FCT: DCR - Artigos em revista nacional com arbitragem cientifica
URI permanente para esta coleção:
Navegar
Entradas recentes
- Falsificação de obras de artePublication . Melo, Maria; Otero, Vanessa; LAQV@REQUIMTE; DCR - Departamento de Conservação e Restauro; Instituto de Estudos Medievais (IEM)Raros deverão ser os museus, no mundo, que não incluam nas suas coleções alguma obra falsa. Por vezes as burlas são de muitos milhões de euros, sendo as obras retiradas discretamente para as reservas. Outras vezes, o público toma conhecimento, e certos falsários tornam-se famosos, pensamos nós, pelos piores motivos, mas ainda assim, ficam sob as luzes da ribalta. Um destes falsificadores é Wolfgang Beltracchi, preso em 2011 com uma pena de 6 anos, depois de décadas a criar e vender “falsificações originais” de pintores como Max Ernst e Fernand Léger, no valor de milhões de euros; enganou historiadores de arte, museus e conceituadas leiloeiras como a Christie’s. Em termos de impacto na economia mundial, os crimes de falsificação e tráfico de bens culturais encontram-se no segundo ou terceiro lugar em volume de negócio (em economia paralela); segundo a Interpol estão associados a crimes de branqueamento de capitais provenientes do comércio de armas e tráfico de drogas, simultaneamente financiando atividades terroristas.
- O ataúde egípcio do Museu Arqueológico do CarmoPublication . Cardoso, Isabel Pombo; Quilho, Teresa; Sousa, Vicelina; Desa, Sara Santana; Desa, Susana Franca; Martins, Vera; Pereira, Celia; Sousa, Rogerio; DCR - Departamento de Conservação e Restauro; LAQV@REQUIMTE; Associação Profissional de Conservadores-Restauradores de Portugal (ARP)The material and technical study of the anthropomorphic coffin (No. Inv. MAC/MUM.1) belonging to the Archaeological Museum of Carmo, in Lisbon, Portugal, carried out by an interdisciplinary team, sought to complete the existing textual and iconographic study on the same coffin, as well as rectify and complete the data from another partial technical study. According to previous studies, the coffin was produced between the Low Period and the beginning of the Ptolemaic period (6th to 2nd centuries BCE), possibly in Akhmim. This work presents results regarding the coffin’s wooden support and polychromy, as well as its current state of conservation. It involved the macro and microscopic examination of the object and the analytical characterization of micro-samples by XRF, Raman spectroscopy, FTIR-ATR, and SEM. The materials identified both in polychromy and in the production of the support indicate the use of materials traditional from the Pharaonic Egypt.
- Estudo químico e mineralógico e datação por luminescência de altos-relevos miniaturais em terracotaPublication . Dias, Maria Isabel; Prudêncio, Maria Isabel; Burbidge, Christopher; Marques, Rosa; Remonatto, Camila; De Carvalho, Maria Luísa; Le Gac, Agnès; DF – Departamento de Física; DCR - Departamento de Conservação e Restauro; Associação Profissional de Conservadores-Restauradores de Portugal (ARP)Polychrome terracotta high-reliefs representing two narrative cycles and belonging to the Museu Nacional de Arte Antiga (Lisbon) were studied. The authorship, historical-artistic context and technological aspects of these artworks are still unknown. Considering the apparent similarity of materials and features of both sets, this research sought to contribute to the establishment of possible relationships between the objects and their workshops in terms of production technology and chronology. The chemical composition of terracotta paste was determined by instrumental neutron activation analysis. The mineralogical composition was acquired by X-ray diffraction. Chronological issues were studied by luminescence. This study enables elucidation of questions related with chronology, provenance and production technology, particularly raw materials and firing temperatures. Compositional results point to the use of distinct raw materials for the cycle of Saint Francis' Life and that of The Passion of Christ, and low firing temperatures. The luminescence results point to a production of the high-reliefs in the second half of the 18th century, in accordance with art-historical studies.
- Application of energy dispersive X-ray fluorescence spectrometry to polychrome terracotta sculptures from the Alcobaça Monastery, PortugalPublication . Le Gac, Agnès; Pessanha, Sofia; De Carvalho, Maria Luísa; DCR - Departamento de Conservação e Restauro; DF – Departamento de Física; Associação Profissional de Conservadores-Restauradores de Portugal (ARP)Portable energy dispersive X-ray fluorescence spectrometry (EDXRF) was used in the Alcobaça Monastery, in order to study the chromatic coatings applied to terracotta statues that belong to two seventeenth-century monumental groupings. The main goal of this scientific approach consisted in determining the elemental composition of the constitutive layers and in trying to reconstitute the existing polychromy, taking into account the technical aspects observed at naked eye. The measurements carried out by EDXRF allowed a first material characterization of these artworks. By comparing the results obtained in each statue, it was possible to attest the application of a seventeenth-century coating to each one and at least a subsequent intervention in the form of a refurbishment or a new polychromy. According to the materials employed in their production, it appears that the refurbishment is likely dated from the 19th century while the new polychromy is still dated from the 18th century.
