Search Results (672)

This study explores how classical painting techniques, particularly those rooted in the Renaissance tradition, can produce illusions of depth that vary with the viewer’s position. Focusing on a work rich in soft shading and subtle tonal transitions, we investigate how movement across the frontal plane influences the perception of spatial structure. A sequence of high-resolution photographs was taken from slightly offset viewpoints, simulating natural viewer motion. Using image alignment and pixel-wise difference mapping, we reveal perceptual shifts that suggest the presence of latent three-dimensional cues embedded within the painted surface. The findings offer visual and empirical support for concepts such as and dynamic engagement, where depth is constructed not solely by the image, but by the interaction between the artwork and the observer. Our approach demonstrates how digital analysis can enrich art historical interpretation, offering new insight into how still images can evoke the illusion of spatial presence. Full article

Three painted valuable wood sculptures from conventual collections in Apulia (Southern Italy), made between the beginning of the 17th century and the first half of the 18th century, were studied to shed light on the pictorial materials and techniques of the Neapolitan Baroque sculpture in Southern Italy. A multi-analytical approach was implemented using integrated micro-invasive techniques, including polarized light microscopy (PLM) in ultraviolet (UV) and visible (VIS) light, scanning electron microscopy coupled with energy dispersive spectroscopy (SEM-EDS), Fourier-Transform Infrared (FTIR) spectroscopy, and pyrolysis–gas chromatography/high-resolution mass spectrometry (Py-GC/HRMS). The stratigraphic sequences were microscopically identified, and the pictorial layers were discriminated on the basis of optical features, elemental compositions, and mapping. Organic components were detected by FTIR as lipids and proteinaceous compounds for binders, while terpenic resins were detected as varnishes. Accordingly, PY-GC/HRMS identified siccative oils, animal glue, egg, and colophony. The results allowed the identification of the painting techniques used for the pictorial films and the ground preparation layers and supported the distinction between original and repainting layers. The results of this multi-analytical approach provide insights into Baroque wooden sculpture in Southern Italy and offers information to support restorers in conservation works. Full article

To reduce CO₂ emissions into the environment, the automotive sector uses microalloyed structural steels coated with electrophoretic paint in various components, such as the chassis, to reduce weight and increase corrosion resistance. AHSSs are coated with electrophoretic paint (E-coat). Still, to improve adhesion, they undergo a pretreatment, such as zinc phosphate or zirconium oxide. This research will analyze the effects and behavior of these coatings during corrosion on a complex-phase (CP) 780 AHSS using different electrochemical techniques, including cyclic potentiodynamic polarization (CPP), electrochemical noise (EN), and electrochemical impedance spectroscopy (EIS). The CP 780 AHSS was immersed in a 3.5 wt. % sodium chloride solution. Results show that AHSS CP 780 presented a mixed corrosion mechanism due to the heterogeneity of the surface of the zinc phosphate and zirconium oxide pretreatments. On the other hand, the samples with an E-coat paint coating and pretreatment (Zn₃(PO₄)₂/E-coat and ZrO₂/E-coat) have the lowest current densities with values of 6.44 × 10⁻¹¹ 1.02 × 10⁻⁹ A/cm² and also do not show a tendency towards localized corrosion or negative hysteresis. Full article

This study presents the first application of an automatic ultrasonic mapping system for the assessment of natural consolidants applied to replicas of painted wall surfaces. In Cultural Heritage conservation, evaluating consolidation efficiency remains a critical issue, particularly for substrates characterized by high porosity, heterogeneity, and mechanical fragility. Ultrasonic testing offers a fully non-contact diagnostic approach capable of detecting variations in cohesion, stiffness, and internal discontinuities, thus overcoming the limitations of semi-invasive mechanical procedures. Three polysaccharide-based consolidants—Arabic gum, Funori, and Opuntia ficus-indica mucilage—were applied to wall-painting replicas prepared according to historically documented techniques. Their performance was investigated through a comparative methodology combining a peeling test with non-contact air-coupled ultrasonic probes. Results indicate that Opuntia mucilage, although still at an experimental stage, provides significant improvements in cohesion, confirming its potential as a sustainable and substrate-compatible alternative to conventional consolidants. By demonstrating the complementary nature of ultrasonic mapping and peeling tests, this work contributes to the development of reproducible, non-invasive diagnostic strategies for evaluating consolidation treatments, particularly on fragile surfaces where conventional mechanical testing is unsuitable. Full article

