Search Results (54)

Inks from the 12th to the 17th century were aged, and a multi-analytical approach was used for their identification based on HPLC–DAD–MS, microFTIR, and microRaman. Colorimetry analysis was also performed. After 6 years of application on filter paper, three inks were selected to be cleaned using a novel green approach based on a chemically crosslinked gel to remove unwanted materials from the ink surface. A Braga ink produced in 2018 was also tested. Two degradation products were identified; iron sulfate was the main degradation product in the Braga ink. For Montpellier, Guadalupe, and QI.8 inks, the main degradation product was a complex of iron with ellagic acid. These compounds were accurately confirmed using microFTIR. Several tests were performed to clean these degradation products with the gels. The Braga ink was cleaned with 10% ethanol in water, which was included in the gel, and the iron sulfate was removed within 15 s of application. On the other hand, the complex of iron with ellagic acid demanded longer application times; we used 2 min and repeated the application until the compound was removed. The novelty of this research has practical implications for the conservation of historical documents and artworks. Full article

Beginning in the 13th century, rivalry among Italian city-states intensified, transforming cultural competition into a strategic tool for asserting identity. Roman heritage was often contested, with cities emphasising their claims as the true heirs of Rome. Siena has faced criticism for its lack of major historical sites. In response, its municipal authorities and citizens developed the legends of the “she-wolf” and Saint Ansanus. These legends reinforced Siena’s urban identity through historical narratives and public art. During the Renaissance, Siena redefined its history to assert its legitimacy by drawing on classical culture. This re-articulation of identity addressed historical rivalries and revealed the enduring complexity of local identity formation in Italy. This study examines historical legends and uses historical materials, such as city archives and artworks, to research the Italian city of Siena during the Renaissance and to investigate the origins of urban legends, their controversies, and how Siena created the legends of the “she-wolf” and Saint Ansanus. Full article

X-ray Computed Tomography (X-CT) is now an established technique for the investigation and diagnostics of Cultural Heritage. Its advantages include non-invasiveness, non-destructiveness, and the possibility of exploring the inner parts of an object without any modification. X-CT is often employed to investigate the construction methods of complex artifacts made with different parts or materials, but it is also able to support the analysis, intervention, monitoring and enhancement processes of artworks, creating digital models that can aid in the conservation and restoration procedures. In this work, several case studies are presented in which the CT technique has been decisive in identifying the effects of time and the events that occurred during the object’s life influencing its state of conservation. These range from large objects, such as an 18th century CE writing cabinet or an ancient Egyptian wooden coffin, to very small artifacts, like Mesopotamian lapis lazuli beads or fragments of Roman colored glass. Additionally, the results obtained by µ-CT investigations on the conservation state of a bronze arrowhead uncovered from the Urama-chausuyama mounded tomb (Japan, Kofun period, end of the 3rd century CE) are presented here for the first time. Lastly, the versatility of the technique when applied with different setups is highlighted. Full article

The history of culture in Catalonia during the Romanesque period (9th–12th centuries) has often been written from a strongly positivist mentality, which is a reductionistic approach. Economic history has distorted this period’s intellectual and cultural history. This article presents a compelling analysis of a series of manuscripts from the monastery of Ripoll in the context of Catalonia’s visual and intellectual culture between the 10th and 12th centuries. These writings demonstrate the pivotal role of the arts of the word (dialectic, rhetoric, and grammar) in this cultural center of great European significance. They also illustrate the formative influence of this institution on Gerbert of Aurillac, who would become Pope Sylvester II and the fruitful period of Abbot Oliba. Other artworks and musical manuscripts contribute to understanding a profound ontology of the word in Catalonia and prepare the ground for its cultural renaissance in the 12th century. Full article

