato, on a palette belonged to the master, on drafts made by the author himself and on a set of ad hoc prepared samples both with commercial contemporary pigments and prepared with the traditional recipe, shed some light on which materials have been employed by the artist, where they have been applied and support some intriguing speculations on the use of the industrial lakes in the Quarto Stato painting. [ABSTRACT FROM AUTHOR]

• Modelled damage rates of painted wood in Norwegian churches compared to observed cost. • Painted wood damage in church climate mitigation and deterioration rate scenarios. • EnvCul (https://envcul.nilu.no/) modelling of painted wood heritage damage rates. • Relevance of HERIe (https://herie.pl/) modelling to observed painted wood damage. • Conservation costs explained by gradual or late rather than early critical damage. EnvCul (https://envcul.nilu.no/) modelling was performed of condition changes of painted wooden panels and related conservation cost in indoor climate and object response scenarios in two Norwegian Medieval stone churches: Kinn (mean relative humidity = 79%) on the humid west coast, and Ringsaker (mean RH = 49%) in the drier eastern part of the country. It was found that, hypothetical, building measures in Kinn, and conservation heating measures in Ringsaker, to approach an indoor RH of about 65% in the two churches, could probably increase conservation intervals with 20–100%, and correspondingly reduce conservation costs between 10% and 50%. This is in reasonable agreement with an available report of observed conservation requirements in differently heated Norwegian churches. A situation between a linear and accelerating development of the deterioration of the painted wood on approaching a new conservation intervention gave the best correspondence to the observed values. The large modelling uncertainty was mainly due to lacking observations of the deterioration development, but also lacking understanding of the complex mechanisms and phases of the environmental dose-deterioration response of painting conservation treatments. [ABSTRACT FROM AUTHOR]

The aim of this article is to provide an overview of historic, technique and technology reaserch, as well as conservation process, relating to the oil painting on canvas entitled Portrait of Gustav Adolf Hollander (formerly known as Portrait of a Man in an Interior), dated to the third or fourth quarter of the 19th century, by Julius Gottfried Siegmund, originally from Riga. The painting has belonged to the collection of the National Museum in Poznan since shortly after the end of World War II in 1945. As a result of historical research acomplished during the conservation and restoration of the painting at the Faculty of Conservation and Restoration of Works of Art, at the Academy of Fine Arts in Warsaw in 2021–2022, it was possible to establish the identity of the man portrayed and the place represented in the painting. The painting was referred to as Portrait of a Man in an Interior in the Poznan Museum’s inventory card written in 1985. During the complex process of conservation work, a detailed study of painting technique and technology was also carried out. This allowed for a better understanding and broader knowledge of the artist’s workshop. The steps taken aimed at rescuing the historic substance of the work of art and making the painting present once again in the consciousness of the viewer, which due to its history is now the common heritage of Latvians, Germans and Poles. [ABSTRACT FROM AUTHOR]

Several lime mortars for the repair of painted plasters of the rock-cut church of Ss. Pietro and Paolo in Matera were studied. They were designed taking into account both aesthetic criteria that need to be fulfilled in the field of paintings restoration, and physical–mechanical compatibility with the original materials on site, i.e., the pre-existing plasters and the supporting rock. Mixes with calcareous and silica aggregates, based on different grain size proportions, were prepared to fill missing portions of the original painted plaster. The effects of the mineralogical nature and size of the aggregates on the characteristics and properties of the mixes were investigated in relation to the microstructure, physical–mechanical features and resistance to salt ageing. At the end of the experimental campaign, the overall performance was evaluated. [ABSTRACT FROM AUTHOR]

An excerpt from the novel "At the Museum in Rheims" by Daniele Del Giudice is presented which focuses on the story of Barnabas, a young man going blind, as he seeks to preserve famous paintings in his memory with the help of a mysterious woman named Anne.