Aerinite is a rare blue aluminosilicate mineral whose identification as a pigment in Pyrenean medieval artworks typically requires invasive microsampling. This study evaluates portable X-ray fluorescence spectroscopy (pXRF) as a noninvasive screening tool for aerinite in Alto Aragón (Spain) cultural heritage. Elemental compositions of aerinite and lapis lazuli references, ceramics, polychromed capitals, and thirteenth- to fifteenth-century painted panels were measured with a Niton XL3t GOLDD+ spectrometer. Data were analyzed using log-ratio linear discriminant analysis (LDA), with silicon as an internal normalizer. Aerinite references showed Cu and Co levels below instrumental detection limits, along with Fe (6.99 ± 1.04 wt%), Al (4.91 ± 1.38 wt%), and Si (15.95 ± 1.60 wt%). High-confidence aerinite classifications were obtained for Cu-free and Co-free blue pigments in the Barbastro Chrismon, the Buira altar frontal, and other panels. Extension of the protocol to green pigments revealed that two samples—from the Saint Anthony Abbot panel and Portaspana retable—were also classified as aerinite, providing the analytical evidence for “verde de Juseu” as a naturally occurring greenish aerinite variety. Despite known pXRF limitations, this technique effectively screens candidate aerinite-containing passages for subsequent microanalytical confirmation. Full article

Urban pollution—especially SO₂ and particulate matter—rapidly darkens and degrades outdoor-exposed wall paintings due to soiling. Laser cleaning has emerged as a cutting-edge solution, offering selective removal of contaminant layers while preserving the integrity of the underlying materials. This study explores the performance of a 355 nm Nd:YAG laser in cleaning artificially aged paint mock-ups coated with real diesel soot and exposed to an accelerated aging test with SO₂ exposure. Traditional mineral pigments—silicates (Egyptian blue, ultramarine blue, and green earth), oxides (chromium green, mars red), and a sulphide (cinnabar)—were applied following fresco and secco (egg yolk) techniques, allowing researchers to uncover how pigment chemistry and binders affect laser sensitivity. Damage thresholds were first determined for each pigment and painting technique via digital photography, stereomicroscopy, and colour spectrophotometry. Cleaning efficacy was then assessed by stereomicroscopy, colour spectrophotometry, Fourier-transform infrared spectroscopy, and scanning electron microscopy. The results revealed clear patterns: silicate pigments exhibit stability under laser irradiation, enabling safe cleaning, whereas mars red and cinnabar remain highly sensitive regardless of the technique. Generally, secco paintings were more susceptible to laser radiation than fresco. These finding provide practical guidance for optimising laser-cleaning protocols while safeguarding the delicate surfaces of historic wall paintings. Full article

The paper presents the experimental results of applying a novel protective coating made from Mn_1.7Cu_1.3-xFe_xO₄, compared to commercial spinels Mn_1.5Co_1.5O₄ and MnCo₂O₄, as a key component responsible for preventing chromium diffusion and slowing the increase in area-specific resistance (ASR) in solid oxide fuel cells (SOFCs). The layers of selected materials were deposited on Crofer 22APU steel by electrophoretic deposition (EPD) on small samples and by roll painting on full-scale interconnects. The coatings were evaluated by measuring the ASR of small samples for short and long runs (1000 h), as well as real-scale interconnects assembled in a SOFC stack composed of three cells, measuring 11 × 11 cm², which operated for 1000 h at 670 °C. The collected data on the electrochemical performance of the stack allowed for estimation of the degradation rates of all the repeating units, revealing benefits from using (Mn,Cu,Fe)₃O₄ as a coating. The results are compared to the literature reports. Post-mortem analysis by the SEM-EDS technique allowed for investigation of Cr diffusion levels. Full article