In this study, we present the first characterisation of the polyvinyl acetate (PVAc) paints of commercial Spanish brand La Pajarita preserved in the studios of Joan Miró (1893–1983) in Mallorca, Spain. Investigation of several black and white paint samples using complementary analytical techniques (XRD, SEM–EDX, FTIR, and Py–GC–MS) allowed for the identification of pigments and binding media in studio materials, as well as in three artworks dating from the 1970s. Through comparative analysis, it was possible to find significant similarities between the composition of La Pajarita paints conserved in cans in the artist’s studio with black and white painted layers from three artworks by Miró. Miró’s use of La Pajarita paints is extensively documented in studio notes, photographs, and videos, and these paints are known to have been used by other significant Spanish artists. However, their composition has remained largely undiscovered until now. This research contributes to the knowledge of PVAc paints, providing evidence of their use by Joan Miró. The analytical results serve as a valuable reference for comparing and identifying these synthetic paints in other artworks, as well as aiding in attribution or dating studies. Furthermore, the study demonstrates the significance of materials found in artists’ studios as a fundamental resource for identifying the materials present in artworks. Full article

The cultural renaissance in 20th-century India has fostered an aesthetic integration of contemplative mysticism with popular religious practices, influencing various artistic and theological movements. This paper examines Christian artist Joy Elamkunnapuzha’s use of Indian classical and mythical elements in his religious artworks, particularly in two North Indian churches. These intercultural icons, which incorporate symbols from Hindu traditions like mandalas and mudras, have been central to the worship practices of local Catholic communities for over three decades. Through ritual ethnography, the study reveals how these visual representations mediate ritual affectivity and communal imagination, impacting identity formation and spiritual engagement in a multi-religious context. Respondents—including worshippers, ministers, and religious students—attest to the transformative impact of these images, as they negotiate between Christian metaphors and Hindu aesthetic traditions. The research is grounded in practical theology, liturgical theology, and ritual studies, contributing to the works of Indian Christian cultural activists like Jyoti Sahi. By exploring the creative dynamics of visual approach, visual appeal, and visual affinity within worship spaces, the study elucidates the complex processes of meaning making through symbolic mediation in interreligious environments. Full article

Some paintings may have hidden depictions beneath the visible surface, which can provide valuable insights into the artist’s creative process and the genesis of the artwork. Studies have shown that these covered paintings can be revealed through image-based techniques and integrated data processing. This study analyzes an oil painting by Beceri from the mid-16th century depicting the Holy Family, owned by the Uffizi Galleries. During the analysis of the materials, we discovered evidence of pictorial layers beneath the visible scene. To uncover the hidden figuration, we applied a multimodal approach that included microprofilometry, reflectance imaging spectroscopy, macro X-ray fluorescence, and optical coherence tomography. We analyzed the brushstrokes of the hidden painting, visualized the underdrawing, located the painted areas beneath the outermost painting, and quantified the thicknesses of the pictorial layers. The pigments used for the underpainting were identified through cross-analysis of X-ray fluorescence and spectral correlation maps. The underlying pictorial subject, Leda and the Swan, appears to be inspired by a long-lost and replicated work by Michelangelo. This information places Beceri and his production in a more defined context. Full article

William Courtenay, 3rd Viscount Courtenay and 9th Earl of Devon (1768–1835), has been most remembered for his romantic relationship with author and slave owner, William Beckford (1760–1844), which scandalized London society in 1784. However, the 9th Earl’s life after this event has received little attention despite his artistic contributions to the built environment of his ancestral home of Powderham Castle in Devon. In the 1790s, he created a series of flower watercolors on paper and cabinets under the supervision of his drawing master, William Marshall Craig (c.1765–1827). These artworks complicate ideas about gendered expectations of amateur artistic subjects, with flower painting being largely understood as a feminine accomplishment. This article explores the Earl’s watercolors in the context of the spaces at Powderham to argue they are evidence of his effeminate behavior and participation in female activities alongside his thirteen sisters. The association of these objects with a man attracted to those of his own sex contribute to studies of queerness, amateur art, and the country house in the late eighteenth century. Full article