- Preparing the foundation for stable gildingPublication . Cardoso, Isabel Pombo; DCR - Departamento de Conservação e Restauro; LAQV@REQUIMTE; Associação Profissional de Conservadores-Restauradores de Portugal (ARP)This paper is the fifth of a series and focuses on tracing the history of the use of gypsum based products as well as of the use of ground layers, centred on a review of published analytical evidence. The purpose is to contribute for the understanding of these long traditions which led to the choice of specific materials and practices used for producing gilding grounds in southern Europe. In fact, several practices and the raw material gypsum used in gilded surfaces do have an extremely long tradition, which can be traced back to the Pre-Pottery Neolithic B. The systematic use of these materials, especially the use of ground layers for decoration and other purposes, suggests not only an intention but also, somehow, the notion of a complex concept, the concept of a composite material, even at these very early periods, from which gilding origins. In addition, the particular case of Portugal shows that aspects such as religious, political, and sociocultural influences played a central role in the choice of gypsum as the raw material, which was curiously used exclusively for gilding.
- A survey of acrylic sheet in Portuguese art collectionsPublication . Babo, Sara Sobral; Ferreira, Joana Lia; DCR - Departamento de Conservação e Restauro; LAQV@REQUIMTE; Associação Profissional de Conservadores-Restauradores de Portugal (ARP)Abstract: Acrylic sheet, also known by the commercial names Plexiglas or Perspex, consists of poly(methyl methacrylate) (PMMA).Attractive to artists since its development in the 1930s, it became especially popular during the 1960s.In Portugal, knowledge about its use by artists and its condition is scarce.I n this work, the main Portuguese art collections were surveyed with the goal of gaining an overview of the use of acrylic sheet in the Portuguese art context and its current condition. The paper describes the methodology used and the results obtained regarding137artworksby 69 different artists registered as containing acrylic. Results show that this materialis being used by Portuguese artistsat least since the 1960s. It has been used in several artistic forms, from painting and sculpture to photography, installation, objects/reliefs, and artist books. Most of the artworks were in good or fair condition. The main problems observed were dust and dirt deposits, abrasion, and scratches. Resumo: A chapa acrílica, também conhecida pelos nomes comerciais Plexiglas ou Perspex, consiste empoli(metacrilato de metilo) (PMMA). Atractiva para os artistas desde o seu desenvolvimento na década de 1930, popularizou-se durante a década de 1960. Estudos sobre a sua utilização e estado de conservação são escassos em Portugal. Realizou-se um levantamento nas principais coleções de arte portuguesas com o objetivo de obter uma visão geral da presença e estado da chapa acrílica nesse contexto. É descrita a metodologia utilizada e os resultados obtidos relativamente a 137obras de 69 artistas, inventariadas como contendo acrílico. Os resultados mostram que este material tem sido utilizado pelos artistas portugueses pelo menos desde os anos 60 até aos dias de hoje, em diversas formas artísticas, que vão desde a pintura e a escultura à fotografia, instalação, objetos/relevos e livros de artistas. A maioria das obras encontra-se em bom ou razoável estado. Os principais danos observados foram depósitos de poeira e sujidade, abrasões e riscos.
- Trajetória e apresentação de uma obra time-based mediaPublication . Gomes, Sofia; Macedo, Rita; DCR - Departamento de Conservação e Restauro; Associação Profissional de Conservadores-Restauradores de Portugal (ARP)Ana Vieira (1940-2016) deixou um conjunto de instalações sem uma documentação sistematizada ou orientações de montagem. Numa tentativa de preservar este legado, herdeiros têm promovido exposições como forma de documentar as características tangíveis e intangíveis destas obras complexas. Em 2017, houve uma tentativa de montagem da instalação vídeo O desenho da menina a fugir do seu suporte no Centro de Arte Contemporânea Graça Morais, mas sem êxito. Contudo, em 2019, foram reunidas as condições necessárias para a sua reinstalação no Museu de Arte, Arquitetura e Tecnologia. Através deste caso de estudo e partindo da Actor-Network-Theory de Latour, demonstrou-se como a exposição é um momento crucial na trajetória da obra e na análise de uma rede de agentes, humanos e não humanos, dando origem a uma documentação que é essencial para informar futuras tomadas de decisão. Ana Vieira (1940-2016) left a set of installations without systematised documentation or set guidelines. In an attempt to preserve her legacy, heirs have promoted exhibitions as a way to document the tangible and intangible characteristics of these complex works. In 2017, there was an attempt to reinstall the video installation The drawing of the girl running away from her support at the Graça Morais Contemporary Art Centre, but without success. However, in 2019, the necessary conditions were met for its reinstallation at the Museum of Art, Architecture and Technology. Through this case study and based on Latour's Actor Network-Theory, it was demonstrated that the exhibition is a crucial moment in the trajectory of the work and in the analysis of a network of agents, human and non-human, giving rise to documentation that is essential to inform future decision-making.