Rock art in the Albarracín Cultural Park represents one of Spain’s most significant concentrations of post-Paleolithic paintings, yet comprehensive chemical characterization across multiple shelters remained lacking. This study analyzes 102 pigment samples (54 white, 31 black, 17 red) from 12 shelters using portable X-ray fluorescence spectroscopy. Centered log-ratio transformation addressed compositional data constraints, enabling multivariate analyses (PCA, LDA, MANOVA) that properly account for the constant-sum constraint inherent in geochemical data. Linear discriminant analysis achieved 92.6%–100% classification accuracy for site attribution, with barium emerging as the universal discriminating element across all pigment types (Cohen’s d = 4.91–9.19). Iron concentrations confirmed hematite/goethite use in red pigments, with inter-shelter variations suggesting different ochre sources. Black pigments revealed dual technologies: manganese oxides (pyrolusite) and carbon-based materials, with phosphorus enrichment in some samples consistent with possible bone-derived materials, though alternative phosphorus sources cannot be definitively excluded. This technological duality occurred within individual shelters, documenting greater complexity than previously recognized. White pigments combined substrate-derived materials with gypsum and aluminosilicate clay minerals (likely of the kaolinite group), occasionally incorporating phosphate-rich phases. The documented coexistence of compositionally distinct pigments within single shelters (whether from different raw material sources or varied preparation techniques) confirms the technical heterogeneity of Albarracín rock art and challenges assumptions about technological homogeneity in Levantine art production. This interplay between natural geological constraints and cultural technological choices underscores the need for complementary surface-sensitive techniques to fully resolve the technological repertoire of Levantine artists. Full article

The consolidation of mural paintings presents a significant challenge for conservators, as the treatments applied must not only be effective but also preserve the aesthetic qualities of the artwork. Ongoing research focuses on developing new products that are more efficient, durable, and compatible with the physicochemical and aesthetic characteristics of the original materials, thereby addressing the limitations of existing consolidants. This study examines two consolidants for mural painting restoration: Estel 1200^® (C.T.S., Madrid, Spain), a commercially available and widely used ethyl silicate-based product, and Nanorepair UV^® (Patent: ES-2766074-B2, Pablo de Olavide University, Seville, Spain), a nanocomposite composed of calcium hydroxide nanoparticles doped with zinc quantum dots. On mortar specimens, prepared according to the Roman fresco technique, the application method for the proposed treatments was optimized. The applicability of the treatments for mural painting conservation was studied by colorimetric measurements and SEM imaging to detect and characterize the formation of surface layers. The effectiveness of the treatments was quantitatively evaluated with tape-peeling cycles. The results show that, although both treatments enhance the consolidation state of mural paintings, Nanorepair UV^® proved to be a more effective consolidant, without altering the aesthetic or physicochemical properties of the artwork. Additionally, this treatment allows for straightforward evaluation of its penetration and enables distinction between treated and untreated areas through the fluorescence of the zinc oxide quantum dots. Full article