This article focuses on artistic and aesthetic practices within the idealist and symbolist movements of the late 19th century in France. It investigates how artists and art critics embraced androgynous imaginaries derived from Greco-Roman antiquity and the Platonic myth, transforming them into tools for social and sexual emancipation and giving rise to a proto-queer vision. An analysis of the art of Alexandre Séon, Odilon Redon, Jeanne Jacquemin, and Léonard Sarluis, in conjunction with the symbolist theories of Joséphin Péladan, Gabriel-Albert Aurier, and Émile Verhaeren, reveals an idealistic pursuit grounded in the union of the masculine and the feminine through the act of creation. Through the examination of artworks, contemporary critical discourse, and the personal correspondence of these art figures, this study posits that the androgyne serves as a heuristic model for a queer art history. The ideal androgyne, as theorized in Freud’s psychoanalytic writings, can function as a methodological paradigm in art studies as a tool for visualizing and conceptualizing homosexuality in art. Full article

This article reviews the research recently undertaken to characterise and identify early synthetic dyes (ESDs) and synthetic organic pigments (SOPs) as well as study their degradation pathways with a focus on cultural heritage applications. Since the invention of the first fully synthetic dye in 1856, these materials have been used in a variety of historic objects and artworks, such as textiles, furniture, prints, paintings, drawings, etc. The synthesis of new dyes and their implementation into pigment formulations were rapid phenomena, so that by the beginning of the 20th century, thousands of new molecules were patented and commercialised. This review will focus on these early formulations synthesised up to approximately 1914 and the outbreak of World War I. ESDs and SOPs represent a challenge from an analytical point of view. Molecular databases are fundamental for the unequivocal identification of these compounds, but reference materials are not always readily available. A combination of analytical techniques is often needed for characterisation, especially in the case of SOPs, which have both organic and inorganic components. Furthermore, the degradation of these molecules can jeopardise their detection in historic objects that have been exposed to light, humidity and temperature fluctuations. Nevertheless, ESDs and SOPs are important research tools. As the dates of their first synthesis are often known with precision, based on patent information, their detection can be used to refine the production date of objects. Additionally, their trade from Europe to the world and their adoption in artistic practices around the globe is an active area of research. Full article

Artifacts pertaining to Buddhist culture are often studied in relation to their circulation from India throughout the rest of Asia; however, many traveled to Europe during the last few centuries as trade commodities and pieces for the art market, losing any devotional purpose in favor of a specific aesthetic sensitivity that was typically adapted to Western taste to appeal to collectors. This article presents a technical study of seven polychrome wooden sculptures from the Museo d’Arte Orientale (MAO) in Turin, Italy. Originally from China, these objects are generally attributed to the late Ming–early Qing dynasties (16th–18th centuries) based merely on stylistic and iconographic considerations. Scientific analysis sought to expand the available knowledge on their constituting materials and fabrication techniques, to address questions on their authenticity, to assess their state of preservation, and to trace the history of transformations they have undergone while transitioning from devotional objects to private collection and museum artwork. By delving into the sculptures’ intricate paint stratigraphy, the results were also key to guiding treatment choices. The outcomes of this study were featured in the MAO exhibition “Buddha10. A Fragmented Display on Buddhist Visual Evolution” (October 2022–September 2023). Full article

The painting studied, featuring the Virgin contemplating the sleeping Child, is a well-known composition in the religious context, especially popular since the 16th century. The technique, oil on copper plate, and materials were examined applying a multimethodological non-invasive approach. The main goal was to quantitatively characterize the layer composition and thickness. To obtain them, X-ray fluorescence spectroscopy coupled with Monte Carlo simulation was used for the first time, to the best of our knowledge, for this kind of object. This technique was also integrated with more conventional photographic and spectroscopic techniques such as multiband imaging (MBI), Raman spectroscopy, external reflection Fourier transform infrared spectroscopy (ER FT-IR), and optical microscopy. The obtained data showed the use of a background based on lead white, a wide palette, which includes azurite, vermilion, lead white, and some ochers, and documented the conservation status. Although the investigations contended with the object’s complexity, the results demonstrate the efficacy of the XRF–Monte Carlo simulation approach in characterizing the materials constituting the artwork in a totally non-invasive way. Full article