• Analytical results shed light on materials and history of Duszek's Sacred Heart of Jesus. • Superimposed paintings on zinc plate were successfully characterized and interpreted. • IRR, IRFC, MAXRF, and radiography provided thorough stratigraphic information. • Unknown features and vicissitudes of the present artwork were discovered. The research involved the application of multiple non-invasive techniques to investigate an altar painting entitled The Sacred Heart of Jesus by Adolf Herman Duszek using a non-destructive procedure. The painting is an intriguing example of an artwork prepared on a thick zinc support, which is extraordinary and unconventional even in the 20th century. The image is also interesting because it has been damaged and shot through several times during the First and the Second World War. After WWII, the author, A. H. Duszek, performed the restoration of the painting and described this part of its history on the back. So far there has not been a single case in the literature describing the study of the zinc support multilayer painting with the following non-invasive techniques. Here, we discuss the relevance of the applied methods such as infrared reflectography (IRR), false colour infrared reflectography (IRFC), ultraviolet-induced visible fluorescence (UVF), X-ray radiography and macro XRF analysis and their application for an object with this unusual kind of metal support. Finally, an interpretation of the results achieved was compared with the available historical information about the object. [ABSTRACT FROM AUTHOR]

The research carried out on the wall paintings of Hernán Pérez del Pulgar's Palace chapel in Granada (Spain) was aimed at determining its historical–artistic, stylistic, technical, and compositional aspects. For this, a 16th century frieze and an 18th century pendentive were studied. The mineralogical, chemical, and textural characterization of the constituent materials and the study of the state of conservation of the paintings have helped to determine the pictorial technique used, identify the nature of the salts present in the paintings, and other pathologies including a dormant fungal attack. To this end, optical microscopy (OM), X-ray diffraction (XRD), Field emission scanning electron microscopy with microanalysis (FESEM-EDS), and micro-Raman spectroscopy (MRS) were used. The information obtained helps clarify important aspects of the painting technique used, laying a basis to ensure effective and suitable conservation and restoration measures on the paintings that will ensure their durability over time. [ABSTRACT FROM AUTHOR]

The paper discusses two main aspects: incorporating experimental painting in student workshops and presenting results from the Proinvent project for enhancing research excellence. Techniques like collage, decollage, and unconventional material use were explored. The postdoctoral role under the Proinvent project involved lectures and workshops, focusing on acrylic colour use and enriching students' art experiences. [ABSTRACT FROM AUTHOR]

Art historical literature has often discussed the impact of painting restorations on viewers. Although many theoretical hypotheses have been proposed regarding the effect of restoration on the beholder's eye, little empirical research has addressed this topic. This study aimed to fill this gap by investigating whether painting restoration has a meaningful influence on the visual perception of art viewers at the eye-movement level. Specifically, the study designed a mobile eye-tracking study in an ecologically valid setting — the art museum — to investigate the effects of restoration on ten panels from the Isenheim Altarpiece (1512–1516) by Matthias Grünewald, currently displayed at the Unterlinden Museum in France. In this study, 86 museum visitors looked at paintings while wearing eye-tracking glasses before (n = 43) and after (n = 43) restoration. The following measures were analyzed: (1) Total Viewing Time; (2) Duration of the First Fixation; (3) Relative Fixation Count; (4) Fixation Heat Maps; (5) Time to First Fixation in areas of interest (AOIs). The results suggested that Relative Fixation Count significantly increased after restoration. Conversely, the Total Viewing Time and Duration of the First Fixation did not seem to be significantly affected by restoration. The Heat Maps suggested a broader visual inspection of the images and a more explorative gaze pattern after restoration. Moreover, the Time to First Fixation in AOIs significantly decreased after restoration. These findings provide the first empirical evidence of the impact of restoration on the visual perception of genuine paintings as opposed to reproductions observed in a museum. [ABSTRACT FROM AUTHOR]

The removal of varnish from the surface is a key step in painting conservation. Varnish removal is traditionally monitored by examining the painting surface under ultraviolet illumination. We show here that by imaging the fluorescence lifetime instead, much better contrast, sensitivity, and specificity can be achieved. For this purpose, we developed a lightweight (4.8 kg) portable instrument for macroscopic fluorescence lifetime imaging (FLIM). It is based on a time-correlated single-photon avalanche diode (SPAD) camera to acquire the FLIM images and a pulsed 440 nm diode laser to excite the varnish fluorescence. A historical model painting was examined to demonstrate the capabilities of the system. We found that the FLIM images provided information on the distribution of the varnish on the painting surface with greater sensitivity, specificity, and contrast compared to the traditional ultraviolet illumination photography. The distribution of the varnish and other painting materials was assessed using FLIM during and after varnish removal with different solvent application methods. Monitoring of the varnish removal process between successive solvent applications by a swab revealed an evolving image contrast as a function of the cleaning progress. FLIM of dammar and mastic resin varnishes identified characteristic changes to their fluorescence lifetimes depending on their ageing conditions. Thus, FLIM has a potential to become a powerful and versatile tool to visualise varnish removal from paintings. [ABSTRACT FROM AUTHOR]