Fotis Kontoglou (1895–1965) was a prominent Greek painter and writer, known primarily for revitalizing byzantine painting in the 20th century and being one of the first artist-conservators in Greece active at this period. The current study represents the first systematic attempt to examine seven (7) icons (i.e., ecclesiastical panel paintings) attributed to Kontoglou, currently located in two famous monasteries in Laconia, Greece. The research utilized exclusively non-destructive analytical techniques, namely digital optical microscopy, UV-induced visible fluorescence photography (UVIVF), and portable X-ray fluorescence (p-XRF) spectroscopy, to identify the materials—particularly pigments—employed in the corresponding paintings. The results are interpreted under the light of Kontoglou’s own writings on painting, in particular his “Ekphrasis” painting manual. Preliminary assessments of surface morphology and state of preservation were achieved through macroscopic and microscopic probing, as well as through inspection under ultraviolet light, while further analysis was performed using portable X-ray fluorescence spectroscopy. The results confirm the employment of both traditional and modern synthetic inorganic components, while comparisons with the pigments listed in Kontoglou’s “Ekphrasis” painting manual suggest his persistent use of a rather limited palette of pigments. Nevertheless, despite the fact that the paintings were executed in a small period of time (1954–1956), data revealed notable differentiation between the studied icons, which probably indicates procurement of materials from various sources. Given the scarcity of technical investigations of modern (20th century) paintings, this study is relevant and reveals some interesting hints, which may pertain to the trends of the mid-20th century Greek paint market, like, e.g., the rather limited distribution of Ti-white. Additionally, the current findings contribute considerably towards understanding Kontoglou’s artistic methods during a highly creative period and can be utilized to support future conservation efforts. Ultimately, the current preliminary study sheds light on some methodological aspects of the pertinent research and assists towards establishing a detailed protocol for future studies. Full article

Two folding screens by futurist artist Giacomo Balla (1871–1958) in the collection of the Kröller-Müller Museum (the Netherlands) were investigated: Paravento con linea di velocità (1916–1917) and Paravento (1916/1917–1958). The screens are painted on both sides, the first on four canvases, stretched onto two wooden strainers and framed with painted wooden strips, and the second on wooden panels set into four painted stiles. In the past, damages on Paravento con linea di velocità were restored by conservators, while Paravento was probably first reworked by the artist himself and later restored by conservators. Yellowed varnish and discolored retouches on both screens led to a wish for treatment. The aim of this research was to gain insight into the painting techniques, layer buildup, pigments, binders, and varnishes of the two artworks. This information supported the decision making for treatment, and it broadens the knowledge on the materials used by Balla. Up to now, only a few published studies deal with the technical examination of paintings by this artist. Both folding screens were subjected to technical photography (UV, IR photography, and X-ray) and were examined with portable point X-ray fluorescence (pXRF) and Raman spectroscopy. Moreover, samples were taken. Cross-sections were studied with optical microscopy, scanning electron microscopy with energy-dispersive X-ray spectroscopy (SEM-EDX), attenuated total reflection Fourier-transform infrared (ATR-FTIR) imaging, and micro-Raman spectroscopy. Loose samples were examined with SEM-EDX, FTIR and micro-Raman spectroscopy, and pyrolysis gas chromatography mass spectrometry (Py-GC/MS). For Paravento con linea di velocità, all pigments and fillers of the painted canvases are compatible with the dating of the screen (1916–1917), but they differ from those on the frame. Here, rutile, in combination with various pigments, among which are blue copper phthalocyanine (PB15) and other synthetic organic pigments, was found. This indicates that the frame has been painted later, likely after the Second World War. The composition of the binders differs as well. Drying oil and pine resin have been used on the canvases, explaining the smooth and glossy appearance and solvent-sensitivity of the paint. On the frame, oil with some alkyd resin was identified. The provenance of the screen before 1972 is not clear, nor when the frame was made and painted and by whom. The results for Paravento indicate that the palettes of the two sides—painted in different styles—are comparable. Mainly inorganic pigments were found, except for the dark red areas, where toluidine red (PR3) is present. pXRF showed high amounts of zinc; cross-sections revealed that zinc white is present in the lower layers. These pigments are compatible with the dating of the screen (1916–1917). In many of the upper paint layers though, except for some green, dark red, and black areas, rutile has been identified. This indicates that these layers were applied later, likely after the Second World War. Since this folding screen was used by the artist and his family until his death in 1958, it seems likely that Balla himself reworked the screen. Full article