Two of the most significant cases of extant 16th-century featherwork from Mexico are the so-called Moctezuma’s headdress and the Ahuizotl shield. While the feathers used in these artworks exhibit lightfast colors, their assembly comprises mainly organic materials, which makes them extremely fragile. Printed media, including books, catalogs, educational materials, and fine copies, offer an accessible means for audiences to document and disseminate visual aspects of delicate cultural artifacts without risking their integrity. Nevertheless, the singular brightness and iridescent colors of feathers are difficult to communicate to the viewer in printed reproductions when traditional pigments are used. This research explores the use of effect pigments (multilayered reflective structures) and improved halftoning techniques for additive printing, with the objective of enhancing the reproduction of featherwork by capturing its changing color and improving texture representation via a screen printing process. The reproduced images of featherwork exhibit significant perceptual resemblances to the originals, primarily owing to the shared presence of structural coloration. We applied structure-aware halftoning to better represent the textural qualities of feathers without compromising the performance of effect pigments in the screen printing method. Our prints show angle-dependent color, although their gamut is reduced. The novelty of this work lies in the refinement of techniques for printing full-color images by additive printing, which can enhance the 2D representation of the appearance of culturally significant artifacts. Full article

This article aims to present the results of the investigations performed on a 19th-century oil painting on canvas belonging to the Conservation and Restoration Department of the University of Art and Design in Cluj-Napoca, Romania. The artwork depicting the portrait of a lady originating from an important Irish noble family (Judith Bunbury, 1785–1861) has been investigated using only non-invasive methods. The investigation protocol included digital photography in different light sources at different wavelengths, which was used to document the current condition of the painting, UV fluorescence, which highlighted the previous improper retouches and the presence of a varnish coat, Infrared reflectography, which brought to light the underdrawing made by the artist and X-ray Fluorescence (XRF) spectroscopy, an elemental analysis technique which indicated the chemical composition of the pigments, suggesting the use of lead white, a barium white pigment, yellow and red ochre, vermilion, cobalt blue, and a manganese-based brown pigment. The results of this entirely non-invasive investigation approach helped in choosing the most appropriate conservation and restoration methodology for the artwork. Full article

After a huge non-invasive diagnostic campaign performed on the corpus of Giovanni Santi’s artworks, three paintings were selected and investigated: the Martyrdom of Saint Sebastian panel, the Visitation altarpiece and the canvas with Tobias and the Archangel Raphael (c. 1487 and 1494). Micro-invasive investigations including optical microscopy, ESEM-EDX, micro-Raman spectroscopy, FTIR and FTIR-ATR spectroscopy and GC-MS were carried out on selected micro samples. The results of the integrated analyses confirmed the use of a Renaissance palette with oil and, only in a few cases, tempera techniques. Some significant peculiarities emerged in Santi’s practice, as he used localized off-white priming and colorless powdered glass with a siccative oil—in red, flesh, pinkish and green hues—confirming the influence of the Flemish painters in Urbino and, possibly, also in western central Italy. This innovative technical expedient compared to the traditional Italian painting technique was identified also in red and bluish samples collected from the Communion of the Apostles panel painted by Justus of Ghent around 1473–1474 for Urbino Corpus Domini Confraternity. The Flemish master was called to the court of Duke Federico to paint in oil and his presence at the ‘Urbino workshop’ probably contributed to the diffusion of this technique. Both in Giovanni Santi’s paintings and the Communion of the Apostles, the glass particles are related to a soda-lime glass typical of the Italian area, widely detected in Italian paintings from the late 15th and 16th centuries. Full article