http://hdl.handle.net/10362/1035 DCRMA 2013-06-20T03:39:46Z http://hdl.handle.net/10362/9754 Title: Treatment of a nineteenth century male portrait in oil including the characterisation of materials, technique and a study of the lead soap aggregation in the paint composite Authors: Devesa, Joana Moura Abstract: This project involved the conservation of a 19th century portrait in oils from the Ecomuseu do Seixal (Portugal). The painting of “João Luiz Lourenço” was in very poor condition. Because of the range and severity of the problems presented, it offered an opportunity to explore important aspects of painting conservation in-depth. The approach to its treatment required an empirical investigation of a number of materials and techniques used in the field of conservation/restoration. Of additional interest, the painting exhibits widespread evidence of metal soap (lead carboxylate) aggregates protruding through the paint from the ground layer. The painting’s materials and the metal soaps aggregates were studied and characterised with different analytical techniques: μ-EDXRF (Energy Dispersive X-ray Fluorescence), μ-Raman Spectroscopy, μ-FTIR (Fourier Transform Infrared Spectroscopy) and SEM-EDX (Electron Scanning Microscopy with Energy Dispersive X-ray Spectroscopy). Part 1: describes the study of the materials and the technique of the painting, and of the metal-soap aggregation within the painting’s ground layer. Observation with the Optical Microscope and with SEM-EDX of paint/ground cross-sections reveals the presence of two visually distinct lead carboxylate aggregates: one, completely white, and the other with a white centre surrounded by distinct red particles identified as red lead (minium: Pb3O4) by μ-Raman. The presence of these two types raises questions about whether there are different starting materials for the aggregates or whether they could be in different states of evolution. Part 2: describes the design and implementation of the conservation/restoration treatment. The treatment of the painting raised challenges and at various stages involved the exploration of non-traditional methods. At every stage during the treatment the consequences of an intervention was carefully considered in relation to the subsequent steps. All decisions were taken according to the painting’s intrinsic conservation problems and materials and with regard to the future environment of the painting. Description: Dissertação para obtenção do Grau de Mestre em Conservação e Restauro 2012-01-01T00:00:00Z http://hdl.handle.net/10362/9753 Title: Estabelecimento de critérios de intervenção para o presépio de Santa Teresa de Carnide Authors: Ângelo, Isabel Maria F.S. Abstract: Desde a sua criação, atribuída ao escultor António Ferreira nos finais de século XVII inícios do século XVIII, o Presépio de Santa Teresa de Carnide, de barro cozido policromado, teve uma história atribulada. Foi desmembrado no início do século XIX, com a extinção das últimas congregações religiosas, colocado em depósito e integrado finalmente em 1913 no acervo do MNAA. A sua aparência revela o estado díspar em que foi conservado até hoje. O projecto de exposição deste conjunto Natalício, criou a oportunidade de efectuar um estudo aprofundado deste tipo de objecto artístico e estabelecer de critérios de intervenção O trabalho de investigação foi auxiliado por análises laboratoriais que conduziram a um melhor conhecimento da obra e à definição dos tratamentos a efectuar. Description: Dissertação para obtenção do Grau de Mestre em Conservação e Restauro, Especialização em Conservação e Restauro 2012-01-01T00:00:00Z http://hdl.handle.net/10362/9663 Title: Untitled: connecting layers of confusion, sensation and transformation Authors: Krasilnikova, Daria Abstract: I believe that glass is a higher substance than most materials. It is a material reflecting humanity. For me, glass is at once a symbolic personification of human beings and at once a state of complete confusion. It is hard to work with. You either have to be talented or patient in order to pass through all the challenges to achieve the highest point of development and harmony. It is like working to be in balance with the material. At times I see it as my own reflection. Maybe I was chosen to be here. Glass making is at some point its own philosophical school, with its systems and meditation, with the training and frustration. It is its own world, its own orbital where we are spinning. Some are closer to the core and some are farther away, but working with glass demands that we all go through the layers to get to the core. It is not maybe as straight as we might hope and doesn’t quite fit the scientific rules. Glass seems to me to be a labyrinth with a goal of the 8th chakra, being a Master in glass making. Two years ago I chose to move to Portugal and work with glass. Looking at all the wonderful glass hand-made objects around me gave me a sense of excitement. I could not believe that I would be able to