- Defining the first preventive conservation guidelines for hand-painted magic lantern glass slidesPublication . Santos, Ângela; Rodrigues, Beatriz; Otero, Vanessa; Vilarigues, Márcia; DCR - Departamento de Conservação e Restauro; LAQV@REQUIMTE; VICARTE - Vidro e Cerâmica para as Artes; Associação Profissional de Conservadores-Restauradores de Portugal (ARP)This article intends to define and make available guidelines for the preventive conservation of hand-painted glass slides for magic lanterns, the first optical instruments for the projection of images, invented in the 17th century. For this purpose, around 300 hand-painted glass slides from the Portuguese Cinematheque - Museum of Cinema (CP) and Nacional Museum of Natural History and Science of the University of Lisbon (MUHNAC), were studied in terms of representativity in these collections, discursive genre, type of construction or movement mechanism, state of preservation and degradation problems. A survey was designed and distributed to institutions across the globe aiming for an overview of the formal characteristics of the collections of magic lantern slides and the preventive and interventive conservation measures undertaken. The guidelines are focused on the environmental conditions (temperature, relative humidity, and light), fine particles and pest control, storage and display conditions and materials, as well as handling. Recommendations on performative projections or demonstrations are also provided.
- A exposição Plasticidade - Uma História dos Plásticos em Portugal: Um processo participativo no Museu de LeiriaPublication . Callapez, Maria Elvira; Coimbra, Raquel Ferreira; Cruz, Sara Marques da; Carvalho, Vânia; França de Sá, Susana; DCR - Departamento de Conservação e Restauro; CIDEHUS - Centro Interdisciplinar de História, Culturas e Sociedades da Universidade de ÉvoraAs part of the project “O Triunfo da Baquelite – Contributos para uma História dos Plásticos em Portugal” (2016-2019), the exhibition Plasticidade – Uma História dos Plásticos em Portugal (2019-2021) was organized on the history of plastic materials, in partnership with the Leiria Museum. The exhibition highlighted the importance of plastics, its relationship with the history of industry, design, consumption and mentalities, and science and technology in Portugal, through a process of musealization. In this article we reflect on the exhibition, its objectives and approaches, and on the formation of a collection of plastics, through a participatory process with the communities. In addition, the novelty in considering these materials as “museum objects” led to the analysis of its conservation and restoration issues. The article emphasises the relevance of this project, whether from the point of view of research, or the contribution to the musealization of these types of objects and its preservation. With the creation of a collection and an exhibition at the Leiria Museum, we contributed to fill the gap with a collection dedicated to plastics, reflecting a history of plastics in its multiple aspects of usability in society.
- Plastics that made history - The contribution of conservation science for the history of the Portuguese Plastics IndustryPublication . de Sá, Susana França; da Cruz, Sara Marques; Callapez, Maria Elvira; Carvalho, Vânia; DCR - Departamento de Conservação e Restauro; LAQV@REQUIMTE; Associação Profissional de Conservadores-Restauradores de Portugal (ARP)The plastic objects from our cultural heritage are material testimonies of our history, technology and industry. Still, in Portugal, there is no museum of plastics, and the collections are spread through private collectors and industries. The research project, "The Triumph of Bakelite - Contributions to a History of Plastics in Portugal", aims at creating this museum. To this end, the research work gave rise to the exhibition, "Plasticity - A History of Plastics in Portugal", in Museu de Leiria in 2019. This study focuses on the contribution of conservation science for the writing of this history and preparation of ca. 150 historical plastic objects for display. Bakelite, melamine, polyethylene, polypropylene, polystyrene and plasticized polyvinyl chloride are just a few examples of the polymers identified by infrared spectroscopy. This identification was crucial to tell the history of the plastics industry in Portugal. Both the spectra and characteristic absorption bands of each polymer are presented.