This article argues that animism in the Japanese context is more fruitfully understood as animation, a technique that imbues man-made things with life. Two forms of animation are at work in so-called animist beliefs: one is the docile animation of instruments when skillfully used by humans, in which case the instrument becomes part of the human body; the other is the sense of aliveness that one experiences when an object resists human use and intention. This latter sense is crucial for the narrative of the 14th century illustrated scroll “The Record of Tool Specters” and the painted genre of “Night Parade of Hundred Demons”, in which everyday objects, vessels and instruments appear as demons and threaten human life. These images show how the instruments come alive through animation strategies intrinsic to the illustrated scroll as a medium, activated by the performances of professional storytellers and shaped by the artists’ anthropomorphizing imagination. The tool specters, on the cusp of breaking free from human bondage, are recaptured in a different network of meaning, allusion and fecund cultural production. What animates the inanimate objects is a media infrastructure, a network of media platforms that stretches back in time and that allows these apparitions to be conjured in different forms and contexts. Full article

Fluorinated polyurethanes (FPUs) and their composites are promising new barrier materials with a broad range of applications. In particular, they are widely used as effective hydrophobic coatings that perform well under prolonged environmental exposure. Despite their extensive use, the behavior of FPU coatings under specific climatic conditions remains insufficiently studied. In this paper, dynamic mechanical analysis (DMA) is employed to evaluate the structural, mechanical, and relaxation evidence of climatic aging for paint-and-varnish coatings, which protect the surfaces of metallic alloys and polymer composites. Special knowledge of structural and physical–mechanical properties—such as a glass transition temperature (T_g), elastic moduli (E′ and E″) in both glassy and elastic states, degree of crosslinking, and other features relevant to coatings designated for climatic impact prevention—can be reliably obtained by the DMA technique. Along with previously published data, the currently obtained results for FPU have been analyzed for a long time (three years) of exposure in a wide range of climatic regions in Russia. Full article

The study and preservation of illuminated manuscripts, particularly miniatures on parchment, are crucial for understanding the artistic, cultural, and technological history of the past. This research investigates the materials used in a 16th-century illuminated scroll, analyzing both the miniatures and the written text through non-invasive techniques. A multi-analytical approach was applied, including optical microscopy, Hypercolorimetric Multispectral Imaging (HMI), infrared reflectography in the 950–1700 nm range, Fiber Optics Reflectance Spectroscopy (FORS), macro X-ray fluorescence (MA-XRF) spectroscopy, Raman spectroscopy, and External Reflection Fourier Transform Infrared (ER-FTIR) spectroscopy. These methods provided a comprehensive characterization of the painting materials’ chemical composition and the artistic techniques utilized, revealing new information on Renaissance materials and practices. The detected mineral pigments primarily include smalt, vermilion, lead white, and minium, which are consistent with materials commonly found in illuminated manuscripts. Aluminosilicate and calcite were identified as fillers or substrates utilized for organic dyes, particularly those generating pink hues. An uncommon finding was the green pigment, which was identified as copper hydroxynitrate. Furthermore, gold and silver were extensively employed in the decorative elements, both as metal foils and in shell pigment form. Finally, the capital letters were executed using smalt and vermilion, while the black text ink was characterized as iron gall ink, a composition typically employed on parchment supports. Full article

The three-dimensional documentation of hypogean structures poses significant methodological challenges due to the absence of natural light, confined spaces, and the presence of fragile painted surfaces. This study presents an integrated workflow for the survey of the Tomba dell’Orco (Tarquinia), combining terrestrial laser scanning, photogrammetry, and the light painting technique. Borrowed from photographic practice, light painting was employed as a dynamic lighting strategy during photogrammetric acquisition to overcome issues of uneven illumination and harsh shadows typical of underground environments. By moving handheld LED sources throughout long-exposure shots, operators produced evenly illuminated images suitable for feature extraction and high-resolution texture generation. These image datasets were subsequently integrated with laser scanning point clouds through a structured pipeline encompassing registration, optimization, and texture reprojection, culminating in web dissemination via the ATON framework. The methodological focus demonstrates that light painting provides a scalable and replicable solution for documenting complex hypogean contexts, improving the photometric quality and surface readability of 3D models while reducing acquisition time compared to static lighting setups. The results highlight the potential of dynamic illumination as an operational enhancement for 3D recording workflows in low-light cultural heritage environments. Full article