do the same. The strong desire to achieve new techniques left me excited while at the same time confused and frustrated. That feeling carried with me through the whole time of the program. The state of confusion, insecurity in my skills, and possibilities were constantly changing. But it never disappeared. I now propose to explain my personal transformation, layer by layer, as I also work to explain how a young lady from Russia meets glass art and glass science, and attempts to understand their interactions. In this work colored glass was produced using the gold nanoparticles and the layer by layer deposition of polyelectrolytes through dip coating in order to apply it to artworks that use glass as a medium. Gold was used aiming to obtain a range of colors from purple to blue. The gold nanoparticles were applied to a glass by immersing samples with previously applied multilayers films with polyelectrolytes. A chosen temperature was used both for reduction and fixation of the nanoparticles into the glass. Attention was focused on the influence of used temperature during thermal treatment for color fixation. Furthermore, several experiments took place in order to clarify the efficiency of applying texture to the sample with the purpose of color fixation. The effect of variables such as the number of polyelectrolytes multilayers and metal solution concentration on the resulting color was also studied. As a potential reducing agent of metals such as gold, the tin element can have influenced on the nanoparticles formation process. An experiment was performed in two samples of soda-lime glass on the surface of which tin was implanted. The influence of tin implantation on the final color of the sample was determined. The samples were characterized using UV-Visible absorption spectroscopy. The intention was to produce colored glass samples and apply it to the artwork using the “Occhi” technique. After the experiments the direction for the artwork has been changed and the new results achieved. Description: Dissertação para obtenção do Grau de Mestre em Arte e Ciência do Vidro 2012-01-01T00:00:00Z http://hdl.handle.net/10362/9627 Title: A Capela de S. João Baptista: o esplendor do mosaico vítreo - Caracterização dos elementos colorantes Authors: Canaveira, Sara Isabel Martins Abstract: Estudou-se um conjunto de fragmentos de tesselas de vidro, do século XVIII, de produção italiana, retiradas dos painéis e pavimento da capela de S. João Baptista, na Igreja de S. Roque em Lisboa. Esta obra não encontra paralelo no território nacional e apresenta poucos exemplares em Itália, terra natal do vidreiro responsável pelo fabrico dos mosaicos, Alessio Matiolli. Este estudo surgiu devido à integração da autora na equipa italiana de restauro dos painéis de mosaicos, onde surgiu também a necessidade de uma caracterização morfológica e química destes materiais, especialmente dos elementos colorantes. A caracterização analítica pretendeu não só averiguar a técnica de produção, visto que este tipo de mosaico apenas teve um estudo preliminar em 2008, mas também investigar a corrosão que algumas cores em particular exibiam. A abordagem utilizada foi de natureza multi-analítica, incluindo a espectroscopia de fluorescência de raios X dispersiva de energias (μ-EDXRF), a microscopia de Raman, a microscopia electrónica de varrimento com microanálise de raios X (SEM-EDS), e a microscopia óptica.Os resultados analíticos indicaram que todas as amostras retiradas são constituídas por um vidro essencialmente plúmbico e que na maioria das cores analisadas existe um vidro base branco, cuja cor é conferida pelo antimoniato de cálcio (Ca2Sb2O7). Os principais colorantes identificados são o cobre na forma de cuprite (Cu2O) para os vidros vermelhos, laranjas, rosas e castanhos, o óxido de cobre na cor verde, o óxido de cobalto na cor azul e o óxido de manganês na cor roxa. A cor amarela é obtida através de um óxido ternário cuja estrutura molecular é similar ao pigmento amarelo de Nápoles (antimoniato de chumbo, Pb2Sb2O7) mas apresenta-se numa estrutura designada como óxido ternário (Pb2Sb2-xSnxO7-x/2). O terceiro elemento constituinte não foi inequivocamente identificado mas existem algumas evidências que possa ser o estanho. Este pigmento amarelo foi responsável também pela coloração nas cores laranja, castanho e rosa, juntamente com a cuprite. As cores laranja, castanho e rosa apresentavam uma camada negra lateral designada na literatura como “scorzetta”. E este trabalho visou também caracterizar a natureza desta camada. Verificou-se que a camada negra é constituída essencialmente por tenorite (CuO), formada pelo contacto do vidro com o ar durante a sua produção. A corrosão observada nas amostras de cor vermelha, rosa e laranja deve-se a processos de lixiviação do vidro e à formação de uma camada cinzenta, devido à reacção entre os iões de chumbo extraídos. Description: Dissertação para obtenção do Grau de Mestre em Conservação e Restauro 2012-01-01T00:00:00Z